El08

THE MAKING OF A CHAMPION

The Takedown Bob Douglas

WRESTLING- The

Making of a Champion: The Takedown

WRESTLING-

The Making of a Champion: The Takedown

WRESTLING Й ж*

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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 Š 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

DAN G ABLE

BEN PETERSON

CAR L ADAMS

JASON SMITH

Io w a S ta te In v ita tio n a l,

S ta te — N e w Y o r k ,

S ta te — Io w a, G r e a t P lain s,

M id la n d s , S o u th e r n O p e n ,

G r e a t P la in s , M id la n d s ,

B ig -8 , N A A U , N C A A ,

S o u t h e r n O p en,

G r e a t P lain s, M id la n d s , S o uthern Open,

N C A A , O l y m p ic T ria ls ,

B ig-8 , N C A A ,

Big-8 , N C A A

W o r ld U n iv e r s ity

S ta te — O re g o n ,

S ta te — Io w a , G r e a t Plains,

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 ,

U.S. W r e s tlin g

S i lv e r M e d a l O l y m p ic s '68,

Pan A m e r ic a n , W o r ld ,

S ilv e r M e d a l O l y m p ic s '72

G o ld M e d a l O l y m p ic s '72

F e d e ra tio n ,

M id la n d s , Big-8,

G o ld M e d a l O l y m p ic s '72

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

Bob h e lp e d coach w restling a t O k la h o m a

D ouglas was going to b e a great ch a m p io n . H is

State, his a lm a m ater, as assistant to M y ro n

w restling career b eg a n in hig h school, in Bridge­

Roderick, b efore c o m in g h ere in 1969 to help

port, O h io , w here h e wras tw ice sta te ch a m p io n .

m e w ith th e Iowa S tate Cyclones. T h a t year we

I follow ed his progress a n d saw h im win som e

h a d a N a tio n a l C h a m p io n s h ip team . Besides

spe cta cula r m a tches. A t W e s t L iberty S tate C o l­

his coaching duties, B ob was co m p le tin g his

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

gra d u a te work h ere in e d u c atio n a d m in istra tio n .

th e N C A A . A t O k la h o m a S tate h e was Big-

Bob is a great w restler a n d h e is also tops as a

E ig h t C h a m p io n , S tate A A U C h a m p io n , N a ­

coach. A bove all, certain traits of cha racter es­

tional A A U Free-Style C h a m p io n , a n d N a tio n a l

pecially m a k e h im a good exam p le for voung

A A U G re c o -R o m a n C h a m p io n .

m e n in te reste d in wrestling— th e will to work

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

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.

in th e W o r l d C h a m p io n sh ip s. In 1968 h e was H

City, a lth o u g h an injury k e p t h im o u t of th e

H ead W restlin g Coach Iowa State University

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.

FOREW ORD

J. N

C a p ta in of th e U.S. O ly m p ic T e a m a t M exico

Septem ber 1971

arold

ic h o ls

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

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

CONTENTS

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

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

The Shuck 113 Head Shuck 114, Elbow Shuck 115, Shuck and Foot Kick 116, Elbow Shuck from the Knees 117, Forearm Drive 119

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

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

81 Near Arm and Opposite Leg Takedown

82

SET-UPS FO R T H E NEAR ARM AND O P P O S IT E LEG

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

120 Crotch Drop 123, Forearm Control 125, Set-up 127

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

SECOND MOV ES FOR T H E NEAR ARM AND O P P O S IT E LEG

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

94

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

99

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

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

a n d to F red, Angela, a n d Lovelle.

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

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 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

m y gratitude,

te ac h in g of ta k ed o w n te c h n iq u e . M y philosophy

a n d to all th e brothers a n d sisters

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

in th e struggle.

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

T o G eorge Kovalick a n d M y ro n Roderick,

ability to m o v e his feet; second, th e ability to

an d

step into his o p p o n e n t; third, th e ability to get

k now ledg e arc a p a rt of this book, m y thanks.

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

th e o th e r coachcs whose skills and

To

D av e Auble, F re d L e tt,

explains all three. F o r novice a n d expert alike,

Bill I-Iarlow,

it offers all the elem ents necessary for a full

T a d a a k a H a tta ,

k now ledge of takedow ns. T h e e n d result is sure

Joe James,

success.

Y jo U e ta k c ( O b o t a ) , m y appre cia tion for h elping m e m aster

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,

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,

lenge of wrestling, h ere is a discipline th a t

again thanks.

builds a m a n in m in d , body, a n d spirit.

'l'o Professor Alvin Bernstein, grateful recognition of so u n d advice a n d

Ithaca, N e w York

B. 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足 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足 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

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.

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足

1973

B. D.

PR EFAC E

I

x iv

I

4

,

5

5

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

HOW TO USE THIS BOOK

well as his ac c o m p a n y in g vertical m ov em ents.

g r o u n d of th e illustrations form line charts for

F ro m F ig u re 2 to Figure 3 th e wrestler has

d e te r m in in g th e distance covered in a given

m oved forw ard 2 feet an d low ered his hea d ab o u t

move. T h e rectangles of th e grid m easure 1 foot

1 foot. F ro m F ig u re 4 to Figure 5 th e w restler’s

by 21/2 feet. T h e two h o rizo n tal lines on th e wall

b ody has a d v a n ce d alm o st 3 feet a n d his hea d

rep rese n t th e h e a d line a n d waistline; th ey show

has d ro p p e d below the waistline. T h e total dis­

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

ta n c e covered is 8 feet.

lines on th e charts you can gauge th e forward

T h r o u g h o u t th e b o o k th e wrestlers w ho illus­

a n d circular m o tio n . T h e n u m b e re d sections on

trate th e various positions are designated В (for

th e grid assist in calculating th e distan c e m oved.

Black) a n d W

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

(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.

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 ­

is em ployed w h e n your o p p o n e n t has already

trol th e o th e r by placing h im on his back, w ith

has bee n paid to b o th th e set-up a n d the second

b o th shoulders to u c h in g th e m a t for a given

move. K now ledge of o n e c o m p o n e n t is insuffi­

n u m b e r of seconds. T h e te ch n iq u e s used in

cient. A successful w restler m u s t have several

w restling have b e e n passed d o w n from a n c ie n t

set-ups for his favorite takedow ns a n d several

tim es. T h is b o o k deals w ith o n e specific te c h ­

second moves t h a t h e m a y use from each set-up.

