The Takedown Bob Douglas

THE MAKING OF A CHAMPION

WRESTLING- The

Making of a Champion: The Takedown

WRESTLING-

The Making of a Champion: The Takedown

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THE MAKING OF A CHAMPION: THE TAKEDOWN
by BOB DOUGLAS
Six Times a National Champion Captain U.S. Olympic Team 1968

Cornell University Press

Ithaca and London

Copyright © 1972 by Cornell University All rights reserved. Except book, or parts thereof, must permission in writing from Cornell University Press, 124 for brief quotations in a review, this not be reproduced in any form w ithout the publisher. For information address Roberts Place, Ithaca, New York 14850.

First published 1972 by Cornell University Press. Published in the U nited Kingdom by Cornell University Press Ltd., 2-4 Brook Street, London W1Y 1AA. Second printing 1973 First printing, Cornell Paperbacks, 1979

International Standard Book N u m b er 0-8014-9177-0 Library of Congress Catalog Card N um ber 71-37752 Printed in the United States of America

JACKIE
and

BOBBO

BOB DOUGLAS

W o rld C h a m p io n s h ip s , A rg e n tin a , 1969

RICK SANDERS
S ta te — O re g o n , N A A U , N A IA , N C A A , U.S. W r e s tl i n g F e d e ra tio n , Pan A m e r ic a n , W o r ld , S i lv e r M e d a l O l y m p ic s '68, S ilv e r M e d a l O l y m p ic s '72

DAN G ABLE
S ta te — Io w a , G r e a t Plains, M id la n d s , S o u th e r n O p e n , B ig -8 , N A A U , N C A A , U.S. W r e s tlin g F e d e ra tio n , Pan A m e r ic a n , W o r ld , G o ld M e d a l O l y m p ic s '72

BEN PETERSON
Io w a S ta te In v ita tio n a l, G r e a t P la in s , M id la n d s , S o u t h e r n O p en, B ig-8 , N C A A , G o ld M e d a l O l y m p ic s '72

CAR L ADAMS
S ta te — N e w Y o r k , G r e a t P lain s, M id la n d s , S o uthern Open, Big-8 , N C A A

JASON SMITH
S ta te — Io w a, G r e a t P lain s, M id la n d s , Big-8, N C A A , O l y m p ic T ria ls , W o r ld U n iv e r s ity

CHAMPIONS

DOUG LUNT
S ta te — K a nsa s

BILLY MARTIN
S ta te — V ir g in ia , J r. W o r ld

ROBERT VAN HORNE
S ta te — K a nsa s

PHIL PARKER
Sta te — Illin o is , G r e a t P lain s , B ig-8

KEITH ABENS State— Iowa

T h e te n N C A A c h a m p i o n s f o r 1972. Left to r ig h t, first r o w : G re g J o h n s o n (118 lb.), M ic h ig a n S ta te ; Pat M i lk o v i c h (126), M ic h ig a n S ta te ; G a r r y B a r to n (134), C la r io n S ta te ; T o m M i lk o v i c h (142), M ic h ig a n Sta te ; W a d e S c h a lle s (150), C la r io n S ta te ; s e c o n d r o w : C h r is T a y l o r (h w t.), Io w a S ta te ; Ben P e te rs o n (190), Io w a Sta te ; B ill M u r d o c k (177), W a s h in g to n ; R a n d y M a tte r (167), Pe nn S ta te ; C arl A d a m s (158), Io w a State.

FOREWORD

I t was clear to m e fro m th e sta rt th a t B ob D ouglas was going to b e a great ch a m p io n . H is w restling career b eg a n in hig h school, in Bridge­ port, O h io , w here h e wras tw ice sta te ch a m p io n . I follow ed his progress a n d saw h im win som e spe cta cula r m a tches. A t W e s t L iberty S tate C o l­ lege h e was N A I A C h a m p io n a n d r u n n er-u p in th e N C A A . A t O k la h o m a S tate h e was BigE ig h t C h a m p io n , S tate A A U C h a m p io n , N a ­ tional A A U Free-Style C h a m p io n , a n d N a tio n a l A A U G re c o -R o m a n C h a m p io n . B o b w on d istin ction as a w orld class wrestler, also, in b o th th e 138.5 a n d 149.5 w eight divi­ sions. In 1964, a t T okyo , h e finished fourth in th e O ly m p ic G am e s. In 1967 h e was runner-up in th e W o r l d C h a m p io n sh ip s. In 1968 h e was C a p ta in of th e U.S. O ly m p ic T e a m a t M exico City, a lth o u g h an injury k e p t h im o u t of th e co m p e titio n . In 1970 h e was aw arded a bronze m e d a l in th e W o r l d C h a m p io n sh ip s.

Bob h e lp e d coach w restling a t O k la h o m a State, his a lm a m ater, as assistant to M y ro n Roderick, b efore c o m in g h ere in 1969 to help m e w ith th e Iowa S tate Cyclones. T h a t year we h a d a N a tio n a l C h a m p io n s h ip team . Besides his coaching duties, B ob was co m p le tin g his gra d u a te work h ere in e d u c atio n a d m in istra tio n . Bob is a great w restler a n d h e is also tops as a coach. A bove all, certain traits of cha racter es­ pecially m a k e h im a good exam p le for voung m e n in te reste d in wrestling— th e will to work hard, th e desire to excel, integrity, intelligence, a n d im a g in a tio n . I k n o w h e has w orked h a r d on this book. I a m confident th a t it will b e c o m e a classic.
H
arold

J. N

ic h o ls

H ead W restlin g Coach Iowa State University Septem ber 1971

FOREW ORD

CONTENTS

Foreword, by Harold Nichols Preface How to Use This Book Introduction Stance Penetration The Tie-up Undcrliook, Collar Tie-up, Elbow Control Double Leg Tackle
SE T-UPS FO R T H E D OUBL E LEG

Fireman's Carry
SE T-UPS AND SECOND MOVES FO R T H E f i r e m a n ’s CARRY

Shoulder Snap 31, Arm Drag 32, Head Circle Tie-up 33, Head Snap 34, Head Release 35, Firem an’s Carry Change-off to Double Leg 36, Overhook and Sit-through Change-off from F irem an’s Carry 38, Push-to-Fcet 40 Duck-under Double Undcrliook 42, W rist Control Underhook 43, C ounter for W rist Control 44, Foot Kick 45 Single Leg Tackle H and Position 48, Attacking Motion 48
SET-UPS FOR T H E SI NG LE LEG

Forearm Pull S, H ead Rcach 9, Double E l­ bow Post 10, H ead Snap 11, Two-on-Onc E l­ bow Post 12, Elbow Lead 14, H ead and Arm Release 16, Elbow Post from the Knees 18, Arm Drag 19
SECOND M OV ES (breakdow ns)

FO R T H E DOUBLE LEG

Step-up Drive Across 20, Sit-through 21, Sec­ ond Move from D ouble Leg Tackle Knee Drop 22, Back Heel Trip from the Knees 23, Standing Back Heel Trip 25, C hest Pressure Sit-down— Underhook and Cross Face 26, D ouble Leg Pick-up 28

Head Snap 49, Forearm Pull 50, Elbow Post — Low Single 51, Elbow Post— High Single 52, Elbow Post and Opposite Leg Tackle 53, Forearm Block 54, Forearm Post from the Knees 55, Arm Drag 56, Shoulder Snap 57, W rist Slap 58, Fake Arm Drag 59, Elbow Lead or Shuck 60, Head Snap Across 63

CONTENTS

SECOND MOV ES FOR TIIF. SINGLE LEG

Back IIccl and Rubber Arm 64, Back Heel and Inside Crotch 65, Head Lift and Go-bchind 66, Mead Lift and Throw-down 67, Bear Ilu g 69, High Leg and Foot Kick 70, Inside T rip and Rubber Arm 71, Crotch Lift 72, Knee T a p into a D ouble Leg 73, Far Leg Trip 75, Chest Pressure and Back-away 76, Roll-under from the Feet 78, Heel and Chest Pressure 80, Single Change-off to High Crotch

The Shuck 113 Head Shuck 114, Elbow Shuck 115, Shuck and Foot Kick 116, Elbow Shuck from the Knees 117, Forearm Drive 119 High Crotch Takedown Elbow Lift Set-up 121, High Step 122, Underhook Tie-up Pull Set-up 124, Two-on-One W rist Roll Set-up 126, Reach 120 Crotch Drop 123, Forearm Control 125, Set-up 127

81
Near Arm and Opposite Leg Takedown
SET-UPS FO R T H E NEAR ARM AND O P P O S IT E LEG

82

Shoulder Snap 85, Snap-down 86, Forearm Pull 88, W rist Roll 90, Elbow Lift Set-up and High Crotch Change-off to Single Leg 91
SECOND MOV ES FOR T H E NEAR ARM AND O P P O S IT E LEG

Ankle Pick-ups 128 Underhook 129, H ead and Heel 130, Two-onO nc C hange to a D ouble Arm Hook 131, W hip-over and Ankle Pick 132, Elbow Lead and Ankle Pick 133 Headlock 134 Snap-down and Headlock from the Knees 136, Snap-down and Headlock from a Standing Position 137, Standing Headlock 138 Head and Arm Control 140 Knee T rip 142, Pull-down 144, Run-around 145, W hip-over 146, Throw-back (Pop-over) 148, Cradle 149, Shuck 150, Far Leg Trip 1 50, Ankle Pick 152 Breakdowns from Behind 153 Lift and Sweep 154, Side Lift 1 56, Sit-through and Knee Lift 157, Back Heel T rip 158, Ankle Pick and Inside Trip 159, Crotch Lift 161, Cross Body and Ankle Pick 162 Index 163

Knee Trip 92, Barrel Roll 93 Arm Drag Drag Position 94, W rist Rotation 95, Fake Firem an’s Carry Changc-off to Arm Drag 96, Sit-through 97, Foot Kick Changc-off to Arm Drag 98 Foot Kicks Head Snap 100, Shoulder Snap 100, Ankle Pick-up 101, Two-on-One F oot Kick with E l­ bow Control 102, Two-on-One Foot Kick with Shoulder Control 104 94

99

Head Snap 106 Head Snap from the Knees 108, Jerk-down Head Snap 109, Reach Set-up and Head Snap from the Feet 110, Foot Kick Head Snap 111, Snap-down 112 CONTENTS I xii

PREFACE

D ea lin g w ith ta kedow ns is th e first step in b e ­ c o m in g a c h a m p io n . If success is to follow, there m u s t b e a basic p h ilo s o p h y of a tta c k b e h in d th e te ac h in g of ta k ed o w n te c h n iq u e . M y philosophy is th e sa m e as th e o n e t h a t m a d e O k la h o m a S tate th e m a ste r of wrestling in this country. First, a ta k ed o w n m a n m u s t have m o tio n , the ability to m o v e his feet; second, th e ability to step into his o p p o n e n t; third, th e ability to get p as t th e o p p o n e n t ’s defense. T h e s e th ree items c a n n o t w ork as separate un its b u t m u s t b e co­ o rd in a te d in ord er to insure success. T h is book explains all three. F o r novice a n d expert alike, it offers all the elem ents necessary for a full k now ledge of takedow ns. T h e e n d result is sure success. T h a n k s to m y m o th e r, Belove Davis, m y father, E d d ie D ouglas, a n d m y g r a n d m o th e r, M aggie Davis, w ho m a d e m e possible, To

a n d to F red, Angela, a n d Lovelle. T o M a lc o lm X a n d D r. M a r ti n L u th e r King, w ho h a d a p ro fo u n d im p a c t u p o n m y life, m y gratitude, a n d to all th e brothers a n d sisters in th e struggle. T o G eorge Kovalick a n d M y ro n Roderick, an d th e o th e r coachcs whose skills and k now ledg e arc a p a rt of this book, m y thanks. D av e Auble, F re d L e tt, Bill I-Iarlow, T a d a a k a H a tta , Joe James, Y jo U e ta k c ( O b o t a ) , m y appre cia tion for h elping m e m aster these techniques. T o the typists an d all those others whose nam es arc n o t m e n tio n e d , w ith o u t whose help the book

w ould n o t have b e e n possible, again thanks. 'l'o Professor Alvin Bernstein, grateful recognition of so u n d advice a n d m a n y im provem ents. A special thank-you to C ornell U niversity Press a n d its staff for having confidence a n d co u r­ age in u n d e rta k in g this book. T o th e c h a m p io n s w h o a p p e ar in th e illustra­ tions, m a n y h e a rtfe lt thanks. T o th e fans w h o have h elp ed me, I h o p e t h a t your rewards have bee n as great as m ine. A n d to th e m e n w h o dare to take u p th e c h a l­ 1973

lenge of wrestling, h ere is a discipline th a t builds a m a n in m in d , body, a n d spirit.

Ithaca, N e w York

B. D .

R ick Sanders lost his life in a car a c c id e n t in Yugoslavia shortly afte r w in n in g t h e Silver M e d a l a t th e 1972 O lym pics. H is d e a th is a great loss to th e wrestling w orld a n d a great personal loss. T h o s e w h o k n ew th e real R ick Sanders will agree th a t his m a jo r c o n trib u tio n to life was living. C iao to a friend. B. D.

PR EFAC E

I

x iv

I

5

4

,

5

T h e h o riz o n ta l a n d vertical lines in th e bac k­

well as his ac c o m p a n y in g vertical m ov em ents. F ro m F ig u re 2 to Figure 3 th e wrestler has m oved forw ard 2 feet an d low ered his hea d ab o u t 1 foot. F ro m F ig u re 4 to Figure 5 th e w restler’s b ody has a d v a n ce d alm o st 3 feet a n d his hea d has d ro p p e d below the waistline. T h e total dis­ ta n c e covered is 8 feet. T h r o u g h o u t th e b o o k th e wrestlers w ho illus­ trate th e various positions are designated В (for Black) a n d W (fo r W h i t e ) . Definitions of wrestling term s are on th e pages designated by boldface n u m b e rs in th e index.

