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Donald Trump Shoots the Match1 Sharon Mazer
Donald Trump Shoots the Match1 Sharon Mazer The day I realized it can be smart to be shallow was, for me, a deep experience. —Donald J. Trump (2004; in Remnick 2017:19) I don’t care if it’s real or not. Kill him! Kill him! 2 He’s currently President of the USA, but a scant 10 years ago, Donald Trump stepped into the squared circle, facing off against WWE owner and quintessential heel Mr. McMahon3 in the “Battle of the Billionaires” (WrestleMania XXIII). The stakes were high. The loser would have his head shaved by the winner. (Spoiler alert: Trump won.) Both Trump and McMahon kept their suits on—oversized, with exceptionally long ties—in a way that made their heads appear to hover, disproportionately small, over their bulky (Trump) and bulked up (McMahon) bodies. As avatars of capitalist, patriarchal power, they left the heavy lifting to the gleamingly exposed, hypermasculinist bodies of their pro-wrestler surrogates. McMahon performed an expert heel turn: a craven villain, egging the audience to taunt him as a clueless, elitist frontman as he did the job of casting Trump as an (unlikely) babyface, the crowd’s champion. For his part, Trump seemed more mark than smart. Where McMahon and the other wrestlers were working around him, like ham actors in an outsized play, Trump was shooting the match: that is, not so much acting naturally as neglecting to act at all. He soaked up the cheers, stalked the ring, took a fall, threw a sucker punch, and claimed victory as if he (and he alone) had fought the good fight (WWE 2013b). -
The Popular Culture Studies Journal
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 1 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor Kevin Calcamp Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Wrestling” by Brent Jones © 2018 Courtesy of https://openclipart.org EDITORIAL ADVISORY BOARD ANTHONY ADAH FALON DEIMLER Minnesota State University, Moorhead University of Wisconsin-Madison JESSICA AUSTIN HANNAH DODD Anglia Ruskin University The Ohio State University AARON BARLOW ASHLEY M. DONNELLY New York City College of Technology (CUNY) Ball State University Faculty Editor, Academe, the magazine of the AAUP JOSEF BENSON LEIGH H. EDWARDS University of Wisconsin Parkside Florida State University PAUL BOOTH VICTOR EVANS DePaul University Seattle University GARY BURNS JUSTIN GARCIA Northern Illinois University Millersville University KELLI S. BURNS ALEXANDRA GARNER University of South Florida Bowling Green State University ANNE M. CANAVAN MATTHEW HALE Salt Lake Community College Indiana University, Bloomington ERIN MAE CLARK NICOLE HAMMOND Saint Mary’s University of Minnesota University of California, Santa Cruz BRIAN COGAN ART HERBIG Molloy College Indiana University - Purdue University, Fort Wayne JARED JOHNSON ANDREW F. HERRMANN Thiel College East Tennessee State University JESSE KAVADLO MATTHEW NICOSIA Maryville University of St. -
The Universe of the Wwe!
