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Is your rear heel down when you assume a front stance? If it isn’t, your teacher will be there to correct you. Karateka are drilled incessantly in the matter of keeping that heel down when they begin training. The heel must be planted firmly to correctly transmit power in the course of a technique. It works something like this: Adopt a front stance next to an immovable object—a wall or a telephone pole, for example. Extend your arms and push against the object with your palms. If you push hard, your rear heel will go flat against the ground. Similarly, if you’re pushing a car out of a snowbank, you’ll naturally begin in something like a front stance, with your heel again firmly on the ground. You can feel the smooth transition of power, coming off the back heel and going through your body and eventually out your arms. LET’S CHANGE THINGS The car’s cleared the snowbank. You have to trail after it, following along until it has enough momentum to get back on the road. You’re still pushing, but the car’s moving away from you. Guess what? Your heels are going to come off the ground. You cannot move without lifting them. Keeping your heels on the ground is a necessary step in learning to use your body efficiently to strike. It’s a step, though; it’s not a final, fixed goal. Many times, both karateka and critics of the art fail to make this distinction. The basics are just that. It’s like drilling in formation at boot camp. The exercise teaches team cohesion and the ability to follow orders. You don’t, however, see Army Rangers doing a lot of formation drilling. There’s a lesson there. It’s essential to learn the basics. Likewise, it’s essential to have that heel firmly planted in a front stance. You must do it so often it becomes instinctive. That will allow you to perfect your method of stepping—not pushing off your back foot but “pulling” your rear leg forward by contracting the muscles in your front leg. Stepping in karate is accomplished like a sprinter coming off the blocks: squeezing the toes of the front foot to draw the rear one up. If you raise your heel, you’ll step incorrectly, according to the principles of karate, and wind up pushing off your back foot instead of pulling forward with your front one. Once you’ve learned that principle, however, you need to begin to add sophistication to your technique. In no fighting art should you keep your rear heel on the ground, except possibly during the moment of contact. Fencers move on the balls of their feet, as do boxers. Karate is no different. When sparring or fighting, the heels of both feet need to be off the ground—just enough to slide a sheet of paper between your heel and the floor. Doesn’t seem like much, but it changes everything in your movement and in the correct, effective delivery of technique. When you drive forward, making a full step to deliver a punch, you use primarily the pulling action of your front leg. But to get depth in your step, achieve penetration and maximize your speed, you also must push off the ball of your rear foot. If you depend too much on this push—in other words, if you haven’t learned the basics—you’ll come up on the ball of that foot excessively. It’s easy to see examples of this. Pushing off too much from your rear leg breaks the chain of connections in your body, from your foot through your hips and into your shoulders. Pushing off your rear heel makes it more probable you’ll use just your shoulders in punching instead of your hips. AS A TEACHER If you see a karate practitioner throwing his shoulder into a punch, you can almost bet his rear heel is off the ground. Correcting the problem by telling him to put the heel down is OK; it’s more productive to correct from the other end, though. Demonstrate the twisting of the hips and position his shoulder correctly, and you’ll see the heel drop down where it should be. Once you have him making the movement correctly, don’t just leave him there. Begin to introduce the more advanced way of stepping and moving—with the heels lightly raised to provide spring, agility and the ability to move in or out, quickly and effectively.

Long before mixed martial arts became a global phenomenon, one Australian instructor was asking a simple question that would define an entire generation of martial artists: "Does the technique really work?" That question became the foundation of Zen Do Kai, the martial art created by Bob Jones when he opened his first dojo on June 1, 1970, at 48 Elizabeth Street in Melbourne. Originally developed to meet the needs of Australia's growing security industry, Zen Do Kai was unlike the traditional systems of the day. It wasn't built around preserving tradition—it was built around surviving reality. At a time when most karate schools focused almost exclusively on forms and tournament competition, Jones believed a martial art should constantly evolve. His philosophy became known as "The Best of Everything in Progression," encouraging practitioners to adopt effective techniques from boxing, Muay Thai, jujitsu, aikido and other combat systems while remaining grounded in the discipline and values of traditional karate. That philosophy wasn't tested in a laboratory—it was tested every weekend. Jones assembled a legendary group of full-contact fighters known as The Wrecking Crew, many of whom worked nightclub security during one of Australia's toughest eras. They also provided protection for international musicians and touring rock stars, bringing real-world experience back into the dojo. Every confrontation became another lesson in what worked, what didn't, and how the system could improve. It was this constant cycle of testing and refinement that gave Zen Do Kai its reputation as one of Australia's most practical martial arts. But Bob Jones never viewed martial arts as something frozen in time. Reflecting on three decades of teaching, he rejected the idea that "the old days were tougher." Instead, he argued that every generation has its own challenges and that instructors have a responsibility to keep learning, travel, cross-train, and remain open-minded. In his words, no single style has all the answers—a philosophy that was decades ahead of its time and anticipated today's cross-training culture in combat sports. His influence quickly spread beyond Melbourne. Zen Do Kai expanded throughout Australia and New Zealand, producing thousands of black belts and instructors while establishing one of the region's largest martial arts organizations. Jones also became a familiar face in Australian media, introducing martial arts to mainstream audiences and helping shape the country's modern self- defense culture. Today, more than five decades after opening that first dojo, Bob Jones' legacy lives on—not simply through the organization he founded, but through an enduring philosophy that martial arts should never stop evolving. For generations of Australian martial artists, Bob Jones didn't just teach people how to fight. He taught them how to think like martial artists. Black Belt Magazine proudly celebrates Bob Jones—one of the true pioneers of modern martial arts. Did you train in Zen Do Kai or have a memory of Bob Jones? We'd love to hear your story in the comments.

