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THE MAKING OF A CHAMPION

The Takedown Bob Douglas





WRESTLING- The Making of a Champion:

The Takedown







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WRESTLING



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THE MAKING OF A CHAMPION:

THE TAKEDOWN

by BOB DOUGLASSix Times a National Champion

Captain U.S. Olympic Team 1968

Cornell University Press Ithaca and London



Copyright © 1972 by Cornell University

All rights reserved. Except for brief quotations in a review, this boo k, or part s there of, mu st no t be reprod uced in an y for m wi th ou t

permi ssion in wri tin g fro m th e pub li sher. Fo r in fo rmat io n add res s

Cornell University Press, 124 Roberts Place, Ithaca, New York 14850.

First published 1972 by Cornell University Press.

Published in the United Kingdom by Cornell University Press Ltd.,

2-4 Brook Street, London W1Y 1AA.

Second printing 1973

First printing, Cornell Paperbacks, 1979

International Standard Book Number 0-8014-9177-0

Library of Congress Catalog Card Numb er 7 1-37752

Printed in the United States of America



JACKIE

and

BOBBO



BOB DOUGLAS World Championships, Argent ina, 1969



RICK SANDERS

Sta te— Oregon,

NAAU, NAIA, NCAA,

U.S. Wrest l ing Federat ion,

Pan American, World ,

Si lver Medal Olympics '68,

Si lver Medal Olympics '72

DAN GABLE

State— Iowa, Great Plains ,

Mid lands, Southern Open,

Big-8, NAAU, NCAA,

U.S. Wrest l ing Federat ion,

Pan American, World ,

Gold Medal Olympics '72

BEN PETERSON

Iowa State Inv i ta t iona l ,

Great Pla ins , Mid lands,

Southern Open,

Big-8, NCAA,

Gold Medal Olympics '72

CARL ADAMS

Sta te—New Yo rk ,

Great Pla ins , Mid lands,

Southern Open,

Big-8, NCAA

JASON SMITH

State— Iowa, Great Pla ins ,

Mid lands, Big-8,

NCAA, Olympic Tr ia ls ,

World Univers i ty

CHAMPIONS

DOUG LUNT

Sta te— Kansas

BILLY MARTIN

State— Virg in ia , J r. World

ROBERT VAN HORNE

Sta te— Kansas

PHIL PARKER

State— Il l ino is ,

Great Pla ins , B ig-8

KEITH ABENS

State— Iowa



The ten NCAA champions for 1972. Left to r ight, f i rs t row: Greg Johnson (118 lb.) , Mich igan State;

Pat Mi lkov ich (126), Mich igan State; Garry Barton (134), Clar ion State ; Tom Milkov ich (142), Mich igan

State; Wade Schal les (150), Clar ion State ; s ec ond row : Chris Tay lor (hwt.) , Iowa State; Ben Peterson

(190), Iowa State; B i l l Murdock (177), Washington; Randy Matter (167), Penn State; Carl Adams (158),

Iowa State.



FOREWORD I t was clear to me f rom the s tar t that Bob

Douglas was going to be a great champion. His

wrestling career began in high school, in Bridge

po rt , O hio , wher e h e wras tw ic e st a te ch am pio n.I followed his progress and saw him win some

spectacular matches . At W est Liber ty State Col

l ege he was NAIA Champion and runner -up in

the NCAA. At Oklahoma State he was Big-

Eight Champion, St a t e AAU Champion, Na

t ional AAU Free-Style Champion, and Nat ional

A A U G r eco - R o m an C h am p i o n .

Bob won distinction as a world class wrestler,

also, in both the 138.5 and 149.5 weight divi

sions. In 1964, at Tokyo, he finished fourth inthe Olympic Games. In 1967 he was runner-up

in the World Championships . In 1968 he was

Capta in of t he U.S. Olympic Team at Mexico

City, al though an injury kept him out of the

compet i t ion. In 1970 he was awarded a bronze

medal i n the Wor ld Championships .

Bob helped coach wrest l ing at Oklahoma

State, his alma mater, as assistant to Myron

Roderick, before coming here in 1969 to help

me with the Iowa State Cyclones . That year wehad a Nat ional Championship team. Besides

his coaching duties, Bob was completing his

graduate work here in educat ion adminis t rat ion.

Bob is a great wrestler and he is also tops as a

coach. Above all, certain traits of character es

peci al ly m ake h im a go od ex ampl e for vo un g

men intereste d in wrestling— the will to work

hard, the desire to excel, integrity, intelligence,

and imaginat ion.

I know he has worked hard on this book. Iam confident that it will become a classic.

H a r o l d J. N i c h o l s

Hea d Wre st li ng Co ach

Iow a St at e Un ive rsi ty

September 1971

FOREWORD





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

SET-UPS FOR THE DOUBLE LEG

Forearm Pull S, Head Rcach 9, Double El

bo w Po st 10, He ad Snap 11, Tw o- on -O nc El

bow Po st 12, El bo w Lead 14, He ad an d Ar m

Release 16, Elbow Post from the Knees 18,

Arm Drag 19

SECOND MOVES ( b r e a k d o w n s )FOR THE DOUBLE LEG

Step-up Drive Across 20, Sit-through 21, Sec

ond Move from Double Leg Tackle Knee

Drop 22, Back Heel Trip from the Knees 23,

Standing Back Heel Trip 25, Chest Pressure

Sit-down— Underh ook and Cross Face 26,

Double Leg Pick-up 28

CONTENTS

Fireman's Carry

SET-UPS AND SECOND MOVES

FOR THE 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,

Fireman’s Carry Change-off to Double Leg

36, Overhook and Sit-through Change-offfrom Fireman’s Carry 38, Push-to-Fcet 40

Duck-under

Double Undcrliook 42, Wrist Control Under-

hook 43, Counter for Wrist Control 44, FootKick 45

Single Leg Tackle

Hand Position 48, Attacking Motion 48

SET-UPS FOR THE SINGLE LEG

Head Snap 49, Forearm Pull 50, Elbow Post — Low Sin gle 51, Elbo w Post— Hi gh Single

52, Elbow Post and Opposite Leg Tackle

53, Forearm Block 54, Forearm Post from

the Knees 55, Arm Drag 56, Shoulder Snap

57, Wrist Slap 58, Fake Arm Drag 59,

Elbow Lead or Shuck 60, Head Snap Across

63



SECOND MOVES FOR TIIF. SINGLE LEG

Back IIccl and Rubber Arm 64, Back Heel

and Inside Crotch 65, Head Lift and Go-bc-

hind 66, Mead Lift and Throw-down 67, Bear

Ilug 69, High Leg and Foot Kick 70, Inside

Trip and Rubber Arm 71, Crotch Lift 72,Knee Tap into a Double 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

81

Near Arm and Opposite Leg Takedo wn 82

SET-UPS FOR THE NEAR ARM

AND OPPOSITE LEG

Shoulder Snap 85, Snap-down 86, Forearm

Pull 88, Wrist Roll 90, Elbow Lift Set-up and

High Crotch Change-off to Single Leg 91

SECOND MOVES FOR THE NEAR ARM

AND OPPOSITE LEG

Knee Trip 92, Barrel Roll 93

Arm Drag 94

Drag Position 94, Wrist Rotation 95, Fake

Fireman’s Carry Changc-off to Arm Drag 96,

Sit-through 97, Foot Kick Changc-off to Arm

Drag 98

Foot Kicks 99

Head Snap 100, Shoulder Snap 100, Ankle

Pick-up 101, Two-on-One Foot Kick with El

bow Co nt ro l 102, Tw o- on -O ne Fo ot Kick

with Shoulder Control 104

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

The Shuck 113

Head Shuck 114, Elbow Shuck 115, Shuck

and Foot Kick 116, Elbow Shuck from the

Knees 117, Forearm Drive 119

High Crotch Takedow n 120

Elbow Lift Set-up 121, High Crotch DropStep 122, Underhook Tie-up 123, Forearm

Pull Set-up 124, Two-on-One Control 125,

Wrist Roll Set-up 126, Reach Set-up 127

Ankle Pick-ups 128

Underhook 129, Head and Heel 130, Two-on-

Onc Change to a Double Arm Hook 131,

Whip-over and Ankle Pick 132, Elbow Lead

and Ankle Pick 133

Headlock 134

Snap-down and Headlock from the Knees 136,

Snap-down and Headlock from a Standing

Position 137, Standing Headlock 138

Head and Arm Control 140

Knee Trip 142, Pull-down 144, Run-around

145, Whip-over 146, Throw-back (Pop-over)

148, Cradle 149, Shuck 150, Far Leg Trip

150, Ankle Pick 152

Breakdow ns from Behind 153

Lift and Sweep 154, Side Lift 156, Sit-throughand Knee Lift 157, Back Heel Trip 158,

Ankle Pick and Inside Trip 159, Crotch Lift

161, Cross Body and Ankle Pick 162

Index 163

CO NTE NT S I xii



PREFACE Dealing with takedowns is the first step in be

coming a champion. If success is to follow, there

must be a bas ic phi losophy of at tack behind the

teaching of takedown technique. My phi losophy

is the same as the one that made OklahomaState th e master of wrest ling in this country.

Firs t , a takedown man must have motion, the

ability to move his feet; second, the ability to

step into his opponent; third, the ability to get

pas t th e o p p o n en t’s de fe ns e. T hese th re e it em s

cannot work as separate uni ts but must be co

ordinated in order to insure success. This book

explains all three. For novice and expert alike,

it offers all the elements necessary for a full

knowledge of takedowns. The end resul t i s suresuccess.

Thanks to my mother , Belove Davis ,

my father , Eddie Douglas ,

and my grandmother , Maggie Davis ,

who made me possible,

and to Fred, Angela, and Lovelle.

To Malcolm X and Dr . Mar t in Luther King,

who had a profound impact upon my l i fe,

my grat i tude,

and to all the brothers and sistersin the struggle.

To George Koval ick and Myron Roder ick,

and the other coachcs whose skills and

knowledge arc a part of this book,

my thanks .

To Dave Auble,

Fred Let t ,

Bill I-Iarlow,

Tadaaka Hat t a ,

Joe James,Yjo Uetakc (Obota) ,

my appreciat ion for helping me master

these techniques .

To the typis ts

and all those others whose names arc not

ment ioned, without whose help the book



would not have been possible,

again thanks .

' l 'o Professor Alvin Bernstein,

grateful recogni t ion of sound advice and

many improvements .

A special thank-you to Cornell University Pressand its staff for having confidence and cour

age in under taking this book.

To the champions who appear in the i l lus t ra

t ions , many hear t fel t thanks .

To the fans who have helped me,

I hope that your rewards have been as great

as mine.

And to the men who dare to take up the chal

lenge of wrestling, here is a discipline that

bu il ds a m an in m in d, bo dy , an d spir it .

