Pin (professional wrestling)
A pinfall, a pin, or a fall (the first term most commonly used in professional wrestling) is a victory condition in various forms of professional wrestling that is met by holding an opponent's shoulders on the wrestling mat for a prescribed period of time. In professional wrestling, a pinfall is a common method of winning a match and typically must be held for a count of three by the referee.
The purpose of a pinning maneuver is to hold the opponent's shoulders against the mat for a count of three. The count is broken (a near-fall) if the opponent manages to raise one or both of his shoulders off of the mat, commonly by kicking out (throwing their legs up to cause their shoulders to rise from the mat). In some positions, a wrestler may bridge (arching their back so that only their feet and the top of their head are touching the ground) to put more of their weight on the pinned opponent or to prop themselves up from being pinned. Sometimes, an attacking wrestler may (illegally) hook the opponent's tights for extra leverage. Another popular illegal tactic of heel wrestlers is to attempt a pin close to the ring ropes so they can prop their legs (or on rare occasions, arms) up on the ropes to gain additional leverage, putting more weight on the opponent.
The attacking wrestler stands back-to-back with their opponent and hooks both of the opponent's arms. They then lean forward and drop to their knees, sliding the opponent down their back so that their shoulders are against the mat and their chin is against their chest. The attacker holds the opponents arms down with their own arms for the pin.
Also known as a lateral press, cross press or simply as the basic pin. With an opponent lying face-up on the mat, the attacking wrestler lies face-down across the opponent's chest to hold them down. Sometimes, when both wrestlers are exhausted or badly hurt the attacking wrestler will cover with just an arm or lie down face up rather than face down. The term floatover (when in reference to a pin) refers to an attacking wrestler using the momentum of a throw or slam they are performing to propel themselves over the opponent into the lateral press position.
The attacking wrestler lies across the opponents chest and hooks a leg with the arm on the opposite side (left leg with right arm or right leg with left arm). Holding the leg gives the attacker greater leverage and makes it harder for the opponent to kick out. This was derived from the inside cradle and outside cradle in amateur wrestling.
An attacking wrestler hooks the arms of an opponent, by grapevining their legs around one arm and their arms around the other. This positions the attacking wrestler horizontally across the back of the opponent and forces the opponent's arms out like a crucifixion. The attacking wrestler then lowers their bodyweight so that the opponent is brought down to the mat backwards and is forced on to his own shoulders in a pinning position with his legs in the air.
A variation on the standard crucifix, the crucifix bomb or crucifix driver, sees an attacking wrestler violently force their bodyweight downwards to throw the opponent into the mat with greater impact.
The Delfin Clutch has an attacking wrestler crossing the arms of the opponent across their own chest while they're lying on their back on the mat. The attacking wrestler then kneels down on one knee on the opponent's arms, pinning the opponent's shoulders down to the mat. The attacking wrestler then grabs the opponent's legs, crosses them, and places them under one of their armpits, bending the opponent to a pinning predicament.
The Gannosuke Clutch has an attacking wrestler facing the opponent, grabbing their arm, twisting it into a modified hammerlock and then performing a front somersault while holding the trapped arm in place as well as legsweeping the opponent's near leg, rolling the opponent backwards while the attacking wrestler keeps the hammerlock applied while also holding the opponent's near leg down with their own leg. This move is also known as an arm trap somersault cradle.
The Gedo Clutch has an attacking wrestler sit kneeling on the back of an opponent who is lying face down and facing the same way. The attacking wrestler then grabs the opponent's arms and lifts them over their thighs, similar to a camel clutch. The attacker then grabs hold of the opponent's head and pushes it down and forward between his legs, while leaning himself forward onto his stomach, flipping the opponent over onto their shoulders, with the attackers legs pinning the opponent down to the mat. This hold is technically known as a double leg nelson.
The hold has the opponent wrestler lying on their back. Standing at the feet of the opponent, the attacking wrestler then lifts the opponent's legs from behind the knees. Still gripping the opponent's legs, the attacking wrestler then flips forward, over the opponent, and plants their feet on the mat while bridging the back to add leverage.
A variation of the jackknife hold, known as the figure four pin, has the attacker placing the opponent's legs in a figure four position before executing the bridge.
Also referred to as la casita or as bandito, this move's technical name is arm wrench inside cradle pin and it is performed with the opponent on their hands and knees. From this position, the attacking wrestler stands next to the opponent's hip, grabs one arm and applies an armbar. The attacking wrestler then steps over the arm with his inside leg so that he is facing away from the opponent. The attacking wrestler continues his turning motion and dives forward over the opponent, rolling onto their side. The barred arm acts as a lever, flipping the opponent over the attacker and onto his back. The attacker hooks one or both legs as the opponent goes over and holds for the pin.
The attacking wrestler stands to the side of his opponent, who is on his hands and knees. The attacker hooks one arm around the opponent's neck and one between the legs, and rolls over the opponent. The attacker lands on his back or side, and the opponent is flipped so that his shoulders are pressed against the mat.
