Violence works. It is something that bad guys use to get what they want. When people look for the sources of violence or seek peace, this is the elephant in the room that everyone ignores. As long as violence works, some people will use it. -Rory Miller
Evening BJJ in Bellevue. Almost everybody was watching Amy win her MMA fight, so it was a very small class. It’s been a long time since I’ve worked with anyone other than Chrisanne. I was hoping Peter would be there, but he was not.
One of the warmups that Doug had us do tonight was a logroll all the way down the mat with hands and feet both up off the mat. I looked at that and thought, “What’s hard about that?” I did it really fast, twice (one direction and then the other). All was well until almost to the end of the 2nd run, and then quite abruptly I stared to feel nauseous. It was very odd. I have always done a ton of MA and dance and acrobatics and all sorts of stuff, and I have never had that issue. I guess I will limit the logrolls to once across the floor (half one way, half the other). Nausea persisted through class- mild but distracting. I had to skip the sparring, which sucked because I love to get a chance to spar with Doug.
From bottom half guard: Get the underhook, then go deep (get your face waaaaaaaaay down there to avoid being crossfaced out). Grab opponent’s far foot and pass it to your other hand, behind hir butt. Underhook hir other knee. Rearrange your feet- CAREFULLY- you have to make sure you keep that foot trapped- so that you can roll onto your stomach and scissor your legs for the sweep. Go to side control around either side, you can keep the foot if you are able.
From bottom half guard: go for the kimura. (If opponent is sitting up, yank hir forward with your legs so that s/he has to post.) When s/he sticks hir hand in hir groin to defend the kimura, keep ahold of the wrist but use that over-the-shoulder hand to grab the back of hir belt or pants instead. Now loosen your legs just enough to make the opponent think s/he can pass. As s/he does, hoist hir overhead and to the side (like an upa). S/he ends on hir back, you can keep the arm and finish the kimura from the top. Or take top control, or armbar, or whatever (I was ending up in N/S, which was fine with me). Note that this takes about as much effort as wafting a feather. The opponent’s own effort to pass lofts hir over. You are not using arm strength to heave hir, and you are also not dragging hir over your face. Doug does this to me ALL THE TIME, so it was nice to learn it. I will have to ask him for a defense. I hate finding myself being swept when I know exacly what’s coming and can’t stop it, but the alternative seems to be park there and allow yourself to be kimura’ed. There must be another option.
Doug likes to end his classes with a choke. This one was from closed guard. Pull opponent forward with your legs and do a double circular parry in front of your face so that as s/he posts, you whizzer one bicep. Clamp it nice and tight and grab hir opposite gi lapel with the same hand. Stick the thumb of your OTHER hand into the lapel just above your first grip. Slide it up to the back of hir collar, then whip the forearm over hir head and choke. This is a sublime choke. The guy was tapping almost immediately, and there was still miles of room left to add more pressure. When he did it to me, I noticed that because both hands are on the same side, I didn’t immediately register it as an imminent threat. Also, once he started applying it, I held out for a bit thinking “It’s fine… it’s fine…” and then ALLOFASUDDEN there were the black roses blooming in front of my eyes. Once it was truly in position, it was damn quick.
All three of tonight’s techniques begin with positions that I find myself in frequently but then get stalled in because I can’t quite remember what to do. If at least one of them sticks and I can remember to try it live, I’ll be very happy. In particular, my brain seems to have an extraodinarily difficult time retaining the mechanics of gi chokes- an area in which I would really like to expand my practical toolbox. I can’t wait to try this one on Chrisanne.
Doug (as Hozier comes on the sound system): “This music has got to go.”
Kitsune: “You don’t like this one?”
Doug: “No… it sounds depressing. And I’m not sure what it’s about.”
Kitsune: “It’s about sex. He’s asking for a roll in the hay.”