- Growing up, my education in martial arts came from Saturday afternoon movies on channel 5. Lessons started promptly at 3pm. My teachers where Shaolin monks, Bronze Men and Venoms. And of course, one teacher stood above the rest.
My brother, a 70s baby, told me about how great Bruce Lee was. For what seemed like hours, going on about the "one inch punch." Hearing these things; and growing up watching those movies, I thought what I was seeing on film was real. He was the greatest fighter of all time. What he did on film was an extension of what he did in reality. That's what my older brother said. I saw it on TV. So it had to be true.
When I got older, I had the opportunity to start reviewing and writing about some of my favorite martial arts movies. It was a great privilege to talk to the actors and martial artists who had been in and contributed to martial arts cinema.
After spending some time in the world of martial arts journalism, my perspectives regarding the history of martial arts in America would evolve. I'd learn about the period known as the "Golden Age of Martial Arts in America," the mid 1960s to 70s.
My research exposed me to tournaments, bare knuckle competitions and mixed martial arts as early as the 1950s. I'd also learn about the undiscussed topic of racism in the martial arts -- which may linger today. I'd encounter plenty of characters and individuals whose lives warranted their own movies; tragedy stories, fake ass ninjas and the martial arts profiteers, more specifically people who are getting that "Bruce Lee money."
In the 1970s, Marvel comics decided to capitalize on the Chopsocky craze in the United States. Through the imprint Curtis Publications, they created a martial arts comic entitled THE DEADLY HANDS OF KUNG FU.
The comic reflected or epitomized the zeitgeist of martial arts in America. Plenty of myth, great movies, characters, and people who actually practiced the arts -- the players.
One visible figure, referenced in each of the thirty three issues, was Bruce Lee. Although he had passed a year earlier, each comic featured him or a story about him. Marvel had even created a character named Shang Chi, who basically looked like the iconic Lee. Marvel was getting that "Bruce Lee money."
While in the midst of my research, I managed to get my hands on the original collection. The original series has an abundance of retro stories, great interviews, and writing which had obvious influenced our favorite martial arts movie writers. I'd even seek out and interview Stan Lee. During our conversation, he'd paint a superhuman image of Lee.
- Most interestingly, the last comic, issue #33 featured an interview with martial artists Bob Wall. You should remember the goldilocks giant, the white guy Oharra from ENTER THE DRAGON or the lumbering goon who gets taken out by Bruce in WAY OF THE DRAGON. While reading the article I'd learn that Wall was actually an accomplished martial artist who happened to be a bad actor. He successfully placed and won championships during the 1960s and 70s.
In his interview, Wall would allude to certain things about Bruce Lee and cause me to start doubting my knowledge regarding martial arts in the United States. For me, up until that point, I thought martial arts started and stopped with Bruce Lee. He was the alpha and the omega.
Wall's interview, did not sit well with me at the time. It was egotistical, and he came across like a Bruce Lee basher. However, he had made valid points about the history of martial arts competition. The fact that he and several others had been participating regularly in competition and Bruce Lee had not. Wall's success as a martial artist, not as an actor, allowed him to enter the film world.
The comics provided more compelling stories and eventually I was drawn to the story regarding controversial martial artist John Keehan aka Counte Dante. I had interviewed filmmaker Floyd Webb, who is putting together a documentary on Dante. Webb would provide insight on the rich history of martial arts in Chicago, and in America.
- Dante is a true, fist of legend, an accomplished martial artist who'd create his own myth, labeling himself "The Most Dangerous Man Alive."
The eccentric and exciting Dante, had apparently opened up doors for African American and Hispanic martial artist during the 1960s. In Chicago, he was also the the first to openly teach them. Even teaching Muslims and gang members. As a result, he was ostracized by the martial arts community. According to Keehan, teaching minorities led to his expulsion from the U.S. Karate association in 1964.
After a series of conversations with martial artist of different ethnicities, I'd learn that racism was prevalent in the martial arts during the 60s and 70s. It was manifested in competition, failure to give acknowledgement to practitioners and perhaps intentionally utilizing the media, whether print or film, to distort the history of the arts in America.
This series of awakening builds, eventually led me to Victor Moore aka "The Man Who Beat Them All." The man who had been the nation's first Black national karate champion in 1965. The man who had amassed an impressive number of victories, beating Chuck Norris, Superfoot Wallace, Joe Lewis and Mike Stone. The man who had been a mystery to me.