The sickening sound of a bone breaking was the first indication her elbow had snapped. “It was just an armbar,” she said. “I thought I could get out of it.” Didn’t it hurt? “Not really,” she said, flashing a big Hilary Swank smile. “I’m double-jointed, so I don’t have the same pain-receptor feedback as most people. But then it popped, and I said, ‘Oops!’” It was just another day at the office, it would seem. In this case, however, the office was a sweat-soaked gym, and the laborer was the first Air Force female to become certified as a Marine Corps Martial Arts Program instructor. Meet Staff Sgt. Jessica Field. Out of the Box “I had dabbled in martial arts for years,” Field said. “In college, I practiced aikido and Brazilian jiu-jitsu, but I was looking for something practical.” Note Field’s use of the word practical. Because she was an Air Force intelligence analyst facing imminent deployment on a top-secret mission in the Third World, she had big-time safety concerns. “I wanted to learn a martial art that could get me out of a jam, if needed, and my friends recommended the Marine Corps Martial Arts Program,” she said. Unlike the Marines, which dumped its LINE system in 2002 and replaced it with MCMAP, and the Army, which launched its Modern Army Combatives Program in 2007, the Air Force didn’t have a widely available self-defense program in 2010, when Field was searching for instruction. That forced her to look elsewhere, but she concluded that the other fighting systems to which she had access lacked the practicality she needed. “I explored other options but liked MCMAP the best,” she said. “It has more of a range tailored to outside-the-box situations.” MCMAP specializes in outside-the-box thinking — which is evidenced, in part, by its emphasis on using weapons of opportunity. “It’s driven by the philosophy of ‘one mind, any weapon,’” said Black Belt Hall of Famer Leon D. Wright, a certified MCMAP subject-matter expert and the former head instructor at the MCMAP (Far East) School. That philosophy appealed to Field’s practical side. Gunnery Sgt. Wilson Dunn, a MCMAP black belt, described it in a similarly practical way: “You search your surroundings for anything you can use as a weapon against the enemy. [For example], I could use this computer monitor to bludgeon you.” His statement was blunt, but it revealed an essential component of MCMAP — it teaches students how to apply violence to achieve an objective in a clinical way, “detaching emotions like fear, hesitation — things that get Marines killed,” Dunn added. Field summed it up: “I liked the realism.” And Into the Fire In MCMAP, instructors have Marines sparring from day one, referring to this approach as “indoctrination to violence.” The goal is to enable fighting men and women to come out on top in a one-on-one — or one-on-two — battle for life, Dunn said. Field admitted that MCMAP training pushed her out of her comfort zone again and again. As intimidating as that might sound, she insisted the program is safe and the instructors are encouraging and patient with new practitioners. They welcome students from all military branches who are brave enough to hit the mats, she said. As for her broken elbow — “That’s not uncommon,” Dunn said, “because these are combatives, and there are risks involved” — Field admitted it was her fault for not tapping. Although the injury occurred in January 2015, her limb has healed completely and shows no indications of having been damaged. Examining the arm, all anyone can see now is a honed musculature, a visual testament to Field’s conditioning. “I weighed 175 pounds before I joined the Air Force,” Field said. “That’s why I’m so committed to fitness.” MCMAP was the driving force behind her transformation, and it continues to be a pillar of her healthy lifestyle. In addition to her martial arts training, the plucky NCO lifts weights, does calisthenics and runs with her husband, a former Marine who also trained in MCMAP. But — “We don’t spar,” Field said. “For the sake of our marriage.” Present From the Past MCMAP sprouted from roots that date back to the earliest days of the Corps, when Marines in boarding parties had to rely on hand-to-hand fighting techniques. The ensuing decades saw the system evolve considerably with help from numerous martial arts experts. The modern incarnation of the Marine Corps Martial Arts Program also incorporates techniques designed to injure or incapacitate, not just to kill. That’s a fairly recent response to calls for the U.S. military to use nonlethal force in certain situations. Case in point: Marines often find themselves involved in police actions, crowd and riot control, and other situations that require them to interact with civilian aggressors. Obviously, such assignments demand versatility with respect to technique, as well as practitioners who can make decisions on the fly. The decision-making ability comes from the training, while the techniques come from a variety of martial arts, including those from the East (aikido, karate and so on) and those from the West (boxing). Field is a fan of that diversity. She believes that everyone who studies self-defense should know how to throw a jab, but she said her favorite part of the combative arts is ground fighting. “I like jiu-jitsu,” she said. “I’m small, and it helps me fight bigger, stronger guys.” Bolstered by her training, the staff sergeant seems much taller than her 5 feet 4 inches. “That’s the confidence you get from MCMAP,” she said. “It carries over into every part of your life. You carry yourself differently when you walk into a room.” Rank and File Like most modern fighting systems, the Marine Corps Martial Arts Program uses belts to denote rank. Specifically, it features the Marine-friendly colors tan, gray, green, brown and black, Dunn said. Field holds a green belt with an instructor tab, which she earned during a grueling course held at the Martial Arts Center of Excellence in Quantico, Virginia. For reference, green belt is the level expected of Marine Corps infantry troops. She said she hopes to test for her brown belt by the end of 2015 and has petitioned the Air Force to allow her to wear her rank with her camouflage uniform like the Marines do. One of the goals of Field’s training is to convey to others the notion that combat skills learned from MCMAP can benefit any service member who’s interested in self-development. “I’d like to spread expertise and get other instructors certified — to get it to the Air Force or anyone interested,” she said. Because she earned her instructor tab, she’s certified to teach the art to members of all the armed services, so she’s in a prime position to preach the gospel of MCMAP. Popular Opinion What do Marines think about the first female airman to become certified to teach their art? “It’s impressive,” Dunn said. “It’s good to see airmen appreciate the value of training. I commend anybody who does that. We all take the same oath to preserve and protect the Constitution.” Wright said he admires Field’s accomplishments, which offer tangible proof of the validity of MCMAP. “It works for all who decide to be part of it,” he added. “Going through the training process is the same for everyone — there’s no special treatment. The training has been proven for both men and women in combat, not only physically but also mentally.” Marine 2nd Lt. Aleksandra Sawyer, who owns a MCMAP gray belt, said she thinks Field is awesome. The two recently rolled at Fort Meade, Maryland, where they took turns submitting each other. Field found herself tapping when her elbow clicked painfully during a submission attempt from the Marine, and Sawyer had to fight off several chokes initiated by Field. The Marine fought valiantly against one such choke but finally tapped as her face turned purple. Both Field and Dunn said the pain they experience in the gym — including those occasions when an old injury gets tweaked and the blood supply to the brain gets momentarily halted — is worth it. The reason is simple: That kind of “hard Corps” training ultimately increases the odds that they’ll survive on the battlefield. Photography by Richard D. Lewis

For those who only know the polished version of today’s combat sports, it’s hard to explain what the “blood-and-guts” era really meant. In the 1960s, tournament karate wasn’t about sponsorships and branding — it was about grit. Minimal pads. Hard contact. Long days. It was one division after another, and in that unforgiving crucible, Joe Lewis stood out. Here are five reasons why, from our vantage point, he stands on the Mount Rushmore of American karate. 1. He Won When Winning Meant Something Different Lewis didn’t dominate in a refined, point-tapping era. He won when heavyweights collided with force and consequences. The tournaments of the ’60s were raw, and his victories were earned the hard way. Joe Lewis circa 1967. Copyright Black Belt Magazine 2. He Redefined the Heavyweight In a time when size often meant stiffness, Lewis moved with speed and precision. He brought athleticism and intelligence to the heavyweight division — and retired from full-contact competition undefeated as a champion. Joe Lewis with a young Bill Wallace 3. He Helped Build Full-Contact Karate When full-contact karate emerged in the early 1970s, many traditionalists hesitated. Lewis didn’t. He stepped forward and helped legitimize it. His bouts were not exhibitions — they were proving grounds. American kickboxing owes much of its early credibility to his willingness to test himself under those rules. 4. He Blended Boxing and Karate Before It Was Fashionable Today, cross-training is expected. Back then, it was controversial. Joe Lewis incorporated Western boxing — footwork, head movement, combination punching — into karate strategy. It was revolutionary. He wasn’t abandoning tradition; he was evolving it. We watched the shift happen. And the sport was never the same. 5. He Carried Karate to the Big Screen As martial arts moved into popular culture, Lewis stepped into film, appearing in Jaguar Lives! and Force: Five. He represented American karate with authenticity — not theatrics. 6. The Respect of Legends In our pages and at ringside, we witnessed the mutual respect among pioneers. When figures such as Chuck Norris, Bill Wallace, Jeff Smith, Mike Stone, and Bruce Lee acknowledged Joe Lewis, it wasn’t hype — it was earned regard from men who understood combat at the highest level. Photo credit: Joe Corley, Battle of Atlanta Hall of Fame 7. He Produced Thinkers, Not Imitators As an instructor, Lewis emphasized understanding over mimicry. He wanted students to know why techniques worked. That intellectual rigor shaped a generation of American martial artists. Joe Lewis Fighting System 8. He Helped Mold American Martial Arts From point fighting to full-contact competition, from stylistic purity to blended striking systems, Joe Lewis stood at the crossroads of transformation. American karate did not simply grow during his era — it evolved. And he was one of its chief architects. Black Belt's View From Ringside Mount Rushmore is reserved for those who define an era. We chronicled the tournaments. We photographed the battles. We published the debates about contact and tradition. Through it all, Joe Lewis remained constant: evolving, competing, teaching and pushing the boundaries of what karate in America could become. That is not nostalgia speaking. That is history. From where we stood — ringside, notebook in hand — Joe Lewis carved his place in stone.

