(1939) Wrestling- E. C. Gallagher

8/2/2019 (1939) Wrestling- E. C. Gallagher

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FOREWORD

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A word about the original copyright. By my best research, theoriginal copyright on this work was not renewed. In accordancewith the Copyright Act of 1976, the original copyright date of this

book, 1939, means that the original has passed into the PublicDomain.

DEDICATION

Special dedication to my very understanding wife Mylinda, myenthusiastic son Christopher, and my beautiful daughter Allison.

-Kirk Lawson


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WRESTLINGBy E. C. Gallagher

Wrestling Coach, Oklahoma Agricultural

and Mechanical College

A. S. BARNES AND COMPANY

Publishers New York


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Copyright, 1939, A. S. BARNES AND COMPANY, Incorporated

THIS BOOK IS FULLY PROTECTED BY COPYRIGHT AND

NOTHING THAT APPEARS IN IT MAY BE REPRINTED

OR REPRODUCED IN ANY MANNER, EITHER WHOLLY

OR IN PART, FOR ANY USE WHATEVER, WITHOUT

SPECIAL WRITTEN PERMISSION OF THE COPYRIGHT

OWNER.

PRINTED IN THE UNITED STATES OF AMERICA


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ACKNOWLEDGEMENTS

Acknowledgments of appreciation is made to Joe Mc-Daniels, National Intercollegiate Champion three times;

Eldon Jackson, Letterman 1939 Wrestling Team; Jay

McVickers, Intercollegiate Champion; Earl Van Beb-

ber, Squadman 1940 Wrestling Team; and George

Chiga, Canadian Champion and member of Canadian

Olympic team.

These men posed for the pictures in this book. All of

them are exceptional sportsmen and wrestlers.

I wish also to express my appreciation to John H.

Whipple of the Whipple Studios, Stillwater, for the pho-

tographs appearing in this book The Author


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PREFACE

I believe that individual sport has a greater place inIntercollegiate Athletics and that a man will get many

valuable lessons from meeting in friendly competition

another man equally as good as he is. For this reason

and because my wife has asked me to write the book,

I have spent a year collecting the pictures and working

out the descriptions in this book. I am giving to the

wrestling public the best I have in the different groups

of holds, trips, locks and counters.

E. C. Gallagher

Oklahoma Agricultural and Mechanical College

Stillwater, Oaklahoma


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THE CONTENTS

ACKNOWLEDGMENTS........................................................................ 5

PREFACE......................................................................................... 7

I.Standing................................................................................ 11

II.To Bring To Mat................................................................... 23

III.Holds.................................................................................... 28

IV.Escapes................................................................................. 35

V.Falls...................................................................................... 76

VI.Miscellaneous Training........................................................ 89


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WRESTLING


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Chapter One

STANDING

Figure 1. Standing positions are in all probabiliy the most important of all.

To learn the proper stance one must apply himself diligently. In the first pic-ture we have what is known as the Square Stanceexposing both legs to thesame degree. Your opponent is likely to try for either leg or both. Most good

wrestlers have what is called the sugar side; meaning they have developeda defense that will protect one leg better than the other. Test out the posi-tions and fall into a stance exposing only one leg and give it protection.This stance is shown in the second picture.

11


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12 STANDING Wrestling

Figure 2. The Ideal Stance: one foot slightly in front of the other, legs well

appart, trunk leaning forward, the front leg giving protection, both hands ready

to block or tie up opponent. Or if he should get one leg, counter him with your

strongest hold, a switch wrist lock or an arm drag.

Figure 3. The tie up shown in this picture is the standard usually given

by the referee. This is Collar and Elbow.


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Wrestling STANDING 13

Figure 4. This stance is a Muscle Grip. You grasp each other by the fleshy

part of the arm where the deltoid inserts into the hemures.

Figure 5. This is the most common block for a leg dive. It is one of the best

positions to work into Chain Holds. I have figured that the top man who

blocks has twenty-one chances to eight over his opponent. As the hold pro-ceeds I will explain what I mean by chain wrestling. Please observe the posi-

tion of the top man's hand. Also observe the top man is blocking using his

legs which are four times as strong as the tackler's arms. The positions have

advanced two links.


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Figure 6. As number six progresses please notice top man's right knee; it is

getting too close to the mat to be safe. If his knee comes in contact with the

mat the under man should charge hard in the direction in contact with

the mat. He must also make up his mind whether to continue forward or

back up.

Figure 7. You can now see that the top man has committed the error by

touching the mat with his weight on his knee. There are many factors to con-

sider from here on out knowledge plays an important part, strength alsoshould be considered, endurance is another factor. You must decide quickly

or you may spend too much of your strength and accomplish nothing.


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Figure 8. A good fortune has smiled on the aggressor. A bottom man tackled.

The top man blocked and made the mistake of giving down on his knees. The

offensive wrestler was alert and countered with a quick charge toward the

right knee, which takes his opponent under for a clean take-down.

Figure 9. In this picture we have the defensive man as countered by the

offensive man with a Quarter Nelson. The man underneath has to make up

his mind quickly whether to charge or back out. If the man underneath con-tinues to charge and the man on top strengthens his position the problem

will develop as shown in the next picture.


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Figure 10. The top man has strengthened his position by keeping his legs

straight, his weight properly placed and he increased the turning pres-

sure on his opponent's head. The under man must make up his mind quickly

or it will be too late.

Figure 11. In all probability the man making the charge has gone so far that

he will be rapped and brought under control. This picture is another good

exhibition of chain wrestling. It is in the third move at the present time. In

further explanation: one wrestler made a tackle, is blocked by the top man

quickly applying the one Quarter Nelson and trying to complete the move-

ment and bring his opponent under control.


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Figure 12. In this picture you see the conclusion or what may be the conclu-

sion of this series. The attacker is brought under control and is being forced

down to produce scoring points. Not only is the man on the defense in a weak

position by is in danger of being pinned, with a Nelson and Crotch. It would

be a good thing for the wrestler to pause at this time and learn the Break or

the Crotch and Half-Nelson.

