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Shortly after he takes a mundane rape murder by a known burglar and pretends to find "evidence" of pagan rituals and therefore must be the work of a couple of college kids his police take into the backroom and interrogate until they're, confused, broken and incoherent and he gets them to sign nonsense statements to implicate another innocent which he refuses to release for 20 days despite them recanting the same day and multiple times subsequently.

Add to that a plethora of mistakes and outright lies fed to the press that live on through hate sites dedicated to taking the freedom of the two innocents rather than admit they were duped by the police lies and tabloid press. This was a very straightforward burglar surprised in the act who fled the country and was identified by the evidence he left all over the room, while nothing of the three arrested was found--until they came up with that dubious contaminated bra clasp when they were facing having to release everyone and admit their bizarre ritualistic orgy scenario was complete nonsense.

FBI agents John Douglas and Steve Moore both strongly opposed the obviously fraudulent conviction and campaigned for the innocence of Raffaele and Amanda.

The court appointed Italian independent experts delivered a devastating report on the junk DNA science and the entire forensic case, in accord with about ten other DNA scientists who came forth to protest the perversion of science practiced by police and accepted by the first court.

The residue of that disgusting tabloid smear and the transmission of outright lies, mistakes and irrelevancies produced by the police and prosecution lives on at dedicated hate sites to this day, and it appears many of them have already infested this poll. They should be ashamed. There is no evidence Knox was involved at all.

No scientific, no witnesses, no cctv, no DNA, all while they both have a quite strong alibi. The prosecution made use of drug addled bums and proven liars to make a case But that facts remain they is not one reliable piece of evidence linking Knox to this crime. No motive, no prior history. All while the very common crime of a interrupted robbery turned rape and murder against a single rather smallish girl is indisputable. Volumes of evidence exist that proves this is exactly what happened And it is no mystery as to who did it His name is Rudy Guede.

His DNA is found on, and inside the victim. Also on her clothing, her purse. His shoe prints in her blood, his finger prints also in her blood, his palm print also in her blood How dumb do you have to be to not understand this? Oh wait those who voted yes probably think the government took down the twin towers also She didn't do it. Cops interrogated her all night and forced a confession, so she cracked.

She never murdered anyone. There's no motive that I can see and she deserves to be free, so she is. By using this site, you agree to our Privacy Policy and our Terms of Use. Google Search.

Post Your Opinion. Create New Poll. Sign In Sign Up. Add a New Topic. Is Amanda Knox guilty? Amanda Knox , Italy , United States. Immature and insecure. Report Post. Like Reply. Maximum words. Knox is a victim of terrifying mob prejudice - The police, their forensics "experts", and the prosecutor are the one who should be in jail - "They were drunk, they were on drugs, and they wanted to have an orgy" - puritanical prejudice, "Reefer Madness". Posted by: Zalgo Report Post.

Like Reply Challenge. Load More Arguments. Comments Anonymous says T There is quite a lot of evidence, actually. There is a reason why the Hellman report has been annulled. Try reading some court reports rinstead of relying on Amanda Knox's PR nonsense. There's a lot of evidence, starting with the fact that AK's boyfriend was heavily into drugs and knives, and that a drop of the victim's blood was found in Filomena's room with AK's DNA in it.

Also AK's footprints revealed by the luminol Yeah, I noticed her nodding YES when asked if she was there, and then when asked if she had anything she was hiding she said no.

Then paused -- and as if more thoughts were coming to her -- forming into words about to come out -- and she moved her face as if keeping herslelf from saying them -- and then said with self controll - I wasn't there. There is so much evidence against her. There is an old saying "the camera never lies" look at all the photos that show her looking evil You cant just say this is a trick of the light! Inocent people dont look like this! Amanda Knox is a fox! She is Guilty! Wake up Americans Right now, she is living a fake life.

Remember, "whatever goes around will come around. She's just so fake in her latest round of interviews, as the Italian courts ready to retry her. She's barely coherent; everything sounds like she read it from a bad self-help guide.

