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That might be it. If the farang name is Rafael and is from NY that would be him. He does go to Hongthong sometimes and knows the two brothers I was talking about. The other gym I was talking about was Lamnammoon Muay Thai, but it was not him who was there, though he did come once and elbows me in the face while holding pads (I mean by that just slightly touched to make me realize my guard was down, fucking scary but effective). I actually had the privilege to be elbowed by both him and Yodkhunpon which I am kind of happy about ahahah. The trainer taking care of the gym was Nuengtrakan Por Muangubon cause Lamnammoon was mostly in Singapour I think. Anyways, Joe from Hongthong had arranged for me to train there, he told me a bit about growing there and stuff. I think Hongthong is like a neighborhood in Ubon or something like this. I've been wanting to write a review of all the gyms I've trained at in my trips, but I have not yet. Keep doing your great work Kevin. You and Sylvie have had such an impact. I hope one day soon, Thailand offers you honorary citizenship. You guys deserve this.

The championship fight was such a perfect illustration of "basics make champions." Not fancy, not showy, just incredibly solid foundations.

This was their fight back in August, where Marie pulled out the upset. I believe Marie was a last minute replacement in that fight. Useful to compare the fights.

This was just a really wonderful performance by Barbara, on so many levels, for the RWS Raja belt. You could feel her training in her fight, the way she stays within herself, at surface a very basic approach in terms of weapons/style, but underneath it all is a very important thing that not a lot of Westerns understand. You fight WITH Space. And she persistently denies Marie the space she wants, it ends up blowing up the fight, especially because she brought with her a beautiful very deep, head-sink clinch lock that Marie had no answer at all for (and that Raja let her work from, thank goodness). I have to watch the 2024 fight where Marie upset her in the clinch, but in this one Barbara was loaded for bear. This is the same recipe Sylvie used to beat so many, especially bigger opponents. You fight the Space, not the opponent. And you fight your fight with the belief "If I fight my fight, my way, the right way, you are going to have a very difficult time". I also loved Barbara's 20% - 40% power hands, just using them to touch and semi-pop Marie, to stress the space. No mindless, 100% power combos, actually seeing one's way in the space, and touching the opponent. This is just glorious controlled dern Muay Thai. Barbara's lock was so pure, so good - with a very deep head sink. She also had something that a lot of locking fighters fail to do. Once locked you walk your opponent. Not only do you pivot, or pull, you drag and also literally walk them so that their feet cannot set, so you tangle them, breaking the line of counter control. This is advanced, developed stuff and great to see. A lot of Thai stadium fighters of today don't even do this, its part of the eroding art of clinch. She also was very aware to drag Marie off the ropes so the ref break doesn't come and she could paint longer pictures of her lock dominance. Small touch with big awareness and effect. I don't really understand why Marie decided to fight this fight as a pure femeu fighter, back to the rope. I have to watch their first fight, but this plays exactly into Barbara's closing style. I imagine this is something trainers have been moving her toward? I'm not sure. A very cool, very worthy victory.

You could just pick a high-level gym in a European city, just live and train there for however long you want (a month?). Lots of gyms have morning and evening classes.

Muay Khao in Padwork - note a little bit advanced stuff Talking a little more about Muay Khao training (and padwork), beyond some basic things like the padman doing rounds of "latched on" work where you trailer hitch and continuously knee or work into knees, there is a shape to Muay Khao that involves building up the fatigue in your opponent, which involves continuous pressuring and tempoing early on, nothing rushed, importantly with the mentality of depositing fatigue. Even if you don't have a padman aware of this, you can do this on your own, of your own device. People do not think much of manipulating or effecting your padman, but taking cue from David Goggins trying to mentally break his SEAL Team trainers, you can use your padman's energy managements to become aware of their fatigue, tempoing up or displacing them when they start to manage. This builds up your own sense of perception, becoming acutely aware of its signs, and developing responses, things that will serve you well in fights. This doesn't mean going HARD, like 200%. It means managing your own fatigue while you work that edge and tax your padman. The purpose of this is to slow reaction times and decision quality in later rounds in fights. You don't win fights early in Muay Khao work, you prepare the material so you can work late. A great padman will see and help you train this shape of the rounds, even as they manage their own fatigue. It goes without saying this involves not just "following along" with called strikes, which I believe is detrimental on a deeper level, because what you are training in those cases is "being dictated to". Lots of fighters have this problem, they have spent countless hours of (unconsciously) learning to be steered, so when their opponent looks to dictate timing, space or rhythm they have years of being comfortable being dictated to. This though is a subtle line to walk, and it depends a great deal on the experience of the fighter and the quality of the padman. Ideally, you want padwork to gravitate towards a dialogue, a back and forth, which mirrors the dialogue of fighting, accepting dictated tempos and spacing, modifying them, shaping them in return. Good padmen (who aren't just burning you out with kicks or holding combos over and over, largely ex-experienced fighters) will recognize this dialogue dimension, and you'll bring out more of their "fighter energy" and creativity, which is Golden stuff. Lesser experienced padman, or padmen who are just grinding, may not respond well, but you want to get into that zone of your 5 rounds being shaped like a fight...and for a Muay Khao fighter that means depositing fatigue in your padman early, if you can. Even if you can't, the aim of recognizing stalls, energy management, gatherings, and working on them yourself (not being passive) is a perceptual skill set you want to develop. For Muay Khao fighters though, you want to get to that clinch, or those finishing frames in the later rounds. You have to feel those angles of dominance, the cherry of what you built in previous rounds. Great padman know this, and develop pathways later where your body can sense, can experience those finishing elements. Femeu fighters, other style fighters, have other shapes in their fights. This is specific to Muay Khao.

I've recently been contacted by the head of a small gym in Samut Prakan (below Bangkok). The gym is small, mostly kids, but he's inviting westerners (both female/male) to come train with him and fight out of his gym. If you are in Thailand and wanting an experience of a local, small gym that isn't geared toward commercial training, maybe give this a try. No English, so just use a translator on your phone. Contact on FB: https://www.facebook.com/profile.php?id=61571372517312&mibextid=ZbWKwL https://maps.app.goo.gl/ELoJohV8qcGSSydd6

Some thoughts on women fighter's bodies and inevitable changes between childhood and adolescence, as well as a changing landscape for Thai women fighters: this age range where female fighters hit their peak and are more or less forced to slow down due to that success (because it's harder to get fights, the side bet becomes enormous, etc) is right around when male fighters hit a rough spot as well. I can't count the number of times I've remarked on how promising some 11-14 year old boy looks and his trainer will wave his hand and say, "let's see if he can make it through motorbikes and girls," which is at around 15-18 years old, when the majority of male fighters also drop off and either become undisciplined or take on salaried jobs. Romantic relationships, increased importance of friend groups outside of the gym, and changes to the body all account for why both male and female fighters have a steep hill as they hit adolescence. Boys have a better incentive to keep fighting, as they might belong to bigger gyms or have better opportunities; girls might be pressured by family to focus on school, or the consequences of romantic (sexual) heterosexual relationships might take them out of fighting, which it doesn't do for boys in the same way. Dangkongfah and Nong Biew are an interesting pair, both listed in Kevin's write up. Nong Biew was kind of this rising star, getting a lot of notoriety and attention as this relentless Muay Khao teenager who could pull in wins with big side bets. Dangkongfah was that, but without any of the social hype; kind of the mavric version of the prize fighter. She could get backers to put money on her and she could win these big fights, but she wasn't taken seriously in the way that other "dao rung" teenage stars are (Nong Biew, Thanonchanok, Sanaejahn, Pornpan, Sawsing, Chommanee, Duannapa). What was so fantastic is that these two young women kept getting these huge side bets put up for them to face each other, they'd get booked on a show, they'd both weigh in and arrive to the venue and then somehow we'd always read about one of them or the other storming out without fighting because something about the side-bet had changed. We even witnessed this first-hand once. I'm not sure they ever fought. But Dangkongfah vs Allycia for the first ever 1 million baht side bet in history was the culmination of what Dangkongfah's trajectory had been. The change in female bodies is also much trickier than it is for male bodies. Male fighters might go up in weight at a rapid clip - look at 2012 for Sangmanee, who rocketed up in weight, taking belts in multiple weight classes within a single year. You'll see this in the Golden Age as well. So this rapid change in the body and increase in weight is not exclusive to either gender, but because women's bodies are coded against sport and strength in culture, when women's bodies become larger, softer, show hips or breasts, all of these get coded as being reasons or signs that she can no longer be a strong fighter. Couple that with the normal number of fighters who retire and drop off, and it seems like the point is proven (even though boys drop off, too, but girls are blamed for that one, too). Dangkongfah, as the example that Kevin is writing about above, was never a small girl. When we met her at 15 she was already quite heavy for her frame. That's just how her body wants to be. She's crazy strong and fit, never seems to gas out, and knows when to push to turn a fight into a blowout. She lost a lot of weight when she was at Fairtex for that short time, and was at her smallest-looking in the ONE fight aganst Meksen that Kevin posted, but she honestly looks the best she ever has in this recent fight. Her body works at the size it's at. Other fighters that are in Kevin's write up, they gained a lot of weight in a short amount of time and it semed to take a toll on their fighting. But this is coupled with training less, fighting less, and in the case of a few of these women, taking time out to give birth to a baby. Which I think is amazing, because that was definitely the end to a woman's career not that long ago. But Sawsing was really the first example I can think of who came back and fought high-profile after having her first son. There are other women who have had children and kept fighting, but usually on local circuits and, again, written off because of their "not the same" bodies after such intense changes as giving birth to a child. Nong Biew fought again after her first baby was born, and it didn't go well. Allycia came back and defended her title, successfully. Faa Chiangrai came back and became WBC World Champion. These things are incredible. Men who have families (and Thais have families very young, so a lot of high profile stadium fighters are fathers to young children) absolutely have difficulties in their own training and fighting due to the responsibilities, but their bodies don't go through the same inalterable changes as birthing parents do. And men aren't written off for becoming fathers, they're kind of given a little bit of sympathy and considered less competitive as a result. Women are totally dismissed once they have children. These women who come back to fighting are just amazing.