Ith aca , N ew Yo rk B. D.

Rick Sanders lost his life in a car accident in

Yugoslavia shor t ly af ter winning the Si lver Medal

at the 1972 Olympics. His death is a great loss to

the wrestling world and a great personal loss.

Thos e who kn ew the real Rick Sanders wil l agree

that his major contr ibut ion to l i fe was l iving.

Ciao to a friend.

1973 B. D.

PREFAC E I xiv



5I

4 , 5

HOW TO USETHIS BOOK

The hor izontal and ver t ical l ines in the back

ground of the illustrations form line charts for

determining the dis tance covered in a given

move. The rectangles of the gr id measure 1 foot

by 21/2 feet . T h e tw o ho ri zo nt a l lin es on th e wal l

represent the head l ine and wais t l ine; they showupward and downward mot ion. From the o ther

lines on the charts you can gauge the forward

and circular motion. The numbered sect ions on

the grid assist in calculating the distance moved.

In the sequence above, for example, you can

ju dg e th e di st an ce co ve re d by th e wre st le r as

well as his accompanying vertical movements.

From Figure 2 to Figure 3 the wrestler has

moved forward 2 feet and lowered his head about

1 foot. From Figure 4 to Figure 5 the wrestler’s

bod y ha s ad van ce d a lm ost 3 feet and his he ad

has dropped below the wais t l ine. The total distance covered is 8 feet.

Throughout the book the wrest lers who i l lus

trate the various positions are designated В (for

B l ack ) an d W ( fo r W h i t e ) .

Definitions of wrestling terms are on the pages

designated by boldface numbers in the index.





WRESTLING — The Making of a Champion:

The Takedown





INTRODUCTION Wrestling is a hand-to-hand contest between

two opponents in which each attempts to con

trol the other by placing him on his back, with

bo th sh ou ld er s to uchin g th e m a t fo r a given

number of seconds. The techniques used in

wrestling have been passed down from ancient

times. This book deals with one specific tech

nique—the takedown.

The wrestler with a superior knowledge of

takedowns has a tremendous advantage. This

volume demonstrates various takedowns and

shows the rewards of knowing these techniques.

In each section th e reader will encou nter certain

ba si c pr in ci pl es co m m on to al l ta ke do wns . C on stant a ttentio n to these principles will allow even

the beginning wrestler to analyze the most so

ph is ti cat ed ta ked ow ns in to si mpl e com pon en ts .

The integral components of a successful take

down are the “penetration,” the “set-up,” and

finally the “second move” (breakdown), which

is employed when your opponent has already

countered your first move. Too li t t le attention

has been paid to both the set-up and the second

move. Knowledge of one component is insuffi

cient. A successful wrestler must have several

set-ups for his favorite takedowns and several

second moves that he may use from each set-up.

INTRODUCTION



World Champion Dan Severn {right) movinginto a staggered stance. (Photo: Scholastic Wres

tling News)

STANCE I 2



STANCE One of the most important facets of the take

down is the stance. Your objective is to get an

over-al l picture of your op pone nt w ithout focus

ing at tention upon any part icular part of his bo dy . Y ou r hea d sh ou ld b e co ck ed bac k on yo ur

shoulders with your chin up. Your hands should

be in yo ur la p w it h yo ur el bo ws close to th e

sides of your body. Your back should be arched,

knees bent, hips aligned, feet shoulder width

apart, toes pointing out.

There are three principal s tances: the square,

the staggered, and the drop step. In the square

stance, the feet are aligned shoulder width

apart, parallel to each other (Fig. 1 above). In

the staggered stance your feet should again be

shoulder width apart and paral lel , with one foot

rest ing behind the other (Fig. 2) . In the drop

step stance your rear foot is positioned five to

twelve inches behind your front foot (Fig. 3).

Your body weight should be distributed over

the entire area of both feet for balance. Avoid

pl ac in g to o m uch wei gh t on ei th er yo ur toes or

your heels . Th e feet are moved on the mat, s imilarly to run ning in place. All mov eme nt begins by

shifting to either a staggered or drop step stance

to begin penetration. The stance varies with dif

ferent individuals according to height and body

bu il d. So me wr es tler s pr ef er to st and m or e erec t,

while others may choose a crouching position.

In choosing a stance, however, remember that as

long as your knees are bent, you will have the

advantage of being able to at tack without tele

graphing your move to your opponent. A wres

tler in an erect stance cannot attack until he

be nd s hi s kn ee s. As a re su lt , wh en he be gi ns to

crouch, the opponent will probably back away.



PENETRATION Penetratio n is moving in the direction of your

opponent. This is done by two techniques: (1)

the step-in, (2) the drop step.

O n t h e step-in you shift your weight to one

foot and step with the o ther foot in the directionof your oppone nt. (See page 6.)

O n t h e drop step you take a step to place the

weight on one foot and make a second step in

the direction of your opponent with the other

foot. (See page9.)

Learning to transfer your weight is necessary

for a good attack. In this transfer your weight

shifts from one foot to the other, depending

upon the direction of your penetration and the

kind of takedown you attempt.Shift your weight to one foot. Then, taking a

long step, transfer your weight to the forward

half of your front foot. From here you may start

the spring action by a hard push of the toes,

leaving the mat in a leaping motion.

Once you have mastered the idea of trans

ferring your weight, you will be well on your

way to mastering the effective takedown tech

nique.

PENETRATION



THE TIE-UP The tie-up is the first step for any set-up. Set

ups are devices to bait your opponent into mak

ing technical errors, such as raising his head,

pul li ng ba ck , re ac hi ng , or st ep pi ng . T h e ti e- up

should be made quickly, while changing control po in ts to ge t th e o pp o n en t in to m oti on. I t is

be st m ad e a t a di st an ce th a t wi ll en ab le yo u to

keep your elbows bent. Place your feet no more

than two feet from his . The tie-up should be

made by the hands coming from the lap pos i t ion

on the inside of your opponent’s arms.

In the head-to-head tie-up, wrestlers face each

other either with their heads touching or two to

three inches apart. In the head-to-shoulder tie-up, your head rests against your opponent’s

shoulder. In either of these positions, the hands

are used for control.

Underhook (Fig. 1). В is underhookin g W ’s

arm, resting the palm of his hand on top of W ’s

shoulder. The free hand is used to control W ’s

shoulder, arm, or wrist. B’s head is placed on

W ’s shoulder on the same side where В under

hooks. The underhook tie-up is an effective

set-up for high inside crotch, ankle pick-up, and

duck-under takedowns.Collar Tie-up (Fig. 2). W is grasping В

around the neck, with his elbow held close to

B’s chest and his forearm resting close to the

side of B’s neck.

E lb ow Con tr ol (Fig. 3). В is controlling W ’s

elbow with his thu m b on th e outside, resting his

hea d on W ’s shoulder. B ’s free han d is used to

control the opposite wrist or held in a position

down close to the crotch. The elbow controltie-up is very effective for the high inside crotch

takedown.

5 THE TIE-UP



DOUBLE LEGTACKLE

The double leg tackle is a flying tackle similar

to a football tackle. It begins from a staggered

or drop step position. In the first move, your

front leg steps between your op pon ent’s legs, or

at least in that direction, in an attempt to split

his legs with your advancing foot. Your head

should be on the same side of the opponent’s

bo dy as yo ur ba ck fo ot , and sh ou ld le ad yo ur

bod y in , wh il e yo ur sh ou ld er mak es th e fir st co n

tact with his body.

The two techniques used for this init ial contact arc the drop step (Fig. 4 , page 9) and the

step-in (Figs. 1-4, above). Take a long step

to a crouched position, so that you are close to

the m at w i th your f ron t knee po in t ing be tween

your opponent’s legs (Figs. 1-3). Your knee

should be bent down toward the mat, and your

chest should be over your knee, head up, and

arms in close to the body. All your weight should

b e on th e f ro n t fo ot . A t th is poi n t, tr an sf er th e

weight to your toes and dive into your opponent

by lea pi ng off th e toes of th e fr ont foo t, fl at

tening your toes beneath you as you leave the

mat (F ig . 4 ) . T ry to h i t your opponen t w i th

your shoulder, keeping your head up. At the

po in t of co nt ac t, yo ur f ro nt kne e wil l h i t th e

mat and possibly your back knee will also. Your

hands are grasping the opponent’s legs withyour wrists on the outside of his knees. His knee

on your head side must be controlled by pulling

it t ight to your chest. You are now in position

to start your breakdown, which is the second

move.



Curly Culp, National Champion from ArizonaState, at present with the Kansas City Chiefs,steps in for a double leg tackle.

7 I D OUBL E LEG TACK LE



Set-ups for the Double Leg

The set-ups for the double leg tackle are

designed to get your opponent’s arms out of a

count ering po sition. This is done in various ways.

The following sequences of pictures along with

the text show and describe the techniques used.

Forearm Pull. From an elbow control in

Figure 1, В releases the elbow in Figure 2 and

quickly hooks over the forearms, jerking them

toward his chest in Figure 3. В then steps in for

the tackle in Figures 4, 5, and 6.

DOUBLE LEG TACKLE



L i I

/ Н / 7/1

ґ І Iі

Heczd Re ach. On e of the few set-ups you can

use from the outside on a double leg tackle is a

head reach. In the first photograph both wrest

lers are using an open position. In Figure 2,

В attem pts to reach for W ’s head. Figure 3

shows W ’s reaction to B ’s reach. In Figure 4, В

starts to penetrate by moving his hands down

and starting his drop step. Figures 5, 6, and 7

show the final penetration. In the last two photo

graphs В is driving W over his base and down to

the mat .

N o te th a t, in Fi gur e З, В po si ti on s his fo ot fo r

the drop step. In Figures 7 and 8 pay particular

attention to the driving motion used for added

pen et rat io n , whi ch is done by p ush in g off th e

toes.



Dou bl e El bo w Post . From a double elbow

control in Figure 1, W attem pts to free his el

bo ws by p ush in g В aw ay in Fi gu re s 2 -4 . B u t in

Figure 5, В changes the position of his thumbs

to the inside, and then posts W ’s elbow, step

p in g in fo r th e ta ck le — Fi gu re s 6- 9.



He ad Sna p. This set-up is used when your

oppo nen t is controlling your elbow, as W is in

Figures 1 and 2. Figures 3 and 4 show the snap

pi ng of th e hea d. In Fi gu re s 5 a n d 6, В sli ps his

hand off the neck and into position for the

tacklc. Figures 7 and 8 show the drop step used

for penetration.



r -

т

Two-on-One Elbow Post. From an elbow W counters with a head block—Figure 5. В

and wrist control in Figure 1, В releases the

wrist and catches W ’s opposite wrist in Figures

2 and 3. В then turns his head and uses his

shoulder to knock W ’s hand off—Figures 4-5.

uses the captured arm as a post to clear the

arms in Figures 6 and 7, while he uses a step-in

for the tackle in Figures 8 and 9.



