Decision making skills for the Mob-Op player

If you want to know how to play with other people, even with a limited skill set, the answer lies in your ability to take into account a few variables; where are the people around you, what spin is the disc, how much spin is on the disc, and how long has it been in play. If you can perceive these few things you can have an incredible jam with almost anyone.

First things first. Know where the people are around you. Before every throw you should take a quick gander at the lot of people. Where are they? Who can you pass to? Are you even in a good position to receive the disc? Be sure you are not in someone’s lane. If you are in someon’s lane, find an open hole and move yourself to it. Sometimes the only open hole is on the end of the line of jammers. It is Okay to stand in front of the jam sometimes. Be sure not to be a wind shadow, and be ready to move out of the way if someone comes running at you. Next is the disc coming to you? If it is be ready. Even if you think it might not be coming, be ready. A bad throw or miscommunication can result in your turn for play. If the disc is coming to you, you will need to decide if the throw has enough spin to take it on a delay. If it does feel free to do so. If your skills are limited think about passing after one or two pulls. This will get the disc out of your hands and give you an opportunity to keep it in play for extended periods of time, thus increasing the fun factor. Passing is essential. It keeps everyone involved, and helps fire up the jam. If the disc should come to you with only a little spin you are left with different options. You could brush the disc to one of your friends, or to yourself. You can also terminate the throw. Don’t be afraid to throw a similar throw to another jammer after your termination. A little speed flow never hurt a jam. The most common error I have witnessed is not knowing how much spin is on the disc. If you think there might not be enough spin, don’t hesitate to terminate. Early termination, sometimes feels a little weird, but it never busts a jam. A seal is a seal. Far too often we jam without termination. This is a game of throw and catch. If someone serves you up a set, with little spin, that is a good angle to brush back, go for it.

Sometimes there may be plenty of opportunity to keep going after the throw has been in play for a while.Feel free to catch. Even if it is just an under the leg. A few solid catches can really fire up a jam, and build mob-op chemistry.

Knowing the spin will help you determine what you can do with it and for how long. If you don’t know the spin coming to you pass it off. The next person probably does. Passing the disc off is huge. When you are losing control, pass it off. If you can’t think of anything to do pass it off.

Passing leads to what I think is the best part of mob-opping. As soon as you pass run to the other side of the person you passed to. Or if someone has that lane move to the end of the jam. You should be thinking about where you can be most helpful at any given time. Even running in a circle around the jam can be fun. It leaves a lot of space for you to get involved.

It is also important to note that when you do not have the disc in the jam there are plenty of things you can do besides spectate. You can hoop, leg-over, or get in front of a jammer so you can tip it back. If you have the energy, run with anyone who goes on a brushing run. When they get in trouble, there you are waiting to pick up the pieces and create more fun. It also encourages other jammers to pass to you.

In short, the idea is to create the most interaction between the most people that you can. All while using the skills you have.

Matt Gauthier

The Flamingitosis

LustiWritten by Dan “Lusti” Lustiger

When I first looked at the flamingitosis I didn’t believe it was possible. But when I learned the flamingitis I knew that that trick was my next goal.
I bet I know what you’re thinking; flexibility is required to do that trick. NOT!!!!!
I’m not flexible at all and I am doing it. The key is the set.

Ok enough small talk…
Before you do the flamingitosis I recommend that you learn a few catches.
The flamingo, then to a flamingosis. And the flamingitis.
Once you learn the flamingosis and the flamingitis you need to mix them together. The set is very important. When you do the flamingitis you should look how far your hand can go to catch. If your hand doesn’t go so far you should make the set a little to the right so when you do the osis spin it will be easier to catch it.
Okay now make yourself the set. The set should start from the waist level and end at the ankle area.