What a Fight. One of Most Personally Enjoyable Female Fights I've Seen in a Long Time I may not expect others to thrill at this fight as much as Sylvie and I did, but Dangkongfah vs Karolina Lisowska of Poland was just quite an experience for us to watch. A big part of that joy was being so familiar with Thai female fighters in Thailand (Sylvie has fought nearly 150 Thais, easily the most any Westerner has fought), so in explaining what made this fight so awesome for us I get to tell the story of Thai female fighters in general, over the past 10 years or so, so I can point out just how good Dangkongfah's performance was. As a sidenote, none of what I write is significant commentary on Karonlina, a fighter I do not know. Appreciating That Female Fighters, Understanding Their Development The best Thai female fighters, historically, but also still, develop their skills in the side bet circuits where local fight scenes in the provinces produce top fighters in a gambling milieu. The female fighters fight a lot, and the fights are very traditional in style (which is to say, narratively driven, balance, control and dominance being major scoring factors, purity of technique rewarded, and with clinch a significant part of all cards). Local top fighters travel around to other local top fighters in festivals, and the bet sizes go up. This prize-fighting scene produces highly skilled, complex fighters...but they tend to hit their apex around 14-15. That's when they are fighting the most frequently, training hard, and are actively being sharpened by the gambling. Once they get around that age they stop fighting so much (often because it is harder to find opponents, but also in terms of just the changing social status of young women). They can still be very, very good fighters, but they usually flatten out. In the past great fighters like Chomanee, Lomannee, Sawsing, Loma, and Phetjee Jaa came out like this. These are the yodmuay of Thai female fighting. In their later teens they might fight on the Thai National Team (amateur), but really in terms of development by 16 the peak of sidebet skill driving is missing (this side bet process is what traditionally drives the skills of male Thai fighters, well into their late 20s or even 30s, in the National Stadia. The next gen after the one mentioned above, because the side bet scenes have been eroding, haven't really produced the classic female "yodmuay", the one who takes on all comers, and has reached the apex level in the traditional way. Potential side bet yodmuay came through like Nongbiew and Pornphan, pretty strong fighters at 15 or so, but nobody reaching those past levels (Sylvie fought both of these fighters when they were at their apex, giving up significant weight). What ended up happening in this gen is that with the rise of Entertainment Muay Thai mid-level Thai female fighters, and some top level, from the side bet circuit were brought into Entertainment oriented training. A lot of these fighters who had developed a timing and narrative prize fighting game were newly taught bite-down and combo fighting (which is pretty foreign to them). Entertainment Muay Thai wanted clashing, so female Thai fighters (who were timing fighters) learned instead how to just come in with memorized strikes. Some, got good at this, and did well in Entertainment Muay Thai, but most floundered a bit. They were fighting out of their element, away from their skill set. Always the Underdog The interesting thing about Dangkongfah is that she rode this wave of opportunity in Entertainment Muay Thai, she began using combos and clashing, becoming recognized on (televised) Super Champ, which was somewhat promoting her as a Thai story, but she really wasn't pretty with it at all. She in fact had been in the Fairtex stable around with Stamp was taken in and began being fashioned into an Entertainment star, but Dangkongfah was not taken seriously, perhaps viewed somewhat as a backwardish Isaan fighter, from the countryside. What people didn't appreciate, and what Entertainment Muay Thai didn't really care about, about Dangkongfah is that she's a highly developed prize-fighter, she is really, really, REALLY good at managing a fight, in the traditional sense. She doesn't usually LOOK like she's doing much, but she is really good. So Dangkongfah was something of the Cinderella step-sister to Stamp at Fairtex. She left Fairtex, had some recognition on Hard Core (an Entertainment, small-glove show), and then got some revenge on Entertainment Muay Thai. The excellent Allycia Rodrigues beat Stamp for the ONE World Muay Thai title in August of 2020, and then one month later Dangkongfah faced Allycia for the Thailand belt (trad Muay Thai). She beat the ONE World Champion for the belt, not looking pretty at all in her combo-ish strking, but managing the fight with the brilliance of a fighter who had been fighting for prizes since a kid. It must have been a tremendously satisfying win. Allycia would then defend her ONE belt vs Janet Todd 6 months later. Around this time Dangkongfah also took the 112 lb WBC World title vs Souris Manfredi, in a fight set up basically with the aim of giving Souris the opportunity for the much desired title shot - there had been many roadblocks. Again, in a way that was probably frustrating to her opponent, Dangkongfah controlled time and distance, walking away with the belt. She's just such an interesting fighter, but to see it, to feel it, you have to have her in the traditional ruleset. When she fought Meksen in ONE Entertainment Muay Thai, fish out of water trying to trade wonky combos in that style with an experienced fighter, with some visible size, who will just combo cleaning up the middle. It was a blowout. Dangkongfah had gone up to Buakaw's Banchamek gym, which had worked with talented trad female fighters trying to help them fight in the Entertainment, Kickboxing style. Sylvie's long time opponent Nanghong Liangprasert (now using the fighter name: Nong Faasai PK Saenchai) was up there. Again, this seems to largely be trad teaching timing, narrative Muay Thai fighters how to throw Entertainment combos, so they can get fight opportunities in the growing Entertainment versions of the sport. There is another element to this story, and the appreciation of this beautiful fight (on Patong Fight Night) which is that some young Thai side bet fighters end up on commercialized gyms like Banchamek or Fairtex and start weight training and drilling combinations, but many others move out of their teen situations and stop training hard at all. They will be adding combos so they can fight and clash in Entertainment Muay Thai vs Westerners, but they will gain weight pretty quickly. By the time they are 18 or so a 51 kg fighter can easily be a 60+ kg fighter, facing Westerners. They will have added a bite-down style for Entertainment, but many are outside of the rigorous training that made them quite good when they were 14-15. This is enough to say, when we see a Thai female fighter on television, who was once pretty skilled and sharp, often someone Sylvie has fought when they were apex, and they have gained a lot of weight, the first thought is: Are they training hard? Are they running? Will they gas? And, will they just be throwing combos (which really isn't their deeper skill set)? The expectation is that they no longer are peak. This is what made Dangkongfah's performance so stunning, and so enjoyable...so admirable. She has gained a substantial amount of weight. She's only 22, but the guess would be that she was quite far from her peak as a fighter. She was NOT far from her peak...in fact this is probably the best I've ever seen her fight. We've seen maybe 5 fights of hers, including when she was maybe 13 in Isaan, we know her arc really well. She was so good. I feel bad for her opponent Karonlina because there is no way she could know how good Dangkongfah is. And looking at her she might have thought she'd have it easy. This was a late replacement fight. It was NOT easy. This is what I LOVED about Dangkongfah's performance. First, she was able to fight in the traditional style, which is HER art. So much praise for Num Noi (the promoter) for creating a REAL traditional show, right in the heart of Phuket tourism. You need a properly reffed, full-rules setting to see what Dangkongfah is, since a kid. But, what is even more cool is that wherever Dangkongfah is training they gave her a wicked jab. In fact she worked almost the entire fight through one of my favorite inner games for a fighter, Jap-Teep in combination. But these are not memorized combinations, this is using them in a creative game of timing, changing levels, intensity, feints. Entire fights can be fought through just these two strikes, and Dangkongfah is doing it at a very high level. She actually isn't teeping much, but her teep-fake is so hard (with the knee bounce) it makes the opponent bite. The form of that feignt is almost as good as a teep itself, changing levels. Just watching these two lead attacks, and the sharp quality of her jab was a thing of beauty. She had practically given up all together the wild combos she had taken up for Entertainment Muay Thai, she had returned to her timing art. This was very moving for me. By the 3rd round her jab and teep had subtly managed to change Karolina's fight distance, putting her "on the porch" as Sylvie and I like to say, exactly where Dangkongfah wanted her, so she could control, negate and counter. In the 4th Karolina figured it out, her distance was wrong, and she tried to walk through the porch, but it was too late. Dangkonfah is very experienced with this. She just muddied up the 4th with clashes and more jabs and teeps, (a big teep to the ground to establish stylistic dominance) denying any change in the fight. She is expert at spoiling the clinch, and it served her very well, draining away any chance for a change. It had already been decided in the 3rd, in terms of style and narrative, and she just used the 4th to lock it away. Then in the 5th it was a walk home with the lead in the trad style. This is how I like to watch fights. I don't really watch strikes. I see them like anything else, but I like to watch distance control and timing, the way the fighter manages these things. Also, even though she had put on significant weight, she looked FANTASTIC. She wasn't winded at all (maybe a little in the 4th round some of the edge came off?), she was incredibly light on her feet (lighter than in many of her past fights), she moved like an optical illusion, subtly shifting, driving, changing angles. As a basketball fan I have a certain weakness for very light-footed, super skilled big boys like Charles Barkley or Big Baby Davis (above). When athletes are big bodied, but display finesses, touch, speed and agility, its just plain stunning. And looking at her, it even seem possible that even though she's much bigger than even a year ago, she may be power lifting? She just looked fantastic, like even though this isn't a normie body, this is HER body, and she looked totally at home in it, even maybe apex in it. All these things together just made the fight unbelievably joyous to watch (nothing against Karolina who fought admirably). Dankongfah as the continual underdog, from Fairtex dropout to wild Entertainment combo-ist, here getting to do HER art, and with these beautiful new tools, tools of real Muay Thai, in a promotion that favors the trad art. And that she's found a place in her body where she just is being her, being free in the ring, in a non-trad body, using all her skills and instinct. Seeing this wonderful fighter having a place, a trajectory. It meant a lot.

I wonder if that is Nungubon's gym. Nungubon does have transfer over to Hongtong (the Hongtong boys are from Ubon), in fact I believe that farang who handles Nungubon's IG trains at Hongtong at times, if I'm not mistaken. More broadly though, thanks for such an informative, and personally grounded post to help others out Joseph, good stuff!

Hey Alex, the other big dude here. I've been 3 times in Thailand and to a dozen gyms, so I think I might be able to help a bit. Silk Muay Thai, in Pattaya, is a great suggestion by Kevin. A friend of mine trained there for a while and fought a bunch of time at Max Muay Thai. The level is pretty high and quite a few westerners there. But I never been there. I would say, you need a gym with primarily Westerners or where a few westerners regularly train. I found that training with Thais was a "problem" only when sparring, but not training and clinching. By problem I mean that I find that size difference matter more in sparring. Thai are so strong and technical in the clinch, they can "overcome" size more easily than when sparring. The reach is a killer. For training, with pad holders, most gym will have a pad holder that is bigger for the big guys to whom you'll be assigned. For clinching, they always paired me with the strongest Thai and even if they were never taller than maybe 5'9", 5'10" and usually at least 60lbs lighter, they always, always dominated me. Some made me cry by dominating and raggdolling me around, which they enjoy quite a bit, the tossing around not making me crying lol.. (luckily, I sweat like no one, so who sees tears in sweat). Personally, Hong Thong Muay Thai in Chiang Mai, is my favorite gym, the owner Joe and the team there are just the best. They have very good connections if you want to fight and Chiang Mai is the best city in Thailand for my taste. There are a bunch of westerners there. Big turnaround, but you'll usually find some pretty big guys. The only thing is you'd be arriving in Jan. and the Smoky season starts like end of Feb. I did not have any problem with it, but I was lucky, there was basically none of it that year. Some say it's really bad, others don't. Sitjaopho in Hua Hin is another one with a lot of westerners and a Sweden or Norvegian connection (because one of the twins live there) so there are usually big(ish) guys. I personally did not like this gym, I had a very weird experience and would never go back, but so many people love it. If you want a very traditional setting, there are two brits brothers in Ubon who are like 6'7" and 6'6", significantly taller than me as I am 6'3". They are skinny, around 85kg if I remember well, but at that height, it's was a very good fit for me as I am not a lean 120kg, so not that strong. They were training alone in a gym that closed, they moved to a very traditional gym. I don't know the name but I could find out. They also often go to Hong Thong to train and fight in Chiang Mai. If you want I could put you in contact. Another option is Emerald in Krabi (and Phuket, they now have two gyms). The owner is a former European champion. He's very involved in the training and is there everyday. He's not a small guy and "destroyed' me in the clinch and sparring. But it's a French heavy gym. Which personally I like cause it's my first language and I am half french, but the personal connection might not be as good if you're not. French are... well French. Finally, I you're in Bangkok a few days, I would suggest going to pk saenchai gym. It's one of these gyms who "buys" fighters like Tawanchai and it's quite a treat to train besides a bunch of champions. There are a few westerners, but just to see how hard they train and the level. It's worth it. You have to impose yourself a bit if you want to spare and clinch and all, but once they see you train hard, it's all respect. I would say that's a golden rule for "overweight" people like me, leave it all there. Try not to look tired and try to be among the people who train the hardest. Thai are quite into fat shaming; they have no problem grabbing your belly and shaking it saying "why you so fat". A bit hard on the ego, but.... it is what it is. I found the first few days, they kind of automatically think I am a tourist who knows fuck all about Muay Thai and that I am absolutely out of shape (I think maybe that was the issue at Sitjaphaopho). But once they see your technique is decent and that you train hard and you have heart, then it's all good and I would say, they actually enjoy very much sparring and clinching with giants. They LOVE clinching with big dude and throwing them on the ground. They really enjoy it. So that's my 23 cents. Hope it helps. Please don't hesitate to reach out. I've been to other gyms, but these are the one I stayed for longer.

The Enjoyment of Festival Fights https://www.facebook.com/watch/live/?ref=watch_permalink&v=942850751079497 So enjoying this Udon festival fight stream, found via Egokind (https://x.com/Egokind1) This is the real of Muay Thai. Hell, the last fight with kids was pulling 6K viewers in the stream, while RWS was pulling 2K. There was a Japanese fighter earlier (guessing from appearances), maybe big-for-his-age 12, or maybe 14, who gave it his all as the Thai illegal tripped him endlessly, such a very real experience for him. Just hearing the crowd of gamblers and community shout on every strike, even the local commercials, this is just beautiful stuff. Hard to explain how satisfying it is when it its not just a "show" for tourists. I say this, as two...maybe "influencers"?? (who don't have much Muay Thai, or once had Muay Thai, but now seem to have have quite a bit of animosity), go hard at each other in the ring, right now. There is a difference between a "show" that is a commercial product, and what I would call Thai spectacle. Spectacle is understood as unreal (thus, "does not count", un-significant). Thailand's Muay Thai, in its cultural fabric, can weave the spectacle and the real, together...which is why Entertainment Muay Thai, as a tv phenomena in Thailand, was so hard to read. It was completely unreal...spectacle (Thai Fight & MAX in those days)...but then it started making claims of the real, even the "most real". In festival fights like these you can get an entire spectrum of Muay Thai, in all its shades and colors, from spectacle to the very real. Kids on the come up, Old Men, rising stars, big side-bet fights. It's like a fair of Muay Thai. The most wonderful is that you get the full ruleset in the provinces, including repeated and continuous clinch fighting, and very strong aesthetic sense of narrative in scoring. Everyone understands stories are being told, and they are being told at all distances, in a full range of skills, even among the less skilled. It is the spoken story of bodies.