I really don't think she's all there, and I do think she - probably a sociopath - can compartmentalise things very well. Those photos of her laughing in the lingerie store in the day after Meredith Kercher's body was discovered? Something's wrong with this woman. Hey, the Italian system isn't perfect and they messed up the crime-scene evidence, but all the facts and demeanours and behaviours note that in common law systems such as the US and UK, demeanour CAN be considered evidence added up She's guilty and I pray for the dignified and collected Kercher family.

She is guilty if she was not guilty why would she blame it on her employer came on man any one with comenn sense will find her guilty over and over and i have been thru trail befor!! If u r innocent you dont change your story!!

Put your self in her place if u did not do any thing your story will be stright not like hers!!!!!! She is guilty i bet my house and all my property on it!!!! She is guilty. Send her back to Italy, she makes the US look worse. The body does not come in as close to the rock as it could, which makes the hold difficult to latch.

Balance becomes dynamic as the climber lets go with his right hand and his base becomes much smaller. His COG is outside of his base. He only has a moment to get to the next hold. The climber's hand reaches the hold a little late. As a result, his trunk and pelvis fall out from the wall as he makes contact.

When the climber's hand reaches the next hold, his balance becomes stable again. He can now move his left foot a little higher and clip the draw. The climber brings up his left foot and holds his body close to the rock for the clip. Here, the climber experiences stable balance as he makes the clip. The climber lifts his left foot, and his base of support changes from a large triangle to a thin line. Thus, his balance shifts from stable to slightly dynamic. As the climber swings to the right, he also swings out.

Here his body and his center reach their greatest distance from the rock. After the climber recovers from dynamic balance, he closes the gap between his body and the rock.

This stabilizes his balance and extends his reach. The climber steps through. Then he initiates upward movement, driving his COG up and into the base. Since the base is above the COG, this is a position of good-quality offset balance.

Not all dynamic moves use dynamic balance, however. In climbing, dynamic movement refers to the speed of the movement, not the position of the center of gravity. Dynamic movement can also be implemented in stable and offset balance moves. For example, many steep, juggy and 5.

In climbing, one type of balance is not necessarily more desirable than another. Climbs often provide you with a limited number of places to put your hands and feet. The task of the climber is to find the type and quality of balance that are most appropriate for each individual move, given the size, orientation, and location of the holds. In a typical climbing situation, you might not have a choice between stable and offset balance but you may be able to choose between different qualities of offset balance and different tactics for dealing with the available balance.

Even small differences in balance can create dramatic changes in the effectiveness and efficiency of your movement. Many times the difference between being shut down on a move and being able to do it consistently is a tiny change in balance. The hard part is to find the most appropriate type and quality of balance for each movement and to know when you've actually found it.

This is particularly difficult when you are working at or near your limit. Harder grades have more challenging balance problems, so you need to be sensitive to ever more subtle balance cues as you progress through the grades. How the three types of balance function in climbing moves is more complex than the examples provided thus far.

In the exercises above, the floor was always the same quality, which makes standing and moving around easy, and the base was always directly below the center of gravity, so gravity was pulling you toward your supporting surface.

In climbing, however, the situation is more challenging. The experience or feeling of balance in climbing can be very different from that in what we typically think of. When you're riding a bike, slack lining, or roller blading, gravity pulls you toward the base of support. This means that although it may take energy to move forward or backward, you do not have to produce great force simply to stay on your base.

In climbing, however, unless you are on a slab, gravity pulls you away from your base, which means that it can require a great deal of force just to remain on your base of support, let alone produce any movement. In addition, hand- and footholds come in different sizes, shapes, and textures, making some holds far better bases of support than others.

When you are climbing, the amount of physical effort needed to make a move will show you the quality of your balance in that move. When the quality of your balance diminishes, you need to increase your muscular effort to stay on the rock or complete the move.

As your balance improves, say, by changing a foothold, the amount of physical effort necessary decreases. In climbing, the base of support is made up of two equally important components. The first is the size, shape, and orientation of the holds. An in-cut jug provides a better base than a polished sloper, in that jugs are able to resist force in many directions, and they can resist multiple forces at once.