HOW TO USE THIS BOOK

g r o u n d of th e illustrations form line charts for d e te r m in in g th e distance covered in a given move. T h e rectangles of th e grid m easure 1 foot by 21/2 feet. T h e two h o rizo n tal lines on th e wall rep rese n t th e h e a d line a n d waistline; th ey show u pw ard a n d d o w n w ard m o tio n . F ro m th e o th e r lines on th e charts you can gauge th e forward a n d circular m o tio n . T h e n u m b e re d sections on th e grid assist in calculating th e distan c e m oved. I n th e sequ en c e above, for exam ple, you can judge th e distance covered by th e w restler as

WRESTLING —

The Making of a Champion: The Takedown

INTRODUCTION

W r e s tlin g is a h a n d -to -h a n d co n te st b etw e en tw o o p p o n e n ts in w hich each a t te m p ts to c o n ­ trol th e o th e r by placing h im on his back, w ith b o th shoulders to u c h in g th e m a t for a given n u m b e r of seconds. T h e te ch n iq u e s used in w restling have b e e n passed d o w n from a n c ie n t tim es. T h is b o o k deals w ith o n e specific te c h ­ n iq u e — th e takedo w n. T h e w restler w ith a superior know ledge of takedow ns has a tre m e n d o u s advantag e. T h is v o lu m e d em o n stra te s various ta ked ow ns a n d shows th e rewards of k n o w in g these techniques. In each section th e reader will e n c o u n te r certain basic principles c o m m o n to all takedow ns. C o n ­ s ta n t a t te n t io n to these principles will allow even th e b eg in n in g w restler to analyze th e m o s t so­ ph istica ted ta kedo w ns in to sim ple c o m p o n en ts . T h e integral c o m p o n e n ts of a successful ta k e­ dow n are th e “p e n e tr a tio n ,” th e “ set-up,” an d finally th e “second m o v e” ( b re a k d o w n ) , w hich

is em ployed w h e n your o p p o n e n t has already co u n tered your first move. T o o little a tte n tio n has bee n paid to b o th th e set-up a n d the second move. K now ledge of o n e c o m p o n e n t is insuffi­ cient. A successful w restler m u s t have several set-ups for his favorite takedow ns a n d several second moves t h a t h e m a y use from each set-up.

IN T R O D U C T IO N

W o rld Cham pion D an Severn {right) moving into a staggered stance. (Photo: Scholastic W res­

tling N ew s)

STANCE

I

2

STANCE

O n e of th e m o s t im p o r ta n t facets of th e ta k e­ d o w n is th e stance. Y o u r objective is to get an over-all p ic tu re of your o p p o n e n t w ith o u t focus­ ing a t te n t io n u p o n an y p articu la r p a r t of his body. Y o u r h e a d should b e cocked b a c k on your shoulders w ith y o ur chin up. Y o u r h a n d s should b e in your lap w ith y our elbows close to th e sides of your body. Y o u r b a c k shou ld be arched, knees b e n t, h ips aligned, feet sho uld er w idth ap art, toes p o in tin g out. T h e r e are th re e principal stances: th e square, th e staggered, a n d th e drop step. In th e square stance, th e fee t are aligned sh o u ld e r w idth apart, parallel to each o th e r (Fig. 1 a b o v e ). In th e staggered stance your feet should again be sh o u ld e r w id th a p a rt a n d parallel, w ith o n e foot resting b e h in d th e o th e r (Fig. 2 ) . In th e drop step sta n ce your rear foot is p o sitio n ed five to twelve inches b e h in d your fro n t foot (Fig. 3).

Y o u r body w eight should b e distrib u ted over t h e entire area o f b o th feet for balance. Avoid p lacing too m u c h w eight on eith er your toes or your heels. T h e feet are m oved on th e m a t, simi­ larly to r u n n in g in place. All m o v e m e n t begins by shifting to e ith e r a staggered or d rop step stance to begin p e n e tr a tio n . T h e stance varies w ith dif­ ferent individuals according to h e ig h t a n d bod y build. S om e wrestlers prefer to sta n d m o re erect, w hile others m a y choose a cro u c h in g position. In choosing a stance, however, r e m e m b e r th a t as long as your knees are b e n t, you will have the ad va n ta g e of b ein g able to a tta c k w ith o u t tele­ grap h in g your m ove to your o p p o n e n t. A wres­ tler in an erect stance c a n n o t a ttac k u n til he b ends his knees. As a result, w h en h e begins to crouch, th e o p p o n e n t will probably back away.

PENETRATION

P e n e tra tio n is m o v in g in th e direction of your o p p o n e n t. T h is is d o n e by tw o te ch n iq u e s: (1) th e step-in, (2 ) th e drop step. O n th e step-in you shift y our w eight to on e fo o t a n d step w ith th e o th e r f o o t in th e direction o f y our o p p o n e n t. (See page 6.) O n th e drop step you take a step to place th e w eight o n o n e foot a n d m a k e a second step in th e direction of your o p p o n e n t w ith th e o th e r foot. (See p a g e 9.) L e a rn in g to transfer your w eigh t is necessary for a good attack. I n this transfer your w eight shifts from o n e foot to th e other, d ep e n d in g u p o n th e d irection of your p e n e tra tio n a n d th e k in d of ta k ed o w n you a tte m p t. S hift your w eight to o n e foot. T h e n , ta k in g a lo n g step, transfer your w eig ht to th e forw ard h a lf of your fro n t foot. F r o m h e re you m a y sta rt th e spring ac tio n b y a h a r d p u sh of th e toes, leaving th e m a t in a le ap in g m o tio n .

O n c e you h a v e m a ste re d th e idea of tra n s­ ferring your w eight, you will b e well o n your w ay to m a ste rin g th e effective ta k e d o w n te c h ­ niq u e .

PE N ETR ATIO N

THE TIE-UP

T h e tie-up is th e first step for an y set-up. S et­ ups are devices to b a it your o p p o n e n t in to m a k ­ in g te ch n ic al errors, such as raising his head, p u llin g back, reaching, or stepping. T h e tie-up sh o u ld b e m a d e quickly, w hile c h a n g in g control p o in ts to get th e o p p o n e n t in to m o tio n . I t is bes t m a d e a t a d istan c e t h a t will ena b le you to k ee p y our elbows b e n t . P lac e y our feet n o m o re t h a n tw o feet from his. T h e tie-up sh o u ld be m a d e b y th e h a n d s c o m in g fro m th e lap position on th e inside of your o p p o n e n t ’s arms. In t h e h ead-to-head tie-up, wrestlers face each o th e r e ith e r w ith th e ir h eads to u c h in g o r tw o to th ree inches apa rt. In th e head-to-shoulder tieup, y our h e a d rests against y our o p p o n e n t ’s shoulder. In e ith e r of these positions, th e h a n d s are used for control.

shoulder, arm , or wrist. B ’s h e a d is placed on W ’s sh o u ld e r o n th e sa m e side w here В u n d e r ­ hooks. T h e u n d e r h o o k tie-up is a n effective set-up for hig h inside crotch, an k le pick-up, a n d du ck -u n d e r takedow ns.

Collar Tie-up (Fig. 2 ) .

W

is grasping В

a r o u n d th e neck, w ith his elbow h e ld close to B ’s chest a n d his forearm resting close to th e side of B ’s neck.

E lb ow C ontrol (Fig. 3 ).

В is controlling W ’s

elbow w ith his t h u m b on th e outside, resting his h e a d o n W ’s shoulder. B ’s free h a n d is used to co n tro l th e o pposite wrist or h e ld in a position d o w n close to th e crotch. T h e elbow con trol tie-up is very effective for th e high inside crotch takedow n.

U nderhook (Fig. 1 ).

В is u n d e rh o o k in g W ’s

arm , resting th e p a lm of his h a n d on to p of W ’s shoulder. T h e free h a n d is used to co n tro l W ’s

5

THE TIE -U P

DOUBLE LEG TACKLE

T h e d o u b le leg tackle is a flying tackle similar to a football tackle. It begins from a staggered or d ro p step position. In th e first m ove, your fro n t leg steps b etw e en your o p p o n e n t ’s legs, or a t least in th a t direction, in a n a t t e m p t to split his legs w ith your a dva ncing foot. Y o u r h e a d should be on th e sam e side of th e o p p o n e n t ’s b o d y as your b ack foot, a n d should lead your b o d y in, w hile your shoulder makes th e first co n ­ tact w ith his body. T h e tw o techniques used for this initial co n ­ ta c t arc th e d rop step (Fig. 4, page 9 ) a n d th e step-in (Figs. 1-4, a b o v e ) . T a k e a lo n g step to a cro u c h ed position, so th a t you are close to th e m a t w ith your fro n t kn ee p o in tin g b etw e en your o p p o n e n t ’s legs (Figs. 1 - 3 ) . Y o u r kn ee should be b e n t dow n tow ard th e m a t, a n d your

ch est should b e over your knee, h e a d up, a n d arm s in close to th e b ody. All your w eig h t should b e o n th e fro n t foot. A t this p o in t, transfer th e w eig ht to your toes a n d dive in to y o ur o p p o n e n t by le ap in g off th e toes of th e fro n t fo o t, flat­ te n in g y our toes b e n e a t h you as you leave th e m a t (Fig. 4 ) . T r y to h it your o p p o n e n t w ith your shoulder, k eeping your h e a d up. A t th e p o in t of co n tac t, your fro n t k n e e will h it th e m a t a n d possibly your bac k k n e e will also. Y o u r h a n d s are grasping th e o p p o n e n t ’s legs w ith yo u r wrists on th e outside of his knees. H is kn ee on y our h e a d side m u s t b e con tro lled by pu llin g it tig h t to your chest. Y o u are n o w in position to sta rt your b rea k d o w n , w hich is th e second move.

Curly Culp, N ational C ham pion from Arizona State, at present with the Kansas City Chiefs, steps in for a double leg tackle.

7

I

D O U B L E LEG T A C K L E

Set-ups for the Double Leg
T h e set-ups for th e d o u b le leg tack le are d esigned to get your o p p o n e n t’s arm s o u t o f a c o u n te rin g p osition. T h is is d o n e in various ways. T h e follow ing sequences o f pictures alo n g w ith t h e te x t show a n d describe th e te ch n iq u es used.

Forearm Pull.

F rom

a n elb o w co n tro l in

F ig u re 1, В releases th e elbow in F ig u re 2 a n d quickly h ooks over th e forearm s, jerking th e m to w ard his ch est in F ig u re 3. В th e n steps in for th e tackle in Figures 4, 5, a n d 6.

D O U B L E LEG T A C K L E

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Heczd Reach. O n e of th e few set-ups you can show th e final p e n e tra tio n . In th e last tw o p h o to ­ graphs В is driving W over his base a n d d o w n to th e m a t. N o t e th a t, in F igu re З, В positions his foot for th e d rop step. In Figures 7 a n d 8 pay p articu la r a tte n tio n to th e driving m o tio n used for ad d e d p e n e tra tio n , w h ich is d o n e by p u s h in g off th e toes. use fro m th e o u tsid e on a d o u b le leg tackle is a h e a d reach. In th e first p h o to g r a p h b o th w rest­ lers are using a n o p en position. In F ig u re 2, В a tte m p ts to reach for W ’s h e a d . F ig u re 3 shows W ’s rea ctio n to B ’s reach. In F ig u re 4, В starts to p e n e tr a te by m ov in g his h a n d s dow n a n d sta rtin g his d rop step. Figures 5, 6, a n d 7

D ouble E lbow Post.

F r o m a d o u b le elbow

F ig u re 5, В changes th e position of his th u m b s to th e inside, a n d th e n posts W ’s elbow, step ­ p in g in for th e tackle— Figures 6-9.

co n tro l in F ig u re 1, W a tte m p ts to free his el­ bows by p u s h in g В away in Figures 2 -4 . B u t in

Head Snap.

T h is set-up is used w h e n your

h a n d off th e n eck a n d in to position for th e tacklc. Figures 7 a n d 8 show th e d rop step used for p e n e tra tio n .

o p p o n e n t is co n tro llin g y our elbow, as W is in Figures 1 a n d 2. Figures 3 a n d 4 sh o w th e sn a p ­ p in g of th e h ea d . In Figures 5 a n d 6, В slips his

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Two-on-One E lbow Post.
F r o m an elbow a n d wrist co n tro l in F ig u re 1, В releases th e w rist a n d catches W ’s o p p o site wrist in Figures 2 a n d 3. В th e n turns his h e a d a n d uses his sh o u ld e r to k n o ck W ’s h a n d off— Figures 4 -5 . W co u n ters w ith a h e a d b lock— F ig u re 5. В uses th e c a p tu r e d a r m as a p o st to clear th e arm s in Figures 6 a n d 7, w h ile h e uses a step-in for th e tackle in Figures 8 a n d 9.

Opposite-side view of another elbow post set­ up.

JJ

5

1

E lbow Lead.

T h is m a n e u v e r is used w h e n

fro m o u tsid e to inside. В o pens th e p a lm of his rig h t h a n d a n d slaps W ’s elbow across his body, as show n in Figures 4, 5, a n d 6. Figures 7, 8, a n d 9 sh o w th e p e n e tra tio n ,

y our o p p o n e n t changes from a n o u tsid e con tro l to an inside position. Figures 1 a n d 2 sh o w В w ith an inside control position. In F ig u re 3, W m akes a n a t t e m p t to ch a n g e his h a n d p osition

Detail of the elbow lead. N ote the slapping tech­ nique in this close-up.

H ead and A rm Release.

In this a c tio n sereacts

by p u llin g his h e a d up. W h e n В feels th e upw ard pressure, h e releases th e h e a d a n d steps in for a d o u b le leg tackle.

quen ce, from a h e a d a n d a rm con tro l, В applies pressure d o w n to w ard th e m a t, a n d W

Details of the head and arm release. A ttention should be paid to Figure 3, where В slaps W ’s elbow across his body in order to force him up.

E lbow Post from the Knees.

W a tte m p ts to

th re e p h o to g rap h s, В pushes w ith his h e a d in to W ’s side w hile ste p p in g u p w ith his o u tsid e leg to co m p le te his tackle. (See also th e step-up drive across, page 20.)

control B’s h e a d w ith a collar tie w h ile on his knees, in th e first p h o to g ra p h . In Figures 2-6, В executes a p o st a n d a d ro p step. In th e last

A rm Drag.

