The Universe of the Wwe!
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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). -
Wrestling with Manhood – Abridged Version
1 MEDIA EDUCATION F O U N D A T I O N 60 Masonic St. Northampton, MA 01060 | TEL 800.897.0089 | [email protected] | www.mediaed.org Wrestling With Manhood Boys, Bullying & Battering (Abridged Version) Transcript FANS: Welcome! Finally the Rock has come back to Springfield. You know, it’s good clean fun. Honestly, I wouldn’t let my son watch it. This is Austin’s middle finger. Too much violence. That and a lot of kids want to be like Stone Cold so they’ll drink beer. The female wrestlers, I think, are tremendous athletes. Big boobs and ripping each other’s clothes off. She’s a whore. Sometimes they get naked. The women are just their little playthings. The things they make them do, get on the ground and bark (barking sounds). That was pretty cool what they did to Trish. It’s promoting men beating on women. They want to come into the man’s world, they deserve to be treated just like a man. If a man is hitting a woman what is that showing the little kid? It’s not the WWF’s responsibility to raise them kids. It’s no worse than watching a movie or watching a soap opera or watching television. It’s entertainment. It’s entertainment. It’s just entertainment. I think it’s only entertainment, yeah. SUT JHALLY: You know it’s really difficult to get people to take professional wrestling seriously. Whenever I say that I’m working on this project on wrestling, people start smiling and laughing, almost as if to say “ how can you take this stuff so seriously. -
Grappling with Race: a Textual Analysis of Race Within the Wwe
GRAPPLING WITH RACE: A TEXTUAL ANALYSIS OF RACE WITHIN THE WWE BY MARQUIS J. JONES A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Communication April 2019 Winston-Salem, North Carolina Approved By: Ronald L. Von Burg, PhD, Advisor Jarrod Atchison, PhD, Chair Eric K. Watts, PhD ii ACKNOWLEDGEMENTS I would first like to thank my thesis advisor, Dr. Ron Von Burg of the Communication Graduate School at Wake Forest University. Dr. Von Burg’s office was always open whenever I needed guidance in the completion of this thesis. He consistently allowed this paper to be my own work, but steered me in the right direction whenever he thought I needed. I would also like to thank Dr. Jarrod Atchison and Dr. Eric Watts for serving as committed members of my Graduate Thesis Committee. I truly appreciate the time and energy that was devoted into helping me complete my thesis. Finally, I must express my very profound gratitude to my parents, Marcus and Erika Jones, for providing me with unfailing support and continuous encouragement throughout my years of sturdy and through the process of research and writing this thesis. This accomplishment would not have been possible without them. Thank you. I love you both very much. Thank you again, Marquis Jones iii TABLE OF CONTENTS ABSTRACT…………………………………………………………………..iv Chapter 1: INTRODUCTION………………………………………………Pg. 1 Chapter 2: HISTORY OF WWE……………………………………………Pg. 15 Chapter 3: RACIALIZATION IN WWE…………………………………..Pg. 25 Chapter 4: CONCLUSION………………………………………………......Pg. -
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. -
Available on Digital Hd on Dvd & Blu-Ray™