Opposite-side view of another elbow post set

up.



5 1JJ

Elb ow Lead . This m aneuver is used when from outside to inside. В opens the palm of hisyour oppone nt changes from an outside control r ight han d and slaps W ’s elbow across his body,

to an inside position. Figures 1 and 2 show В as shown in Figures 4, 5, and 6. Figures 7, 8, and

with an inside control position. In Figure 3, W 9 show the penetration,

makes an attempt to change his hand position



Detail of the elbow lead. Note the slapping technique in this close-up.



Hea d an d Arm Rel ease. In this act ion se- by pul l ing his head up. W he n В feels the up-

quence, f rom a head and arm control , В appl ies ward pressure, he releases the head and s teps in

pr es su re dow n to war d th e m at, an d W reac ts fo r a doub le leg ta ck le .



Details of the head and arm release. Attentionshould be paid to F igure 3, where В slaps W ’selbow across his body in order to force him up.



El bo w Post fr om th e Knees. W a t tem p t s t o

control B’s head with a collar tie while on his

knees , in the f i rs t photograph. In Figures 2-6,

В executes a post and a drop s tep. In the las t

three photographs , В pushes with his head into

W ’s side while s tepping up w ith his outs ide leg

to complete his tackle. (See also the s tep-up

drive across, page 20.)



stepping betw een W ’s legs— Figures 3-6. Me

then reaches across W ’s body and lifts W ’s leg

off the mat. (See also “Arm Drag,” pages 94-

98.)

A rm Drag. In Figure 1 both wrestlers have

a wrist control position. In Figure 2, В rotates

his wrist downward. В th en releases W ’s wrist

and takes an arm drag, turning W ’s body and



Second Moves (Breakdowns) for theDouble Leg

Breakdowns can be descr ibed as second moves .The second move wil l be determined by the

pos it io n of yo ur o p p o n en t’s ar m s an d fe et aft er

you have made your ini t ial penetrat ion. The

p ic tu re se qu en ce s fo ll ow in g sh ow th e te chn iq ue s

used.

Step-up Drive Across. B’s at tem pted doubleleg has taken him to his knees in Figures 1 and

2. He the n s teps up, pushing his head into W ’s

side, thereby forcing W off-balance and placing

himself in a control posi tion behin d W .

DOUBLE LEG TACKLE



I 7 a I

Sit-through. В attem pts to counte r W ’s

double leg tackle by using a cross face in Figures

1 and 2. W reacts and goes into his second move

by con tr ol li ng th e kne e in Fig ure 3. In Fi gu re s

4-7, W sits through. Figures 8-9 show the finish.

N o te th a t th e ke y to th is mov e is th e kn ee

control shown in Figures 2-6.

SECOND MOVES



Second Move from Double Leg Tackle Knee

Drop . From a double leg tackle posi t ion in

Figure 1 , W is a t t empt ing to counter by throw

ing his legs back. В m aintains control of W ’s

lef t knee in Figures 1-6. By pul l ing W ’s knee

toward the mat , dipping his own r ight shoulder

and l i f t ing W with his lef t shoulder , В forces

W to the mat . В the n s teps over to assume his

r iding posi t ion in Figure 9.



Ba ck He el Tr ip fr om th e Knees. W ’s double

leg tackle has taken him to his knees in Figures

1 and 2. W then steps up a nd beh ind B ’s leg

with his outside leg. Driving with his chest as

he trips with his foot, W knocks В off-balance

and to the mat .

N o te В is a t te m p ti ng to co unte r in Fi gur e 1

by th ru st in g his hi ps fo rw ar d.



Junior World Champion Dave Severn attackingfrom an underhook. (Conlev Photography, Inc.)



Standing Back Heel Trip. In the first photo - cross face. Th e rest of this sequen ce shows В

graph В is on his feet in a doub le leg tackle stepp ing in, kicking o ut W ’s right leg, and

po si ti on . W is a t te m p t in g to co unte r wit h a th ro w in g h im to his ba ck .



Underhook

Chest Pressure Sit-down. In the act ion se

quences for both the underhook and the cross

face, В has penetrated to a double leg tackle po si ti on in F ig ur e 1. In F ig ur e 2, В be nd s hi s

knee, applying chest pressure to W ’s thigh, thus

pl ac in g all of W ’s wei gh t on W ’s ri gh t leg . In

Figures 3 and 4, В extends the distance between

W ’s legs by stepping back. В continu es to apply

pr es su re to war d th e mat , fo rc in g W do wn, in

Figures 5 and 6.

N ot ic e: (a) В does not go to the mat untilhis opponent is down. ( b ) The chest pressure

is done from a cross face or underhook counter.

And (c) take special notice of B’s left-hand posi

t ion on the mat in the last photograph.



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Cross Face



Do ub le Leg Pick-u p. Figures 1-3 show B’s looks up and brings his hips forward, straight-

p en e tr a ti on on a dou bl e le g ta ck le . In F ig ur e 4 en in g his ba ck an d li ft in g W in to th e air .

note how the back leg is brought up. В then



Fred Lett executes the fireman’scarry on Dave Oucllet.



This photo shows the correct position of B’s

head and arm for the fireman’s carry takedown.

N o te th a t B ’s h ead is under W ’s a rm an d to th e

outside of W ’s body. В controls W ’s arm with

his thumb pointed inward and paral lel with his

f ingers. The thumb acts as a hook, pull ing the

arm toward the neck.

FIREMAN’S CARRY The fireman’s carry technique is similar to the

double leg tackle penetrat ion. Begin with a long

step between your opponent’s legs. Place your

head under the arm that you are at tacking or

controlling. Your free arm will go inside his

crotch, thus catching the leg above the knee.

The stepping leg wil l go deep into the crotch,

touching the mat in a kneeling posi t ion. Your

rear leg will drive and pivot and also come to a

kneeling posi t ion. This pivoting act ion straight

ens your back, l i f t ing your opponent off the mat

while pull ing his captured arm down. From this

po si ti on ta ke yo ur o p po nen t ov er yo ur head and

throw his shoulder down to the mat.

Your head must be placed on the same side

of your opponent’s body as the arm and leg you

are at tacking. Your head can ei ther be on your

opponent’s shoulder or to the side of his head.

Catch your opponent’s arm as high on the tr i

ceps as possible, with the thumb hooked behind

his tr iceps. Make sure your opponent does not

control your head.

The key point to remember in a f ireman’s

carry is that you must move to a staggered stance

when you star t to penetrate.



Set-ups and Second

Moves for theFireman’s Carry

T h e set-up for a fireman’s carry is designed to

do three things:

1. Make your opponent step toward you.

2 . Make your opponent move the arm that

you plan to control away from his body.

3. Make your opponent raise his head up.

T h e second move for a successful fireman’s

carry is a throw to the m at. Straighten your back

to raise your opponent off the mat, making sure

that his leg is controlled, and rotate your op

p onen t off you r sh ou ld er s, ov er yo ur hea d, to

the mat. This technique is shown in the follow

ing action sequences, which demonstrate the

set-ups and second moves for the fireman’s carry.

(See also second moves for the near arm and

opposite leg takedown, page 92).

Shoulder Snap. In Figures 1-3, B, from a

staggered stance, overbooks W ’s arm and snaps

his shoulder. In Figures 4-6, В moves toward

the crotch an d attacks the leg. In Figures 7-8, В

makes his l if t and throw to the mat.

N o te th at, in Fig ure 2, В ch an ge s to a dr op

step stance at the same time as he prepares to

snap the shoulder.



A rm Drag. В goes from a double wrist con

trol in Figure 1 to an arm drag in Figure 2. W

reacts by pulling his arm back, and В changes

from a drag to an overhook. В catches the arm in

Figure 3. Figures 4-7 show the penetrat ion and

finish of the fireman’s takedown.

h



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я

Z

He ad Circle Ti e-up . W reaches to grasp B’s

head in Figure 1. W catches the head an d moves

to his left , pulling the head toward his shoulder

in the same direction he is moving. This t ie-up

is intended to get В to raise his left arm away

from his body, as show n in Figures 3 and 4. W

then releases the head as he hooks the arm and

steps in for the fireman’s carry—Figures 5 and

6. In Figures 7, 8, and 9, W finishes with the lift

and the throw to the mat .



Hea d Sn ap . From a staggered stance В does gins his fireman ’s carry, while W is straighte ning

a head snap set-up in Figures 1-4. As W reacts up. Figures 5-8 show the penetrat ion and

in Figure 4, В reaches for arm con trol and be- finish.



He ad Releas e. From a head and arm control

in Figure 1, В forces W ’s head dow n. W strug

gles to free his head in Fig ure 2. В allows W to

free his head in Figure 3 but maintains control

of his arm. Fr om Figure З, В begins his pene tra

tion, usin g a step-in and firem an’s carry, finishing

in Figures 5-7. (See also “Fleacl and Arm Con

trol,” pages 140-152.)



Firem an’s Carry Change-off to Doub le Leg.

From a staggered stance in Figure 1, В does a

head snap in Fig ure 2; as W reacts in Figur e 3,

В overhooks W ’s right arm a nd steps in for his

fireman’s carry in Figure 4. In Figu re 5, W tries

to counter В by whipping В over. However, В

changes from a fireman’s carry to a double leg

tackle by at tacking W ’s leg with both hand s, in

the rest of the picture sequence ( opp osite) .

N o te th e ch an ge in di re ct io n sh ow n in F ig

ure 6, as В switches off to a double leg in Fig

ure 10.

Two Olympians, Charles Tribble and Dan Brand,in action. Brand, on top, is trying to counter Trib

bl e’s at te m pt ed secon d move.



37 [ FIR EM AN ’S CARRY



Overbook and Sit-through Change-off from

Fireman’s Carry. B’s fireman’s carry takedow nhas been countered by W. In Figure 1, В main

tains the arm control of the fireman’s carry and

uses a reverse elbow lock on W ’s free arm to

control both arms. In Figure 2, В begins a sit-

through m otion, pull ing W ’s lef t arm toward

the ma t and forcing W ’s right shoulder up and

to the side. This motion is similar to a roll. In

Figure 5, В forces W on his back and drives intoW , m aking W carry B’s entire weight on the

chest. В then scissors his legs and comes out on

top.

(See the next page for an action secjuence that

i l lustrates this technique from the opposite

side.)

1 2



Opposite-side view of an overbook and sit-

through developed from a fireman’s carry at

tack. In this sequence W is countering by

hooking inside the crotch.



Push-to-Feet. W is posi t ioned on his knees,

and В has placed his hand s on W ’s shoulders

with his thumbs in W ’s armpits . В then takes

a step, pushing W to his feet (Figs. 1- 2) . As W

comes to a standing position (Figs. 3-6), В re

leases his right hand and reaches inside the

crotch for a fireman’s carry. В finishes with a

l if t and throw to the mat (Figs. 7-10).



