In the opening pages of MACHO MAN: THE UNTAMED, UNBELIEVABLE LIFE OF RANDY SAVAGE, author Jon Finkel makes his case as to why he is the only man who sIn the opening pages of MACHO MAN: THE UNTAMED, UNBELIEVABLE LIFE OF RANDY SAVAGE, author Jon Finkel makes his case as to why he is the only man who should write the story of Randy Savage. Already holding an encyclopedic knowledge of Savage's career, when Finkel was finally able to connect with Savage's brother Lanny, Finkel was given the family's blessing thanks to acing a test from The Genius himself.
Like many wrestling biographies focused on a second generation performer, much time is spent on the early days of that first generation wrestler. In this case, it's Angelo Poffo, the father of Randy Savage. Opening with Poffo's attempt to break the world sit-up record, I was hooked right away. Finkel's description of the dogged determination on the part of Angelo, something he would pass down to his son Randy, and the adverse effects on his physical state sent me reeling. Poffo's success in the ring led to the creation of his own promotion, International Championship Wrestling (ICW), the very organization that would give his sons Randy and Lanny their starts between the ropes.
I think the true drawing power of this book is the amount of time and focus that is put on Savage's life and career before his arrival in Vince McMahon's WWF. Finkel went to great lengths to uncover as much as possible with respect to Savage's first passion, baseball, and the lengths Savage went to pursue his dream. To those who are fans of Savage's in-ring work, they undoubtedly are aware of his relentless quest to be perfect between the ropes. What many are not aware of is that Savage approached a career in baseball with the same single-minded obsession to be the best. The sad fact is that while no one would question his drive, he just didn't have the talent to earn a roster spot in the major leagues. One story in particular details Savage's quest to re-learn how to play ball left-handed after an injury to his right arm left him unable to throw.
Once Savage's baseball dreams came to an end, Finkel dove head-first into Savage's meteoric rise inside the squared circle. While it is often said that those who excel in the business are those who put their whole lives into it, I'm not sure I've ever read about anyone so deeply committed as Randy Savage. Could this be attributed to his drive to be the best or a level of insecurity about past failures and a self-imposed need to measure up to the larger-than-life physique and presence each of his peers exhibited? Certainly Finkel's writing about Randy's intense gym schedule and constant jealous tendencies support that.
I will say that I learned a lot about ICW, which has been sort of a blind-spot in my wrestling knowledge. Finkel breaks down its reputation as an outlaw promotion and Angelo's quest for legitimacy against the Jerry Lawler-led Continental Wrestling Association, which was promoting much more successful shows in the same territory. I enjoyed reading about the beef between the two organizations and Savage's unyielding desire to get a match with Lawler despite being largely ignored and not working in the same company.
I imagine it was difficult for Finkel to boil down such a massive career into a little over three hundred pages, but much of Savage's later days in the industry were not as memorable or as important as his early ones, which are covered in great detail. Not much is relegated to his time in WCW, but that should be expected given that the promotion at the time was so chaotic. In my opinion, the only real bright spot during those days was his work with Dallas Page, which Finkel devotes space to. Time and consideration is also spent on Savage's ill-advised hip hop album as well as his brief but memorable appearance in 2002's Spider-Man.
MACHO MAN: THE UNTAMED, UNBELIEVABLE LIFE OF RANDY SAVAGE is a compelling look at one of the industry's most indelible performers. While there is a wealth of information to be mined from Savage's peers, It is certainly a blessing that Finkel was able to connect with Lanny Poffo before his untimely passing in 2023 as I imagine the book would not feel as rich without Lanny's invaluable input....more
Following the success of his two memoirs, SLOBBERKNOCKER and UNDER THE BLACK HAT, Jim Ross returns with BUSINESS IS ABOUT TO PICK UP! 50 YEARS OF WRESFollowing the success of his two memoirs, SLOBBERKNOCKER and UNDER THE BLACK HAT, Jim Ross returns with BUSINESS IS ABOUT TO PICK UP! 50 YEARS OF WRESTLING IN 50 UNFORGETTABLE CALLS.
Beginning in 1974, Ross highlights several of his biggest moments behind the announce table throughout the years. The book spotlights several professional highs like his call of the trilogy of excellent matches between Ricky Steamboat and Ric Flair or the brutal clash between Bret Hart and Steve Austin at WrestleMania 13. He praises Undertaker versus Shawn Michaels at WrestleMania 25 as "the perfect wrestling match" and also mentions how much it meant to him to be one of the few who knew Steve Austin's match with The Rock at WrestleMania 19 was Austin's last match. The book is filled with moments that had me taking a stroll down memory lane in my thirty plus years of being a fan.
JR is not one to sugarcoat things and if anything, this book is brutally honest. Ross understands that with his age, coupled with his numerous health scares, the time left on his clock is much shorter than the time that's already passed. It's a sobering thought to have and one that is often no doubt difficult for many to accept. Ross will be the first person to criticize himself and with his writing here, he pulls no punches. The way in which he details his struggles to stay active and relevant in a business that requires so much of its participants is tough to read at times. The sheer drive he has to stay on the road and contribute to a business he loves when his body is far from cooperative is admirable to say the least, even if any mistake he makes is amplified by social media making his job that much more difficult.
I think that's what makes him such an endearing figure. Ross is an unselfish and giving person in an industry that is populated by ruthless and exploitive people in positions of power. In his memories of his late wife Jan, particularly the chapter about his 2007 induction into the Hall of Fame where he can still picture her sitting in the front row, I couldn't help but feel for the battle he waged against his own self-confidence and his place in the world following her tragic death in 2017. Ross writes with a certain level of emotion and poise about how deeply she is missed not just by himself, but the many performers who stayed at the Ross' home and how Jan was such a force of positivity in their lives.
In light of recent revelations surrounding the abhorrent conduct of Vince McMahon, it was interesting to read JR's thoughts on the women's division in 2004, when Trish Stratus and Lita became the first women to main event an episode of RAW. Prior to today's modern-day wrestler where workrate is paramount, the look and presentation of a wrestler was the most important. Ross writes about Vince's turn from "lady wrestlers" in the 80s and early 90s to what Vince dubbed "athletic tens", where beauty was most important and wrestling acumen became "negotiable". Ross doesn't get too into the weeds here, and I'm not looking to put words into his mouth, but it seems to add more fuel to the fire of Vince's belief that women were moreso objects to be lusted over and not true entertainers.