AVAILABLE ON ON DVD & DIGITAL HD BLU-RAY™ 8/9 COLORING FUN! THE MYSTERY MACHINE SCOOBY-DOO and all related characters and elements are trademarks of and © Hanna-Barbera. WWE, the WWE logo, MICHAEL COLE, DIEGO, EL TORITO, FERNANDO, GOLDUST, KOFI KINGSTON, LANA, STEPHANIE McMAHON, THE MIZ, PAIGE, DUSTY RHODES, RUSEV, SHEAMUS, STARDUST, TRIPLE H, UNDERTAKER, and MR. McMAHON are trademarks of WWE. © 2016 Warner Bros. Entertainment Inc. All rights reserved. AVAILABLE ON ON DVD & DIGITAL HD BLU-RAY™ 8/9 COLORING FUN! PAMPLONA ESPECIAL SCOOBY-DOO and all related characters and elements are trademarks of and © Hanna-Barbera. WWE, the WWE logo, MICHAEL COLE, DIEGO, EL TORITO, FERNANDO, GOLDUST, KOFI KINGSTON, LANA, STEPHANIE McMAHON, THE MIZ, PAIGE, DUSTY RHODES, RUSEV, SHEAMUS, STARDUST, TRIPLE H, UNDERTAKER, and MR. McMAHON are trademarks of WWE. © 2016 Warner Bros. Entertainment Inc. All rights reserved. AVAILABLE ON ON DVD & DIGITAL HD BLU-RAY™ 8/9 COLORING FUN! THE COMPANY CAR SCOOBY-DOO and all related characters and elements are trademarks of and © Hanna-Barbera. WWE, the WWE logo, MICHAEL COLE, DIEGO, EL TORITO, FERNANDO, GOLDUST, KOFI KINGSTON, LANA, STEPHANIE McMAHON, THE MIZ, PAIGE, DUSTY RHODES, RUSEV, SHEAMUS, STARDUST, TRIPLE H, UNDERTAKER, and MR. McMAHON are trademarks of WWE. © 2016 Warner Bros. Entertainment Inc. All rights reserved. AVAILABLE ON ON DVD & DIGITAL HD BLU-RAY™ 8/9 COLORING FUN! CELTIC CRUISER SCOOBY-DOO and all related characters and elements are trademarks of and © Hanna-Barbera. WWE, the WWE logo, MICHAEL COLE, DIEGO, EL TORITO, FERNANDO, GOLDUST, KOFI KINGSTON, LANA, STEPHANIE McMAHON, THE MIZ, PAIGE, DUSTY RHODES, RUSEV, SHEAMUS, STARDUST, TRIPLE H, UNDERTAKER, and MR. -
PWTORCH NEWSLETTER • PAGE 2 Www
ISSUE #1255 - MAY 26, 2012 TOP FIVE STORIES OF THE WEEK PPV ROUNDTABLE (1) Raw expanding to three hours on July 23 (2) Impact going live every week this summer (3) Flair parting ways with TNA, WWE bound WWE OVER THE LIMIT (4) Raw going “interactive” with weekly voting Staff Scores & Reviews (5) Laurinaitis pins Cena after Show turns heel Pat McNeill, columnist (6.5): The main problem with WWE Over The Limit? The main event went over the limit of what we’ll accept from WWE. You can argue that there was no reason to book John Cena against John Laurinaitis on a pay-per-view, and you’d be right. RawHEA eDLxINpE AaNnALYdSsIS to thrhoeurse, a nhd uosuaullyr tsher e’Js eunoulgyh re2de3eming But on top of that, there was no reason to book content to make it worth the investment. But Cena versus Laurinaitis to go as long as any other three hours? Three hours of lousy content is By Wade Keller, editor major pay-per-view match. And there was no enough that next time viewers might just tune in reason for Cena to drag the match out. It didn’t fit If you follow an industry long enough, you’re for a just an hour instead of the usual two and the storyline. And it made John Cena look like a bound to see some bad decisions being made. certainly not commit to all three. Or they might chump. or like The Stinger, when Big Show turned Some are worse than others, but it’s rare when pick their segments, watching the predictably heel for the umpteenth time and cost him the you think you might be seeing the Worst newsmaking segments at the start of each hour match. -
Wwe the Monday Night War S01e08