In F ig u re 1 b o th wrestlers have

step p in g b e tw e e n W ’s legs— Figures 3-6. Me th e n reaches across W ’s b o d y a n d lifts W ’s leg off th e m a t. (See also “A rm D ra g ,” pages 9 4 98.)

a w rist co n tro l position. In F ig u re 2, В rotates his w rist d o w n w ard. В th e n releases W ’s wrist a n d takes a n arm drag, tu r n in g W ’s b o d y a n d

Second Moves (Breakdowns) for the Double Leg
B reakdow ns can b e described as second moves. T h e second m ove will be d e te rm in e d by th e p osition of your o p p o n e n t’s arm s a n d feet afte r you h av e m a d e your initial p e n e tra tio n . T h e p ic tu re sequences follow ing sh o w th e te ch n iq u es used.

Step-up Drive Across.

B ’s a t te m p te d d o u b le

leg has ta k en h im to his knees in Figures 1 a n d 2. H e th e n steps up, p u sh in g his h e a d in to W ’s side, th e re b y forcing W off-balance a n d p lacing him self in a control p o sitio n b e h in d W .

D O U B L E LEG T A C K L E

I 7

a

I

Sit-through.

В

a tte m p ts

to

c o u n te r

W ’s

4 -7 , W sits th ro u g h . Figures 8 - 9 sh o w th e finish. N o t e t h a t th e key to this m ove is th e knee co n tro l show n in Figures 2-6.

d o u b le leg tackle by using a cross face in Figures 1 a n d 2. W reacts a n d goes in to his second m ove by co n tro lling th e k n ee in F ig ure 3. In Figures

S E C O N D MOVES

Second M o ve from D ouble Leg Tackle Knee Drop. F ro m a d o u b le leg tackle p o sitio n in
F ig u re 1, W is a t te m p tin g to c o u n te r by th ro w ­ ing his legs back. В m a in ta in s co ntro l of W ’s left k n ee in Figures 1-6. By p u llin g W ’s k n ee

to w ard th e m a t, d ip p in g his o w n right sh o u ld er a n d liftin g W w ith his left shoulder, В forces W to th e m a t. В th e n steps over to assum e his riding p osition in F ig u re 9.

Back Heel Trip from the Knees.
1 a n d 2. W

W ’s d o ub le

h e trips w ith his foot, W knocks В off-balance a n d to th e m a t. N o te В is a t te m p tin g to co u n te r in F ig u re 1 by th ru s tin g his hips forward.

leg tackle has tak en h im to his knees in Figures th e n steps u p a n d b e h in d B ’s leg w ith his o u tsid e leg. D riv in g w ith his chest as

Junior W o rld Cham pion Dave Severn attacking from an underhook. (Conlev Photography, Inc.)

Standing Back Heel Trip.
position. W

In th e first p h o to -

cross face. T h e rest of this seq u en ce shows В ste p p in g in, kicking o u t W ’s right th ro w in g h im to his back. leg, a n d

g rap h В is on his feet in a d o u b le leg tackle is a t te m p tin g to c o u n te r w ith a

Underhook

C hest Pressure Sit-down.

In th e a c tio n se­

pressure to w ard t h e m a t, forcing W Figures 5 a n d 6.

do w n, in

quences for b o th th e u n d e r h o o k a n d th e cross face, В h as p e n e tr a te d to a d o u b le leg tackle positio n in F ig u re 1. In F ig u re 2, В b en d s his knee, ap p ly in g chest pressure to W ’s th ig h , thus p lacin g all of W ’s w eig h t on W ’s rig h t leg. In Figures 3 a n d 4, В extends th e d istan c e b etw e en W ’s legs by ste p p in g back. В c o n tin u es to apply

N o tic e : (a) В does n o t go to th e m a t u n til his o p p o n e n t is do w n . ( b ) T h e c h e st pressure is d o n e from a cross face o r u n d e r h o o k co u n ter. A n d (c ) tak e special n o tic e of B ’s le ft-h a n d posi­ tio n on th e m a t in th e last p h o to g ra p h .

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Cross Face

Double Leg Pick-up.

Figures 1-3 show B ’s

looks u p a n d brings his hips forward, straighten in g his b ack a n d liftin g W in to th e air.

p e n e tr a tio n on a d o u b le leg tackle. In F ig u re 4 n o te h o w th e b ac k leg is b r o u g h t up. В th e n

Fred Lett executes the fireman’s carry on Dave Oucllet.

T h is p h o to shows th e correct p osition of B ’s h ea d a n d arm for th e firem an ’s carry ta k ed o w n . N o t e t h a t B ’s h e a d is u n d e r W ’s a r m a n d to th e o u tsid e o f W ’s body. В controls W ’s a r m w ith his t h u m b p o in te d in w ard a n d parallel w ith his fingers. T h e t h u m b acts as a h ook, p u llin g th e arm to w ard th e neck.

FIREMAN’S CARRY

T h e firem an ’s carry te c h n iq u e is sim ilar to th e d o u b le leg tackle p e n e tr a tio n . B egin w ith a long step b e tw e en your o p p o n e n t’s legs. P lace your h e a d u n d e r th e a rm t h a t you are a tta c k in g or controlling. Y o u r free a r m will go inside his crotch, th u s c a tc h in g th e leg above th e knee. T h e ste p p in g leg will go d ee p in to th e crotch, to u c h in g th e m a t in a k n ee lin g position. Y o u r rear leg will drive a n d p iv o t a n d also co m e to a k n ee ling position. T h is p iv o tin g a c tio n straig h t­ ens your back, liftin g your o p p o n e n t off th e m a t w hile p u llin g his c a p tu re d a rm do w n . F r o m this position take your o p p o n e n t over y o u r h e a d a n d th ro w his sh o u ld e r d o w n to th e m a t.

Y o u r h e a d m u s t b e p la ce d on th e sa m e side of y o u r o p p o n e n t’s b o d y as th e a r m a n d leg you are attack in g . Y o u r h e a d can e ith e r b e o n your o p p o n e n t ’s sh o u ld e r or to th e side of his h ea d . C a tc h y o u r o p p o n e n t’s a r m as h ig h on th e tri­ ceps as possible, w ith th e t h u m b h o o k e d b e h in d his triceps. M a k e sure y o u r o p p o n e n t does n o t c o n tro l y our h ea d . T h e key p o in t to r e m e m b e r in a firem an ’s carry is t h a t you m u s t m o v e to a staggered stance w h e n you sta rt to p e n e tra te .

Set-ups and Second Moves for the Fireman’s Carry

T h e set-up for a firem an ’s carry is designed to do th re e things: 1. M a k e y o ur o p p o n e n t step to w ard you. 2. M a k e y our o p p o n e n t m o v e th e arm th a t you p la n to co n tro l aw ay from his body. 3. M a k e your o p p o n e n t raise his h e a d up. T h e second m ove for a successful firem an ’s carry is a th ro w to th e m a t. S tra ig h te n your b ack to raise your o p p o n e n t off th e m a t, m a k in g sure t h a t his leg is con tro lled , a n d ro ta te y o u r o p ­ p o n e n t off y o u r shoulders, over y our h ea d , to th e m a t. T h is te c h n iq u e is sh o w n in th e follow­

ing ac tio n sequences, w h ich d e m o n s tra te th e set-ups a n d second moves for th e firem an’s carry. (See also seco n d moves for th e n ea r arm a n d op p o site leg ta k ed o w n , page 9 2 ).

Shoulder Snap.

In Figures 1-3, B, from a

staggered stance, overbooks W ’s arm a n d snaps his shoulder. In Figures 4 -6 , В moves tow ard th e cro tc h a n d attacks th e leg. In Figures 7 -8 , В m akes his lift a n d th ro w to th e m a t. N o t e th a t, in F ig u re 2, В changes to a drop step stan ce a t th e sa m e tim e as h e prepares to snap th e shoulder.

A rm Drag.

В goes from a d o u b le wrist co n ­

fro m a drag to an overhook. В catches th e arm in F ig u re 3. Figures 4 - 7 show th e p e n e tr a tio n a n d finish of th e firem an’s ta k edo w n .

trol in F ig u re 1 to an arm d rag in F ig u re 2. W reacts by pulling his a rm back, a n d В changes

h

я Z

Head Circle Tie-up.

W reaches to grasp B ’s

from his body, as sh o w n in Figures 3 a n d 4. W th e n releases th e h e a d as h e hooks th e arm an d steps in for th e firem an ’s carry— Figures 5 an d 6. In Figures 7, 8, a n d 9, W finishes w ith th e lift a n d th e th ro w to th e m a t.

h ea d in F ig u re 1. W catches th e h e a d a n d moves to his left, pu llin g t h e h e a d to w ard his sh o u ld er in th e sam e directio n h e is m oving. T h is tie-up is in te n d e d to g et В to raise his left arm away

H ead Snap.

F ro m a staggered stance В does

gins his firem an ’s carry, w h ile W is straig h ten in g up. F igures 5-8 show th e p e n e tr a tio n and finish.

a h e a d sn a p set-up in Figures 1-4. As W reacts in F ig u re 4, В reaches for a rm con tro l a n d be-

H ead Release.

F r o m a h e a d a n d arm control

of his arm . F ro m F ig u re З, В begins his p e n e tr a ­ tion, using a step-in a n d firem an ’s carry, finishing in Figures 5-7. (See also “ Fleacl a n d A rm C o n ­ trol,” pages 140-152.)

in F ig u re 1, В forces W ’s h e a d d o w n . W strug­ gles to free his h e a d in F ig u re 2. В allows W to free his h e a d in F ig u re 3 b u t m a in ta in s co n tro l

Fireman’s Carry Change-off to D ouble Leg.
F r o m a staggered sta n ce in F ig u re 1, В does a h e a d sn a p in F ig u re 2; as W reacts in F ig u re 3, В overhooks W ’s rig h t arm a n d steps in for his firem an ’s carry in F ig u re 4. In F ig u re 5, W tries to c o u n te r В by w h ip p in g В over. H ow ever, В changes fro m a firem an ’s carry to a d o u b le leg tackle by atta c k in g W ’s leg w ith b o th h a n d s, in th e rest of th e p ic tu re seq u en c e ( o p p o s it e ). N o te th e ch a n g e in directio n sh o w n in F ig ­ ure 6, as В switches off to a d o u b le leg in F ig ­ ure 10.

Two Olympians, Charles Tribble and D an Brand, in action. Brand, on top, is trying to counter T rib ­ ble’s attem p ted second move.

37

[

F IR E M A N ’S CAR R Y

Overbook and Sit-through Change-off from Fireman’s Carry. B ’s firem an’s carry ta k ed o w n
has b ee n c o u n te re d by W . In F ig u re 1, В m a in ­ tains th e arm co n tro l of th e firem an’s carry a n d uses a reverse elbow lo ck on W ’s free a rm to control b o th arms. In F ig u re 2, В begins a sitth ro u g h m o tio n , p u llin g W ’s left arm to w ard th e m a t a n d forcing W ’s rig h t sh o u ld e r up an d

to th e side. T h is m o tio n is sim ilar to a roll. In F ig u re 5, В forces W o n his b a c k a n d drives in to W , m a k in g W top. (See th e n ex t page for an a c tio n secjuence th a t illustrates side.) this te c h n iq u e fro m th e o pposite carry B ’s en tire w eig h t on th e chest. В th e n scissors his legs a n d com es o u t on

1

2

O pposite-side view of an overbook a n d sitth ro u g h developed from a firem an ’s carry a t­ tack. In this sequence W is co u n te rin g by h o o k in g inside th e crotch.

Push-to-Feet.

W is p o sitio n ed on his knees,

a n d В has placed his h a n d s on W ’s shoulders w ith his th u m b s in W ’s arm p its. В th e n takes a step, p u sh in g W to his feet (Figs. 1 - 2 ) . As W com es to a sta n d in g p osition (Figs. 3 - 6 ) , В re­ leases his rig h t h a n d a n d reaches inside th e cro tch for a firem an ’s carry. В finishes w ith a lift a n d th ro w to th e m a t (Figs. 7 - 1 0 ) .

DUCK-UNDER

T h e d u ck -u n d e r can b e described as p u ttin g your h e a d b e h in d your o p p o n e n t’s arm . T h is is d o n e from a n u m b e r of tie-ups w hich in th e m ­ selves c o n s titu te th e set-up. T h e te ch n iq u e s used are ste p p in g a n d sq u a ttin g while g ettin g your o p p o n e n t to m o v e his a rm aw ay from th e side you p la n to go under. T h e b reak d o w n d epends u p o n th e positio n of your o p p o n e n t’s body. T h e follow ing p ic tu re sequences show th e techniques used. (See also “ B reakdow ns from B e h in d ,” pages 153-162.) Mike Caruso executes a duck-under.

D ouble Underhook.

W u n d erh o o k s b o th of

W th e n looks up, blo ck in g th e a r m a n d rea ch in g b e h in d th e leg, a t th e sam e tim e driving across a n d forcing В to th e m a t.

B ’s arm s a n d takes a step a n d squats, p lacin g his h ea d u n d e r B ’s arm , in Figures 1, 2, a n d 3.

D U C K -U N D E R

I

42

W r is t Control Underhook.

F r o m an u n d e r­

du ck in g his h e a d u n d e r W ’s arm . In F ig u re 4, В releases th e wrist, looks up to block W ’s arm, a n d drives off his rig h t leg, p lacin g h im self b e ­ h in d W .

h o o k a n d wrist control tie-up in F ig u re 1, В sq u ats a n d lifts W ’s left a rm in F ig ure 2. In F ig­ ure З, В steps forw ard w hile lifting th e arm ,

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3

4

5

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C ounter for W r is t Control.
arm . W

В has assu m ed

wrist control; W h as u n d e rh o o k e d w ith his left th e n lifts his h a n d , squats, a n d steps u n d e r B ’s a r m (Figs. 1 - 4 ) . W looks up to b lock B ’s arm , catches B ’s leg, a n d drives across, forc­ ing В to th e m a t (Figs. 5 - 1 0 ).