Figure 13. It is a difficult problem to convince an American wrestler that

he should not take the Waist lock and allow his opponent to take the outside

position. I have never seen an American with a strong enough bridge to avoidbeing pinned with this combination. All foreign wrestlers try to encourage

their opponents to take this body lock.


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Figure 14. They immediately fall back into a high bridge with their oppo-

nent on top of them, but not for long. The opponent is locked tightly and

is gradually rolled under as is shown in this series.

Figure 15. Here we have the conclusion of this series which should clearly

demonstrate to you what you have been told. Try it for yourself and then

you will be convinced.


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Figure 16. In the next three pictures an attempt will be made to show one

of the cleverest Pick-ups developed in the last few years. Place your right

hand on your opponent's neck and use it to guide him around the mat, at the

same time observing what he does with his left foot. Pressure must be applied

in a manner which will cause him to step forward and across with his left foot.

Figure 17. If your movements have been correct, your opponent will assume

the position shown in the second picture of this group. All you need to do

now is to drop quickly to the right knee putting pressure on his neck; reach

for his right ankle with all the speed you can command, and complete the

picture as is shown in the next paragraph.


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Figure 18. The value of this hold will not be appreciated until it is tried out.

The student should remember that other combinations can be worked out.

I have seen a high school boy work the above combination and complete two

take-downs on a National Champion in the first thirty seconds of a match

during the Olympic try-outs.

Figure 19. In the next five pictures wll be shown a new hold called the Arm-

Drag. It was first called to my attention during the Olympic try-outs in 1924.

It is shown here as a chain wrestling hold to make it more effective. Alsofrom this same combination the Single Leg Pick-up is a good variation. Please

observe that the wrestler on the left is tempting his opponent. The opponent

is resisting by pulling down.


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Figure 20. When the wrestler applying the hold feels resistance the right

hand is changed from left to right, and pressure is exerted as shown.

Figure 21. In this third picture of the group please note the offensive man's

right leg. It is being thrown in between his opponent's leg to keep him from

stepping over. This counter position of stepping over has practically ren-dered the Arm-Drag useless.


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Figure 22. Notice how the hand is being used to push the opponent by, and

how the offensive man is going to come up behind, if he can keep his opponent

under control. Another point to consider is the using of the left leg by the

offensive man to bring his opponent's right knee to the mat.

Figure 23. Before concluding this series I want to call your attention to a

common injury in which the defensive man sprains his left wrist when he

puts out his hand to break his fall. The fifth picture merely shows the con-clusion of the series. I want to warn you that unless you are clever and light-

ning fast this position will cause you more trouble than it is worth.


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Chapter Two

TO BRING TO MAT

Figure 1. In almost every match the man who is down on the mat comes to

a standing position while the man riding him retains a grasp around his waist.

He may either have a Wrist Lock, or have a Double Grip, on the opponent's

wrist. The method shown here is the most effective and humane that I know.

The rules do not permit a slam except in a modified way. When the man is

brought to the mat the man executing the movement must have one kneein contact with the mat by the time his opponent comes in contact with his

trunk. Let us turn to the next picture.

23


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24 TO BRING TO MAT Wrestling

Figure 2. When the man is tripped he is given a push forward an usually

falls as shown here. His arm tied up and his leg scissored to prevent a counter.

I have never seen a man injured with this variation. The Olympic rules per-

mit slams.

Figure 3. Although this picture is likely to develop into a foul hold, it is

shown so that you may properly defend yourself. In the first place do not let

your opponent tie up your arm completely. If you keep your arms free you will

be in a much better position to counter him with a Switch or a High Wing.


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Wrestling TO BRING TO MAT 25

Figure 4. This picture shows how simple it is to protect yourself. It will

have a tiring effect on your opponent when he tries to lift you before he

slams. Don't give up. If you are alert, there is always a chance that you

may reverse position and come out on top.

Figure 5. In this picture we see one man about ready to give his opponent

the Fall-back. If his opponent has the better balance he may even come

out on top. The man behind must throw his opponent to either side or hemight find his opponent sitting on his stomach. I have seen at least ten

wrestlers win about this way.


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26 TO BRING TO MAT Wrestling

Figure 6. This picture shows a High Bridge, the kind seen in International

competition. It is not unusual for a foreign wrestler to take a bridging posi-

tion and hold it for three minutes. Sometimes they get the praise of the judges,

for this defensive action. Quite often they grasp their opponent and pin him

with a Spot Fall. I have seen a Turkish wrestler make sixteen bridges drop-

ping backward and turning Back-neck Springs in one circle of the mat.

Figure 7. The most bridging exercises involve simply rolling over on your

back and bridging with the shoulders for or five inches from the mat. This

picture shows a wrestler going back and forth first on hands and knees,face down; then on neck and feet. Whatever you do, learn the High Bridge.

It is the most important bit of information you will ever get for use in the

Olympic Match.


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Wrestling TO BRING TO MAT 27

Figure 8. No other part of the body is called upon to do more work than

the neck. Most exercises given to strengthen the neck are inadequate. In

most cases the neck had only to support half the body. The most violent exer-

cises you can take are just about as violent as the regular match. I would

recommend that you go carefully with the above combination. Add some

good limbering up exercises and you should see much improvement in a

short time.


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Chapter Three

HOLDS

Figure 1. The most important hold used in riding an opponent invovles

the use of the Waist Lock. The most important escape from the Waist Lock

involves the use of the Side Roll or the use of Winging tricks. I consider

this group of three pictures the most important in this series. You may

realize why I think this series important when I confess it is the only hold

called to my attention that I could not solve.

28


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Wrestling HOLDS 29

Figure 2. Always keep your legs as free as possible. When your opponent

starts to wing you, throw your feet high in the air and shift them to the

other side of his body with your right hand grasping the opponent's right

wrist and left going into his crotch as shown here.