A New Chapter in Martial Arts Evolution Innovation in martial arts has never arrived quietly. I’ve seen it time and again—moments where the very idea of change unsettles tradition. When Bruce Lee challenged rigid systems and spoke of adaptability over form, he was met with resistance from those who believed the old ways needed no questioning. When the Ultimate Fighting Championship first emerged, many dismissed it as chaotic, even disrespectful. Even today, taekwondo continues to navigate the tension between Olympic sport and traditional practice. Yet, none of these moments diminished martial arts. They expanded it. Sometimes through argument. Sometimes through resistance. And sometimes—through open arms. At Black Belt Magazine, we will not shy away from standing at the front of that conversation, not to provoke division, but to document, understand, and share the ongoing evolution of martial arts worldwide. So I begin here, with clarity. For years, Filipino martial arts have quietly influenced the world: Military combatives Law enforcement tactics Hollywood fight choreography Bruce Lee’s weapon work on screen reflects clear influences from Filipino martial arts—whether widely acknowledged or not. And yet, despite this reach, the art itself has remained under-recognized as a competitive sport on the global stage. This is not an argument about what is better. This is not a challenge to tradition. And this is not about taking sides. There are established organizations such as WEKAF, and there are valid discussions about rules, direction, and preservation within Filipino Martial Arts. But this moment isn’t about choosing between them. Much like MMA once faced skepticism, any new format challenges convention. Juego Todo is not a replacement for tradition, it is a new lens. A format. A proving ground. The question is not whether Filipino martial arts still embody adaptability, efficiency, and realism. The question is, how do those qualities express themselves today? This is where the conversation begins. Black Belt Magazine sees this as an opportunity—not to persuade, but to present. To offer something new to a community grounded in tradition. Something to observe. Something to consider. Perhaps even something that changes the way we watch Filipino martial arts. And like every turning point before it, the value is not in immediate acceptance—but in the willingness to see it for what it is. Enter Juego Todo: Where Art Meets Sport Juego Todo was created in 2014 by Ferdinand Munsayac, a retired U.S. Navy Chief with 20 years of honorable service and a Persian Gulf War veteran. After his military career, he returned to the Philippines with a mission—to transform the lives of underprivileged fighters through combat sports. As the founder of UGB Corp and Juego Todo, he has become a driving force in elevating grassroots Filipino martial arts to a global level. with a clear mission: to unify Filipino martial arts and provide fighters a professional platform to test their skills. Inspired by the rise of MMA in the Philippines, Munsayac envisioned something more: A system that doesn’t dilute tradition but instead tests it under pressure. In speaking with Munsayac, one idea surfaced immediately—something was missing. For decades, Filipino martial arts lived in demonstrations, seminars, and small-scale tournaments. What they lacked was professionalization—a true pathway for athletes, a unified structure, and a global competitive identity. Today, we recognize national combat sports as symbols of their countries—Muay Thai for Thailand, taekwondo for Korea, karate for Japan. Juego Todo aims to position Filipino martial arts in that same global conversation. But building something new in a deeply traditional space rarely comes without resistance. Munsayac points candidly to what he calls a familiar challenge within the community: division. The mindset of “my system is better than yours” has long fractured unity within Filipino Martial Arts. Add to that a lack of institutional support and concerns that the format was too intense, too unfamiliar—and the resistance became inevitable. Yet, in many ways, that resistance revealed something deeper. It wasn’t just about rejecting a format. It was about resisting change itself. And still, the question remains: how do you evolve an art rooted in real combat without losing its essence? For Munsayac, the answer lies in balance. Historically, Filipino martial arts were practiced in duels—often with life-or-death consequences. That reality is part of its identity. Juego Todo does not ignore that history—it transforms it. From no rules to structured competition. From bare combat to protective gear and safety protocols. From open grounds to a regulated arena. The goal is simple: preserve the essence—remove unnecessary risk. At the same time, it becomes a bridge between generations—educating younger practitioners while encouraging elders to recognize that evolution is not abandonment, but survival. After more than a decade and over 100 events, Juego Todo has grown into a global movement: 52 countries represented 500+ fighters worldwide Recognition by the Philippine Games and Amusements Board Beyond growth, the identity of the sport is ultimately defined by its athletes. A Juego Todo champion, as Munsayac describes it, represents something distinct: Not theory. Not choreography. Not controlled demonstration. But truth under pressure. It is what works when resistance is real.What holds up when there is no script.What survives in full contact, unpredictability, and consequence. In that sense, a champion reflects more than skill—they reflect the very core of Filipino Martial Arts: adaptability, composure, and authenticity. And perhaps the most important question of all is not about the present—but the future. What would it mean for Filipino Martial Arts to finally stand on a true global competitive platform? The answer reaches far beyond sport. It means recognition—that FMA is not just cultural heritage, but world-class combat. It means opportunity—for Filipino athletes to build careers, earn respect, and be seen.And it means legacy—the creation of something future generations can stand behind with pride. More than anything, it signals a shift: The Philippines is no longer just the birthplace of Filipino Martial Arts. It becomes its global leader. Where Evolution Leads Martial arts have never been static. They adapt. They respond. They evolve. Bruce Lee understood this long before it became widely accepted. His philosophy was not about abandoning tradition, but about freeing it from limitation. To keep what is useful. To discard what is not. To allow growth where growth is necessary. That same tension exists here. Juego Todo may not be the final form. It may