In the sunset flip version the opponent is lying shoulders down on the mat, almost completely flat on his back, with the attacking wrestler applying the pin sits below the legs of the opponent and uses his own legs to cover the opponent's shoulders or arms, and hooks both legs around the opponent's thighs to force his weight down to the mat.
The other variation, which usually results from a hurricanrana, sees the one performing the hurricanrana sit on the opponent's chest and hook the opponent's legs behind him whilst hooking the opponent's arms with his legs. This variation is the same hold just with the attacking wrestler on top. This interchangeability often sees a spot where the wrestlers change their weight distribution to move from one pinning hold to the other for a succession of near falls.
The attacking wrestler holds their opponent from behind in a waistlock. The attacking wrestler then performs a backward roll while holding the waistlock. The opponent ends up on their shoulders with the attacking wrestler sitting on top of their legs holding the opponent down. This move is often done when the opponent is leaning on the ropes facing out of the ring and the attacking wrestler would first push forward into the ropes with the waistlock in order to generate faster backward motion. A common heel tactic is to grab the back of the opponents clothing or tights while sitting on top of them thus giving them more leverage and making the pin illegal.
The most common type of roll up is the schoolboy sweep, where the attacking wrestler drops down behind the opponent and puts one arm up between the opponent's legs to pull the opponent over the attacking wrestler so that they fall flat on their back. At this point, the attacking wrestler would stack the fallen opponent on their shoulders for the pin. Often when female wrestlers use this move, commentators will refer to it as a schoolgirl.
The attacking wrestler sits down with the legs of the opponent hooked over their shoulders so that the legs and lower body of the opponent are elevated while their shoulders and upper back are in contact with the mat. The arms of the opponent are sometimes pinned beneath the legs of the attacker. This hold results from numerous throws, including the sitout powerbomb, the spin-out powerbomb, and the sunset flip.
The small package—or inside cradle—is a pinning maneuver where the attacking wrestler hooks the opponent's far leg with their legs and the opponent's other leg with their free arm, ending up on top of the opponent, pinning their shoulders against the mat.
In this pinning maneuver where the attacking wrestler has the opponent on his back and the attacking wrestler grabs both legs, puts them above the opponent’s head, jumps up in the air, opens his legs, and falls on the opponent’s legs trapping him into a pinning situation.
In this pinning technique, the attacking wrestler stands with their feet on either side of an opponent who is lying face-up on the mat. Then the attacker kneels across the opponent's chest facing their head, with each knee beside the chest. Sometimes the attacker sits on the opponent's chest for greater pressure. There is also a reverse variation in which the attacker is facing the opponent's feet.
The shoulder straddle pin is typical variation of the straddle pin. It sees the attacker kneeling on the opponent's shoulders facing the head, pinning them on the mat. In another variation, the attacker sits on the neck or face of the opponent with or without the knee on the shoulder. Primarily called a facesit, it is used mostly by heels or in mixed professional wrestling to demonstrate dominance and entertain the crowd.
This pin commonly sees an attacking wrestler dive over an opponent who is facing him/her, usually bent over forwards, catching the opponent in a waistlock from behind and landing back-first behind the opponent. From that position the wrestler rolls forward into a sitting position, pulling the opponent over backwards and down to the mat so that he lands on his back into a sitout pin position. While being held on the shoulders of an attacking wrestler in a position where this second wrestler is straddling the head of the attacking wrestler while facing in the other direction.
This pin is commonly used by wrestlers with scary or ternured gimmicks. After applying a knockdown move, such as the Tombstone Piledriver, the wrestler kneels on the front of an upper side positioned opponent. After this, he joins both hands on the opponent's own chest, simulating the way a deceased person is placed in the coffin, and remains a few inches above him, starting the count. The wrestler usually pulls a grimace with the tongue out and the eyes rolled upwards, following the pin's innovators The Undertaker and, subsequently, Kane.
The attacking wrestler jumps onto their opponent's shoulders from behind and rolls forward. As the attacker flips over, they hook the opponent's shoulders with their legs, flipping the opponent over onto their shoulders. The attacker hooks both of the opponent's legs to hold them in place for the pin.
Wheelbarrow victory roll
A slight variation of the victory roll, which sees the wrestler being wheelbarrowed by the opponent. The wrestler then "counters" the wheelbarrow by the opponent, flipping forward into a pin, with both of the opponent's legs hooked to complete the pin. The slight difference between the two variations is that the wrestler in the normal victory roll is over the opponent's shoulders, while in the wheelbarrow variation the wrestler is scissoring the opponent's body under the shoulders.
- Ellison, Lillian (2003). The Fabulous Moolah: First Goddess of the Squared Circle. ReaganBooks. p. 128. ISBN 978-0-06-001258-8. "So what I'd do is pin the girl by folding her body into a small package. I'd pin her shoulders under her own body weight, with her butt high in the air and her boots touching the canvas right on either side of her own head."
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- The Professional Wrestlers' Workout & Instructional Guide - Harley Race, Ricky Steamboat, Les Thatcher, and Alex Marvez pg. 76