It is possible to apply lateral, downward, and outward force simultaneously on an in-cut jug, while a poor-quality sloper may be able to resist only downward force. The second component is the position of the holds. If you were to connect the holds with lines, the resulting shape would show the size and shape of your base of support. In some moves, your base is a thin line between one handhold and one foothold.

At other times, your base may look like a square or a triangle. Though drawing these lines is a good tool for understanding the size and shape of the base, they create only a two-dimensional representation of something that is three-dimensional.

For the complete picture, you also need to consider the size and shape of the holds and the angle of the climb. Nonetheless, drawing the lines is an excellent starting point for understanding balance. Exploring all the possibilities of hold characteristics and their distribution in space is very complicated.

Basically, the larger and more in- cut the holds and the larger the shape they describe in space, the more stable balance will be. The smaller the holds and the smaller the shape, the less stable balance will be. A single climbing move may require any combination of stable, offset, or dynamic balance.

When you let go to move a hand or foot, the size and shape of your base of support change. In addition, your center of gravity is almost constantly moving. With both of these factors in play at the same time, a move can begin with stable balance, transform to dynamic balance during a reach, and then change to offset balance when you attain the next hold. To experience these concepts at work in movement, try the following activity on a slightly overhanging wall or rock with many hand- and footholds.

First, get on the wall with your feet apart. Back-step your right foot, and keep your hands on good holds. Sink down low with your arms straight and your legs bent. Your base is a good-sized trapezoid around your body, a position of stable balance. Slowly stand all the way up, and reach for a higher hold with your right hand.

What do you feel happening as you move? The result is little change in the type or quality of your balance as you move. Your balance remains stable for the entire move, and you can feel this kinesthetically.

Stable balance feels good and solid and makes it easy to smoothly link moves together in fluid sequences, because your center of gravity is almost always well positioned within its base. Of course, skilled climbers can make any move look smooth, but it takes less effort to do so in situations of stable balance. Routes that are thought of as classics for the way their moves flow together have many stable balance moves.

Activity 2: In this position of stable balance, your base is a good-sized trapezoid around your body. In a stable balance move, your COG stays within your base of support, making the move feel smooth and comfortable. Activity 2: A position of offset balance. Your base of support is the line connecting your left hand and foot. Your balance changes from high-quality offset balance to lower-quality offset balance as your center moves farther from its base. For an example of offset balance using large holds, find a place on the wall where you can inside- flag your right foot while keeping your left foot directly below your left hand, with your right hand on nothing.

Imagine a line connecting your left hand and foot, describing your base of support. Going by feel, position yourself so your center is as close to this line as possible. Now move your center very slowly to the right, reaching with your right hand, but not grabbing, a hold that is as far to the right as you can stretch.

As you move to the right, observe what is happening to your body. How hard do you now need to press your right leg into the wall? Compare what you felt in your left arm at the beginning and end of the move. Where is the most effort required?

How much body tension do you need at the end of the move compared with the beginning of the move? In this exercise, your balance changed from highquality offset balance to lower-quality offset balance as your center moved farther from its base. If you just looked at the line, you might think that this was an example of dynamic balance, but consider that the handhold was positive and could resist force from a number of directions, including the side.

Thus your arm was functioning as a guy wire connecting your trunk to its base. As the quality of balance changed, you should have found yourself pressing into the wall harder with your right foot as well as using more body tension. You should also have noticed yourself pulling harder with your left arm. This exercise dramatically demonstrates how as balance changes, the amount of muscular effort needed to stay on the rock also changes.

Try to do the same exercise again using a small handhold that is difficult for you, and you will find that you have a much smaller range of motion. If the hold you use is poor enough, you may be able to hold on only if you keep your center precisely on the line connecting your hand and foot. Offset balance moves in climbing are often described as sketchy or technical. They feel less secure than stable balance and require more body tension to control the.

Offset balance is the defining characteristic of many challenging moves. You can detect offset balance by how the move feels. If in the initial position a move feels stable but as you move your body to attain the next hold you feel your control and stability diminishing and your core tightening, this is a sign that your center of gravity is approaching the limit of its base. In such a case, trouble latching holds is not a sign of physical weakness, but it signals that you chose a sequence that ended in low-quality offset balance.

