The match showcased once again Renzos courage to test his striking and even wrestling against a man who outweighed him substantially and who had even put out an instructional series prior to this claiming her had the secrets to beating jiu-jitsu.
But, it looks like the biggest secret that nobody told Mo was that Renzo was not just another jiu-jitsu fighter. Renzo executed one of the most basic gameplans in fighting. Takedown. Control & submission. Lets take a look back and see exactly how he did it.
After landing a few strikes including leg kicks, Renzo quickly shot in for a double leg against Smith.
As Maurice Smith sprawled out, notice Renzo post up on his right leg.
This post gives Renzo base to switch his hips and escape out from underneath Mos sprawl, where he drives on an angle to take Maurice to his back
Immediately Renzo gets side control and controls Maurices arm with an underhook.
As Mo is able to move and escape, Renzo re establishes position and sets up the next sequence and attack. He steps over Mos head with his left leg to set up a reverse triangle & gives him better position to attack Mos left arm for the straight armlock.
Now in perfect position, Renzo presses down on Mos right hand and holds his other arm under Mos elbow for the fulcrum of the technique. With forward and downward pressure, Renzo presses on the arm bending it at the elbow, and forces Maurice Smith to tap.
This type of armlock was not commonly used in MMA during this era. But Renzo was always ahead of the game, when it came to using Jiu Jitsu in MMA! Something that is still seen today by not only his family members, but by the Renzo Gracie team in both Grappling and Mixed Martial Arts competition.
Renzo Gracie is one of the most recognized instructors in the brazilian jiu jitsu world. Owner of the Renzo Gracie jiu jitsu academy in new york city where it is common to see his students teaching and training such as John Danaher, Garry Tonon, Gordon Ryan, Nicky Ryan, Georges St Pierre, Tom Deblass, Shawn Williams, Matt Serra & many more!
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