Moore's entire career has been eclipsed by footage from the 1967 Ed Parker Long Beach invitational tournament. You should be familiar with the film footage, showing Bruce Lee throwing punches at an opponent who wasn't able to defend.
Vic Moore, the man who beat them all, was on the receiving end and according to him, not only had Lee cheated during the exchange, he was able to score against Lee during the second half of the speed drill. The latter half of the video has never been shown, and through another source, I'd find out that Moore's claim could be credible.
"Lee was to come in on me and score punches to the chest. He came in and I blocked it, he came in again and I blocked it, then he flashed at my face and I laughed" said Moore.
- "Then I said 'okay, you stop mine!' I came in and tagged him in the chest, came back again and tagged him in the chest. He blocked the third one and was a little embarrassed, I imagine" described Moore.
Before I had met Moore, I had seen the footage a number of times. I never gave any thought as to whether or not any footage remained for that particular speed drill. It never crossed my mind whether or not the footage had been edited.
I'd soon get some assistance with putting the film in perspective. Ed Parker Jr., the son of legendary American martial artist Ed Parker Sr., helped clarify why the footage had not been shown in its entirety. He spoke on what his father's estate had been doing with the footage and what it had been used for since its inception, saying "My father's estate has a couple of reels of film from that event, but I am not in charge of that part of the estate. I know certain things have been licensed out to certain movie groups -- they wanted to see the original footage. We had some footage from 1964, from three different camera angles, and the footage that was from that, was reedited and given to a guy named Bruce Tegner, who was the producer of the Green Hornet series… what he did was help launch the career of Bruce Lee in the American market at that time."
Film from those tournaments were possibly shot and edited with the purpose of marketing Bruce Lee's talents, instead showing the event in its entirety.
Back to the Bob Wall interview. He explained the intent of Bruce Lee's films saying "Bruce did not want his films released in the rest of the world. He thought they were made for Asian audiences and also that they were of relatively poor quality." However, when Warner Brothers saw the phenomenon he created in China, they wanted to do a film with him. It was time to Enter the Dragon.
Some of Wall's interview could be attributed to jealousy, but he made some valid points. "Bruce felt threatened because he knew there were at least a couple of dozen of us who were at least as fast or faster than him, and could hit as hard or harder."
I shrugged that off. He was just being a hater. However, he raised a very interesting point regarding Bruce Lee, saying "He's never been a world champion. He's never competed."
Through my research, I'd learn, that there was regular, organized martial arts play in the midwest, east and west coasts. This has been described as the golden era of martial arts in America. If this was the case, why didn't Bruce Lee participate? If he didn't believe in tournaments, or organized fighting, then why show up at a tournament to demonstrate his skills?
Wall continued "What I am telling you are facts; what has been printed was mostly mythical, wonderful stuff. He never competed, though we all felt he was good enough to become a lightweight champion…But in order to become a world champion, you have to lose. Name me a champion and I'll tell you who he lost to. We've all lost."
Although the article was somewhat based on Wall's view, he made some good points. How could an entire generation of fighters become obsolete?
- I turn your attention to the book UNSETTLE MATTERS, written by Tom Bleecker. Bleecker is the man behind the book, THE BRUCE LEE STORY, which laid the foundation for the movie DRAGON. Bleecker was also married to Linda Lee for several years, and in the book UNSETTLED MATTERS he helped me to put Bruce Lee's martial arts skill in perspective and helped me realize why so many martial artist of the golden era had been forgotten.
Here is a portion of chapter fifteen entitled : THE ESTATE OF BRUCE LEE
Prior to the release of Enter the Dragon, Bruce Lee had for the most part removed himself from the martial arts community. His three schools had closed, and he wasn’t teaching any longer, either publicly or privately.
In the United States, aside from the small segment of the population who had viewed Lee’s three Golden Harvest / Concord releases, most people remembered Bruce as the Green Hornet’s sidekick Kato. Around the time of Bruce’s death, to the martial arts community at large, the real warriors of that era were Joe Lewis, Chuck Norris, Mike Stone, and a good many other dedicated martial artists who were toughing it out on the tournament circuit and teaching the masses. That was a Friday. The following Monday, after the weekend release of Enter the Dragon’s eleven minutes of Lee’s swashbuckling fight footage, Bruce Lee soon became the master of masters, the final word on everything from the horse stance to metaphysical matters for the next twenty-nine years. Just how did that happen?