I get caught with the jab pretty often, usually when someone is anticipating to my own. If I see the jab coming, it’s either parry 1-2 or throw a lead hook over the jab if I’m taller, which is usually the case. The two counters I said really only work if I can parry or move my feet in time. If I ret really hit solid, I lose my momentum, shelling and back stepping to circle or jab back in. Is there a simple one shot counter that I can use while my opponents glove is still pressed on my face? Something that I don’t have to think much to land that will stop my opponents rhythm for a combo. If it helps with suggestions, I’m usually the taller man. I don’t often see technique videos on how to take advantage of height in a reactive way after getting hit. Usually it’s all “be first, be far, feint” type stuff which is all well and good I’m trying to figure out how best to respond after I eat the jab. I’m not good enough to block every jab and start every exchange on offense. Thanks

You asked simple, so the answer is simple, but can be very effective. Just kick under it to the open side. You can even be late on this kick. There are probably a few reasons why there isn't a lot of jabbing in Thailand's Muay Thai, but this is one of them. A kick to the open side is a very significant score, one of the few strikes that doesn't even have to have effect. The jab is almost a non-score. So trading these is pure win. But, in same stance this would require you learning a quick, lead-side kick. It's a very good kick to have, so no loss there. Key though is to not rely on point-fighting. If you can develop this to have some pace (preferably with no "step" in the kick) it can become a serious deterrent, not only to the jab, but also to the straight. And, because you are tall, if you turned this also into a long knee, this could be a significant problem for opponents. These are very simple, high scoring, maybe a bit difficult to develop power in, (but you can do it), answers.

Also I think, aside from even the ideas (and values) inside of all our heads is that what must be respected is just how authentically people experience Thailand in differing ways. It is a transportive country, and Muay Thai, no matter how you encounter it, has a way of opening foreigners up and showing themselves a possibility that is extremely meaningful...to them.

Yes, Lamnammoon is a perfect example (too bad he kind of has left go of his ambitions to restart his gym). He has that aura, that presence, that vision, that ethic.

Thanks for the good words. I used to write a Philosophy blog some years ago, so you could get a sense of my interests and influences from there. Most of it was research around Spinoza, with influences like Deleuze & Guattari, Wittgenstein, Davidson, Autopoesis, Bourdieu, minor influences like Agamben, Negri, Campanella, Vico. Most of the blog was organized around research into Spinoza's lens-grinding and optics. I'm not sure though how to recommend books, as some of the stuff I read feels very, narrow of field? This was my list of 10 greatest philosophers: 1. Spinoza (parallel postulate under a register of power) 2. Plato (formulating the Orphic) 3. Augustine (Immanent Semiotics of truth) 4. Plotinus (Degree of Being transformation of Plato) 5. Davidson (Triangulation and Objectivity) 6. Guattari and Deleuze (Ontology of Affects) 7. Wittgenstein (Language Game) 8. Nietzsche (Ascent of Metaphor) 9. Sophocles (The Surpass of Tragedy) 10. Maturana and Varela (Operational Closure)

I have a little more time, let me offer a more complete response. Some of the difficulty in pursuing "authenticity" in Thai gyms is that non-Thai can tend to have pretty romantic visions of what an authentic gym is like. Or, at the very least incomplete pictures. And, there are versions of imagined authenticity. A great deal of Thailand's Muay Thai of the past came out of the kaimuay (camp) teaching or development method, but there were very different kinds of kaimuay, in some way depending on how close you are to Bangkok's National Stadia, or large city centers where there were scenes of weight class fighting, and thus more money put into the sport. In the outer provinces kaimuay could be just a collection of local boys, in Bangkok a gym that had bought up the contracts of successful provincial fighters, combined with other training/trainer interests. But in these settings there was very little one-on-one instruction, as far as we can tell. Instead, fighters were basically workers, laborers, much as ranch-hands were laborers in the Cattle Ranching of the American West. Fighters were very low status, socially, pad men also usually low status, and the development of fighters was a process, come from mixing all the fighters together, in the work of the kaimuay. There's really no Master & Student dynamic going on, as for instance in Asian Martial Arts, or even like coach-centric Western Boxing traditions. It was largely the churn. Fighters would fall out, or they would rise. There were likely exceptions and unique dynamics in gyms, but this was the "authentic" profile of what was happening. So, if you wanted to be part of a kaimuay, as it was, you would just be in the churn. You wouldn't be getting special instruction. You'd be learning by imitation and repetition, and through lots of sparring and clinch. You would have no authority as a customer (in this fantasy), you wouldn't be allowed to leave the camp and go to another gym if things weren't working out (this problem STILL happens for Westerners in Thailand, believe it or not, because Muay Thai gym are very political). You'd be in a state more or less like indentured work. That kaimuay, as it was, largely doesn't exist anymore. Which is to say Thai camps have vestigial aspects of the kaimuay, and some still train with a focus on the churn (which is the true way), but this is very far from going to a camp and taking private lessons, as a paying customer. Now lots of Muay Thai gyms offer privates, and also have adapted training to Western expectations, involving more correction and attention, and some of those still try to maintain something of the kaimuay ethic. But, we are already outside of "authentic" as it historically was. So when Westerners really long for the authentic experience, they are often caught between kinds of gyms, gyms that maintain SOME dimensions of authenticity (just some of that: train in a kaimuay way, focus on Thai techniques and principles, produce Thai stadium fighters themselves, carry a culture of traditional respect and power), but none of them will have all of that (at least as I've seen). Worse, many (even with some authentic qualities, will have started training in more Western ways, holding for combos, focused on Entertainment Muay Thai (which is basically Muay Thai made for tourists and tourism). So its very hard to pick out WHICH authentic elements you are going to get. You could go to a "traditional style" gym known for Muay Khao and just end up clinching endlessly with Westerners who also came there because its known for clinch training. You could go where a true legend of the sport like Arjan Surat still works fighters for the stadia, but there may be nobody your size to train against and with. You could go up to a REAL provincial kaimuay like Santi Gym in Ubon, and just train in the churn of fighters reaching for the stadia, but they probably wouldn't be giving privates (?), and you might find the work boring or isolating. You could go to a "technique" gym like Sitjaopho, where you'll (probably) be pressed together with lots of other Westerners very interested in technique, but in a hybrid way that has approximated the kaimuay churn, while offering lots of correction and teaching, but you won't likely be training with Thai fighters. You could go to Sit Thailand in Chiang Mai, which seems to have a small kaimuay structure, organized around developing his son and a few other good Thais, and take privates from him (a very good teacher), but are there people to train with (this changes a lot in gyms)? Or, you could go the Samart's gym, and be trained by legends like Kongtoranee or Karuhat, and be near (mixed in? I don't know) the Thai kaimuay like processes of their handful of stadium fighters, in a kind of hybrid space? These are just very broad pictures (every gym changes, we don't really spend time in gyms much). Every gym is going to be missing something, probably a lot of things. This is the fundamental problem for Westerners. Muay Thai has more and more become FOR the Westerner. In fact they've now invented a new version of Muay Thai which is FOR the Westerner, and its becoming dominant. But, if Muay Thai wasn't turning its face to the Westerner there would be little room for the Westerner in traditional spaces...because traditional spaces are not only hierarchical (not commercial for customers), they were also businesses in the way that Cattle Ranches were businesses. You wouldn't come from another country and go to a ranch in 1950 in Texas to "learn how to be a cowboy". Part of the problem is that Muay Thai itself, in its authentic strain, is dying, so you can only capture pieces of it, fragments, at best chunks. I'm not an expert in this, only someone with my own experience, but this perspective comes from documenting the Golden Age of the sport, getting to know the great teachers of the art and sport as they are now, but also continually hunting for the kaimuay qualities of "authenticity" for Sylvie herself, as she trains and fights. It's very difficult to find.

I recently got a concussion from my last fight. It was a really rough fight and I didn’t perform as well as I could have. It’s been a few weeks and I’m still dealing with some emotional and cognitive symptoms from the concussion (memory issues, irritability etc). I am having a tough time getting back into training… it just all feels “off” and I’m not enjoying it the way I used to. Any tips with recovering from a concussion, and how to get my passion for the sport back?

There is really no proven way - that I know of - to rush recovery from concussion, other than getting good sleep, chilling out on secondary jarrings, staying hydrated, eating well. You simply will not fully know how much you are being physically (or even mentally) affected, and you may be feeling the blues because of the vulnerability you experienced in being knocked out. These are not small things. My own thoughts from a distance would be to maybe start building up your training through shadowboxing. Have a whole hour in the Library on shadowboxing as taught by Yodkhunpon. This way you might develop a different feeling for your muay and development, something that isn't jarring you. Everyone is different, and you might still be affected by the concussion, symptoms which can include depression. Here is a long preview of the full MTL session, you can find the whole thing here.