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

IN T R O D U C T IO N

co u n tered your first move. T o o little a tte n tio n

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

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

Y o u r body w eight should b e distrib u ted over

d o w n is th e stance. Y o u r objective is to get an

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

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

your heels. T h e feet are m oved on th e m a t, simi­

body. Y o u r h e a d should b e cocked b a c k on your

larly to r u n n in g in place. All m o v e m e n t begins by

shoulders w ith y o ur chin up. Y o u r h a n d s should

shifting to e ith e r a staggered or d rop step stance

b e in your lap w ith y our elbows close to th e

to begin p e n e tr a tio n . T h e stance varies w ith dif­

sides of your body. Y o u r b a c k shou ld be arched,

ferent individuals according to h e ig h t a n d bod y

knees b e n t, h ips aligned, feet sho uld er w idth

build. S om e wrestlers prefer to sta n d m o re erect,

ap art, toes p o in tin g out.

w hile others m a y choose a cro u c h in g position.

T h e r e are th re e principal stances: th e square,

In choosing a stance, however, r e m e m b e r th a t as

th e staggered, a n d th e drop step. In th e square

long as your knees are b e n t, you will have the

stance,

fee t are aligned sh o u ld e r w idth

ad va n ta g e of b ein g able to a tta c k w ith o u t tele­

apart, parallel to each o th e r (Fig. 1 a b o v e ). In

grap h in g your m ove to your o p p o n e n t. A wres­

th e

th e staggered stance your feet should again be

tler in an erect stance c a n n o t a ttac k u n til he

sh o u ld e r w id th a p a rt a n d parallel, w ith o n e foot

b ends his knees. As a result, w h en h e begins to

resting b e h in d th e o th e r (Fig. 2 ) . In th e drop

crouch, th e o p p o n e n t will probably back away.

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).

PENETRATION

P e n e tra tio n is m o v in g in th e direction of your

O n c e you h a v e m a ste re d th e idea of tra n s足

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)

ferring your w eight, you will b e well o n your

th e step-in, (2 ) th e drop step.

w ay to m a ste rin g th e effective ta k e d o w n te c h 足

O n th e step-in you shift y our w eight to on e

niq u 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 .

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 ­

shoulder, arm , or wrist. B ’s h e a d is placed on

in g te ch n ic al errors, such as raising his head,

hooks. T h e u n d e r h o o k tie-up is a n effective

p u llin g back, reaching, or stepping. T h e tie-up

set-up for hig h inside crotch, an k le pick-up, a n d

sh o u ld b e m a d e quickly, w hile c h a n g in g control

du ck -u n d e r takedow ns.

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

W

is grasping В

bes t m a d e a t a d istan c e t h a t will ena b le you to

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

t h a n tw o feet from his. T h e tie-up sh o u ld be

side of B ’s neck.

on th e inside of your o p p o n e n t ’s arms.

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

In t h e h ead-to-head tie-up, wrestlers face each

h e a d o n W ’s shoulder. B ’s free h a n d is used to

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

co n tro l th e o pposite wrist or h e ld in a position

th ree inches apa rt. In th e head-to-shoulder tie-

d o w n close to th e crotch. T h e elbow con trol

up, y our h e a d rests against y our o p p o n e n t ’s

tie-up is very effective for th e high inside crotch

shoulder. In e ith e r of these positions, th e h a n d s

takedow n.

are used for control.

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

THE TIE -U P

Collar Tie-up (Fig. 2 ) .

k ee p y our elbows b e n t . P lac e y our feet n o m o re m a d e b y th e h a n d s c o m in g fro m th e lap position

5

W ’s sh o u ld e r o n th e sa m e side w here В u n d e r ­

DOUBLE LEG TACKLE

T h e d o u b le leg tackle is a flying tackle similar

ch est should b e over your knee, h e a d up, a n d

to a football tackle. It begins from a staggered

arm s in close to th e b ody. All your w eig h t should

or d ro p step position. In th e first m ove, your

b e o n th e fro n t foot. A t this p o in t, transfer th e

fro n t leg steps b etw e en your o p p o n e n t ’s legs, or

w eig ht to your toes a n d dive in to y o ur o p p o n e n t

a t least in th a t direction, in a n a t t e m p t to split

by le ap in g off th e toes of th e fro n t fo o t, flat­

his legs w ith your a dva ncing foot. Y o u r h e a d

te n in g y our toes b e n e a t h you as you leave th e

should be on th e sam e side of th e o p p o n e n t ’s

m a t (Fig. 4 ) . T r y to h it your o p p o n e n t w ith

b o d y as your b ack foot, a n d should lead your

your shoulder, k eeping your h e a d up. A t th e

b o d y in, w hile your shoulder makes th e first co n ­

p o in t of co n tac t, your fro n t k n e e will h it th e

tact w ith his body.

m a t a n d possibly your bac k k n e e will also. Y o u r

T h e tw o techniques used for this initial co n ­

h a n d s are grasping th e o p p o n e n t ’s legs w ith

ta c t arc th e d rop step (Fig. 4, page 9 ) a n d th e

yo u r wrists on th e outside of his knees. H is kn ee

step-in (Figs. 1-4, a b o v e ) . T a k e a lo n g step

on y our h e a d side m u s t b e con tro lled by pu llin g

to a cro u c h ed position, so th a t you are close to

it tig h t to your chest. Y o u are n o w in position

th e m a t w ith your fro n t kn ee p o in tin g b etw e en

to sta rt your b rea k d o w n , w hich is th e second

your o p p o n e n t ’s legs (Figs. 1 - 3 ) . Y o u r kn ee

move.

should be b e n t dow n tow ard th e m a t, a n d your

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

Forearm Pull.

F rom

a n elb o w co n tro l in

d esigned to get your o p p o n e n t’s arm s o u t o f a

F ig u re 1, В releases th e elbow in F ig u re 2 a n d

c o u n te rin g p osition. T h is is d o n e in various ways.

quickly h ooks over th e forearm s, jerking th e m

T h e follow ing sequences o f pictures alo n g w ith

to w ard his ch est in F ig u re 3. В th e n steps in for

t h e te x t show a n d describe th e te ch n iq u es used.

th e tackle in Figures 4, 5, a n d 6.