DUCK-UNDER

The duck-under can be descr ibed as put t ing

your head behind your opponent’s arm. This is

done f rom a number of t ie-ups which in them

selves const i tute the set-up. The techniques used

are s tepping and squat t ing while get t ing your

opponent to move his arm away from the s ide

you plan to go under . The breakdown depends

upon the posi t ion of your opponent’s body. The

fol lowing picture sequences show the techniques

used. (See also “Breakdowns f rom Behind,”

pa ge s 15 3-1 62 .)

Mike Caruso executes a duck-under.



Dou ble Un de rh oo k. W underhooks bo th o f W then looks up , b lock ing the a rm and reaching

B’s arms a nd takes a step and squats, placing beh ind the leg, at the same tim e driving across

his head und er B’s arm, in Figures 1, 2, and 3. and forcing В to the mat.

D UC K-U ND ER I 42



Wrist Control Underhook. From an under

hook and wrist control tie-up in Figure 1, В

squats and l i fts W ’s lef t arm in Figure 2. In Fig

ure З, В steps forward while lifting the arm,

ducking his head u nder W ’s arm. In Figure 4,

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

and drives off his right leg, placing himself be

h i n d W .

1



1 z 3 4 5 | І 7 І

Counter for Wrist Control. В has assumed

wrist control ; W has underhooked with his lef t

arm. W then l if ts his hand, squats , and steps

under B’s arm (Figs. 1- 4) . W looks up to block

B’s arm, catches B’s leg, and drives across, forc

ing В to the mat (Figs. 5-10).

>



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F o o t Kick. Fro m a wrist cont rol and collar Figu re 4, В lifts the wrist an d ducks his head

tie-up in Figure 1, В atte mp ts a foot kick in Fig- un der W ’s arm in Figures 5 and 6.

ures 2 and 3. As W reacts to the foot kick in



Foot Kick (cont .) . Figures 7 through 12

show В finishing this move with a hfting action.

Bob Douglas and Nodar Kliok-hashvili, World Champion fromRussia, in the final rounds of theTokyo Olympics, 1964.



SINGLE LEGTACKLE

Penetrat ion should carry you direct ly to the

leg you are at tacking, keeping your head ins ide

the leg. At this point you should be on your

knees . I t i s important to keep your opponent’s

weight on his f ree foot , which can be accom

pli sh ed by st an din g up or by bri ngin g you r o u t

side leg up and driving across.

For the cross-body s ingle leg tackle, your he ad

should come from the r ight s ide of the oppo

nent’s body to the left leg, or vice versa. Your

head should cross his body beneath his head.

An impor t ant t h ing to r emember when doing

a single leg tackle is that you must set up your

opponent’s arm on the same s ide as the leg you

are attacking. A single leg tackle set-up involves

making the opponent raise his arm up away

from his body on the same s ide as the leg you

are attacking. On the cross-body tackle, your

right hand will be the first to reach for the leg if

you are attacking the right leg, and similarly,

your lef t hand, i f your move is to the lef t . Use

the drop s tep or the s tep- in technique for pene

tration.

Hand Posit ion. In this photograp h В dem

onstrates the position of the hands in a single leg

tackle. Wh en shooting to the r ight , the r ight arm

will lock the lef t wrist. W he n shooting to the

left, the left arm will lock the right wrist.



At ta ck in g M oti on . Figures 1-6 show the mo

tion for a single leg tackle. Using a drop step, В

goes directly toward W ’s knee. No te the reach

ing r ight hand, the long step, and the posi t ion

of the head.



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Set-ups for the Single LegThese techniques are designed to prevent the

arm on the s ide of the leg that you plan to at

tack f rom counter ing. The fol lowing picture

sequences show the techniques used.

Hea d Sn ap . From a han d control posi t ion in

Figure 1, В releases the hands and starts a head

snap set-up. In Fig ures 3 and 4, W ’s reaction is

to raise both his lef t arm and his head. In Figure

5 we see В t iming his pene trat ion to W ’s reac

t ion and at tacking W ’s lef t leg.



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7Г/

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Forearm Pull. В has elbow and wrist control leases the arm and begins the single leg tackle,

in Figures 1 and 2. In Figure З, В releases the W reacted to the pull by pull ing back and at-

elbow and quickly overhooks the forearm, jerk- temp ting to free his arm, a move men t which

ing it toward his chest, in Figu re 4. In 5, В re- enables В to attack the exposed leg.



Elb ow Po st— Low Sin gle . "Пае elbow post

set-up may b e used for a low or a high s ingle leg

tackle. As W at tem pts head control in Figures

1 and 2, В intercepts the lef t arm at the elbow

with his thum b on the ins ide. В holds W ’s el

bo w to pre v en t th e arm fr om coun te ri ng his

pen etr a ti on . F ig ure 5 sh ow s th e tack le .

N o te th a t В do es n o t li ft W ’s el bo w b u t

r a ther keeps i t pos t ed to prevent W f rom coun

tering.

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El bow Post— Hi gh Single . From an elbow extended, in Figure З, В posts the elbow and

and wrist tie-up, В extends W ’s elbow by taking makes his penetr ation ,

a drop step (Figs. 1, 2, 3) . As W ’s lef t arm is



Elb ow Po st an d Opp os it e Le g Ta ck le . W

has wris t control and is at tem pting a col lar tie-up

in Figures 1 -2. В uses an elbow post set-up. W ’s

reactio n is seen in Figures 3 and 4. W reacts by

moving the leg on the s ide where В is post ing

the elbow. В then at tacks the leg on the op

p os it e sid e, F ig ur es 4-8 .

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Forearm Block. Thi s move is similar to the

elbow post. In Figure 1, В has elbow control.

В uses his forearm to knock W ’s arm from his

head, which exposes W ’s leg, as seen in Figures

3 and 4. Figures 5 and 6 show the tackle.



Forearm Post from the Knees. W is a t t em p t

ing a collar tie-up from his knees. В shows that

the post can be effect ive even when an op

p o n e n t is on hi s kn ee s. In Fig ure З, В wa it s for

W ’s at tempte d col lar tie-up. Then , us ing a fore

arm post , В at tacks the exposed leg—Figures 4

and 5.



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A rm Drag. In Figure 1, В lias a wrist tie-up. Figures 5-6. In Figures 7-9, В brings his head

In Figure 2, В begins his arm drag. You can see to th e inside and steps over the leg, securing

in Figures 3-4 tha t the arm drag exposes W ’s the single leg tackle. (See also “Arm Drag ,”

leg. В then steps up to change to a single leg in pages 94-98.)



Shoulder Snap. Fro m a wrist tie-up position

В moves to a shoulder snap set-up in Figure 3.

This set -up is par t icularly effective when W is

at tem pting elbow control , as in Figures 1, 2, and

3. The shoulder snap f rees the elbow and at the

same t ime gets W to react by leaning forward.

Figures 4, 5, and 6 show the actual penetrat ion

to the single leg.



Wr ist Slap. From a biceps control and wrist his penetrat io n as W reacts to the wrist s lap. In

tie-up in Fig ure 1, В releases the biceps an d slaps Figure s 5 an d 6, В moves in f or a single leg

the right wrist in Figure 2. In Figure З, В begins tackle.

SINGLE LEG TACKLE



65

- А

Fake Arm Drag. F igure 1 shows В wi th a

dou ble wrist tie-up. В releases W ’s left wrist and

star ts to drag his r ight arm in Figures 2 and 3. W

reacts to this drag by pul l ing his arm away in

Figures 4 and 5. В then attacks the opposite leg.Figures 7-9 show the same move f rom the op

posi te sid e.

8

L L

A



E lb ow Le ad or Sh uc k. W a t tempts a co lla rtie-up. В assumes elbow control with a wrist

tie-up. In Figure 2, В turns his head, but not his

bo dy , and pu sh es W ’s el bo w dow n to war d W ’s

opposite knee. In Figure З, В begins his single

leg at tack. Since straight forward penetrat ionwill place W ’s leg out of reach, it is necessary to

take a side step to cu t off W ’s escape, as we see

in Figures 5 and 6.

N o te th e in si de st ep wit h th e ri ght leg .



In this second act ion sequence we see the same bow up an d across rather than d own and across,

move with a sl ight var iat ion. В begins the elbow s tepping with his outs ide leg.

shuck. In this move , however, В pushes W ’s el-



Masaaki Hatta and Michio Tomino, fighting forthe title in the 1968 NAAU tournament in Lincoln,

Nebrask a.



He ad Sn ap Acro ss. In Figure

1, W controls B’s elbow. В uses a

head snap technique, as shownin Figures 2-6, to create an angle.

In Figure 7, В steps in and at

tacks the near leg, while forcing

the head away in Figures 9-11.



1 z 3 4 5 Б 7 В J

I I I

Second Moves for the Single Leg

The breakdown for the single leg tackle will

depe nd upon the posi t ion of your oppon ent af ter

you have at tacked the leg.

Ba ck He el an d Ru bb er Ar m. В has at tacked

W ’s leg with a s ingle leg tackle, and W hascountered with an overhook. B’s second move

is a rubber arm and back heel. In Figure 2, В

has placed his lef t hand on the mat for support

and, with a circular motion, steps over and hooks

the near leg. Con trol l ing W ’s leg with his own,

В begins his rubber arm. The rubber arm is ac

compl i shed by turning the palm up and mov

ing his head away f rom his opponent . As Figure

4 shows, В drops his right shoulder and p ulls his

arm straig ht out. Figures 5, 6, an d 7 show W ’sreaction once his support is removed.

N o te in Fig ure 5 th a t B ’s ri gh t h an d is pal m

up and В uses his lef t hand on the mat for sup

po rt .



Ba ck Ii ee l an d In si de Cr ot ch . In Figu re 1,

В has at tem pted a s ingle leg tackle, and W

counters with an overhook. В posts his lef t armand pivots his r ight leg in a ci rcular mo tion over

the at tacked leg, Figures 1-2. Using his arm for

support , В pul ls back on W ’s heel, forcing his

head into W ’s crotch while dr iving off his left

leg. В reaches ins ide the crotch and behind the

knee, forcing W off-balance. The las t three f ig

ures show the finish.You wil l note that as soon as the head makes

contact, in Figure 3, B’s arm is removed as a

support and is thrust into the crotch.



^ТУ /ТЛV / л ^ / Г”Г

H e a d L if t an d Go -b eh in d. W has countered

B’s single leg tackle by thrusting his weight back

in a sprawl—Figure 1. In Figures 2-3, В places

his r ight hand between W ’s legs for support and

slides his knees forward, using his head and hand

to l i ft , at the same t ime s t raightening his back—Figures 3-6. In 3, 4, and 5, В starts the lifting

motion and takes hold of the leg with both

hands. В then turns and dr ives forward and

comes up on top— Figures 6-8.