Figure 3. Many good variations can be worked from this position. I have

not been able to solve this problem, without using strength alone. The im-

portance of this position can best be appreciated when you are wrestling

under Olympic rules using touch falls.


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30 HOLDS Wrestling

Figure 4. Being a good rider depnds upon leverage, initiative, and a com-

plete sense of balance. Let us assume that a man wrestling in defensive

position is like a table with four legs. The top man is working to destroy

one or more of these legs. Also notice the position of the underman. Note

that he has his hands well apart and is taking it as easy as possible.

Figure 5. If the man on top has difficulty in destroying the arm support

then he must attack the support given by the legs. This will cause him to

brace himself with his left arm and make it an easy matter to reach outand take his left wrist breaking down the second leg of the table.


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Wrestling HOLDS 31

Figure 6. You should now place your weight, making it a difficult task to

get loose. Keep your weight on him in the direction of his left shoulder.

Keep his left wrist pulled away from his body and you will have one of the

easiest rides you have ever tried. By changing your weight slightly you can

wear your opponent down to a helpless condition.

Figure 7. The next ride is one of the most difficult to break. Your oppo-

nent is forced over to the mat as with the preceding ride but with one extra

lock. The principal strength of this variation is such that it is sometimescalled a Twisting Hammerlock.


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32 HOLDS Wrestling

Figure 8. The Twisting Hammerlock is shown as it is usually applied. At

this stage it is not fouled but is likely to become fouled if pressure is ex-

erted. If any opponent gets this hold on you he would probably shift his

weight to the other side and with his right shoulder against your chest will

force you over into a fall.

Figure 9. This next ride is one commonly used by the professionals. It is

used to wear your opponent down to a helpless condition. Many times I

have seen Strangler Lewis apply this particular form of rides. If your oppo-nent should obtain this lock and get on you he may slip his right hand in

between your legs and throw your shoulders for a fall.


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Wrestling HOLDS 33

Figure 10. In this position the right hand is going to be changed to hold

the leg of the man underneath, broken down. It is also preliminary to tak-

ing the Head Scissor. It is the meanest Head Scissor known. Although it

does not choke your opponent it cuts off the blood supply; and if he is

down long enough it might make your opponent unconscious.

Figure 11. In this ride we find you have broken down your opponent and

are shifting your weight from side to side, holding your balance to keep

him under control at all times. Please notice how easy it might be to slip

your left hand between your opponent's legs and rock him on his shoul-

ders for a fall.


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34 HOLDS Wrestling

Figure 12. This position is a very good one to work into. It keeps your

opponent under constant threat of being thrown with a Half Nelson and

Arm Lock. From the position shown slip on a long Half Nelson and roll

your opponent over on his right shoulder. When you have him under con-

trol tighten or shorten your Half Nelson and turn on the power.

Figure 13. Sometimes your opponent is endowed with super-strength and

endurance. There is no better way to take the fight out of him than by

the method shown. The top man has a Hook Scissor and Half Nelson on

his opponent. He will keep this hold for about two minutes. The under man

will have dissipated his strength by this time. It will be an easy matter to

roll him over and pin him.


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Chapter Four

ESCAPES

Figure 1. Here we have what is known as a Half Standing Switch. This

is usually used when the under man is being brought to the mat after a

go-behind. Quite often this Switch will work so easily that the referee will

not give any points to the man who has previously gone behind.

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36 ESCAPES Wrestling

Figure 2. To continue the Switch you must look out for the following

counters: the Re-switch and the Step-Over. The Re-switch is best blocked

by withdrawing your arms from the switching position. The Step-Over can

be stopped by grasping your opponent's ankle with your left hand. Then

turn and come on top.

Figure 3. Most wrestlers usually use the conventional methods of escape.

This movement produces power and surprise. The tighter your opponent

rides you the better it will be for you. Notice the top man's right arm aroundyour waist. It is being held between the under man's abdomen and right

thigh. The movement also encourages the top man to take the Waist Lock.


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Wrestling ESCAPES 37

Figure 4. In this picture the under man grasps his opponent's right wrist

in his right hand, and his left arm in his left hand. From this half-standing

position he turns quickly to the left. This will bring your opponent to a

position of defense. Please turn to the next figure.

Figure 5. This figure shows the top man completely disorganized. It will be

necessary for the escaping man to drag his foot out from between his oppo-

nent's legs. Also you will be ready to hold your opponent's wrist just longenough. Turn quickly to the right taking a Crotch hold with your right hand.


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Figure 6. The next series is devoted to the study of the Cross-Scissor Ride.

This position has been used successfully in the Southwest for the past fif-

teen years. It has many followers who can punish their opponents and pro-

duct falls. In Figure 6 we have the beginning of a series of tricks.

Figure 7. Observe carefully the top man's riding position to break the Cross

Scissor Ride. You will have to know the field of positions to successfully

break the Cross Scissor. Grasp your opponent's left elbow in your righthand, the object being to give him a felling of security. Straighten your left

leg slightly. This will cause him to slip downward about two inches. Then

proceed as in the next figure.


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Figure 8. With a twist of your body and a quick jerk, thrust your left

elbow through and grasp him as shone in this picture. If you use this break

and get it down good in style, you will not have any difficulty in shaking

off your opponent.

Figure 9. This figure is shown to give you an idea of the work done with

both hands and neck. The neck must be pulled out from under your oppo-

nent's arm and you must come on top with some kind of a Crotch hold oryour opponent will kick loose and roll away to become free. Always try to

clamp on a pinning combination after you break a hold of this kind.


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Figure 10. In this picture we are attempting to show another break for the

Cross Scissor Ride. We have named it The Limber Man's Method. The ob-

ject is to break the Scissor on the leg, spin out, turn toward the head and

come on top. When you first assume this position use your feet to unhook

the Scissor and go into position Number 11.