In addition, as holds get smaller and the rock angle steeper, you will encounter offset balance more often. To experience dynamic balance, find a roof and position yourself so that your hands are on jugs above the lip and your feet are extended under the roof, also on jugs. Cut loose with your feet. It's no surprise that your body swings away from the wall, but why does this happen?

Why doesn't your body just stay where it is in space? At the start of the move, you are in a position of stable balance, but when you release your feet, the base of support changes from a large box connecting your hands and feet to a line connecting your hands. Your center of gravity, now far from its base of support, seeks a new base.

The center wants to be directly under your hands. It will take a moment for you to be able to control the swing, and once you do, since you are on jugs, you will have achieved fairly stable balance with your center of gravity centered under your hands. Dynamic balance also occurs frequently during moves in which letting go with one hand shrinks the base of support so that the center is left outside the box. As soon as you let go, it is not possible to hold yourself on the rock with only one hand and your feet.

You will fall off. Moves like this occur all the time on difficult face routes. For an example, find a steep face where your hands are on small sidepulls on either side of your body so you are in almost an iron cross position.

Your feet should be close together on small holds that feel a little high. You must make a long vertical reach with the right hand to attain the next hold. Now release your right hand and try to make the reach statically.

If you have chosen your holds well, doing this move statically should be impossible-as soon as you release your right hand, you should fall away from the wall. This is a very common structure of dynamic balance moves:. Activity 2: To experience dynamic balance, start in a position of stable balance on a roof.

Letting go with one hand causes the base of support to shrink enough so that the center of gravity is now outside the base and you begin to fall. And with the long vertical reach necessary to attain the next hold, the center of gravity must go even higher in order to complete the move.

The only way to complete such a move is with momentum. If you identify a move as consisting of dynamic balance, commit to it and work on generating the necessary dynamic force. Dynamic balance moves are never exclusively dynamic; they always start out as either offset or stable balance and become dynamic at the point when you release a hold and the base shrinks or when you move your center outside of its base.

These exercises serve only as an introduction to balance in climbing and a way to demonstrate that balance is essential to climbing. No move is free of balance, and the quality of your balance determines how much muscular effort a move will require. Balance is an integral part of the kinesthetic and emotional experience of climbing. These facts raise two important questions: Can balance be learned and mastered, and how can you.

These questions are difficult to answer. Research has shown that performance in activities requiring balance improves with practice, but there is little correlation between the ability to perform one type of balance activity and another, even if they are closely related.

Cognitive science describes balance as consisting of both traits and skills. Traits are inherited characteristics that don't respond well to training and, like the color of your eyes, are more or less fixed attributes.

In slack lining, you need a significant amount of muscular control to keep the line steady under you. The ability to control the slack line is a skill that will improve with training.

This means that with practice, you can become highly skilled at balancing on a slack line, but this skill will be specific to slack lining and does not represent a global improvement in your ability to balance.

Since the skills needed for slack lining are very different from those used in climbing, slack lining has little or no impact on the balance skills needed for climbing. When momentum dissipates, a new stable balance position is established with the COG directly below your hands. Additionally, climbing balance skills are most likely specific to particular rock angles and other variables.

For example, the balance skills developed on friction slabs may be applicable only to this type of climbing. Likewise, the balance skills necessary for steep face climbs or cracks may be just as specific. This means that in order to fully develop your climbing balance skills, you need to climb on a wide variety of routes and types of rock. Knowledge of the principles of balance can help you find efficient sequences. The first and perhaps simplest way to gain a better understanding of balance is to learn to feel your center.

For well over a century, dancers have been encouraged to "find center" by paying conscious attention to feeling the location of their centers of gravity.

Some moves in both dance and climbing can't be done without this awareness, and many more are enhanced by it even when it's not essential. At times, you need to bring your center to the exact limit of your base-reaching the next hold or going too far and falling because your balance has become dynamic can depend upon a difference of millimeters.

Climbers may not articulate it in these terms, but highly skilled climbers demonstrate that they possess this awareness in all their movements. New climbers, however, often show little or no awareness of this relationship. Many climbers develop the ability to find center on their own without knowing what it is, but in order to speed up this learning, we recommend the blindfolded and nohanded climbing exercises in chapter 3.

Ultimately, the point of learning about balance is to apply the understanding to sequencing difficult moves, routes, and boulder problems. Clearly the way climbers learn moves and develop sequences is largely an intuitive and kinesthetic process, but if a sequence is significantly different from what you are used to, or is close to your current limit, it pushes you beyond what you can interpret intuitively. In such cases, you can use your understanding of the physics behind balance to interpret moves and come up with different options.

These balance principles interact with each other in complex ways, so they must be applied dynamically, with an understanding that there is interplay between them and that many variables govern how they are expressed.

In analyzing movement this way, you will be amazed at how precise an understanding you can have of even the most difficult moves you face. To improve balance, broaden your base of support. In this position, the base of support is narrow. Changing the back step to a slight drop knee provides more stable balance.

This results in a barn door where momentum carries the COG beyond the base. To stay on the wall, the climber will need to exert great force on the holds. The quality of your balance is determined by the center of gravity in relation to the base of support. Having a broad base of support will be more stable than having a smaller or narrower base. The size of the base is always determined by the size, shape, and orientation of the holds as well as their distribution in space.

The type and quality of balance in a move determine how much muscular effort will be required. The first strategy for improving balance is to broaden the base of support. Sometimes changing the base of support can change the type of balance altogether. Other times changing the base of support won't change the type of balance, but it will slightly improve the quality of balance.

Let's say you are in a back step on a steep wall. You have a bad foothold for the right foot and a small hold for the left hand. This is a move of offset balance that will feel hard because of the angle of the wall and the size of the foothold. In this situation, the base is small, and the rising center naturally destabilizes the body.

If you have an adequate foothold available in the right position, a drop knee with the right leg will significantly broaden the base so that the center remains within the base for the entire move. Stable balance becomes dynamic. This move starts out as stable balance and then becomes dynamic as the climber attempts to move her right foot.

The COG has now shifted under the left hand. The first method for improving balance: Keep the COG within its base of support throughout the move. Match feet to begin shifting the COG left so it remains within the base of support.

A slightly more complex example is found on a right-handed cross through a slightly overhanging wall. The cross-through feels fine, but you swing out and fall when you try to move your right foot. The reason for the swing is that when you take your right foot off its hold, your base of support changes size and shape so that your center is positioned slightly to the right of your new base.

Your goal is to change the move so that your center is within its base at the end of the move. The easiest way to do this is to change the move to either an inside flag by moving the right foot between the rock and your body before you reach or a back-step flag by putting the right foot where the left foot was.

By using either of these options, your center remains within the base during the move and you don't swing at the end of the move. In this instance, you were able to alter the move from one that started out in stable balance and changed to dynamic balance to a move that remained one of offset balance throughout. Another common way of keeping the COG within its base during a move is to match feet and back step.

You can often change the quality of your balance simply by changing your body position in relation to your holds. The second method for improving balance is to change the path or position of the center in space. Simple cases where this kind of change is helpful occur all the time in back steps. Climbers often have a fairly good base of support for a move, but they don't position their center correctly in relation to it.

In the sequence illustrated below, the climber changes a move of lowquality offset balance into one of high-quality offset balance by arching her back and driving her center closer to the line of her base. Here the climber arches her back to drive her COG closer to the base. It is advantageous to initiate a move from the position that affords the best possible balance. In the case of the drop knee on the route Dead Souls see photos on next page , finding the position of best balance is a bit counterintuitive, since it requires bringing the body downward to a position the climber has already passed in order to place the drop knee.

Notice that the climber brings his body back down and then makes the move. If he didn't bring his body so low, he would be starting the move from a position of lower-quality balance with his center very high in its base, which would make the move far more difficult. Notice that the move will feel easier as the line of gravity moves closer to the foothold.

Arron Shamy on Dead Souls 5. On difficult moves, it's important to start from the position of best balance. Arron's body is high as he places his foot for the drop knee.

The third method for improving balance is using momentum. There are a number of uses for momentum in climbing, such as when it is necessary to move the center of gravity outside the base of support on difficult moves. In this case, your hands are matched on a rightfacing sloper, your left foot is on nothing, and the right foot is on a high sloper that is poor enough that you can't pull in with it.

The hold you are going for is directly up and to the right of the hold you are matched on. The hold is far enough away that in order to reach it, your center of gravity must pass outside your base. This is a difficult move because as the center crosses this plane, it creates greater outward and downward force on the handhold. If you were on a large in-cut hold, resisting these forces would be easy, but in this example the sloper provides little help in resisting these forces, which are likely to pull you right off the climb.

A move like this is instructive because you can feel the exact moment when you come up against the limit of the base of support; it will feel as if you can't move any farther, but you must in order to reach the next hold. Attempting to do the move without momentum will leave you stuck in a position of the worst offset balance with nowhere to go.

The third method for improving balance: Use momentum. The climber starts low, allowing room to create momentum. Momentum is required to move the COG past the limit of the base. Without momentum, the climber would stall out as his COG approaches the limit of the base. The fourth method for improving balance: Create body tension.

These handholds are so poor that they will not allow dynamic movement. The fourth method of dealing with poor balance is to create more body tension. Consider the example above, but imagine that the handholds are poorer slopers closer together.

Now stabilizing the body in a position of offset balance is better than using momentum. In this case, the holds you are using are poor enough that if you did the move with any momentum, you would not be able to control it and would fall. You will need to have very precise control over the force you apply to the move and the center as it moves to the limit of the base. Keeping the body rigid during the reach helps stabilize the body and control the center.

Keep the body rigid to achieve stability and control of the center. These are just a few examples of the many ways that balance plays out in climbing moves.

There are as many specific examples as there are individual moves, so you must apply the principles presented here to the moves that challenge you. These examples show that by analyzing movement in terms of balance, you will have a powerful and accurate tool for understanding what happens to your body in every move because you know the underlying structure of every move.

Balance is the relationship between the center of gravity and the base of support. It is the defining and central aspect of all climbing movement. The base of support is defined by the size and shape of hand- and footholds as well as their orientation and position. The base of support encourages movement in some directions while inhibiting it in others. The orientation of the body to the line of gravity must be considered in order to understand the balance of a move.

In climbing, you tend to experience balance through the amount of effort a movement requires, rather than as the sensation you feel when ice skating or walking a balance beam. The most common ways to improve balance are to broaden the base of support; alter the movement of the center of gravity to bring it more within the base of support; begin moves from the position that offers the best possible balance; use momentum when the center must pass outside the base of support; and create as much body tension as possible in positions of low-quality offset balance.

Competitive swimmers are physically powerful athletes. Broad shoulders, stout legs, and solid abs are evidence of the swimmer's physical prowess. But no one would ever propose that the foundation of a swimmer's ability is muscular strength.

Rather, it's an efficient stroke, a precise and practiced motion that applies muscle strength in the optimal way to produce speed and conserve energy. Simply having strong shoulders in no way equates to great swimming performance, and even skilled swimmers practice their strokes under the watchful eye of a coach. For climbers, efficiency of movement rather than raw physical strength is the basis of effectiveness, and efficiency begins with learning to establish a strong base of support.

Contact quality, in turn, is determined by proper hand and foot positioning and precise, swift placement. The relationship between the holds and the climber's center of gravity is also critical. Their size, shape, and orientation determine what directions of force can be resisted and thereby influence his choice of potential movements.

Holds can be grouped into categories depending on their shape, position, and use. The following descriptions are of a basic, general nature and do not reflect the many varied ways that you can employ holds.

If you are just getting started in climbing, however, these guidelines will give you a solid basic understanding of how to use the different categories of holds. Only faceclimbing holds are described here, because there are many well-written texts available on crack climbing.

Handholds come in an infinite combination of shapes and sizes, but they are grouped into categories by hold characteristics and orientation.

The combination of hold. The best body position in many cases determines whether a handhold is useful. In the following sections, pay special attention to not only how to grasp a particular type of handhold, but also to the most effective body position relative to that hold.

A crimper is a flat horizontal or in-cut sloping down from the outer lip to the back of the hold edge one inch deep or less. To get the most out of a crimper, a climber often needs to hold his second knuckle at a degree angle while pressing down and in on the hold with all of his fingertips. This position provides two advantages. First, the degree angle allows the fingertips the most contact with the hold, a positioning advantage also seen with other hold types. Try this experiment: Find a crimper and position your hand with the second knuckle at 90 degrees.

Feel how your fingertips make contact with the hold. Next, using the same crimper, drop the heel of your hand so that the second knuckle opens up to more than 90 degrees into an open-hand position your little finger may slip off the hold.

Note how your fingertips feel on the surface of the hold. Can you feel the difference'? In the crimp position, your entire fingertip should be in contact with the hold.

After increasing the angle at the second knuckle, the fingertips touch only the hold's outer lip. In some situations, it is necessary or more comfortable to use a crimp-type hold in this manner, but in general, a degree joint angle will foster greater surface contact between fingers and hold. To maximize surface area contact on a crimper, hold the second knuckle at a degree angle.

Closing the thumb over the nail of the index finger increases the force you can exert on a hold. Second, the degree crimping position forces the fingertips down and in, making it less likely that the hand will slip backward off the hold. Try the same experiment as above, this time pulling outward on the hold.

Did your hand feel more secure in the crimp position'? There are two crimping methods: open and closed. In an open crimp, the thumb is positioned away from the fingers. In a closed crimp, the thumb tip wraps over and presses on the nail of the index finger. Although somewhat painful, the closed crimp can be more powerful because the thumb is used along with the fingers. The crimper is a type of hold that can be used with many body positions. Its multidirectional nature means that the position of the climber's center of gravity relative to the crimper is less of an issue than with other holds.

Beginners often rely heavily on crimping because climbers new to the sport tend to already have some natural crimping strength.

But just because crimping feels natural and easy doesn't mean you should ignore the other types of holds. A sloper is a handhold that slopes from back to front. Effectively using a sloper involves maximizing surface area contact with the hold.

Typically this means the hand is in the open position, with fingers extended and the second knuckle at greater than 90 degrees. First apply a crimp position and note the contact area. Then let your hand conform to the hold by opening the angle at the second knuckle. Can you feel the difference in skin contact with the hold? The effective use of slopers is dependent on the position of your center of gravity relative to the hold.

Slopers work best when your center of gravity is close to the wall and directly below the hold. Try this: Find a large sloper about seven feet off the ground.

Place both hands on the sloper and step off the ground. Position your feet so that you can move your center of gravity. How does the hold feel as you move your hips away from the wall'? You should feel less secure on the sloper as your center of gravity moves away from the wall. Now, keeping both hands on the sloper, move your center of gravity vertically. Can you feel the sloper becoming less secure as you move your hips higher and nearer to your hands?

Body positions that encourage outward force will make a sloper more challenging to use. A sloper is often a difficult hold for beginners and even some advanced climbers to master. Hand strength is dependent on position; the joint angles at the knuckles and wrist are static on any given hold, making the effort isometric in nature. Isometric means that the muscles involved remain the same length as they contract to resist a force. Isometric strength in the forearm is highly dependent on finger joint angle, and strength at one angle does not translate readily to other angles.

A given climber can be very strong with some holds and relatively weak with others. Maximizing surface area contact on a sloper requires an open-hand position. When using a sloper, try to keep your COG close to the wall and directly below the hold. Your hips should be as low as possible. Moving your hips away from the wall will make a sloper more difficult to use. With one hand on the sloper and both feet on holds, the range of motion is nonexistent.

The climber can barely maintain his position, let alone move. Raising your COG relative to a sloper will also make the hold more difficult to use. Here, the range of motion is also limited. This climber using an in-cut hold enjoys a large range of motion. Note how far away from the wall he can position his COG. The climber can stand up very easily. He has the full range of vertical motion. He also can move easily from side to side. Here he moves to the right. Here he stretches to the left.

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South Dakota Supreme Court strikes down recreational marijuana amendment.