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

LiI

/ Н / 7/1 ґ ІIі 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 ­

use fro m th e o u tsid e on a d o u b le leg tackle is a

graphs В is driving W over his base a n d d o w n to

h e a d reach. In th e first p h o to g r a p h b o th w rest­

th e m a t.

lers are using a n o p en position. In F ig u re 2,

N o t e th a t, in F igu re З, В positions his foot for

В a tte m p ts to reach for W ’s h e a d . F ig u re 3

th e d rop step. In Figures 7 a n d 8 pay p articu la r

shows W ’s rea ctio n to B ’s reach. In F ig u re 4, В

a tte n tio n to th e driving m o tio n used for ad d e d

starts to p e n e tr a te by m ov in g his h a n d s dow n

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

a n d sta rtin g his d rop step. Figures 5, 6, a n d 7

toes.

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

co n tro l in F ig u re 1, W a tte m p ts to free his el­

to th e inside, a n d th e n posts W ’s elbow, step ­

bows by p u s h in g В away in Figures 2 -4 . B u t in

p in g in for th e tackle— Figures 6-9.

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

o p p o n e n t is co n tro llin g y our elbow, as W is in

tacklc. Figures 7 a n d 8 show th e d rop step used

Figures 1 a n d 2. Figures 3 a n d 4 sh o w th e sn a p ­

for p e n e tra tio n .

p in g of th e h ea d . In Figures 5 a n d 6, Đ’ slips his

r -

т 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 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

w rist a n d catches W ’s o p p o site wrist in Figures

arm s in Figures 6 a n d 7, w h ile h e uses a step-in

2 a n d 3. В th e n turns his h e a d a n d uses his

for th e tackle in Figures 8 a n d 9.

sh o u ld e r to k n o ck W ’s h a n d off— Figures 4 -5 .

Opposite-side view of another elbow post set足 up.

JJ

E lbow Lead.

5

1

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

y our o p p o n e n t changes from a n o u tsid e con tro l

rig h t h a n d a n d slaps W ’s elbow across his body,

to an inside position. Figures 1 a n d 2 sh o w В

as show n in Figures 4, 5, a n d 6. Figures 7, 8, a n d

w ith an inside control position. In F ig u re 3, W

9 sh o w th e p e n e tra tio n ,

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足 nique in this close-up.

H ead and A rm Release.

In this a c tio n se-

by p u llin g his h e a d up. W h e n Đ’ feels th e up-

quen ce, from a h e a d a n d a rm con tro l, Đ’ applies

w ard pressure, h e releases th e h e a d a n d steps in

pressure d o w n to w ard th e m a t, a n d W

for a d o u b le leg tackle.

reacts

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

control B’s h e a d w ith a collar tie w h ile on his

W ’s side w hile ste p p in g u p w ith his o u tsid e leg

knees, in th e first p h o to g ra p h . In Figures 2-6,

to co m p le te his tackle. (See also th e step-up

В executes a p o st a n d a d ro p step. In th e last

drive across, page 20.)

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

a w rist co n tro l position. In F ig u re 2, В rotates

th e n reaches across W ’s b o d y a n d lifts W ’s leg

his w rist d o w n w ard. В th e n releases W ’s wrist

off th e m a t. (See also “A rm D ra g ,” pages 9 4 -

a n d takes a n arm drag, tu r n in g W ’s b o d y a n d

98.)

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

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

p osition of your o p p o n e n t’s arm s a n d feet afte r

2. H e th e n steps up, p u sh in g his h e a d in to W ’s

you h av e m a d e your initial p e n e tra tio n . T h e

side, th e re b y forcing W off-balance a n d p lacing

p ic tu re sequences follow ing sh o w th e te ch n iq u es

him self in a control p o sitio n b e h in d W .

used.

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

I 7

a

I

Sit-through.

Đ’

a tte m p ts

to

c o u n te r

W ’s

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

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.

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

a n d liftin g W w ith his left shoulder, В forces

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 ­

W to th e m a t. В th e n steps over to assum e his

ing his legs back. В m a in ta in s co ntro l of W ’s

riding p osition in F ig u re 9.

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

Back Heel Trip from the Knees.

W ’s d o ub le

h e trips w ith his foot, W knocks В off-balance

leg tackle has tak en h im to his knees in Figures

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

1 a n d 2. W

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

by th ru s tin g his hips forward.

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

Standing Back Heel Trip.

In th e first p h o to -

cross face. T h e rest of this seq u en ce shows В

g rap h В is on his feet in a d o u b le leg tackle

ste p p in g in, kicking o u t W ’s right

position. W

th ro w in g h im to his back.

is a t te m p tin g to c o u n te r w ith a

leg, a n d

Underhook

C hest Pressure Sit-down.

In th e a c tio n se­

quences for b o th th e u n d e r h o o k a n d th e cross

pressure to w ard t h e m a t, forcing W

do w n, in

Figures 5 a n d 6.

face, В h as p e n e tr a te d to a d o u b le leg tackle

N o tic e : (a) В does n o t go to th e m a t u n til

positio n in F ig u re 1. In F ig u re 2, В b en d s his

his o p p o n e n t is do w n . ( b ) T h e c h e st pressure

knee, ap p ly in g chest pressure to W ’s th ig h , thus

is d o n e from a cross face o r u n d e r h o o k co u n ter.

p lacin g all of W ’s w eig h t on W ’s rig h t leg. In

A n d (c ) tak e special n o tic e of B ’s le ft-h a n d posi­

Figures 3 a n d 4, В extends th e d istan c e b etw e en

tio n on th e m a t in th e last p h o to g ra p h .

W ’s legs by ste p p in g back. В c o n tin u es to apply

ТТЛ

-/ ! \ \ \ 6

Џf /ГГ\ / /

і \ \

,

/

-

mi

Cross Face

Double Leg Pick-up.

Figures 1-3 show B ’s

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. Đ’ th e n

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.

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

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

d o u b le leg tackle p e n e tr a tio n . B egin w ith a long

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

step b e tw e en your o p p o n e n t’s legs. P lace your

are attack in g . Y o u r h e a d can e ith e r b e o n 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

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 .

controlling. Y o u r free a r m will go inside his

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

crotch, th u s c a tc h in g th e leg above th e knee.

ceps as possible, w ith th e t h u m b h o o k e d b e h in d

T h e ste p p in g leg will go d ee p in to th e crotch,

his triceps. M a k e sure y o u r o p p o n e n t does n o t

to u c h in g th e m a t in a k n ee lin g position. Y o u r

c o n tro l y our h ea d .

rear leg will drive a n d p iv o t a n d also co m e to a

T h e key p o in t to r e m e m b e r in a firem an ’s

k n ee ling position. T h is p iv o tin g a c tio n straig h t­

carry is t h a t you m u s t m o v e to a staggered stance

ens your back, liftin g your o p p o n e n t off th e m a t

w h e n you sta rt to p e n e tra te .