The answer is simple. At the time Bruce Lee died, the world knew next to nothing about him. To illustrate,one only need glance at the skeletal bibliography contained in the first biographical work ever written on Lee called The Legend of Bruce Lee (A Dell Book, 1974) by Alex Ben Block. Essentially Block had nothing to draw from except general reference material such as John Chen’s 1001 Chinese Sayings, Y.T. Kwong’s Chinese Proverbs, Lao Tzu’s Way of Life, and Raymond Van Over’s Chinese Mystics.
The fact that there was little known of Bruce Lee’s life from the cradle to the grave sent the hungry media racing to the doorstep of the one person who could most expeditiously fill in all the blanks—Linda Lee. Unquestionably this lack of information on Bruce Lee presented Linda with an ideal photo opportunity to essentially create her own legend of her deceased husband. From the beginning, however, Linda Lee by no means acted alone.
Practically speaking, upon the death of Bruce Lee, attorney Adrian Marshall became lord and master of the Lee empire. As soon as it was legally possible, not only did Linda bestow upon Adrian the title of the estate’s attorney, but she also designated him as the worldwide exclusive merchandising agent for the name and likeness of her deceased husband. Marshall held this position until the summer of 1988 when he and Linda sold most of their merchandising rights to the new lord and master MCA Universal. For those who are unfamiliar with the abbreviation, the letters M-C-A stand for Merchandising Corporation of America.
- After Bruce's death, an empire of dreams was created. The Bruce Lee profiteers stepped in and started getting that "Bruce Lee money." You know these people. White, Black, Asian or Hispanic. They start the conversation, for their martial arts project like this -- "Bruce Lee was the best ever!" and that translates into a stream of revenue.
I'd had an interesting conversation with film maker Charlie Ahearn, he's known
internationally for his film WILD STYLE and more recently for his 1979, martial arts film THE DEADLY ART OF SURVIVAL. The film's protagonist, Nathan Ingram, lives in New York City's Smith Houses and like many other kids in the projects, he idolized Bruce Lee.
Why had inner city kids gravitated towards someone who had died earlier?
Ahearn elucidated and without provocation he'd provide details on how Lee had became so influential posthumously.
"Obvious reasons, the hero always kicks ass. The hero was fighting, the hero was filled with self power, the hero had a great deal of power. He would fight against forces of oppression... He was fighting for liberation, that’s how I see those movies, especially Bruce Lee movies. Bruce Lee was not known in this country until after he died. He was kind of mythic, or saint like character in the housing projects. People would endlessly gossip. He was long gone, most people only got to think about Bruce Lee after he died. People would endlessly gossip about things that they had heard. Bruce Lee could do such and such or he learned he could do the magic finger. All these things that were rumors. He was a real person who worked with Hollywood people. In a sense he was an American, who went back to China. It was kind of interesting. He was the ultimate, ghetto icon… there were piles of Kung Fu magazines sold everywhere. There were Kung Fu schools. I don’t think that this obsession with Kung Fu cinema, started until after Bruce Lee died" explained Ahearn.
As Ahearn had pointed out, martial arts magazines played a large part in the dissemination of knowledge regarding Lee. I'd soon learn that one magazine in particular was responsible for Lee propaganda and also participating in profiteering.
I'd like to bring you back to Tom Bleecker's book, where it says "For nearly three decades there have been numerous other posthumously published books offered for public consumption having to do with Bruce Lee’s fighting methods. It is in no way coincidental that the publisher of most of these books also publishes the leading martial arts magazine Black Belt.
Does anyone believe that it is mere coincidence that until just recently Bruce Lee has dominated practically every issue of Black Belt magazine since his death in July 1973? Years ago grand national champion Gracie Cassallas wrote a letter of protest to the editor saying “Enough already!” But the issue of Bruce Lee monopolizing nearly three decades of Black Belt, and thus helping to create the legend of Bruce Lee, isn’t the real tragedy. What is pitiful is that Black Belt magazine, traditionally for nearly fifty years being the voice (and often the watchdog) of the martial arts community at large, was arguably the vehicle through which years of investigative and factual reporting into the life and death of Bruce Lee should have been voiced.
Bleecker had identified a Chinese connection, of sorts, linking Black Belt magazine to the publisher of many of Lee's books, which was O'hara publications, owned by Mito Uyehara.