Now, once you did the set, spin around fast to the opposite way of the catch (spin clockwise if you’re catching it with your right hand). Raise your right leg (again, if you’re catching it with your right hand) over the disc, lean on your non-catching hand and catch.
Tip: some people are more comfortable of doing it with a center nail delay set. You should be expert in both (rim and center) sets so in mob-ops and small jams you will be able to end the co-op with a great catch.
Another Tip: some people like me can only do the movement if they set a disc. If you can’t do it without a disc, don’t think you lost it.
Last Tip: work both indoors and outdoors. The wind can change your movement completely. Be patient.

What, are you still here? Go jam!!!!!!

Lusti

Jam Report: We had only ONE hour…

…to jam in the gym. So, as Lori nailed-up, Jake was already working on brushing, kicking, and spinning catches. No warm-up, just shred out there. Lori finally feeling ready, was given z’s and both just continued the momentum of passing, rolling, brushing, tipping, and catching as fast as two people who are jammin’ against the clock could go. Noteworthy moments were when Jake and Lori tried to do some ground moves to each other, Jake’s phlaud pulls, and Lori’s upsidedown moves. We were trying to dream up some co-ops for eventual demos that we are trying to schedule for the not-too-distant future. By the time our 55 minutes were up, both were exhausted, sweaty, hot, and happy. A strong contrast to the driving rain and cool temps outside of the gym. Move of the jam: Lori’s utl set to spin one way, to a utl pull under other leg…you’ll just have join us to see what we’re talking about. 😉

Heinsville Polls

Announcing Heinsville Polls. At least once a month Heinsville will post a new poll seeking to root out popular opinion on important topics like: What’s the hardest catch? Which spin is better? Do you point your toes? And preferred wind speed. These questions are meant to educate, entertain, and inspire. Don’t miss your chance to weigh in!

This month’s Poll. Which catch is most difficult: Gitis, Phauld, Scarecrow, or Pancake?

How’d you get so good at Rolling?

Larry does a chest roll in the snow.Written by Larry W. Imperiale

Background

Crushed…My first big prelims in Vancouver 78, and I lost a half-point on the variety check-off sheet because I didn’t do a brush and another half-point for not doing a roll. I figured I better work on this, and by Fall 1979 I had basic brushes and rolls down, thanks to Corey Basso and Skippy Jammer. But it wasn’t until I became a bench-warmer for Stanford Ultimate that I jumped to the next level with these skills by brushing and rolling on the sidelines.

Roll/Brush Fundamentals

1. Play by yourself often, practicing rolls and brushes where you have room to run and hopefully some, but not necessarily nice, wind. Visit San Diego, Santa Barbara, Santa Cruz, and other good wind-spots on nice wind-days as often as possible.

2. Face the wind. Know where you are in relation to the wind at all times. Learn to feel it like a sailor.

3. As Skippy says. remember that the object of a roll is not to get it from one hand to the other (bounce, bounce), but to roll it along the body as if it’s on Velcro, pulling it along your arms by moving your body in the opposite direction of the roll with “touch-Zs,” turbo rolls excepted.

4. Step into and follow-through on all brushes and kicks, as you would in tennis, volleyball or baseball.

5. Decrease the margin of error by wearing size twelve shoes for better surface-area for kicking. I’m a size 11.

6. Seriously, try brushing the disc steeper at times, a skill I learned watching Dave Marini and JJ (John Jewel) in 1978.

7. Step into the disc when brushing so if it goes too far you can get to it, always being ready for the missed hit….be on your toes and ready to sprint.

8. Don’t plan too much. The best part of this game is to take advantage of the hand dealt to you. If you plan to do a roll off of a set but it’s there for a kick or a scarecrow catch instead, go for what’s there. Don’t force it…go with the flow.

9. When you’re indoors, compensate for no wind by running faster to make your own wind, and by setting rolls and brushes steeper.

10. The force of the brush should be inversely proportional to the Zs on the disc. For example, you’re middle-jammer in a 3-person MAC-line (Midair Attitude Correction). The disc comes to you with a slight angle and high Z’s – just meet it with your hand or body part…it’s riskier to swing at it or brush it hard when it’s not needed. On the other hand, hit it harder if it has low Zs. Learn how to adjust the disk with a cuff as needed for better options in MAC-lines..