The below is a beautiful op-ed style article, written in a free-wheeling, sometimes sarcastic style in 1991. We are accustomed to thinking of the great yodmuay of the Golden Age (Hippy, Karuhat, Langsuan, Samson, etc), as the cream of the crop of Thailand's historical Muay Thai, fighters who embodied speed, technique, timing and power. This piece which we've had translated shows us that at the time this was not universally thought the case. Some older fans of the sport felt that he had been overrun by smaller bodied fighters, a fighter who never was embraced before, and yearned for the return of the bigger yodmuay of the 1960s and 70s. It's a marvelous window into the changing historical perspectives on the sport within Thailand, and invites study of how smaller bodied fighters like the greats came to take center stage in the Golden Age, and why in the decades before these much more plentiful fighters were pushed to the margins in the Capital. The Future of the “Hi-Tech” Yodmuay Since 1967, never has a Thai fighter who weighs below the Bantamweight or Junior Bantamweight division (115-118 lbs) been hailed as a “Yodmuay” before. No matter if it was “The Young Bull” Pon Prapadang, “The Fog Colored Horse” Prayut Udomsak, “Diamond Crowned Champion” Adul Srisothorn, “The Bang Nok Khwaek Kicker” Apidej Sithirun, “The Immortal Yodmuay” Winchannoi , “The Southern Kid” Poot Lorlek up until the days of “The Sky Piercing Knee Fighter” Dieselnoi Chor. Thanasukarn and “The Jade-faced Tiger” Samart Payakaroon. The age of Apidej Sithirun – Kongdej Lookbangplasoi – Dejrit Ittianuchit – Payup Sakulsuek – Huasai Singmuangnakorn etc., those days were when the art of Muay Thai flourished the most and then was the transitional phase between the old age (old-tech) and the new age (hi-tech). I would like to speak of the old days of Muay Thai when the people who made fighters or the gym owners did it for the serious love in the martial art. They did it for the honor and fame of their gym. The fighters fought with aptitude, talent, ability, skills, class and competed to see who is better and the one who knows Muay (Thai) more would get the win. This is different than the “hi-tech” generation where the leaders (of everything) lead towards “nics” [abbreviated from electronics, as in how things are more computed]. Were you to look at it in terms of percentages, 95% only have raw power and strength mostly to just clinch and throw each other. The fighter who is more conditioned and with a better diet will more likely win as we all can see from fighters these days that the “withered” [looks less strong and fresh] fighter will most definitely lose in the eyes of the judges. Therefore, fighters today know how to hide the signs of hurt well. Actually, if there was a Golden Doll Award [famous award for actors in Thailand] in Muay Thai nearly every fighter would win it… ha. The age of Muay Thai that will lead us to the “nics” we all know is a “business” that rides on the “art”. Promoters and gym owners mostly have a Chinese surname [Chinese people are stigmatized as businessmen in Thai culture]. They make business their career so the art is not needed! The Chinese executives can only teach fighters to know the words “Keep your hands high!” “Long right kicks!” “Walk forward and knee!” “Probe, right kick, left teep, then circle away!”, etc. Just a few phrases qualifies them to be able to boldly say that they are Muay Thai krus… sigh! Even in the music industry they preserve old song lyrics of the old musicians to sing as “classic songs” [as in it’s still sort of a genre people enjoy] that are catchy with Thai people today. Then why does no one dig through the old treatises of the arts of Muay Thai to teach their students? We all know that the fight purse of fighters is getting higher and higher with no limits due to the economy and living costs that are going through the roof. If the olds fans that have stopped following the sport for many years hear that some of the fighters today are earning almost 350k Baht I believe they’d be shocked. On the contrary, as fight purses rise the skill and enjoyment in fighting diminishes. Even though there’s a movement and improvements for preserving the arts for an extensive amount of time. The important factor as to why fighters are all from the same mold is that as stated before, all the gym owners mostly aren’t krus with real knowledge in Muay Thai. Mostly they instruct in the form of gambling that has taken hold on the circuit until it became a big business that we can’t abandon. Running away, teep and step back, lean on the ropes and do nothing in the first two rounds. It’s no surprise that some fights end with the referee banishing both fighters from the ring such as the fight between Nuengthoranee Petchyindee and Deenueng Tor. Patanakit or the fight between Pone Naluepai and Ngern Sasiprapa Gym or the fight between Rernglit Sor. Rachen and Kaopong Pinsinchai. May I close my eyes and think of “The Bang Nok Khwaek Kicker” Apidej Sithirun again when back in his day, the 135-145 lbs divisions were the most popular amongst the fans. We would see multiple Yodmuays at the same time around same weight no matter if it was Adul Srisothon, Thongbai Jaroenmuang, Payup Sakulsuek, Rawee Dechachai, Khieowan Yonkit and many others. These fighters got 20,000-40,000 Baht per fight which was a lot back then, leading the young promoter “Kru Tao” Chana Supkaew the promoter of Suek TaharnEk to begin making fights between smaller fighters, the ones others don’t care about, for only 5,000-6,000 thousand Baht per fighter. When we think about it, Suek TaharnEk gained popularity to the level of Suek Onesongchai of today. The level where no matter what fights you make people will watch. When big fighters are expensive then Kru Tao knew better to not touch them, he’d rather work with the ones no one cared about. Small young fighters then emerged no matter if it was Denthoraneenoi Lueadtaksin, Seri Looknhongjok, Kotchasarnnoi Poncharoen, Poot Lorlek, Inseenoi Looknhonggaikun, Saknarongnoi Chor. Chootirat, etc. The fighters themselves, once they can get fights regularly have a willingness to train which leads to the fights being enjoyable. The fans are able to bet [the fights are tight enough for good gambling] and the fights are back-and-forth all the time. The popularity of smaller fighters then increases and multiplies. The fighter’s purses followed the popularity like a shadow. From 5,000-6,000 Baht, it move to the 10,000s, Like “Bukmiang” Orachunnoi Or. Mahachai, the first fighter under 110 lbs in Muay Thai to receive over a 10,000 Baht for his fight purse [a Lumpinee 108 lb champion 1974, 76]. I remember when he fought “The Little Giant” [lit: Dwarf Giant] Glairoong Lookjaomaesaithong. “Bukmiang” moving up in weight which resulted in him succumbing to the punches of “The Little Giant” striking his solar plexis and knocking him out in just the second round. As the Middle Age has ended [Silver Age]: Wichannoi Porntawee, Pudpadnoi Worawut, Poot Lorlek, Saensak Muangsurin, Padejsuek Pitsanurachun, Narongnoi Kiatbandit, Dieselnoi Chor. Tanasukan etc, there are barely any 135 lbs Yodmuays. With the likes of Payup Premchai, Samart Pasarnmit, Sagat Petchyindee, Krongsak Sitkasem, Nokweed Devy even if they are great they are too late because in the big divisions there are no opponents for them. We can say they are so good they have to retire or find other opportunities abroad. As we all know, every promoter today turns to host only fighters in the small weight classes. The big fighters are all ignored. Only the 100-120 lbs fighters get to fight. Some fighters are only 90-95 lbs so the showrunners would send them to eat in the morning of fight day so their weight reaches 100 lbs, reaching the limits that the Bangkok stadiums allow. Fighters who are below 100 lbs like the top and famous 80-90-95 lbs fighters that are renowned throughout the country, they would never get the opportunity to fight in the Bangkok stadiums a decade ago. They’d have to fight in the suburbs. Like the top small fighters that were famous back then such as Dekwat Lookprabat, Mawaenoi Sitmahamad, Srichol Sityongyut, Noppachai Lookmingkwan, Pichitsuek Sakudom, Banluesak Wor.Tangjitjaroen, Koingo Sitsao, Yokkieow Lertmongkol, Paryinya Sitmahamat, Tik Lookprabat etc. There small fighters didn’t have a shot to fight in the Bangkok stadiums 10 years ago [1981]. Or we can say, if they are below 100 lbs on the morning of fight day they would never be allowed to fight. The officials were very strict back then. Like Pichisuek Sakudom (Nokweed Devy) was below 100 lbs. Once he was booked to fight in Bangkok the staff and police had to come check, not to cheer for him, but to see if he really fought they would arrest him immediately (and arrest the promoters alongside with him) as the age and weight of the fighter wasn’t allowed by the rules of the Ministry of Interior. It was famous news at the time (some fighters back then would put coins in their mouth or put metal into the edge of their shorts during the weigh in). Today, promoters are hosting only small fighters, causing fight purses for small fighters to grow rapidly. The yodmuays that everyone fabricated in the last 3-4 years are all below 122 lbs no matter if it’s Langsuan, Kaensak, Oley, Karuhat, Hippy, Nopadej, Suwitlek, Santos etc. All of those who were mentioned were all fabricated as yodmuays. Furthermore, people make nicknames for them referring to past fighters such as “The All-timer [Thongbai’s nickname] 2”, “Samart 2”, “Pudpadnoi 2”, “Apidej 2”, “Poot 2” etc. As a matter of fact the number 2 is correct, but they just need to add the number 0 after it to make it 20. Ha, I am not looking down on the fighters mentioned but they are not that better than Orachunnoi, Denthoranee, Poot (compared pound-for-pound). They’d all have had 6-figure purses but 2 decades ago fighters at this level of skill would at most get to fight before the show starts [like a prelim] or they’d be the last fight to get rid of the crowd. Their fight purse would be 7,000-8000 thousand Baht at most. If we let fighters and gym owners of small weight fighters’ bargain for expensive fight purses and the promoters like to book them to fight so much as today, then one day I hope the bigger fighters will come back to being popular with the fans of the “Hi-tech era”, truly so. Now the promoters who are the main actors need to take action, turning the tables and bring popularity back to the bigger fighters just as “Kro Taoh” Chanasapkaew brought popularity to the smaller fighters. Hope that the future of yodmuay is not the Hi-Tech era, becoming "nic", as there probably won't be any yodmuay at 100 lbs! wonderfully translated by @muaythaitestament on Instagram, with the support of our patrons. Some of the translation has been augmented. from Fighter magazine, March 15 1991:

escriures - etchings, strokes, inscriptions, grooves & sweeps, impressions, trace, arcings, adumbration, articulation. Above is a photo of a fighter from Chatchai's shadowboxing with his hands on the hip bones, the most extensive writing strokes taken out. The body itself becomes a gesture of gestures, the feet and torso moves toward the visual language, developing the sense of the roots of writing.

This. Another form of writing.

Violence and Muay Thai "violence does not participate in any order of reasons, nor any set of forces oriented towards results. It denatures, wrecks, and massacres that which it assaults. Violence does not transform what it assaults; rather, it takes away its form and meaning’" Think about this in terms of Thailand's Muay Thai and fighting. The purpose of the rite and practice is not to denature the other.

A form of life that keeps itself in relation to a poetic practice, however that might be, is always in the studio, always in its studio. Its—but in what way do that place and practice belong to it? Isn’t the opposite true—that this form of life is at the mercy of its studio? *** In the mess of papers and books, open or piled upon one another, in the disordered scene of brushes and paints, canvases leaning against the wall, the studio preserves the rough drafts of creation; it records the traces of the arduous process leading from potentiality to act, from the hand that writes to the written page, from the palette to the painting. The studio is the image of potentiality—of the writer’s potentiality to write, of the painter’s or sculptor’s potentiality to paint or sculpt. Attempting to describe one’s own studio thus means attempting to describe the modes and forms of one’s own potentiality—a task that is, at least on first glance, impossible. *** How does one have a potentiality? One cannot have a potentiality; one can only inhabit it. Habito is a frequentative of habeo: to inhabit is a special mode of having, a having so intense that it is no longer possession at all. By dint of having something, we inhabit it, we belong to it. *** from an excerpt from the coming Self-Portrait in the Studio, Agamben Agamben is a compelling philosopher, in that he reads like a worm, chewing through dusty pages, hunting for words. And he chews down into their etymologies, their occasions, their reasons-for-being. He does not present the Grand View. Especially dear, and perhaps not so apparent, is how much he makes from Wittgenstein's concept of a Form of Life, something he alternately traces down to Franciscan Forms of Life (The Highest Poverty), small, local circles of practices that form their own island States, whether they be 13th century monks or players of chess. He is interested in these privacies that are profoundly social. The above passage is from an autobiography - which he approaches as an autoheterogeny - a looking back on his life through the imprint of its having been lived, through the studios of his writing. Like a fossil that leaves the veins of a plant matter, the minute details of a vital living thing, he imagines the studio to be a certain kind of impression, where all the practices of the writer (the painter, the sculptor) have recorded themselves, as lived, inhabited things. He is in this 80s, and he is looking back through this impression, this studio/s, like a photographic negative. He wants us to see, to have lived, is to habituated it. One never possesses life or a life. One can only carve the grooves that remain over time. And he wants to look at his life, by examining its grooves. As a writer of history, as that book worm chewing through words, wriggling back through time, he is just following the runnels and rivulets in the wood. He sees it like this. We film a lot in these kinds of studio spaces in Thailand, gyms that once were heart-beats throbbing with kicked bags, dripping with briney body water, but now are covered with photographs burned by even decades of sunlight, their reputations and their ways of life baked in, and even no longer function, only testifying...an immortal, vital testament, but still only testifying. above, Dejrat home gym, Bangkok And then many of these houses of Muay still are beating out the rhythms, driven by the ardor of the man that leads them, even into old age. Furnaces of agonism and Buddhistic peace, hierarchies of selves stacked in simple geometries, like that of Dejat gym, but upon what-already-has-been, with that eternal sense of the Past holding much more than a Future. This is an illusion. This is something Westerners face when they first come to Thailand, open-eyed. Everything - every surface - is brimming with the new, the unexpected, one cannot see the what-already-has-been which sinks down into sedimented layers of granite & limestone selves. Yes, the age of things is seen, but not the already-has-been completed, the lost-to-the-past, just yet. Instead the present moment seems to be breaking like the bow of a boat, cresting the waters. This is where you are becoming. Agamben invites us to understand - to see - that where we have entered is already a studio of what-already-has-been, we are working within a fossil. Lives have already passed through, lives have already been. You are standing in the bones of memory. You are in an architecture of things that have past, crystalized intentions and aches pressed through an art and a way of Life. So much of what you are standing in is what-already-has-been. It's done. It's over. We are reading an article written in a Thai boxing magazine in the early 1990s - having it translated, will post it - that bemoans the present era then (1990s), the time of Karuhats, Hippys and Oleys, the Age we now call "Golden". It stands on the ruins of the true Muay Thai of the 1960s and 1970s, the Age of Men...it says. As we age and mature we come to feel more and more of what has past, of things having-been, but what truly is widening is our gaze. We have always been standing in those bones, what Agamben wants us to see as our habits, the repetitions of having lived, the carved-out. Even in our most pristinely new moment, we were in those bones of it all, with blinders on. All that has happened in that our vision has widened to see it. Instead what this vision should call us to see is not the widening gaze of what-has-been, but rather the consumate gaze back down into what we are creating now, what carvings, what habituations of Selves that we are inhabiting. Inhabiting - Agamben likes this word, this Heideggerian word, I do not. It makes too much of us a Spirit, a ghosting thing, like we are haunting our lives. It is not like that. I'm writing about the ambitions of those that come to Thailand to beat out a new and authentic self, to expose themselves to new condition, to habituate in a new way, to manifest differently, and what it means to stand in the bones of an art, and a history. And even more readily, to stand in the bones of a house, a gym, a studio, which has made many men, and is always brimming with the what's already-has-been, almost cluttered with it. The hunt of the foreigner in the country: Where do I find the "authentic"? Where do I find that which isn't the already-has-been? Where do I find the "studio"? Again and again the more experienced foreigner, the one who has gained eyes to see beyond the initial innocence of the projected exotic - will be disappointed. They will travel from gym to gym and find the already-has-been. Because this is the natural state. This is the life and state of the artist. Nothing has changed. Only your eyes. Let them change again. A page from Nicola Chiaromonte’s notebooks contains an extraordinary meditation on what remains of a life. For him the essential issue is not what we have or have not had—the true question is, rather, “what remains? . . . what remains of all the days and years that we lived as we could, that is, lived according to a necessity whose law we cannot even now decipher, but at the same time lived as it happened, which is to say, by chance?” The answer is that what remains, if it remains, is “that which one is, that which one was: the memory of having been ‘beautiful,’ as Plotinus would say, and the ability to keep it alive even now. Love remains, if one felt it, the enthusiasm for noble actions, for the traces of nobility and valor found in the dross of life. What remains, if it remains, is the ability to hold that what was good was good, what was bad was bad, and that nothing one might do can change that. What remains is what was, what deserves to continue and last, what stays.” The answer seems so clear and forthright that the words that conclude the brief meditation pass unobserved: “And of us, of that Ego from which we can never detach ourselves and which we can never abjure, nothing remains.” And yet, I believe that these final, quiet words lend sense to the answer that precedes them. The good—even if Chiaromonte insists on its “staying” and “lasting”—is not a substance with no relation to our witnessing of it—rather, only this “of us nothing remains” guarantees that something good remains. The good is somehow indiscernible from our cancelling ourselves in it; it lives only by the seal and arabesque that our disappearance marks upon it. This is why we cannot detach ourselves from ourselves or abjure ourselves. Who is “I”? Who are “we”? Only this vanishing, this holding our breath for something higher that, nevertheless, draws life and inspiration from our bated breath. And nothing says more, nothing is more unmistakably unique than that tacit vanishing, nothing more moving than that adventurous disappearance. - Agamben I think of foreign fighters and ardent students that travel to Nungubon's gym in Ubon. A small studio of a space that is made from his home. It is in the model of a home kaimuay that has made so many fighters of Thailand's Muay Thai. And it is a museum of a space, filled with the pieces of his life and career, just as kaimuay have always been. You are in the bones of it, but still it is what already-has-been. We are standing with a man who has lived the art, in the ring, in the gym. The carved man, but you will also know that it already has passed. This is not an error. This is not flawed. This is the natural state of things. All things already-have-been. Put down the chalice of The Authentic. Everything is already heavily allowed with the past, with the done. It is only you who pulls the thread forward. You and those you metronome with. The above section from Agamben (bolded) is quite beautiful. It is a subtle drawing out of a Spinoza maxim, like a silken thread from the side of an Idea that is usually taken in a very different way. Spinoza held that there is some portion of the Mind that is Eternal. The Truth within the Mind - not our ego, not our feelings or personal ideas or intents - remains for all eternity. As Agamben draws it out he evokes the ephemera of The Ego in Buddhism, that illusive dimension of ourselves organized around everything that is supposed to matter. Of that, nothing will remain. Why? Because only the Good will remain. Agamben's invocation of the studio, the physical space of the practice, all the materiality of that practice, a sum of those real repetitions that reflect our burning fires, our furnaces, but also the Form of Life that is the art into which we are pressed, suggest that this is more of what is the Good, more of what remains. He wants us to see that all the while when our heart has been beating, we've been carving. What is it that you are carving? What of it will remain? What is the Good. As fighters this comes into deeper question, for the fight is among the most thin and veiled of performances, best witnessed in person by the ropes. It can be photographed, it can be written about, but what it truly is vanishes like the midnight bloom of a cragged flower, for only the few. And, the endless poundings of the bag, the light-footed shadowboxings? What is to be of that Good, washing into inarticulate neutrality by the Sea? We meet these incredible men, these spiritual athletes, and what has been made by them? Where does it reside? Where is the studio of their permanence? above, Nungubon's home gym, Ubon above, Takrowlek's home gym garden, Bangkok One knows something only if one loves it—or as Elsa would say, “only one who loves knows.” The Indo-European root that means “to know” is a homonym for the one that means “to be born.” To know [conoscere] means to be born together, to be generated or regenerated by the thing known. This, and nothing but this, is the meaning of loving. And yet, it is precisely this type of love that is so difficult to find among those who believe they know. In fact, the opposite often occurs—that those who dedicate themselves to the study of a writer or an object end up developing a feeling of superiority towards them, almost a sort of contempt. This is why it is best to expunge from the verb “to know” all merely cognitive claims (cognitio in Latin is originally a legal term meaning the procedures for a judge’s inquiry). For my own part, I do not think we can pick up a book we love without feeling our heart racing, or truly know a creature or thing without being reborn in them and with them. - Agamben As we come to study we violate ourselves, our boundaries. We break apart what has been. A new concresence. In this falls the onus on the artist, on the fighter, in this it is all of us. In many ways we are all nomads without a studio, in that we are ever stepping into the ruins of what already-has-been. The bones of it are already stacked around us, even when in youth you do not see them in your tunneling desire. We travel about like a potter who may find a kiln here or there, and we are made hybrid, cyborg to the matter of which it is made. We throw our clay as we might, and at many times we have to build the kiln ourselves, through an art of kiln-making which we have divined from lore & other practices we intuit. We inhabit houses of the art's keeping at times, but again and again The Good must only be the habits we keep as we build, and the respect we pay to what others have etched and thrown, in their kilns, in the kilns that have been. The Ego will not remain, it will vanish. Instead as we bend ourselves toward a Form of Life, and our respect for it. This is a form of cooking. We are cooked by our knowing. By our doing. A medieval legend about Virgil, whom popular tradition had turned into a magician, relates that upon realizing he was old he employed his arts to regain his youth. After having given the necessary instructions to a faithful servant, he had himself cut up into pieces, salted, and cooked in a pot, warning that no one should look inside the pot before it was time. But the servant—or, according to another version, the emperor—opened the pot too soon. “At the point,” the legend recounts, “there was seen an entirely naked child who circled three times around the tub containing the meat of Virgil and then vanished and of the poet nothing remained.” Recalling this legend in the Diaspalmata, Kierkegaard bitterly comments, “I dare say that I also peered too soon into the cauldron, into the cauldron of life and the historical process, and most likely will never manage to become more than a child.” Maturing is letting oneself be cooked by life, letting oneself blindly fall—like a fruit—wherever. Remaining an infant is wanting to open the pot, wanting to see immediately even what you are not supposed to look at. But how can one not feel sympathy for those people in the fables who recklessly open the forbidden door. We are all as it cooks tempting to look in the pot, we think it is over. The process close to being done. The practices, our inhabitations surely have done the cooking they are supposed to have done. There's been enough heat, enough time, one senses. Maybe its not completely done, but a little peek won't hurt. But its exactly that. You cannot look. It's not for you to see. above, Jaroensap's home gym, Bangkok The above is Baramajanmuay Ket Sriyapai, ปรมาจารย์มวย เขตร์ ศรียาภัย, the Muay Chaiya master of Arjan Surat, a portrait photo that hangs on the wall of the Dejrat gym in Bangkok. In some material sense this is all that remains of him. Arjan Surat, who still runs this hallowed personal space where hanging bags drape in a garage where he literally parks his car, talks about other Muay Boran manifestations in Thailand, lineages that purports ancient knowledge or ways of fighting. He laughs in his gruff and dismissive gravel voice pointing at the portrait "How can they know, if he didn't know?" But the habits, the inhabitance as Agamben would have it, of Baramajanmuay Ket Sriyapai also live remaining in Arjan Surat himself. The carvings of life, his studio, his life, made by the beating heart of Baramajanmuay Ket Sriyapai have also carved upon Arjan Surat who is now in his 70s, bent on holding daily pads for stadium fighters until 80. "Eeeevery-day" he says in English, drawing out the words to indicate time, the length of it. You do this eeeevery-day. You carve. You are standing in the bones of it, no matter where you are. It all, it all has already past. It's over. It's done. And you pull out this silken thread, weaving it forward, in the very thing you are carving. It looks like it is all finished, but it is barely there.