Hea d L if t an d Th ro w- do wn . In the first six

figures on the next page, t he action is the same

as in the head l if t and go-behind ( shownabo ve). In Figures 7-10 , В releases W ’s leg with

his lef t arm and br ings his hand ins ide around

W ’s wais t . In Figures 11-12, В throws W to

the mat .





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



Bear Hu g. In Fi gur e 1, В has a single leg

tackle, and W counters with an overhook. InFigures 2-6, В releases the single leg and locks

his hands in the bear hug posi t ion as he comes

to his feet. Figures 7-Ю show В taking a step

to the s ide and throwing W to the mat .





In si de Tr ip an d Ru bb er Arm . В counters

W ’s single leg with an overhook. In Figure 2,

W frees his leg with a s tep-over act ion. W ma in

tains control of B’s leg by hooking i t at the knee

and a t the ankle. In Figure 4, W steps ins ide

B’s crotch and trips the far leg just above the

knee. No te in Figure 5 that W begins his rubber

arm immediately after he trips B’s leg.

2 З 4

1 - І



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h

Crotch Lift. В has a single leg tackle, and

W counters with an overhook. No te in Figure 2

the hands move f rom the knee h igh up in the

crotch to a locked position. Figure 4 shows В

bend in g a t th e kn ee s, d ro p pin g hi s hi ps , an d

keeping his back straight. Figures 5, 6, 7, and 8

show the finish.



Knee Tap into a Double Leg. In Figu re 1,

В has a s ingle leg tackle, and W is counter ing

with an overhook. In Figures 2 and З, В releases

his hands and s laps W ’s knee, at the same t ime

stepping betwe en W ’s legs into posi t ion for a

double leg tackle, in Figures 4-9.



The Olympic Champion from Turkey is tryingto counter his Japanese opponent’s far leg trip.



Far Leg Trip. W secured a single leg tackle. across an d catches B’s free leg, driving across and

В is counter ing with an overhook. W reaches tackl ing both of B’s legs—Figures 3-6.



И б

Chest Pressure and Back-away. В has a s in- to W ’s thigh for addi t ional control . In Figuresgle leg tackle and W counters with an ovcrhook. 4 and 5, В forces W ’s legs apar t . W he n W ’s legs

In Figures 2 an d З, В maintai ns control of the are sufficiently spread, as in Figure 5, В begins

leg with cons tant downw ard chest pressure on a ci rcular motion, br inging W to the mat in

W ’s upp er thigh. B’s shou lder is pressed tight Figu re 6.



Opposi te-s ide view of the chest pressure and

ba ck -awa y.



Ro ll -u nd er fr om th e Feet . В has coun tered ing the pressure, reaches inside B’s crotch, does

W ’s at tem pted takedown with an overhook and a s ide roll undern eath B ’s body, and comes up

is applying pressure downw ard (Fig. 1) . W , feel- on top (Figs. 2-6 ) .





He el an d Ch es t Pressure. В has a single leg

tackle, and W counters with an overhook. In

Figures 2 and З, В unlocks his hands at the knee

and drops his r ight han d to W ’s heel . In Figure

4, В appl ies chest pressure on W ’s upper thigh.

In Figures 5 and 6, В begins the breakdown,

using his chest as a fulcrum and his r ight hand

as a lever.



Single Change-off to High Crotch. In Figures 1 and 2, В has a s ingle leg tackle, and W has

countered with an overhook. In Figures 3-6, В

lifts his elbow up and does a knee dip, while

reaching his lef t arm into W ’s crotch. In F igure

7, В changes direct ion to complete the takedown.

N o te th e ga p В cr ea te s by li ft in g hi s el bo w in

Figure 4.



NEAR ARM ANDOPPOSITE LEGTAKEDOWN

Olympic Champion Watanabe, of Japan, counters Russia’s near arm and opposite leg.



The near arm and opposi te leg takedown is

actual ly a combinat ion of two other takedowns.

The arm is controlled as in a fireman’s carry.The penetrat ion is executed as in a s ingle leg

tackle that goes across the body. In this tech

nique the arm that is control led is taken in the

direct ion of the opposi te knee. Your head s tays

to the ins ide of your opponent’s leg. The arm

that is attacking his leg will lift it up. The con

trolling arm in the fireman’s carry position will pu ll dow n on hi s ar m, m ovi ng in a ci rc ul ar m o

t ion, throwing W to his back.

Figures 1 and 2 show the penetrat ion, 3 to 5 the

pull in g of th e arm an d li ft in g of th e leg .



If his arm is lost in your attempt to attack his

leg, you should proceed to attack his leg, for

get t ing about the arm and f inishing in a s ingle

leg posi t ion. Your head s tays on the ins ide and

as close as possible to the knee that you are at

tacking. Your head has to pass under your op

p o n e n t’s ch in an d is ai m ed betw een hi s legs



Set-ups for the Near Arm and

Opposite Leg

The set-ups are much the same as in the f i re

man’s carry. The second move can be descr ibed

as a throw to the mat . This is done by pul l ing

down on the control arm and l i f t ing the at tacked

leg at the same time as you swing your bod}' to

the side, rotating your rear leg to the side as you

pu ll dow n on th e a rm — Fig ur es 1- 7.

Shoulder Snap. In Figure 1, W is control l ing

B’s elbow. In Figure 2, В moves his hand from a

bi ce ps po si ti on to a sh ould er po si ti on , sn ap pin g

the shoulder and f reeing the elbow at the same

time. In Figures 3, 4, and 5, В starts to attack

the leg after he has cleared his elbow. In Figures

6, 7, 8, and 9, B’s left leg starts to swing back,

creat ing a ci rcular motion wh ich takes W to his

ba ck .



Dan Gable is hanging on to a single leg afterattempting a near arm and opposite leg againstDouglas, in the World Games try-outs at Superior,Wisconsin, 1970. Coach Bill Wicks officiates.

Snap-clown. In Figure 1, W has elbow con

trol. В takes a collar tie-up and snaps W ’s hea d

to the s ide in Figures 2-5. W ’s imm ediate reac

tion is to raise his head. B, feeling this reaction,

starts to attack the leg in Figures 5-8. In 9-12,

В finishes with a throw to the mat.





Forearm Pull. In Figure 1, В is controlling

W ’s arm with an overhook. In Figures 2, 3, and

4, В raises his hand and brings it down, snapping

W ’s forearm. Figures 5, 6, and 7 show the pene

tration, which looks like a single leg tackle. Fig

ures 8 an d 9 show В l i f t ing W ’s leg and pul l ing

his arm. In Figures 10, 11, and 12, W falls to

his back. This set-up is designed to get either of

two react ions: i t i s intended to get your oppo

nent to pul l his arm back or to get him to

straighten his elbow.

Dan Gable looks at the American flag after being pres en ted wit h th e Go ld Me da l for winn in g theWorld Championship (149.5 class) at the WorldGames, Sofia, Bulgaria, 1971. On his left is Russia,on his right Bulgaria.





Ћ

Wrist Roll . In Figure 1, W has a collar past his body — Figures 2, 3, and 4. В the n starts

tie-up, and В takes elbow c ontrol, pla cing his his pen etrati on and finishes with a throw to the

Й free han d behin d W ’s wris t. В then pushes W ’s ma t—Figures 5-9.

hand off his neck, down toward the mat , and



El bo w L if t Se t- up an d Hi gh Cr ot ch Ch ange -

off to Single Leg. In Figures 1-4, B, using an

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

Figure 5, В changes direct ion and at the same

time br ings his head to the ins ide and at tacks

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

and 8 he picks the leg off the mat.

1 2 З

В1 z 3 4 5 Б 7 В 1 2 4 5 Б 7

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f * і Ж ~ / ' Second Moves for the Near Arm andOpposite Leg (also used for theFireman’s Carry)

Knee Trip. This seque nce illustrates a sec

ond move for the near arm and opposi te leg

takedown. B’s position is one in which wrestlers

of ten f ind themselves when they have beencountered on a near arm and opposi te leg or on

a fireman’s carry. From the position in Figure 1,

В is controlling W ’s arm as in the fireman’s

carry, making sure to keep his head off the mat

by us in g his h an d on th e m a t for su ppo rt . B, in

Figure 2, reaches across and b ehind W ’s knee,

pl aci ng th e pa lm of his h a n d on th e out si de of

W ’s knee while pul l ing downward on W ’s arm.

In Figure З, В drops his shoulder and t r ips W

over his knee. In Figure 4, В scissors his legs andcomes to his knees as he reaches up around his

opp one nt’s waist . Hang ing on to W ’s arm, he

then comes up on top.

1 2 З 4



Bar rel Ro ll . В finds himse lf on his knees

af t er having been countered as he a t t empted anear arm and opposi te leg takedown. In Figure

1, В s tarts to pul l down on W ’s r ight arm, kee p

ing his f ree hand on the mat and his head up.

In Figure 2, В maneuvers his elbow in a position

b eh in d W ’s ar m. In Fig ur e З, В no w dr ives his

elbow unde r W ’s arm pi t . At the same t ime В pu ll s dow n on W ’s fa r ar m and sit s to th e side,

forcing W off-balance in Figure 4. В the n comes

to his knees and on top by scissoring the legs

over.





Wrist Rotat ion. W controls the wris t (Fig.

1) . В rotates bis wris t downward (Figs . 2-3) ,

which pu ts W ’s han d in a posit ion where he

cannot prevent the arm drag (Fig. 4) .



9

/ ‘ /

Fake Fireman’s Carry Change-off to Arm by moving his leg back. В then changes to an

Drag . Fro m a square stance, В ties up for and arm drag and drives across, in Figures 5-9.

fakes a fireman ’s carry, in Figures 1-4. W reacts

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Sit-through. In Figure 1, W is control l ing

B’s wris t and head. In Figures 2, 3, and 4, W

releases B’s head, reaches across his body to the

arm, for an arm drag, and then takes a shor t

step to the outside of B’s right leg. In Figure 5,

W pul ls B’s arm d own toward the m at and does

a sit-through. Figures 7, 8, and 9 show the finish.

N o te in Fig ur es 5 and 6 th a t B’s fo ot is b e

tween W ’s legs , and then see how W comes to

his knees as he sits through.



Foot Kick Change-off to Arm Drag. In Fig

ure 1, В controls W ’s wrist. In Figure 2, В movesinto posi t ion and at tem pts a foot kick. As W

reacts, in Figure З, В changes to an arm drag

and moves toward W ’s exposed side. В the n

drives across to finish this takedown, in Figures

4, 5, and 6. N o te in Fi gur e 4 th e an gl e whi ch th e dr ag

creates.