11. Cuff often when you’re sweaty and you have a steep, high Z disk.

12. The meek will not inherit the kick. Be aggressive. Pretend you’re the batter in 6th-grade kickball.

13. Play the spontaneous wind game with your friends, but also learn when to give space to your partner for individual moves. Go on “brush runs” with your partners. . Be like Magic Johnson and make the players around you better…Set up your partners with good, easy brush/roll/kick sets and watch great, difficult things happen that you won’t remember after you do them… this is a good sign. Communicate frequently before and after you jam to enhance these opportunities. Also talk during spontaneous times (e.g. all-mine, all-yours, coming, etc…).

 

Wipers

You know people say if you get lemons…make lemonade. Such is the way I started doing wipers (vertical upside-down rings). On a very windy day I was trying to bash flat counter, and was getting frustrated because when the nose got up at all it would blow up above my head and travel behind me really far. This technique is great to practice when waiting for a fellow jammer who is late or chronically on “Frisbee time”;-).

To get good at vertical upside down “drags” you face the wind. Keep in mind that the topside of the disc is directly perpendicular to the wind. The beauty of this technique in heavy wind is that the topside has no rim and therefore no “sail” for the wind to grab and move drastically. Also picture a person whom you have seen pass rings to another: the disc can only move forward once you contact and “hook” it. What this means is that if the throws or self-sets are set in front of you, you must have great wheels and sprint past the disc and pull it forward with you since it is both vertical and upside-down and therefore falling rapidly.

Simply put once you hook the disc you cannot move it backwards to go forwards, so it is best to start with the disc behind or to your side. If the disc is behind you, when you hook it, and it is spinning rapidly 2 miraculous things happen. First of all the wind pushing against the top “glues” it to your nail allowing a slight pulling movement and a feeling of power unlike any other in the disc world. For now you are defying gravity and doing a unique ring technique which looks mind-blowing, and leads into upside down rolls and kicks that will absorb the energy you transfer well, without moving too far away or blowing above your head! The second thing that happens is that you DISCover against the spin and with the spin moves do not hit your body parts because the disc is hanging off behind you like a ribbon!

To get started all you need to do is hold an overhand grip in front of you so you can see your thumb at 12 o’clock. You are looking at a the bottom of the disc and the nose is pointed at the wind 5-15 degrees depending on wind speed and rate of spin. Really cock the wrist and BAMM: snap it up above head slightly and look for the wind to move it back slightly- your only task is to find the top of the rim and HOOK it- but the disc must be slightly behind you at either side or behind you within arms length. The further behind you start- the more dramatic it looks when you hook it and let the ZZZs glue the disc to your nail- and play, experiment with it. It will hang as you move into the wind or as you spin around dragging it and I can turn 3 times sometimes if the spin and my technique is flawless….with the disc just hanging there the whole time!!! AWESOME!!!! Try it you’ll like it….

When you pass the disc back and forth behind your back and/or through your legs…it looks like your hands are windshield wipers…hence the name-coined by Diego Gamboa who informed me I had not invented this technique…and had been doing what he called drags for years. Left hand overhand grip is actually clock right side up-so you will doing counter UD drags-but after a while the direction of spin will become meaningless to you unless you do combos with rolls and kicks and under the leg brushes. When the disc is dragging against it will stick at really slow rates of spin allowing you to pull it in front of you to a beautiful UD roll… With high spinning discs it is easy to pull in front to a UD flat delay…and do whatever from there. For the opposite spin-grip the disc as if you were going to throw an overhand upside down throw to your partner and hold the disc at your side with your hand extended straight away from you… keep the disc perpendicular to the wind and snap… As you get good at this you will find yourself longing for your partners to throw you something you can hook right out of the air. It is especially gratifying to have it vertical, behind you close to the ground, falling away from you so can pull off the most heinest move: “Back from the Grave”. This occurs when there is no possible way you can reach the disc to even pancake save it much less do anything with it. Then PRESTO all of a sudden you are in control Back from the Grave…and you have made super duper lemonade out of a testy lemon of a throw…and the judges pencils snap off in disbelief…

Jamie

Jamie explains how to “Bash and Roll”

For the newcomer to freestyle “bashing” and rolling the disc are essential skills to have. Of course the simple nail delay which allows you to control the disc and think, or set your next move is more essential at first…. The bash and roll will allow your game to rise to the next level.