At first glance, this world seems quite similar to yours. Tech's at a pretty normal level (for humanity, anyway) and you're beginning to question whether or not you ended up back home. Next thing you know, you're getting a tap on your shoulder. Holy shit, that's Vince McMahon, with a contract for you to sign! Which means that this must be… THE UNIVERSE OF THE WWE! That's right- You're going into a realm where every bit of fluff, every backstory, every cheesy legend has been brought to an equally cheesy life. No scripts here- everything is real. The grudges, the personalities- all of it is 100% unfaked. Even the world outside of wrestling is very similar to what you'd find in the ring, similar to what you'd expect to find in an '80s action movie. You're going to get in the ring with some of wrestling's greatest legends- But will you be getting in the ring with Hulk Hogan or the rock? Or maybe you'll be standing toe to toe with Roman Reigns? Or maybe you mean to go back to the early 60s, back when it was still the National Wrestling Alliance, and help Vince McMahon sr. create the WWE? Let's find out. Roll 1d4 to find out what year you start in, or pay 100 CP to choose freely. 1: 1960: The beginning of the WWE. In 3 years, Buddy Rogers will lose the title of the National Wrestling Alliance in a bad match, and in protest, Vince McMahon Sr. -
Wwe Q3 2018 Results – October 25, 2018 Forward-Looking Statements
WWE Q3 2018 RESULTS – OCTOBER 25, 2018 FORWARD-LOOKING STATEMENTS This presentation contains forward-looking statements pursuant to the safe harbor provisions of the Securities Litigation Reform Act of 1995, which are subject to various risks and uncertainties. These risks and uncertainties include, without limitation, risks relating to: entering, maintaining and renewing major distribution agreements; WWE Network (including the risk that we are unable to attract, retain and renew subscribers); our need to continue to develop creative and entertaining programs and events; the possibility of a decline in the popularity of our brand of sports entertainment; the continued importance of key performers and the services of Vincent K. McMahon; possible adverse changes in the regulatory atmosphere and related private sector initiatives; the highly competitive, rapidly changing and increasingly fragmented nature of the markets in which we operate and greater financial resources or marketplace presence of many of our competitors; uncertainties associated with international markets; our difficulty or inability to promote and conduct our live events and/or other businesses if we do not comply with applicable regulations; our dependence on our intellectual property rights, our need to protect those rights, and the risks of our infringement of others’ intellectual property rights; the complexity of our rights agreements across distribution mechanisms and geographical areas; potential substantial liability in the event of accidents or injuries occurring -
WWE Q2 2017 RESULTS – JULY 27, 2017 Forward-Looking Statements
WWE Q2 2017 RESULTS – JULY 27, 2017 Forward-Looking Statements This presentation contains forward-looking statements pursuant to the safe harbor provisions of the Securities Litigation Reform Act of 1995, which are subject to various risks and uncertainties. These risks and uncertainties include, without limitation, risks relating to: WWE Network (including the risk that we are unable to attract, retain and renew subscribers); major distribution agreements; our need to continue to develop creative and entertaining programs and events; the possibility of a decline in the popularity of our brand of sports entertainment; the continued importance of key performers and the services of Vincent K. McMahon; possible adverse changes in the regulatory atmosphere and related private sector initiatives; the highly competitive, rapidly changing and increasingly fragmented nature of the markets in which we operate and greater financial resources or marketplace presence of many of our competitors; uncertainties associated with international markets; our difficulty or inability to promote and conduct our live events and/or other businesses if we do not comply with applicable regulations; our dependence on our intellectual property rights, our need to protect those rights, and the risks of our infringement of others’ intellectual property rights; the complexity of our rights agreements across distribution mechanisms and geographical areas; potential substantial liability in the event of accidents or injuries occurring during our physically demanding events -
Wwf Raw May 18 1998