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.

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:

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.

1. M a k e y o ur o p p o n e n t step to w ard you.

(See also seco n d moves for th e n ea r arm a n d

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

op p o site leg ta k ed o w n , page 9 2 ).

you p la n to co n tro l aw ay from his body.

Shoulder Snap.

In Figures 1-3, B, from a

3. M a k e your o p p o n e n t raise his h e a d up.

staggered stance, overbooks W ’s arm a n d snaps

T h e second m ove for a successful firem an ’s

his shoulder. In Figures 4 -6 , В moves tow ard

carry is a th ro w to th e m a t. S tra ig h te n your b ack

th e cro tc h a n d attacks th e leg. In Figures 7 -8 , В

to raise your o p p o n e n t off th e m a t, m a k in g sure

m akes his lift a n d th ro w to th e m a t.

t h a t his leg is con tro lled , a n d ro ta te y o u r o p ­

N o t e th a t, in F ig u re 2, В changes to a drop

p o n e n t off y o u r shoulders, over y our h ea d , to

step stan ce a t th e sa m e tim e as h e prepares 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

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

trol in F ig u re 1 to an arm d rag in F ig u re 2. W

F ig u re 3. Figures 4 - 7 show th e p e n e tr a tio n a n d

reacts by pulling his a rm back, a n d В changes

finish of th e firem an’s ta k edo w n .

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

h ea d in F ig u re 1. W catches th e h e a d a n d moves

th e n releases th e h e a d as h e hooks th e arm an d

to his left, pu llin g t h e h e a d to w ard his sh o u ld er

steps in for th e firem an ’s carry— Figures 5 an d

in th e sam e directio n h e is m oving. T h is tie-up

6. In Figures 7, 8, a n d 9, W finishes w ith th e lift

is in te n d e d to g et В to raise his left arm away

a n d th e th ro w to th e m a t.

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

a h e a d sn a p set-up in Figures 1-4. As W reacts

up.

in F ig u re 4, В reaches for a rm con tro l a n d be-

finish.

F igures

5-8

show

th e

p e n e tr a tio n

and

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 ­

in F ig u re 1, В forces W ’s h e a d d o w n . W strug­

tion, using a step-in a n d firem an ’s carry, finishing

gles to free his h e a d in F ig u re 2. В allows W to

in Figures 5-7. (See also “ Fleacl a n d A rm C o n ­

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

trol,” pages 140-152.)

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

F ig u re 5, В forces W o n his b a c k a n d drives in to

has b ee n c o u n te re d by W . In F ig u re 1, В m a in ­

W , m a k in g W

tains th e arm co n tro l of th e firem an’s carry a n d

chest. В th e n scissors his legs a n d com es o u t on

uses a reverse elbow lo ck on W ’s free a rm to

top.

control b o th arms. In F ig u re 2, В begins a sit-

to th e side. T h is m o tio n is sim ilar to a roll. In carry B ’s en tire w eig h t on th e

(See th e n ex t page for an a c tio n secjuence th a t

th ro u g h m o tio n , p u llin g W ’s left arm to w ard

illustrates

th e m a t a n d forcing W ’s rig h t sh o u ld e r up an d

side.)

this

te c h n iq u e

fro m

th e

o pposite

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

h o o k in g inside th e crotch.

is co u n te rin g by

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 ’s arm s a n d takes a step a n d squats, p lacin g

b e h in d th e leg, a t th e sam e tim e driving across

his h ea d u n d e r B ’s arm , in Figures 1, 2, a n d 3.

a n d forcing В to th e m a t.

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,

h o o k a n d wrist control tie-up in F ig u re 1, В

В releases th e wrist, looks up to block W ’s arm,

sq u ats a n d lifts W ’s left a rm in F ig ure 2. In F ig­

a n d drives off his rig h t leg, p lacin g h im self b e ­

ure З, В steps forw ard w hile lifting th e arm ,

h in d W .

1

1

z

3

4

5

| І 7

в І

C ounter for W r is t Control.

В has assu m ed

wrist control; W h as u n d e rh o o k e d w ith his left arm . W

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 ).

> і-**, і •) -

І 7

L

F o o t Kick.

I 1

* /

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

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

4

I

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.

Foot Kick

( c o n t. ) .

Figures 7 th r o u g h

12

show Đ’ 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

a single leg tackle is t h a t you m u st set u p your

leg you are attack in g , k eep in g your h e a d inside

o p p o n e n t’s a r m on th e sam e side as th e leg you

th e leg. A t this p o in t you s h o uld b e on y our

are attack in g . A single leg tackle set-up involves

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

m a k in g th e o p p o n e n t raise his arm up away

w eig h t on his free foot, w hich can b e a c c o m ­

from his b o d y o n th e sam e side as th e leg you

p lis h ed b y sta n d in g up or by b rin g in g y our o u t­

are attack in g . O n th e cross-body tackle, your

side leg u p a n d driving across.

right h a n d will b e th e first to reach for th e leg if

F o r th e cross-body single leg tackle, your h e a d

you are atta c k in g th e rig h t leg, a n d similarly,

sh o u ld co m e fro m th e rig h t side of th e o p p o ­

y o u r le ft h a n d , if your m o v e is to th e left. U se

n e n t ’s b o d y to th e le ft leg, or vice versa. Y o u r

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 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

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.

Li

Ы Н

т

ГИ 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

Fig u re 1, В releases th e h a n d s a n d starts a h ea d

arm on th e side of th e leg t h a t you p la n to a t ­

sn a p set-up. In Figures 3 a n d 4, W ’s reaction is

ta ck from co u n terin g . T h e follow ing p ictu re

to raise b o th his left arm a n d his head . In F igure

sequences show th e te ch n iq u es used.

H ead Snap.

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

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.

7Г/

/ Л Г1

Міг

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,

in Figures 1 a n d 2. In F ig u re З, В releases th e

W reacted to th e p u ll b y p u llin g b ac k a n d at-

elbow a n d quickly overhooks th e forearm , jerk-

te m p tin g to free his arm , a m o v e m e n t w h ich

ing it to w ard his chest, in F ig u re 4. In 5, В re-

enables В to a tta c k th e exposed leg.

Elbow Post— L o w Single.

"Пае elbow p o st

set-up m a y b e used for a low or a h ig h single leg

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.

tackle. As W a t te m p ts h e a d co n tro l in Figures

N o t e t h a t В does n o t lift W ’s elbow b u t

1 a n d 2, В inte rcep ts th e le ft arm a t th e elbow

r a th e r keeps it p o ste d to p re v e n t W from c o u n ­

w ith his t h u m b on th e inside. В holds W ’s el­

tering.