You may look into Takrowlek's close quarters kicking style. A lot of Japanese Kickboxing seems to have adopted this Thai style of fighting. Takrowlek was a very short fighter: https://www.patreon.com/posts/96897418?pr=true In the above link its is taught for an hour or so. In the video below you can see a segment of this:

After a little bit of research, and contemplation, I figured the kyokushin close quarters kicking is the best approach to study.

Karuhat is not a tall fighter, and usually fought opponents much bigger, taller than him. He's a difficult fighter to emulate because his eyes were so good, and his timing impeccable, but his muay is full of great qualities.

Hey, I just saw this now, I'm surprised nobody replied before. When I was in Thailand in 2021/22, I also did several privates with Yodkhunpon and enjoyed it very much! I paid and did the sessions at Petchrungruang gym in Pattaya and the initial contact was made by Sylvie, whom I wrote on facebook (thanks again!). The sessions after that, I arranged directly with Yodkhunpon. Unfortunately I havent been back to Thailand since, so I like to read about other people's experiences, so keep writing people! Has anyone been at Singha Mawyn in Bkk? Superbon used to train there, but more importantly the trainers are legends themselves e.g. Namsaknoi and Khaolan Kaovichit. Would also be interested in reading about Kiatphontip just outside of Bkk, and other semi-rural settings.

I’ve heard a lot about Hong Thong, and it’s cool you got to train there for a month. The air quality during that time sounds rough, so thanks for the heads-up—I'll definitely keep that in mind if I plan a trip in March. The gym’s focus on fighting sounds perfect if you’re looking to compete. I’ve had similar experiences where the training quality depends on your partners, so I get that. Private sessions with Joe seem like a solid idea, especially for clinch work since Muay Khao fighters really know their stuff.

above, the cut back stem of our Adenium obesum "Desert Rose" and the bloom that came from the cutting, photo taken this morning Karuhat's Flower September 24th, 2024 - In the development of skills in Muay Thai everyone is trying to "add" things. New techniques, new training, new moves, new tricks. This is a desert Rose we bought when traveling with Karuhat in Isaan. We saw the unusual plant at a rest stop, it reminded me of the bulbous, massive trees in The Little Prince, so we bought one. He told us that in Thai it's called "The Show Stopper", or some rough equivalent to that, because its flowers were so stunning people walking by just have to stop and look. If you know Karuhat's Muay Thai, perhaps the most beautiful that's ever been, it seemed very fitting that we bought this plant with him. We're not gardeners, we keep a yard somewhat inexpertly. And we read up on the plant, how it has growing seasons, its general needs. But no matter what it did the flowers wouldn't come. Little proto-buds would show, and then die and drop off, even when the branches were verdant. He knows how to care for them, and would visit us and help steer us the right way. Here is an early visit when the plant was quite bare. It wouldn't flower for a year. He visited again and told us "You have to cut it back", and then told us about something you paint onto the cutting end to seal it, to force the lift energies into a bloom. Before Sylvie left to travel a week ago she cut it back here. A week later this bloom at photo top. This is the thing about Thailand's Muay Thai. It seems like when you come here its just this incredibly verdant fight culture. There are techniques and beautiful fighters, and gyms and krus everywhere. It feels like all this is quite natural, like it just spontaneously grew here, and as a fighter a lot of the times it feels like you are just walking around and picking wonderful fruits that you put in your fighter basket. You want this elbow here, and this guard over here. And this "combo" (there really aren't combos in Thailand's Muay Thai, but we turn it into combos so they can be exported). And, if you are Instagram and watching demos, you are collecting these techniques, some of them quite far removed from their source. The Secret of Restraint, of Cutting Away This is the secret about Thailand's Muay Thai. Once you have the plant well soiled, watered and fertilized, all those "flowers" that are loved come from pruning, from "cutting back". You cut back on the branch to produce the bloom. It's not an additive process. And this is the part of the art that simply isn't known much at all throughout the rest of the world...how to garden the muay of a fighter. Everyone is copying flowers, picking them off branches, mixing them with aggression, trying to change the rules of the sport to force more and more flowers (knockouts, etc)...but the actual gardening of the art is dying. Which branches need to be cut back and when? This is one of the concerns with the new commercialized much more aggressive versions of Entertainment Muay Thai. Some of most important cutting backs and prunings of Muay Thai occur at the emotional level, almost a spiritual level. It grows at the root of many of our impulses toward violence. Feelings of anger, even rage, are intentionally prune back. They are not the emotions of action (like they are often in the West). The pruning back of these feelings and their display is one of the most important aspects of Thailand's Muay Thai, and is probably quite close to the reason why it produces such beautiful blooms, blooms that are the envy of the world. It's because, even though being one of the most violent combat sports (at times), it is traditionally powerfully cut back at the emotional level. The Technical and Psychological An example of the unpruned emotion can be seen in Namkabuan's fights vs Matee. There is this highlight below where he somewhat spectacularly falls out of the ring and just jumps back in attacking, not even waiting for the ref to reset the fight. There is another when he unleashes wild elbows that make highlight reels, falling off balance but it all feeling like an onslaught. As mentioned below, for Namkabuan the whole thing felt very unpruned and wasn't something to be praised for. These are events that in Entertainment versions would be cheered on by shouting announcers and bounced all over IG streams...these moments of loss of control are almost the purpose of the new versions of Muay Thai, quietly undermining the life force art that gives Muay Thai its technical brilliance and even more so the sublime fights of the past. Namkabuan is now past, Rest in Power glorious legend. It is the control, but even more so, the pruning back of the plant that is the soul, if you want the bloom. When I see foreign fighters, who clearly train very, very hard in their techniques, unleashing high volume strikes, one after the other after the other after the other, often in memorized combinations they've learned on the pads and on the bag, their is a very real sense that this is a plant that is incredibly overgrown. There are leaves and leaves, but no blooms. They were like our plant, before Karuhat told us that it needs to be cut back. Unfortunately though, this is an art, and an aesthetic that isn't easily passed onto others, especially to non-Thais. That's because it comes from the Form of Life that is Thailand's Muay Thai, grown in its small kaimuay across the whole country, in its festivals and local stadia. In its urban gyms, its traditional stadia, within the gambers and their aesthetics. It's a cultural expression, but it is founded upon a sense of pruning back. Of gardening. When I saw this flower today I took a picture of it and sent it to Sylvie who as I mentioned is in Italy. I was just astounded at how fast and strong the bloom had come after we had been waiting for it for a year or more, simply by cutting it back (and knowing to paint the cutting over with a special mixture). The parallels to Muay Thai seemed so plentiful, for fighters very often try to develop certain techniques or qualities, often for years, but that "bloom" never comes, or only comes palely. I wanted to know how she saw process of pruning in Muay Thai, as she is a fighter who has engaged in the sport in Thailand like no other, just massive amounts of fights, the most prolific Western Muay Thai fighter in history, an unparalleled study with legends, and endless hours in the training ring. Here is he secret for blooms that are slow to come. Prune back. This is some of our conversation: vocabulary: Jangwah (จังหวะ) = rhythm, timing, Tammachat (ธรรมชาติ) = natural, indicated by being smooth & at ease, Ning (นิ่ง) = being at ease & unaffected, Mua (มัว) = obscure, clouded, confused Perspectives on Growth and Pruning There at least two very distinct but related levels to thinking about this. As a fighter, struggling to improve in the art, best is not to think primarily of additive processes. The pruning back of oneself, both at the level of techniques, tactics and strategy, but also at the emotional level very well may be the path to much strained for growth. To cut back isn't to "do less", its actually cutting off a living branch, sealing it off, so that its vital force will force itself out into bloom, further down, closer to the main stem. Technically, the main stems are the foundational principles and movements of the sport...which is why some of the most spectacular Muay Thai fighters of Thailand actually are fighting from place of basics. The second level of thinking about this is about the sport itself. We are told "Muay Thai has to grow!" or, "It's great that the sport is growing!" in its various new hybrid incarnations, many of them adopting Western or Internalized emotional pictures of fighting. Additive growth does not necessarily produce the flowers. And the tourism of Muay Thai is founded on the fact that it produces so many show stopping blooms, unparalleled skills and a form of fighting that exists nowhere else in the world. Right now, in this generation, we still have men who know how to prune in the art. They were raised in the kaimuay of traditional Muay Thai, they fought in its rings, and they understand the process of cutting back, the aesthetics of control. But this generation of knowledge is vulnerable. They are at an age already when maybe 10 more years and they'll no longer be shaping fighters. The processes of Muay Thai's creation lies withing their knowledge of its creation. It isn't in the "techniques". It isn't bio-mechanical. It's a spirit of understanding the flower of violence, and what it means for the human being...distilled into a craft, a craft of pruned-back fighting. btw, as a note, this is Arjan Surat who we mention in our texts. He is perhaps among the oldest of this last gen, holding pads every day in his 70s.