not be universally accepted. And it will certainly be debated. But so was everything that came before it, and that is precisely the point. The value of innovation in martial arts has never been in immediate acceptance— but in the willingness to see it clearly. To watch it. To question it. To understand it. Because evolution, whether welcomed or resisted, has always been part of the journey. And perhaps, in that way, this moment is not so different from the ones that came before it. It’s simply the next expression of a timeless idea: that martial arts are not fixed. They are alive. THE FORMAT: THREE ROUNDS. TOTAL COMBAT. Juego Todo is a three-round war of progression, where every phase demands mastery: Round 1: Doble Baston (Double Sticks) Weapon-based combat. No disarms—because every strike is treated like a blade. DOBLE BASTON (Two Sticks) Allowed Body strikes with sticks Kicks, knees (body only) Takedowns & disarms Key Restrictions No strikes to the head No thrusting or butt-end strikes No illegal weapon use No intentional weapon dropping (penalty) Round 2: Solo Baston (Single Stick + Striking) The fight intensifies. Fighters add knees, elbows, takedowns, and sweeps—blending weaponry with close-range brutality. SOLO BASTON (One Stick) Allowed Stick striking Limited hand strikes Body kicks & knees Takedowns & disarms Key Restrictions No strikes to the head No thrusting or butt-end strikes Must follow referee during disarms Dropping the stick = penalty Round 3: Mano-a-Mano (Hand-to-Hand) MMA rules MANO Y MANO (Full Contact) Allowed Punches & kicks (head and body) Elbows & knees (with limits) Takedowns & submissions Key Restrictions No strikes to a downed opponent No groin attacks No headbutts, eye gouging, biting No strikes to back of head or spine No cage grabbing No soccer kicks FOLLOW THE ACTION 1. Watch the Weapons In Doble & Solo Baston, fighters score with: Clean stick strikes Control and disarms Important: No head strikes in weapon divisions 2. Look for Control & Damage Judges score using a 10-point must system Fighters win rounds by: Effective striking Takedowns and control Ring/Cage dominance 3. Know the Fight Phases Standing: Striking and movement Clinch: Close-range control, knees, takedowns Ground (Mano y Mano only): Submissions and control 4. Understand the Differences Doble Baston Fast-paced weapon exchanges Disarms can change momentum instantly Solo Baston Mix of weapon + limited hand strikes More tactical and controlled Mano y Mano Full MMA-style action Striking + grappling + submissions 5. Watch for Fouls Referees will stop action for: Illegal strikes (back of head, groin, etc.) Dangerous behavior Weapon misuse Penalties can affect scoring or lead to disqualification Win Conditions Decision (judges’ scorecards) Submission (Mano y Mano) Referee stoppage (TKO/KO) Disqualification UNIVERSAL FOULS (All Matches) Low blows Rabbit punches (hits to the back of the head/neck) Holding and hitting simultaneously Eye attacks or open glove abuse Prolonged stalling/clinch Faking injury or knockdown Unsportsmanlike conduct

The following is a snippet of a feature found exclusively in the Spring 2025 issue of Black Belt Magazine. Since 1979, Burton Richardson has been on an unstoppable martial arts journey. He began training at the original Kali Academy, home to greats such as Sifu Richard Bustillo and Guro Dan Inosanto, then traveled the world to learn from the best. In Manila, he studied under Grandmaster Antonio Ilustrisimo. In Brazil, he trained with top BJJ practitioners like the Machado Brothers and Carlson Gracie. He’s even trained with Zulu warriors in South Africa and earned a black belt in krav maga. His broad experience makes him a sought-after instructor for civilians and law enforcement alike. A prolific writer, he’s authored five books, spent 11 years as a columnist for Inside Kung Fu, and been honored as Black Belt Magazine’s Self-Defense Instructor of the Year. Now based in Hawaii, Burton continues to share his knowledge worldwide, always learning, always evolving. Introduction & Background How did you first get started in martial arts, and what inspired you to pursue this path? As a young kid, I loved Kato in the Green Hornet TV series. I didn’t know until many years later that Kato was played by Bruce Lee. But his dynamic fight scenes were my first exposure to any sort of martial arts. I guess that is how I first caught the bug. When I was nine years old, I endured a very horrible experience. I was abducted by a large adult male, and it was a truly horrific event. Being so utterly helpless while someone much bigger and stronger was constantly threatening to kill me ingrained a very deep desire to learn how to defend myself from evil. It took many years, but as I was allowed to, I started training. By a stroke of luck, that training was at Guro Dan Inosanto and Sifu Richard Bustillo’s original academy in Torrance, California, which was a mile and a half from our house in Carson. For the last thirty years, my main goal as a teacher has been to make others formidable so that they will never be at the mercy of a merciless attacker. To read the rest of the interview, be sure to order your copy of Black Belt's Spring 2025 Issue!

Exclusive Early Bird Ticket Pre-Sale Lottery Opens Today ONE Championship, the world’s largest martial arts organization, announced that ONE 173 will take place at the Ariake Arena in Tokyo, Japan, on Sunday, November 16. Fans interested in purchasing special early bird tickets can do so beginning at 12 p.m. JST today through Wednesday, June 18, by entering the exclusive pre-sale ticket lottery here. Lottery results will be available at 1 p.m. JST on Saturday, June 21. Tickets for ONE 173 will go on sale to the general public via ePlus at 10 a.m. JST on Saturday, July 5. Chatri Sityodtong, Chairman and CEO of ONE Championship, stated: “After a record-breaking event in Japan last March at the legendary Saitama Super Arena that garnered more than two billion organic digital views, we are thrilled to return to Tokyo and the Ariake Arena this November to showcase the world’s very best martial artists at ONE 173. This will mark the fifth time ONE has held an on-ground event in the iconic city of Tokyo, and we can’t wait to put on another can’t-miss spectacle for our passionate global fan base. We are constructing a card that will be electric from start to finish, featuring multiple World Title bouts across various martial arts disciplines that will create lifelong memories for all those in attendance and watching around the globe.” ONE last held an event at the Ariake Arena in January 2024 with ONE 165: Superlek vs. Takeru. Additional event details and headlining bouts for ONE 173 on November 16 will be announced in the coming weeks.