Uyehara, who was the editor and Black Belt Magazine had possibly exhibited racism, by omission. Instead of being a magazine of record, they promoted artists with whom they had contracts with instead.
Ronald Duncan was the first American to publicly demonstrate Ninjitsu in 1967, at a show entitled "The Orient vs America" in New York City. The man who should have been the American Ninja wasn't.
Black Belt Magazine, failed to recognize him or his accomplishments. Duncan attributes this to racism, exhibited by the then editor and owner of the magazine Mito Uyehara. According to Duncan, after he put on a demonstration in 1968, at the international convention of martial artists, at the Manhattan Center, Duncan was approached by Uyehara, who questioned Duncan's authenticity. Although Duncan was well received by the other practitioners and the audience, Uyehara approached him and condescendingly questioned his legitimacy as a practitioner saying "Who taught you Ninjitsu? You're not not Japanese?"
"Who authorized you to ask me?" replied Duncan. Although his retort was justified, it exacerbated the tension during their meeting.
Uyehara responded "You tell me who taught you this, and I will give you carte blanche for Ninjitsu. Who taught you these techniques?"
When Duncan refused to comply, Uyehara responded "You're Mickey Mouse! You're not Japanese, what gives you the right to do this anyway. Bruce Lee would not have nothing to do with you, you're Mickey Mouse!"
- Interestingly, Duncan would remember the year and the more specifically when the conversation had taken place, because it was during this time, that the film MARLOWE, which featured Bruce Lee, was being made. According to Duncan, years later, in 1976 Black Belt Magazine contacted him, asking him to relinquish his claims as a Ninjitsu practitioner? Why?
Duncan mentioned that in 1975, he received a letter from Stephen Hayes, asking that Duncan introduce him to someone in Japan. Duncan refused -- Hayes went to Japan and spent one month there and came back with a 1st degree black belt. The White guy went to Japan and came back Godfrey Ho style, as the White Ninja, accelerated degree and all.
Subsequently, Black Belt Magazine then identified Hayes as the father of American Ninjitsu, although Duncan had exhibited and been practicing Ninjitsu a decade earlier.
The verbal exchange between Duncan and Uyehara is open to dispute. There are many who verify that Professor Duncan has been practicing, exhibiting and teaching Ninjitsu since the late 1960s. He made appearances in Official Karate Magazine and as a Ninjitsu practitioner as early as 1971.
Despite this, Black Belt Magazine has only recently, in 2011, acknowledged Professor Duncan's contributions.
Instead of reporting and covering the martial arts community without partiality, the magazine may have been used a a promotional tool.
From it inception, Black Belt Magazine was operated and run by the parent company Rainbow Communications which also owned Karate Illustrated and Fighting Stars magazines. During the course of a particular year, a martial artist would be featured several times on the cover of one of the three magazines. At the end of the year, a practitioner would then have a book published with Ohara publications. All of which was owned and operated by Mito Uyehara.
I spoke to a writer who had contributed to Black Belt Magazine, named Gordon Ricusa. Regarding covering a story on Ninjitsu, Ricusa was told "We have a contract with Stephen Hayes that says, we can't publish anything about any Ninja's except him."
Do the knowledge for yourself and you'll see that Stephen Hayes's first books are published by O'hara and Rainbow Publications and as Tom Bleecker's book had pointed out, Bruce Lee's book's were also published by O'hara Publications.
- It appeared, then that Black Belt had an agenda with its reportage and although Uyehara has passed on, the system that he created, may still be in existence today.
This is of importance because Black Belt Magazine has been the longest running magazine in the martial arts community. Most practitioners covet acknowledgement in the magazine or induction into their hall of fame.
Had racism in martial arts prevented some of the practitioners from getting the proper acknowledgement? Had their accomplishments intentionally been omitted and altered? Is there a larger conspiracy to diminish the acknowledgements of some of the best practitioners in the United States?
I decided to seek out two of the most prominent contributors from the martial arts community, who represented the Asian community.
Jhoon Rhee is widely recognized as "The Father of American Tae Kwon Do." You may recognize him as the guy who did pushups on the televised Wesley Snipes special THE MASTERS OF THE MARTIAL ARTS.
- I spoke with Rhee regarding the imbalance in the martial arts community and preference given to Asian practitioners, which has translated into a continuous revenue stream. Jhoon Rhee responded saying "That's not true. Today the most millionaires among the martial artist are Caucasians… What can be more valued than being recognized by money and reputation."
