George Hackenschmidt Vs. Frank Gotch Media Representations and the World Wrestling Title of 1908 Kim Beckwith & Jan Todd the University of Texas
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Professional Wrestling, Sports Entertainment and the Liminal Experience in American Culture
PROFESSIONAL WRESTLING, SPORTS ENTERTAINMENT AND THE LIMINAL EXPERIENCE IN AMERICAN CULTURE By AARON D, FEIGENBAUM A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2000 Copyright 2000 by Aaron D. Feigenbaum ACKNOWLEDGMENTS There are many people who have helped me along the way, and I would like to express my appreciation to all of them. I would like to begin by thanking the members of my committee - Dr. Heather Gibson, Dr. Amitava Kumar, Dr. Norman Market, and Dr. Anthony Oliver-Smith - for all their help. I especially would like to thank my Chair, Dr. John Moore, for encouraging me to pursue my chosen field of study, guiding me in the right direction, and providing invaluable advice and encouragement. Others at the University of Florida who helped me in a variety of ways include Heather Hall, Jocelyn Shell, Jim Kunetz, and Farshid Safi. I would also like to thank Dr. Winnie Cooke and all my friends from the Teaching Center and Athletic Association for putting up with me the past few years. From the World Wrestling Federation, I would like to thank Vince McMahon, Jr., and Jim Byrne for taking the time to answer my questions and allowing me access to the World Wrestling Federation. A very special thanks goes out to Laura Bryson who provided so much help in many ways. I would like to thank Ed Garea and Paul MacArthur for answering my questions on both the history of professional wrestling and the current sports entertainment product. -
Revue De Recherche En Civilisation Américaine, 4 | 2013 Professional Wrestling As Culturally Embedded Spectacles in Five Core Countri
Revue de recherche en civilisation américaine 4 | 2013 Le catch et... Professional wrestling as culturally embedded spectacles in five core countries: the USA, Canada, Great Britain, Mexico and Japan Dan Glenday Édition électronique URL : http://journals.openedition.org/rrca/548 ISSN : 2101-048X Éditeur David Diallo Référence électronique Dan Glenday, « Professional wrestling as culturally embedded spectacles in five core countries: the USA, Canada, Great Britain, Mexico and Japan », Revue de recherche en civilisation américaine [En ligne], 4 | 2013, mis en ligne le 12 janvier 2014, consulté le 19 avril 2019. URL : http:// journals.openedition.org/rrca/548 Ce document a été généré automatiquement le 19 April 2019. © Tous droits réservés Professional wrestling as culturally embedded spectacles in five core countri... 1 Professional wrestling as culturally embedded spectacles in five core countries: the USA, Canada, Great Britain, Mexico and Japan Dan Glenday Introduction 1 This paper addresses a succession of complicated issues surrounding the cross-cultural popularity of professional wrestling. While boasting fans in several countries from across the globe, today, professional wrestling maintains a lasting presence in five territories - USA, Canada, United Kingdom, Japan and Mexico. ‘Culturally embedded spectacle’ is the unique conceptual framework developed for this paper to explain the longevity of professional wrestling in these five locations and includes the following factors: a continuous history of professional wrestling, national television exposure during the Old School era highlighting larger-than-life characters playing the face, an extensive group of independent professional wrestling federations and commemorative cultural experiences for young and old fans. 2 Granted, there may be other aspects not included here. -
“The Russian Lion”: Vladislav Von Krajewski's Bodybuilding of George Hachenschmidt Fae Brauer, Professor of Art A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UEL Research Repository at University of East London Making “The Russian Lion”: Vladislav von Krajewski’s Bodybuilding of George Hachenschmidt Fae Brauer, Professor of Art and Visual Culture University of East London Centre for Cultural Studies Research In their focus upon the rupture and transformation of Soviet physical culture in the 1930s, histories of Russian bodybuilding of the new man have tended to become disconnected from trajectories stretching back to the •Crimean War and the need to enhance military preparedness through modern sports and gymnastics inspired by the •German Turnen