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F o o t Kick.

F ro m a w rist co n trol a n d collar

F ig u re 4, В lifts th e wrist a n d ducks his h ea d u n d e r W ’s a rm in Figures 5 a n d 6.

tie-up in F igu re 1, В a tte m p ts a foot kick in Figures 2 a n d 3. As W reacts to th e foot kick in

Foot Kick

( c o n t. ) .

Figures 7 th r o u g h

12

show В finishing this m ove w ith a h f tin g action.

Bob Douglas and N od ar Kliokhashvili, W o rld Cham pion from Russia, in the final rounds of the Tokyo Olympics, 1964.

SINGLE LEG TACKLE

P e n e tra tio n sh o u ld carry you directly to th e leg you are attack in g , k eep in g your h e a d inside th e leg. A t this p o in t you s h o uld b e on y our knees. I t is im p o r ta n t to keep y o u r o p p o n e n t’s w eig h t on his free foot, w hich can b e a c c o m ­ p lis h ed b y sta n d in g up or by b rin g in g y our o u t­ side leg u p a n d driving across. F o r th e cross-body single leg tackle, your h e a d sh o u ld co m e fro m th e rig h t side of th e o p p o ­ n e n t ’s b o d y to th e le ft leg, or vice versa. Y o u r h e a d sh o u ld cross his b o d y b e n e a th his head. A n im p o r ta n t th in g to r e m e m b e r w h e n d o in g

a single leg tackle is t h a t you m u st set u p your o p p o n e n t’s a r m on th e sam e side as th e leg you are attack in g . A single leg tackle set-up involves m a k in g th e o p p o n e n t raise his arm up away from his b o d y o n th e sam e side as th e leg you are attack in g . O n th e cross-body tackle, your right h a n d will b e th e first to reach for th e leg if you are atta c k in g th e rig h t leg, a n d similarly, y o u r le ft h a n d , if your m o v e is to th e left. U se th e d ro p step or th e step-in te c h n iq u e for p e n e ­ tration.

H a n d Position.

In this p h o to g r a p h В d e m ­

o n strates th e p o sitio n of th e h a n d s in a single leg tackle. W h e n sh o o tin g to th e right, th e rig h t a r m will lock th e left wrist. W h e n sh o o tin g to th e left, th e le ft arm will lock th e rig h t wrist.

Attacking M o tio n .

Figures 1-6 sh o w th e m o ­

tion for a single leg tackle. U sin g a d ro p step, В goes directly tow ard W ’s knee. N o te th e rea ch ­ in g rig ht h a n d , th e lo n g step, a n d th e p osition of th e head.

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Set-ups for the Single Leg
T h e s e te c h n iq u e s are designed to p rev e n t th e arm on th e side of th e leg t h a t you p la n to a t ­ ta ck from co u n terin g . T h e follow ing p ictu re sequences show th e te ch n iq u es used. Fig u re 1, В releases th e h a n d s a n d starts a h ea d sn a p set-up. In Figures 3 a n d 4, W ’s reaction is to raise b o th his left arm a n d his head . In F igure 5 we see В tim in g his p e n e tra tio n to W ’s reac­ tion a n d a tta c k in g W ’s left leg.

H ead Snap.

F r o m a h a n d co n tro l p osition in

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Forearm Pull.

В has elbow a n d w rist co n tro l

leases th e a r m a n d begins th e single leg tackle, W reacted to th e p u ll b y p u llin g b ac k a n d atte m p tin g to free his arm , a m o v e m e n t w h ich enables В to a tta c k th e exposed leg.

in Figures 1 a n d 2. In F ig u re З, В releases th e elbow a n d quickly overhooks th e forearm , jerking it to w ard his chest, in F ig u re 4. In 5, В re-

Elbow Post— L o w Single.

"Пае elbow p o st

bo w to p re v e n t th e arm from co u n te rin g his p e n e tra tio n . F ig u re 5 shows th e tackle. N o t e t h a t В does n o t lift W ’s elbow b u t r a th e r keeps it p o ste d to p re v e n t W from c o u n ­ tering.

set-up m a y b e used for a low or a h ig h single leg tackle. As W a t te m p ts h e a d co n tro l in Figures 1 a n d 2, В inte rcep ts th e le ft arm a t th e elbow w ith his t h u m b on th e inside. В holds W ’s el­

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у

E lbow Post— H igh Single.

F r o m a n elbow

exten d ed , in F ig u re З, В posts th e elbow a n d m akes his p e n e tra tio n ,

a n d w rist tie-up, В extends W ’s elbow by ta k in g a drop step (Figs. 1, 2, 3 ). As W ’s left a r m is

E lbow Post and Opposite Leg Tackle.

W

m o v in g th e leg on th e side w here В is p o stin g th e elbow. В th e n attacks th e leg on th e o p ­ p o site side, Figures 4 -8 .

has w rist co n tro l a n d is a t te m p tin g a collar tie-up in Figures 1-2. В uses a n elbow p o st set-up. W ’s rea ctio n is seen in Figures 3 a n d 4. W reacts by

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Forearm Block.

T h is m ove is sim ilar to th e

h ea d , w hich exposes W ’s leg, as seen in Figures 3 a n d 4. Figures 5 a n d 6 sh o w th e tackle.

elbow post. In F ig u re 1, В has elb ow control. В uses his forearm to k n o ck W ’s a r m from his

Forearm Post fro m the Knees.

W is a t te m p t­

W ’s a t te m p te d collar tie-up. T h e n , using a fore­ a r m post, В attacks th e exposed leg— Figures 4 a n d 5.

in g a collar tie-up fro m his knees. В shows t h a t th e p o st can b e effective even w h e n an o p ­ p o n e n t is on his knees. In F ig u re З, В waits for

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A rm Drag.

In F ig u re 1, В lias a w rist tie-up.

F igures 5-6. In Figures to th e inside a n d steps pages 9 4 -9 8 .)

7 -9 , В brings his h e a d over th e leg, securing

In F ig u re 2, В begins his arm drag. Y o u can see in Figures 3-4 t h a t th e arm drag exposes W ’s leg. В th e n steps u p to ch a n g e to a single leg in

th e single leg tackle. (See also “A rm D ra g ,”

Shoulder Snap.

F r o m a w rist tie-up position

3. T h e sh o u ld er sn a p frees th e elbow a n d a t the sam e tim e gets W to react by lean in g forward. Figures 4, 5, a n d 6 show th e a c tu a l p e n e tra tio n to th e single leg.

В moves to a sh o u ld e r sn a p set-up in F ig u re 3. T h is set-up is p articu larly effective w h e n W is a t te m p tin g elbow control, as in Figures 1, 2, an d

W r is t Slap.

F r o m a biceps control a n d wrist

his p e n e tr a tio n as W reacts to th e w rist slap. In Figures 5 a n d 6, В moves in for a single leg tackle.

tie-up in F ig u re 1, В releases th e biceps a n d slaps th e rig h t wrist in F ig u re 2. In F ig u re З, В begins

S IN G L E LEG T A C K L E

5

6

Fake A rm Drag.

F igu re 1 shows В w ith a

d o u b le w rist tie-up. В releases W ’s le ft wrist an d starts to drag his rig h t arm in Figures 2 a n d 3. W reacts to this d rag by p ulling his a r m aw ay in F igures 4 a n d 5. В th e n attacks th e o pposite leg.

- А

F igures 7 -9 sh o w th e sam e m ove from th e o p ­ p o site side.

8

L

L

A

E lbow Lead or Shuck.

W a tte m p ts a collar

leg attack . Since straig h t forw ard p e n e tra tio n will place W ’s leg o u t of reach, it is necessary to tak e a side step to c u t off W ’s escape, as we see in Figures 5 a n d 6. N o t e th e inside step w ith th e rig h t leg.

tie-up. В assumes elb o w control w ith a wrist tie-up. In F ig u re 2, В tu rn s his h e a d , b u t n o t his body, a n d pushes W ’s elbow d o w n to w ard W ’s op p o site knee. In F ig u re З, В begins his single

In this second a c tio n seq u en c e w e see th e sam e m o v e w ith a slight variation. В begins th e elb o w shuck. In this m ove, how ever, В pushes W ’s el-

bo w u p a n d across r a th e r th a n d o w n a n d across, ste p p in g w ith his o utside leg.

Masaaki H atta and Michio T om ino, fighting for the title in the 1968 NA AU tournam ent in Lincoln, Nebraska.

Head Snap Across.

In F ig u re

1, W controls B ’s elbow. В uses a h e a d sn a p te c h n iq u e , as show n in Figures 2-6, to cre ate an angle. In F ig u re 7, В steps in a n d a t ­ tacks th e n e a r leg, w h ile forcing th e h ea d away in Figures 9-1 1 .

Second Moves for the Single Leg
1

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3

4

5

Б

7

В J

t h e n ea r leg. C o n tro llin g W ’s leg w ith his own, В begins his r u b b e r arm . T h e r u b b e r a r m is ac­ co m p lish e d b y tu r n in g th e p a lm u p a n d m o v ­ in g his h e a d aw ay fro m his o p p o n e n t. As F ig u re 4 shows, В drops his rig h t sh o u ld e r a n d pulls his a r m straig h t out. Figures 5, 6, a n d 7 sh o w W ’s rea ctio n once his s u p p o r t is rem oved. N o te in F ig u re 5 t h a t B ’s rig h t h a n d is p alm u p a n d В uses his le ft h a n d on th e m a t fo r su p ­ port.

T h e b rea k d o w n for th e single leg tackle will d e p e n d u p o n th e p osition o f y our o p p o n e n t afte r you have a tta c k e d th e leg.

Back Heel and R u bbe r Arm .

В has a ttac k ed has

W ’s leg w ith a single leg tackle, a n d W

c o u n te re d w ith a n overhook. B ’s second m ove is a ru b b er a rm a n d b ac k heel. In F ig u re 2, В has placed his left h a n d o n th e m a t for su p p o rt

I

I

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an d , w ith a circular m o tio n , steps over a n d hooks

Back Iieel and Inside Crotch.

In F ig u re 1,

leg. В reaches inside th e crotch a n d b e h in d th e knee, forcing W off-balance. T h e last th ree fig­ ures sh o w th e finish. Y o u will n o te t h a t as soon as th e h e a d makes c o n tact, in F ig u re 3, B ’s arm is rem oved as a s u p p o rt a n d is th r u s t in to th e crotch.

В has a t te m p te d a single leg tackle, a n d W c o u n ters w ith a n overhook. В posts his left arm a n d pivots his rig h t leg in a circular m o tio n over th e a tta c k e d leg, Figures 1-2. U sin g his arm for su p p o rt, В pulls b ac k on W ’s heel, forcing his h e a d in to W ’s cro tch w h ile driving off his left

^ Т У /Т Л V / л ^ / Г”Г
H e a d L ift and Go-behind. W h as c o u n tered B ’s single leg tackle by th ru s tin g his w eigh t b ack in a spraw l— F ig u re 1. In Figures 2-3 , В places his rig h t h a n d b e tw e en W ’s legs for su p p o rt a n d slides his knees forward, using his h e a d a n d h a n d to lift, a t th e sam e tim e straig h ten in g his b ac k — Figures 3-6. In 3, 4, a n d 5, В starts th e lifting m o tio n a n d takes h o ld of th e leg w ith b o th h an d s . В th e n tu rn s a n d drives forw ard a n d com es up on top— Figures 6-8. as

H ead L i f t and Throw-down.
in

In th e first six ( show n

figures o n th e n ex t pag e, th e ac tio n is th e sam e th e h e a d lift a n d g o -behind a b o v e ) . I n Figures 7-10, В releases W ’s leg w ith his left arm a n d brings his h a n d inside aro u n d W ’s waist. In Figures 11-12, В th ro w s W th e m a t. to

Jason Smith, Iowa State, finishes a bear hug w’ith a half-nelson. This hold is called “ double trouble.”

Bear Hug.
tackle, a n d W

In F ig u re 1, В has a single leg counters w ith an overhook. In

Figures 2 -6 , В releases th e single leg a n d locks his h a n d s in th e b ea r h u g position as h e comes to his feet. Figures 7 -Ю show В taking a step to th e side a n d th ro w in g W to th e m at.

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High Leg and Foot Kick.

В has ta k e n a sin-

m o n ly referred to as a “tree to p ,” is effected b y p u llin g th e leg b o th u p in th e air a n d in tig h t to th e chest, as sh o w n in Figures 5 a n d 6. F ig u re 7 shows В kicking o u t W ’s su p p o rtin g foot, w h ich sends W to p p lin g to th e m a t.

gle leg, a n d W has c o u n te re d w ith an ov erh o o k in F ig u re 1. In F ig u re 2, В moves in to W , releasing his locked h a n d s fro m th e k n ee a n d ste p p in g over W ’s tra p p e d leg. T h is move, com -

Inside Trip and Rubber Arm.

В counters

a n d a t th e ankle. In F ig u re 4, W steps inside B ’s cro tch a n d trips th e far leg just above th e knee. N o te in F ig u re 5 t h a t W begins his ru b ber a r m im m e d ia te ly afte r h e trips B’s leg.

W ’s single leg w ith a n overhook. In F ig u re 2, W frees his leg w ith a step-over actio n . W m a in ­ tains co n tro l of B ’s leg by h o o k in g it a t th e knee

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Crotch Lift.

В has a single leg tackle, a n d

b e n d in g a t th e knees, d ro p p in g his hips, a n d k ee p in g his b ack straight. F igures 5, 6, 7, a n d 8 sho w th e finish.

W co u n ters w ith an overhook. N o t e in F ig u re 2 th e h a n d s m o v e from th e k n ee h ig h u p in th e cro tch to a locked position. F ig u re 4 shows В

K nee T ap into a Double Leg.

In F ig u re 1,

his h a n d s a n d slaps W ’s knee, a t th e sam e tim e step p in g b e tw e e n W ’s legs in to position for a d o u b le leg tackle, in Figures 4 -9 .

В has a single leg tackle, a n d W is co u n terin g w ith an overhook. In Figures 2 a n d З, В releases

T h e Olympic C ham pion from Turkey is trying to counter his Japanese o p p o n en t’s far leg trip.