His reason as to why more African Americans did not have acknowledgement and perhaps did not reap the financial rewards of their peers was attributed to lack of business acumen. Rhee explained "1960s, 70s not to many Black people highly educated, because of the family circumstances and they don't have as many connections as well as money to be educated like the mainstream White people. Those who made reputation, just good fighting, and they don't know how to run business… then they will not be able to make it."
Regardless of race, all of the l martial artist I've spoken to during my research, have constantly mentioned one name.
Dr. Moses Powell's revolutionary Sanuces Jujitsu changed the science of martial arts. His system created a methodology or rolling and adjustment techniques which is utilized by all martial artists to this day. A system that produced popular martial artists and tournament fighters. Moses Powell taught the CIA and FBI and he was a captain for the Nation of Islams's paramilitary unit, The Fruit of Islam.
I spoke to Rhee about why Powell was not as prominent and had passed on without proper recognition from the martial arts community at large. Rhee had alluded to money and reputation, being signifiers of success for a martial artist. For whatever reason, Dr. Powell died with neither.
On Moses Powell he said "The social environment, in 1970s, 80s, still the discrimination was very -- reality. You have to be smart enough to promote effectively, so your name and face can be in public eyes, if you cannot do, you cannot be recognized." Rhee admitted that racism was a part of the climate during that time. Without any resources, or media outlets, I'm not sure how Powell was suppose to publicize himself.
Due to their exclusion in the media, African American martial artist would start their own schools, organizations, tournaments and television shows. However, this would often fall on deaf ears or fail to have as much impact as the movies that were ubiquitous during this period of time. This resulted in a lack of financial compensation, but more importantly, their contribution in the development of martial arts in America had been diminished.
- Henry Cho is widely recognized as a pioneer of martial arts in America. He is one of the most successful practitioners and teachers of Tae Kwon Do.
He spoke on martial arts in America, in a state of infancy and belonging to everyone. On the martial arts he said "Not American Art, not Asian art, that's world art. If the artists teaches martial arts in the United States will be American art, because you combine with your culture in America, it becomes Chinese art because its combined with Chinese culture, two different cultures, many different cultures in the world, when this all gets together, then this truly world art, at the moment we're in the process of learning each other's culture."
In terms of racism, Cho did not feel that it existed, saying "From first hand it looks like its racial, but I don't it has anything to do with race though. No way, the race will play in the martial arts!"
I asked Cho, why I'd never heard of some of the prominent martial artist of the golden era of martial arts and only Bruce Lee. He clarified and helped me put things into perspective.
"Bruce Lee is an actor, a movie star, he is recognized for movies. Not by martial artist. I have been asked about this many times. I told them that Bruce Lee is an actor who used his his martial arts techniques for his movies and TV series. The Green Hornet as Kato. Compared to Chuck Norris, he was an martial artist who became an actor later, but he was a martial artist, he was a champion, there is no comparison between the two. They never competed, one competed -- Bruce by himself with the movies. Chuck Norris competed in the All American, Madison Square Garden, and beat all those big name Koreans, he beat Orientals, the Americans, Hispanics in this country, in this area -- Chuck Norris is a fighter in martial arts and Bruce Lee was a good demonstrator for movies. But a lot more people watch the movies than the tournaments. That's why you and many others talking about Bruce Lee and martial artists, I as a professional martial artist master, I never took him as same as martial artist master. He was a good martial artist but who used it for his profession which is acting and he did it successfully and a lot of people like that" said Cho.
- Bruce Lee's father had been an actor and Lee himself had grown up in cinema. Making numerous appearances since his teens. His foundational art was acting.
- Cho continued "As martial artist we are not asked to do anything but train our body and spirit. I doubt Bruce Lee was involved in that as a movie actor. There is difference. You just don't say that he knows how to kick and jump and break a lot of bricks, so therefore he is a martial artist. Martial artist is more physically and mentally, spiritual. His spirit was as a movie star. Not as a martial artist."
Although ENTER THE DRAGON made Bruce Lee a star in America, People like myself, grew up thinking that Bruce Lee's defeat of Chuck Norris, in the film WAY OF THE DRAGON, was reality. Throughout the years, while listening to discussions about Bruce Lee, I'd constantly hear people in the hood talk about the legendary film clash as if it was a pay per view event.