I don’t see how you can go wrong at any of the gyms you mention , sit Thailand has a great gym and is technically brilliant. My son 13 was there last year and they treated him so well , we are back now and they seem to be growing with more trainers than before . They fight regularly and have Thais and farangs fighting . They seem to have a connection with Spain as both times there have been decent Spanish fighters there . They have girls training and fighting . It’s 75bht in a bolt from the old town and takes 15 mins Hongthong is a similar distance from our hotel . Ultimately people will tell you their preference but that might not suit you

I've been to Watchara gym a few times for PT but haven't tried their group classes. Its more of a "casual" gym (its air conditioned (which is not a bad thing!), clientele are (mainly) non-fighters) but the trainers are knowledgeable/experienced. Honestly i've hopped around in BKK for a bit and i haven't come across objectively bad trainers - its more about finding one that has a personality/teaching style that fits you. The gym is used to foreigners (you book classes through Klook). If you do go for PTs I would recommend Em - he does focus on technique and speaks very good English. You can do privates with them on Sundays (most gyms close on Sundays). If you go gym hopping in BKK and want more training on Sunday, you could try them out for a Sunday PT session.

Sometimes the podcasts go into these concepts. Not the Library though, it's all documentation. I write about these some on my subforum, for instance this article:

The Library is just really unusual content. There aren't really any demos or how tos. They are more like hour long physical dialogues with great legends of the sport. But, some sessions do have specific bagwork sections where a lot can be learned. Legends teach how they did bagwork, and how they trained techniques on the bags. Here is a list of sessions with bagwork in them, but you would have to watch the whole session. Colored sessions are some of the best overall sessions. Arjan Surat 1 - Old School Master Metprik Silachai - Old School Muay Maat Lowkick Pressure Yodwicha Por Boonsit 3 - Spearing the Middle, Fighting With Rhythm Wangchannoi Palangchai 1 - Deadly Step Counter Fighting Arjan Surat 2 - His Old School Tough & Defensive Style Langsuan Panyutapum - Monster Muay Khao Training Samson Isaan 1 - The Art of Dern Fighting Dieselnoi Chor Thanasukarn 2 - Muay Khao Craft Boraphet Pinsinchai 1 - Muay Khao Mastery Yodwicha Por Boonsit 2 - Clinch Techniques & Defense Dieselnoi Chor Thanasukarn 1 - The King of Knees Wangchannoi Sor Palangchai 3 - Advancing Counterfighting Matee Jedeepitak - The Keys To Femeu Timing & Distance Kaisuwit "Kru Pern" - Muay Maat Centrifugal Power Eagle Den Junlaphan 2 - Boxing Within Muay Thai Arjan Yai Muangsupan - Golden Age Forms & Dynamics Jampatong Na Nonthachai - The Master of the Head Kick Pudpadnoi Worawut - The Basics from the Legend Phetdam Sor Suradet - Style, Rhythm, and Timing Gulapkao Na Nonthachai - Old School Forms & Rhythms Tepniramit Sitsamnao | Defend and Punish Pairojnoi Sor. Siamchai - Balance, Footwork & Intensity Chanchai Sor. Tummarungsri - The King of Teeps Kru Ali Phet Kalim - Old School Forgotten Principles Manop Manop Gym 1 - The Art of the Teep Krongsak Prakong-Boranrat - That Shoving Energy Silapathai Jockygym - Master of Teep Distance Hippy Singmanee 1 - Developing Power Thanks for all the kind words and support. As a beginner it may take a bit of effort to get into it, but because you are connecting to the pure thing, the real thing, the benefits will really be amazing.

Wangchannoi is no longer at the gym, he has moved to a small gym in Cambodia. Bangsaen had indicated westerners were welcome to train with the gym, but it Isa true Thai gym and ther aren't many options nearby so staying at the gym seems most likely the only accommodation if you intend to stay beyond a couple days. They don't have social media in English, so I'd recommend just going to the gym and pleading your case: https://maps.app.goo.gl/4N8wMms2sU3xkeBbA

Thanks for providing this. I am beginner as well been only training for about a few months and am looking to suscribe to the pattern to access some of these sessions. Just curious are there specific exercises or bag work drills or other things that the videos clearly lay out that we can practice or is it more the knowledge of the techniques and then we have to figure out how to put the techniques into practice? I also wanted to say thank you and Sylvie so much for putting this together. The videos I have watched of you guys on YouTube really put into perspective the real essence of the Muay Thai culture that I feel is sometimes lacking in the gym I train in here in North America. My gym I train at is good for training but I do not get the same kind of education about the philosophy, spirituality and ethics I get in some of your podcast videos so thank you. Are there any specifics videos on the library that you suggest that has learnings on the philosophy or spiritual side of Muay Thai from any of the legends or Krus. Thank you too much again, your work is great appreciated!

Hi Warren It was very quiet when I was there. A few local guys and 2-4 foreigners but that can change and I'm sure this gym has got more popular. You can schedule privates for whenever you want. The attention to detail here is unbelievable and I highly recommend you train at this gym. In my experience, everyone was really good training partners and I learnt loads everyday.

Well then, after a rewatch its really clear what the difference was. The first fight was reffed with a VERY "entertainment" ref style, the clinch broken almost immediately about 80% of the time. Reffing is huge shaper of Muay Thai fights for clinch fighters and the ref just took the clinch off the table. The belt fight reffed in a very different, traditional way (thank goodness). Also, Barbara didn't sink her head in at all in the August fight, which also added to the reffing issue, because Marie could get a handle for her various cross-faces and stalls, giving the ref something to respond to in his breaks. Barbara wasn't allowed to work out of those positions. In the title fight she sank her head in so beautifully, so adeptly on the grab, it completely eliminated the cross-faces and stalls. So, much more traditional reffing, and much better (in fact beautiful) entry techniques, and a hugely different result. I'd also say that Marie was much more forward in the August fight, especially the first rounds, which kept Barbara a little off balance, instead of just seeking the rope with her back. It prevented, or at least deflected Barbara's stalking, where she's in charge of the timing of exchanges. Also, Barbara was much more proactive with her hands earlier, in the title fight, incorporating them into her stalking, which complexified the pocket. But really none of these things were more important than the reffing, and the sink on the lock. Those differences completely transformed the result.

Just some notes from today's casual shoot. I don't always photograph at Chatchai's (we go 2x a month), but it is a great opportunity to just experiment with aesthetics, or to change the way I see. Ultrawide & Wide for Muay Thai Photography I've always been very drawn to wide lenses for Muay Thai photography, if only to get away from all the focus on "the action" and the proverbial sweat-spray shot. Mostly I've shot with longer lenses to get away from this moving in the opposite direction, to explore more the psychological aspects of fighting, and to locate what might be called sculptural body forms, but honestly, I've wanted much more to shoot in wider lenses, because I think the sense of space, of emptiness, is really what the art of fighting is about, like scuba diving is about what you do IN the ocean. Its harder to do in fights themselves because you don't have control over your setting and are locked more or less into one or only a few vantage points. I've been lately interested in the Contax 645 35mm lens (27mm full frame), (above), adapted for the GFX system, in part because it seems to give that "what the eye sees" kind of field of view, something that I find in many of the beautiful films of the 1960s, and some early documentary photography. You can see a short article on the lens that attracted me. I want a little more of that tableau feeling, with some beautiful sample shots. I love this sort of photography, and I'd like to bring that nobility to Muay Thai. What I'm interested in with this Contax lens is that many times I encounter situational muay, often with older fighters, scenes that are full of details and composition, that it just feels like it has to all be captured, rendered, brought forward. With that in mind I went back to my Fujifilm 8-16mm (12-24mm ff), above, which I really forget how much I love, a wide angle zoom on the X-series cameras that is underrated in the images it can pull. I have shot some very memorable photos with it. Today I shot Sylvie training with Chatchai at his Thai Payak gym in Bangkok just to get reacquainted with the wider view. I want to get used to seeing-in-wide again. You can maybe see what I see even in these somewhat casual shots, the way that the space envelopes the figures, and the figures almost arise from it. Note. I'm not a super technical photographer, and not really a gear person. I see things I like in my mind, my hands, and then look for ways to achieve it. I do like the 8-16mm, and its zoom is really very helpful in muay settings where you cannot change your position easily to alter the composition. With ultrawide this is really important especially regarding the distortion, not only how much distortion there is, but what it is that is distorted. The zoom is super valuable. photos on this thread are unfortunately compressed and lose sharpness. I'm hoping to see more wide angle and even ultra wide treatment of the sport, because the art is really all about the spaces that hold it. And I've ordered the Contax lens and the adapter, the first time I'll have shot with a vintage lens. I'm very excited to see what will show up on the very large and detailed GFX files.

Lessons in Narrative I love this fight from January New Power soooo much. It explains why in trad scoring you can't just add up "points" or count "damage". It's almost entirely symbolic control. Dodo starts telling his "story" right away, and its the same story the whole fight: "Your strikes don't matter, they have no effect on me, I'm coming". He doesn't rush, he only ups the metronome in a few decisive points in the fight, he is entirely dictating, and it doesn't stop. And the fight is very easy to follow in terms of dramatic narrative: Will he break through? Will he do "enough"? When he reversed direction (after getting his head snapped back by a punch in the 5th and giving a bit of a humorous head shake), after so much stalking...and Blue follows giving chase, his few moments of femeu slipperiness swing the scoring hard. After landing endless strikes Blue is suddenly out of it. There's no "KO", there's no highlight reel moment. He's taking head kicks glancing off the dome and high scoring mid-kicks. It's all tempo and imposition. Dodo Kor. Sakpairin (red) vs Liam Petch Captain Ken Boxing Gym (blue) watch it here: https://www.facebook.com/groups/muaythaiphotolifeideas/posts/3432943350176138/

You get some of this in the somewhat wide shot of Ali's famous "What's My Name?" photo vs Ernie Terrell (1967). You need the rest of the "world" to feel the meaning of this moment. You need the composition including the white faces of photographers, you need the darkness of the crowd. The eye does go immediately to his asserting face, but it also swims around, settling on the prone opponent. It's hard to get these kinds of shots (and this one is once in a 100 years). But cameras in the day forced a development of compositional focus. Thinking and seeing in wide requires using wide.

Here some of the drama and architectural effects, an elephant from the other day, on the very nice and simple Laowa 10mm (15mm ff) f/4 Ultra Wide.

