News Notes Former Congressman Calls for Unity, End to Violence Union County Again at COVID-19 Warning Level
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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. -
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. -
University Dodges Isabel
An Associated Collegiate Press Pacemaker Award Winner • THE • Frankfurt 1\Iotor Sho·w Football dominates unveils ne'" concept cars, Rams. ~9-7. Bl Cl 250 University Center University of Delaware Newark. DE 19716 Tuesday & Friday • • FREE yolurn,~ 130, Issue 5 --; ,·. ~ ·. -- , · · www.review.udel.edu · ·· ,._.: ~~ - ::_:~.,~~7:-:-.- ·.· · · ·:!f:;-"·~--!:~'-; · September 23, 2003 University dodges Isabel B\ :\ \T.\LIE BISHOP \'II) K \TIE "cnt tnto effect I hur..,da\ mormn!! and fcrcd signilicant damage. things could fAHE.RT\ c:xtcndcd unttl I nda~ ntght - ha,·c been '' orsc. \tu/1 "' Pubhc. sdwols closed for a four "\Yc ''ere hit hard ,til O\Cr the H urn cane babel ''ashed ashore day \\ cdend ,md restdcnh or IO\\ -I) ing state ... he said. "There was hca\ y flood lhur-.da! aitcrnoon and brought an 6ti areas ''ere C\ acuatt'd The !!O\ crnor mg. dO\\ ned trees and damage tn homes m·ttcd 2.5 tmllion in Jamagcs to the also recommended rcsidcnh tl; sta~ olf all OYer state of Del a\\ arc. the roads. "(HO\\C\Cr]. the qate is holdmg up \s mam a~ 5~.000 rc.,tdt:nts were \lotorish '' ho cho"c to 'cnturt' out prl'll) \\C]I." '' ithout po,~cr because of the storm. had to pi< n routes around the mort' than '\onetheles-,. a signtficant amount and for ~l me. the blackout continued 60 mads that ''ere closed due to llood of cleanup took place thb '' eckcnd in until car' ~undm mg and fallen trees. 0. C\\ ark Go· Rt.;h \nn \1mncr declared a Grt'g Pauerson. -
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. -
Narrative Change in Professional Wrestling: Audience Address and Creative Authority in the Era of Smart Fans
Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 1-6-2017 Narrative Change in Professional Wrestling: Audience Address and Creative Authority in the Era of Smart Fans Christian Norman Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Norman, Christian, "Narrative Change in Professional Wrestling: Audience Address and Creative Authority in the Era of Smart Fans." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/communication_diss/77 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. NARRATIVE CHANGE IN PROFESSIONAL WRESTLING: AUDIENCE ADDRESS AND CREATIVE AUTHORITY IN THE ERA OF SMART FANS by CHRISTIAN NORMAN Under the Direction of Nathan Atkinson, PhD ABSTRACT This dissertation project provides a methodological contribution to the field of critical rhetoric by positioning narrative theory as a powerful yet underutilized tool for examining the power dynamic between producer and consumer in a participatory media context. Drawing on theories of author and audience from rhetorical narratology, this study shows how producers of media texts provide rhetorical cues to audiences that allow them to reassert their power in the form of creative authority vis-à-vis consumers. The genre of professional wrestling serves as an ideal text for examining such power dynamics, as WWE has adapted to changing fan participatory behaviors throughout its sixty-year history. Focusing on pivotal moments in which WWE altered its narrative address to its audience in order to reassert its control over the production process, this study demonstrates the utility of narrative theory for understanding how creative authority shows power at work in media texts. -
PDF EPUB} Terry Funk More Than Just Hardcore by Terry Funk Wrestling / Terry Funk
Read Ebook {PDF EPUB} Terry Funk More than Just Hardcore by Terry Funk Wrestling / Terry Funk. Meet the prime minister of hardcore wrestling. Known as "The Hardcore Icon" and "The Funker", Terrence Funk (born June 30, 1944) is a semi-/maybe retired American Professional Wrestler who is a former NWA World Heavyweight Champion , a pioneer of the hardcore style in North America, and one of the ECW Originals. He also has made appearances in Japan with AJPW and (around 2011) NJPW and Frontier Martial-Arts Wrestling (FMW), as well as in Puerto Rico with the World Wrestling Council (WWC), the WWWF/WWF/WWE and WCW (both during the later NWA/WCW days and near the end of WCW's run), as well as MLW, SMW, Ring of Honor, TNA, Juggalo Championship Wrestling, Pro Wrestling Guerilla and MANY others. He's known as a member of the Funk Wrestling Family, which includes his late father Dory Funk Sr. (May 4, 1919 – June 3, 1973) and his older brother Dory Funk Jr. (born 1941). (As a bonus, Terry and Dory Jr. are the only brothers to date to ever hold the NWA World Heavyweight title.) In addition, there is his acting resume, starting with Paradise Alley in 1978. He may not look like much, but he's taken bumps men a third his age would not consider, let alone attempt. While not quite the living embodiment of hardcore (that would be Abdullah the Butcher), he ranks pretty close; the Funkasaurus is a walking museum, proselytizing the heritage of the sport as it originated in mid-20th century fairs. -