The Renaissance Man, Arcenio James Advincula Arcenio James Advincula embarked on the martial path for a reason that was far from unique. Being small in stature and of interracial heritage, the youth was a frequent victim of bullying. After one serious encounter with a group of young thugs, his father hired two former Filipino army scouts to school him in combat judo and escrima. Most styles of escrima emphasize stick fighting, but the soldiers chose a different tactic: They trained young Advincula with tools that would send modern parents running out of the dojo. Specifically, they had the 8-year-old wielding a bayonet and a butcher’s knife. Another unique aspect of Advincula’s martial education pertained to the role of the hands in combat. Many instructors refer to the non-weapon-bearing appendage as the “alive hand” and use it mainly to parry attacks, but Advincula’s teachers called it the “sacrifice hand” in honor of its special purpose in a fight. Yes, it was used for parrying, but it was also subject to being sacrificed to forestall a cut or stab aimed at a vital organ. Martial Artist Advincula joined the U.S. Marine Corps in 1957 and a year later found himself stationed on the “island of karate,” aka Okinawa. On December 1, 1958, he first set foot inside the dojo of the legendary Tatsuo Shimabuku, thus beginning his study of isshin-ryu and kobudo. Shimabuku had created isshin-ryu by combining elements he’d learned from Chotoku Kyan and Choki Motobu, who taught shorin-ryu, with what he gleaned from his time with Chojun Miyagi, founder of goju-ryu. To that mix, Shimabuku added his own innovations and concepts, giving birth to a unique martial art. A quick study, Advincula became one of Shimabuku’s top students. Standing 5 feet 6 inches tall and weighing 150 pounds, Advincula possessed a stature that was similar to that of his isshin-ryu teacher. Kyan, Shimabuku’s most influential sensei, was also very small, but he was renowned for his speed and maneuverability — attributes he strove to pass down to Shimabuku and, by extension, to Advincula. The American also capitalized on the component of Shimabuku’s system that revolved around cultivating power through body mechanics and control, what the old Okinawan masters called chinkuchi. Part of goju-ryu, chinkuchi gives the practitioner the ability to instantly transition from complete relaxation to full-body tension. That enables the student to effect the rigidity needed to penetrate targets, as well as to absorb impacts without sustaining damage. Chinkuchi was the key to Shimabuku’s ability to drive nails into planks with the side of his hands and to Advincula’s ability to easily move people twice his size and 50 years younger with just an open-hand block. Shimabuku began referring to Advincula as Katagwa, or “Kata Man.” Shimabuku selected the nickname because of the depth of his student’s understanding of kata, his knowledge of bunkai and his ability to make the bunkai work. On the surface, a kata is just a string of choreographed movements, but when analyzed under the guidance of a master like Shimabuku, its essential techniques, concepts, strategies and principles are revealed. Many instructors teach kata, techniques and free fighting as separate entities. In contrast, Advincula learned — and subsequently started teaching — the notion that everything comes from kata. From the get-go, he was told what the key elements in the kata were and shown how they could be used in combat. Graphic Artist Advincula played a key role in designing the unique — and controversial — isshin-ryu patch. It incorporated the symbol for the art, the megami goddess, as the centerpiece. In February 1961, Shimabuku approved the design. Unfortunately, the language barrier that stood between Advincula and the patch maker caused the design to be rendered incorrectly. Advincula had sketched it with a vertical fist that featured a thumb on top, just like the isshin-ryu punch, but the patch maker placed the thumb on the side — the way other styles of Okinawan karate teach. Also incorrect was the orange border: The crest was supposed to feature a gold border to symbolize purity and the idea that karate should never be misused. Since the error and its subsequent propagation, Advincula has worked tirelessly to get the right version of the patch out to the public. He said he’s pleased that with every passing year, more martial artists are donning the crest that Shimabuku authorized. Okinawan Ambassador Throughout the years, Advincula has enjoyed an ongoing link to Okinawa. The Marines sent him there repeatedly, civilian life saw him living there on several occasions, his Okinawan wife served as the impetus for making familial visits, and cultural tours have had him guiding groups there for the past 20 years. The resultant training ops gave Advincula a chance to pursue the study of several other Okinawan arts, including shorin-ryu, goju-ryu and uechi-ryu. One style the American picked up on the island and grew to admire was hindiandi kung fu. Originating in Southern China, it’s based on the concept of yin/yang. It uses two-man drills with rapid exchanges of punches, kicks and circular blocks. These moves, along with footwork designed to close the distance quickly and techniques designed to redirect an attacker’s momentum, made hindiandi an effective fighting system in the mind of Advincula. Advincula was so taken with hindiandi that when the San Diego Chargers hired him to train their defensive linemen from 1987 to 1993, he turned to the art. “I got to experiment with them,” he said. “They are at close range and in your face, so you better have your stuff down. Ninety percent of what I taught and used with them was hindiandi.” At age 49, Advincula had his work cut out for him with the Chargers, and it’s not surprising that initially he met with opposition from the players. His response? He devised a lesson that would start with him facing the linemen in a scrimmage, after which a snap was simulated before the full contact ensued. Witnessing the intensity of what had happened to the first lineman, the second player threatened to sue Advincula if the martial artist pulled his arm out of its socket. From that point on, Kata Man had their respect. As they say in the Marines, example is the language all men understand. Military Man Essential to understanding Arcenio Advincula is knowing that he served as a Marine for 24 years of his life. His discipline, work ethic and drive to make techniques work — no matter the conditions — stem from his time in the Corps. “When I graduated from boot camp,” he said, “I was convinced I was the best fighting machine in the world and knew you had to make it work no matter what you are doing, with whatever tools you have on hand.” Those are a few of the lessons that carried Advincula through 1965, the year he first saw combat in Vietnam. Subsequent tours gave him more hands-on experience, which he put to good use when he became a drill instructor in the 1970s. Advincula went out of his way to teach the recruits skills that could save their lives in combat. The karateka retired from the Marines in 1981, having obtained the rank of master sergeant, but he continued to teach the Marines how to fight with blades, as well as how to be successful in hand-to-hand combat. Recognition for his lifelong devotion to teaching Marines came in 2001, when he was acknowledged as a founding father of the revised Marine Corps Martial Arts Program. Advincula was awarded the title of Black Belt Emeritus. Knife Visionary In 1991 renowned knife maker Jim Hammond sought out Advincula in an attempt to create the ultimate combat knife. Designed to Advincula’s specifications, it acquired a name when someone sustained a cut after touching the blade and quipped, “That knife is a real flesh eater!” The description stuck, and the Flesheater quickly became one of Hammond’s bestselling tactical knives. Three years later, James Byron Huggins had the Flesheater playing a pivotal role in his novel The Reckoning. Specifically, the blade is wielded by the book’s main character, a retired Delta Force member, and employed in multiple battles that used Advincula’s knife-fighting system as a frame of reference. For those unfamiliar with the blade-fighting system: Advincula’s knife style is simple yet effective. It primarily uses the hammer grip and emphasizes attacking the opponent’s weapon hand before delivering a technique to end the encounter. Based on the escrima that Advincula began learning as a child, as well as his further studies in the 1960s, it also includes elements of isshin-ryu, making it an eclectic mixture of combat-proven techniques. The Flesheater was picked up by Columbia River Knife & Tool, which began mass-producing it in 2012 under the more politically correct name “FE Model.” The company also offers a plastic version of the knife so enthusiasts can train realistically and safely. Since CRKT started marketing its line of blades — as the FE7, FE9 and FE9 Trainer — Advincula has been in demand to teach the tactics he created to make best use of this unique weapon. Dedicated Teacher For more than 40 years, Advincula has worked the seminar circuit in North America. In 2013 alone, at age 75, the karateka traveled tens of thousands of miles to spread isshin-ryu, kobudo, escrima and military CQC, as well as something that’s near and dear to his heart: Okinawan culture. Back in 1960, an Okinawan newspaper reporter interviewed Tatsuo Shimabuku about the popularity of his style with U.S. Marines. Shimabuku didn’t say that he hoped his students would be the best fighters in the world or that he wished his art would gain popularity in the States. He said he longed for his homeland to be better understood through the practice of karate. “If you want to understand Okinawan martial arts, then understand their culture,” Advincula said. “They have a lot to teach us. Okinawan karate is not about punching, striking and kicking for sport; it’s about learning to defend oneself if needed. It’s about courtesy and getting along with each other and sharing and living.” In 2005 Advincula was recognized for his commitment to spreading Okinawan karate and kobudo when he received an invitation to a government-sponsored event designed to bring attention to the island as the birthplace of those arts. More than 250 senior karate instructors from Okinawa and Japan attended, along with just five foreigners. Advincula, representing the United States and isshin-ryu, spoke about how Shimabuku had taught him almost 50 years earlier that karate was for peace and the transmission of culture. Advincula remains committed to propagating the art of isshin-ryu, as well as the culture from which it sprouted. The 77-year-old still works out with his students, meticulously correcting their moves while wowing them with his speed, power and fluidity and trying to convey the message that karate is about much more than fighting. “If only one [student] listens,” he said, “the effort was worth it.”