Wwf raw may 18 1998 click here to download Jan 12, WWF: Raw is War May 18, Nashville, TN Nashville Arena The current WWF champs are as follows: WWF Champion: Steve Austin. Apr 22, -A video package recaps how Vince McMahon has stacked the deck against WWF Champion Steve Austin at Over the Edge and the end of last. Monday Night RAW Promotion WWF Date May 18, Venue Nashville Arena City Nashville, Tennessee Previous episode May 11, Next episode May. Apr 9, WWF Monday Night RAW 5/18/ Hot off the heels of some damn good shows I feel that it will continue. Nitro is preempted again and RAW. May 19, Craig Wilson & Jamie Lithgow 'Monday Night Wars' continues with the episodes of Raw and Nitro from 18 May Nitro is just an hour long. May 21, Monday Night Raw: May 18th, Last week, Dude Love was reinvented as a suit-wearing suit (nice one, eh?) and named the number one. Monday Night Raw May 18 Val Venis vs. 2 Cold Scorpio Terry Funk vs. Marc Mero Disciples of Apocalypse vs. LOD Dude Love vs. Dustin Runnells. Jan 5, May 18, – RAW: Val Venis b Too Cold Scorpio, Terry Funk b Marc Mero, The Disciples of Apocalypse b LOD (Hawk & Animal), Dude. Dec 22, Publicly, Vince has ignored the challenge, but WWF as a whole didn't. On Raw, Jim Ross talked shit about WCW for the whole show. X-Pac and. On the April 13, episode of Raw Is War, Dude Love interfered in a WWF World On the May 18 episode of Raw Is War, Vader attacked Kane during a tag . -
Robschambergerartbook1.Pdf
the Champions Collection the first year by Rob Schamberger foreward by Adam Pearce Artwork and text is copyright Rob Schamberger. Foreward text is copyright Adam Pearce. Foreward photograph is copyrgiht Brian Kelley. All other likenesses and trademarks are copyright to their respective and rightful owners and Rob Schamberger makes no claim to them. Brother. Not many people know this, but I’ve always considered myself an artist of sorts. Ever since I was a young kid, I invariably find myself passing the time by doodling, drawing, and, on occasion, even painting. In the space between my paper and pencil, and in those moments when inspiration would strike, my imagination would run amok and these bigger-than-life personas - football players and comic book characters and, of course, professional wrestlers - would come to life. I wasn’t aware of this until much later, but for all those years my mother would quietly steal away my drawings, saving them for all prosperity, and perhaps giving her a way to relive all of those memories of me as a child. That’s exactly what happened to me when she showed me those old sketches of Iron Man and Walter Payton and Fred Flintstone and Hulk Hogan. I found myself instantly transported back to a time where things were simpler and characters were real and the art was pure. I get a lot of really similar feelings when I look at the incredible art that Rob Schamberger has shared with 2 foreward us all. Rob’s passion for art and for professional wrestling struck me immediately as someone that has equally grown to love and appreciate both, and by Adam Pearce truth be told I am extremely jealous of his talents. -
World Wrestling Entertainment, Inc. Annual Report 2019
World Wrestling Entertainment, Inc. Annual Report 2019 Form 10-K (NYSE:WWE) Published: February 7th, 2019 PDF generated by stocklight.com UNITED STATES SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 __________________________________ FORM 10-K __________________________________ ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15 (d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the year ended December 31, 2018 or ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15 (d) OF THE SECURITIES EXCHANGE ACT OF 1934 Commission file number 001-16131 WORLD WRESTLING ENTERTAINMENT, INC. (Exact name of Registrant as specified in its charter) Delaware 04-2693383 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification No.) 1241 East Main Street Stamford, CT 06902 (203) 352-8600 (Address, including zip code, and telephone number, including area code, of Registrant’s principal executive offices) SECURITIES REGISTERED PURSUANT TO SECTION 12(b) OF THE ACT Class A Common Stock, $.01 par value per share New York Stock Exchange (Title of each class) (Name of each exchange on which registered) SECURITIES REGISTERED PURSUANT TO SECTION 12(g) OF THE ACT None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of Securities Act. Yes ☒ No ☐ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes ☐ No ☒ Indicate by check mark whether the Registrant (1) has filed all reports required to be filed by Section 13 or 15 (d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the Registrant was required to file such reports) and (2) has been subject to such filing requirements for the past 90 days. -
WWE: Redefining Orking-Classw Womanhood Through Commodified Eminismf
Wright State University CORE Scholar The University Honors Program Academic Affairs 4-24-2018 WWE: Redefining orking-ClassW Womanhood through Commodified eminismF Janice M. Sikon Wright State University - Main Campus Follow this and additional works at: https://corescholar.libraries.wright.edu/honors Part of the Women's Studies Commons Repository Citation Sikon, J. M. (2018). WWE: Redefining orking-ClassW Womanhood through Commodified Feminism. Wright State University, Dayton, Ohio. This Thesis is brought to you for free and open access by the Academic Affairs at CORE Scholar. It has been accepted for inclusion in The University Honors Program by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. WWE: Redefining Working-Class Womanhood 1 WWE: Redefining Working-Class Womanhood through Commodified Feminism Janice M. Sikon Wright State University