FOOT KICKS

Foot kicks are techniques used to break your

opponent’s balance by kicking one foot across

his center of gravi ty. The important point to

remember is that his weight has to be removed

from the foot you plan to kick. The set-up is

used to remove the weight . The techniques are

descr ibed in the fol lowing act ion sequences .

Larrv Kristoff, of the United States, has executeda foot kick against his opponent from Turkey, inthe World Championships at Toledo in 1966.

/

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I



/ I Hea d Snap . From a s taggered s tance in Fig

ure 1, В performs a head snap in Figure 2. As W

reacts in Figure З, В foot-kicks W while ma in

taining control of W ’s head unt i l he hi ts the

mat .

Shoulder Snap. В uses a shoulde r snap tech

nique in Figures 1-3. To chang e W ’s weight to

his rear foot, В kicks W ’s leg out an d shovesW ’s should er back, forcing him off-balance.



Ankl e Pic k-u p. Fro m a collar tie-up, В snaps

W ’s head, placing al l of W ’s weight on the r ightfoot . В then takes a shor t s tep and kicks W ’s lef t

foot off the mat . At the same t ime В reaches

down a nd catches W ’s lef t foot .

N o te th a t В m ain ta in s co nt ro l of W ’s head

unt i l he has picked the foot up, and В thenmoves in to W , knocking h im to the mat .



Detail from Figure 8 on facing page.

Two-on-One Foot Kick with Elbow Control.

В has control of W ’s wrist, while W has inside

control (Fig. 1). Releasing the right wrist (Fig.

2), В reaches for W ’s left wrist (Fig. 3). R o

tating his shoulder in a forward rolling motion,

В captures W ’s arm (Figs. 4-5 ) . Fro m this posi

tion В foot-kicks W (Figs. 6-8 ). H e now releases

W ’s wrist and catches W ’s leg (Figs . 9-1 0) . В pu ll s W in a ci rc ul ar m oti on, push in g th e bi ce ps

unt i l W fal ls to the ma t (Figs . 11-12) .



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Two-on-One Foot Kick with Shoulder Con

trol. Fro m a two-on-one tie-up, in Figu re 1, В

lifts W ’s shoulder, as shown in F igures 1, 2, and

3. This a ction takes W ’s weight off his left foot,

enabling В to foot-kick that foot. In Figures 4

through 8, В reaches down and catches the foot .

In Figures 9 thro ugh 12, В lifts W ’s leg and re

leases control of his arm, switching off to a waist

lock in Figure 12.

Tears of joy. Tom Milkovieh of Maple HeightsHigh School acknowledges the standing ovation ac

corded him by 10,000 wrestling fans at St. Johnsarena, Columbus, Ohio, for winning his third consecutive Ohio State championship (photographfrom The Plain Dealer, Cleveland, March, 3, 1969).





HEAD SNAP

The head snap technique is an effect ive movefrom a col lar t ie-up. The head snap is par t icu

lar ly useful when your opponent has elbow con

trol , ei ther whi le s tanding or on his knees . The

head snap is executed with a whipl ike motion by

snapping your elbow past your opponent’s chin,

while snapping your wris t . The resul t of the

snapping creates an angle and pu ts you in a posi

t ion to go behind.

Gray Simons, of the U.S. Army, is doing a headsnap on his way to winning the Armed ServicesWor ld Championship, 1963, in Cairo, Egypt (U.S.Army photograph) .

HEAD SNAP



From a collar tie-up in Figure 1, В steps for

ward and to his left. In Figure З, В pivots his

b od y an d sn aps hi s el bow past W ’s chin wh il e

snapping his wris t . Figures 4-6 show the angle

В creates and his pene trat ion toward W ’s ex

po se d sid e.

SNAP



This sequence of pictures shows the he ad snap

technique when your opponent is on his knees .

з



Jerk -do wn Hea d Sn ap . Fro m a stan ding posi- 5, В docs a head snap, which creates an angle,

t ion В pul ls W ’s head d own by using a col lar al lowing him to go behind , as W ’s mo me ntum

tie-up and wrist control, Figures 1-4. In Figure carries him past B’s body, Figures 6-8.



Re ac h Se t- up an d He ad Sn ap fr om the Feet . In executin g a successful hea d snap you can-

13 uses a reach set-up to force W to move his no t allow your opp on ent to control your head,right leg, in Figures 2-3. W moves his right leg,

p u tt in g all his wei gh t on his le ft leg , in Fig ure 4.

В uses a head snap technique.



Foot Kick Head Snap. Fro m a wrist contro l tec hni que in Figu re 5, В creates an angle, plac-

and collar tie-up in Figu re 1, В fakes a foot kick. ing himself be hin d W , in Figures 6 and 7.

Figure 4 shows W ’s react ion. Using a head snap

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Snap-down. В has assum ed wrist an d collar No te in Figure 3 tha t В uses the side of his

control in Figure 1. В snaps W ’s head down to han d to guide W past his body,

the side in Figures 2 and 3. В then drives his Th is tech niqu e is set up by first pus hing intoarm toward the mat and moves across W ’s body your opp onent , and once he reacts , the n the

in Figures 5 and 6. head is snapped down.



THE SHUCK

The shuck is a technique to create an angle

of advantage which places you to the side ofyour opponent.

Andy Fitch, of the U.S.A., uses a head shuck in adual meet with Czechoslovakia in 1963.



He ad Shuc k. W is controlling В in a collar

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

sumes a collar tie-up in Figures 2 and 3. В then

releases W ’s right wrist, placing his free hand

behin d W ’s el bo w, wh il e ta ki ng a st ep and

pull in g W ’s head close to his bo dy , as il lu st ra te d

in Figures 4 and 5. In Figure 6, В uses his hand

to snap W ’s han d off his head. In Figures 7 and

8, W loses his balance and goes to the ma t .



E lb ow Sh uc k. In Figure 1, W has a collar

tie-up, while В controls the elbow. In Figure 2,

В begins to create an angle by looking away and

changing his foot posi t ion. At the same t ime В

uses his thu mb and drives W ’s elbow off his

head and toward the mat, as shown in Figure 4.

In Fig ure 5, В clears W ’s elbow past his head

and drives across, placing himself in a control

po si ti on beh in d W .

1 2 З 4

«



Shuck and Foot Kick. From a wrist control

and elbow tie-up В releases W ’s elbow and

reaches for W ’s neck. At th e same t ime В re

leases W ’s right wrist and places his free han d

behin d W ’s el bo w. F ro m th is po si ti on , as ill us

trated in Figure З, В attempts a foot kick. As

W removes his foot, in Figu re 5, В goes into his

shuck and finishes in Figure 7.

N o te th e po si ti on of th e th u m b in Fi gu re s 3

and 4.

и



"N El bow Sh uc k fr om th e Knees. In Figure 1, and lie shucks the elbow in Figure 6. In Figures

В controls W ’s elbow and far wrist. В th en 7-9, В looks away and snaps his wrist, pushin g

changes from elbow con trol to a collar tie-up, W ’s elbow past his body.

Figures 2-3. I n 4-5, В releases W ’s right wrist,



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

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Forearm Drive. In this act ion sequence, В W off-balance. Once W ’s side hi ts the mat, В

uses a collar tie-up while he controls W ’s left changes position and ends up on top.

arm. H e forces his elbow into W ’s chest, driving



HIGH CROTCHTAKEDOWN

The high crotch takedown affords two meth

ods of penetration. The first is a “foot step.”

This is done by bringing your outside foot as

close to your opponent’s outside foot as possible.

The second technique is a drop s tep. Both techniques require placing the knee down on the ma t

bet ween yo ur o p p o n en t’s leg s. Both al so re qu ir e

moving off the knee and coming to your feet- a again for the second move, which wil l be the

same as in a double leg or single leg, depending

upon the posi t ion you f ind your opponent in.

The techniques are shown in the fol lowing ac

tion sequences.

Junior World Champion, Billy Martin, fromGramby High School, Norfolk, Virginia, is com

pl et in g a hig h crotc h takedo wn .



El bow Lif t Se t-up . In Figures 1 an d 2, В is

control ling W ’s wrist and elbow. В lifts W ’s

elbow straight out and pulls i t over his shoulder

in Figures 3 and 4. В penetrates by stepping with

his r ight leg and reaching for W ’s thigh with

his left arm. In Figures 5 and 6, B’s knee touches

the m at as he pulls on W ’s thigh and stands up.

Figure 7 shows В going behind W .

N o te th a t В co nt ro ls W ’s el bo w un ti l he

makes contact with W ’s leg.



Hig h Cr ot ch Dr op Step . Fro m a n elbo w going to his knee. In Figure З, В reaches into

control tie-up in the first pho to, В lifts W ’s el- W ’s crotch with his free arm.

bow as he do es a dr op st ep . H e pi vo ts hi s bo dy , N o te th a t th e pe netr at io n is a dro p ste p, th e

and moves his left leg betw een W ’s legs while set-up is elbow lift.

HIGH CROTCH TAKE DOW N I 122



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4

Underhook Tie-up. From an underhook and begins to come tohis feet, changing to a double

wrist tie-up in Figures 1-2, В lifts W ’s should er leg tackle inFigures 7-8.and ducks his head under W ’s arm in Figures No te especially the position of B’s body in

3-5. At the same t ime В does a knee dip Figure 5.

and reaches for W ’s leg. In Figure 6, В

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Forearm Pull Set-up. В assumes a wrist con

trol and overhooks the forearm in Figure 1. В

pu lls W ’s ri gh t arm do w n to war d W ’s op po si te

knee. As W reacts by pul l ing his arm back, in

Figure З, В starts his high crotch takedown by

l i f ting W ’s arm up and pul l ing i t over his shoul

der, in Figures 4-5. В makes his penetration in

Figures 4 and 5, changing to a double leg take

down in Figures 6-8. N o te in Fi gu re 5 th at, when B’s k ne e to uc he s

the mat , he immediately s tands up.

—V- ; __

/ f і і л i_ Two-on-One Control. From a wrist and el

bo w con tr ol in Fig ure 1, В set s u p a hi gh in side

crotch takedown by pul l ing W ’s right arm down,

in Figures 2-4 (oppo si te) . In Figure 5, В re

leases W ’s wrist and reaches inside W ’s crotch,

at the same t ime l i f t ing the elbow. В then goes

into the high inside crotch position, in Figures

6-8, and changes to a double leg takedown, in

Figures 9-11. N o te th at, in Fi gu re s 2-4 , В ca pt ure s W s

wris t by turning his head and using his shoulder

to knock W ’s hand off his neck.



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Wris t Roll Set-up. From a wris t control and

elbow tie-up, in Figure 1, В releases W ’s right

wrist and brings his han d be hin d W ’s left wrist,

in Figu re 2, while still controlling W ’s elbow.