Officially, the Kodokan calls it Ude Hishigi Juji Gatame. Most judoka prefer to use a shortened version of that moniker, referring to it as simply juju game. Nondenominational grapplers tend to use the minimalist English translation: armbar. Marti Malloy falls into the camp that calls the ubiquitous technique “juji gatame.” Even more important for our purposes, she describes it as her favorite move for competition. And that means something. Malloy, 29, has practiced judo since she was 6. During those decades on the mat, she’s bagged a bunch of gold and silver medals in, among other events, the World Judo Championships, the Pan-American Games and the Pan-American Judo Championships. And then there’s her haul from the six times she was a USA Judo national champ. And the icing on the cake: the bronze medal she earned at the 2012 Olympics in London. We asked Malloy, who’s trained under Black Belt Hall of Fame Mike Swain since she was in high school, to share her secrets for scoring with the armbar. She chose to focus on the five ways she likes to transition into juju gatame. The results are in front of you. TECHNIQUE: ONE Nutshell: Neutralize the throw, roll the opponent, lock the arm. Her Words: “In judo, one of the best opportunities for ground work comes when your opponent tries an attack and fails, then ends up in front of you in the turtle position.” Step by Step: The opponent approaches you and grabs your right sleeve (1), then begins pivoting counterclockwise for a hip throw (2). “Because you know what he’s attempting, you’re able to block it by pushing him away and dropping your hips,” Malloy says (3). Once he’s on all fours, get to his back and insert your right leg between his torso and right thigh and then around his waist (4). “Hook your leg across his abdomen like a seat belt,” Malloy says. Use your left arm to overhook his right arm (inset A) while you roll onto your left shoulder (5) and then your left side (6). While rolling, your left foot hooks behind his neck (inset B). “If you feel some looseness in his right arm, use your right hand to grab your left wrist and pull,” Malloy says (7). “After that, you want to grab his left ankle with your right hand (8). If you can’t reach it, grab his right ankle and pull him closer before going for his left ankle. Then roll him over your hips (9).” At that point, your right arm has control of his legs and your left arm has control of his right arm, which he’s probably “protecting” by clasping his hands. Your right leg is across his torso, keeping him from escaping before the finish (10). “Move your hips out so you can place your left leg across his face and lock your feet at the ankles,” Malloy says (11). “Use both your arms to try to extend his arm.” If his grip is strong, you might not be able to break it by lying straight back (12). “In that case, insert your left arm between his locked arms and lean diagonally backward toward the corner,” she says (13). As soon as the angular pressure overpowers his grip (14), hyperextend the arm for the submission — or, if it’s a self-defense situation, for the break (15). TECHNIQUE: TWO Nutshell: Neutralize the throw, take the back, extract the arm. Her Words: “When you do juji gatame the way I just demonstrated, your opponent probably will expect you to roll him over completely, and that can make him leave his arm exposed. This technique will give you an opportunity to take the arm without doing that, which means you catch him by surprise.” Step by Step: It starts the same way the previous technique did — with your opponent grabbing you and closing the distance (1), then initiating a hip throw (2). Once again, you nullify it by pushing with your hands and lowering your hips (3). That puts him in the turtle position, which is your cue to take his back and wrap your right leg around his torso (4). As before, lean down and overhook his right arm while you place your left foot against the back of his neck and roll forward (5). “At this point, he thinks he knows what you’re going to do, so he’ll probably relax the trapped arm, anticipating that he doesn’t need to worry about the juji gatame until after you’ve rolled him,” Malloy says (6). He couldn’t be more wrong. “Reach into the opening between his right thigh and your right knee (7) and grab his hand (8),” Malloy says. “Pull it out, using all four fingers to control it as much as possible (9).” Once you get both hands on his arm, position his hand so the thumb is pointing away from your body, Malloy says. Arch your back and thrust with your hips to hyperextend the limb while he’s still in the turtle position (10). TECHNIQUE: THREE Nutshell: Close the gap, throw the opponent, hyperextend the arm. Her Words: “In judo, one way to win a match is by throwing your opponent flat on his back with speed and force. Sometimes, if you don’t throw him fast enough or hard enough, you don’t get a full point. When that happens, you can transition to ground work, or ne waza. My favorite throw that transitions into juji gatame is the one-arm shoulder throw.” Step by Step: Approach your opponent (1). Grab his lapel with your right hand and control his right arm by grasping his sleeve with your left hand (2). Release the lapel and use your right arm to underhook his right arm — your elbow should be in contact with his armpit — then quickly turn counterclockwise and execute the throw by thrusting your hips back and leaning forward (3). “During the throw, keep your grip on his right arm with your left hand,” Malloy says (4). “Then use your right hand to hook his arm (5) as you step over his head (6). Now that you’re using both your arms to hold his arm, sit back to the corner (7). If he’s not ready to tap, raise your hips and tighten your knees (8).” TECHNIQUE: FOUR Nutshell: Sweep the leg, dump the opponent, take the arm. Her Words: “This technique is a transition from ashi barai, a foot sweep, to juji gatame. The key is quickly moving from the sweep to the ground work. If you wait too long after sweeping your opponent’s foot, he’ll hit the mat and either move away from you or turn into you. Either way, you won’t be able to get the arm.” Step by Step: When your opponent is close enough, use your left hand to grab his right sleeve (1) and your right hand to control his lapel (2). Move your feet together (3), then transfer your weight to your right leg so you can use your left foot to sweep his right foot (4) out from under him (5). “When he hits the mat and lands on his back, immediately step toward him with your right leg while maintaining control of his right arm (6),” she says. “Hook his upper arm with your right arm while holding his forearm with your left hand. At the same time, step over his head with your left leg (7).” From this position — your right knee is against his rib cage and your left leg is against his neck (8) — you can sit back to extend the trapped arm (9). “Make sure his thumb points to the ceiling when you do juji gatame,” Malloy says. “Then squeeze your knees and raise your hips for the finish (inset).” TECHNIQUE: FIVE Nutshell: Attack the leg, circle the shoulder, snatch the arm. Her Words: “This is another one of my favorite foot techniques that can be used to transition to juji gatame. It’s called sasae tsurikomi ashi. The technique works best when your opponent is fighting the throw. Your goal, of course, is to throw him flat on his back for the point, but he’s not letting you do that.” Step by Step: Start at close range. Your right hand has ahold of his left lapel, and your left controls his right arm by gripping his sleeve (1). “Use the lapel to pull him forward as you sweep his left leg with your right foot (2),” Malloy says. “That should send him to the mat (3).” The opponent will probably land on his face or his left side because you have control of his right arm, which you maintained from the sweep. “From that position, it’s a fairly simple move,” Malloy says. “Circle clockwise around the extended arm (4) and straddle it (5). Pinch your knees together so he can’t pull the arm away. Then just sit back and pull on his wrist to finish the armbar (6).”