Wwe the monday night war s01e08 History of Monday Night War 7. mehr. Datum der Veröffentlichung: ; Dauer: ; Kategorie. Watch Replay The Monday Night War WWE vs WCW S01E08 September 29th English Full Show Online. Event: EB-DL-WD Released: Source: Web Resolution. WWE Monday Night War S01E08 The Austin Era Has Begun Thanks for watching! Don't forget to. WWE The Monday Night War S01E Dwight Brown. Loading Unsubscribe from Dwight Brown? Cancel. Posts: 49; Group: Members; Member: #26; Joined: August 8, Click Here for Wwe The Monday Night War Wwe Vs Wcw S01E08 P Avchd Sc Sdh. The Monday Night War - S01E08 - The Austin Era Has Begun Stone Cold Steve Austin's drive and determination spurs WWE's 'Attitude Era' to insurmountable. WWE The Monday Night War WWE vs WCW S01E20 Proper p WWE Monday Night War S01E08 The Austin Era Has Begun 09 Taboo S01E08 Review: Taboo ends with an explosive finale! Posted on And then down at the docks, it is war or something close enough to pretend. It turns . WWE Monday Night RAW January 10, Detailed Results. Preacher S01E El Valero – Hell is crowded, and not far away! Posted on Odin, whose hobby is building models of civil war battles, is in his element as the . WWE Monday Night RAW January 10, Detailed Results. WWE The Monday Night War (Complete Series) Tv Freaktorrent ( G) S01ETv_Freakmp4- M; canon digital ixus is drivers download, monday night war s01e08, download radu,nancy drew the silent spy cheats,driver trust wb g. Download Wii Game Roms aminahsx. WWE Table For 3 World Champion Legacy AAC MP4-Mobile · Ufc Fight NightWwe SuperstarsMonday NightCupsMondaysFoxesRingsLegendsChristmas. -
Public Version Dated: June 15, 2021 in the Court Of
EFiled: Jun 15 2021 04:22PM EDT PUBLIC VERSION DATED: Transaction ID 66689114 JUNE 15, 2021 Case No. 2021-0513-LWW IN THE COURT OF CHANCERY OF THE STATE OF DELAWARE AMER DASTGIR, Derivatively on ) Behalf of WORLD WRESTLING ) ENTERTAINMENT, INC., ) ) Plaintiff, ) Civil Action No. 2021-0513-LWW ) v. ) ) VINCENT K. MCMAHON, ) STEPHANIE MCMAHON, PAUL ) LEVESQUE, GEORGE A. BARRIOS, ) MICHELLE D. WILSON, FRANK A. ) RIDDICK, III, JEFFREY R. SPEED, ) STUART U. GOLDFARB, LAUREEN ) ONG, ROBYN W. PETERSON, MAN ) JIT SINGH, ALAN M. WEXLER, and ) PATRICIA A. GOTTESMAN, ) ) Defendants, ) ) - and - ) ) WORLD WRESTLING ) ENTERTAINMENT, INC. ) ) Nominal Defendant. ) VERIFIED STOCKHOLDER DERIVATIVE COMPLAINT Plaintiff Amer Dastgir (“Plaintiff”), by and through his undersigned attorneys, alleges the following upon personal knowledge as to all allegations concerning himself, and upon information and belief as to all other allegations based, among other things, upon the investigation conducted by his attorneys, which includes a review and analysis of: (a) documents produced to Plaintiff by PUBLIC VERSION DATED: JUNE 15, 2021 World Wrestling Entertainment, Inc. (“WWE” or the “Company”) in response to a books and records inspection demand made pursuant to Section 220 of the Delaware Corporation Law (the “Books and Records Production”); filings in various proceedings, including a class action lawsuit alleging violations of federal securities laws captioned, City of Warren Police & Fire Ret. Sys. v. World Wrestling Entm’t Inc., No. 20-cv-2031 (S.D.N.Y.) (the “Securities Action”) and the decision of the District Court in that case denying defendants’ motion to dismiss in its entirety, 2020 U.S. Dist. LEXIS 140925, (the “Securities Action Opinion”); (c) WWE’s filings with the United States Securities and Exchange Commission (“SEC”); (d) WWE’s press releases, website, corporate governance documents, presentations, conference calls, and other publicly disseminated information; and (e) analyst reports, public records, and other publicly available information concerning the Company. -
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. -
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.