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E lbow Post— H igh Single.

F r o m a n elbow

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

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 ,

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

has w rist co n tro l a n d is a t te m p tin g a collar tie-up

th e elbow. В th e n attacks th e leg on th e o p ­

in Figures 1-2. В uses a n elbow p o st set-up. W ’s

p o site side, Figures 4 -8 .

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

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

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.

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

in g a collar tie-up fro m his knees. В shows t h a t

a r m post, В attacks th e exposed leg— Figures 4

th e p o st can b e effective even w h e n an o p ­

a n d 5.

Forearm Post fro m the Knees.

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

7 -9 , В brings his h e a d

In F ig u re 2, В begins his arm drag. Y o u can see

to th e inside a n d steps

over th e leg, securing

in Figures 3-4 t h a t th e arm drag exposes W ’s

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

leg. В th e n steps u p to ch a n g e to a single leg in

pages 9 4 -9 8 .)

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

Đ’ moves to a sh o u ld e r sn a p set-up in F ig u re 3.

sam e tim e gets W to react by lean in g forward.

T h is set-up is p articu larly effective w h e n W is

Figures 4, 5, a n d 6 show th e a c tu a l p e n e tra tio n

a t te m p tin g elbow control, as in Figures 1, 2, an d

to th e single leg.

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

tie-up in F ig u re 1, В releases th e biceps a n d slaps

Figures 5 a n d 6, В moves in for a single leg

th e rig h t wrist in F ig u re 2. In F ig u re З, В begins

tackle.

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

6

5

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.

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

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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

tie-up. В assumes elb o w control w ith a wrist

will place W ’s leg o u t of reach, it is necessary to

tie-up. In F ig u re 2, В tu rn s his h e a d , b u t n o t his

tak e a side step to c u t off W ’s escape, as we see

body, a n d pushes W ’s elbow d o w n to w ard W ’s

in Figures 5 a n d 6.

op p o site knee. In F ig u re З, В begins his single

N o t e th e inside step w ith th e rig h t leg.

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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t h e n ea r leg. C o n tro llin g W ’s leg w ith his own,

T h e b rea k d o w n for th e single leg tackle will

В begins his r u b b e r arm . T h e r u b b e r a r m is ac­

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

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 ­

you have a tta c k e d th e leg.

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

Back Heel and R u bbe r Arm .

В has a ttac k ed

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

has

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

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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

has placed his left h a n d o n th e m a t for su p p o rt

u p a n d В uses his le ft h a n d on th e m a t fo r su p ­

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

port.

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

В has a t te m p te d a single leg tackle, a n d W

knee, forcing W off-balance. T h e last th ree fig­

c o u n ters w ith a n overhook. В posts his left arm

ures sh o w th e finish.

a n d pivots his rig h t leg in a circular m o tio n over

Y o u will n o te t h a t as soon as th e h e a d makes

th e a tta c k e d leg, Figures 1-2. U sin g his arm for

c o n tact, in F ig u re 3, B ’s arm is rem oved as a

su p p o rt, В pulls b ac k on W ’s heel, forcing his

s u p p o rt a n d is th r u s t in to th e crotch.

h e a d in to W ’s cro tch w h ile driving off his left

^V Т У /Т Л / л ^ / Ôà 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

H ead L i f t and Throw-down.

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

In th e first six

slides his knees forward, using his h e a d a n d h a n d

figures o n th e n ex t pag e, th e ac tio n is th e sam e

to lift, a t th e sam e tim e straig h ten in g his b ac k —

as

Figures 3-6. In 3, 4, a n d 5, В starts th e lifting

a b o v e ) . I n Figures 7-10, В releases W ’s leg w ith

in

th e h e a d lift a n d g o -behind

( show n

m o tio n a n d takes h o ld of th e leg w ith b o th

his left arm a n d brings his h a n d inside aro u n d

h an d s . В th e n tu rn s a n d drives forw ard a n d

W ’s waist. In Figures 11-12, В th ro w s W

com es up on top— Figures 6-8.

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.

In F ig u re 1, В has a single leg

tackle, a n d W

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

gle leg, a n d W has c o u n te re d w ith an ov erh o o k

p u llin g th e leg b o th u p in th e air a n d in tig h t

in F ig u re 1. In F ig u re 2, В moves in to W , re-

to th e chest, as sh o w n in Figures 5 a n d 6. F ig u re

leasing his locked h a n d s fro m th e k n ee a n d

7 shows В kicking o u t W ’s su p p o rtin g foot,

ste p p in g over W ’s tra p p e d leg. T h is move, com -

w h ich sends W to p p lin g to th e m a t.

В counters

a n d a t th e ankle. In F ig u re 4, W steps inside

W ’s single leg w ith a n overhook. In F ig u re 2,

B ’s cro tch a n d trips th e far leg just above th e

Inside Trip and Rubber Arm.

W frees his leg w ith a step-over actio n . W m a in ­

knee. N o te in F ig u re 5 t h a t W begins his ru b ber

tains co n tro l of B ’s leg by h o o k in g it a t th e knee

a r m im m e d ia te ly afte r h e trips B’s leg.

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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

W co u n ters w ith an overhook. N o t e in F ig u re 2

k ee p in g his b ack straight. F igures 5, 6, 7, a n d 8

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

sho w th e finish.

cro tch to a locked position. F ig u re 4 shows В

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

В has a single leg tackle, a n d W is co u n terin g

step p in g b e tw e e n W ’s legs in to position for a

w ith an overhook. In Figures 2 a n d З, В releases

d o u b le leg tackle, in Figures 4 -9 .

K nee T ap into a Double Leg.

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.

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

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.

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C hest Pressure and Back-away.

б В has a sin-

to W ’s th ig h for a d d itio n a l control. I n Figures

gle leg tackle a n d W co u n ters w ith an ovcrhook.

4 a n d 5, В forces W ’s legs ap a rt. W h e n W ’s legs

In Figures 2 a n d З, В m a in ta in s co n tro l of th e

are sufficiently spread, as in F ig u re 5, В begins

leg w ith c o n s ta n t d o w n w ard ch est pressure o n

a circular m o tio n , b rin g in g W

W ’s u p p e r thigh. B ’s sh o uld er is pressed tig h t

F ig u re 6.

to th e m a t in

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

W ’s a t te m p te d ta k ed o w n w ith an o verhook a n d

a side roll u n d e r n e a th B ’s body, a n d com es u p

is app ly in g p ressure d o w n w ard (Fig. 1 ). W , feel-

on to p (Figs. 2 - 6 ) .