Ross has been a constant in an industry where turnover is exceptionally high. The volume of criticism he receives for on-air flubs can at times be unfair, but does reflect his own admission that he seems to push himself beyond his limits when the strength required isn't there some days. The fact that this is his third memoir, there is still a hunger for the stories he tells and the insight he continues to provide for an industry that is always evolving....more
Tod Is God tells the life story of ECW founder Tod Gordon.
Tod had been working in his family business, a pawn shop named Carter W. Reed when he bookedTod Is God tells the life story of ECW founder Tod Gordon.
Tod had been working in his family business, a pawn shop named Carter W. Reed when he booked Missy Hyatt to appear in the store. After some time, he grew close with Bob Goodhart, the owner and promoter for TWA (Tri-State Area Wrestling Alliance) and would eventually earn fifteen percent of the company after helping to keep Bob afloat during some tough times. Sadly, the company would fold after Bob's expenses grew too high to be supported by lackluster ticket sales.
Shortly thereafter, Tod would launch his own promotion - Eastern Championship Wrestling. It would go through its initial growing pains before landing a permanent booker in Eddie Gilbert and a spot on local Philadelphia television. After landing on national TV in syndication, Tod would begin to receive attention from Jim Crockett who was in the midst of launching his World Wrestling Network. As Graham grew suspicious of Crockett and Gordon's relationship, his paranoia would ultimately drive Gilbert away clearing the way for the man who would be synonymous with ECW, Paul Heyman.
By now I think we're all aware of Paul Heyman's inability as a businessman to keep ECW afloat as it grew from a northeastern independent promotion into a national one, but I wasn't quite prepared for the receipts Tod Gordon kept when it came to Paul's incompetence. While Gordon never did get into the business to create a competitor to Vince McMahon's WWF or Ted Turner's WCW, at the urging of Heyman the two worked to create a solid third promotion during the industry boom of the late 90s. However, whenever they seemed to have an opportunity to grow (get onto television in the New York market or even a chance to land on HBO), Heyman would kneecap the organization by either neglecting to perform an important job or mislead Gordon into believe things were better than they were.
The better parts of any wrestling book have to do with what goes on behind the scenes and the madness that goes hand-in-hand with performers keeping themselves occupied on long road trips during the downtime between shows. That being said, I thought this book went a bit overboard with the sleaziness and drugs-and-sex culture that ECW fostered backstage. It's hard to fault the author for being honest but at the risk of sounding prudish, I could have done without the constant stories of sexual debauchery that occurred behind closed doors. But hey, if that's what floats your boat in a wrestling memoir, there is more than enough here to sink your teeth into
Gordon spends much of the latter half of the book shining a light on what made several of the company's top performers special. He also brings up the names of several of those who have since passed by telling a few memorable stories of the time he spent with them and detailing the often tragic circumstances surrounding their deaths. It's difficult to read at times when you remember just how young many of these athletes were and how both the brutal drug culture of the industry as well as the relentless schedule often led to early graves.
While many people would believe Tod Gordon had wiped his hands clean of the industry after parting ways with ECW, he has quite an extensive resume beyond Extreme Championship Wrestling. Tod worked with Pro Wrestling Unplugged, 3PW, an MMA venture dubbed Extreme Fight Club, and finally CZW.
While he's no longer in the business, Tod Gordon's influence on the wrestling industry is certainly undeniable and he deserves to be recognized as a driving force behind ECW's popularity. Without Gordon's business acumen, Paul Heyman would not have had a place to freely and liberally showcase his vision of the industry alongside Tod. Wrestling fans who believe Heyman was solely responsible for ECW's success need to take a look at TOD IS GOD to uncover the full story....more
To be honest, before reading this book, I didn’t know much about Keith Franke, aka Adrian Adonis. His rise to the national stage of the WWF and subseqTo be honest, before reading this book, I didn’t know much about Keith Franke, aka Adrian Adonis. His rise to the national stage of the WWF and subsequent passing in 1988 precedes my fandom by a few years and even then, he hasn’t been featured in many of WWE’s documentaries since the advent of DVD box sets and recently, specials on WWE Network. Further to that, I only really knew him as the obese, flamboyant host of The Flower Shop and subsequently, the man who had his head shaved at WrestleMania III giving birth to Brutus “The Barber” Beefcake. Author John Ellul likely realises that many modern-day fans are in the same boat as myself and therefore, tasked himself with uncovering Franke’s early years as well as his pre-WWF career.
Like many from his era, Franke was quite the journeyman, spending time in Mid-Atlantic, Georgia Championship Wrestling, Japan, the WWWF, Don Owens’ Portland territory, NWA Hollywood, the Funk’s Amarillo territory in Texas and many others. Given that he found himself falling into wrestling at an early age, being able to travel all over North America to learn and grow as a performer helped him to establish a reputation as an eager student of the game. Franke refused to overstay his welcome in any one promotion, feeling the urge to move on after seemingly hitting both his creative and performing heights. It’s a far cry from today when performers like Randy Orton spend the entirety of their careers in one promotion. I was particularly blown away by his time in Amarillo where he routinely challenged members of the audience to legitimate fights. The number of ways this could have gone wrong is staggering to say the least, but outside of one occurrence, he handily beat his opponents and kept the cash prize he had offered in exchange for his defeat.
The research here is exhaustive to say the least. Ellul pulls from a variety of sources including the memoirs of many of Adonis’ contemporaries including Terry Funk, “Rotten” Ron Starr, Bret Hart, Bob Backlund, Freddie Blassie, and many others. John also includes excerpts from many “shoot” interviews, magazine articles, documentaries and of course, Franke’s family as well. One surprising note included a reference to a 1983 match against Bob Orton Jr in Joe Blanchard’s Southwest Championship Wrestling that contained commentary from Dave Meltzer and Jim Cornette. At the time of this match, Meltzer notes, it would not be an overstatement to say that next to Ric Flair, Adrian Adonis could be considered the best wrestler in America. It’s a shocking thing to hear given that Adonis is rarely mentioned or showcased by WWE or any other modern promotion.
