Understanding the Narrative: Kamar Usman Vs Colby Covington

Few fights come around that really embody the socio-political atmosphere of the time. Joe Louis vs Max Schmeling and Larry Holmes vs James Cooney come to mind. The fights carried the geopolitical and racial tensions of the nation respectively. Another example is when Jack Johnson won his Heavyweight title in Australia. That night he fought for more than just his pride. In the eyes of African-Americans at the time he was fighting for their validation. The upcoming title fight between Kamal Usman and Colby Covington seems to fall in the same category as those classic heavyweight scraps. The difference being that the boxers who fought in those matches did not put themselves in the positions they found themselves in. The "Black vs White" or "America vs Nazi Germany" narrative were thrusted upon them. In the case of Usman vs Covington however, the two fighters are more than happy to proclaim themselves as champions of their sects. Knights going into battle for the honor and pride of their respective houses. Usman, representing the immigrant struggle and Covington the MAGA American resentful resentful of losing his country.

This is not a commentary on the validity of Convington's character, nor is it a criticism of conservatism in America. Instead, I hope to bring a historical context to a fight that represents much more than just two men looking for fight immortality. The UFC will sell the fight, Dana will promote it, and the fans will tune in. But the fight will also be a reflection of today's socio-political environment; much like the boxing matches mentioned above. At no point will the UFC forthright state, "this represents a fight between immigrant Americans and white nativists!", but it will be an underlying narrative that has come around before. By no means does that mean that Covington himself is a white nativist, but it does mean that white nativists will be cheering for Covington. And fuck it, they should. 

Race and ethnicity have always been part of the appeal of combat sports. It is of no surprise that my favorite boxers were Mexicans, and white folk have every right to support their guy. Just like black America put so much of its identity and pride in the bravado of Jack Johnson, the bravery of Muhammad Ali, and the perfection of Floyd Mayweather- so should angry white dudes back Colby.

The beauty of MMA lies in the multifaceted perspectives in which fans can appreciate a fighter. I often find myself cheering against Mexican or American fighters when they face Jiu Jitsu practitioners. I can cheer for Usman as an immigrant, I can cheer for Ronda as an outsider, I can cheer for BJ Penn as a Jiu Jitsu fighter, and Matt Hughes as a wrestler. Personality goes a long way as well. I love Clay Guida for being a Lebowski fan, I love the Diaz brothers for being stoners, and I love Jon Fitch for his blue-collar work ethic. Though this also applied to the days of boxing, MMA gives fans a lot more reasons to support fighters.

However, in this specific fight the dominant narrative will be that of MAGA vs liberalism, and I think that's okay. No matter what side one chooses, it is undeniable that the narrative is intriguing. At a time when the nation is so divided among cultural and political lines, it will be refreshing to see those angst play out within the confines of the Octagon. Better there than on the streets of Charlottesville.

The Digital Renaissance: How ADCC 2019 Marks the Start of Media Independence

On September 29th, 2019, the Abu Dhabi Combat Club put on the most watched, hyped, and successful event in the organization’s history. This was thanks to the countless hours of dedication put in by the staff, athletes, and even the fans. Afterall, it was grappling fans that created the demand for such a well-run and visually appealing product. Grappling finally saw the most prestigious prize in submission grappling have its due respect. The public asked for unparalleled access to the athletes competing-and Flograppling delivered. The public demanded a spectacle worthy of the crown it represented- Seth Daniels and the F2W crew delivered. The public expected drama, action, and dope shit from the best grapplers in the world-and the competitors delivered. The event showcased the best grappling had to offer to an audience long ignored by mainstream media outlets. An event like ADCC would be laughed out of the offices of NBC or CBS. Under the old media guard, there was zero chance of watching live grappling without being there. But that was then, and this is now. Today, we are living in the age of a digital renaissance; it started on September 29th, 2019.

ADCC 2019 is a bigger moment than what was witnessed that night in Anaheim. The event itself was the perfect combination of fantastic production and well executed buildup. The tiny little jiu jitsu community that spreads across continents and languages was brought together for one weekend. Though dedicated and growing, the global bjj community was not worth the effort of major sports coverage, nor is the community large enough for major media outlets to air it. Simply put, Fox, NBC, and ESPN weren’t buying what ADCC was selling.

In the 20th century, the inability to get on a major channel meant limited growth and exposure, but the 21st century says fuck that noise. ADCC’s success represents the freedom the internet can afford creative people. It is a moment in time so perfectly placed that it seems imagined. By every account, the event was a staggering success. Promoters, staff, athletes, and fans all shared a common elation with how well the event went. A hungry audience got what it wanted without going through a cable provider or even a network approval board. This is the beauty of the modern renaissance- the old way of doing things is gone. Dead are the days of needing approval from a bunch of network executives to put out content. Creative artists are free to take control of their own content. They can choose to partner with like minded thinkers to produce quality content for an audience desperate to be served.

In the 1950’s the music industry abided by the payola standard of distribution. Record labels would bribe DJs and stations to play their songs more often and give positive reviews. The radio stations held such a tight grip on what went out on their airways that the artists had no choice but to comply. Fortunately, the internet has shifted the power balance. Now the artist has many available avenues to present his or her content to an ever-growing audience. Technology has uprooted a path to exposure that was deeply established in mainstream society. 

In the coming years technology will continue to disrupt long established institutions and redefine the way in which consumers get their content. To try and predict how that will go exactly is asinine, but the trick is not to know what’s coming- it’s how to move with change as it arises. This is where jiu jitsu is the key to the future. It teaches us to adapt to change, to move with it, and to capitalize on it. 

The digital renaissance is only getting started, ADCC gave us a glimpse of where future online media can go. Those with a vision can now let their passions manifest without restriction or influence from the major media establishment. That is not to say that ADCC 2019 is perfect and went on without issues, but the gorgeous reality of living through a renaissance is that nothing is dogmatic- anything can change on a whim. The crew at ADCC and Flo do not need to be perfect today, because they have shown that they will only continue to get better. They do not live in the world of network television where conventional wisdom says “don’t rock the boat”. Instead those at Flo and ADCC live in the real world- a world where change is the only constant, where adaptation is inevitable, and traditional authority has less and less power. 

The artists of the 21st century will find meaning in knowing their creation can be as true to their visions as they choose. There is unprecedented access to consumers today, and creative people need only reach out and present their projects. As automation slowly replaces workers, those without jobs may find refuge in knowing they can build a following and create content for those willing to consume it. And as ADCC 2019 showcased, with enough hard work and dedication, artists of the future can create monumental moments for eager audiences around the world.