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Die folgenden Definitionen und Bilder wurden mir von Steve Hanes ( www.gitishome.com) zur Verfügung gestellt. Danke!

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Padiddle - similar to delaying the disc, padiddling is the art of controlling the disc's spin with small circular motions of the finger. Unlike the delay in which the disc slides across the nail of the controlling finger, during the padiddle the disc slides on the flesh at the end of the finger. Padiddling requires the player to make tiny circular motions that keep the disc spinning indefinitely. Expert padiddlers can spin the disc fast enough to transfer it to the fingernail for a delay. The art of padiddling was advanced by PAW members (Padiddlers Association of the World) John Anthony, Bill King and Jim Brown. It was used extensively in competitive events by John Dwork, Jason Salkey, Richie Smits and Joey Hudoklin and Randy Silvey before it fell out of favor in the early 1980's.
View the gitishome webpages that salute PAW magazine

Phlaerd (Phlaerdetzed) - A one legged catch that involves catching the disc just above the knee of the lifted leg. As an example, lift your right leg, put your right arm under your uplifted right leg, then bend your right wrist so that the right hand is bent back over the right knee. The catch window is small and when this posture is done with extreme extension, it is visually appealing. In the above photo, notice that Arthur's arm is under his leg and his wrist is above his leg. Arthur is actually doing a combination of moves called the Amphibian which makes use of the Phlaerd posture. The posture was in wide use by the Modesto Mutants in the late 1970's.

   
Links: Arthur Coddington's Amphibian (Foto: Jamie Chantiles) - Rechts: Jamie Chantiles' Phlaerd (Foto: Stanley Rosen)

Phlaud (Phlauditis) - Picture a posted gitis with both legs on the ground and you'll have the phlaud. Keep both legs on the ground, bend over at the waist and reach cross body (left hand around your right leg or right hand around your left leg) to catch the disc at calf height. Catches like the phlaerd, phlaud and tron represent the classical period in freestyle history. This catch posture was created by Kevin Givens.


Jamie Chantiles catching an aerial phlaud (Foto: Paul Kenny) Siehe auch www.jamconation.com/artwork.htm

Pinch (Knee Pinch) - a pinch is a variation on the trap, a catch where the disc is trapped against a part of the body. In the above photo, Tristan is going to catch the disc in the crook behind his knee. I love this catch, I've actually done a version with a pirouette that makes me smile every time I hit it. Traps are highly inventive and add a level of visual distinction to a freestyle routine.


Tristan Doshier pinching the disc (Foto: Jamie Chantiles)

Pirouette - a term from ballet, it is the practice of spinning your body around by moving up on the ball of your feet and generating torque by using your arms or shoulders. I use the term instead of spin to avoid confusing body spin with disc spin.

Pizza - from the fertile mind of Paul Kenny, Pizza is a series of transfers with the disc oriented in a vertical spin state. One hand starts the process from a vertical rim delay, the other hand pushes against the top side of the flight plate returning the disc back to the original hand's rim delay. Paul can consecutively transfer the disc from one hand to the other in this manner, with the disc ending up in an UD delay.


Paul Kenny in the midst of his patented Pizza transfer (Foto: Jamie Chantiles)

Puddle - the technique of twirling the disc by the rim while the disc is in an upside down state. The classic way to start a puddle is to put the disc on the ground upside down, then spin the disc with your finger against the rim until you have enough centrifugal force to pick it off the ground while continuing the twirl. Puddles are often transferred to upside down delays. Legendary Californian beachjammer John Jewell is an excellent puddler.

Pull (Rim pull) - Pull is an abbreviation of the term rim pull. This action is performed by moving your delay from the center of the disc toward Toejam's recess. While your nail is sliding against Toejam's recess, you can pull the disc out from under your leg, from behind your back, etc...Rim pulls are an integral part of any freestyler's repertoire.

Pull out (Pullout) - a pull out is a nail delay technique that extracts the disc from a catch posture but keeps the disc's spin state going by using a rim pull. For example, instead of catching a gitis with a disc that has lots of spin, put your delay finger underneath the disc and pull the disc out of the gitis by using a rim delay. The name is the obvious abbreviation of the term "pulling the disc out of a catch posture." A gitis pull out after multiple pirouettes is one of the most highly respected moves in freestyle.

Pull up the roots - an aerial double constricted bad attitude catch made popular by Chip Bell and Mike Reid. Instead of restricting your catching hand around one ankle, this catch restricts the arm around both ankles, thus requiring you to launch your body into the air. The catch gets its name from the song "Pull up the roots" by the Talking Heads from the "Speaking in Tongues" CD. Highly regarded as the most flamboyant catch in freestyle, it requires great leaping skills and a sacrificial temperament. I'm sure Mike would suggest that you practice this catch at the beach on soft sand or better yet on a large landing mat.


Mike Reid "Pulling up the roots" (Foto: Jamie Chantiles)

Restrictions - Restrictions or restrictiveness is one way of evaluating a catch posture's difficulty. Obviously catching a disc while your body is contorted is difficult, but also restricting the movement of your catching arm and hand adds to the difficulty. Look at the photo of Jeff Soto over the definition of "tip." Jeff is poised in midair, with his tipping arm and hand crossed under both legs. This type of tip is certainly more difficult than merely tipping under your leg or behind your back. While restrictions have never been fully quantified on a judging scale, players do get a feel for the impact of body restrictions and how they detract from or add to the difficulty of a catch posture. In fact, the desire to create new, more difficult, catches has generally been tied to higher and higher levels of restrictions. The Monster, Figure Four and Oliver catches are probably the most restricted catches.

Rim pull - See pull

Rings, Rings of Saturn - this is the same thing as a rim shoot, but the disc is in an upside down state. Face the wind, start with an UD delay, adjust the Mung angle so that the leading edge of the disc (the part of the disc that is hit by the wind first) is higher than the wind trailing edge, then quickly move the delay nail from the underside of the disc to the 12 o'clock area of Toejam's Recess and push against the rim to shoot the disc into the wind. Carefully watch the video of Dan's flamingo rings below and pay special attention to the disc's Mung angle at release, this is the critical aspect.
See Dan Yarnell do a flamingo rings shoot

Reverse gitis - another description for a osis modified gitis. A reverse gitis has a pirouette added prior to the gitis posture that adds a blind aspect to the catch's difficulty. The pirouette to catch a reverse gitis is in an opposite direction to the pirouette used to catch an ordinary gitis. "Reverse gitis" has recently gained acceptance rather than the term "gitosis," because the latter is used to describe both a braced gitis (aka posted gitis) and a reverse gitis.

Roller - a throw that falls vertically to the ground and rolls away from the thrower.

Roll side - the side of the disc which causes a throw to roll away from the thrower when the throw has the proper hyzer angle. The roll side is the right side of the disc for a right handed backhand.

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