Devoting a good chunk of Adrian’s story to his long-standing friendship with Roddy Piper helped to really flesh out the importance of their clash at WrestleMania III, arguably the biggest stage Adonis ever worked. The two travelled up and down the highways of North America and shared the spotlight in some of the biggest territories on the map. Their brutal months-long feud that made both performers careers in California consisted of street fights, cage matches and blood baths abound. Interestingly, this was the opposite dynamic of their program in WWF with Adonis playing the scrappy babyface and Piper the ruthless heel. Ellul uncovers the evolution (or devolution depending on how you see it) to the character he is most known for; the bleached-blond, overweight, homosexual stereotype that he portrayed in his final years on a national stage. Looking back, it’s painful to watch given how far we’ve come with openly gay performers working in many of the top companies.
It’s a shame that later in his career, his substance abuse and weight problems hindered his ability to be viewed as a top star despite his overwhelming talent. Near the time of his death, reverting back to the independents with a few options still on the table for a national platform, Franke had dropped over one hundred pounds and looked to turn his life around. Tragically, he would pass away during a small tour of Newfoundland following a horrific car accident. Much of the aftermath is covered here including a story about several ring-hands who attempted to get away with money and personal items from the performers who passed away in the accident, Adrian included.
Much like Liam O’Rourke’s 2018 biography of Brian Pillman (Crazy Like A Fox), John Ellul's FLOWERS FOR ADRIAN is one of the most complete examinations of a performer’s career. I would go so far as to say that Ellul's work could also be considered a history of the territory system between the mid-70s to Franke’s passing in the late 80s; it’s that extensive. This is an easy recommendation to those looking to learn more about a special performer who never quite got his flowers....more
To say that Debrah Miceli’s story isn’t told in a straight line would be an understatement. In the book’s introduction, Miceli notes that she tends toTo say that Debrah Miceli’s story isn’t told in a straight line would be an understatement. In the book’s introduction, Miceli notes that she tends to jump around when telling her life story which she says matches her personality. She tends to bounce back and forth between her wrestling career, her troubled upbringing, and the strained relationships it created as well as the many hats she wore following her time in the wrestling industry around the turn of the century.
Her difficult relationship with her mother Betty is one of constant strain. Debrah equates this to her mother never wanted to be a parent in the first place and throughout the years before Debrah began to form memories, she was told that her mother Betty had tried to give her away on several occasions. Somehow, things would get much worse as Debrah recounts stories of abuse and neglect on the part of her mother and accusations of rape against her stepfather. There is a particularly harrowing account of what would become of a friend of hers that she made through her early years that will likely stick with me for years to come.
In her formative wrestling years, she recounts AWA’s Verne Gagne originally rebuffing All Japan when they asked about booking Debrah for some dates. Gagne was convinced she wasn’t ready. Miceli finally had a match against All Japan performer Chigusa in the United States that endeared her to the Japanese star and led to her traveling to the far East to work for All Japan Women’s Pro Wrestling. Outside of her work in Monster Jam years later, her time in All Japan comes across as the work she is most proud of. Can you blame her? It would take decades before women’s wrestling would be treated with anywhere near the reverence it garnered in Japan.
Much of her time in WWE was one of constant strife and frustration. Vince McMahon had brought her in during the mid-90s to be the face of a revitalized women’s division, but after only a short time, it was clear that only the slightest bit of focus would be placed on her role. She arrived just as The Kliq had Vince’s ear backstage and was among the most powerful group of performers in the industry. Their sophomoric behavior and actions behind the curtain made it difficult for her to navigate the already choppy waters of her role as the division’s prized performer. If you’re familiar with The Kliq’s actions during this time, it’s hard to imagine anything here will shock you, but she does reveal a rather unfortunate and upsetting event that happened during the tail end of her time with the company that had me reeling.
Her final years in wrestling (before her one-match return in 2018 following a WWE Hall of Fame induction) are mind-boggling. Her most infamous moment of dropping the WWE Women’s Championship in the trash during her WCW re-debut is covered, but in the months and years that followed, WCW and Eric Bischoff did not have much of an idea of what to do with her – once again, an exercise in frustration for a performer ripe with talent who had seemingly no way to show it in North America.
One thing I was not expecting to find as interesting as I did was her Monster Jam career. I would consider my interest and knowledge of the world of monster trucks pretty limited to say the least, but reading about the ins and outs of competition, the intricacies of driving (front and rear steering wheels as well as the Lexan floor to help her navigate where she is when leaping over cars) and her struggle to once again make it as a woman in a male-dominated industry.
THE WOMAN WHO WOULD BE KING is at times a very difficult read. Greg Oliver does a great job capturing Debrah’s unique voice and style of storytelling, which is what you want out of an author helping tell your story. Miceli doesn’t pull any punches, calling out just about everyone who had wronged her in the past and made her life difficult. Other than her time with All Japan Women’s Wrestling, it seemed like a constant uphill battle against management to be given a spotlight as an in-ring performer, especially during her later years in WCW and after making the move to Monster Jam....more
Picking up where he finished with his 2006 memoir Controversy Creates Cash, Eric Bischoff, alongside Guy Evans (NITRO: The Incredible Rise and The InePicking up where he finished with his 2006 memoir Controversy Creates Cash, Eric Bischoff, alongside Guy Evans (NITRO: The Incredible Rise and The Inevitable Fall of Ted Turner’s WCW), details his life and career post-WWE from 2007 until the present day.
Following his 2005 exit as RAW General Manager in December, he believed that he was finished with the wrestling industry. After all, by this point, Eric had founded a successful production company several years earlier alongside business partner Jason Hervey and already had several successful reality television projects under his belt. However, when it comes to the wrestling industry, much like the mob, just when you think you get out, you get pulled back in.
In 2009, Hulk Hogan had been contemplating a move to TNA, at the time WWE’s biggest competitor. With Eric having recently pulled Hogan out of both a professional and personal crisis, Hogan did not feel comfortable going in alone requesting that Eric go in with him to help oversee his character. Eric would then negotiate his own deal (being brought in as Bischoff-Hervey Entertainment) alongside Hogan. This would not only lead to Eric becoming an on-screen character, he would also be named an executive producer and begin working on the creative side alongside notorious writer Vince Russo.
Not to take anything away from the rest of the book, but I feel the stories surrounding the corporate structure of TNA during Eric’s tenure are the true strength of the book. This is not surprising given that is exactly what I feel made Guy’s NITRO book so endlessly interesting. Given the real-life drama unfolding in the WWE boardroom at the moment, there continues to be a seemingly insatiable appetite for behind-the-scenes stories and maneuvers. People can lament some of the more puzzling creative decisions that made it to TV during Eric’s time in the driver’s seat (not to imply that he was solely responsible), but Eric shone a spotlight on the mismanagement, lack of vision, and cluelessness on the part of those who ran the business end of TNA is absolutely astounding – especially executives’ institutionalized distrust and general unwillingness to view SpikeTV as a true partner.
The sheer amount of support and help provided and offered by SpikeTV, the television home for iMPACT during Bischoff’s run, was eye-opening. Not only were they spending their own money to foot the bills for the contracts of several of TNA’s top-tier talent (Kurt Angle, Hulk Hogan, Sting, and Eric himself) they had once offered to buy a stake in the company essentially making them partners thus allowing for airtime security moving forward. Dixie Carter, then owner, declined, which would be responsible for years of instability in finding a stable home for the promotion.
While Eric offers insight into the wrongdoings in the executive arm of TNA, he makes it crystal clear that he wanted absolutely nothing to do with the business and financial end of the company’s operations. It almost seemed like avoiding landmines behind the scenes as Dixie Carter had tried to pull Eric into the boardroom on a few occasions.
That being said, it’s not all negativity when it comes to his years in TNA. Eric discusses the true joy of working alongside his son Garrett as well as being proud of the Aces & Eights storyline that began in June 2012 and would ultimately reach its culmination in March of 2013 – at the time an eternity for a single angle to play out in an era when it seemed that patience was truly a virtue.
Beyond that, Eric details several of his business ventures, some successful and others not so much. Admittedly, Eric’s attraction to taking big risks would ultimately lead to Bischoff declaring bankruptcy at 62 years old. I found this to be truly shocking having had no idea he had been dealing with such financial strain. He pulled himself out and with the wildly successful podcast he began with Conrad Thompson, 83 Weeks, he’s rebuilt his life and paid back his debts.
He briefly touches on his return to WWE in 2019 when he was appointed to oversee anything that touches Smackdown with Paul Heyman in the same role for Monday Night RAW. I only say briefly as we all know that it was very short-lived with Eric vacating the role only a few months later. Just like with Brian Gewirtz’s book, the chaos described in working under Vince McMahon is something I cannot imagine many people wanting to do for long.
I should mention, one thing that absolutely sets this book apart from other wrestling memoirs is that co-author Guy Evans included QR codes at the conclusion of each chapter sending the reader online for bonus content. The majority of the additional content is in the form of shorter (10-15 minute) interviews that are hosted on YouTube. Evans catches up with Eric’s children (Garrett and Montanna), his wife Lorree, Lex Luger, Conrad Thompson, and many others.*
GRATEFUL does not overstay its welcome, to say the least. The chapters are brief and the book itself comes in at under three hundred pages. That isn’t to say Eric isn’t introspective or offers much in the way of detail surrounding the previous fifteen years, but there isn’t any fluff or padding here either. If you had read and enjoyed Eric’s prior release, I would recommend his follow-up.
*Bonus content for Chapters 6 through 8 was not available at the time of this review....more
CRAZY IS MY SUPERPOWER is the memoir of retired professional wrestler AJ “AJ LEE” Mendez-Brooks.
I want to say straight off the bat that if you’re expeCRAZY IS MY SUPERPOWER is the memoir of retired professional wrestler AJ “AJ LEE” Mendez-Brooks.
I want to say straight off the bat that if you’re expecting a comprehensive look at AJ’s in-ring career, you’re not going to get that here. Although AJ’s time as a wrestler was relatively short (2007-2015), she does not spend the majority of the book going over the ins-and-outs of her time in the squared circle. Instead, AJ focuses on her early life and all the twists and turns that led to WWE.
Although I expected a wrestling book first and foremost, I cannot say enough about her resilience, determination and never-say-die attitude. Just how she was able to reach the heights that she did given her upbringing is absolutely mind-blowing. As a child, AJ had a completely chaotic home-life often having to go from apartment to apartment when rent money could not be found. If not an apartment, the family of five would end up in dingy motels and hotels and even resorted to sleeping in the family car. If that wasn’t bad enough, her parents struggled with drug addiction and her mother would eventually be diagnosed with bipolar disorder, an explanation for her abusive behavior throughout AJ’s youth.
Once we get to her days as a member of the WWE roster, things get a bit dicey. While there were some fun moments expanded upon during her days working with her best friend Celeste Bonin (aka Kaitlyn) and her blossoming relationship with current husband and fellow pro wrestler CM Punk, things feel really rushed and unfocused.
AJ Lee’s story is an empowering and inspiring one. We all have hard times in our lives and sometimes it helps to read about someone who has struggled, beaten the odds and come out on top....more
Following the success of his book, Too Sweet: Inside the Indie Wrestling Revolution, author Keith Elliot Greenberg already had a sequel in mind. HavinFollowing the success of his book, Too Sweet: Inside the Indie Wrestling Revolution, author Keith Elliot Greenberg already had a sequel in mind. Having covered the movement that had set the table for Tony Khan's All Elite Wrestling in his last book, Greenberg wanted to write about what was to be one of the most transformative years for the wrestling industry in decades in 2020.
Like many others, what he didn't expect was the arrival of a global pandemic that would all but halt the entertainment world. Would there even be a wrestling industry to cover? Surely, a form of entertainment that required athletes to breathe, sweat and roll around in close proximity would be off the table? Looking back, at the time, nothing could stop Vince McMahon, so it's not surprising that WWE continued producing new content. For a young, upstart company in AEW, it's unlikely they could have survived had they not pushed forward. So on they went with programming and the fulfillment of lucrative television contracts.
It would be almost impossible to cover wrestling in 2020 without also covering everything else that went down that year. Greenberg recounts the political turmoil that gripped the United States as well as the rise of social justice movements like Black Lives Matter; instances that had a direct impact on the industry. Whether it be polarizing opinions on the murder of George Floyd or controversial beliefs surrounding COVID vaccines, all aspects of 2020 would find their way into the industry.
Before Greenberg gets on the road traveling to indie shows again in the summer of 2020, he writes about the difficulties WWE had in creating an enjoyable atmosphere for their television audience. With the company's flagship show WrestleMania restricted to essentially personnel only, the viewer had to get over the deafening silence that plagued the action in the ring. In an attempt to fix that, they tried a distanced and masked audience, but were unable to control outbreaks. On the other channel, AEW filled its stands with wrestlers who helped to create a more lively atmosphere. With WWE eventually settling on an environment full of virtual fans on video boards complete with piped in audio, was AEW's direction the right way to go? It's hard to say, but I personally feel the minimal live crowd was the more palatable experience.
I found the most interesting parts of the book dealt with Greenberg's travels to indie promotions that tried to run shows in a pandemic world. They didn't have the huge budgets that the bigger companies carried which allowed for increased testing and therefore had to look at other options. One of the first out of the gate was GCW, who staged outdoor performances with strict distancing and masked requirements. Greenberg also traveled to Illinois to take in a show by Warrior Wrestling, another outdoor venture.
Putting aside the fan experience for a moment, Greenberg also looked at the wrestler's job. How do you adjust from performing a purely spectator sport with no spectators? You're trained to feed off the crowd and the energy in the building. In speaking with Trey Miguel, Greenberg noted that Trey had to "retrain himself". Miguel noted that the performers had to give each other pep talks and "feeding to the camera like you'd feed to the crowd."
Likely the lasting legacy of the pandemic will be the advent of the "cinematic match". Having more in common with a Hollywood fight scene than a wrestling match itself, performers would be filmed fighting in a variety of locations such as old warehouses, empty football stadiums, graveyards, swamps and even wrestling rings. While some were more creative than others (the Firefly Funhouse match comes to mind), there are others that were downright confusing and sloppy. In a match that took place inside WWE headquarters, one wrestler would seemingly murder his opponents by throwing them off the seven-story office building. Greenberg notes that concerned fans had called the police believing they had just seen two men die.
You're also asking these performers - human beings - to go out there and put themselves in harm's way. Greenberg notes of a specific instance where WWE performer Kevin Owens took a sabbatical following the death of his wife's grandfather from Covid. He did not want to put his family further at risk. When Vince McMahon was trying to figure out a way to curb outbreaks, it was Owens who would give Vince the idea to mandate masks with those who did not follow the mandate receiving a hefty fine.
To be honest, when I first heard that this book was being released, I thought that maybe it was too soon. Although we've taken steps as a society to try and live with the disease, we're still very much within the pandemic. Having just recovered from it myself, it is no joke. But having read the book, there is so much I didn't know despite the constant deluge of news that seemed to flow out of the wrestling world during this period. Like Greenberg's 2020 release, TOO SWEET, he has produced another fascinating look at a business that has had to adapt over and over again over the years, with 2020 being no exception. Greenberg notes, "on this, most industry observers agree: 2020 was supposed to be the best year to be a wrestling fan in a very long time. To be honest, I'm still not sure it wasn't."...more
In There's Just One Problem, former WWE head writer Brian Gewirtz tells of a contentious meeting with Vince McMahon that ultimately soured their then In There's Just One Problem, former WWE head writer Brian Gewirtz tells of a contentious meeting with Vince McMahon that ultimately soured their then decade-plus working relationship. With RAW taking place in Miami that night, Brian pitched a line surrounding Dwayne Wade, then superstar player for the NBA's Miami Heat, for The Miz to use to rile up the local crowd. Unaware of who Dwyane Wade is, Vince dismissed the line essentially saying that because Vince himself isn't aware of who Dwayne Wade is, then no one else would be.
Gewirtz points out that seeing as RAW's ratings very much move up and down like a cork in the ocean during the NBA playoffs, that the audience more than likely is aware of one of basketball's best players. The end result was a screaming match in which both parties felt disrespected. This specific situation would lead Brian to reconsider his role as a WWE-lifer, and maybe see what else is out there. But how exactly did it get to that point? Why was a guy with a tenure of eleven years to that point still struggling to have his opinion heard?
While Gerwitz had always been a life-long wrestling fan, he was one of the first staff writers to come to WWE from Hollywood. Gewirtz had spent some time as a staff writer on the short-lived 90s sitcom Jenny, a vehicle for the then uber-popular Jenny McCarthy, and the MTV show Big Wolf on Campus.
While his Hollywood credentials may have endeared him to management, they bought little respect with the boys in the locker room. Having to essentially navigate two political systems (management and workers) was a full-time job in and of itself. You couldn't get too close to any one performer lest you wanted to appear as if you had favorites. One such occasion is told in detail involving Gewirtz taking a trip to "wrestler's court" (a mock trial in which one wrestler is accused of something by another backstage: usually a rookie running afoul of a veteran) when Gewirtz was accused of favoring Edge and Christian after Gewirtz was seen accepting a gift in what others assumed was in exchange for more television time.
Brian was working behind the scenes in WWE and ended up getting close to one performer in particular in The Rock. There are more than a few stories detailing Gewirtz contributing to some of Rock's most memorable moments in the early 2000s. His friendship and working relationship with Dwayne Johnson would both make him an invaluable member of the writing team but also would help open doors for him in Hollywood years down the road. With Gewirtz now a part of the time making Johnson's NBC show, Young Rock, Brian has been able to seek more creatively fulfilling rolls outside of the WWE grind.
The truly fascinating moments in this book involve Vince McMahon. With all the recent news surrounding the former CEO of WWE, Gewirtz' peak behind the curtain shows just how endlessly challenging it was working for a man who always insists he is right. While there are a few stories collected in here that have certainly made the rounds over the years (having to completely rewrite shows from the ground up at the drop of a hat), there are others that will make your head spin. If you're a life-long watcher of WWE, you're likely well aware of Vince McMahon's penchant for toilet-humor (vomiting, farting, etc). In one of his first meetings with Brian, Vince told him that WWE "doesn't do comedy, we do humor" and that "there's nothing funnier than someone stepping in dogshit. If I could, I'd write a whole show on peopling stepping in dogshit, I would." Speaks volumes for what we've seen on TV for decades.
Vince always encouraged Brian to fight for his ideas but if he ever had a disagreement with Vince himself, Brian would never win, which is what ultimately damaged their working relationship. Brian knew he couldn't win in an argument based around what should or shouldn't be on television, but even after years and years of loyal service, Vince still would only listen to himself and if he didn't get what Brian presented, it didn't go on the show. I can only imagine how frustrating this can be for someone who knows the product inside and out and has proven time and time again to be of considerable value.
To the best of my knowledge, this may be the first book written by a former head writer within WWE. As expected, the job is not an easy one and operating under a man with a work ethic the likes of Vince McMahon is a job that can only be done by select few individuals. With Brian having worked strictly as a writer and with no in-ring experience, THERE'S JUST ONE PROBLEM intends to give the reader a fascinating look at how just one aspect of the WWE machine operates, but ends up showing much more....more
In 2019, Moxley shocked the world by showing up at the conclusion of the main event of AEW’s first show, Double or Nothing, attacking Kenny Omega and In 2019, Moxley shocked the world by showing up at the conclusion of the main event of AEW’s first show, Double or Nothing, attacking Kenny Omega and Chris Jericho. But, how did he get there? Why did one of WWE’s biggest stars walk away from millions only to sign with an unproven upstart company in AEW? Well, it’s a bit of a long story and in his new book, MOX, Moxley tells of his unconventional rise to prominence and the subsequent frustrations that led to him looking for an escape out from inside Vince McMahon’s wrestling empire.
Getting his start under the tutelage of Les Thatcher and Cody Hawk through Cincinnati’s Heartland Wrestling Association (HWA) in the early 2000s, Moxley would find himself traveling the US independent scene gaining experience under various promotions including IWA, Dragon Gate USA, and most notably CZW, where he would nurture his love and appreciation for death match wrestling. Moxley tells several harrowing stories about his time in CZW including being booked on the 2009 Tournament of Death card in which Nick Gage nearly lost his life following a light tube spot that went horrifically wrong.
Moxley speaks about signing his developmental deal with WWE in early 2011 and his time spent in FCW (Florida Championship Wrestling) establishing white-hot programs with both Seth Rollins and later, William Regal. His frustrations with the creative process were nothing new by the time he had decided to leave in 2019 given his nearly year-long period on the bench in 2012 prior to being hooked up with Seth Rollins and Roman Reigns to form The Shield.
While Moxley does not have an ax to grind per se, his frustrations with WWE and how it is run were key factors in his decision to leave in 2019. He isn’t completely bitter about his time there, but his gripes are more than fair. Having to walk on eggshells in his early days where the slightest turn of phrase could get you in trouble with the wrong people and the games in which those powerful people play could lead to a constant state of unease for any performer. Despite all the success he achieved, the negatives would outweigh the positives. A disastrous heel turn in late 2018 would push him out the door at the end of his contract the following April. Moxley could have elaborated more on his frustrations about the angle, but if you were watching the programming at the time, it wouldn’t be hard to see for yourself just how bad it was.
There isn’t a lot in here about his time in AEW if you’re looking for insight into his nearly year-long title reign. He speaks candidly about his work with Brodie Lee surrounding their title program at 2020’s Double or Nothing, and the awful conclusion to the Exploding Barbed Wire Death Match with Kenny but nothing really about his programs with MJF or Eddie, which I would have liked.
The book itself isn’t presented in a linear fashion, with stories and moments from Jon’s career told out of order. That being said, it still flows well and is easily digestible given that it’s written in more of a conversational style rather than a blow-by-blow retelling of Moxley’s career through the eyes of a ghostwriter or third party. That works for most of the book, but there were other moments where it felt forced and grating. While it may have been of interest to some people, I could have done without the chapter breaks made up of Jon’s favorite movies, albums, and even one consisting of how to construct the perfect sandwich.
MOX is a good read that offers a peek into the mind of a performer who would easily fit in in just about any era in wrestling’s past let alone where he currently is in the present. I would have liked a bit more depth, but I would still recommend giving it a read if you’re even slightly curious.
In an episode of the third season of Vice's critically acclaimed series, The Dark Side of the Ring, Atsushi Onita's hyper-violent Japanese promotion FIn an episode of the third season of Vice's critically acclaimed series, The Dark Side of the Ring, Atsushi Onita's hyper-violent Japanese promotion FMW is profiled. In that particular episode, ECW alumni Sabu tells of a match where he teamed alongside his uncle, Ed "The Sheik" Farhat, against the promotion's founder, Atsushi Onita and Tarzan Goto. During the match, things took a horrific turn resulting in The Sheik barely escaping with his life having suffered third degree burns.
This match took place nearly forty-three years after The Sheik's debut. So, why was one of wrestling's most successful performers risking life and limb at sixty-six years of age? Author Brian Solomon looks at the totality of the career of one of wrestling's most legendary promoters and wrestlers both inside and outside of the ring in BLOOD AND FIRE: The Unbelievable True Story of Wrestling's Original Sheik.
Before getting into the meat and potatoes of The Sheik's career, Solomon gives the reader a detailed history of what would become The Sheik's home turf during the bulk of his career, Detroit, Michigan. I'd like to consider myself somewhat knowledgeable when it comes to the territory system but Detroit has remained a blind spot throughout my time as a wrestling fan. Promoter Nick Londes is discussed as he controlled Olympia Stadium - the 15,000+ seat arena in Detroit that housed the NHL's Detroit Red Wings. But he had a rival in Adam Weissmuller - a former welterweight wrestler who after a long career, transitioned into pro-wrestling promotional work. While Weissmuller would ultimately win the war, his victory would be short-lived as he would pass away shortly thereafter. His successor would lose to another adversary in Harold Lecht (Light) who would go on to create Big Time Wrestling, a name that would be synonymous with the Motor City.
Solomon gives a lot of background into Sheik's life before wrestling by spotlighting his brief time as a member of the armed forces. Sheik had been drafted into the US Army during the Second World War shortly after turning eighteen (although he did try enlisting earlier but had been rebuked). While he saw action in Europe, he arrived shortly before Germany's surrender and had been sent home during the US bombing of Japan. However, during his time in the Forces, Farhat dabbled in amateur wrestling making quite the name for himself by winning several tournaments.
Ed would be discovered by one of the aforementioned Harold Lecht's right hand men in Bert Ruby - an active performer and talent booker. While he was able to get experience working on the undercard, it wasn't until pro wrestling and television went hand-in-hand that Farhat exploded in popularity. The demand for over-the-top colorful characters went hand-in-hand with the advent of pro wrestling on television. Through several iterations, Farhat came up with The Sheik of Araby.
Around the same time, the NWA had been founded, which made talent exchanges easier than ever. Through the NWA's territory system, Farhat was able to travel all over the United States to work in several of the nation's top promotions, thus expanding his reach as an in-demand performer as well as gaining experience by working different styles with a wide variety of opponents producing legendary rivalries with Bruno Sammartino in New York, Dory Funk in Texas, Billy Watson in Toronto and Freddie Blassie in California just to name a few.
As this book is as much a biography of The Sheik as it is a history of the Detroit territory, you get the inside story of the battle between Lecht and upstarts Jim Barnett and Johnny Doyle. Barnett and Doyle would eventually wrestle control of the territory away from Lecht but a scandal would soon drive Barnett halfway around the world to Australia. This allowed Farhat to strike a deal with the pair and take over ownership of the territory for a tidy sum of $50,000.
Solomon goes on to explain how Farhat managed to be the exception to the rule in how heels were commonly presented in the 1950s and 1960s. Given that he was his own top draw, Farhat would book himself over any top star that began to pick up steam in the territory, keeping all the heat and glory for himself. Unfortunately, this would lead to irreversible damage to both his brand as both a performer and promoter down the road.
Although Sheik could easily have rested on his laurels and become a full time promoter, the lure of the spotlight became too much as he would find himself in Japan. Brought over by Giant Baba in 1973, Sheik would work for All Japan as a challenger for Baba's Pacific Wrestling Championship. In the years that followed, Sheik would work in All Japan's Tag League teaming with a variety of partners - most notably Abdullah the Butcher. Abby and Sheik would having an on-screen falling out that led to a match so violent, it would not air on Japanese TV.
While success was rising in Japan, business was dwindling in the US. Many of Sheik's poor business practices were beginning to catch up with him. A prolonged run on top where he would extinguish the heat garnered by any other performer coupled with his reluctance to ever lose and relinquish the top spot would eventually hurt attendance. He also did himself no favors with the other wrestlers by continuing to offer laughable payoffs leading to drying out the talent pool from which to book performers. A gallbladder surgery led to a reliance on pain pills, a growing addiction that would spiral out of control into harder drugs like cocaine and heroin. If that wasn't bad enough, Sheik would find himself in the grips of a gambling addiction that would obliterate his personal savings. Coupling drug dependancy with business being down, Farhat would end up wrestling far longer than required. Given that he could not so what he once could as a younger man, Farhat would rely on smoke and mirrors and ultra-violent matches taking the place of athleticism, leading to close calls like the no-ropes, barbwire fire match mentioned earlier.
Author Brian Solomon notes that Farhat was known for keeping the true nature of the wrestling business incredibly close to the vest. Much of what he told others was in keeping with kayfabe, so it was difficult at times to know what was and what wasn't true. Solomon also noted that while he did not have a lot of help from The Sheik's immediate family, he goes to great lengths to explain how he came across certain information and where the waters were more or less muddy.
Like many biographies of those from this era, BLOOD AND FIRE tells of both the types of soaring highs and crushing lows that can seemingly only go hand in hand with the wrestling business. While many fans may only know of The Sheik as the trainer for both Sabu and Rob Van Dam, he has a fascinating story all his own....more
Gary Hart’s My Life in Wrestling is the white whale of wrestling memoirs. Long since out of print, hardcover copies go easily for over a grand on the Gary Hart’s My Life in Wrestling is the white whale of wrestling memoirs. Long since out of print, hardcover copies go easily for over a grand on the secondary market. Given that I was never, ever going to pay that much for any book let alone this one, I just assumed I would never get a chance to read one of wrestling’s great books. Then, out of the blue, a friend messaged me to let me know he had a copy I could borrow and we were off to the races.
Gary Hart is a man who – albeit for one night – spent his entire career outside of Vince McMahon’s WWF, so that alone immediately attracted me to his story. It’s not often you get to experience the life story of someone involved in the wrestling business who did not work for Vince – especially during the 80s where seemingly every man and woman jumped ship from their respective promotions to be a part of McMahon’s growing empire.
Beginning as a wrestler, Gary made his way around the territorial system in the 1960s before he would eventually settle into an on-screen managerial role. This is where Gary would find his true passion in the wrestling business. Gary would create characters and use those characters to develop talent who could then work all over the United States and beyond. Gary is credited with introducing and developing such legendary characters as Pak Song Nam, The Spoiler, The Great Kabuki, The Great Muta, The One Man Gang, King Kong Bundy, Gino Hernandez, The Ultimate Warrior, Al Perez, and a veritable rogue’s gallery of villains.
While Gary’s work as a manager and talent developer would already be enough to secure a spot in any wrestling Hall of Fame, his legacy as the booker (or match-maker) for Fritz Von Erich’s Dallas territory is arguably his finest work. WCCW (World Class Championship Wrestling) as it came to be known, was one of the hottest promotions outside of the World Wrestling Federation in the mid-80s. It’s credited with introducing entrance music to go along with wrestler introductions as well as off-site recorded vignettes used to further expand on rivalries and character work.