In Figure З, В s tar ts to push W ’s han d toward

the mat , guiding the hand past his body, in Fig

ures 4 and 5. After clearing the arm past the

bo dy , in Fig ur es 6-7 , В st ep s in for th e h ig h

crotch. In Figure 8, В steps up and changes toa double leg tackle, coming to his feet in Fig

ures 9 and 10.



Re ac h Se t-up . From an elbow t ie-up in Figure 1, В reaches his free arm for W ’s left leg in

Figure 2. As W reacts by pulling his leg back in

Figures 3, 4, and 5, В steps in for the high crotch.

In Figures 6 and 7, В steps up and changes to adouble leg takedown.

The key to this move is the elbow lift in Fig

ure 3, which enables В to penetrate.

ANKLE PICK UPS



ANKLE PICK-UPS

Don Bchm, of Michigan State, silver medalistin the 1968 Olympics, has used an underhook forhis ankle pick-up.

The ankle pick-up requires a back s tep to the

s ide. The s tepping leg wil l be on the s ide of the

hand that at tacks the ankle. You must place the

control led por t ion of your opponent’s body over

his ankle. Th e control led por t ion is pul led do wn

and placed at an angle over the foot , so tha t your

opponent cannot r emove hi s foot . Your head

must remain at the same level as the control led

por ti on . O nce yo u re ac h th e an kl e, do n o t a ttempt to pick i t up. Ins tead, push the control led

part of yo ur o p p o n en t’s b od y ov er his an kl e.



Z І З I 4

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rVTvTMV7jI v J l і 1Л ШЛ .IseaUnderhook. Using an underho ok tie-up, В

controls W ’s arm, as shown in Figure 1. In Figure 2, В begins to maneuver backward in order

to get W to step toward him. В then applies

pr es su re on W ’s r ig ht sh oul der by pu ll in g do wn

in the direct ion of W ’s stepping foot—Figures

3 and 4. In Figure 5, В attacks the ankle, forcingW backward by pushing his shoulder over W ’s

foot and pull ing W ’s support ing leg off the mat

— Fi gu re s 6- 8.



Hea d an d He el. Th e head and heel ankle

pi ck -u p is ex ecu te d by p la ci ng yo ur o p p o n en t’s

head direct ly over the foot that you plan to at

tack. Ibis is of ten done by us ing the col lar

t ie-up. His head must be pul led down and placedat an angle over the foot, so that he ca nno t move

the foot you plan to at tack. Your head must re

main at the same level as your opponent’s , as

shown in Figure 3. In Figure 4, you can see the

angle of the body and the posi t ion of the heads .

In Figure 5, В attacks the ankle. In Figure 6, В

snaps the head backward, taking the weight off

the foot he is at tacking, which then enables himto pick up the heel and f inish the takedown, as

Figure 7 shows.



Two-on-One Change to a Double Arm Hook.

In Figure 1, В has a two-on-one control. In Fig

ure 2, В changes to a double arm hook by catching W ’s far arm at the elbow. At the same time

В releases W ’s wrist, as shown in F igure 2. In

Figu re З, В forces all of W ’s weight onto his far

foot by applying pressure downward on W ’s

arms with his chest. In Figure 4, В begins to

attack W ’s far ankle while stil l controlling bothof W ’s arms. В catches W ’s ankle and drives

forward, taking him down to the mat.



Whip-over and Ankle Pick. In Figure 1, В

is in an overhook and underhook posi t ion. Fig

ures 2 and 3 show В starting the whip-over. Fig

ure 4 shows W taking a step forward to main

tain balance. In Figure 5, В rotates his body and

pu ll s W ’s sh ou ld er to ward hi s kn ee . H e be gi ns

to at tack the foot in Figure 6. He uses his shoul

der t o knock W to the mat i n Figures 7-9 .

N o te th a t В take s a st ep betw een W ’s leg s.

В then catches the opposi te heel and dr ives W ’s

body ba ck war d, us in g hi s sh oul der to knoc k W

to the mat .



El bo w Le ad an d Ankl e Pick. From a wrist

tie-up and elbow control in Figures 1-4, В forces

W ’s elbow to his opposite knee. It is impo rtant

to note, in Figures 5-8, tha t В mu st push W ’s

elbow and pull W ’s heel at the same time. В

never releases W ’s elbow or heel until W has

lost his balance and has hit the mat.



Andy Fitch, of the U.S.A., in the World Cham pio nsh ips, 1963 , is co un te ri ng a headloc k.

HEADLOCK



HEADLOCK

Phil Parker, of Iowa State, on the right, is settingup a headlock from the knees against NationalChampion Dave McGuire, of Oklahoma University.







Standing Headlock. A stand ing headloc k is

executed by stepping between your opponent’s

legs and turning your back to him, placing your

hips across his body in order to pull his headover your hips.

Figure 1 shows a tie-up for the headlock. In

Figure 2, В steps between W ’s legs. In Figures

3-4, В pivots his left leg behind his stepping foot.

В then turns his back, thrusting his hips across

W ’s body, as seen in Figure 5. He then pulls

W ’s head and pushes with his legs, pull ing Wover his hips and to the mat, in Figures 6, 7,

and 8.



Opposite-side view of the standing headlock.



Bob Douglas positions himself for the head andarm control against Mohammed Ebrahimi, of Afghanistan, at the Tokyo Olympics.

HEAD AND ARMCONTROL



CONTROL

The head and arm t ie-up is sometimes cal led

a front headlock. It is often used after countering a fireman’s carry on a single leg attempt.

Your arms are locked around the head and one

arm of your opponent. Your shoulder should be

applying pressure to the back of his neck. The

trick is to keep his head down and to control the

arm. In the grip, the palm of your outside hand

should be facing up. It is important to stay off

your knees and to keep all your weight resting

on your opponent’s neck and back.

The techniques in the fol lowing picture sequences show the advantages of knowing this

hold.



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■ Г Н

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s?zn4 5 Б і z з 4 Б 7 В

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1 Z 3 4 5 Б 7

1

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1 2 3 4 5 Б 7 Б I

1

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11

X

Oppositc-side view of the head and arm knee

trip.



Pull-down. From a standing head and arm Figure 4. В applies pressure with his shoulder

control in Figure 1, В starts a backw ard mo- until bot h of W ’s knees are on the mat, Fig-

t ion, pull ing W ’s lef t knee down to the mat, ures 5-6.





Whip-over. В has head and arm con t ro l . W

attempts an arm drag in Figures 1-3. В raises

his shoulder and pulls his arm between their

bo di es in Fi gu re s 4- 6. N o te in Fi gur e 6 th a t W ’s

right arm reaches out for balance. В controls the

arm, and pulls W forward, throwing him to the

mat in Figures 7-9.



Carl Adams, NCAA Champion from Iowa State,

scores points after a takedown. In the stands (right foreground) are Doug Blubaugh, Olympic Cham pio n, an d Gre g John son, NCA A Ch am pi on fromMichigan State.

ІI z 3 4 5 Є 7

1

7



Throw-back (Pop-over). From a head and in Figure 1. В pul ls W ’s head up, and forces W

arm control В allows W to raise his head , as seen on his back. F igures 4 and 5 show the finish.

I _

f 3 4 5 Б 7 I I Z 3 4 5 Б 7 E

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I Z 3 4 5 Б 7 В I z 3 4 5 Б 7 В

№ 18

I Z 3 4 5 Б 7 В 1 1 11 z 3 4 5 Б 7І ВI 1 Z 3 4 5 Б t 1 Z 3 4 5 Б 7

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\ \ Cradle. In Figure 1, В is controlling W with the leg, catching it at the knee, inFigures 3-6.

the head and arm tie-up. In Figure 2, W has В locks his hand sand dr ives W over backw ardma de the mistake of leaving his knee up. В re- into a cradle,

leases the headlock, steps to the side, and attacks

1 2 З 4



Shuck. W is control l ing В with a head and

arm grip, in Figure 1 (above). In Figures 2, 3,

and 4, W starts to move in a circular motion to

his r ight. In Figure 5, W stops and whips В pasthis body. H e thereby creates an angle, and at the

same time he uses his forearm to swing B’s head,

as shown in the sequence 6-9.

Far Leg Trip. В controls W with a head and

arm in Figures 1-3. В takes a step backward with

his lef t leg, pull ing W ’s head and forcing him to

take a step forward. В then pulls down on W ’s

head and reaches for his leg in Figures 4-6.Onc e he has cau ght W ’s leg, В uses his shoulder

to drive W off-balance and in to a cradle, Fig

ures 7-12.





BREAKDOWNSFROM BEHIND



Ben Peterson, Olympic champion, countering alift on the wav to winning his second national collegiate title.



Gene Davis, of the Athletes in Action wrestlingteam of the Campus Crusade for Christ, completeshis takedown with a breakdown.

L if t an d Swee p. В has gone behind W in

Figure 1. In Figures 2-4, В steps up and posi

t ions his hips unde r W in order to l if t W off the

mat. In Figures 5-6, В steps up with his right leg

and sweeps W off-balance by kicking W ’s legsabove the knee. Figures 7-12 show В br inging

W t o t he m a t.





іI z 3 4 5 Б 7 1J

Side Lift. In Figures 1-2, В changes from a

go-behind position to a side position. In Figures

3-5, В throws his hips, knockin g W ’s feet off the

mat. In Figures 6-9, В releases W ’s waist, con

trols W ’s arm at the elbow, and starts to drive

him toward the m at over the r ight leg to a r iding

po si ti on .





\ Back Heel Tr ip . Fro m a go-behind position over his legs. Figures 8 and 9 show the finish.

\ in Figure 1, В pivots his left leg behi nd W ’s Notic e in Figures 3, 4, and 5 the mov eme nt of right leg in Figure 2 and pulls W into his lap in B’s right leg as he steps betwe en W ’s legs.

Figure 3. In Figures 4-7, В pulls and trips W



Ankle Pi ck an d In si de Tr ip . In Figure 1, Вhas completed his go-behind. In Figures 2-6,

В releases the waist and catches W ’s ankle. In

Figure 7, В steps inside and kicks W ’s support

ing leg at the knee, driving forward with hisweight. In Figures 8 and 9, В forces W to col

lapse.



In the “Bedlam Series” between Oklahoma University and Oklahoma State, Brian Rice, who is ontop, prepares to break down Tommy Green.

II z 3 4 .u

7 В

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s s t ;

Crotch Lift. From a go-behind position, В

changes to a cross body position, by stepping

with his right leg between W ’s legs. В then locks

his hands at the crotch, turns his head away,and drives all his weight do wn across W ’s back,

fo rc ing W to the mat .

N o te in Fi gu re 5 th a t B ’s le ft leg steps ba ck

so that he can apply pressure downward. В

arches his back by turning his head away and

forcing his right thigh into W ’s crotch.