February 28th, Women's boxing takes the world stage as the next generation Shera Mae Patricio (7-0, 3 KOs) will face former WBA female super flyweight world title holder, Maribel Ramirez (15-13-4, 3 KOs) on the All Women's Sports Network available on Amazon Prime, Hulu and DirecTV. There was a time — not long ago — when women weren’t even allowed inside the gym. Before televised headliners. Before sanctioned divisions. Before streaming deals and Saturday night broadcasts. There were women who trained anyway. They trained in borrowed ring time. They fought in exhibitions. They boxed when it wasn’t legal. They stepped between the ropes knowing the real fight wasn’t just across from them — it was the system itself. The rise of women’s combat sports did not begin with television contracts. It began with defiance. The Original Trailblazers: Before Permission Was Granted Long before modern sanctioning bodies took women seriously, Barbara Buttrick was already fighting professionally. Known as “The Mighty Atom of the Ring” and “Battling Barbara,” Buttrick was a pioneer in the truest sense. Competing in Canada and the United States before relocating to Dallas, Texas in 1957, she entered rings that were often hostile to the very idea of female prizefighters. Photo credit WBC By the time she arrived in Texas, Buttrick had fought more than 1,000 bouts against men and logged 18 professional fights against women — staggering numbers even by today’s standards. Her career wasn’t built on novelty; it was built on activity, toughness, and an unapologetic refusal to step aside. She fought because she could. She fought because she would. And in doing so, she carved out space in a sport that did not yet want her there. The License to Fight If Buttrick fought without permission, Marian Trimiar fought to institutionalize it. Bronx-born and fiercely determined, Trimiar — known as “Lady Tyger” — compiled a professional record of 14-4, including five knockouts. But her greatest victory may have come outside the ring. Photo Credit WBAN Women's Boxing Sue Fox She became the first woman granted a professional boxing license by the New York State Athletic Commission. That achievement cannot be overstated. For years, women fought in exhibitions because sanctioned bouts were illegal. Trimiar began boxing right out of high school at age 18, stepping into exhibition matches at a time when official recognition simply did not exist. She didn’t just win fights. She helped change policy. In an era when promoters dismissed women’s boxing as unmarketable, Trimiar organized, advocated, and demanded equitable treatment. She represents a critical bridge between the outlaw spirit of earlier pioneers and the sanctioned legitimacy that would follow. Fighting Before It Was Fashionable In the late 1970s — long before films like Million Dollar Baby made female fighters culturally acceptable — Lilly Rodriguez was already stepping into combat arenas. Combat sports ran in her blood. She was the daughter of a female wrestler and a boxer. She was the sister of Arnold and Benny Urquidez, the legendary “The Jet.” She later married a kickboxer. Fighting wasn’t a phase — it was family tradition. Photo Credit Rodriguez/Urquidez Family Rodriguez rose to prominence during a time when female participation in full-contact competition was far from normalized. She didn’t benefit from broad media campaigns or mainstream applause. Instead, she competed because martial arts culture — real martial arts culture — has always respected skill above all. These women were not waiting for cultural approval. They were building competence. The Pioneer Era of Modern Kickboxing By the 1980s, athletes like Graciela Casillas elevated the visibility of women’s full-contact fighting. A six-time world champion, Casillas didn’t just participate — she dominated. But like those before her, she often found herself on cards where women’s bouts were considered side attractions. Her performances eliminated that perception. Technically sharp and strategically disciplined, Casillas proved that women’s fights could be as compelling, skilled, and intense as any men’s division. If Buttrick broke barriers and Trimiar secured licenses, Casillas solidified legitimacy. The 1990s: Skill Meets Spotlight The 1990s brought a new dimension: crossover appeal. Kathy Long, undefeated world champion, transitioned from ring excellence to action film visibility. She represented a shift in perception — female fighters were not just athletes; they were marketable personalities capable of carrying mainstream attention. Tournament competitors like Linda Denley, Christine Bannon and Arlene Limas further strengthened the competitive ecosystem. The depth of talent was undeniable. The skill level was rising. The infrastructure, however, still lagged behind. The Breakthrough Era When Ronda Rousey entered the Ultimate Fighting Championship, the long-standing narrative that women “couldn’t sell” collapsed. Rousey headlined events. She drove pay-per-view buys. She became a cultural figure. But her moment was not isolated — it was cumulative. It stood on decades of resistance and refinement. Even today the world is wild for women's combat as Netflix announced the match up with Gina Carano. The women of the 1950s fought unofficially. The women of the 1970s fought illegally. The women of the 1980s fought skeptically. The women of the 1990s fought visibly. By the 2010s, they were fighting as main events. The Saturday Night Era Today, the sport enters another phase. With the launch of a fully dedicated women’s boxing series on AWSN TV Network, airing Saturday nights, the model shifts from occasional showcase to consistent platform. This is what sustainability looks like. Not a novelty bout. Not a one-time headline. But a recurring stage built specifically for women’s boxing. The Next Generation: Shera Mae Patricio Among the rising athletes stepping into this spotlight is Shera Mae Patricio. Undefeated and forged in the tough environment of Waianae, Hawaii, Patricio embodies the modern archetype: technically sound, mentally hardened, and fully aware of the lineage behind her opportunity. Her championship pursuit unfolds in a world fundamentally different from the one Barbara Buttrick entered. Patricio does not have to fight for a license. She does not have to fight for legality. She does not have to fight for airtime. She fights for titles. Legacy in Motion Women’s combat sports were not handed legitimacy. They earned it — through bruised knuckles, denied applications, exhibition bouts, empty purses, and relentless advocacy. From Barbara Buttrick’s thousand-plus battles…To Marian Trimiar securing licensure in New York…To Lilly Rodriguez competing before culture caught up…To Graciela Casillas proving championship caliber…To Kathy Long bringing martial arts to mainstream screens… To Ronda Rousey headlining global events… Each era added another layer of permanence. Today, when the bell rings on Saturday night broadcasts dedicated entirely to women’s boxing, it does so with history in the corners. The women of the past fought for entry. The women of the present fight for dominance. And the next generation — visible, televised, and undefeated — fights for legacy. The evolution is no longer theoretical. It is happening under the lights. AWSN is available around the world. See website - WEBSITE

