Name: UFC Ref on Knowing When to Stop Submissions
Uploaded: 2021-02-03T00:23:20.000Z
Description: Watch the stand-up comedy video 'UFC Ref on Knowing When to Stop Submissions' from PowerfulJRE on Comedy Buff. Published 2021-02-03. Transcript available.

Watch the stand-up comedy video 'UFC Ref on Knowing When to Stop Submissions' from PowerfulJRE on Comedy Buff. Published 2021-02-03. Transcript available.

The Joe Rogan Experience.
If you look at that last card that we did, I think I had three of the biggest
fights of any UFC card.
I did the Cub Swanson fight.
What a fight that was.
It was.
Holy shit.
I get about a 20-minute break, and then I do Kevin Holland versus Jacare.
Woo!
And then I finished my night with Tony Ferguson and Oliveira.
That was crazy, too.
So it's like, man.
Three crazy fights.
Three crazy fights.
Yeah, God, that's a great card.
That Kevin Holland KO was bananas.
I think I've done, and you know, we don't have anything to do with the
assignments.
The Athletic Commission gives us our fights.
I've done Kevin Holland's, like, last four fights.
And, you know, I tell folks I got the greatest seat in the world sitting there
in the octagon
with these, you know, men and women who go in there and do that stuff.
But I fortunately have, with great mentors and guidance and opportunities for
the UFC
and some of the organizations, have gotten some of the biggest and best fights
in the world.
I'm very high on Kevin Holland.
He's something special.
He's good.
He's got crazy power.
And it's weird, like, to knock out Jacare off your back with a punch?
Like, what?
And we sit there, and, you know, you look at both fighters and see what's
happening.
And I go, it went down to the ground.
And you have to know your fighters to know where their expertise is going to
happen.
Well, he's a Travis Luter-trained jiu-jitsu practitioner.
And Travis Luter, one of the best American jiu-jitsu practitioners really ever.
Travis Luter, you know, he comes from a different era.
But back in his day, like, the guys that I know that trained with him were like,
holy fuck, is he good.
And it's great to see him, you know, there in the corner.
You get to, you know, some time to chat with these guys and hear all the
stories.
He's out of Dallas, right?
Yeah.
When that fight happened, he's on his back, and he throws that first punch.
And I go, okay, this is going to be a transition.
Now, look at Jacare.
And, you know, if you go back and watch the fight, he's actually rocked.
When that first happened, we'll step a little bit closer.
And by the time he throws the next three punches, and I'm stepping in to try
and stop it, you know, Jacare is out.
Out.
And they'll concentrate on the fighter that wins.
But, you know, one, you don't want a fighter to come back conscious and take
you down to start to do something.
Right.
That does happen.
And if there's a language barrier, you know, so I'm sitting there telling Jacare,
the fight's over, the fight's over.
You know, I say, stop, stop, stop.
So there's no misunderstanding about what's going on.
And I'm holding Jacare and holding the fence because he's starting to, you know,
come back coherent again.
Right.
And I want him to understand that he's been knocked out.
And, you know, he's like, no, no, I'm good, I'm good.
I'm good.
Nah, man, you got knocked out.
You've been out for, you know, a minute or two.
Isn't that crazy?
Everybody eventually starts to come back.
They all think they're fine.
Like, people think that fighters, like, they're trying to cheat or something
like that.
Like, you don't understand what it's like when you get knocked out.
And especially fighters, when they come back, they think they're in the fight.
Exactly.
Like, they'll try to take a referee down.
They're holding on to pants legs.
Yep.
They don't even think that it's a pants leg.
And then eventually they go, why is this, these are black pants.
It's always what happened.
Yeah, what happened.
They always say what happened.
Yeah.
Or they get the bright light of the, you know, the doctor shining a flashlight
in their eyes
of what happened.
And one thing we've tried to transition doing, you know, I've had some fighters
get really
hurt really bad.
We normally keep everybody out of the octagon.
But one thing we're doing is we're allowing a coach to come in with the doctor,
with the inspectors,
with myself, and give them a familiar voice.
You know, you get knocked out, you come back, and here's Mark telling you, no,
the fight's
over.
Right.
You may not recognize.
But if a coach is there in the corner saying, hey, such and such, you got
knocked out, calm
down, it's fine.
This is coach, such and such, I'm here.
We're finding that's calming the fighter down just a little bit.
Obviously, medical protocols and safety, we've got to do all that.
But I like doing that.
I like asking one of the coaches to come in, stand off to my side, and kind of
give them
a familiar voice.
When Olivera had Tony Ferguson in that armbar, and he had his arm completely
hyperextended,
and it looked like his arm was breaking.
Like, what was your thought there?
Because some guys have stopped fights when a guy has a fully locked out armbar.
And it's very controversial.
Like, some people think you should just let it keep going.
Other people think, like, one of the best examples was Herb Dean with Tim Sylvia
versus
Frank Mir.
That went through my mind during the fight.
And see, what a lot of people didn't understand at first is Herb is looking
directly at his
arm and sees his snap.
And heard it, too.
He heard it.
He heard the crack.
Yeah.
Now, he caught a lot of flack for that.
He only did for a couple seconds.
Once I got in the octagon and explained it, and I explained it to the audience,
because people
were booing like crazy because the fight was stopped.
Tim Sylvia was like, what the fuck?
What the fuck?