"Get the fuck out of here ni**a, I already seen Bruce Lee f*ck up Chuck Norris in that movie son!"
Think about the ramifications of Chuck Norris's defeat on film, in WAY OF THE DRAGON. Norris had just won the championship in 1968. He had been recognized as one of the more popular fighters of the decade. His defeat, on film, became gospel and it basically made the fighters of the 60s and 70s obsolete.
A certain well know martial arts promoter who did not want to be named, said that Norris had turned his back on the Martial Arts sports community and his acting career had prospered thereafter. Did Norris sellout?
Why haven't people been able to separate acting from reality?
Before had got knowledge of self, Sijo Muhammad was Steven Sanders. Making a name for himself within the martial arts tournament circuit on the West Coast during the 60s. Speaking on media distortion, he said "That's how they hurt us so bad in the past. I won the internationals nine times; on record they have me as winning three times."
Why so little coverage of these great practitioners? Movies have definitely been a huge factor. Could it be possible that some of the Bruce Lee profiteers have utilized film to censor the accomplishments of others, and doing so, create a financial paradigm?
I'd like to think not. However, while performing my research, one story has been the tragedy of the martial arts world. Louis Delgado was one of the finest martial artists produced from the east coast. He's also know as the guy who almost killed Chuck Norris during organized play. His outstanding style and tournament play allowed him to be one of the few martial artist from the east coast to be featured on the cover of Black Belt magazine.
- His untimely death is attributed to drug addiction. However, this is not the true tragedy. Several martial artist have intimated that Delgado was intentionally stumbled and some may have conspired against him. His true martial art ability was a threat to many other practitioners. Those in film and tournament competition.
While compiling this information, I wondered why is it that I'd never heard of all of these practitioners. I'd grown up in New York City, and had no knowledge of Duncan, Powell or Delgado. Initially, when I started working on the subject of racism in martial arts, I labeled the African American and Hispanic martial artist as "Forgotten Fury," however, I'd realize that this class included Asians and Caucasians as well.
I'd soon learn about the great Mas Oyama who participated in mixed martial arts in the 1950s, the undefeated "Judo" Gene Lebelle, Peter Urban, George Cofield, Frank Ruiz, Mike Stone, and Joseph Hayes.
My reality of martial arts in this country has changed. I no longer associate film with reality. There is no doubt about it, through film, Bruce Lee became the most influential martial artist. In film, he provided a model of excellence. One that so many have strived for. However, by not looking beyond him, and looking at those in this country who paved the way for him, we're contributing to the miseducation of martial arts.
Bruce Lee should be appreciated and remembered as someone who had the vision of bringing martial arts to the screen in his own unique style. However, his story has been told. He's been remixed and continues to be resold. Although mixed martial arts has been in existence in the United States before him, for whatever reason, he's been given credit as being the father of MMA.
A core component of martial arts, is myth. Movie goers want to believe that the guy they're watching in the movie, has the ability to do the things that they're seeing. In the wake of Bruce Lee's death, countless individuals attempted to fill his shoes, in the process supporting and sustaining martial arts schools across the country. All of these practitioners would fall short because they had neither Bruce's foundational acting skills or budget for a film that would allow them to become dragons.
I recently spoke to Bob Wall. He said that most of the content from the Deadly Hands of Kung Fu article was false. He denied making any of those statement's about Lee. During the course of the conversation, he would also mention that he still gives Bruce Lee seminars around the world. So, he's still getting that Bruce Lee money.
Things have gotten so distorted, that you have professional fighters like Manny Pacquiao stating that he has been influenced by Bruce Lee movies and that he patterns his boxing after him. I checked the official Bruce Lee website and found a link to Manny Pacquiao's website. Perhaps Manny is getting some of that Bruce Lee money too.
As MMA becomes more popular, in order for traditional martial arts to truly save itself here in the United States, stories of its true legends have to be told.
Here you'll find amazing stories, courage and talent. There you will find the Forgotten Fury.
There is so much I have not said here. Things I can't repeat. Conversations with martial artists who don't want to be named. Things that have the ability to reshape the history of martial arts in America. All soon revealed by a future master.
I have a hard time understanding why someone who was an actor, is considered by many to be the greatest martial artist or the greatest fighter of all time. I realize that this is a great deal to digest, but I will leave you will a quote:
"Have the courage to make use of your own intelligence" - Kant