Explanation: This statement is inaccurate. Catch wrestling, also known as catch-as-catch-can (CACC), is characterized by its adaptability and the allowance of a broad spectrum of legal holds and techniques, including leg attacks and submissions, rather than a strict limitation to specific, narrow options.

Explanation: The nomenclature 'catch as catch can' indeed suggests an improvisational approach, wherein practitioners endeavor to secure any advantageous hold and frequently seek to elicit a verbal concession from their adversary.

Explanation: This is a key distinction. Unlike Greco-Roman wrestling, which prohibits holds below the waist, catch wrestling permits such techniques, contributing to its broader range of grappling possibilities.

Explanation: This statement is incorrect. Victory in catch wrestling can be achieved through either submission or pinfall, with matches often contested as the best two out of three falls.

Explanation: The literal interpretation of 'catch as catch can' is not restricted to ground engagements; rather, it signifies the ability to 'catch' an opponent in any available hold, irrespective of their position, emphasizing opportunistic grappling.

Explanation: This is incorrect. In catch wrestling, an opponent rolling onto their back could indeed signify defeat, as it would immediately result in a pinfall, analogous to how a submission hold might force such a position.

Explanation: The source material explicitly lists 'shoot wrestling,' 'loose-hold,' and 'Lancashire wrestling' as aliases or closely related styles. 'Greco-Roman wrestling' is a distinct discipline and is not presented as an alias for catch wrestling.

Explanation: A defining characteristic of catch wrestling is its relatively permissive ruleset, which permits a wide array of leg techniques and submission holds, distinguishing it from styles with more stringent limitations.

Explanation: Spectators generally perceived catch wrestling as a progressive evolution from the older 'loose-hold' system, which was often characterized by prolonged grappling and less refined tactics. The catch-as-catch-can approach was seen as a more dynamic and acceptable form of wrestling.

Explanation: The fundamental objective in a catch wrestling match is to secure victory either through the opponent's submission or by achieving a pinfall.

Explanation: Indeed, the term 'catch' continues to be employed in certain European nations, such as France and Germany, as a designation for professional wrestling, reflecting its historical linguistic legacy.

Explanation: The historical record indicates that catch wrestling originated in the United Kingdom, specifically evolving from English folk wrestling styles, and subsequently disseminated to other regions, including the United States.

Explanation: While Lancashire wrestling is a primary component, the influences on UK catch wrestling are predominantly from other English styles (Cumberland, Westmorland, Cornish, Devonshire) and Irish collar-and-elbow, rather than Scandinavian styles.

Explanation: The inclusion of Abraham Lincoln among notable practitioners underscores the historical significance and widespread recognition of wrestling, including styles akin to catch wrestling, among prominent figures in American history.

Explanation: The historical consensus indicates that catch wrestling emerged from the United Kingdom, evolving from various indigenous folk wrestling traditions.

Explanation: Catch wrestling's development was significantly influenced by the Lancashire style of wrestling, alongside other regional English styles such as Cumberland, Westmorland, Cornish, and Devonshire wrestling.

Explanation: The dissemination of catch wrestling beyond its native United Kingdom was largely facilitated by traveling wrestlers associated with funfairs and by immigrants who carried the style across different regions and countries.

Explanation: The term 'catch' persists in contemporary usage for professional wrestling in certain nations, including Germany, reflecting the historical spread and adaptation of the sport.

Explanation: Lancashire wrestling is identified as the principal constituent of catch wrestling within the United Kingdom, forming the core upon which other influences were integrated.

Explanation: By the mid-19th century in America, the phrase 'catch as catch can' was employed to characterize the prevalent 'Rough and tumble fighting' style, known for its lack of strict rules and acceptance of diverse tactics.

Explanation: Indian Pehlwani wrestling exerted a notable influence on catch wrestling, particularly in Britain, facilitated by the exchange of champions and techniques between the two traditions.

Explanation: Irish collar-and-elbow wrestling, prevalent among immigrants, significantly influenced the development of catch wrestling in the United States, contributing techniques and principles to the evolving style.

Explanation: Conversely, when catch-as-catch-can wrestling was incorporated into the Olympic Games, there was a notable prohibition of all submission holds. This modification was implemented to align the style with the prevailing amateur wrestling regulations of the time.

Explanation: This is accurate. The lineage of professional wrestling can be traced directly to competitive catch wrestling, evidenced by the establishment of early championships intended to determine the preeminent catch wrestlers of the era.

Explanation: The 'Gold Dust Trio,' comprising Ed 'Strangler' Lewis, Billy Sandow, and Joseph 'Toots' Mondt, is widely credited with revolutionizing professional wrestling by introducing elements of choreography and theatricality, shifting it towards entertainment.

Explanation: Catch wrestling was incorporated into the Olympic Games under the classification of 'Amateur Freestyle Wrestling,' a designation that allowed for certain techniques while also imposing restrictions, notably the prohibition of submission holds.

Explanation: A pivotal alteration in the rules when catch-as-catch-can wrestling was adapted for the Olympics was the complete prohibition of submission holds, aligning it more closely with the standards of amateur wrestling.

Explanation: The selection of catch-as-catch-can rules for the 1904 Olympic wrestling competitions was primarily driven by the style's considerable popularity within the United States during that period.

Explanation: The Fédération Internationale des Luttes Associées (FILA), established in 1912 and now recognized as United World Wrestling, was founded with the objective of organizing and governing international wrestling, including Olympic competitions.