Cross Body and Ankle Pick. In Figu re 1, В

has gone behind W . In F igure 2, В releases and

changes to a cross body position by hooking one

leg inside the crotch and the other arm across

the body behind the armpit . В then reaches

down and picks the ankle up, driving forward

and breaking W to the mat, in Figures 3-6.

Figure 7 shows from another angle how В

attacks the ankle.

INDEX

The defini tion of a wrest l ing term or th e prin

cipal explanation of a technique is to be found

on th e page designated by boldface numbers.

Abens, Keith, vii

Adams, Carl, vii, 147

ankle pick-ups, 5, 128-133

cross body and, 162

elbow lead and, 133

foot kick, two-on-one, 101

head and arm, 152

head and heel, 130

and rubber arm, 64

standing, 25

barrel roll, 93

bear hug, 69

with a half-nelson (“d ouble trouble” ) , 68

Belim, Don, 128

Blubaugh, Doug, 147

Brand Dan 36

cradle , head and arm, 149, 150-151

cross bodv and ankle pick, 162

cross-bodv single leg tackle, 47

crotch lift, 72, 161

Culp , Curb ' , 7

Davis, Gene, 154

double arm hook 131



,

and inside tr ip, 159

two-on-one change to a double arm hook, 131

underhook, 129

whip-over and, 132

arm drag, 94-98, 146

double leg tackle, set-up for, 19

drag position, 94

fake, 59

fake fireman’s carry change-off to, 96

fireman’s carry, set-up for, 32

foot kick change-off to, 98

single leg tackle, set-up for, 56

sit- through, 97

wrist rotation, 95

Auble, Dave, xiii

back heel tr ip

breakdown from behind, 158

and inside crotch, 65

from the knees, 23

Brand, Dan, 36

breakdowns

f rom behind , 153-162

ankle pick and inside trip, 159

back heel tr ip, 158

cross body and ankle pick, 162

crotch lift, 161

lif t and sweep, 153-155

side lift, 156

sit- through and knee lif t , 157

see also second moves

Caruso, Mike, 41

chest pressure

and back-away, 76, 77

heel and, 80

sit-down, 26

collar tie-up, 5, 18, 45, 53, 55, 60, 86-87, 90,

101, 106-107, 109, 111, 112, 114, 115, 117,

119, 130

counter for wrist control, 44

double arm hook, 131

two-on-one change to, 131

double e lbow post, 10

double leg pick-up, 28

double leg tackle, 6-7, 37, 73, 120, 123, 124,

125, 126, 127

second move from, 22

second moves for , 6, 20-28

set-ups for , 8-19

“double trouble ,” 68

double unde rhook , 42

Douglas, Bob, vi, ix-x, xiii-xiv, 47, 86, 140

drop step (penetration) , 4, 6, 9, 18, 47, 48, 52,

120

high crotch, 122

drop step stance, 3, 6, 31

duck-under , 5, 41-46

counter for wrist control, 44

double underhook, 42

foot kick, 45-46

wrist control underhook, 43

163 I IND EX

Ebrahimi , Mohammed, 140

elbow control ti e-up, 5, 8, 12, 50, 54, 57, 60, 86 -

87, 90, 106, 116, 117, 122, 125, 126, 12",

133, 136

elbow lead, 14-15, 60-61

and ankle pick, 133

elbow lift set-up, 121, 122, 127

and high cro tch change-off to single leg, 91

elbow post, 54

double , 10

high single leg tackle, 51, 52

from the knees, 18

low single leg tackle, 51

and opposite leg tackle, 53

two-on-one, 12-13

elbow shuck, 60-61, 115, 118

and ankle pick, 133

from the knees, 117

fake arm drag, 59

far leg trip, 74, 75, 150-151

fireman’s carry, 30, 83, 141

front headlock, 141, see also head and a rm cont ro l

Gable, Dan, vii. 86, 88

Green , Tomm y, 160

Harlow, Bill, xiii

Hatta , Masaaki, 62

Ila tta , Tadaaka, xiii

head and arm control, 16, 35, 141-152

ankle pick, 152

cradle, 149, 150-151

far leg tr ip, 150-151

knee tr ip, 142-143

pull-down, 144

run-around, 145

shuck, 150throw-back (pop-over) , 148

whip-over, 146

head and arm release, 16

head and arm tie-up, 141, 149, see also head and

arm control

head and heel ankle pick-up, 130

head circle tie-up, 33

snap-down, 112

head-to -head tic-up, 5

head-to-shoulder tie-up, 5

heel and chest pressure , 80

high crotch drop step, 122

high crotch takedown, 5, 120-127

elbow lift set-up, 121

forearm pull set-up, 124

high crotch drop step, 122

reach set-up, 127

single change-off to, 81

two-on-one control, 125

underhook tie-up, 123

wrist roll set-up, 126

high leg and foot kick (“tree top ” ) , 70

inside tr ip

ankle pick and, 159

and rubber arm, 71

James, Joe, xiii

jer k- do wn he ad sn ap , 109

Johnson, Greg, 147



set-ups and second moves, 30-40, 92-93, 126

fireman’s carry change-off

to double leg, 37

fake, to arm drag, 96

Fitch, Andy, 113, 134

foot kick, 99-105

ankle pick-up, 101

change-off to arm drag, 98

duck-under , technique for , 45-46

head snap, 100, 111

high leg and, 70

shoulder snap, 100

shuck and, 116

two-on-one, with e lbow control, 102-103

two-on-one, with shoulder control, 104-105

foot step, 120

forearm block, 54

forearm drive, 119

forearm post, from the knees, 55

forearm pull set-up, 8, 50, 88-89, 124

head lif t

and go-behind , 66-67

and throw-down, 66-67

headlock, 134-139, 149, 152

snap-down and, from the knees, 136

snap-down and, from a standing position, 137standing, 138-139

tie-up for, 138

head reach, 9

head release, 35

head shuck, 113-11 4

head snap, 106-112

across, 63

double leg tackle, set-up for. 11

fireman’s carry, set-up for, 34, 37

foot kick, 111

set-up for, 100

jer k do wn , 109

from the knees, 108

reach set-up and, from the feet, 110

single leg tacklc, set-up for, 49

Khokhashvili , Nodar, 47

knee drop, 22

knee tap into a double leg, 73

knee tr ip, 92, 142-143

Kovalick, George, xiiiKristoff, Larrv, 99

Lett, Fred, xiii, 29

lif t and sweep, 153-155

Lunt, Doug, vii

Martin, Billy, vii, 120

McGuire , Dave, 135

Milkovich, To m, 104

near arm and opposite leg takedown, 82,

second moves for , 84, 92-93

set-ups for, 84-91

Nichols, Harold J. , ix-x

Ouellet, Dave, 29

overhook, 32, 37, 50, 64, 65, 69, 70, 71, 72,

73, 75, 76, 78, 80, 81, 88-89, 124, 132

and sit- through change-off from fireman’s

carry, 38-39

Parker, Phil, vii, 135

penetration, 1, 3, 4, 14, 20, 26, 28, 30, 32, 34,

49, 51, 58, 60, 83, 88-89, 90, 107, 121, 124,

127

drop Step, 4, 6, 9, 18, 47, 48, 52, 120, 122

foot step, 120

step-in, 4, 6, 11, 12, 25, 35, 37, 47

Peterson, Ben, vii

pop-over ( throw-back), 148

pull-down, 144push-to-feet, 40

reach set-up, 127

and head snap from the feet, 110

Rice, Brian, 160

Roderick, Myron, xiii

roll-under from the feet, 78, 79

Severn, Dave, 24

Shines, Bob, 153

shou lder snap, 31, 57, 85, 100

shuck , 113-120

elbow, 115, 118, see also e lbow shuck

elbow, from the knees, 117

and foot kick, 116

forearm drive, 119

head, 114

head and arm, 150

side lift, 156

Simons, Gray, 106

single change-off to high crotch, 81

single leg tackle, 47, 83, 88-89, 91, 120, 141

attacking motion, 48

hand position, 48, 49second moves for , 64-82

set-ups for , 47, 49-63

sit- through, 21, 97

change-off from fireman’s earn', overbook and,

38-39

and knee lif t , 157

Smith, Jason, vii, 68

106-107, 109, 111, 112, 114, 115, 117,

119, 130

elbow contr ol, 5, 8, 12, 50, 54, 57, 60, 86 -87 ,

90, 106, 116, 117, 122, 125, 126, 127,

133, 136

head and arm, 141, 149, see also head and arm

control

head-to-head, 5

head-to -shoul der, 5

two-on-one, 104-105

underho ok, 5, 26, 42- 44, 123, 129, 132

Tomino , Michio , 62

“tree top,” 70

Tribble , Charles, 36

two-on-one

change to a double arm hook, 131

control, 125, 131

elbow post, 12-13

foot kick with e lbow control, 102-103

foot kick with shoulder control, 104 -105

tie-up, 104-105

Uetake Yjo xiii



rubber arm

back heel and, 64

inside trip and, 71

run-around, 145

Sanders, Rick, vii

second moves (breakdowns), 1, 36, 41, 120

double leg tackle , 6, 20-28

from double leg tackle knee drop, 22

fireman’s carry, 30-40, 92-93

near arm and opposite leg takedown, 84, 92-93

single leg tackle , 64-82

see also breakdowns, from behind

set-ups, 1, 5, 41, 99, 137

double leg tackle , 8-19

fireman’s carry, 30-40

near arm and opposite leg takedown, 84-91

single leg tackle , 47, 49-63

Severn, Dan, 2

snap-down, 86-87, 112

and headlock from the knees, 136

and headlock from a standing position, 137

square stance, 3, 96

staggered stance, 2-3, 6, 30, 31, 34, 37, 100

stance, 2-3

drop step, 3, 6, 31

square, 3, 37

staggered, 2-3, 6, 30, 31, 34, 37, 100

standing back heel tr ip, 25

step-in, 4, 6, 11, 12, 25, 35, 37, 47

stepping and squatting, 41

step-up drive across, 20

throw-back (pop-over) , 148

throw to the mat, second move for f ireman’s carry,

30, 31, 33, 40

tie-ups, 5, 41, 138

collar, 5, 18, 45, 53, 55, 60, 86-87, 90, 101,

Uetake, Yjo, xiii

underho ok tie-up, 5, 24 ,2 6, 123, 129, 132

double , 42

wrist control, 43, 45

counter for , 44

Van I lorne, Robert, vii

Wa tanabe , 82

whip-over, 146

and ankle pick, 132

Wicks, Bill, 86

wrist control position, 19, 32, 43, 44, 52, 53, 56,

57, 58, 59, 60, 102-103, 109, 111, 112, 116,

121. 123, 124, 125, 126, 133

counter for , 44

underhook, 43

wrist roll set-up, 90, 126

wrist slap, 58



















Documents

Douglas B. Wrestling The making of a Champion The Takedown.pdf