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

В has a single leg

4, В applies chest pressure on W ’s u p p e r thigh.

co u n ters w ith an overhook. In

In Figures 5 a n d 6, В begins th e b reak do w n,

Figures 2 a n d З, В unlocks his h a n d s at th e knee

using his chest as a fu lc ru m a n d his rig h t h a n d

an d drops his right h a n d to W ’s heel. In F ig u re

as a lever.

Heel and Chest Pressure. tackle, a n d W

Single Change-off to High Crotch.

In F ig­

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

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.

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

to th e inside of your o p p o n e n t’s leg. T h e arm

a c tu ally a co m b in a tio n of tw o o th e r takedow ns.

t h a t is a ttac k in g his leg will lift it up. T h e co n ­

T h e arm is co n tro lled as in a fire m a n ’s carry.

trolling arm in th e firem an ’s carry position will

T h e p e n e tr a tio n is ex ecu ted as in a single leg

p u ll d o w n on his arm , m o v in g in a circular m o ­

tackle t h a t goes across th e body. In this te ch ­

tion, th ro w in g W to his back.

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

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

as close as possible to th e k n ee t h a t you are a t­

leg, you sh o u ld proceed to a tta c k his leg, for­

tacking. Y o u r h e a d has to pass u n d e r y our o p ­

g ettin g a b o u t th e arm a n d finishing in a single

p o n e n t ’s ch in a n d is aim e d b e tw e e n his legs

leg position. Y o u r h e a d stays on th e inside a n d

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

B ’s elbow. In F ig u re 2, В moves his h a n d from a

m a n ’s carry. T h e second m ove can b e described

biceps position to a sh o u ld e r position, sn a p p in g

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

th e sh o u ld er a n d freeing th e elbow a t th e sam e

leg a t th e sam e tim e as you sw ing your bod}' to

th e leg afte r h e has cleared his elbow. In Figures

tim e. In Figures 3, 4, a n d 5, В starts to atta c k

th e side, ro ta tin g your rear leg to th e side as you

6, 7, 8, a n d 9, B ’s left leg starts to swing back,

pull dow n on th e a r m — Figures 1-7.

c re atin g a circular m o tio n w h ich takes W to his

Shoulder Snap.

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

back.

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

h as a collar

p as t his b o d y — Figures 2, 3, a n d 4. В th e n starts

tie-up, a n d В takes elbow co n tro l, p lacin g his

In F ig u re 1, W

his p e n e tr a tio n a n d finishes w ith a th ro w to th e

free h a n d b e h in d W ’s wrist. В th e n pushes W ’s

m a t— Figures 5-9.

h a n d off his neck, d o w n to w ard th e m a t, a n d

tim e brings his h e a d to th e inside a n d attacks

Elbow L ift Set-up and High Crotch Changeoff to Single Leg. In Figures 1-4, B, using an

W ’s leg w ith a single leg tackle. In Figures 6, 7,

elbow lift set-up, reaches inside W ’s crotch. In

a n d 8 h e picks th e leg off th e m at.

F ig u re 5, В changes directio n a n d a t th e sam e

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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,

T h is seq u en ce illustrates a sec­

p la cin g th e p a lm of his h a n d on th e o u tsid e of

o n d m o ve for th e n ea r a rm a n d o p po site leg

W ’s kn ee w hile p u llin g d o w n w ard on W ’s arm .

ta k ed o w n . B ’s p osition is o n e in w hich wrestlers

In F ig u re З, В drops his sh o u ld e r a n d trips W

o fte n find them selves w h e n th e y h av e b een

over his knee. In F ig u re 4, В scissors his legs a n d

co u n te re d on a n ea r arm a n d o p p o site leg or on

com es to his knees as h e reaches u p a r o u n d his

a firem an ’s carry. F r o m th e position in F ig u re 1,

o p p o n e n t’s waist. H a n g in g on to W ’s arm , he

В is co n tro llin g W ’s a r m as in th e firem an ’s

th e n com es up on top.

1

2

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Barrel Roll.

4

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

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

elbow u n d e r W ’s arm pit. A t th e sam e tim e В

n e a r arm a n d op p o site leg ta k ed ow n . In F ig u re

pulls d o w n on W ’s far arm an d sits to th e side,

1, В starts to pull d ow n on W ’s rig h t arm , k e e p ­

forcing W off-balance in F ig u re 4. В th e n comes

ing his free h a n d on th e m a t a n d his h e a d up.

to his knees a n d on to p by scissoring th e legs

In F ig u re 2, В m a n eu v ers his elbow in a position

over.

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 ). Đ&#x2019; rotates bis w rist d o w n w ard (Figs. 2 - 3 ) , w h ich p u ts W â&#x20AC;&#x2122;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 ) .

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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

B ’s w rist a n d head . In Figures 2, 3, a n d 4, W

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.

releases B ’s head , reaches across his b o d y to th e

N o te in Figures 5 a n d 6 t h a t B ’s foot is b e ­

arm , for an arm drag, a n d th e n takes a sh o rt

tw een W ’s legs, a n d th e n see h o w W com es to

step to th e o u tsid e of B ’s rig h t leg. In F ig u re 5,

his knees as h e sits th ro u g h .

Foot Kick Change-off to A r m Drag.

In F ig ­

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

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.

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 tâ&#x20AC;&#x2122;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

W ’s head , p lacin g all of W ’s w eig h t on th e rig h t

u n til h e has picked th e fo o t up, a n d В th e n

foot. В th e n takes a sh o rt step a n d kicks W ’s left

moves in to W , kn o ck in g h im to th e m a t.

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 ).

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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

sn a p p in g his wrist. Figures 4 - 6 show th e angle

ward a n d to his left. In F ig u re З, В pivots his

В creates a n d his p e n e tr a tio n tow ard W ’s ex­ posed side.

b o d y a n d snaps his elb ow p as t W ’s ch in while

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,

tion В pulls W ’s h e a d d o w n by using a collar

allow ing h im to go b e h in d , as W ’s m o m e n tu m

tie-up a n d wrist control, Figures 1-4. In F ig u re

carries h im p ast B ’s body, Figures 6-8.

Reach Set-up and H ead Snap from the Feet.

In execu tin g a successful h e a d sn a p you can-

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,

n o t allow your o p p o n e n t to co n tro l your head,

p u ttin g all his w eight on his left leg, in F ig u re 4. Đ&#x2019; uses a h e a d sn a p te ch n iq u e .

Foot Kick Head Snap.

F ro m a w rist co ntro l

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

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.

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Snap-down.

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В has assu m ed w rist a n d collar

co n tro l in F ig u re 1. В snaps W ’s h e a d d o w n to

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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,

th e side in Figures 2 a n d 3. В th e n drives his

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

a rm to w ard th e m a t a n d moves across W ’s b o d y

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

in Figures 5 a n d 6.

h ea d is s n a p p ed dow n.

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

tie-up position. В reaches over W ’s arm a n d as­

in Figures 4 a n d 5. In F ig u re 6, В uses his h a n d

sum es a collar tie-up in Figures 2 a n d 3. В th e n

to sn a p W ’s h a n d off his h ea d . In Figures 7 a n d

releases W ’s right wrist, p lacin g his free h a n d

8, W loses his b a la n c e a n d goes to th e m a t.

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.

tie-up, w hile В controls th e elbow. In F ig u re 2,

In F igure 5, В clears W ’s elbow p a s t his h ea d

В begins to create an angle by lo o k in g aw ay a n d

a n d drives across, p lacing h im self in a control

ch a n g in g his fo o t position. A t th e sam e tim e В

position b e h in d W .

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

a n d elbow tie-up В releases W ’s elbow a n d

W removes his foot, in F ig u re 5, В goes in to his

reaches for W ’s neck. A t th e s a m e tim e В re­

shuck a n d finishes in F ig u re 7.

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

N o te th e p osition of th e t h u m b in Figures 3 an d 4.

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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

В controls W ’s elbow a n d far wrist. В th e n

7-9, В looks aw ay a n d snaps his wrist, p u sh in g

changes from elbow control to a collar tie-up,

W ’s elbow p as t his body.

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

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

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.

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

c o n tro llin g W ’s w rist a n d elbow. В lifts W ’s

th e m a t as h e pulls on W ’s thigh an d stands up.

elbow straig h t o u t a n d pulls it over his sh o u ld er

F igure 7 shows В going b e h in d W .

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

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.

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.

F r o m an u n d e rh o o k a n d

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

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N o te especially th e position of B ’s b o d y in F ig u re 5.

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Forearm Pull Set-up.

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Two-on-One Control.

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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

b o w co n tro l in F ig u re 1, В sets u p a h ig h inside

pulls W ’s rig h t a rm d o w n to w ard W ’s o pposite

cro tch ta k ed o w n by p u llin g W ’s right arm dow n,

knee. As W reacts by p u llin g his a r m back, in

in Figures 2 - 4 ( o p p o s ite ) . I n F ig u re 5, В re­

F ig u re З, В starts his h ig h cro tch ta k ed o w n by

leases W ’s w rist a n d reaches inside W ’s crotch,

lifting W ’s arm up a n d p u llin g it over his sh o u l­

a t th e sam e tim e liftin g th e elbow. В th e n goes

der, in Figures 4 -5 . В m akes his p e n e tr a tio n in

in to th e h ig h inside cro tc h position, in Figures

F igures 4 a n d 5, ch an g in g to a d o u b le leg tak e­

6 -8 , a n d changes to a d o u b le leg ta k ed o w n, in

dow n in Figures 6-8.

Figures 9-11.

N o te th a t, in Figures 2 -4 , В ca p tu res W s

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.

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

elbow tie-up, in F ig u re 1, В releases W ’s rig h t w rist a n d brings his h a n d b e h in d W ’s left wrist,

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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

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.

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 .

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

in th e directio n of W ’s step p in g foot— Figures

controls W ’s arm , as show n in F ig u re 1. In F ig ­

3 a n d 4. In F ig u re 5, В attacks th e ankle, forcing

ure 2, В begins to m a n e u v e r b ack w ard in order

W back w ard by p u sh in g his sh o u ld er over W ’s

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

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

pick-up is executed b y p lacin g y o u r o p p o n e n t’s

angle of th e b o d y a n d th e p o sitio n of th e heads.

h e a d directly over th e foot t h a t you p la n to a t­

In F ig u re 5, В attacks th e ankle. In F ig u re 6, В

tack. I b i s is o ften d o n e b y using th e collar

snaps th e h e a d b ack w ard, ta k in g th e w eig h t off

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

th e fo o t h e is attack in g , w h ic h th e n enables h im

a t an angle over th e foot, so t h a t h e c a n n o t m ove

to pick u p th e h eel a n d finish th e ta k ed o w n , as

th e foo t you p la n to attac k . Y o u r h e a d m u s t re­

F ig u re 7 shows.

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.

fo ot by ap p ly in g pressure d o w n w ard on W ’s

In F ig u re 1, В has a tw o-on-one control. In F ig ­

arm s w ith his chest. In F ig u re 4, В begins to

ure 2, В changes to a d o u b le a rm h o o k by c a tc h ­

a tta c k W ’s far an k le w hile still controlling b o th

in g W ’s far arm a t th e elbow. A t th e sam e tim e

of W ’s arm s. В catches W ’s an k le a n d drives

В releases W ’s wrist, as show n in F ig u re 2. In

forward, taking h im d o w n to th e m at.

F ig u re З, В forces all of W ’s w eig h t o n to his far

W hip-over and A n kle Pick.

In F ig u re 1, В

is in an o verhook a n d u n d e rh o o k position. F ig ­

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.

ures 2 a n d 3 show В startin g th e whip-over. F ig ­

N o te t h a t В takes a step b e tw e e n W ’s legs.

u re 4 shows W tak in g a step forw ard to m a in ­

В th e n catches th e o p po site h eel a n d drives W ’s

ta in b alance. In F ig u re 5, В rotates his b o d y a n d

b o d y b ackw ard, using his sh o u ld er to k n o ck W

pulls W ’s sh o u ld er to w ard his knee. H e begins

to th e m a t.

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

tie-up a n d elbow control in Figures 1-4, В forces

never releases W ’s elbow or heel u n til W has

W ’s elb o w to his o pp o site knee. I t is im p o r ta n t

lost his b alan c e a n d has h it th e m a 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 足 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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T h e h ea d lo c k is ac co m p lish ed by tu r n in g y our

illu strated in th e first th re e p h o to s o f this se-

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

q u en ce. In th e n ex t th re e p h o to s W reacts by

off-balance w hile you co n tro l his h ea d

Snap-down and Headlock from tithe 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

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.