Gary talks about his work in positioning Fritz’s sons (the Von Erich boys) as must-see talents who would draw thousands to shows every week. His landmark storyline involving The Von Erichs against The Fabulous Freebirds would go on to carry the promotion for years after Gary had left to work for Jim Crockett Promotions in the Carolinas.
Gary certainly has no shortage of things to talk about – both triumphant and tragic – but the one thing that puts the book above so many other wrestling memoirs is that you really get a feel for Gary’s voice. Hart isn’t here to pull punches or save face – if he didn’t like you or thought an idea was of little value, he is not shy about letting you know. He doesn’t spend the whole book trashing people but he certainly has an axe to grind regarding a few prominent figures. While Gary is certainly not alone is his disdain for wrestling journalist Dave Meltzer, his hatred for Sting completely threw me for a loop as Sting is generally a guy not many people seem to have a negative thing to say about.
I am so happy that I was able to read Gary Hart’s book. I worried that it could not possibly live up to the hype and that ultimately, I would be disappointed. Like the long-lost match between Bret Hart and Tom MaGee that was unearthed a few years ago. It was almost better left to your imagination. That is not the case here. Gary Hart’s My Life In Wrestling has a permanent spot in my upper-echelon of wrestling memoirs....more
In 2019, Nick and Matt Jackson, alongside several of their friends and peers, as well as American businessman Tony Khan, founded AEW (All Elite WrestlIn 2019, Nick and Matt Jackson, alongside several of their friends and peers, as well as American businessman Tony Khan, founded AEW (All Elite Wrestling), a new and exciting competitor to the monopolistic WWE in the United States. However, the duo weren’t always the trendsetting disrupters they came to be in recent years, they had to start at the very bottom. YOUNG BUCKS: KILLING THE BUSINESS FROM THE BACKYARDS TO THE BIG LEAGUES is the story of how the two Jackson brothers rose through the ranks and went from undesirable to undeniable.
The book spends considerable time on how they both came up in the business as self-taught backyard wrestling performers before receiving legitimate training through a promotion in Southern California. From there, Nick and Matt remained focused on establishing themselves as a tag team first and foremost forgoing any ambition of becoming singles stars. The Jacksons write at length regarding their difficulties in getting attention from Vince McMahon’s WWE due to their size and boyish looks. They also dig into their frustrations working under promoters and writers who were always looking to split them up and move them away from tag team wrestling.
It wasn’t until they were on the verge of quitting wrestling altogether in 2011 that they changed their approach to the business itself and used the criticisms they frequently received as fuel for becoming intentionally obnoxious performers. If people believed they were disrespectful, put too much elaborate choreography in their matches, or overused certain moves and ideas, they decided they would lean harder into what many had considered their faults. This drastic change in attitude led to fans all over the world embracing them as favorites while also paying top dollar for truckloads of merchandise. This allowed Matt and Nick to create a career in wrestling that no longer required them to seek the approval of the biggest wrestling promotion in the world.
Before reading this book, I wouldn’t have considered myself knowledgeable when it came to the careers of Nick and Matt given that I hadn’t watched much wrestling outside of WWE until about maybe five years ago. It was interesting getting to learn the ups and downs of life on the modern-day independent scene as well as the massive success the two enjoyed while a part of New Japan Pro Wrestling throughout the 2010s. I would have liked more about the formation of AEW, but the promotion is still young, so there will be lots of time for that. While I’m more in favor of wrestlers waiting until their careers are either over or mostly winding down, Nick and Matt have been wrestling in some form or fashion for over twenty years and had a wealth of material to pull from allowing them to produce an engaging, yet brief, memoir....more
The Glorious Wrestling Alliance has hit a crisis point. Their champion, The Great Carp, is struggling with depression when outside of the squared circThe Glorious Wrestling Alliance has hit a crisis point. Their champion, The Great Carp, is struggling with depression when outside of the squared circle. Gravy Train, a wrestler shaped like a bowl of gravy, is tired of his gimmick and wants a radical change. Death Machine, GWA’s most aggressive grappler, wants time to focus on his deeply personal poetry and Miranda Fury, their underutilized female performer, is tired of being overlooked by management. Speaking of management, company matchmaker Ricky Lovett Jr. has the weight of his father’s success on his shoulders as he struggles to keep GWA afloat.
Josh Hicks’ completely original take on the wrestling industry is filled with all too familiar problems that have plagued performers and promoters alike for generations. With the GWA battling to maintain relevancy, and most importantly cash flow, the roster is constantly clashing with one another – as well as their own insecurities – when fighting for spots on the card as well as character growth. With Glorious Wrestling Alliance, Hicks is able to weave deeply personal issues with over-the-top comedic characters in an effort to create something truly unique.
As with most graphic novels and comic books, a lot hinges on the quality of the artwork. Josh’s style pops off the page with color and flash as well as a quirky style that feels reminiscent of Adventure Time or even Canadian cartoonist Kate Beaton. I appreciated his approach to drawing some of the bigger and bulkier athletes showcasing physiques, not unlike 1980s big-man The Warlord. There were definitely many Scott Putski award winners among the bunch if Post Wrestling had nominations to hand out.
Anxiety, dread, and the impossible are all things that you could easily find in any wrestling promotion or memoir, but Glorious Wrestling Alliance is one that seamlessly blends them all into an effortlessly digestible journey through the absurd....more
Gary Michael Cappetta is one of my all time favorite announcers. His voice and delivery is ingrained in my love of old-school WCW/NWA wrestling. He's Gary Michael Cappetta is one of my all time favorite announcers. His voice and delivery is ingrained in my love of old-school WCW/NWA wrestling. He's one of the best.
However. This is, without a shadow of a doubt, one of the most boring wrestling memoirs I have ever read. I feel like more time was spent on just explaining things that happened during the time frame in which GMC (Gary Michael Cappetta) was an active announcer rather than his experiences.
Even when GMC tells stories, they are the most banal and forgettable stories imaginable.
It has been a long, long time since I've 1-starred a book on Goodreads, but I was actively angry while reading this one....more
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