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. -
Performance Research Article BC&EL V3 (Final Draft).Docx
This is an Accepted Manuscript of an article published by Taylor & Francis in Performance Research on 24 Jun 2014, available online: https://www.tandfonline.com/10.1080/13528165.2014.928516. Audience Affirmation and the Labour of Professional Wrestling Broderick Chow and Eero Laine Professional wrestling presents a simulacrum of grappling and combat sport practices with ancient roots, framed by serial narratives of rivalry, jealousy and deceit that present a simplistic moral universe. [{note}]1 Situated between sport and theatre, the audience has a large and active role in the spectacle, participating as if the results of the matches were not determined before the performers enter the ring. Professional wrestling exaggerates the imperative to perform -- the sentiment that the ‘show must go on.’ After all, it is as if there were something at stake for the spectators, and their gestures of affirmation often encourage excessive work and labour on the parts of the wrestlers. Fans cheer when wrestlers bleed. Risky leaps are rewarded with admiring chants. Throughout, the wrestlers labour through a performance of pain, which is frequently made apparent in their bruised, bloody, and broken bodies. These displays of performance labour frequently move beyond the theatrical. If an actor playing Hamlet stabs an actor playing Laertes in such a way as to actually draw blood, there is significant cause for concern. In pro-wrestling, a similar situation is met with cheers as it attests to the authentic labour of the performance. The three examples discussed in this article -- an in-ring death, an extreme style of wrestling, and a stunt gone too far -- demonstrate theatrical affirmation while troubling the ways in which audiences directly consume and affirm or encourage the labour of the performer. -
Hardcore Wrestling League
HardcoreHardcore WrestlingWrestling LeagueLeague League Champion # VIRUS/CTI: Chainsaw Shatterday 257 (45-18-3) *3 $256,800 … #215 or 501 TV Champion VIRUS/CTI: Mike Vendetta (199-142-19) *13 $1,026,800 … #169 or 502 Central Plains Champion * from the battle royal VIRUS/CTI: Mike Drake (14,276-1,527-360) *126 $37,372,200 … #88 or 503 East Coast Champion VIRUS/CTI: Chokeslam Shatterday (26-25-1) *3 $286,700 … #214 or 504 Great Lakes Champion * from the battle royal VIRUS/CTI: “Hardcore Hellion” Badwayz (171-38-5) *2 $425,100 … #217 or 505 Mid-Atlantic Champion Syndicate: The Messiah (765-401-80) *40 $2,576,000 … #218 or 506 Northeast Champion VIRUS/CTI: Shane Douglas (224-213-40) *44 $1,383,900 … #162 or 507 Pacific Northwest Champion VIRUS/CTI: Waldo Dirtberg (39-21-6) *8 $179,700 … #205 or 508 Rocky Mountains Champion Syndicate: Justice Pain (655-412-63) *39 $1,938,200 … #219 or 509 Southeast Champion VIRUS/CTI: Headhunter B (189-210-42) *42 $1,480,900 … #207 or 510 Southwest Champion VIRUS/CTI: Broken Tables (25-11-4) *1 $198,800 … #216 or 511 West Coast Champion VIRUS/LPPF/CTI: Grim Reaper (46-61-8) *15 $572,400 … #159 or 512 September 2021 League Tag-team Champions VIRUS/LPPF/CTI: IMT Slayer and The Killer Kangaroo #96 & #161 or 789 TV Tag-team Champions VIRUS/CTI: Chokeslam Shatterday and Chainsaw Shatterday #214 & #215 or 987 League Six-man Champions VIRUS/LPPF/CTI: Bird Flu, Smallpox, and VIRUS/CTI: Roderick Rampage #102, #105, & #168 or 789 TV Six-man Champions IWAIWA BulletinBulletin VIRUS/LPPF/CTI: General Whoshenburger, The Big Nasty, and VIRUS/CTI: Shane Douglas #128, #160, & #162 or 987 Battle Royal Winner VIRUS/CTI: Mike Drake (14,276-1,527-360) *126 $37,372,200 … #88 2 HWL Rankings 1. -
An Examination of WWE Wrestling Isamu Horiuchi Claremont Graduate University
Claremont Colleges Scholarship @ Claremont CGU Theses & Dissertations CGU Student Scholarship 2012 Stylizing, Commodifying, and Disciplining Real Bodies: An Examination of WWE Wrestling Isamu Horiuchi Claremont Graduate University Recommended Citation Horiuchi, Isamu. (2012). Stylizing, Commodifying, and Disciplining Real Bodies: An Examination of WWE Wrestling. CGU Theses & Dissertations, 55. http://scholarship.claremont.edu/cgu_etd/55. doi: 10.5642/cguetd/55 This Open Access Dissertation is brought to you for free and open access by the CGU Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in CGU Theses & Dissertations by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Stylizing, Commodifying, and Disciplining Real Bodies: An Examination of WWE Wrestling A dissertation submitted to the Faculty of Claremont Graduate University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Studies by Isamu Horiuchi Claremont Graduate University, 2012 © Copyright Isamu Horiuchi, 2012 All rights reserved. APPROVAL OF THE REVIEW COMMITTEE This dissertation has been duly read, reviewed, and critiqued by the Committee listed below, which hereby approves the manuscript of Isamu Horiuchi as fulfilling the scope and quality requirements for meriting the degree of Doctor of Philosophy in Cultural Studies. Henry Krips, Chair Claremont Graduate University Professor of Cultural Studies Andrew W. Mellon All-Claremont Chair of Humanities Alexandra Juhasz, Member Pitzer College Professor of Media Studies Kathleen Fitzpatrick, Member Pomona College Professor of Media Studies Abstract Stylizing, Commodifying, and Disciplining Real Bodies: An Examination of WWE wrestling by Isamu Horiuchi Claremont Graduate University: 2012 This dissertation examines professional wrestling in the U.S., in particular, live and television shows produced by the World Wrestling Entertainment (WWE). -
"It's Still Real to Me": Contemporary Professional Wrestling, Neo-Liberalism, and the Problems of Performed/Real Violence
"It's Still Real to Me": Contemporary Professional Wrestling, Neo-Liberalism, and the Problems of Performed/Real Violence Brian Jansen Canadian Review of American Studies, Volume 50, Number 2, Summer 2020, pp. 302-330 (Article) Published by University of Toronto Press For additional information about this article https://muse.jhu.edu/article/761215 [ Access provided at 4 Sep 2020 14:29 GMT from St Mary's University ] “It’s Still Real to Me”: Contemporary Professional Wrestling, Neo-Liberalism, and the Problems of Performed/ Real Violence Brian Jansen 10.3138/cras.2018.024 50 2 Abstract: Beginning from the premise (vis-à-vis wrestler-turned-scholar Laurence de Garis) that professional wrestling scholarship has historically overlooked the embodied, physical dimension of the form in favour of its drama, and reflecting on a series of professional wrestling story-lines that have blurred the lines between staged performance (“kayfabe”) and reality, this article suggests that the business of professional wrestling offers a vivid case study for the rise and dissemination of what political theorist Wendy Brown calls neo-liberal rationality: the dissemination of the market model to every aspect and activity of human life. Drawing on Brown’s work, the language of World Wrestling Entertainment (WWE) contracts, and professional wres- tling’s territorial history, this article argues that contemporary story-lines in professional wrestling rationalize, economize, and trivialize the form’s very real violent labour, even rendering audiences complicit in said violence— while serving also as a potent vehicle for understanding the metaphorical (and sometimes literal) violence of neo-liberal rationality more broadly. -
Sam Ford World Wrestling Entertainment in Japanese Culture
Sam Ford World Wrestling Entertainment in Japanese Culture in the 21st Century Introduction Approximately 16,000 pro wrestling fans were jammed into the Yokohama Arena on 01 March 2002, paying $1.1 million to see the first show by American international sports entertainment property World Wrestling Entertainment (WWE), formerly a regional promotion in the Northeast that launched a national media phenomenon in the 1980s when it paired with the growing strength of cable and pay-per-view television and remains based in Stamford, Connecticut, creating the first most successful wrestling touring group and television program on a national level. Shane McMahon, who along with sister Stephanie is heir to the McMahon family wrestling empire controlled by their father, Vince McMahon, was scheduled to come out early in the show, in front of the capacity crowd. His family company had not been to Japan for a show since the mid-1990s, when they only drew 4,500 fans in the same building, and fans hated parts of the show so much they chanted “refund.” Something had changed by 2002, though, and WWE was the place to be for thousands of people in Tokyo. McMahon entered the ring, accompanied by translator Wally Yamaguchi—a figure Japanese pro wrestling fans might know as a referee for Japanese wrestling organization All- Japan. As McMahon began to speak to the crowd through Yamaguchi, the duo was met with a loud series of boos. According to journalist Dave Meltzer, “The crowd, particularly the ringsiders, were furious. They wanted WWF, not WWF translated into Japanese.”1 Shane 1 Meltzer, Dave.