“Bashing” or air brushing to increase the spin will allow you to regenerate spin to yourself, which is good to practice alone, or to just pass to your partner without catching and throwing. In fact if your partner throws to you as you bash to him/her you can start doing double disc routines where a disc is always in motion! For a right handed person, bashing counter spin is done at the ear level, while clock spin is done lower-more waist high. Left handed clock bashing is done high, while counter is done lower conversely. Keep in mind that a foot brush can also be done very close to the ground, with the right foot kicking towards the left foot for clock and straight ahead or to your right for counter spin. The most important things to keep in mind are 1) Keep the nose of the disc higher than the back, and the more wind in your face the flatter it can be. 2) The angle of the disc should be similar to the angle of a throw we would throw to a partner with a slight curve. A right handed backhand is usually released with the side being held higher than the opposite edge. This is due to the fact that the spin actually will “process” the disc and make it move towards flat. If you start with the disc flat in a throw or airbrush scenario, the increase in spin usually make it “turn over” and roll. That is why we keep the bashing angle in what can be known as the skip angle-that is the angle at which a throw would skip towards your partner. 3) So with the nose up and in the skip angle, hit the disc at like 5-6 oclock in a circular motion with the fleshy part of the palm where it meets the fingers. This means counter is angled away from you to right and high, while clock is angled away to left and low-for your right hand….and the opposite for your left side. 4) Practice by letting your delay go to the rim, until the disc is in the desired angle…and hit gently at first and more firmly in a circle to increase spin-do not hit through the disc but get into contact and accelerate with the force.

So now that we can delay the disc, and tip it in the middle, and then as it slows down we can bash it and speed it back up…we have another option open for more ways of controlling and playing with the flying disc. This is called the body roll, arm roll, or just the roll. If you get good enough people will yell, “Sweet rolls”. But it is not until you can roll all types front and back, plus the inverted rolls, that you may hear, “That was more rolls than in a continental breakfast!”

The body roll is a way of gluing the disc to your body and as it travels across, you are actually in control of it when it is spinning rather slowly. Therefore this move comes towards the end of a combo, after center work, and rim pulls which reduce the spin, and instead of the airbrush which would re-rev the disc. High spin or “turbo” rolls can be spectacular for passing to a partner, or through a hoop or under a leg in a 3-way jam, but at first stick with rolling the slowest of spins or your head may spin, or it may strike you on the chin.

Body rolls can be practiced by tossing the disc up in a 45-60 degree angle above your head and to the right or left-Remember to toss the left handed counter light set to your right side as it will roll to your left, and the ever popular right spin to your left as it will start on the left side but the right hand will be the last contact before it is set up for another roll or for a pass or to your own catch. Leaning back and having your chest extended up with your knees bent will help immensely. As the disc rolls you should extend the chest into it for good contact so leave some leeway in your chest to “push up”, but this same gluing to your body feeling can be created by pressing up with the legs slightly, so keep them bent. Also for a clock roll, have the disc rolling up your right hand towards the sky (away from the ground). Very often new players will roll flat in front of them, which can be frustrating because of gravity pulling at the disc. This fact coupled with the disc is not angled up causes the disc to fall to the ground. So try to roll from angled in front of you high onto your chest and back up the other arm towards the sky, and move your shoulder into it as if you were slapping someone. So for a clock roll the disc will start on the left above you falling/rolling down on your slightly back bent body, from your left arm towards the chest, and as the chest is touched by the disc begin to press up with the legs and “slap” with the right hand at the end causing the disc to glue to the chest past the shoulder up the right arm. For multiple rolls use the right hand as a flipper to send the disc back over to the left side to start it all over, or just have your partner next to you to receive the roll and continue it. As you get better, you can “weave” behind your partner and get back your own roll or even send it back to the far side to have it return to you again! For back rolls, as the disc comes past your neck and is about to go out of sight try lifting the opposite elbow and you will feel it go up in the air!

