Clint Wattenberg



Cornell Camp Moves:

High Crotch and Double Leg

Clint Wattenberg

The set-ups and finishes that I use for my high crotch are the same as for my double leg. My favorite and most effective set-up is the POST.

(NOTE: all directions in parenthesis refer to a right-handed wrestler)

High Crotch & Double Leg Set-up #1: Post

If your opponent reaches and touches your shoulder, drapes his arm on your shoulder or head, or controls you with a collar tie, then your post will be effective. When your opponent does one of these things, block his arm just above the elbow with your (left) hand, with your palm facing away from you, and thumb inside. You can grab the arm if you want, but the key to this move is to drive his elbow toward his ear, at a diagonal angle. This creates the correct angle, both to get him off balance and to block him from getting his elbow down and countering your shot. As you drive his arm into his ear with your right hand, you grab whichever leg of his is forward with your left hand as you penetrate. If his left leg is in front, then you will end up with a double leg, and if it is his right leg forward, then you have a high crotch.

High Crotch & Double Leg Set-up #2: Elbow By

When you have inside control on your opponent, you can elbow him by to either a high crotch or a double leg. Once you have inside control (my arms are inside his) I need my fingers to drape outside his elbow, keeping my thumb on the inside. As I straighten my arm quickly, I must push his elbow across his body. At this point, I need to hold his elbow tightly to keep his elbow extended across his body. Now, attack his lead leg, either with a high crotch or a double leg. A trick to this set-up that is often forgotten is the pressure that I put on his elbow. As I push it across his body I need to pressure down toward his opposite (left) foot.

High Crotch

Good penetration is key, as is not “shooting across the body”, meaning not shooting at the back leg or at an angle. Once you set your opponent up, your penetration step with the inside (right) leg, should be at least even with the leg you are shooting at. This way you are able to drive into your opponent. As your knee comes down, and not before, your trail leg (left) will swing around and your foot will plant even with your right knee. Make sure that your foot does not drag as this swing takes place because that will slow you down. This is the position that you should strive to get to: right knee down, left foot planted, ready to drive off of, with your back straight, chest up and hips in.

Double Leg

The simplest shot, which is not a bad thing. The double leg is very similar to the high crotch, only you attack his other (left) leg with your attack (right) hand. You penetrate with your inside leg (right), at least as far as your opponent’s lead foot. This allows you to drive into your opponent and knock him backwards. When your knee drives through and hits the ground, your trail leg swings around the side and you will plant your foot even with your other knee, which is planted in the mat. Position should be the same as for the high crotch, only the goal here is to lock your hands around his legs, just below his but.

Bump Across finish to High Crotch or Double Leg (Clint Wattenberg)

When in good high crotch position, you should be elbow deep around your opponent’s (right) leg with both of your hands. Move your (right) hand to your opponent’s other (left) leg. Now step up with your (right) leg that was on its knee, and step parallel to you opponent’s feet. DO NOT DRIVE INTO YOUR OPPONENT! This will result in you being rolled through or cement jobbed. Drive across his feet, blocking his (left) leg, lifting his other (right) leg, and driving your (right) ear into his ribs, knocking him off balance. Remain on your feet and keep driving or shuffling or side-stepping (to your right) until he falls to the mat. As he falls, you drive your (right) shoulder into his belly/ribs and secure the takedown in this double leg position.

Turk finish to High Crotch or Double Leg

The Turk works best when you are doing the Bump across finish. As your opponent begins to fall when you are shuffling across his feet, you must lift his (right) leg and hook his other leg above the knee with your left heel. As you both fall to the mat, you must elevate your heel, and keep it above his knee. As you do this, you need to clear your arm (right) that was blocking his knee by limp arming it to the other side of is body. From here, reach back and secure a cross face. The importance of Clearing your arm is that is ensures that he cannot roll away from you, and he shouldn’t be able to escape into you if you have is leg properly elevated with yours (left).

Mat Returns (Clint Wattenberg)

There are two mat returns that I like to do. The first is the most basic, where I simply lock around his waist, lift him up, use my knee to sweep his legs out from under. I drive him into the mat by driving my shoulder into his ribs. It is important to make sure that his hip or side hits first, not his shoulder in order for this to be a legal mat return rather than a slam.

The mat return that I prefer, though, I am able to score back points out of. When my opponent stands, I will try to lock my hands, or go to a spiral ride. As my opponent cuts away, and tries to face, I reach up with my hand (right) and secure hook on his shoulder, much like the top half of a spiral ride. As I secure the shoulder my other (left) arm drops around his (right) leg, and wraps it like I am in on a shot, which I will be soon. Once the leg is secure, I release the shoulder, and my hand (right) reaches across and blocks his far knee (left). Now I am in a double leg bump across position, and I will finish to my Turk.

Legs (Clint Wattenberg)

I get into my legs when I’m riding by hooking my opponent’s (right) ankle with my (left) leg while he is on his knees. Once you get into this position, you need to drive with your back (right) leg, which lifts up his hooked leg. This is the opening that you need to throw your boot. As you are driving, and lifting his leg, you need to almost jump with your back (right) leg and throw your heel into his upper-inner thigh. Your other foot releases his back ankle as you anchor under his thigh, and hooks under his (left) ankle. Make sure that your hips are high on his back, and not sliding off to the side. You need to be mostly parallel to your opponent’s body. Now you are in good position, but if the guy is strong, you may have a tough time breaking him down. To do this, grab his (left) wrist with both hands, thumbs pointed away from you. Now all you have to do is rip this arm out, while lifting up on his (right) thigh and out on his (left) ankle.

Now that you have your opponent broken down, you don’t need to hook his (left) ankle with your toe, unless he is able to build back up to a base. If this happens, break him back down the same way that you just did. Hook your (right) toe on your now free (left) heel. Make sure that you keep your knees wide. This provides a good lever to crank your opponent over with. To do this, lift up with your (right) foot, which will lift his leg and bow his back. Swivel your hips and weight over his far (left) hip, which you have blocked with your (left) knee. You also need to apply a cross-face at the same time as you turn him with your legs. Be sure not to fall down to your (left) hip. STAY UP ON YOUR (RIGHT) KNEE. You should be able to expose his shoulders here, but sometimes, he can squirm his chest down toward the mat just enough to not give up backs. To secure back points here, you must let go of the cross-face, and reach past his face, and GRAB his far (left) shoulder. Now, straighten your arm, and his back should be exposed.

Once you receive your near fall points, its time to go for the fall. Release his shoulder (right arm), and place your forearm along the side of his face. Now, turn his face so that his cheek touches the mat, and put it under your chest. Sometimes he will try to turn hard into you, in which case you will let your (right) leg slip out, and you will slide into a double grape-ride, or “Saturday night ride” position.

Duck-Unders:

Steve Garland

A duck under is any move where you use your level change as a means of getting around your opponent quickly and scoring a takedown.

Main Parts:

Your level change is imperative in executing any duck under successfully. I use a “split step” duck under to finish the move. The split step level change is very simple. I use it as a means of generating power on my duck. All I do is change my feet and lower my level at the same time.

Set Ups:

From a head and collar tie up: I use this one a lot when the man is tired. What you do is get a good grip on the head and then with your other hand you get an inside tie on the tricep/bicep and pull his arm down and in to his body. His natural reaction of course is to pull his arm out. When he does, you use your split step to get under the arm and then you finish the move by cutting the corner.

**Notice on all duck-unders your head must be looking to the ceiling. You must keep your head looking up and over the opponent’s body. This helps you keep good position and helps you finish the move.

This duck is the most common duck you will see.

The Cross Duck:

This duck-under is more complicated and harder to hit. With this move there is a different “step” or level change. In any cross duck you want to make your opponent think you are attacking one side of the body (by faking that side) and then you will duck back to the other side.

Set Ups:

The most common set up to this comes from a double inside tie up. This means that you have both your arms inside the opponent’s arms, controlling him using your fingers around his triceps and your thumbs inside his biceps. From this position your fake a single to one side and duck back the other way. You want to penetrate deep on the fake single. This is what sets up the duck the other side. You almost want your head to hit the man’s hip and right before it does your duck back the other side. This is the “two step” set up. Your body goes to one side and then duck back the other side.

More specifically here’s an example: If I am leading my right leg, I will fake a single to the right side and then duck back the other side using the two step level change.

Elevators

Steve Garland

An elevator is a move used from the bottom position on the mat where you actually use your opponents momentum to reverse or escape.

The move itself:

When using an elevator from the bottom position it is extremely important to remember that it is your opponent that actually reverses himself when it is done right. You want to use your opponent’s pressure against him. The more tork he has on you, the better off you are.

First step in executing this move is that you have to use your foot to hook his leg. I usually try to hook right under the knee cap (so that if the foot slides down you still have the opponent hooked at the calf). Once you have the hook secure you wait until the opponent drives your forward or runs a spiral ride. As he does this you use the momentum of his movement against him by locking him at the elbow (on the same side of the hook) and hitting your hip and rolling. As you roll you hip heist out. This is the most important point of the end of the move. If your hip heist isn’t good, then you won’t get the points.

Parts of the move:

1)hooking the leg right where the knee and the top of the calf meet.

2)use opponents pressure against him

3)hook arm (at triceps) and roll

4)hip heist thru

Short Offense:

Steve Garland

In order to learn the techniques behind short offense you must first know exactly what short offense is. This term is used to describe the position in which you stop your opponent’s offensive attack (or shot) and you in turn counter-attack and score off of his bad shot. Basically, when your opponent takes a bad shot, or you stop a one of his good shots you end up in a “short offensive” position. If you have executed your defense properly you will have an underhook on one side and your other hand will be tugging down on the opponent’s triceps (pulling him towards the mat). You must keep all your weight on him/her, using your hips to drive his/her head into their own chest. This makes the opponent very uncomfortable as well as keeping him immobile. Once you are in this position you are ready to score. Here are your options:

1) If opponent stays down you: SNAP AND PULL. You will snap out the underhook side and pull down hard with your other hand (the hand on his/her tricep). This drives your opponent into the mat and you then can execute a “go behind”.

2) If opponent comes up hard and fast after you snap him/her: You can execute a “pancake”. The harder the opponent fights the snap and comes up the easier it is to hit. A pancake is when you whip the man over using your underhook and hip power.

3) If opponent hits hip on pancake but doesn’t go all the way over: you can then take the arm off the triceps and use it like a sledge hammer. Take this arm and smash it in the back of oppponent’s head. This will cause him/her to nose plant into the mat and then you can execute a “go behind” the other direction.

4) If opponent tri-pods up: you can hit and ankle pick. This works great (in my opinion) on the shorter, stockier guys who like to come up in this fashion. To execute the ankle pick you merely drive the persons head over the ankle you want to pick and then attack at heel.

**Remember: The most important part of this move is to feel comfortable in the Short Offense position. I strongly recommend getting in this position with partner and get used to it before trying it live. Once you have the position down the rest of the moves come easy.

Funk and Funk Defense

Steve Garland

Basically what the term “funk” means is creating a scramble or using unorthodox defense to defend your opponent’s shot. The typical defense of squaring up your hips, sprawling, etc. is “thrown out the window” here. Funk is to be used ONLY in desperate situations where you have no other choice but to resort to using “the funk”.

The main roll itself: What you want to do is attack one of your opponent’s legs as he attempts to score a takedown. For example: If your opponent gets in deep on a double leg and sprawling is not an option for you, you can attack the nearest leg (to your head) and pull it over your head in a rolling motion. As you do this, you roll to your stomach and try and “come out the back door” on your opponent. It is your choice which leg to attack. Generally however, when a wrestler finishes a double he/she has a tendency to fall with their hips and legs towards your head. Therefore, this is the side that I recommend to attack.

Funk from a Low single: As opponent shoots low single you can dive across and use your foot to kick off of his/her arm that is attacking your leg. This will create space and will also (if you kick hard enough) break his lock on your ankle/leg.

Funk from High Crotch: When opponent is in on a Hi-C, you can pinch with your knees and squat (this prevents him/her from doubling across and finishing the move). The next step is to use your knee to drive underneath the opponent and roll him/her thru. By attacking his/her ankle you can get even more force on this move.

Basic Funk Defense: The best defense to these types of moves is to protect your ankles and legs and finish all moves correctly.

One specific drill you can use is to hook your feet and lean when he/she try to attack your legs and roll you thru on your takedowns. By doing this and also splitting the opponents legs (by this I mean using your hand to not let the opponent get to the “back door” position) you can stop him/her from executing the funk roll.

Low Single:

Steve Garland

The most important thing to remember on a low single is the correct LEVEL CHANGE.

It is important to realize that the Low Single is a low level shot and is unlike virtually all other penetration steps you have ever learned. One good drill to use in order to learn how to penetrate correctly is the take a little back step and as you step lower your level in your stance. From this “loaded up” position you can explode at a low level and attack your opponent below the knees.

There are three main components to the Low Single:

1) Head Position: Head must be looking into the knee (or sweet spot as coach Garland calls it). The correct point to strike at the knee is the ball in on the inside part of the knee right above the top of the shin and calf.

2) Hand Position: You have an ATTACK hand and a POST hand when using the low single. The attack hand attacks behind the heel of the opponent. This attack arm has to be kept as close to the mat as possible. Remember to glue this arm to the mat when drilling this shot. This prevents your opponent from turning out on the shot and scrambling to counter it. The attack hand will eventually help finish the shot. The Post hand splits the opponents legs. You Post hand (again right in the middle of the legs) is your control hand or brakes. It helps keep you from over-penetrating thru the opponent’s legs.

3) Body Position: It is important to try and keep your body as compact as possible. This helps you drive and finish the move. It also keeps the opponent from being able to wrap you up and counter your low single attack.

Finishes:

First finish: This is the most basic finish and is the one you will get the most if the move is executed correctly. All you do is drive your head thru the opponent’s knee (the target or sweet spot) and use your post hand to come up and wrap the legs. Remember to always wrap low as to prevent the opponent from overhooking and defending the finish.

Second finish: This is where your post hand comes into play. This finish is used when your opponent dives over top of you. You use your POST hand to prop yourself up and get height. You must protect your heels and feet by sitting on them as you do this. This prevents him/her from wrapping you up and trying to stop the move. From here you post one leg down and step up with your outside leg. Reach back and overhook the hip to finish.

SINGLE ARM BAR (left side when parallel on top)

Tyler Baier

Getting the arm bar:

After successfully breaking your opponent to the mat, reach inside his left arm to grab his wrist and secure a one-on-one. You will use this as a lever to get his arm behind his back. Place your left shoulder in the back of his left shoulder/shoulder blade, get up on your toes, and walk slightly away to the left of his body, while driving your weight towards your left shoulder and thus down into him. Grab his left wrist with your other hand (two on one), pull his arm out from underneath his body, and place it at 90 degrees behind his back. Sit on his butt/lower back, and while putting pressure on his arm to the right, reverse the grip that your right hand has (so that you’re holding his wrist like you would a motorcycle throttle). Turn the wrist forward with your right hand like you would a throttle (which raises his elbow), and throw your left forearm arm (with a closed fist) under his left elbow up towards the back of his shoulder. Tuck his wrist down to his left side, and cover his left elbow with your left armpit. You now should have the arm bar in place.

Turning your opponent:

With your right hand, reach under his right arm and grab his wrist. Step out along the left side of his body, and drive forward with your left shoulder and forearm. Drive almost directly forward – slightly towards the right side of his head (I like to drive his left shoulder into his left ear). Keep the arm bar tight (readjust if you have to), and don’t walk around the head or sit out. Keep driving forward and if you do it perfectly your opponent will be stacked on his shoulders and head. Stay back and let your opponent pin themselves - do not drive too far or the arm bar will loosen up and you will allow your opponent to roll through. Take your time – get your back points and then go for the pin.

2-on-1 tilt:

Keith Dickey

Starting from top position, you need to break the man down. You can you whatever breakdown you wish but try to break him down to the side you are going to tilt towards. (If you are going to tilt to your right, you want to break him down to the right.) Once his hips and stomach are flat on the mat, you need to attack the wrist to the side you wish to tilt with your opposite hand. You will probably have to reach over your opponent’s shoulder. After you gain control of his wrist with your opposite hand, use your other hand to grasp the wrist right by the joint, you want to have your arm underneath your opponent’s shoulder/upper arm. After you have the wrist, you will apply forward pressure to the arm while rolling your opponent’s wrist underneath his own body. Once this is done, you will take you free hand and place it on the trapped wrist, and side you hand that is already on the wrist as far up the forearm (towards the elbow) as possible. Once you have secured your grip, slide you opponent’s trapped arm down his stomach as far as you can, making his forearm into a belt for himself. Next, slide your same-side knee (as the trapped arm) up to the groin of your opponent. (The higher you get your knee the easier to turn the opponent.) Now pull the man towards your knee while you set on your hip. You must keep his forearm at his waist. As you pull, your knee will block his hips and he will fall into you lap. After he is in your lap, stabilize him by pulling his wrist towards you and pushing him away with your other had (located by the elbow). This move involves lots of practice and feeling, but with good technique it is very effective.

Cross-Face cradle-

Keith Dickey

Starting from top position you will come out to the side of your opponent, and cross-face him. (This move assumes you know what this is.) When he posts his opposite side leg you will “hop sides” to the side his leg is posted on, all the time maintaining your crass-face. Once on the same side as you opponents posted leg, you will place your free arm under his posted knee. After that, crunch your cross-face arm and your other arm together, and clasp them together. You want to lock your hands as high up the other arm as possible to make sure the cradle is tight. Once you have secured you lock slide you knee that is closest to your opponent (same-side knee) directly behind your opponent’s posted knee. This will block his knee, and now lean back making sure to push with your legs and pull with your arms. As you fall back, begin to move your same-side knee out of the way so your opponent can expose himself. After he is on his back, slide your near knee into his side and place your forehead in his temple. Push away with your knee and head while pulling him towards you with your locked hands.

Hip Throw

Joey Hooker

First set up the underhook. One way to do this is to club on the back of the opponents head with one arm and dig the underhook with the other one. Use the arm that is not in the underhook to control his other arm after you have dug the underhook. Next, you want to make the guy take a step in the direction of your underhook. To do this, pull with the arm you have in the underhook. When the opponent steps, you are going to perform a back step. I like to underhook with my left arm, however if you underhook with your right arm as most do, just change the direction of the movements. If you like to have the underhook with your left arm, this means you will step towards his left (your right) with your left foot. Then bring your right foot towards the heel of your left foot. At this point in time, you should be on your toes with your feet pointed in the same direction. The next step is to twist your feet so that your hips are now bumping into his hips. At the same time as you are bumping his hips with your hips, you pull on his arm that is not being underhooked with your free arm. Although this is an important part of the move, the most important part is your hips. Without your hips this move DOES NOT work.

Under-hook to knee-pick (staggered stance)

Travis Lee

Getting into an Under-hook position

1. Head smash with rear arm followed by under-hook with near arm and simultaneously stepping in with lead leg.

Go to Cross-wrist with rear hand; pull down and away from opponent’s body to open up a gap, allowing the under-hook to slide in.

2. Opponent gets Russian tie your front arm. Attack opponents hand that is on your wrist to free your own wrist. Next, roll your near arm down and then up into an under-hook position.

Note: Important to wrap under-hook arm up on top of opponents shoulder to secure a firm lock.

Knee-Pick (from under-hook position and wrist control)

Key point here is to get your opponent to step by circling with a downward motion. The person doing this move should keep one foot planted while circling opponent, so that you can close the gap between you and your opponent. You should step back with you lead leg, so that after you’re done circling you are now in a staggered stance opposite from how you started. In addition, you should be lowering your level as you circle.

Three things happen during this step. First, take a small step forward with your new lead leg. Second, release the wrist and block at the knee. Finally, under-hook arm “punches through opponent”.

The last and final step is to follow your opponent to the mat. This means taking a giant step behind/around your opponent with rear leg and dropping the under-hook arm down to opponent’s legs. You should end up in a double leg like situation.

Hip Toss:

Travis Lee

1. Get into underhook position as described in knee-pick.

2. Make sure lead leg is the same side as underhook arm

3. With non-underhook arm get wrist control or an inside tie on the upper triceps.

4. Keep lead leg planted while you circle opponent behind lead leg and also closing the gap. Your lead leg (red) should now form a triangle with your opponents feet (black).

5. Next take a back step (indicated by blue dots) and lower level so that your hips are below your opponent’s.

6. It is important to bend at your knees and not your back.

7. Your pulling arm (the one with wrist control or inside tie) should be pulling across your face.

8. From here pop your hips up (straighten your legs) and twist at the same time.

9. Follow opponent to the mat.

:

Shrug:

Matt Easter

Start with collar tie and over-tie (outside tie hand draped over opponents collar tie). Head-to-head collar tie is best because of the space created between you and your opponent. To execute: Snap over-tie hand down slightly, grab the inside of your opponents elbow, look away and simultaneously shrug you shoulder (this causes your opponent’s grip on your neck to loosen), then with your elbow pointing up pull your opponents elbow by your ear – KEEP a tight grip on his neck with your collar tie hand. After you have cleared his elbow finish with a claw and tight waist- pull the neck down hard in a circle to score.

Stand-up:

Matt Greenberg

From bottom right off the whistle pull the elbows with his hand on it to

the side of your body stopping his arm from getting into a tight waste. Use both arms to isolate his other arm, the one on your belly, to

your hip and step up with your dominant leg. Pressure back into the top

man, enabling you to get your hips out away from his. You want to create

space between the two of you. Put his isolated hand in your "back pocket",

and quickly cut away and turn to face him. “Wallah!”, you just earned an escape and 1pt.

Front Head Lock-

Matt Greenberg

From neutral, snap the man’s head down and catch his chin with your free

hand. Capture his head by pulling him down by his chin, while at the same

time covering the top of his head with your chest. With your other

hand, the one not on the chin, extend his arm (the one you don’t

have on the chin...example if you are holding his chin with your left hand

extend his left arm with you right arm). It should look like he is doing

a one armed dive. To lock the front headlock up, turn the hand on the chin palm down as if you are looking at a wristwatch. Lock with the hand extending the arm. Slide your shoulder from his back to the crook of his neck and slide your head from his shoulder to his armpit on the side of the extended arm. This should look like you are burying your head into his armpit. Now, pull him down to the mat, being careful not to pull him into your legs. Pull him down and sprawl back at the same time. He should be in a position similar to a bottom man in referee’s start. You should be up in a tripod, with him being the third leg on the ground. Never rest on your knees; always stay up on your feet and pressure him with your body on his.

Squeeze your lock tight and circle to the side your head is buried on.

Your goal is to form a "T" and become perpendicular with his body. Once you accomplish that, pop your head out and reach for his far hip to gain control for

your 2pts.

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