Figure 11. I want to call your attention to a very important move. This is

the only instance in which you turn away from the Crotch. This is made nec-

essary by your opponent's left arm. As soon as your leg is freed take shortsteps and run around toward your opponent's head as shown in Figure 12.


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Figure 12. This picture does not show it in full detail but you must hang on

to your opponent's arm with your arm, and bore into your opponent with your

right shoulder. Use this break as rapidly as possible or you may be recaptured

by your opponent's throwing his left leg back into scissor position.

Figure 13. In the next three pictures I will show the break for the cruelest

hold permitted in wrestling. This hold is nick-named The Guillotine. The

man who is riding in this picture would like very much to have his opponenttake a Headlock. If the under man should attempt a Headlock the top man

would take a Reverse Half Nelson. He would either pin him or tear his side.


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Figure 14. As soon as you realize what your opponent is trying to do, ram

your right elbow on the mat and shove it straight forward; press hard with

your back on your opponent's shoulder. Please note that you have his arm

in a crimp similar to a Reverse Wristlock. By leaning back and putting on

the pressure you can cause him to unhook his arms. When your arms un-

hook, spin quickly to the left as in the next figure.

Figure 15. This figure shows the hold in the final stages where the under

man has not only broken the hold but has come out on top. Don't take this

position lightly because when you are once clamped in it you cannot get out.


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Figure 16. There are several important parts to the study of the Hook

Scissor. In the first place you should never permit your opponent to make

you carry his weight. I have never seen a man carry his opponent's weight

without being exhausted at the end of two minutes. My first instruction is

to roll down on the bat in such a manner that you make this weight carry-

ing null.

Figure 17. The next break I wish to show is called the High Bridge and

Turn-Up-Hill. Spread your feet wide, turn on your back and reach for oppo-

nent's head. Try to make him feel that you will pin him if he does not im-prove his position. In order to improve his position he will have to loosen

his scissor. At the first move he makes to loosen his scissor, turn out and come

on top.


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Figure 18. The next move is called a Three-Jerk Break. As soon as a man

puts a scissor on you drop to the side that the legs are hooked on. Now

grasp his knee and give three quick pulls. At the same time putting pres-

sure on his ankle with your right hip. The complete break is shown in the

next picture.

Figure 19. First observe that the man breaking the Hook Scissor is turning

up-hill. That you must turn up-hill is the most important bit of information

concerning this hold. This bit of instruction will apply to any wrestlingposition involving a roll.


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Figure 20. The next break is called the Old Standard. it has been named

Old Standard because it has been in use nearly twenty years. Drop to the

side on which the scissor has been hooked using the bottom leg to loosen the

hook. At the same time bringing the ankle of the foot of the straight leg to

the position shown in the next picture.

Figure 21. Bridge sufficient to keep the shoulders from touching. With the

weight of your hips press down on opponent's bottom leg. Pull leg overhead

and spin toward your opponent. Come up behind as shown in Figure 23, page46.


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Figure 22. This picture shows the finish of the break. Notice that the man

breaking the scissor follows the fundamental rule and turns up-hill. It is a

sin to roll of the mat. It is a bigger sin to stay on the mat and be ridden.

Figure 23. In all the breaks shown so far the man breaking the scissor

dropped to the side on which the legs were hooked. Here is one instance

where you drop to the other side. Follow the figure exactly and you willhave a fast break to throw your opponent under.


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Figure 24. Observe that the same rule of turning up-hill is to be followed.

Also observe that you press down with your hip on your opponent's other

leg. Speed is an important factor.

Figure 25. Drop to the side which the legs are hooked. At the same

time whip your legs out straight and grab the straight leg by the ankle.

Push forward on this leg and at the same time reach back with the rightarm, take a Waistlock to complete the escape and come on top. Whatever

you do wrong or right, don't permit your opponent to ride you and make

you carry his weight.


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Figure 26. No matter what has been said for or against the Wristlock, it is

still a good hold. Instructors should teach their men the defense and offense

and also the foul positions. In the next few paragraphs will be shown a num-

ber of usable Wristlocks. Please observe Figure 26 for the first combinations.

Then turn to No. 27 for further investigation. The man underneath puts on

a Wristlock, hooks his to to prevent shifting, and watches for two things.

Figure 27. Will his opponent bend his arm, or keep it straight? In this

case he is keeping it straight. All the bottom man has to do is jerk the arm

over his head, keep the toe hooked to prevent shifting, and come on top.


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Figure 28. There are several important points to be considered. When the

bottom man pulled the top man's arm over his head he pulled him up as far

as possible. He also reached with lighting speed for a Rear Crotch hold. This

keeps the opponent flattened down on his face and permits the man under-

neath to come on top.

Figure 29. Here we have the same start we had for the previous series. The

difference is that the top man elected to fight the position with a bent arm.

The bottom man elected to counter by turning the arm into a switching posi-tion being careful not to permit his opponent to make a Twisting Hammer-

lock out of the hold.


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Figure 30. At this stage of the movement watch out for the following: the

Step-over with the opponent's right leg. Unless you take a Rear Crotch hold

he may back up and cause you trouble.

Figure 31. No difficulties should be experienced if your opponent is kept flat

on his face. This can be done by exerting pressure on his arm as indicated in

the figure. Please observe that the final picture was taken left handed.


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Figure 32. In this figure we have a problem when the man shifts around to

straddle your leg. As quickly as possible bring your knee in front of his thigh

and kick him over your head. As he flies through the air be thinking what

you are going to do when he hits the mat.

Figure 33. This figure shows in detail the Kick-over. Be careful not to release

the tightness of the hold. Keep your opponent's arm bent, with his hand on

his own chest. As he rolls over turn your face to the mat and turn his back

to the mat. he will have a tendency to get away from you and you must jerk

back on him to stop him.