Jamie

The With the Spin Crank

There are really only 2 basic cranks. Due to the magic of both spins and going against the spin (see Skippy’s Article) there end up being 8 different combinations. Doing the basic with the spin cranks are easy to learn.

Here’s one: delay counter on your left hand palm up. Now lift your hand up and twist at the wrist so you are delaying palm down. Continue the twisting motion until your elbow it pointing up and you are delaying palm up again (only now your hand is inverted). Now bring the disc back under your arm armpit, twisting your wrist so that it returns to the original delay position (palm up). Basically you pull the disc under your arm.

The other one is to reverse the order. This one is easiest counter right. Just rock the disc towards you and swing it under your arm. Once your hand is inverted lift up and untangle your wrist.

So taking the examples above and doing them clock makes 4. But it gets tricky when you do them against the spin. IE Doing the counter motions/hands with a disc spinning clock. Thus there are 8, 4 with and 4 against.

Here’s a tip to make it easier to get the motion. Delay a counter left. Set it up about eye level. Quickly invert your hand and let the disc land on your nail. Let it fall to the rim. It will naturally circle under your arm (hence with the spin). This will teach you how the motion works. Just remember a true crank is center all the way.

Jake Gauthier

Going from a Rim Delay to a Center Delay

For most learning to go from a high Z rim delay to a center delay marks a whole new level of understanding in disc control. It means being able to bring most any angle throw back to the center, increased center control, and leads to understanding angle changes and off center tips. For me this skill took some practice.

To accomplish this task it helps to be able to throw a high Z steep angle to your self. To learn clock right hand throw a right handed backhand throw with tons of spin. It should come off on a steep angle, nearly perpendicular to the ground such that the bottom is pointing more downward than the top and the nose is pointing to the right. It should also be perpendicular to your chest plane. Now that the disc is in the air use your right hand and take it on a rim delay. Your palm will be facing to your left and your finger(s) should be curled under the rim. Let the disc hang in this position long enough to get it under control but not so long that it tilts around so the nose is pointing to your body. From here there are two common methods of getting to the center.

1: Give the disc an upward tug. As it lifts up hold your hand still so that the bottom of the disc rides along your finger nail(s). Once your nail is near center push hard to the left. The ideal location is it about 6 o’clock halfway between the rim and the center. As you push to the left the disc will flatten out. Once it is flat get the center delay under control.

2: Gently swing the disc forward. As the disc swings forward the rim will pull against your nail forcing the disc to level off. Once it is halfway flat move your nail to the center and gain delay control.

To learn counter left reverse the right/left directions as if looking in the mirror.

Once you become proficient at this maneuver try it on a different angle or the opposite hand. Example, once the disc is on a rim delay let it drift around on your nail until the nose is pointing upwards to the left perpendicular to your chest plane. The motions are the same. Give it a tug so it rides up your nail. Now push right at 12 o’clock between the rim and the center. It will flatten out as before. Note: you may have to duck your forearm below it to keep from knocking it off your finger.

The biggest thing to learn is that the location to press in with changes based on the direction of the nose. It’s always 90 degrees ahead of the spin from the nose. So, with clock spin, if the nose is pointing away from you (12 o’clock) push it out so the disc rides up your nail, then push towards you at 3 o’clock. With counter spin you’d push at 9 o’clock.

Once this becomes second nature try flattening the disc directly from the throw with a tip. The physics are the same. Just tip it up 90 degrees ahead of the spin from the nose. You can also try to flatten it out from a rim delay to a flat set. This set it the beginning to many moves and catches such as a scarecrow and a one and a half btb.

Jake Gauthier