Far Leg Trip.

W secured a single leg tackle. reaches

across a n d catches B ’s free leg, driving across a n d tackling b o th of B ’s legs— Figures 3-6.

В is co u n te rin g w ith an overhook. W

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В has a sinto W ’s th ig h for a d d itio n a l control. I n Figures 4 a n d 5, В forces W ’s legs ap a rt. W h e n W ’s legs are sufficiently spread, as in F ig u re 5, В begins a circular m o tio n , b rin g in g W F ig u re 6. to th e m a t in

C hest Pressure and Back-away.

gle leg tackle a n d W co u n ters w ith an ovcrhook. In Figures 2 a n d З, В m a in ta in s co n tro l of th e leg w ith c o n s ta n t d o w n w ard ch est pressure o n W ’s u p p e r thigh. B ’s sh o uld er is pressed tig h t

O pposite-side view of the chest pressure a n d back-away.

Roll-under from the Feet.

В has c o u n te re d

ing th e pressure, reaches inside B ’s crotch, does a side roll u n d e r n e a th B ’s body, a n d com es u p on to p (Figs. 2 - 6 ) .

W ’s a t te m p te d ta k ed o w n w ith an o verhook a n d is app ly in g p ressure d o w n w ard (Fig. 1 ). W , feel-

A side view of th e roll-under from th e feet.

Heel and Chest Pressure.
tackle, a n d W

В has a single leg

4, В applies chest pressure on W ’s u p p e r thigh. In Figures 5 a n d 6, В begins th e b reak do w n, using his chest as a fu lc ru m a n d his rig h t h a n d as a lever.

co u n ters w ith an overhook. In

Figures 2 a n d З, В unlocks his h a n d s at th e knee an d drops his right h a n d to W ’s heel. In F ig u re

Single Change-off to High Crotch.

In F ig­

7, В changes directio n to c o m p lete th e tak e­ down. N o te th e gap В creates by lifting his elbow in F igu re 4.

ures 1 a n d 2, В has a single leg tackle, a n d W has c o u n te re d w ith an overhook. In Figures 3-6, В lifts his elbow up a n d does a k n ee dip, w hile rea ch ing his left arm in to W ’s crotch. In F ig u re

NEAR ARM AND OPPOSITE LEG TAKEDOWN

Olympic Cham pion W ata n ab e , of Japan, co u n t­ ers Russia’s near arm and opposite leg.

T h e near arm a n d o p po site leg ta k ed o w n is a c tu ally a co m b in a tio n of tw o o th e r takedow ns. T h e arm is co n tro lled as in a fire m a n ’s carry. T h e p e n e tr a tio n is ex ecu ted as in a single leg tackle t h a t goes across th e body. In this te ch ­ n iq u e th e a r m t h a t is co n tro lled is ta k en in th e d irection of th e op p o site knee. Y o u r h e a d stays

to th e inside of your o p p o n e n t’s leg. T h e arm t h a t is a ttac k in g his leg will lift it up. T h e co n ­ trolling arm in th e firem an ’s carry position will p u ll d o w n on his arm , m o v in g in a circular m o ­ tion, th ro w in g W to his back. F igures 1 a n d 2 sh o w th e p e n e tra tio n , 3 to 5 th e p u llin g o f th e a rm a n d lifting of th e leg.

If his a rm is lost in your a t t e m p t to a tta c k his leg, you sh o u ld proceed to a tta c k his leg, for­ g ettin g a b o u t th e arm a n d finishing in a single leg position. Y o u r h e a d stays on th e inside a n d

as close as possible to th e k n ee t h a t you are a t­ tacking. Y o u r h e a d has to pass u n d e r y our o p ­ p o n e n t ’s ch in a n d is aim e d b e tw e e n his legs

Set-ups for the Near Arm and Opposite Leg
T h e set-ups are m u c h th e sam e as in th e fire­ m a n ’s carry. T h e second m ove can b e described as a th r o w to th e m a t. T h is is d o n e by pulling dow n on th e co n tro l a rm a n d lifting th e attac k ed leg a t th e sam e tim e as you sw ing your bod}' to th e side, ro ta tin g your rear leg to th e side as you pull dow n on th e a r m — Figures 1-7. B ’s elbow. In F ig u re 2, В moves his h a n d from a biceps position to a sh o u ld e r position, sn a p p in g th e sh o u ld er a n d freeing th e elbow a t th e sam e tim e. In Figures 3, 4, a n d 5, В starts to atta c k th e leg afte r h e has cleared his elbow. In Figures 6, 7, 8, a n d 9, B ’s left leg starts to swing back, c re atin g a circular m o tio n w h ich takes W to his back.

Shoulder Snap.

In F ig u re 1, W is co n tro llin g

Snap-clown.

In F ig u re 1, W has elbow c o n ­

trol. В takes a collar tie-up a n d snaps W ’s h e a d D an Gable is hanging on to a single leg after attem pting a near arm and opposite leg against Douglas, in the W o rld Games try-outs at Superior, Wisconsin, 1970. Coach Bill W icks officiates. to th e side in Figures 2-5. W ’s im m e d ia te reac­ tion is to raise his h ea d . B, feeling this reaction, starts to atta c k th e leg in Figures 5-8. In 9-12, В finishes w ith a th ro w to th e m a t.

Forearm Pull.

In F ig u re 1, В is co n tro llin g

W ’s arm w ith a n overhook. In F igures 2, 3, a n d 4, В raises his h a n d a n d brings it do w n , s n a p p in g W ’s forearm . Figures 5, 6, a n d 7 sh o w th e p e n e ­ tratio n , w h ich looks like a single leg tackle. F ig ­ ures 8 a n d 9 sh o w В liftin g W ’s leg a n d p u llin g his arm . In Figures 10, 11, a n d 12, W falls to his back. T h is set-up is designed to g et e ith e r of tw o reactions: it is in te n d e d to get y o u r o p p o ­ n e n t to pull his a r m b a c k o r to g et h im to straig h ten his elbow. D an Gable looks at the American flag after being presented with the Gold Medal for winning the W o rld Cham pionship (149.5 class) at the W o rld Games, Sofia, Bulgaria, 1971. O n his left is Russia, on his right Bulgaria.

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W r i s t Roll.
Й

In F ig u re 1, W

h as a collar

p as t his b o d y — Figures 2, 3, a n d 4. В th e n starts his p e n e tr a tio n a n d finishes w ith a th ro w to th e m a t— Figures 5-9.

tie-up, a n d В takes elbow co n tro l, p lacin g his free h a n d b e h in d W ’s wrist. В th e n pushes W ’s h a n d off his neck, d o w n to w ard th e m a t, a n d

Elbow L ift Set-up and High Crotch Changeoff to Single Leg. In Figures 1-4, B, using an
elbow lift set-up, reaches inside W ’s crotch. In F ig u re 5, В changes directio n a n d a t th e sam e

tim e brings his h e a d to th e inside a n d attacks W ’s leg w ith a single leg tackle. In Figures 6, 7, a n d 8 h e picks th e leg off th e m at.

1
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2
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1 2 4 5 Б 7 В

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Second Moves for the Near Arm and Opposite Leg (also used for the Fireman’s Carry)
Knee Trip.
T h is seq u en ce illustrates a sec­ o n d m o ve for th e n ea r a rm a n d o p po site leg ta k ed o w n . B ’s p osition is o n e in w hich wrestlers o fte n find them selves w h e n th e y h av e b een co u n te re d on a n ea r arm a n d o p p o site leg or on a firem an ’s carry. F r o m th e position in F ig u re 1, В is co n tro llin g W ’s a r m as in th e firem an ’s carry, m a k in g sure to k eep his h e a d off th e m a t by using his h a n d on th e m a t for su p p o rt. B, in F ig u re 2, reaches across a n d b e h in d W ’s knee, p la cin g th e p a lm of his h a n d on th e o u tsid e of W ’s kn ee w hile p u llin g d o w n w ard on W ’s arm . In F ig u re З, В drops his sh o u ld e r a n d trips W over his knee. In F ig u re 4, В scissors his legs a n d com es to his knees as h e reaches u p a r o u n d his o p p o n e n t’s waist. H a n g in g on to W ’s arm , he th e n com es up on top.

1

2

З

4

Barrel Roll.

В finds h im self on his knees

b e h in d W ’s arm . In F ig u re З, В now drives his elbow u n d e r W ’s arm pit. A t th e sam e tim e В pulls d o w n on W ’s far arm an d sits to th e side, forcing W off-balance in F ig u re 4. В th e n comes to his knees a n d on to p by scissoring th e legs over.

afte r h av in g b ee n co u n te re d as h e a t te m p te d a n e a r arm a n d op p o site leg ta k ed ow n . In F ig u re 1, В starts to pull d ow n on W ’s rig h t arm , k e e p ­ ing his free h a n d on th e m a t a n d his h e a d up. In F ig u re 2, В m a n eu v ers his elbow in a position

ARM DRAG

Drag Position.

T h is p h o to g r a p h shows th e

principles of th e a rm drag. N o t e th e p o sitio n of B ’s rig h t h a n d just ab ove W ’s elbow, th e p o ­ sition of B ’s rig h t leg, a n d th e h e ig h t o f B ’s sh o u ld e r co m p a re d w ith W ’s. F o r a successful a r m drag th e arm h as to be co n tro lled above th e elbow, tu r n in g th e a rm across a n d to w ard th e o p p o site knee. T h is m o ­ tion will expose th e leg a n d en tire rig h t side.

W r i s t Rotation.

W controls th e w rist (Fig.

1 ). В rotates bis w rist d o w n w ard (Figs. 2 - 3 ) , w h ich p u ts W ’s h a n d in a position w here h e c a n n o t p rev e n t th e arm drag (Fig. 4 ) .

/

/

9

Fake Fireman’s Carry Change-off to A r m Drag. F ro m a sq u are stance, В ties u p for a n d
fakes a firem an ’s carry, in F igures 1-4. W reacts

by m o v in g his leg back. В th e n changes to an a rm drag a n d drives across, in Figures 5-9.

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Sit-through.

In F ig u re 1, W

is co n tro llin g

W pulls B ’s arm dow n tow ard th e m a t a n d does a sit-through. Figures 7, 8, a n d 9 show th e finish. N o te in Figures 5 a n d 6 t h a t B ’s foot is b e ­ tw een W ’s legs, a n d th e n see h o w W com es to his knees as h e sits th ro u g h .

B ’s w rist a n d head . In Figures 2, 3, a n d 4, W releases B ’s head , reaches across his b o d y to th e arm , for an arm drag, a n d th e n takes a sh o rt step to th e o u tsid e of B ’s rig h t leg. In F ig u re 5,

Foot Kick Change-off to A r m Drag.

In F ig ­

drives across to finish this ta k ed o w n , in Figures 4, 5, a n d 6. N o t e in F ig u re 4 th e angle w hich th e drag creates.

ure 1, В controls W ’s wrist. In F ig u re 2, В moves in to p osition a n d a tte m p ts a fo o t kick. As W reacts, in F ig u re З, В changes to an arm drag a n d moves to w ard W ’s exposed side. В th e n

FOOT KICKS

F o o t kicks are te c h n iq u e s used to break your o p p o n e n t’s b alan c e by kicking o n e foot across his ce n te r of gravity. T h e im p o r ta n t p o in t to r e m e m b e r is t h a t his w eig h t has to be rem oved from th e fo o t you p la n to kick. T h e set-up is used to rem ove th e w eight. T h e tech n iq u e s are described in th e follow ing action sequences. Larrv Kristoff, of the United States, has executed a foot kick against his opponent from Turkey, in the W o rld Championships at Toledo in 1966.

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H ead Snap.

F r o m a staggered stan ce in F ig ­

ure 1, В p erfo rm s a h e a d sn a p in F ig u re 2. As W reacts in F ig u re З, В foot-kicks W w hile m a in ­ ta in in g co n tro l of W ’s h e a d u n til h e hits th e m a t.

Shoulder Snap.

В uses a sh o u ld er snap te c h ­

n iq u e in Figures 1-3. T o ch a n g e W ’s w eig h t to his rear foot, В kicks W ’s leg o u t a n d shoves W ’s sh o u ld e r back, forcing h im off-balance.

A n k le Pick-up.

F r o m a collar tie-up, В snaps

N o te t h a t В m a in ta in s control of W ’s h e a d u n til h e has picked th e fo o t up, a n d В th e n moves in to W , kn o ck in g h im to th e m a t.

W ’s head , p lacin g all of W ’s w eig h t on th e rig h t foot. В th e n takes a sh o rt step a n d kicks W ’s left fo o t off th e m a t. A t th e sam e tim e В reaches d o w n a n d catches W ’s left foot.

Two-on-One Foot Kick w ith E lbow Control.
В has co n tro l of W ’s wrist, w hile W has inside co n tro l (Fig. 1 ). Releasing th e rig h t w rist (Fig. 2 ) , В reaches for W ’s left w rist (Fig. 3 ). R o ­ ta tin g his sh o u ld e r in a forw ard rolling m o tio n , В captures W ’s a rm (Figs. 4 - 5 ) . F r o m this posi­ tion В foot-kicks W (Figs. 6 - 8 ) . H e n o w releases W ’s w rist a n d catches W ’s leg (Figs. 9 - 1 0 ) . В pulls W in a circular m o tio n , p u sh in g th e biceps Detail from Figure 8 on facing page. u n til W falls to th e m a t (Figs. 1 1 -1 2 ).

V

Two-on-One F oot Kick with Shoulder C o n ­ trol. F r o m a tw o-on-one tie-up, in F ig u re 1, В
lifts W ’s shoulder, as sh o w n in Figures 1, 2, a n d 3. T h is ac tio n takes W ’s w eig ht off his left foot, en a b lin g В to foot-kick t h a t foot. In Figures 4 th ro u g h 8, В reaches d o w n a n d catches th e foot. In Figures 9 th r o u g h 12, В lifts W ’s leg a n d re­ leases co n tro l of his arm , sw itch in g off to a w aist lock in F ig u re 12.