Denver Event Moving to June 2026 after Stamp vs. Zamboanga and Multiple Other World Championship Bouts Did Not Materialize ONE Championship (ONE), the world’s largest martial arts organization, today announced that Stamp Fairtex has suffered an injury setback while rehabbing her surgically repaired knee and will be forced to withdraw from her ONE Women’s Atomweight MMA World Championship unification bout versus Denice Zamboanga at ONE 173: Denver, originally scheduled to take place on August 1, 2025, at Ball Arena. As a result of this marquee bout dropping off and multiple other World Championship headliners not materializing, the Denver event will be moved to June 26, 2026, at Ball Arena. In addition, given her nearly two-year hiatus from competition due to injury, Stamp has agreed to relinquish her title so that Zamboanga, the interim champion, can become the undisputed ONE Women’s Atomweight MMA World Champion. Chatri Sityodtong, Chairman and CEO of ONE Championship, stated: “We are saddened to hear of the injury setback to Stamp and wish her nothing but the best in her road to recovery. After looking at multiple alternate headlining options that unfortunately did not come together, we have made the difficult decision to move our Denver event to June 26. When bringing the world’s largest martial arts organization to the U.S., we strive to deliver the very best product to our passionate American fan base and put on the most entertaining and memorable show possible. The U.S. remains a high-priority market for ONE and our global business, and we remain committed to maintaining a strong presence in the region with monthly ONE Fight Night events in U.S. primetime and future on-ground events.” Fans who have purchased tickets for ONE 173: Denver on August 1 will be contacted by Ticketmaster with the option to process a full refund or hold onto their tickets for the June 26 date. Fans who encounter any issues can also contact ticketing@onefc.com for customer support.

In the past, I’ve written about the power of marginal improvements in martial arts skill development. In a nutshell, there are two ways to go about constructing the physical training regimen you need to get better: by focusing on general physical preparedness (GPP) or specific physical preparedness (SPP). The GPP approach seeks to enhance your ability to adapt to a variety of physical stressors. The result can be an improved response to load bearing, increased adaptability to long-term exertion and quicker recovery during post-anaerobic bursts. This approach doesn’t assume specific end tasks (training for a specific sport), and this lack of a single focus is reflected in the makeup of a typical program, which might consist of exercises from many sports. GPP choices can include Olympic lifts, bodyweight exercises, basic gymnastics, sprints, rowing, rope climbing, sledgehammer work and tire flipping. Obviously, it’s a broad-based approach designed to boost overall fitness, and it can assist you in a variety of physical endeavors. In short, GPP gives little thought to the end result; it’s more concerned with "ifs" or "just in case" scenarios than certainties. THE SPP APPROACH The SPP approach begins with the end in mind. It assumes certainty because you know exactly what sport is being trained for and thus makes exercise selections based on contingencies encountered in the specific outcome. With the outcome known, you can construct a program that reflects what definitely will be and perhaps give a little thought to "maybes." A sample SPP program for boxing would include roadwork, heavy-bag training, focus-pad work, weight training, skipping rope and the like. You’ve probably noticed that there’s more similarity between GPP and SPP than one would think. Although once you enter the boxing ring there’s no lifting competition, you still train with weights. Although there’s no push-up contest, you still do push-ups. Although there’s no foot race, you still run. SPP may train with a known outcome in mind, but the broad-based (general) approach is still used. Beyond the borrowing of a few conditioning methods from other sports, there might be even more of a reason to combine GPP and SPP: it involves a crack in the logic behind SPP conditioning. The crack is certainty. Yes, sports have set rules and, to some degree, predictable outcomes, but assumptions beyond the limits imposed by the rules may be misplaced. As Mike Tyson famously said, "Everyone has a plan until they get punched in the face." Don’t misunderstand me. The uncertainty in a specific sport isn’t a worry that you’ll suddenly be confronted with a downhill slalom in a tennis match. The certainty of the rules isn’t in question. What is in question are some assumptions about the boundaries of conditioning performance required for a particular sport. LET'S TAKE ONE ASPECT Let’s take one aspect of a boxing match—a punch—and hypothesize about what fuels it. Which approach contributes most to a successful blow? Good punching technique? SPP, undoubtedly. Good footwork to get you there? Again, SPP. Good timing on the punch? Another one for SPP. Good power? It could be the heavy-bag work (SPP), the push-ups (GPP) or the bench presses (GPP). Because power comes from the ground up, it also could be the roadwork (GPP), the rope work (GPP), the squats (GPP), the plyometric box work (GPP) or perhaps the core work you did (GPP). The punch was fired precisely under duress? SPP sparring work definitely helped, along with perhaps a bit of the resolve forged by tough GPP metabolic sessions. If the punch was fired late in the rounds after fatigue set in? This shows good adaptation to continuing workload—SPP for sure, but you also have to tip your hat to GPP. Was the punch executed when you were off-balance? If so, you might have to thank your GPP instability work that "woke up" and conditioned muscles seldom used in predictable balance or terrain conditions. PREPARE FOR THE UNEXPECTED You can be certain about the sport, its rules and its technical approaches, but there’s less certainty about how a system as complex as the human body will adapt to the work. Plans do have a tendency to experience entropy on the fly, and when that happens, you have only two ways to cope: Hope your journey to 10,000 hours of mastery (SPP) has progressed enough to deal with the new variables, or Hope that your varied conditioning (GPP) can buy you a little time to cope with the uncertainty until order can be restored. The first is easier to control than the second. You can’t become a time traveler and magically be 3,000 hours farther into your 10,000-hour journey. However, you do have control over strategy No. 2. While you’re building your 10,000-hour bank of experience, you can invest in GPP conditioning insurance and gamble that it’ll see you through some of the rough spots where your hours haven’t taken you yet. In the final analysis, you should embrace both SPP and GPP. Commit to the mastery of your art while preparing for unpredictable but reasonable variables. SPP is your plan, and GPP is your backup for when you get punched in the face.