The Anchors of Muay Thai Training We actually heard this years ago, at Phetjee Jaa's family gym, where Sylvie trained for a year. The anchor of training - once you know the language of Muay Thai, from most important to least: To anchor Clinch Run In stretches, all other things can be skipped, this is your foundation. Everyday. In the West everyone is obsessed about "techniques" (learning them, perfecting them, drilling them, making them "muscle memory"), its how the West perceives Muay Thai, (aesthetic) biomechanically. In Thailand, its clinch and run. There are real, efficacious reasons for this. I'll write about this later, but they involve the DNA of Thai fighting, drawing out energy management in long-wave patterns that breakdown short exchange or burst fighting, in both the Muay Khao and the Muay Femeu fighter. To Improve Spar Shadowbox These are just so important, because properly done they produce longevity play and creativity, the heartbeat of true fighting. It depends on your sparring partner, and you should have a few of course, but these two aspects of training are the primary paths to improvement. To maintain and build Bagwork Padwork Outside of Thailand there is a lot of emphasis on padwork, mostly because Thailand does padwork like nowhere else, and a lot of the signatures of "authenticity" by non-Thai coaches come from imitating or approximating Thai padwork. In all my time I've only seen two Westerners who actually "get" what's happening in high level Thai padwork, and they both hold pads in an idiosyncratic way, not "like a Thai". They digested the qualities through years in Thailand, and came up with their own expression of it. Kaensak told us, padwork is just to "charge the battery" before a fight, its traditionally not really used as a teaching mechanism, and certainly not a drilling combos mechanism, though lots of padholders have taken it in that direction. Largely though, padwork, once you know the language of Muay Thai, is in the bottom rung of importance, in my opinion. There is an exception to this, in that if you find an extraordinary padman who can develop rhythms and distance shaping, through a very high level of feel (padwork is about these things, not about strikes), this can be very significant and make big differences in fighters over time...but, on the other hand, if you have padmen who have little sensitivity toward these things, or push into styles that are not conductive to your own, padwork can be even detrimental, giving you space and rhythm that will not help you much in fights and probably will be counterproductive.

The Arcane Season 2 Jackpot Arm and Probabilistic Fighting The following may be counterintuitional, because we often imagine fighters in terms of what they are doing, what they are actively controlling, and don't think about them largely being in nebulous, undetermined states, but the truth is that fights are largely on the edge of the chaotic and unpredictability, and while we can characterize most fighting approaches to bringing as much (favorable) predictability as possible, in the higher levels of fighting it is actually the way that fighters engage with unpredictability, and ride it like a wave. In any one engagement only 2 or 3 dimensions of fighting may be on a fighter's mind, their direct awareness, and how these dimensions arise or express themselves also will not be fully in the fighter's control. There is a degree of dice rolling. Part of this randomness is addressed through building deep principles within a style, so that unconsciously dimensions of fighting will loosely take care of themselves (solids of footwork, defensive wholeness, ways of moving), but on another register, the mental part of actually fighting the fight involves how you swim through and navigate the disorder of fighting itself, the variable ways things will present themselves, the limited number of things you can actually choose to exert as dimensions of fighting coming to and passing out of the forefront of your mind in a probabilistic space. Watching the beautifully animated fight scene in season 2, ep 2 where Jinx gives Sevika a new arm, a jackpot arm, which expresses in tech Jinx's own harnessing of randomness, a design of her own creation, makes me think about something I've learned from watching the fights of legends, and Sylvie studying and documenting them. The way that they deal with randomness. The above are screen caps of Sevika being told to pull the lever, and spin the arm's jackpot combination of powers and effects, most of the scene animated in a Spiderverse style can be seen below. It gives me to think about these qualities in Golden Age yodmuay, and their relationship to randomness and disorder. We know the phrase "lucky shot", which describes a somewhat unskilled, somewhat even unplanned, overly successful strike. This is a relationship to disorder that I'm not describing. And, with the advancing popularity of the trading of memorized combos over and over, waiting for one to land is also not what I'm discussing. The jackpot arm in Arcane combines particular effects in changing relationships. In the same way the elevated fighter is fighting with a changing combination of effects, over which she or he does not have full control. Techniques of manipulating space and timing, physical techniques of well thrown strikes, tempo controls, spacing. These are all in a yodmuay combining and recombining as the fight goes on. If you watch closely, yodmuay like Karuhat or Samart (especially in fights they lose, where it becomes more apparent) are constantly finding combinations of principles & execution that aren't lining up perfectly, and so as fighters are constantly only partially effective (Samart vs Wangchannoi is a good one for this, as is his fight vs Dieselnoi...you can see the recombination trying to find a solution in real time). The play with disorder and randomness is not only dealing with the fact that you are not going to be executing everything ideally. Timing, tempo (music), weapon choice, technical execution, defense, positioning (axes), distance (proximity), intensity (power), narrative, are all spinning, and at any particular engagement will line up in an unexpected way (like the jackpot arm). But you keep fighting within your style, applying its principles, and hiding any ill-affects (this is a very important yodmuay skill in Thailand's Muay Thai as well), over time as a good fighter effectiveness will prevail. You don't actually know how or why. It's like the arm, you keep spinning the slots. You aren't comboing over and over, waiting for your opponent to slip and become exposed to a rudimentary shape, its more complex than that. You are applying principles of control, in combination, along with well formed strikes, under the conditions that you cannot fully control how they combine, or how your opponent will be dealing with them. And then, in a round, or in a fight, you may suddenly break through. And when you do it looks like you have been in control most or much of the time. You haven't, but this is the illusion of the yodmuay. And its part of the narrative dimension of Thailand's Muay Thai. A lot of combo Muay Thai is a much more limited game. Timing is rudimentary, there is a lot of biting down, choosing when to "Go!". Distance is usually just in or out of the pocket (commonly defending oneself with space). Strike selection isn't as variable, as alive and perceptual, as strikes are grouped in pre-set bunches. In wider selection fighting a fighter is constantly making decisions along a multitude of aspects. In a single attack perhaps only three (like the arm) come to the fore, and the slots spin. A strike may be well formed, moderately timed, but the distance is wrong. You may have chosen the right strike, but you weren't positioned ideally, and its intensity was down. You may be throwing with power, but in the tempo you're at it isn't effective, even though it was well-formed (executed well). Your positioning may be great, and your technique is on-point, but it was the wrong strike. And then, at a certain point 3 factors come together, and they have great effect. One is using the probablistic nature of fighting, and thinking along these proposed 7 axes or so, rolling through features of an attack, only some of which you can control. The animation brings out this idea some, in part because Jinx is forcing Sevika to fight in Jinx's style, through her tech. Chaotically, to her music. There is something to this in terms of Thai styles and even weapon choices. Thai Techniques have families of variables that surround them, if you use them properly, within their music. You can't just cut out a technique like a body part from a corpse, and Frankenstein it...I mean you can, but you won't be capturing the full family of its effectiveness. When you come to Thai krus in Thailand in a certain regard you are adopting some of their tech, their style. Things they are teaching you involve a collection of elements that allow you to surf the unpredictability of the fight space. They are saying: Be a little like me (like in Let Me In). This is how to get the most out of great fighters and krus you train with in Thailand, learn to be probabilistically a little like them. You can see an edited video of the Arcane fight scene here, unfortunately Twitter cuts a minute out of the scene, so you'll have to watch the show to get the fuller meaning of the arm delivery and the discovery of how it works, etc: See the Scene here

*as a mod I've edited your title to be more informative to readers as to what it's about, its always good to present the topic substance in the title Both gyms are popular with students looking for "technique" and correction. Unless you find someone who has recently been to both (in the last year) and has your overall needs, it will be very hard to be able to gauge was it better for you. We've been to both, but a while ago. Sitjaopho was kind of remarkable in that it does provide a kind of authentic, but still technical environment (partly because all the farang there are themselves very into technique, so it creates a culture) but does this all in a very crowded gym. I don't know how they do it, I've never seen it elsewhere in Thailand. Crowded, but high level, creative and technical. Manop's we haven't been to in a while, but we found it a much smaller gym, so you might (???) get a more one-on-one, or looser feel for training, which might be good for you. But I'm just going off of vibes from a few years ago, and what I saw. If you are only training for a month, Sitjaopho might be best in that there is an entire culture of training there, including the long time students, and it will be easier to slip into a "way of life", because everyone's on that page? It takes about a week or 10 days to even acclimate yourself if you've never trained in Thailand before. But, we haven't really seen Manop's gym in a while. Generally, its very hard to take the advice of people online. They just are different kinds of people, see and experience different things, and gyms change very quickly in Thailand. Even 3 months can change a gym if a trainer leaves, or a group of students come or go.

I don't know enough about Japanese politics in the early to mid 20th century to know the accuracy, or even possible political bias in the author/s, but below is a Google translate of an article in Japanese which details the ultra-Nationalist roots of Noguchi gym, and Osamu's ultra-Nationalist boxing father, who had been jailed for an assassination attempt. The family had moved to the recently Japanese-captured Shanghai so Osamu's father could run nightclubs for the Ultranationalist and underworld figure Yoshio Kodama. Keep in mind, this is machine translated, and there may be inaccuracies. In terms of the history of Thailand's Muay Thai, and its relationship to Japan's Kickboxing in the 1970s-1980s it does give important socio-political context to the rise of Japanese Kickboxing, and also the concept of its fusion with televised Entertainment. you can find the original article in Japanese here (found through wikipedia footnotes) Also, read the wikipedia on Japanese ultra-Nationalism (Fascism): Shōwa Statism (國家主義, Kokkashugi) is the nationalist ideology associated with the Empire of Japan, particularly during the Shōwa era. It is sometimes also referred to as Emperor-system fascism (天皇制ファシズム, Tennōsei fashizumu),[1][2] Japanese-style fascism (日本型ファシズム, Nihongata fashizumu)[2] or Shōwa nationalism. "...between 1921 and 1936 three serving and two former prime ministers were assassinated" Keep in mind, Thailand has had an extended period of Fascism, beginning with the Phibun dictatorship in 1938. And it has been argued that Thailand's Bangkok Muay Thai also played a role in that ideology during those decades. Imperial Japan's occupation of Thailand during WW2 was an impactful event in the relations between the two cultures, and likely shaped how Japanese Kickboxing was received in the 1970s and 1980s. The translated article: My father was both the "strongest boxer" and a "fervent patriot" 　Noguchi Osamu's father, Noguchi Susumu, was a star in the early days of Japanese boxing. 　Born in Nezu in 1907 (Meiji 40), he was an Edokko (Tokyo native) who was strong from an early age, boasted of his fighting prowess, and was a Yokozuna in amateur sumo. As an adult, he worked hard as a stevedore in Yokohama, and was called to take part in "Juken matches," where Japanese and Westerners competed against each other in inter-school competitions held at gambling dens and churches. 　At the beginning of his career, he belonged to the "Teikoku Boxing Association Kendosha" (now Teiken Boxing Gym), which was founded by Tanabe Munehide (the half-brother of Hankyu Toho Group founder Kobayashi Ichizo, who later became the president of Korakuen Stadium and founded Korakuen Hall, the mecca of boxing). However, when the dojo closed due to lack of funds, he joined the "Dai Nippon Boxing Association," which was founded by the rising power and Kobe boss, Kano Kenji, also known as "Pisu Ken" (nephew of Kano Jigoro of the Kodokan). 　At first, the cards were arranged as a match between judo and boxing, and a judo-boxing match, but as people grew tired of it, promoter Kenji Kano switched to boxing events. In 　1927, in the main event of the first boxing event held at the Kokugikan, Noguchi Susumu defeated an American boxer and became the Japanese welterweight champion. 　Nicknamed "Lion," his aggressive fighting style and strength made him popular, and Naoki Prize-winning author Daikichi Terauchi, who watched Noguchi's matches live as a boy, called him " the greatest, biggest, and most heroic boxer in Japanese history, who will never be seen again." 　Although he was a popular boxer who attracted tens of thousands of spectators to baseball stadiums around the country and fought more than 50 matches in total, Noguchi Susumu also had another face. He was 　Toyama Mitsuru of the Genyosha, the source of the right wing in Japan. He also belonged to the right-wing group Aikokusha, founded by his successor Iwata Ainosuke, and in addition to fighting, he was also involved in political attacks, making him a national patriot = terrorist. An 　astonishing two-sword style that is unthinkable today. 　What is particularly noteworthy is that he did not retire from boxing to become a national patriot, but rather performed both roles at the same time. 　In the midst of the winds of the "Showa Restoration" before the war, not only were there the May 15th Incident and the February 26th Incident, in which military personnel attacked government officials, but there were also frequent outbreaks of terrorism in which right-wing hitmen attacked politicians. 　In 1930, HamaguchiYuki OsachiThe Prime Minister was shot at Tokyo Station. Hamaguchi survived, but died nine months later from bacteria that had entered the wound. The shooter was Sagoya Tomeo (later Yoshiaki) of the Aikokusha. 　Sagoya Tomeo was paroled in 1940. After his release, he became the son-in-law of Iwata Ainosuke, and later became a leading figure in the right wing after the war. 　Noguchi Susumu was also like an older brother to Sagoya Tomeo. 　In 1931, the residence of the then Minister of Finance, Inoue Junnosuke, was bombed. The main culprit in this case was Osawa Yonekichi, a senior member of the Aikokusha, but Noguchi Osamu was arrested along with Inoue's younger brother, Osawa Busaburo, Akao Satoshi, Kodama Yoshio, and others. At this point, Noguchi Osamu and Kodama Yoshio had met. In 　1933, Noguchi Osamu was also involved in the attempted assassination of former Prime Minister and Rikken Minseito President Wakatsuki Reijiro. He was sentenced to five years in prison. 　When the protagonist, Noguchi Osamu, was born in 1934, his father was in prison. 　Moreover, during this period of confinement, he reunited with Kodama Yoshio, who would later become "Japan's number one mastermind" and who 　was in the same cell as him at Fuchu Prison, and they developed a strong friendship. While his father was incarcerated, his mother and son were looked after by the Osawa family of Ueno, who were senior members of Aikokusha. Incidentally, his younger brother Busaburo was involved in boxing and rakugo performances, and the profits were used to fund the Aikokusha. 　Noguchi Osamu was imprinted with boxing and performing arts performances during his early childhood. 　After his release from prison, during the Second World War, the family was invited by the Kodama Agency to live in Shanghai. 　However, his role was not to procure supplies, but to perform performing arts. 　He established the Noguchi Entertainment Department, which invited singers from Japan such as Dick Mine and Noriko Awaya, as well as the rakugo performer Torazo Hirosawa and a swordplay troupe to military entertainment facilities, and the family became involved in it. 　The foundation for Noguchi Osamu's involvement in the entertainment industry was already laid in Shanghai during the war. 　From the beginning, the author skillfully organizes and writes about the rise of boxing before the war, the complicated human relationships in the early entertainment industry, and the motives of the terrorist Susumu Noguchi's crimes. 　In other words, the essence of entertainment is to repeatedly make hostile and reconcile within the principle of competition, to follow the principles of obligation and humanity, to settle things, and to build a mutually supportive relationship.