gymnastic societies. Valued for producing a disciplined subject in peacetime and a fearless fighter in war, these so-called “disciplinary exercises” were promoted in the •first gymnastics club of St. Petersburg from 1863, followed by the Pal’ma Gymnastics Society which quickly spread with branches in five cities. After the Moscow Gymnastics Society opened with meetings on Tsvetnoi Boulevard, in 1874, •Pyotr Lesgaft, the founder of Russian physical education introduced gymnastics into the army with gymnastic courses for army officers and civilians by 1896. Yet, as this paper will reveal, it was only through •Dr. V. F. Krajewski, founder of the •St. Petersburg Athletic and Cycling Club and physician to the •Tsar, that the St. Petersburg Amateur Weightlifting Society was opened in 1885. •It was only due to Dr Krajewski that a •gym for weightlifting opened with the first all-Russian weightlifting championship being held in April 1897 in St. Petersburg Mikhailovsky Manege. -
The Operational Aesthetic in the Performance of Professional Wrestling William P
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 The operational aesthetic in the performance of professional wrestling William P. Lipscomb III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Lipscomb III, William P., "The operational aesthetic in the performance of professional wrestling" (2005). LSU Doctoral Dissertations. 3825. https://digitalcommons.lsu.edu/gradschool_dissertations/3825 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE OPERATIONAL AESTHETIC IN THE PERFORMANCE OF PROFESSIONAL WRESTLING A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies by William P. Lipscomb III B.S., University of Southern Mississippi, 1990 B.S., University of Southern Mississippi, 1991 M.S., University of Southern Mississippi, 1993 May 2005 ©Copyright 2005 William P. Lipscomb III All rights reserved ii ACKNOWLEDGMENTS I am so thankful for the love and support of my entire family, especially my mom and dad. Both my parents were gifted educators, and without their wisdom, guidance, and encouragement none of this would have been possible. Special thanks to my brother John for all the positive vibes, and to Joy who was there for me during some very dark days. -
Boxing Gloves. Complete, Nith Rubber Cord and Fittings
t TENCINC REQUISITES FOILS. SUPERIOR SOLINGEN BLADES. FENCING MASKS; SINGLE STICKS. \ F. H,.AYRES, CITY SALE AND EXCHANGE WINSLOW’S ROLLER SKATES. 6‘ ADJUSTABLE.’’ p er pair. 1/11 per Doxwood Wheels, 4/6 per pair. Postage 4k -7 Bearing, IMl dltto, Bus\~uod Wheel\, I.adie5’ or tients’, IRON DUMB BELLS, 9/9, 10/9, 19j6 per pair. Any weight, Pustage 4d under IO/-. (‘1111b (‘olortrs to Order. I!STlhlATBS FREE. p’#¡ Photographic Apparatus, And every Requisite f,r the Gymnasium,Boxing, Running, Cycling, Cricket, Tennis,Croquet, ANI) ALI. Y ._-.. b. W. CAMACE, LTD., A. W. CAMAGE, LTD., LargestCycling and AthleticOutfitters largest Cycling and AthleticOutfitters IN THE WORLD. IN THE WORLD. REQUISITES FORCYCLING, CRICKET, TENNIS, GOLF, REQUISITESFOR CYCLING, CRICKET, TENNIS, GOLF, HOCKEY, FISHING,PHOTOGRAPHY, &c. HOCKEY, FISHING,PHOTOGRAPHY, &c. BILLIARDS,BAGATELLE, ROULETTE, CHESS, BILLIARDS,BAGATELLE, ROULETTE, CHESS, DOMINOES,DRAUGHTS, PLAYING CARDS, DOMINOES,DRAUGHTS, PLAYING CARDS, AND INDOORGAMES OFALL KINDS. AND INDOORGAMES OF ALLKINDS. ’ Writefor Gelteral Catalogue, coltlairring 4000 lllustralioiolts, post fre. THE“REFEREE” PUNCHINGBALL, or PHYSICALTRAINER. “Referee” Boxing Gloves. Complete, nith Rubber Cord and Fittings. THE MOST PEßFECT GLOVE No. 5. 28 in. 6. 30 in. 7. 32 in. 8. 34 in. g. 36 in. IN YEN TED. 1716 201- 2216 261- 301- 261- 2216 201- 1716 SPECIALCHEAP QUALITIES. The formation of the Glove is so arranged thatthe padding is broughtover from No. 5, Complete, lOj6 and 13/6 ; Large Size, 17j6. the back of the hand to the inside of the fingers, passing over the tipsof the same, PORTABLE STRIKING BAG. and extendingto above thesecond joints. No. -
Bare-Knuckle Prize Fighting