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Figure 34. Please observe how the variations are changing. First we had the

leg hooked outside, then the defensive man straddled the other leg. Now he

has shifted clear and he is making a natural block. he is not out of danger as

we can see by the next figure.

Figure 35. The top man should look out for a Keylock. If his opponent is

alert, it is likely that he will slip on the Keylock before the top man is even

aware of the danger. the most important part of this series is that the man

must be thrown directly over the head and not from side to side.


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Figure 36. In the next two figures we see the Rolling Wristlock being thrown

into a Keylock. The under man has not only come on top but has a pinning

combination. Always lie across your opponent's chest until the Keylock is

obtained. Then shift to Figure 37.

Figure 37. Do not permit the Keylock to be applied in such a manner that

it becomes a Twisting Hammerlock. It may become necessary to grasp your

hands and pull across the chest. Take my advice and practice both sides of thevariation.


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Figure 38. We continue with the defense for a Wristlock here. These posi-

tions are put in so you will know what to look for. It is a natural thing when

you put a Wristlock on a man for him to block it the easiest way. The easiest

way is not the best way always. The defensive man has made the error of

straightening out too flat.

Figure 39. The man applying the Wristlock throws his top leg over his oppo-

nent and reverses him to roll underneath. When the movement is con-

tinued we find the bottom man coming on top with a real pinning combination.


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Figure 40. Here we have the man with the Wristlock finishing off his oppo-

nent with a Double Front Grapevine and Wristlock on his arm. We find the

under man is a helpless condition being forced down for a fall. Although the

figure does not show it the man on top must not use the Reverse Wristlock.

If he does he can be thrown off by the under man. Practice this and you will

get the feel of it.

Figure 41. Up to the present we have figured on the Scissor being applied to

the weak side. It now becomes necessary to show it applied to the strong side.This combination also involves the legs. Again I want to call your attention

to the Step-over.


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Figure 42. You can see the development of this hold. The man with the

Wristlock is using the left leg to keep his opponent from shifting over. he is

also turning his Wristlock into a Switch.

Figure 43. As the Switch is completed the man is flattened out and pulled

forward. After the series has gone this far it is almost impossible to escape.

You still have that lurking danger of him stepping over you with his left leg.


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Figure 44. I am actually ashamed to show the merits and demerits of the

Wristlock. After building up your hopes to a high point, we come along with

one figure which will stop all Wristlocks and produce falls and score near falls.

As I have said before, you will want to have a referee who will stop the hold

before it goes to high up your back. When you apply this position grab the

skin on your stomach if necessary.

Figure 45. In the next three figures we have a Winging Trick. When your

opponent on top of you keeps locking his arms around your chest take the

outside hold and pivot on your shoulder, throw your legs high in the air, sohigh, in fact, that they will fall across your opponent's body as shown in Fig-

ure 46.


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Figure 46. Again I want to caution you about turning in the proper direc-

tion. Always remember to turn to the Crotch in every instance with one

exception, and that exception is in the Cross Scissor Ride.

Figure 47. In this final figure of a series of three, we have the top man turn-

ing in the proper direction. He is also maintaining a grip on his opponent's

arm to pin him if possible. I want to repeat that the best time to pin, or gointo a pinning combination is immediately after changing from defense

to offense.


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Figure 48. Until fifteen years ago the Winning Tricks were very small in

number. I have called your attention to the four legs of the table. By combin-

ing foot and leg positions with every known winging trick we have opened

up a new field and shown some of the principal Winging Tricks.

Figure 49. In Figure 48 the under man merely hooked his right toe over his

opponent's right calf and grabbed his right wrist in his left hand and fell tothe side. The result of this movement is shown here. Unless the top man is

very clever and fast he will come out on the bottom.


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Figure 50. In this figure we are showing the proper referee's position for the

top and the bottom man. Please observe the broad stance the under man

occupies. The top man has his arm loosely around the opponent's waist and

with his other hand he grips his opponent at the elbow. Coaches cannot agree

on the position of the top man's head. This position is as good as average.

Figure 51. Here we have the beginning of a Sitting-out series. Please observe

that the top man has stopped the bottom man's attempt to sit-out by using

the Short Waistlock. The top man's position can better be improved by pull-ing his opponent further between his legs


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Figure 52. This shows that it is not always possible to use a Short Waistlock

and we find the top man attempting to hold on with his hands locked. If you

should find yourself in this situation try to keep your opponent from pulling

your hands high up on his chest. Turn to the next figure where the completion

of the movement is shown.

Figure 53. Referring to Figure 52, the bottom man is ready to bring his arms

down hard and bring into play the big muscles of his back and chest. The

trouble with this position is that only one thing can happen, the bottom mancan escape. When his opponent's hands are broken apart, he turns on his face

and meets his opponent on hands and knees.


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Figure 54. In a close match the top man has so many things to guard against

that he forgets about the position of his head and allows his chin to slip over

his opponent's shoulder. The under man reaches up quickly with the corre-

sponding arm and takes it as shown.

Figure 55. To complete this position, the bottom man must keep his oppo-

nent's head under his head. In other words, pull his opponent's head down-

ward to the left. A mad scramble usually results and the under man comesfree or comes on top. Remember the most important thing in the execution

of this escape is to keep your opponent's head underneath.


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Figure 56. Quite often when the Sit-out is attempted the bottom man is

pulled back between his opponent's legs who assumes a sitting position as

shown here. This position would not be too dangerous if he did not stay there

too long. Turn to the next figure and see what is happening.

Figure 57. The bottom man places a hand on each knee of his opponent and

tries to straighten out one or both of his opponent's legs. As soon as he accom-

plishes this he shifts his tail to a sitting position locking his opponent's kneejoint. All he has to do now is complete the picture as shown in Figure 58.


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Figure 58. I have seen more good men reversed with this position than in

any other manner. It not only ends in an escape for the bottom man, but quite

often the top man holds on too long and gets himself into a pinning combina-

tion. Observe how easy it would be for the bottom man to take a Crotch and

Half Nelson as he comes up.

Figure 59. In this picture I am showing a break for a hold discussed in the

last three pictures. Do not permit a man to sit between your legs. As soon as

you get into this position come out of it by using this variation: hook eithertoe in your opponent's knee and fall back kicking him over on his head out of

position. I have never seen this break published. It is a new version.


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Figure 60. For the last several years nearly every individual coach had some

variation of the Sit-out. Here is the Old Standard. It is mighty important

to know. When the referee says go, take a short step with your outside leg, at

the same time grasp your opponent's wrist. Bend your inside elbow toward

opponent's crotch.

Figure 61. Shoot your inside leg through, at the same time jerking loose the

Waistlock of your opponent. Continue the forward movement and turn your

face to the mat. Whatever you do, don't pursue the man underneath as hewill always come fre when the variation goes this far. We have not finished

with the Sit-out yet, so turn to Figure 62, page 66.


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Figure 62. In the next three figures we show a very clever series which recap-

tures the opponent after he has gotten free. Here are the instructions; when

your opponent grasps your Waistlock and pulls it free let it come under his

arm in the position shown here. Now turn to Figure 63.

Figure 63. This shows the position the under man will be in, and will appar-

ently be free, but the top man's hand lies on top of his right shoulder pit.

Before the under man is aware of his being recaptured, he will be turnedanti-clockwise and pulled down to a position shown in Figure 64.


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Figure 64. This figure is self-explanatory, but it shows one particular thing.

You cannot change directions of a movement started, with any power. It

also shows the best time to get an advantage is immediately after your

opponent thinks he is away.

Figure 65. In the next two figures we show a variation that you must be

on the alert for or you will come up on the little end. When you are under-

neath, your opponent may reach through with his left hand and try tobreak you down by grasping your right arm. Counter him quickly by grasp-

ing his left arm above the elbow and whipping your left shoulder to the

mat. Continue the hold by studying Figure 66, page 68.


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Figure 66. At the exact instant your left shoulder hits the mat throw your

legs in the air high across your opponent's hips and he will fall to the posi-

tion shown in this figure. You may change this variation to a one leg Step-

over instead of throwing both legs over. This position is called Near Wing

with Step-over.

Figure 67. In these two pictures we are attempting for the first time to

give a break for the Keylock. There are one or two points to be considered.

First, do not let your opponent force your own hand up your back in aHammerlock position; instead keep your hand on your chest as indicated

here.


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Figure 68. Proceed as follows to break the hold: lock your hands across

your own chest, place your feet wide apart, bridge and put pressure toward

your opponent, not away, bridge and roll toward him. I realize this is a

very brief statement about so important a position. You must practice this

variation many times before you will be able to work it successfully.

Figure 69. In the next four figures we publish information concerning a

reverse to come from the bottom to top. It is the first information to be given

in this important series, the movement to start from referee's position onthe mat. The first movement is started as indicated here. The bottom flips

his inside arm back over his opponent's.


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Figure 70. The first objective of the under man is to loosen the Waistlock

of his opponent. This brings him to the position shown. He assumes this

Foot and Leg position. He tightens up on his opponent's right arm with

his left, putting slight pressure toward the front.

Figure 71. Now comes the reverse. Take a deep step with the right foot,

pulling your opponent up with your left hand, grasp under his arm with

your right to reverse him and bring him into a pinning hold as shown infigure 72.


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Figure 72. Let us review what the under man has accomplished: He comes

from bottom to free, scoring points, gets credit for a take-down, places his

man in a predicament, and scores additional points for a near fall. This

variation was the best series called to my attention for the year 1939. It

will pin more men in the next Olympic try-outs than any other simple

variation.

Figure 73. Any book published on wrestling would show several variations

on the Switch. I have tried to show a series that will work. In the first

figure we show a Leg and Arm combination designed to put pressure on theshoulders. Please observe what the bottom man is trying to do. He keeps

his knee in front of his opponent's right thigh and grasps his own leg.


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Figure 74. By the time the hold progresses this far, he has moved his hips

farther out to get more leverage, and he has changed his right hand to his

opponent's waist. I fhe desires only one thing, and that is to come free, he

is in position to kick his opponent over his head.

Figure 75. This is what he does as shown here. This brings the two men

up to their feet on even terms, scoring an escape for the under man. How-

ever, the top man may be thinking at the same time and when he is thrownover he tries to come up out of the mix-up with a leg hold of some kind.


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Figure 76. As described in the previous figure, the top man refuses to be

kicked over and comes up with a leg hold. The best position for a

switcher to be in is to have his shoulders toward the mat.

Figure 77. In the next four figures we are showing a simple Switch with-

out the use of the legs. Whip over your right arm, putting your hands into

your opponent's crotch. Lean back and put a terrific pressure on your oppo-

nent's shoulders. Make two separate moves to move your buttocks farther

from your opponent.


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Figure 78. You must continue the pressure until the right side of your

opponent's face is in contact with the mat. The object of f lattening your

opponent's face is to keep him from reswitching.

Figure 79. In this figure the hold is progressing successfully. Your oppo-

nent's right arm has been allowed to go free; you have avoided the step-over

of your opponent's right leg; you have shifted your left hand into position topull your opponent forward.


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Figure 80. This leaves only the final conclusion. Improve your position as

quickly as possible. Move into a good riding position and get set, for your

opponent will not wait long to start to get loose.


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Chapter Five

FALLS

Figure 1. The study of falls is one of the most important departments. It

is always disappointing to be pinned. This is likely to happen unless you are

thoroughly trained in offense and defense. This picture shows a Headlock or

Side Chancery. It is seldom used as an offensive hold in America but in Europe

it is used quite freely both as a defensive and offensive position. The value of

this hold depends upon your opponent's ability to bridge or otherwise breakthe hold when applied as shown in Figure 2.

76


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Wrestling FALLS 77

Figure 2. The type of Headlock shown here is a special edition. Not only

does it have the power to produce a near fall, but it also has the power to

break your bridge if you have one. Please notice that the top man used

his leg to bring his opponent on his shoulders. He also uses his left hand to

push his opponent's elbow across his face. This combination produces the

most difficult hold to break.

Figure 3. The next series shows one of the best pinning positions. It com-

bines the European Arm Hook with an American Head Scissor. If you de-

sire to use this as an Olympic hold merely leave the scissor un-hooked, inview of the fact that a touch fall counts make this hold one of the best

with which to get a spot fall.


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78 FALLS Wrestling

Figure 4. To get this position, first obtain the Arm Hook. Reach through

with your right hand and grab your opponent's right wrist, then give him

pressure with your chest. The next thing to do is to run around and step

over his head. Both of his arms will be tied up and he cannot protect him-

self from the Head Scissor.

Figure 5. Here we see the completion of the hold which will produce a

fall or a predicament. This is especially effective against an American style

low bridge. This type of Figure 4 Scissor is legal and cannot be changed toa choke hold. This hold will wear your opponent down to a weakened con-

dition making him highly susceptible to further attack.


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Wrestling FALLS 79

Figure 6. In this series we have what is known as a Double Open Scissor

and a Half Nelson. Bar your opponent's arms under his chest mounting

with Open-Leg Scissor, and hunch him forward to break him down with

his chest on the mat. Now reach back with left to opponent's right elbow;

use a long leverage and bring the arm around as shown in Figure 7.

Figure 7. Continue the pressure of the Half Nelson until his shoulders are

nearing the mat; then slide the right arm through deep into the Half Nel-

son position, rendering your opponent helpless as shown in the third pictureof this series. Don't make the mistake of being forced too high up on your

opponent's chest.


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80 FALLS Wrestling

Figure 8. The most important points are in regard to the application of

the Scissor. If you hook it first allow your opponent to turn his back,

then quickly snap a Reverse Hook-Scissor or leave the legs unhooked

if you desire. If the legs are left unhooked, bear down hard with your right

knee; also lift up hard with your left leg to break his bridge. To further

strengthen the combination put a Reverse Wrist Lock on his left arm.

Figure 9. The next series is called the Step Over Head Scissor and the

Spiral Ride. Please observe the starting position of this ride. the top man

reaches through with his left hand, applies pressure with his chest to bringhis opponent to the mat, then changes right to opponent's ankle. Then he

puts his right knee behind his opponent's left arm.


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Wrestling FALLS 81

Figure 10. The next move is to step over his opponent's head with his left

foot and at the same time to jerk up on the opponent's near ankle to start

him to roll on the mat. The secret of the strength is in tying the oppo-

nent's arm inside the Hook Scissor. You must have this hold applied to

you in order to fully appreciate it.

Figure 11. Please observe that the arm is included within the Scissor. Also

observe that the top man is making himself perpendicular to his opponent's

body. You do not need to touch your opponent with your hand after theScissor is once applied. Another important point is to rock him back on

his shoulders and observe your progress by glancing to the left instead of

to the right.


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82 FALLS Wrestling

Figure 12. In this pinning combination we have the preliminary for the

Head Scissor. In order to make this a success each move must be followed

carefully. Break your opponent down and make sure that he cannot re-

turn to the normal position. If your opponent is able to return to his nor-

mal position, it will be possible for him to back out of the Scissor.

Figure 13. This shows the method employed to keep him flattened out. To

do this properly change your right hand to your opponent's left wrist and

pry him forward on the side of his head; press down hard with your leftelbow. If your opponent attempts to regain his normal position grab a Read

Crotch and heave him forward to flatten him out.


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Wrestling FALLS 83

Figure 14. Here we have the top man making his move to apply the Head

Scissor. Move quickly around to his head, putting your left knee at the

side of his face using your knee as a pivot point. Lift your opponent about

a foot from the mat and clamp on the Head Scissor as he rolls over.

Figure 15. The important points to be observed are many. Be sure to get

the Scissor placed well down the side of his neck. In hooking your feet

be sure to get the top leg in the forward position. Pull his arm back underyour left hip and roll toward him to bend his neck and destroy his ability

to bridge. This is a brutal pinning combination and must be used with care.


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84 FALLS Wrestling

Figure 16. Here we have one of the most important figures in wrestling.

It is the Half Nelson and Crotch. Please observe the following points: ob-

serve carefully the right on or the top man, and the position of his left

hand and forearm. Put your pressure in your right shoulder and lift up

with your left. You will find this position of great importance. More fel-

lows are pinned with this hold than any other.

Figure 17. This hold is usually broken when the under man slides his right

hand through between his chest and your chest. To stop this, grab his right

hand in your left and push it back to the mat. Put your weight on his chestand try to wear him down. If you think he is about to escape take the Key

Lock as shown in Figure 18.


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Wrestling FALLS 85

Figure 18. The value of this hold is much disputed. Some of the leading

coaches say it cannot be applied legally and produce a fall. Others say it

is legal. It is generally agreed, however, that if this hold is applied as a

Twisting Hammerlock, it is quite easy to injure your opponent if you turn

on too much pressure.

Figure 19. In this figure we show the application of the Three-Quarter

Nelson with leg combination. This is good for a quick fall when wrestling

under Olympic rules. It was a favorite hold of the late Farmer Burns. Youwill have to practice this combination to fully appreciate it. When apply-

ing this hold do not force your opponent or you may injure his neck.


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86 FALLS Wrestling

Figure 20. Here we see the hold being applied. Please note the use of the

right leg to balance the opponent on his shoulders and head. The deciding

factor in the application of this hold is whether you can balance your oppo-

nent as indicated in the photograph. Notice the pressure is downward and

forward with your leg.

Figure 21. In the next four pictures we show how to break the Wrist Lock

and change it to a Half Nelson and Crotch. When your opponent puts on

the Wrist Lock shift quickly into the position shown here. Be careful notto permit him to apply the Key Lock. Also make sure that you are going

to have the cooperation of the referee.


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Wrestling FALLS 87

Figure 22. In this figure we have the top man permitting a Wrist Lock

to be brought up behind, and at the same time the top man is putting

pressure with his right shoulder in his opponent's armpit.

Figure 23. In this position you see the application of the right knee to

break your opponent's hands apart, and throw him into Half Nelson and

Crotch.


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88 FALLS Wrestling

Figure 24. You should review Figure 22 and see how clever the top man

takes the Crotch hold and gets into position to apply the Half Nelson. It

was this combination that Frank Lewis won the World's Champion-

ship at the Olympic Games in 1936. These different positions are good ex-

amples of chain wrestling.


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Chapter Six

MISCELLANEOUS

TRAINING

Your preliminary training for a wrestling season should cover the period

from September first to January first. It goes without saying that you

should have lived as clean as possible all your life, because a man once

dissipated will never be quite as good as one who has taken good care of

himself.

Begin your training by doing cross-country running, starting with the

half-mile for a few days and gradually work up until you can do two

miles without feeling tired the next day. When you reach this stage, beginto run only every other day and take wrestling instruction on the days

between. the brain must be prepared several weeks in advance of the

muscle in order to get the best coordination. I mean that you cannot learn

a hold by trying it just before the match. The paths of reflex are not

developed, and you will not be able to use anything explained just before

the bout begin.

Begin your mat work by learning all the easy holds and all fundamental

positions, then do your studying systematically. Never go to the mat with-

out having something definite in mind. Learn each group of holds, taking

a few each day. And practice each position more than six times before

taking another hold. If this plan is used, you will be able to think faster

than your opponent when you get into a regular match, and that will win

for you if you are in as good shape as he is.

Always supplement your work with some form of calesthenics. Those

that will work out the lateral trunk, abdomen, front neck, back neck,

biceps, and triceps are the best. To do this quickly, lie on your back and

raise both feet, keeping the knees straight. This exercise works out the

abdominal muscles. then with the weight supported on the sides of the

feet and one ar, and with the arm straight, raise and lower the hip to

the mat, working out the lateral trunk. Then bridge on your back trying

89


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90 MISCELLANEOUS TRAINING Wrestling

to throw your arms in as many positions as possible. Especial study should

be given to the High Bridge. Turn face down on the mat and work out the

front muscles. Chin for bicep development and follow with rope skipping

or running to develop endurance.

Watch your diet. Eat enough, but not too much. You can eat nearly

everything but do not eat anything between meals, or take cold drinks of

any kind. Get at least eight hours of sleep and don't try to take too many

activities. You cannot work five hours a day, miss meals, wrestle, study,

and do several things and be in anything like wrestling condition.

Study each day's work before you go to the mat, and have your work-

outs progress in violence and in the things you are to learn. Each do go

back and see if you have left anything undone, or have failed to completely

or partly, learn any of the holds, trips, or counters of the previous lesson.

Watch your physical condition and if you feel you are not as good as

the day before or lack strength or staying qualities, you no doubt are a

little over-trained. In this event, (skip one day) omit one day's mat work

and reduce the amount of exercise until it seems to keep you in the best

of condition.

It may be that you are undertrained, and will have to go back and start

over. Take some form of endurance work to build up to where you can do

the work you should. If this be the case, increase the distance you are run-ning and the muscle-building work, but do not take enough to over-do the

thing. If too much calethenic work is taken, the muscle tone is increased

to too great a degree and a sluggish and slow moving muscle results.

Remember that man is an animal with very little natural coordination

and abilithy to perform with hands or feet. This is nearly all acquired by

constant practice. For example, a bird can fly without using any thought

or without the front brain at all. A man has to think or he cannot do any-

thing at all. It may be only a slight effort to him, but he has to be con-

scious of what he is doing and for that reason is considered the poorestdeveloped animal when it comes to natural condition.

During the past fifteen years I have made a special study of the feeding

of sugar. I notice that there is a definite relation in strength to the amount

of sugar you eat, up to a certain point. When I found out you have to have

sugar to have endurance, I selected four different sugars for the experiment

plain white sugar, brown sugar, Karo syrup, and strained honey. Many

things were consideredenergy and sickness due to overwork were the most

important, For all purposes I found brown sugar and Karo syrup about

even. I also found out that man who has had sugar can definitely controlhis weight and recover more rapidly from the ordeal of making weight.

If you are properly sugared, you can stop your weight on an ounce while,

if not properly sugared, you will have a tendency to drop weight even

after you have weighed. I found twelve spoonfuls to be the proper amount

to eat each twenty-four hours before weighing in.


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Wrestling MISCELLANEOUS TRAINING 91

Another experiment I conducted was one to determine the proper starva-

tion schedule as to length of time. I found four days the best. for example,

if you are making weight you should starve over a four-day period to lose

the necessary weight if you want to have strength. It is only a question

of nature adjusting itself to the use of the tissues of the body in the easiest

manner. Never, under any conditions, make your starvation period thirty-

six hours, for you are the weakest at this time. Let us take, for example,

a definite problem: A boy must reduce five pounds to weigh in on Friday

at 3 P. M. and this is Monday. Lose one pound by Tuesday, two pounds

by Wednesday, three pounds by Thursday, and five pounds by Friday.

I am also assuming the man has sugar after his work-out Thursday. After

he weights in give him heavily sugared tea and after one-half hour feed him

a light meal. he is allowed water, but not to excess. He should make two

and a quarter pounds by the time he suits up to be at his best. Remember

he will continue to drop in weight if you have not given him sugar and he

will go to the mat flat weight or under. This would be a definite handicap

that you can avoid by the proper feeding of sugar.

Documents

(1939) Wrestling- E. C. Gallagher