(back cover)

Sounds great! We recently spent some time filming in Ubon (not Udon) at a legit kaimuay: #149 Provincial Kaimuay Knowledge | Santi Ubon Muay Thai (85 min) it would just be great to have insight into your arc of personal experiences at another kaimuay.

I'm getting more and more into mental training and coming across resources in a way that's probably best to keep sorted. I'll try to keep compiling a list with this blog post, but if you all have favorite books, podcasts, audio files, movies, articles, quotes or videos - whatever - please use this thread to share those so we can all have a mental training library, so to speak. (Go to the link of the original blog post in order to have clickable links to all these references) I read a lot of mental training books, pretty much anything I can find. Much of the time it’s on Kindle, though sometimes its an audio book. Maximum Climbing: Mental Training for Peak Performance and Optimal Experience by Eric J. Horst I’m currently reading this one, so I can’t write an overall assessment. But climbing mentality has similarities to fighting mentality, so translating to our sport is easy. What’s unique about this book is that Horst separates out “brain training” from “mind training,” which is actual synapse reactions versus how we think, and refining how to train each of those things is invaluable. Joy on Demand: The Art of Discovering the Happiness Within by Chade-Meng Tan This one sounds real hokey-pokey but it’s not. The author does an incredible job of expressing concepts of meditation and mindset both with eloquence and remarkable accessibility. I’ve read a lot about meditation and it’s often just left me feeling like I’m not ready, or I’ll have to have some intermediate step before I can really start it. But Meng makes it immediately practical – immediately – and explains in words and concepts that I found really inspiring. I love this book and highly recommend it, for athletes and non-athletes equally. This isn’t just about meditation. It’s about becoming aware of how the mind thinks, and setting the best direction for it. The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life by Mark Manson The author takes a lot from Buddhism. In fact, he paraphrases the story of Prince Siddhartha in such a way as one might rattle it off sitting on a bar stool. But, he’s speaking to an audience who might not know anything of that story or of Buddhist teachings, so giving a groundwork in short-form is reasonable enough. Most of what he argues in this book is taken from Buddhist meditation practices, but it’s written in an incredibly informal and personable voice. Like if you read “Sermon on the Mount” or the teachings of the Buddha in a Maxim article or something. In short, we can only give a certain number of fucks in life and Manson argues that we ought to value those fucks and spend them on the things which really matter. How to stop caring about the things that don’t matter, which don’t express our values, is the hard bit and he walks us through that as well. I wrote about my own realizations and responses to learning how to not give a fuck in this blog post, which didn’t come from reading this book but coincided with reading this book. 21 Yaks and a Speedo: How to Achieve Your Impossible by Lewis Pugh I consider Lewis Pugh a personal hero. I don’t swim – at all – and his missions are very different from my own, but his methods and mindset is both similar to mine and more refined. I feel like I can learn a lot from him, even if it’s just nodding my head along to his words and saying, “yes, yes, so much so.” I wrote a blog post abut his commitment to achieving the impossible and have cited him in several other posts as well. He’s just amazing. This book is great because it’s 21 very short chapters, each dealing with a seemingly impossible situation and what it took to get through it. The stories are great, the writing is great, and the inspiration is intense. Achieving the Impossible: A Fearless Leader. A Fragile Earth. by Lewis Pugh I loved this book less than I loved 21 Yaks, but it’s still great. You can also watch his TED talk on swimming the North Pole. Eat and Run: My Unlikely Journey to Ultramarathon Greatness by Scott Jurek There aren’t a lot of books written about or by fighters. A boxer here and there, maybe a super new book on an MMA fighter, but there’s no great books – either biographies on or from the minds of – from fighters. So we have to borrow from other sports. I’ve found that ultrarunners have challenges and mindsets that really speak to what I experience in Muay Thai. Scott Jurek is one of the most famous ultrarunners in the world and, thank God, he’s also a good writer. So this book reads well and has recipes and tolerable explanations on why he eats a vegan diet. He’s not preachy or overly praising of himself, either as a vegan or as a runner. It’s a good read and the endless, mind-bending nights of running speak to the path of a fighter. As a high-volume fighter, approaching 200 fights, I consider myself something of an Ultrarunner of fighters, so this book spoke to me. The Obstacle Is the Way: The Timeless Art of Turning Trials into Triumphs by Ryan Holiday This is basically an introduction and elaboration on how Stoicism can improve the lives of modern folks, as a meditation on Manliness (I believe that this does not belong solely to men, even though they’re in the name) and how to face adversity and challenge with calm, grace. Meeting challenges as the manner by which we shape and improve ourselves in an absolute must in strong mindsets. We can’t just endure everything, we also have to improve by those hardships. David and Goliath: Underdogs, Misfits, and the Art of Battling Giants by Malcolm Gladwell Not so much a Sport Psychology book but the concepts will get you pondering and it’s in line with what mental training is about. Plus, I really love reading Gladwell. The Undefeated Mind: On the Science of Constructing an Indestructible Self by Alex Lickerman I had completely forgotten about this book when first making this list, but some of the ideas presented by the author are still with me. A lot of Mental Toughness is about being keyed into your “animal instinct” and all this, but what’s lovely about this book is it presents the softer side of indestructibility. Think of a vase that breaks and when it’s glued back together it is on that seam, on the flaw, which is the strongest point. The mind is like this. The soul is like this. And as fighters, this is an invaluable lesson. Unforgivable Blackness: The Rise and Fall of Jack Johnson by Geoffrey C. Ward Biography of one of my favorite boxers/fighters, the first African-American Heavyweight Champion, Jack Johnson. Reading about men who have done incredible, seemingly impossible things, is a huge part of motivation and inspiration. Relentless: From Good to Great to Unstoppable by Tim Grover (I listened to this as an audio book but I’m listing it here as a book because I hated how the guy read it aloud; just rubbed me the wrong way. So, maybe listen to a sample and make the call for yourself.) Grover is a coach, both a physical training coach and a mental training coach, to some of the biggest names in sports. Michael Jordan, Kobe Bryant and Dwayne Wade to name the best. Michael Jordan though… could just leave it at that. I don’t love how this book is written, or at least how it was read-as-written, as the author is way into himself and has been eating his own ego for a long time. That’s kind of okay because there’s a lot of truth to what he’s saying and there are results to his methods, but there’s also a lot of talk about “darkness” in these top athletes that he kind of alludes to being animal instinct but also keeps really vague in a way that feels bullshitty rather than truly indescribable. But he covers a lot of the differences between the three categories he breaks high level athletes into: Coolers, Cleaners, and Closers. Those are good, better and best in order. He tries to tell you how to be a closer but also argues that you’re more or less born to it. Some great concepts, some really great thoughts. My Fight/Your Fight by Ronda Rousey I didn’t love this book but there are elements in there that give light to ways of thinking that probably aren’t common, especially for women. I don’t regard Rousey as a mentally tough athlete, but she presents herself as such and, deep down, she absolutely had mental fortitude to push herself to all that she has achieved. I do feel that this book also illustrates the holes in her mental training, which is also useful. The Fighter’s Heart: One Man’s Journey Through the World of Fighting by Sam Sheridan One of the first books I read and at the time I really loved it. I still think it’s a great book for those first starting out, because that’s where the author speaks from. It doesn’t hold up for me anymore, but I’m at a very different place than where I started and Sheridan simply never got to the places full-time fighters spend all our time, so it’s just not written for those folks. The Fighter’s Mind: Inside the Mental Game by Same Sheridan I read this right after The Fighter’s Heart and wasn’t as impressed by it, but it’s a good read and the author talks to some greats. The downside is that it’s a lot of “bar stool talk” from men who have lived in gyms, rather than giving practical exercises and ideas for how to actually approach your own mental training. Quiet: The Power of Introverts in a Wold That Can’t Stop Talking by Susan Cain Emma recommended this book and, while it’s not about sports or mental training, it does offer a lot for those of us who are natural introverts. Especially in sports, the overarching rhetoric is that we’re supposed to be bold and outgoing, talking ourselves and our teammates up and loving to be seen. That’s not the case for many of us and hearing that this is okay, and a strength in many regards, makes a world of difference to those of us who are very consistently led to believe otherwise. Mindset: The New Psychology of Success by Carol Dweck, Ph.D. This is more or less the book on mental training. It’s old and a lot of what we read now is derived from what Dweck wrote in this book, so this is kind of a primary source. There are books that are easier or more pleasurable to read that will offer much of the same ideas, but this is the O.G. source. The key point is the introduction of “growth mindset,” which is worth reading even if you don’t take in the whole book. Audio and Podcasts Because I run so often I listen to a lot of podcasts. It’s better than music for me. These are some of the mental training podcasts and audio that I’ve benefited from. Dr. Alan Goldberg “14 Steps to Mental Toughness” – I’ve gotten the most out of these audio chapters, partly because they were my first real step into practical mental training, but also because I re-listen to them so often. These are expensive, but for some reason they really clicked. I love his voice and his weird Jersey accent. Maybe not for everyone but definitely has been a great help to me. They are my go to when I get in a mental slump. Mental Training Expert Dr. Patrick Cohn – I listened to something of Dr. Cohn’s as an audio file, not sure if it was a book or one of his audio CDs I found, but he’s got a lot of experience and has worked with Miriam Nakamoto, which just means he has some degree of familiarity with fighters. A lot of what you find on Sport Psychology or Mental Training will have to do with specific sports like Tennis or Golf, with some carryover into business for CEO’s and suits climbing the corporate ladder. The ideas carry over just fine between sports and business, so they carry over between sports as well. You just have to do some legwork translating the sport-specific examples into fighting. Wrestling Mindset (Podcast) – Again, there’s not much of anything for fighters specifically. But wrestlers, man… they’re hardcore. My brother wrestled in high school and the mindset and fortitude required of wrestlers to get through their grueling training schedules is second to none. Even Joe Rogan, who loves to ask trainers about “overtraining,” always references wrestlers as being the most mentally tough dudes there are in the MMA game. This podcast isn’t high quality at all. It’s a guy on his computer, playing Eye of the Tiger through his shitty speakers to open every episode and there are long silences of dead-time when he’s inviting callers to ask questions. You just have to tolerate the informality of it. But the information and advice is solid, covering all range of topics from how to handle “off season”, training mentality versus competition mentality, how not to psych yourself out, how to handle the pressure of tournaments… there’s a lot here. The host also has a podcast on faith/spirituality for athletes (Christian), so if you’re into that you can check it out as well. Sports Motivation Podcast by I’m Not You (Niyi Sobo)- This is a really excellent podcast. Niyi Sobo was an NFL player who clearly benefited a lot and listened really well to his Sport Psychology training. He presents so much in each episode but, perhaps because he works with young athletes, the examples he gives are incredibly accessible. He has actual practical exercises as well as theoretical approaches. I recommend this podcast above all other resources on this list for immediate practicality, wealth of information, and direct approach to mental training. Episode #921 with Dominick Cruz by Joe Rogan Experience Joe Rogan is hit or miss but generally that depends on the guest. His podcasts are especially good for running because they’re crazy long (almost always more than 2 hours) and the conversations meander. So, if the guest is someone you don’t have interest in listening to, they suck; if it’s someone who is interesting, you wish they were 5 hours long. This episode with Dominick Cruz is the latter. I’ve always liked Cruz, but now I really like him. He talks a lot about his mental paths through his recent, really awful injuries in the last 3-4 years. Dealing with injury is something that most athletes will face at some point, hopefully not to the degree that Cruz did, but his notes on mentality are worthwhile for everybody. I really love this episode.