Tears of joy. T o m Milkovieh of M aple Heights High School acknowledges the standing ovation ac­ corded him by 10,000 wrestling fans at St. Johns arena, Columbus, Ohio, for winning his th ir d con­ secutive Ohio State championship (photograph from The Plain Dealer, Cleveland, March, 3, 1969).

HEAD SNAP

T h e h e a d snap te c h n iq u e is an effective m o v e fro m a collar tie-up. T h e h e a d sna p is p a rtic u ­ larly useful w h e n your o p p o n e n t has elbow co n ­ trol, e ith e r w hile sta n d in g or o n his knees. T h e h e a d snap is execu ted w ith a w hiplike m o tio n by sn a p p in g y our elbow p as t your o p p o n e n t’s chin, w hile sn a p p in g your wrist. T h e resu lt of th e sn a p p in g creates a n an g le a n d p u ts you in a posi­ tio n to go b e h in d . Gray Simons, of the U.S. Army, is doing a head snap on his way to winning the Armed Services W o rld Cham pionship, 1963, in Cairo, Egypt (U.S. Army p h o to g r a p h ) .

HEAD SNAP

F r o m a collar tie-up in F ig u re 1, В steps for­ ward a n d to his left. In F ig u re З, В pivots his b o d y a n d snaps his elb ow p as t W ’s ch in while

sn a p p in g his wrist. Figures 4 - 6 show th e angle В creates a n d his p e n e tr a tio n tow ard W ’s ex­ posed side.

SN AP

T h is seq u en c e of p ictu res shows th e h e a d snap te c h n iq u e w h e n your o p p o n e n t is o n his knees.

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Jerk-down H ead Snap.

F r o m a sta n d in g posi-

5, В docs a h ea d snap, w hich creates a n angle, allow ing h im to go b e h in d , as W ’s m o m e n tu m carries h im p ast B ’s body, Figures 6-8.

tion В pulls W ’s h e a d d o w n by using a collar tie-up a n d wrist control, Figures 1-4. In F ig u re

Reach Set-up and H ead Snap from the Feet.
13 uses a reach set-up to force W to m ove his rig h t leg, in Figures 2 -3 . W m oves his rig h t leg, p u ttin g all his w eight on his left leg, in F ig u re 4. В uses a h e a d sn a p te ch n iq u e .

In execu tin g a successful h e a d sn a p you cann o t allow your o p p o n e n t to co n tro l your head,

Foot Kick Head Snap.

F ro m a w rist co ntro l

te c h n iq u e in F ig u re 5, В creates a n angle, placin g h im self b e h in d W , in Figures 6 a n d 7.

a n d collar tie-up in F ig u re 1, В fakes a fo o t kick. F ig u re 4 shows W ’s reaction. U sin g a h e a d snap

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Snap-down.

В has assu m ed w rist a n d collar

N o te in F ig u re 3 t h a t В uses th e side of his h a n d to guid e W p ast his body, T h is te c h n iq u e is set u p b y first p u s h in g in to y o u r o p p o n e n t, a n d o n ce h e reacts, th e n th e h ea d is s n a p p ed dow n.

co n tro l in F ig u re 1. В snaps W ’s h e a d d o w n to th e side in Figures 2 a n d 3. В th e n drives his a rm to w ard th e m a t a n d moves across W ’s b o d y in Figures 5 a n d 6.

THE SHUCK

T h e sh u ck is a te c h n iq u e to create an angle of a d v a n ta g e w h ich places you to th e side of your o p p o n e n t. Andy Fitch, of the U.S.A., uses a head shuck in a dual m eet with Czechoslovakia in 1963.

H ead Shuck.

W is co n tro llin g В in a collar

p u llin g W ’s h e a d close to his body, as illustrated in Figures 4 a n d 5. In F ig u re 6, В uses his h a n d to sn a p W ’s h a n d off his h ea d . In Figures 7 a n d 8, W loses his b a la n c e a n d goes to th e m a t.

tie-up position. В reaches over W ’s arm a n d as­ sum es a collar tie-up in Figures 2 a n d 3. В th e n releases W ’s right wrist, p lacin g his free h a n d b e h in d W ’s elbow, w hile ta k in g a step a n d

E lbow Shuck.

In F ig u re 1, W has a collar

h e a d a n d to w ard th e m a t, as show n in F ig u re 4. In F igure 5, В clears W ’s elbow p a s t his h ea d a n d drives across, p lacing h im self in a control position b e h in d W .

tie-up, w hile В controls th e elbow. In F ig u re 2, В begins to create an angle by lo o k in g aw ay a n d ch a n g in g his fo o t position. A t th e sam e tim e В uses his t h u m b a n d drives W ’s elbow off his

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Shuck and Foot Kick.

F ro m a w rist control

tr a te d in F ig u re З, В a tte m p ts a fo o t kick. As W removes his foot, in F ig u re 5, В goes in to his shuck a n d finishes in F ig u re 7. N o te th e p osition of th e t h u m b in Figures 3 an d 4.

a n d elbow tie-up В releases W ’s elbow a n d reaches for W ’s neck. A t th e s a m e tim e В re­ leases W ’s rig h t wrist a n d places his free h a n d b e h in d W ’s elbow. F ro m this position, as illus­

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Elbow Shuck from the Knees.

In F ig u re 1,

a n d lie shucks th e elbow in F ig u re 6. In Figures 7-9, В looks aw ay a n d snaps his wrist, p u sh in g W ’s elbow p as t his body.

В controls W ’s elbow a n d far wrist. В th e n changes from elbow control to a collar tie-up, F igures 2-3 . In 4 -5 , В releases W ’s right wrist,

Detailed photographs showing the position of the head and arms in the elbow shuck.

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Forearm Drive.

In this ac tio n sequence, В

W off-balance. O n c e W ’s side hits th e m a t, В changes positio n a n d ends up o n top.

uses a collar tie-up w hile h e controls W ’s left arm . H e forces his elbow in to W ’s chest, driving

HIGH CROTCH TAKEDOWN
T h e h ig h crotch ta k ed o w n affords tw o m e t h ­ ods of p e n e tra tio n . T h e first is a “ fo o t step.” T h is is d o n e b y b rin g in g y our o utside fo o t as close to y our o p p o n e n t’s o u tsid e foot as possible. T h e second te c h n iq u e is a d ro p step. B o th te c h ­ niq u es require p lacing th e k n ee d o w n o n th e m a t b e tw e e n your o p p o n e n t’s legs. B o th also require m o v in g off th e k n ee a n d c o m in g to y ou r feet -a again for th e second move, w h ich will b e th e sam e as in a d o u b le leg or single leg, d e p e n d in g u p o n th e p osition you find your o p p o n e n t in. T h e te ch n iqu es are sh o w n in th e follow ing ac­ tio n sequences. Junior W o rld C ham pion, Billy M artin, from G ramby High School, Norfolk, Virginia, is com ­ pleting a high crotch takedown.

Elbow L ift Set-up.

In Figures 1 a n d 2, В is

his le ft arm . In Figures 5 a n d 6, B ’s k n ee touches th e m a t as h e pulls on W ’s thigh an d stands up. F igure 7 shows В going b e h in d W . N o te t h a t В controls W ’s elbow until he m akes c o n ta c t w ith W ’s leg.

c o n tro llin g W ’s w rist a n d elbow. В lifts W ’s elbow straig h t o u t a n d pulls it over his sh o u ld er in Figures 3 a n d 4. В p e n e trate s by s te p p in g w ith his rig h t leg a n d reach in g for W ’s th ig h w ith

H igh Crotch Drop Step. F r o m a n elbow co n tro l tie-up in th e first p h o to , В lifts W ’s elb o w as h e does a d ro p step. H e pivots his body, a n d moves his left leg b e tw e en W ’s legs w hile

going to his knee. In F ig u re З, В reaches in to W ’s cro tch w ith his free arm . N o te th a t th e p e n e tra tio n is a d ro p step, th e set-up is elbow lift.

HIGH C RO TCH T A K E D O W N

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Underhook Tie-up.

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to his feet, chan g in g to a d o u b le 7-8.

w rist tie-up in Figures 1-2, В lifts W ’s sh o u ld e r a n d ducks his h e a d u n d e r W ’s arm in Figures 3-5. A t th e sam e tim e В does a k n e e d ip and reaches for W ’s leg. In F ig u re 6, В

leg tackle in Figures F ig u re 5.

N o te especially th e position of B ’s b o d y in

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Forearm Pull Set-up.

Two-on-One Control.

F r o m a w rist a n d el­

trol a n d overhooks th e forearm in F ig u re 1. В pulls W ’s rig h t a rm d o w n to w ard W ’s o pposite knee. As W reacts by p u llin g his a r m back, in F ig u re З, В starts his h ig h cro tch ta k ed o w n by lifting W ’s arm up a n d p u llin g it over his sh o u l­ der, in Figures 4 -5 . В m akes his p e n e tr a tio n in F igures 4 a n d 5, ch an g in g to a d o u b le leg tak e­ dow n in Figures 6-8. N o t e in F ig u re 5 th a t, w h e n B ’s k n ee touches th e m a t, h e im m ed ia te ly stan d s up.

b o w co n tro l in F ig u re 1, В sets u p a h ig h inside cro tch ta k ed o w n by p u llin g W ’s right arm dow n, in Figures 2 - 4 ( o p p o s ite ) . I n F ig u re 5, В re­ leases W ’s w rist a n d reaches inside W ’s crotch, a t th e sam e tim e liftin g th e elbow. В th e n goes in to th e h ig h inside cro tc h position, in Figures 6 -8 , a n d changes to a d o u b le leg ta k ed o w n, in Figures 9-11. N o te th a t, in Figures 2 -4 , В ca p tu res W s w rist by tu r n in g his h e a d a n d using his sh o u ld er to k n o ck W ’s h a n d off his neck.

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W r i s t R oll Set-up.

F r o m a w rist co n tro l a n d

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in F ig u re 2, w hile still co n tro llin g W ’s elbow. In F ig u re З, В starts to p u s h W ’s h a n d tow ard th e m a t, g u id in g th e h a n d p as t his body, in F ig ­ ures 4 a n d 5. A fter clearing th e arm p ast th e body, in F igures 6 -7 , В steps in for th e h ig h crotch. In F ig u re 8, В steps u p a n d changes to a d o u b le leg tackle, c o m in g to his feet in F ig ­ ures 9 a n d 10.

Reach Set-up.

F r o m a n elbow tie-up in F ig­

In Figures 6 a n d 7, В steps up a n d changes to a d o u b le leg tak ed o w n . T h e key to this m ove is th e elbow lift in F ig ­ ure 3, w h ich enables В to p en e trate .

ure 1, В reaches his free arm for W ’s left leg in F ig u re 2. As W reacts by p u llin g his leg b ack in Figures 3, 4, a n d 5, В steps in for th e h ig h crotch.

ANKLE PICK-UPS

T h e an k le pick-up requires a b ack step to th e side. T h e ste p p in g leg will b e on th e side of th e h a n d t h a t attacks th e ankle. Y o u m u s t p lace th e co n tro lled p o r tio n o f your o p p o n e n t’s b o d y over his ankle. T h e co n tro lled p o rtio n is p u lle d d o w n a n d placed at a n an g le over t h e foot, so t h a t your o p p o n e n t c a n n o t rem o v e his foot. Y o u r h e a d m u s t rem a in a t th e sam e level as th e co n tro lled D on Bchm, of Michigan State, silver medalist in the 1968 Olympics, has used an underhook for his ankle pick-up. p o rtio n . O n c e you reach th e ankle, do n o t a t ­ t e m p t to pick it up. In stea d , p ush th e co n tro lled p a r t of y our o p p o n e n t’s b o d y over his ankle.

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Underhook.
U sin g an u n d e r h o o k tie-up, В controls W ’s arm , as show n in F ig u re 1. In F ig ­ ure 2, В begins to m a n e u v e r b ack w ard in order to get W to step tow ard h im . В th e n applies pressure on W ’s right sh o u ld e r by p u llin g dow n

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in th e directio n of W ’s step p in g foot— Figures 3 a n d 4. In F ig u re 5, В attacks th e ankle, forcing W back w ard by p u sh in g his sh o u ld er over W ’s fo o t a n d p u llin g W ’s su p p o rtin g leg off th e m a t — Figures 6-8.

Head and Heel.

T h e h e a d a n d heel ankle

sh o w n in F ig u re 3. I n F ig u re 4, you can see th e angle of th e b o d y a n d th e p o sitio n of th e heads. In F ig u re 5, В attacks th e ankle. In F ig u re 6, В snaps th e h e a d b ack w ard, ta k in g th e w eig h t off th e fo o t h e is attack in g , w h ic h th e n enables h im to pick u p th e h eel a n d finish th e ta k ed o w n , as F ig u re 7 shows.

pick-up is executed b y p lacin g y o u r o p p o n e n t’s h e a d directly over th e foot t h a t you p la n to a t­ tack. I b i s is o ften d o n e b y using th e collar tie-up. H is h e a d m u s t b e p u lled d o w n a n d placed a t an angle over th e foot, so t h a t h e c a n n o t m ove th e foo t you p la n to attac k . Y o u r h e a d m u s t re­ m a in a t th e sam e level as your o p p o n e n t’s, as

Two-on-One Change to a Double A r m Hook.
In F ig u re 1, В has a tw o-on-one control. In F ig ­ ure 2, В changes to a d o u b le a rm h o o k by c a tc h ­ in g W ’s far arm a t th e elbow. A t th e sam e tim e В releases W ’s wrist, as show n in F ig u re 2. In F ig u re З, В forces all of W ’s w eig h t o n to his far

fo ot by ap p ly in g pressure d o w n w ard on W ’s arm s w ith his chest. In F ig u re 4, В begins to a tta c k W ’s far an k le w hile still controlling b o th of W ’s arm s. В catches W ’s an k le a n d drives forward, taking h im d o w n to th e m at.

W hip-over and A n kle Pick.

In F ig u re 1, В

to a tta c k th e foot in F ig u re 6. H e uses his sh o u l­ d e r to k n o c k W to th e m a t in Figures 7-9. N o te t h a t В takes a step b e tw e e n W ’s legs. В th e n catches th e o p po site h eel a n d drives W ’s b o d y b ackw ard, using his sh o u ld er to k n o ck W to th e m a t.

is in an o verhook a n d u n d e rh o o k position. F ig ­ ures 2 a n d 3 show В startin g th e whip-over. F ig ­ u re 4 shows W tak in g a step forw ard to m a in ­ ta in b alance. In F ig u re 5, В rotates his b o d y a n d pulls W ’s sh o u ld er to w ard his knee. H e begins

Elbow Lead and A nkle Pick.

F ro m a wrist

elbow a n d pull W ’s heel at th e sam e time. В never releases W ’s elbow or heel u n til W has lost his b alan c e a n d has h it th e m a t.

tie-up a n d elbow control in Figures 1-4, В forces W ’s elb o w to his o pp o site knee. I t is im p o r ta n t to n o te, in Figures 5-8, t h a t В m u s t p u sh W ’s

Andy Fitch, of the U.S.A., in the W o rld C h a m ­ pionships, 1963, is countering a headlock.

HEADLOCK

Phil Parker, of Iowa State, on the right, is setting up a headlock from the knees against National Cham pion Dave M cGuire, of Oklahoma University.

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illu strated in th e first th re e p h o to s o f this seq u en ce. In th e n ex t th re e p h o to s W reacts by p u llin g his h e a d up. I n th e last th re e p h o to s В catches th e h ea d , throw s his hips in to W , a n d knocks W to th e m a t.

hips in to a position t h a t carries y our o p p o n e n t

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Snap-down and Headlock from ti the Knees.
W has elbow control. В reaches a n d catches W ’s ca h ea d , sn a p p in g it d o w n w ith his free h a n d , as

Snap-down and Headlock from a Standing Position. T h e set-up fro m a sta n d in g position
is th e sam e as from th e knees (see preced in g

p a g e ) . H e re in Figures 3-4, W reacts by step ­ p in g to catch his b alance a n d raises his head. В grabs th e h e a d a n d executes th e headlock.

Standing Headlock.

A sta n d in g h ea d lo c k is

3-4, В pivots his left leg b e h in d his ste p p in g foot. В th e n turns his back, th ru s tin g his hips across W ’s body, as seen in F ig u re 5. H e th e n pulls W ’s h e a d a n d pushes w ith his legs, p ulling W over his hips a n d to th e m a t, in Figures 6, 7, a n d 8.

executed by step p in g b e tw e e n your o p p o n e n t’s legs a n d tu r n in g your b ac k to h im , p lacin g your hip s across his b o d y in order to p u ll his h ea d over your hips. F ig u re 1 shows a tie-up for th e headlo ck . In F igu re 2, В steps b e tw e en W ’s legs. In Figures

O pposite-side view of th e s ta n d in g headlock.

Bob Douglas positions himself for the head and arm control against M oham m ed Ebrahimi, of Af­ ghanistan, at the Tokyo Olympics.

HEAD AND ARM CONTROL

T h e h e a d a n d arm tie-up is so m etim es called a fro n t h eadlock. It is o ften used after c o u n te r­ ing a firem an’s carry on a single leg a tte m p t. Y o u r arm s are locked a ro u n d th e h ea d a n d o ne arm of your o p p o n e n t. Y o u r sh o u ld er sho u ld be ap p ly in g pressure to th e b ac k o f his neck. T h e trick is to keep his h ea d d ow n a n d to control th e arm . In th e grip, th e p a lm of your outside h a n d sh o u ld b e facing up. I t is im p o r ta n t to stay off y o u r knees a n d to keep all your w eig h t resting on y our o p p o n e n t’s n eck a n d back. T h e te c h n iq u e s in th e following p ictu re se­ quences show th e advantages of k no w in g this hold.

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Knee Trip.
F r o m a h e a d a n d a rm con tro l, В pulls W forw ard (Figs. 1 - 2 ) . В reaches u n d er, p lacin g his left h a n d o n W ’s left k n e e (Figs. 3 - 4 ) . By m a in ta in in g c o n s ta n t pressure o n W ’s h e a d a n d arm , a n d driving w ith his sh o u ld er w hile trip p in g th e knee, В forces W to collapse (Figs. 5 - 9 ) . В finishes this te c h n iq u e by ch a n g ­ in g to sittin g position. N o te th r o u g h o u t t h a t В controls W ’s h e a d a n d a rm by driving his sh ou ld e r in to W ’s sh o u l­ der.

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O ppositc-side view of th e h e a d a n d arm knee trip.

Pull-down.

F ro m a sta n d in g h e a d a n d arm

F ig u re 4. В applies pressure w ith his sh o u ld e r u n til b o th of W ’s knees are o n th e m a t, Figures 5-6.

control in F ig u re 1, В starts a b ac k w ard motion, p u llin g W ’s left k n ee d o w n to th e m a t,

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Run-around.

F r o m a h e a d a n d arm control,

a n d h ea d (Fig. 3). N o te h o w В blocks W ’s left arm w ith his right leg (Fig. 4 ) . В th e n drives across, w h ich places h im b e h in d W (Figs. 5 - 6 ) .

В applies pressure do w nw ard , p u llin g W ’s a r m across (Figs. 1 - 2 ) . В th e n releases his h a n d s a n d pivots to th e side, w hile still co n tro llin g W ’s arm

Whip-over.

В has h e a d a n d a rm con tro l. W

rig h t arm reaches o u t for b alan c e. В controls th e arm , a n d pulls W forward, th ro w in g h im to th e m a t in Figures 7-9.

a tte m p ts an arm drag in Figures 1-3. В raises his sh o uld er a n d pulls his a rm b e tw e en th e ir bodies in Figures 4 -6 . N o te in F ig u re 6 t h a t W ’s

Carl Adams, N CA A Cham pion scores points after a takedown. In foreground) are Doug Blubaugh, pion, and Greg Johnson, N C A A Michigan State.

from Iowa State, the stands (right Olympic C h a m ­ Cham pion from

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Throw-back (Pop-over).

F ro m a h ea d a n d

in F ig u re 1. В pulls W ’s h e a d up, a n d forces W on his back. Figures 4 an d 5 show th e finish.

a rm control В allows W to raise his h ea d , as seen

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Cradle.

In F ig u re 1, В is co n tro llin g W w ith

th e leg, catc h in g it in to a cradle,

a t th e knee, in Figures

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th e h e a d a n d arm tie-up. In F ig u re 2, W has m a d e th e m istak e o f leaving his k n ee up. В releases th e headlock, steps to th e side, a n d attacks

В locks his h an d s an d

drives W over b ackw ard

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Far Leg Trip. Shuck.
W is co n tro llin g В w ith a h e a d a n d arm grip, in F ig u re 1 ( a b o v e ) . In Figures 2, 3, a n d 4, W starts to m o v e in a circular m o tio n to his right. In F ig u re 5, W stops a n d w hips В p ast his body. H e there b y creates a n angle, a n d a t th e sa m e tim e he uses his forearm to swing B ’s h ea d , as show n in th e seq u en ce 6-9.

В controls W w ith a h e a d a n d

arm in Figures 1-3. В takes a step b ac k w ard w ith his left leg, p u llin g W ’s h e a d a n d forcing h i m to tak e a step forw ard. В th e n pulls d o w n o n W ’s h e a d a n d reaches for his leg in Figures 4 -6 . O n c e h e has c a u g h t W ’s leg, В uses his sh o u ld er to drive W off-balance a n d in to a cradle, F ig ­ ures 7-12.

Ankle Pick.

In F ig u re 1, В is co n trollin g W

In F ig u re 5, В releases th e h e a d lo c k w hile reach ­ ing a n d c a tc h in g W ’s ankle. В th e n pushes W b ac k w ard w ith his forearm , as sh o w n in Figures 6, 7, a n d 8, to co m p le te th e tak ed o w n .

w ith a h ea d a n d arm . В starts to m ove back w ard in Figures 2 a n d 3, forcing W to step forward. In F ig u re 4, В pulls do w n w ard o n W ’s head , th u s p lacing W ’s w eig h t on his s te p p in g foot.

BREAKDOWNS FROM BEHIND

Ben Peterson, Olympic champion, countering a lift on the wav to winning his second national col­ legiate title.

L ift and Sweep.

В h as g on e b e h in d W

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F ig u re 1. I n F igures 2 -4 , В steps u p a n d posi­ tions his hips u n d e r W in order to lift W off th e m a t. In Figures 5-6, В steps u p w ith his rig h t leg G ene Davis, of the Athletes in Action wrestling team of the Cam pus Crusade for Christ, completes his takedown with a breakdown. a n d sweeps W W to th e m a t. off-balance b y kicking W ’s legs above th e knee. Figures 7 -1 2 sh o w В b ring in g

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1 J
і Side Lift.
In Figures 1-2, В changes from a trols W ’s arm at th e elbow, a n d starts to drive h im to w ard th e m a t over th e rig h t leg to a riding position. go-behind position to a side position. In Figures 3-5, В throw s his hips, k n o ck in g W ’s feet off th e m a t. In Figures 6 -9 , В releases W ’s waist, c o n ­

7

4

rfnrt
/ I
1 z 3
4

-

E

7

f

1 1

Sit-througli and Knee Lift.

F ro m a go-be-

b alan c e b ack w ard — Figures 4, 5,

a n d 6. W as-

h in d position W places his right arm u n d e r B ’s knee, w hile h e trips B ’s le ft foot w ith his le ft fo o t— Figures 1-3. W th e n pulls dow n on th e waist, steps u p a n d lifts th e knee, forcing В off-

sumcs a riding position after th e trip — Figures 7-9. N o tic e th a t, in Figures 2-4, W never releases control of B ’s waist w ith his left arm .

\ \

Back Heel Trip.

F ro m a g o -behind position

over his legs. Figures 8 a n d 9 sh o w th e finish. N o tic e in Figures 3, 4, a n d 5 th e m o v e m e n t of B ’s right leg as h e steps b e tw e e n W ’s legs.

in F ig u re 1, В pivots his left leg b e h in d W ’s right leg in F ig u re 2 a n d pulls W in to his lap in Fig u re 3. In Figures 4 -7 , В pulls a n d trips W

Ank le Pick and Inside Trip.

I n F ig u re 1, В

ing leg a t th e knee, driving forw ard w ith his w eight. In Figures 8 a n d 9, В forces W to col­ lapse.

has c o m p le te d his go-behind. In Figures 2-6, В releases th e w aist a n d catches W ’s ankle. In F igu re 7, В steps inside a n d kicks W ’s s u p p o rt­

In the “Bedlam Series” between Oklahoma U n i­ versity and Oklahoma State, Brian Rice, who is on top, prepares to break down T om m y Green.

I

z

3

. Іu
I
4 7

В

/

І

s s t

;

Crotch Lift.

F ro m a go-behind position, В

N o te in F ig u re 5 t h a t B ’s left leg steps b ack so t h a t he can apply pressure do w n w ard . В arches his b ack by tu rn in g his h ead away a n d forcing his rig h t th ig h in to W ’s crotch.

changes to a cross b o d y position, by step p in g w ith his rig h t leg b e tw e e n W ’s legs. В th e n locks his h a n d s a t th e crotch, tu rn s his h e a d away, a n d drives all his w eig h t d o w n across W ’s back, forcing W to th e m a t.

Cross Body and Ankle Pick.

I n F ig u re 1, В

d o w n a n d picks th e an k le up , driving forw ard a n d b rea k in g W attacks th e ankle. to th e m a t, in Figures 3 -6 . F ig u re 7 shows from a n o t h e r angle h o w В

has gone b e h in d W . In F ig u re 2, В releases a n d changes to a cross b o d y p osition by h o o k in g o ne leg inside th e cro tch a n d th e o th e r arm across th e b o d y b e h in d th e a rm p it. В th e n reaches

INDEX
T h e definition of a w restling te rm o r th e p rin ­ cipal ex p lan a tio n of a te c h n iq u e is to b e fo u n d o n th e page d esig n ated by b o ld fac e n u m b ers.

A bens, K eith , vii A d a m s , C arl, vii, 147 an k le pick-ups, 5, 1 2 8 - 1 3 3 cross b o d y a n d , 162 e lbo w lead an d , 133 f o o t kick, tw o-on-one, 101 h e a d a n d a rm , 152 h e a d a n d heel, 130 a n d inside trip , 159 tw o -o n-o n e c h a n g e to a d o u b le a r m h o o k , 131 u n d e r h o o k , 129 w hip-over a n d , 132 a r m drag, 9 4 - 9 8 , 146 d o u b le leg tackle, set-up for, 19 d rag positio n , 94 fake, 59 fake f ire m a n ’s carry change-off to, 9 6 f ire m a n ’s carry, set-up for, 32 f o o t kick change-off to, 98 single leg tackle, set-up for, 56 sit-th rou g h , 97 wrist r o tatio n , 95 Au b le, D av e, xiii b ack heel trip b r e a k d o w n fro m b e h i n d , 158 a n d inside cro tch , 65 from t h e knees, 23

a n d ru b b e r a rm , 64 s ta n d in g , 25 barrel roll, 93 b e a r h u g , 69 w ith a half-nelson ( “d o u b l e tr o u b le ” ) , 68 B elim , D o n , 128 B lu b a u g h , D o u g , 147 B r a n d , D a n , 36 b reak d o w n s from b e h i n d , 1 5 3 - 1 6 2 a nk le pick a n d inside trip, 159 b a c k heel trip, 158 cross b o d y a n d an k le pick, 162 c r o tc h lift, 161 lift a n d sw eep, 1 5 3 - 1 5 5 side lift, 156 sit-thro u g h a n d k n ee lift, 1 57 see also seco n d moves C a ru so , M ik e, 41 chest pressure a n d back-away, 76, 77 h eel a n d , 80 sit-down, 26 collar tie-up, 5, 18, 45, 53, 55, 60, 8 6 - 8 7 , 90, 101, 1 0 6 - 1 0 7 , 109, 111, 112, 114, 115, 117, 119, 130 c o u n t e r for wrist con tro l, 44

cradle, h e a d a n d arm , 149, 1 5 0-1 5 1 cross b o d v a n d an kle pick, 162 cross-bodv single leg tackle, 47 c ro tch lift, 72, 161 C u l p , C u r b ', 7 Davis, G e n e , 154 d o u b l e a r m h o o k , 131 tw o -o n -o n e c h a n g e to, 131 d o u b l e e lb o w post, 10 d o u b l e leg pick-up, 28 d o u b le leg tackle, 6 - 7 , 37, 73, 120, 123, 124, 125, 126, 127 second m o v e from , 22 second m oves for, 6, 2 0 - 2 8 set-ups for, 8 - 1 9 “ d o u b le t r o u b le ,” 68 d o u b le u n d e r h o o k , 42 D ouglas, Bob, vi, ix-x, xiii-xiv, 47, 86, 140 d ro p step ( p e n e t r a t i o n ) , 4, 6, 9, 18, 47, 48, 52, 120 h ig h cro tch , 122 d r o p step stance, 3, 6, 31 d u ck -u n der, 5, 4 1 - 4 6 c o u n t e r for wrist con tro l, 44 d o u b l e u n d e r h o o k , 42 fo o t kick, 4 5 - 4 6 wrist co n tro l u n d e rh o o k , 43

163

I

INDEX

E b ra h im i, M o h a m m e d , 140 elbow co n tro l tie-up, 5, 8, 12, 50, 54, 57, 60, 8 6 87, 90, 106, 1 16, 117, 122, 125, 126, 12", 133, 136 e lbo w lead, 1 4 - 1 5 , 6 0 - 6 1 a n d an k le pick, 133 e lb ow lift set-up, 121, 122, 127 a n d high c ro tch change-off to single leg, 91 elbow post, 54 d o u b le, 10 high single leg tackle, 51, 52 from t h e knees, 18 low single leg tackle, 51 a n d o pp o site leg tackle, 53 tw o-on-one, 1 2 - 1 3 e lb ow shuck, 6 0 - 6 1 , 115, 118 a n d a n k le pick, 133 from t h e knees, 117 fake arm drag, 59 far leg trip, 74, 75, 1 5 0-15 1 firem an ’s carry, 30, 83, 141 set-ups a n d second moves, 3 0 - 4 0 , 9 2 - 9 3 , 126 firem an ’s carry change-off to d o u b le leg, 37 fake, to arm drag, 96 F itch , A ndy, 113, 134 foot kick, 9 9 - 1 0 5 ankle pick-up, 101 change-off to a rm drag, 98 duck-un d er, t e c h n iq u e for, 4 5 - 4 6 h ead snap, 100, 111 high leg and, 70 sh o u ld e r snap, 100 sh uck an d , 116 two-on-one, w ith elbow contro l, 1 0 2 - 1 0 3 two-on-one, w ith sh o u ld e r con tro l, 1 0 4 - 1 0 5 foot step, 120 forearm block, 54 forearm drive, 119 forearm post, fro m t h e knees, 55 forearm pull set-up, 8, 50, 8 8 - 8 9 , 124

f ro n t h ead lock , 141, see also h e a d a n d a rm co n tro l G a b le , D a n , vii. 86, 88 G r e e n , T o m m y , 160 H arlo w , Bill, xiii H a t t a , M asaaki, 62 I l a t t a , T a d a a k a , xiii h e a d a n d a rm c o n tro l, 16, 35, 1 4 1 - 1 5 2 an k le pick, 152 cradle, 149, 1 5 0-151 far leg trip, 1 5 0 - 1 5 1 k n ee trip, 1 4 2 - 1 4 3 pull-dow n, 144 r u n -a ro u n d , 145 shuck, 150 t h ro w -bac k ( p o p -o v e r ) , 148 whip-over, 146 h ead a n d a rm release, 16 h e a d a n d a rm tie-up, 141, 149, see also h e a d a n d a rm control h e a d a n d heel an kle pick-up, 130 h e a d circle tie-up, 33 h e a d lift a n d g o-behind, 6 6 - 6 7 a n d th ro w -d o w n , 6 6 - 6 7 h ead lo ck , 1 3 4 - 1 3 9 , 149, 152 sn a p -d o w n an d , from t h e knees, 1 36 sn a p -d o w n and, from a sta n d in g p osition, 137 sta n din g , 1 3 8 - 1 3 9 tie-up for, 138 h e a d reach, 9 h e a d release, 35 h e a d shuck, 1 1 3 - 1 1 4 h e a d snap, 1 0 6 - 1 1 2 across, 63 d o u b le leg tackle, set-up for. 11 f ire m a n ’s carry, set-up for, 34, 37 fo o t kick, 111 set-up for, 100 jerk d ow n, 109 from t h e knees, 108 reach set-up an d , from t h e feet, 110 single leg tacklc, set-up for, 49

sn a p-do w n , 112 head-to-h e ad tic-up, 5 h ead -to -s h o u ld er tie-up, 5 heel a n d chest pressure, 80 high c r o tc h d r o p step, 122 high c ro tch tak e d o w n , 5, 1 2 0 - 1 2 7 elbo w lift set-up, 121 f o rea rm pu ll set-up, 124 high c rotch d r o p step, 122 reach set-up, 127 single change-off to, 81 tw o -o n -o ne co n tro l, 125 u n d e r h o o k tie-up, 123 wrist roll set-up, 126 high leg a n d foot kick ( “ tree t o p ” ) , 70 inside trip an k le pick a n d , 159 a n d ru b b e r a rm , 71 Jam es, Joe, xiii jerk-down h e a d snap, 109 Jo hn so n , G reg , 147 K hokhashvili, N o d a r , 4 7 k nee d rop , 22 k n ee t a p in to a d o u b le leg, 73 k nee trip , 92, 1 4 2 - 1 4 3 Kovalick, G eorge, xiii Kristoff, Larrv, 99 L e tt, F re d , xiii, 29 lift a n d sw eep, 1 5 3 - 1 5 5 L u n t, D o u g , vii

M a r t i n , Billy, vii, 120 M c G u i re , Dave, 135 M ilkovich, T o m , 104

n ear a rm a n d o p po site leg ta k e d o w n , 82, se co n d m oves for, 84, 9 2 - 9 3 set-ups for, 8 4 - 9 1 Nicho ls, H a r o l d J., ix-x

O u e lle t, D ave, 29 overho o k, 32, 37, 50, 64, 65, 69, 70, 71, 72, 73, 75, 76, 78, 80, 81, 8 8 - 8 9 , 124, 132 a n d sit-th ro u gh change-off fro m f ire m a n ’s carry, 3 8 - 3 9 Parker, P h il, p e n e tr a tio n , 49, 51, 127 d r o p Step, fo o t step, step-in, 4, vii, 135 1, 3, 4, 14, 20, 26, 28, 30, 32, 34, 58, 60, 83, 8 8 - 8 9 , 90, 107, 121, 124, 4, 6, 9, 18, 4 7, 48, 52, 120, 122 120 6, 11, 12, 25, 35, 37, 47

P eterson , Ben, vii pop-over ( th r o w - b a c k ) , 148 p ull-dow n, 144 push-to-feet, 40 reach set-up, 127 a n d h e a d snap from t h e feet, 110 Rice, Brian, 160 R o d erick, M y r o n , xiii roll-under from t h e feet, 78, 79 ru b b e r a rm b ack heel a n d , 64 inside trip a n d, 71 ru n -a ro u n d , 145 Sanders, Rick, vii se cond m oves ( b r e a k d o w n s ) , 1, 36, 41, 120 d o u b le leg tackle, 6, 2 0 - 2 8 fro m d o u b l e leg tackle k n ee d rop , 22 fire m a n ’s carry, 3 0 - 4 0 , 9 2 - 9 3 n e a r a rm a n d o p p o site leg tak e d o w n , 84, 9 2 - 9 3 single leg tackle, 6 4 - 8 2 see also b reak d o w n s, fro m b e h i n d set-ups, 1, 5, 41, 99, 137 d o u b le leg tackle, 8 - 1 9 firem an ’s carry, 3 0 - 4 0 n ear a rm a n d o p po site leg tak e d o w n , 8 4 - 9 1 single leg tackle, 4 7, 4 9 - 6 3 Severn, D a n , 2

Severn, D ave, 24 Shines, Bob, 153 s h o u ld e r snap, 31, 57, 85, 100 shuck, 1 1 3 - 1 2 0 elbow , 115, 118, see also elbow sh uck elbow , fro m t h e knees, 117 a n d foo t kick, 116 forearm drive, 119 h ead , 114 h e a d a n d a rm , 150 side lift, 156 Sim ons, G ray, 106 single change-off to h ig h cro tch , 81 single leg tackle, 47, 83, 8 8 - 8 9 , 9 1 , 120, 141 a t t a c k in g m o t i o n , 48 h a n d p osition, 48, 49 second m oves for, 6 4 - 8 2 set-ups for, 47, 4 9 - 6 3 sit-th rou g h , 21, 97 change-off fro m firem an ’s earn ', overbook an d , 38-39 a n d k n ee lift, 1 57 S m ith , Jason, vii, 68 sn a p-do w n , 8 6 - 8 7 , 112 a n d h ead lo ck from t h e knees, 136 a n d h ead lock fro m a s ta n d in g p osition, 137 sq u a re stance, 3, 9 6 staggered stance, 2 - 3 , 6, 30, 31, 34, 37, 100 stance, 2 - 3 d r o p step, 3, 6, 31 sq uare, 3, 37 staggered, 2 - 3 , 6, 30, 31, 34, 37, 100 s ta n d in g b ack heel trip , 25 step-in, 4, 6, 1 1, 12, 25, 35, 37, 47 ste p p in g a n d sq u a ttin g , 41 step-up drive across, 20 throw -back ( p o p -o v e r ) , 148 th r o w to t h e m a t , se cond m o v e for firem an ’s carry, 30, 31, 33, 40 tie-ups, 5, 41, 138 collar, 5, 18, 45, 53, 55, 60, 8 6 - 8 7 , 9 0 , 101,

1 0 6 - 1 0 7 , 109, 111, 112, 114, 115, 117, 119, 130 elb o w co n tro l, 5, 8, 12, 50, 54, 57, 60, 8 6 - 8 7 , 90, 106, 116, 117, 122, 125, 126, 127, 133, 136 h e a d a n d a rm , 141, 149, see also h e a d a n d arm con tro l h ead -to -h e ad , 5 h ead-to -sho u lder, 5 tw o-on-one, 1 0 4 - 1 0 5 u n d e r h o o k , 5, 26, 4 2 - 4 4 , 123, 129, 132 T o m i n o , M ic h io , 62 “ tree t o p , ” 70 T rib b le , C h a rles, 36 tw o-on-o ne c h a n g e to a d o u b le a rm h o o k , 131 c o ntrol, 125, 131 e lb ow post, 1 2 - 1 3 fo o t kick w ith e lb ow c o n tro l, 1 0 2 - 1 0 3 fo o t kick with sh o u ld e r c o ntrol, 1 0 4 - 1 0 5 tie-up, 1 0 4 - 1 0 5 U e ta k e , Yjo, xiii u n d e r h o o k tie-up, 5, 2 4 , 2 6 , 1 23, 129, 132 d o u b le, 42 wrist co n tro l, 43, 45 c o u n t e r for, 44 V a n I l o r n e , R o b e rt, vii W a t a n a b e , 82 whip-over, 146 a n d an k le pick, 1 32 W ic k s , Bill, 86 wrist co n tro l position, 19, 32, 43, 44, 52, 53, 56, 57, 58, 59, 60, 1 0 2 - 1 0 3 , 109, 111, 112, 116, 121. 123, 124, 125, 126, 133 c o u n t e r for, 44 u n d e r h o o k , 43 wrist roll set-up, 90, 126 wrist slap, 58

Wrestling
THE MAKING OF A CHAMPION ^

Illustrated with over 1,000 action photographs

The Takedown

In Wrestling— The Making o f a Champion, Bob D ouglas presents a moveby-move guide to w restlin g’s most crucial maneuver—the takedown. Douglas includes over one thousand action sequence photographs that contrast a black wrestler with a white wrestler against a measured horizontal and vertical grid. These photographs demonstrate clearly the relative position of the wrestlers during each move, enabling the novice and expert alike to learn the technique of champions. Bob Douglas shows beyond a doubt that the key to successful wrestling is a w orking know ledge of all the com ponents of a takedow n— the set-up, the penetration, and finally the second move. Knowing one com ponent is not enough, and until the appearance of this book, too little attention has been paid to the set-up and the second move. Here you will learn all the basic principles com m on to takedowns; you will be alerted to the countermoves you r opponent might make and will be shown how to deal w ith them. T h rough illustrations that are remarkable for their clarity and through Bob’s easy-to-follow instructions, the wrestler can learn several set-ups fo r each takedown and several second moves from each set-up, thus gaining the fle xibility to become a champion. “ Douglas is a real a uthority on wrestling. This is the first book of its kind that clearly describes ‘set-ups’ and ‘second moves’ from initial take­ downs. Also goes into facets of takedowns that have never been covered before in a publication of this kind; fo r example, fo ot kicks, head snaps, and shucks. The use of a graph-like, calibrated backdrop is extremely helpful in the photographs. Written to reach all coaches ."— Choice

Conley Photography, Inc.

Bob Douglas
Now head wrestling coach at Arizona State University, Bob Douglas—w inner of over 300 matches and a member of two O lym pic and six World C hampionship teams— possesses a wealth of wrestling know-how. As a high school wrestler in Bridgeport, Ohio, he won two state championships; at Oklahoma State University he went on to become a national champion. After graduation from Oklahoma State he served on the coaching staffs there and at Iowa State University, helping both teams to NCAA championships. Bob has coached the U.S. O lym pic team and served on the U.S. O lym pic Committee. His wrestling honors include: Five Times National AAU Champion Twice O lym pic Trials Champion N AIA Champion Big 8 Champion National Graeco-Roman Champion Federation Free Style Champion Runner-up, World C hampionships (1967) Bronze Medal, World C hampionships (1970) 4th Place, O lym pic Games (1964) Captain, U.S. O lym pic Team (1968) Рас 10 Coach of the Year (1978)

Cornell Paperbacks

Cornell University Press

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