WWE: Redefining Working-Class Womanhood 2 Introduction World Wrestling Entertainment (WWE) is the largest professional wrestling promotion in the world (Bajaj & Banerjee, 2016). Their programs air in 20 languages in over 180 countries, and in the United States approximately 11 million people watch their programs each week (“FAQ,” n.d.). These programs include six hours of televised weekly events and 16 annual pay- per-view events (“WWE Reports,” 2017). In the first quarter of 2017 the company grossed $188.4 million (“WWE Reports,” 2017). They have close ties with the current presidential administration, as Small Business Administrator Linda McMahon was the CEO of the company from 1980 to 2009 (Reuters, 2009) and President Trump has made several appearances on WWE programming in the past (“Donald Trump,” n.d.). -
How Women Fans of World Wrestling Entertainment Perceive Women Wrestlers Melissa Jacobs Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2017 "They've Come to Draw Blood" - How Women Fans of World Wrestling Entertainment Perceive Women Wrestlers Melissa Jacobs Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Jacobs, Melissa, ""They've Come to Draw Blood" - How Women Fans of World Wrestling Entertainment Perceive Women Wrestlers" (2017). All Theses. 2638. https://tigerprints.clemson.edu/all_theses/2638 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. “THEY’VE COME TO DRAW BLOOD” – HOW WOMEN FANS OF WORLD WRESTLING ENTERTAINMENT PERCEIVE WOMEN WRESTLERS A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Communication, Technology, and Society by Melissa Jacobs May 2017 Accepted by: Dr. D. Travers Scott, Committee Chair Dr. Erin Ash Dr. Darren Linvill ABSTRACT For a long time, professional wrestling has existed on the outskirts of society, with the idea that it was just for college-aged men. With the rise of the popularity of the World Wrestling Entertainment promotion, professional wrestling entered the mainstream. Celebrities often appear at wrestling shows, and the WWE often hires mainstream musical artists to perform at their biggest shows, WrestleMania and Summer Slam. Despite this still-growing popularity, there still exists a gap between men’s wrestling and women’s wrestling. Often the women aren’t allowed long match times, and for the longest time sometimes weren’t even on the main shows. -
The Encounter of Neoliberalism and Popular Feminism in WWE 24: Women’S Evolution
University of Huddersfield Repository Litherland, Benjamin and Wood, Rachel Critical Feminist Hope: The Encounter of Neoliberalism and Popular Feminism in WWE 24: Women’s Evolution Original Citation Litherland, Benjamin and Wood, Rachel (2017) Critical Feminist Hope: The Encounter of Neoliberalism and Popular Feminism in WWE 24: Women’s Evolution. Feminist Media Studies. ISSN 1468-0777 This version is available at http://eprints.hud.ac.uk/id/eprint/32806/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Critical feminist hope: the encounter of neoliberalism and popular feminism in WWE 24: women’s evolution Rachel Wood a* and Benjamin Litherland b a Department of Psychology, Sociology and Politics, Sheffield Hallam University, Sheffield, UK; b Centre for Participatory Culture, University of Huddersfield, Huddersfield, UK * Contact Rachel Wood [email protected] @Racwood; ORCID: 0000-0002-0053-2969 @DrBenLitherland, ORCID: 0000-0003-3735-354X Biographical Notes Rachel Wood is a research associate in the Department of Psychology, Sociology & Politics at Sheffield Hallam University. -
The Full 100+ Page Pdf!
2014 was a unique year for pro-wrestling, one that will undoubtedly be viewed as historically significant in years to follow. Whether it is to be reflected upon positively or negatively is not only highly subjective, but also context-specific with major occurrences transpiring across the pro-wrestling world over the last 12 months, each with its own strong, and at times far reaching, consequences. The WWE launched its much awaited Network, New Japan continued to expand, CMLL booked lucha's biggest match in well over a decade, culminating in the country's first million dollar gate, TNA teetered more precariously on the brink of death than perhaps ever before, Daniel Bryan won the WWE's top prize, Dragon Gate and DDT saw continued success before their loyal niche audiences, Alberto Del Rio and CM Punk departed the WWE with one ending up in the most unexpected of places, a developing and divergent style produced some of the best indie matches of the year, the European scene flourished, the Shield disbanded, Batista returned, Daniel Bryan relinquished his championship, and the Undertaker's streak came to an unexpected and dramatic end. These are but some of the happenings, which made 2014 the year that it was, and it is in this year-book that we look to not only recap all of these events and more, but also contemplate their relevance to the greater pro-wrestling landscape, both for 2015 and beyond. It should be stated that this year-book was inspired by the DKP Annuals that were released in 2011 and 2012, in fact, it was the absence of a 2013 annual that inspired us to produce a year-book for 2014.