Snap-down and Headlock from a Standing Position. T h e set-up fro m a sta n d in g position

p a g e ) . H e re in Figures 3-4, W reacts by step ­

is th e sam e as from th e knees (see preced in g

Đ&#x2019; grabs th e h e a d a n d executes th e headlock.

p in g to catch his b alance a n d raises his head.

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.

executed by step p in g b e tw e e n your o p p o n e n t’s

В th e n turns his back, th ru s tin g his hips across

legs a n d tu r n in g your b ac k to h im , p lacin g your

W ’s body, as seen in F ig u re 5. H e th e n pulls

hip s across his b o d y in order to p u ll his h ea d

W ’s h e a d a n d pushes w ith his legs, p ulling W

over your hips.

F ig u re 1 shows a tie-up for th e headlo ck . In

over his hips a n d to th e m a t, in Figures 6, 7,

Standing Headlock.

F igu re 2, В steps b e tw e en W ’s legs. In Figures

a n d 8.

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足 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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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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1 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

control in F ig u re 1, В starts a b ac k w ard mo-

u n til b o th of W ’s knees are o n th e m a t, Fig-

tion, p u llin g W ’s left k n ee d o w n to th e m a t,

ures 5-6.

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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

В applies pressure do w nw ard , p u llin g W ’s a r m

arm w ith his right leg (Fig. 4 ) . В th e n drives

across (Figs. 1 - 2 ) . В th e n releases his h a n d s a n d

across, w h ich places h im b e h in d W (Figs. 5 - 6 ) .

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

a tte m p ts an arm drag in Figures 1-3. В raises

arm , a n d pulls W forward, th ro w in g h im to th e

his sh o uld er a n d pulls his a rm b e tw e en th e ir

m a t in Figures 7-9.

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 足 Cham pion from

I z 3 4 5 Є 7

І

1

7

Throw-back (Pop-over).

F ro m a h ea d a n d

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

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.

I

fILШ 3

4

5

Б

7

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I Z 3 4 5 Б 7

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E

I

Z

3

4

5

Б

7

В

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z

3

4

Б

5

В

7

b it

№1 I Z 3 4 5 Б 7 В

1 z 3 4 5 Б

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1 Z 3 4

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I Z 3 4 5 Б 7

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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

a t th e knee, in Figures

th e h e a d a n d arm tie-up. In F ig u re 2, W has

В locks his h an d s an d

m a d e th e m istak e o f leaving his k n ee up. В re-

in to a cradle,

leases th e headlock, steps to th e side, a n d attacks

3-6.

drives W over b ackw ard

1

З

2

4

Far Leg Trip.

Shuck.

В controls W w ith a h e a d a n d

W is co n tro llin g В 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

arm grip, in F ig u re 1 ( a b o v e ) . In Figures 2, 3,

his left leg, p u llin g W ’s h e a d a n d forcing h i m to

a n d 4, W starts to m o v e in a circular m o tio n to

tak e a step forw ard. В th e n pulls d o w n o n W ’s

his right. In F ig u re 5, W stops a n d w hips В p ast

h e a d a n d reaches for his leg in Figures 4 -6 .

his body. H e there b y creates a n angle, a n d a t th e

O n c e h e has c a u g h t W ’s leg, В uses his sh o u ld er

sa m e tim e he uses his forearm to swing B ’s h ea d ,

to drive W off-balance a n d in to a cradle, F ig ­

as show n in th e seq u en ce 6-9.

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 ­

w ith a h ea d a n d arm . В starts to m ove back w ard

ing a n d c a tc h in g W ’s ankle. В th e n pushes W

in Figures 2 a n d 3, forcing W to step forward.

b ac k w ard w ith his forearm , as sh o w n in Figures

In F ig u re 4, В pulls do w n w ard o n W ’s head ,

6, 7, a n d 8, to co m p le te th e tak ed o w n .

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足 legiate title.

L ift and Sweep.

В h as g on e b e h in d W

in

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

off-balance b y kicking W ’s legs

above th e knee. Figures 7 -1 2 sh o w В b ring in g W to th e m a t.

1 J і

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z

3

4

5

Б

7

Side Lift.

In Figures 1-2, В changes from a

trols W ’s arm at th e elbow, a n d starts to drive

go-behind position to a side position. In Figures

h im to w ard th e m a t over th e rig h t leg to a riding

3-5, В throw s his hips, k n o ck in g W ’s feet off th e

position.

m a t. In Figures 6 -9 , В releases W ’s waist, c o n ­

7

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1

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Sit-througli and Knee Lift.

F ro m a go-be-

-

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7

1 1

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

sumcs a riding position after th e trip — Figures 7-9.

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-

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.

in F ig u re 1, В pivots his left leg b e h in d W ’s

N o tic e in Figures 3, 4, a n d 5 th e m o v e m e n t of

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

B ’s right leg as h e steps b e tw e e n W ’s legs.

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

has c o m p le te d his go-behind. In Figures 2-6,

w eight. In Figures 8 a n d 9, В forces W to col­

В releases th e w aist a n d catches W ’s ankle. In

lapse.

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.

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3

4

7

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Crotch Lift.

В

І

s s t

;

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

changes to a cross b o d y position, by step p in g

so t h a t he can apply pressure do w n w ard . В

w ith his rig h t leg b e tw e e n W ’s legs. В th e n locks

arches his b ack by tu rn in g his h ead away a n d

his h a n d s a t th e crotch, tu rn s his h e a d away,

forcing his rig h t th ig h in to W ’s crotch.

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

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

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

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 attacks th e ankle.

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 n d ru b b e r a rm , 64

cradle, h e a d a n d arm , 149, 1 5 0-1 5 1

A d a m s , C arl, vii, 147

s ta n d in g , 25

cross b o d v a n d an kle pick, 162

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

I

cross-bodv single leg tackle, 47

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

c ro tch lift, 72, 161

B lu b a u g h , D o u g , 147

Davis, G e n e , 154

B r a n d , D a n , 36

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

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

a n d inside cro tch , 65 from t h e knees, 23

c o u n t e r for wrist con tro l, 44

INDEX

C u l p , C u r b ', 7

B elim , D o n , 128

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

b r e a k d o w n fro m b e h i n d , 158

163

barrel roll, 93

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

E b ra h im i, M o h a m m e d , 140

f ro n t h ead lock , 141, see also h e a d a n d a rm co n tro l

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

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

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

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

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

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,

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

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

Illustrated with over 1,000 action photographs

THE MAKING OF A CHAMPION ^

The Takedown

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)

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

Cornell Paperbacks

Cornell University Press