Explanation: The designation 'freestyle wrestling' for the 1921 FILA ruleset likely served to differentiate the Olympic discipline from the increasingly theatrical and predetermined nature of professional catch wrestling, thereby preserving its athletic integrity.

Explanation: The shift towards predetermined matches in professional wrestling during the 1920s was largely motivated by declining spectator interest in purely competitive bouts and a strategic move to enhance entertainment value through theatrical elements and storylines.

Explanation: In American carnival catch wrestling, a 'hook' was specifically defined as a technical submission hold designed for a rapid conclusion to the match, rather than a prolonged series of maneuvers.

Explanation: While certain submission holds were restricted or banned, particularly in Olympic contexts, chokeholds were not universally prohibited throughout all historical forms of catch wrestling, though their application could vary by specific ruleset.

Explanation: Tactics such as fish-hooking and eye-gouging, often referred to as 'rips,' were consistently prohibited in classical catch wrestling, despite the style's generally permissive nature regarding holds.

Explanation: Tommy Heyes, a notable student of Billy Riley, indicated that pinfalls were the predominant method of victory in classical catch wrestling. Submission holds were often employed for control or to facilitate a pin rather than as the sole means of winning.

Explanation: On the contrary, leglocks and neck cranks were considered significant techniques in catch wrestling. While potentially challenging to apply as definitive finishing moves without a stable base, they were highly valued for their efficacy in controlling opponents and dictating the pace of the match.

Explanation: Frank Gotch famously employed his signature toehold not primarily for submission, but strategically to compel opponents to roll onto their backs, thereby securing a pinfall victory. This highlights a tactical application of submission threats to achieve a pin.

Explanation: This definition accurately captures the essence of a 'hook' within catch wrestling terminology, encompassing any technique that applies leverage or pressure to an opponent's joints or limbs.

Explanation: The term 'shooter' was typically reserved for highly skilled and legitimate catch wrestlers, often implying a higher level of proficiency than a general 'hooker'.

Explanation: Indeed, techniques such as the Japanese arm bar and the heel hook are recognized submission holds that are integral components of the catch wrestling repertoire.

Explanation: While Ad Santel achieved notable victories against judoka, including Tokugoro Ito, the assertion that he definitively defeated *all* judoka he faced is inaccurate. Some challenges resulted in draws, and later encounters saw different outcomes, though his initial success was significant.

Explanation: American carnival catch wrestlers frequently issued open challenges, offering monetary rewards to local contestants who could successfully defeat the carnival's featured wrestler, typically via pinfall or submission.

Explanation: Within the context of American carnival catch wrestling, a 'hook' was primarily conceived as a submission hold designed to achieve a swift victory, often within moments.

Explanation: The influential 'Gold Dust Trio' was composed of Ed 'Strangler' Lewis, Billy Sandow, and Joseph 'Toots' Mondt, figures instrumental in shaping modern professional wrestling.

Explanation: The term 'hooker' was a widely used designation for a catch wrestler, particularly one skilled in applying submission holds, or 'hooks'.

Explanation: The Kimura, also known as the double wrist lock, is a recognized and effective submission technique utilized within the practice of catch wrestling.

Explanation: Legally, modern professional wrestling is generally classified as prearranged entertainment. For instance, New York legislation categorizes it as such, distinguishing it from a competitive sport.

Explanation: Indeed, the esteemed professional wrestler and catch wrestling coach Karl Gotch formulated a distinct set of rules for contemporary catch wrestling contests, which have been applied in events such as the 'King of Catch' tournaments.

Explanation: This is correct. Dan Gable has articulated that the wrestling style prevalent in Iowa, which he learned, was locally known as catch-as-catch-can and was significantly shaped by the foundational contributions of Farmer Burns and his student Frank Gotch.

Explanation: Karl Gotch's primary teaching engagement in the 1960s was with Japanese professional wrestlers, not Olympic-level freestyle wrestlers. His instruction significantly influenced the development of professional wrestling and subsequently mixed martial arts in Japan.

Explanation: Antonio Inoki's highly publicized 'clash-of-styles' matches, which prominently showcased catch wrestling techniques, were indeed pivotal in popularizing the concept of mixed-style combat and contributed significantly to the burgeoning mixed martial arts scene in Japan.

Explanation: This statement is accurate. The UWF, founded by disciples of Karl Gotch, championed a style heavily influenced by catch wrestling, and this movement played a crucial role in igniting the mixed martial arts boom within Japan.

Explanation: The term 'no holds barred' predates modern MMA and originally described the unrestricted nature of early catch wrestling tournaments. It was later adopted by MMA, particularly in its nascent stages, to signify a departure from the more regulated formats of traditional wrestling.

Explanation: While Brazilian Jiu-Jitsu, Mixed Martial Arts (MMA), and Freestyle Wrestling are all noted as having significant influences from catch wrestling, Taekwondo is not mentioned in this context within the provided source material.

Explanation: Dan Gable posits that the wrestling style he encountered in Iowa was locally referred to as catch-as-catch-can, and he identifies key figures like Farmer Burns and Frank Gotch as foundational influences on this tradition.

Explanation: Karl Gotch's instruction in catch wrestling to Japanese wrestlers proved highly significant, contributing substantially to the development and popularization of mixed martial arts in Japan.