Loyola University Chicago Loyola eCommons Faculty Publications and Other Works by History: Faculty Publications and Other Works Department 3-2019 Bare-Knuckle Prize Fighting Elliot Gorn Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/history_facpubs Part of the History Commons Recommended Citation Gorn, Elliot. Bare-Knuckle Prize Fighting. The Cambridge Encyclopedia of Boxing, , : 34-51, 2019. Retrieved from Loyola eCommons, History: Faculty Publications and Other Works, This Book Chapter is brought to you for free and open access by the Faculty Publications and Other Works by Department at Loyola eCommons. It has been accepted for inclusion in History: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © Cambridge University Press, 2019. 34 2 ELLIOTT J. GORN The Bare- Knuckle Era Origins of the Ring Fistic combat goes back at least as far as ancient Greece and Rome. Pindar , in 474 BC , celebrated Diagoras ’ victory in the Greek Olympiad: “But do thou, O father Zeus, that rulest over the height of Atabyrium, grant honour to the hymn ordained in praise of an Olympian victor, and to the hero who hath found fame for his prowess as a boxer; and do though give him grace and reverence in the eyes of citizens and of strangers too. For he goeth in a straight course along a path that hateth insolence.” Worthy of Zeus’ blessing, the successful boxer was a man of moral as well as physical excel- lence. -
Muswell Hill & Fortis Green Association
Muswell Hill & Fortis Green Association www.mhfga.org Your Residents’ Association working for the local community since 1948 Exploring our local history January/February 2019 Inside this issue: A Secret History of the Northern Line 2 Notices Very Merry Muswell MHFGA contacts 3 New MHFGA volunteers 4 Pinkham Way Membership Matters 5 Corporate Profiles: Design Studio, Muswell Hill Methodist Lawn Tennis Club 6 Friends of Parkland Walk Wellness Café Winter in Muswell Hill 7 Local Events 8 Arthur Humphreys, Complete Outfitter CPZ starting on 7th January after the formation of London Transport. It was the result of amalgamating the City and South London Railway (C&SLR) and the Charing Cross, Euston and Hampstead Railway (CCE&HR or ‘Hampstead Tube’) which ran to Golders Green when it On Thursday 11th October we set a new record attendance of opened in 1907 and was extended to Edgware in the 1920s. over 75 people at our talk on the Northern Line, held at North Bank. Michael treated us to mind-bending facts about former names of Our speaker, Michael Burman, treated us to a fascinating and tube stations. For example, the current Tottenham Court Road at times farcical history of how our favourite tube line has station was actually named ‘Oxford Street’ when it opened in evolved over more than a century. We found out why Muswell 1907, while the station we now know as Goodge Street was Hill station no longer exists, and how the Second World War confusingly named ‘Tottenham Court Road’ when it opened in put a stop to plans to extend the line even further North. -
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. -
Great Gama Workout
Great gama workout Continue Indian wrestler for stampede wrestling villain and professional wrestler of the 1970s - 2000s, see Gama Singh. Gama PehalwanBirt namedGulam Mohammad Bakshborn (1878-05-22)22 May 1878Amritsar, Punjab, British India Punjab, PakistanFamilyImam Baksh Pahalwan (brother)Kalsoom Nawaz Sharif (granddaughter) Professional wrestling careerRing name (s)Gama PahalwanBilled height 5 feet 7 in (170 cm) , commonly known as Rustam-e-Hind (Hindi Urdu for the champion of India) and named the ring of the Great Gama, was an Indian wrestler who remained undefeated. Born in Amritsar, Punjab province of colonial India in 1878, on October 15, 1910, he was awarded the Indian version of the World Heavyweight Championship, and on October 15, 1910, he defeated the world champions in freestyle wrestling. Unbeaten in a career spanning more than 52 years, he is considered one of the greatest wrestlers of all time. During the partition of India, the Great Gama saved the lives of many Hindus and then spent the rest of her days until her death on May 23, 1960, in Lahore, which became part of the newly created state of Pakistan. Early in his life, Ghulam Mohammad Baksh Butt was born in Amritsar to a Kashmiri Muslim wrestling family in the Punjabi region of northern India. He is from a family of wrestlers that is known to produce world-class wrestlers. The Butt family, historians believe, were originally Kashmiri Brahmins (Butta) who converted to Islam during Muslim rule in Kashmir. Gama had two wives, one in Punjab and the other in Baroda, Gujarat, India. After the death of his father Muhammad Aziz Baksh when he was six years old, Gama was placed in the care of his maternal grandfather, Nun Pahalwan. -
FOREWORD This Document Is an Attempt at a Faithful Transcription of the Original Document. Special Effort Has Been Made to Ensur