Meanwhile, his arm was trashed.
He had that adrenaline going, too.
Well, his arm was gone.
Yeah.
I mean, it was.
And then I explained it on TV.
And then when I got into the octagon and I said, I want you to look at
something.
Watch this.
Watch this.
And then you hear everybody go, oh, when you see his forearm bend in half.
And then everybody's like, oh, OK.
So at that level, with a choke, I'll tell guys in a room meeting in the back, I'm
not
going to stop unless you go out.
You can have someone in a fully compromised position, you know, who has a
the Chiesa fight.
Yes.
You know, he was fully compromised.
But how good could it be?
How long can he hold that?
Can he turn his chin to the side and get out of it?
Yeah, you got to let him go out.
You got to let him go out.
So we tell guys.
But Kevin Lee has a nasty rear naked choke and he had Chiesa fully locked in.
Even in that position.
You got to let him go out.
So I tell guys in my room.
And we learn as we progress watching fights.
You know, we talk daily, weekly about stuff that we got to do.
So I tell them in the back in the rules meeting.
For a choke, at this level, I'm not going to stop it unless the fighter goes
out.
Good.
If it's any kind of other submission, I got to see a dislocation separation or
it has
to break.
Or if you scream, and there's a difference between a scream and a grunt to get
out of something.
If you scream, it's a verbal submission and we're going to stop it.
That's a weird one, right?
Now, Tony.
The scream, verbal submission thing is weird.
Tony, man, that was.
You could saw his leg off with a rusty fucking axe.
That was beyond human.
He will not tap.
When Charles transitioned from across the chest to under the underarm, Tony grunted.
Yeah.
And he bared through it.
Look at the hyperextension.
I don't know what happened to his elbow.
You can see my foot there.
Look how close I am.
So I'm doing two things.
One, I'm looking for a dislocation separation or break.
But I'm also listening to see if it's going to be a verbal.
You know, the crack in the arm or verbal submission.
He did not.
He, man, he battled through that.
And there's, we got to be conscious of the time.
So the 10 second clapper had already gone off.
So I'm counting down in my head.
And the goal is to right when that horn goes off, you'll see when we stop a
submission from
that, we go right to the pressure point, push back the opposite way and take
off the pivot
point in his underarm to stop it.
Because some guy's going to try to hold it for an extra second after the bell
goes off.
Right as that stops, I'm pushing on it and stopping it.
Also verbally telling the guy to stop because you don't want any extra damage
after the
bell.
You know, I've had some.
You remember Husamar Pajares?
Yes.
Yeah.
Yeah.
So we saw, I think he did a fight, Jake Shields or somebody like that.
What's that loud noise all of a sudden?
Oh, great.
I think when he fought Jake Shields, you know, there was some extracurricular
activity.
That was with Kimura and that was in the PFL, right?
Yeah.
He held onto a Kimura and tapped Jake, but then held it long.
And then afterwards there was a brawl inside the octagon.
Yeah.
And I think I'd referee the fight right before that.
And, you know, it's our responsibility as a referee to know your fighter.
You got to, you know, we do, what I do is I look at the entire card and I'll go
back and
try to look at their fight.
So whatever I get assigned, and I don't know what I get assigned until I get
there to know
if anyone has any tendencies, you know, are they great on the standup?
Are they great on the ground?
Do they have a tendency to foul?
Because we got some guys that like to fight with their fingers extended a lot.
And I put that into my rules meeting of, you know, washed fingers, just what it's
going
to be, fingers straight to the sky or make a fist.
Or if someone has a propensity to foul a lot, that may be something I'm going
to watch out for.
Now, when you see something like that, if you saw the arm break, you would have
stopped it?
I would have stopped it.
You have to.
But look how bad it looks.
Yeah.
It's so crazy how hyperextended that thing is.
Yeah.
Now, you got some folks that are super double-jointed, and they will tell you
ahead of time,
hey, I'm flexibility, I'm double-jointed.
Do you remember Hoyler Gracie versus Sakuraba?
Was that with the...
He got him in a Kimura as well.
And he got his arm like way wrapped up behind his back, but Hoyler has crazy
joint flexibility.
Like, it's really nuts.
And he was like, I'm fine, I'm fine.
And they stopped the fight, and he was furious.
Because his arm was like, Sakuraba was a catch-wrestling guy, you know?
So he's got a lot of those, like, old-school double wrist-lock techniques that
are really brutal in the joints.
And he's got his arm, like, deep up high on his back, and he's twisting it.
But Hoyler was like, I'm fine, I'm not tapping.
Yeah.
And he won't tap, which is crazy.
And it depends on the level.
So, like, can we do Tough Enough, the Amateur Feister?
Yeah.
Yeah, if he keeps going, you can see that's only the beginning of it.
It got a lot worse.
If you say Hoyler versus...
No, that's the beginning of it.
Yeah, like, at the amateur level, somebody could be in a choke, and if it's
compromised, we may stop the fight.
Or if they get stuck in an armbar or something and don't demonstrate the
capability of it.
Right, right, in the amateurs, yeah.
So, this is Hoyce, buddy.
That's Hoyce.
That's Hoyce.
This is a different guy.
Hoyler is much smaller.
That's the problem with Sakuraba.
Sakuraba is a big guy, and Hoyler is fairly small.
Hoyler is like, I mean, he might be like 160, maybe.
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