FOREWORD This document is an attempt at a faithful transcription of the original document. Special effort has been made to ensure that original spelling (including apparent spelling error such as “bladly” on pp50), line-breaks, odditities of typesetting (such as inconsistent page number standards and paragraph centering), and vocabulary are left intact, and when possible, similar fonts have been used. However, it contains original formatting and image scans. All rights are reserved except those specifically granted herein. You may distribute this document in whole, provided that you distribute the entire document including this disclaimer, attributions, transcriber forewords, etc., and also provided that you charge no money for the work excepting a nominal fee to cover the costs of the media on or in which it is distributed. You may not distribute this document in any for-pay or price-metered medium without permission. DEDICATION Special dedication to my lovely and understanding wife Mylinda, my energetic and enthusiastic son Christopher, and my stunningly beautiful daughter Allison. -Kirk Lawson How to Wrestle INSTRUCTIONS Based on the work of FRANK A. GOTCH World’s Champion Wrestler BY GEORGE ROBBINS of the Sporting Staff, The Chicago Daily News COPYRIGHTED 1934 BY F. L. STEIN ───── MAX STEIN PUBLISHING HOUSE Chicago, Ill. INTRODUCTION ───── All the world admires an honest battler. That is why baseball has continued to grow in popu- larity and draw immense crowds. The players are “on the square” and the “fans” know it. And that is why Frank A. Gotch attracted the largest wrestling crowds in modern times. Gotch has been “on the level” and endowed with “the goods.” He has done more than any other influ- ence to make wrestling popular in America. -
Here Is a Printable
James Rosario is a film critic, punk rocker, librarian, and life-long wrestling mark. He grew up in Moorhead, Minnesota/Fargo, North Dakota going to as many punk shows as possible and trying to convince everyone he met to watch his Japanese Death Match and ECW tapes with him. He lives in Asheville, North Carolina with his wife and two kids where he writes his blog, The Daily Orca. His favorite wrestlers are “Nature Boy” Buddy Rogers, The Sheik, and Nick Bockwinkel. Art Fuentes lives in Orange County, Califonia and spends his days splashing ink behind the drawing board. One Punk’s Guide is a series of articles where Razorcake contributors share their love for a topic that is not traditionally considered punk. Previous Guides have explored everything from pinball, to African politics, to outlaw country music. Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. One Punk’s Guide to Professional Wrestling originally appeared in Razorcake #101, released in December 2017/January 2018. Illustrations by Art Fuentes. Original layout by Todd Taylor. Zine design by Marcos Siref. Printing courtesy of Razorcake Press, Razorcake.org ONE PUNK’S GUIDE TO PROFESSIONAL WRESTLING ’ve been watching and following professional wrestling for as long as I can remember. I grew up watching WWF (World Wrestling IFederation) Saturday mornings in my hometown of Moorhead, Minn. -
Below the Belt
BELOW THE BELT A ONE-ACT DRAMATIC PLAY by Dennis Bush Brooklyn Publishers, LLC Toll-Free 888-473-8521 Fax 319-368-8011 Web www.brookpub.com Copyright © 2012 by Dennis Bush All rights reserved CAUTION: Professionals & amateurs are hereby warned that Below the Belt is subject to a royalty. This play is fully protected under the copyright laws of the United States of America, Canada, the British Commonwealth and all other countries of the Copyright Union. RIGHTS RESERVED: All rights to this play are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion pictures, recitation, lecturing, public reading, radio broadcasting, television, video and the rights of translation into non-English languages. PERFORMANCE RIGHTS & ROYALTY PAYMENTS: All amateur and stock performance rights to this play are controlled exclusively by Brooklyn Publishers, LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers, LLC. Questions concerning other rights should be addressed to Brooklyn Publishers, LLC. If necessary, we will contact the author or the author’s agent. PLEASE NOTE that royalty fees for performing this play can be located online at Brooklyn Publishers, LLC website (http://www.brookpub.com). Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers, LLC. You will find our contact information on the following page. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged.