User:TravelingCat/Sandbox

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This box needs to be organized better. Smaller or not, it's worse than it was during the previous discussion. A Navbox should function as a way to view *related* articles within its topic. The grouping of games that have 'WrestleMania' in the title is useless because almost any two games in there have nothing BUT that in common, and over half the links in the box are lumped into an 'Other' category with no rhyme or reason.

But obviously, the previous grouping of games-by-console was off, because lots of games were made for multiple consoles.

Short of some kind of column-and-row table, I think it would be nearly impossible to categorize these to an exact science. But there should be some way to group various releases together into a group. For instance, the games LJN/Acclaim produced from Steel Cage Challenge through Rage in the Cage all use variations on the same engine, so even though they were produced for NES, SNES, Genesis, Sega CD, Game Boy and Game Gear, they can all be lumped together.

The modern games (since 2001 or so) can all be put into four series: RAW, Smackdown, Smackdown vs. RAW, and Day of Judgement. The XBox 'Mania games can be put with RAW.

I think games that were produced for arcades should be in a seperate category. This includes In Your House, which was a console-only sequel to WM: The Arcade Game. By the same token, games that were made only for Game Boy systems-only can be put together, even though that technically leaves out ports, like King of the Ring, that were made for multiple systems.

For the rest of the console games, they're pretty much covered so far except for the N64/PS1, the first of the 3D games. They can logically go together, because (with the exception of the first three or four Smackdown! games) they were the only ones produced during the Attitude-era proper.

That just leaves two stragglers, With Authority! and Crush Hour, which are so unique that they definitely belong in an 'Other' category.


I left the (2D) and (3D) in there, just for descriptive purposes, but they're not necessary. Technically, the Smackdown series could be instead listed under the Attitude-era since it has been supplanted by the SvsR series, so is no longer current. Also, the games that were ported to Game Boy/Game Gear/PSP could be duplicated in the Portable section to make it more complete.

This layout would leave it open for future expansion: if the mobile phone games ever got their own articles, they can be put under the Portables heading, and likewise older games like European Rampage could be put under a Computer heading.

If this still seems too big, I would propose two separate navboxes: one for World Wrestling Entertainment games, and one for World Wrestling Federation games.

Style 2[edit]

|group1 = Films |list1 =



Keep. This is arguably a family more deserving of a page than, say, the Dudley family, it's just older. There is a definite legacy there, as Mad Dog, Butcher and Vivian were a dominant force in the AWA (which was, in its day, comparable to at least WCW in scope). Then Luna was the first female to have one-on-one matches with heavyweight men in ECW and WWF, long before Chyna. This article fills a gap. There are members who don't have their own pages, and their info can't be stuffed into a navbox. It does need to be fleshed out, but keep.


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Lucha libre El Santo Mil Máscaras Salvador Lutteroth Francisco Flores (wrestling promoter) Antonio Peña

Professional wrestling in the United Kingdom Shirley Crabtree

Professional wrestling in Japan Giant Baba Antonio Anoki Sorakichi Matsuda Rikidozan

Professional wrestling in Australia

Staged nature of professional wrestling[edit]

Main articles: kayfabe and shoot (professional wrestling)

Throughout the history of professional wrestling, the utmost care was taken to ensure that the staged nature of professional wrestling was kept secret to the audience, a concept known as kayfabe or "working the marks". Kayfabe was largely broken down by the steroid trials of the World Wrestling Federation in the 1980s and the advent of the internet in the 1990s. However, this changed little of how wrestling is produced. Like those of film and theatre, the professional wrestling audience overlooks the inner workings of the performance, invoking suspension of disbelief and allowing for dramatic license.

Occasionally a performer will deviate from the intended sequence of events. This is known as a shoot. Sometimes shoot-like elements are included in wrestling stories to blur the line between performance and reality.; these are known as "worked-shoots". However, the vast majority of events in professional wrestling are entirely preplanned.

Dramatic elements[edit]

While each wrestling match is ostensibly a competition of athletics and strategy, the goal of each match from a business standpoint is to excite and entertain the audience. Because the competition is staged, dramatic emphasis can be utilized to draw out the most intense reaction from the audience. Heightened interest results in higher attendance rates, increased ticket sales, higher ratings on television broadcasts (which result in greater ad revenue), higher pay-per-view buyrates, and sales of branded merchandise and recorded video footage. All of these contribute to the profit of the promotion company.

Character[edit]

In Japan, most matches are treated as pure sport with seriousness of purpose.

In Latin America and English-speaking countries, most wrestlers (and other on-stage performers) portray character roles, sometimes with personalities wildly different from their own. These personalities are a gimmick intended to heighten interest in a wrestler without regard to athletic ability. Some can be unrealistic and cartoon-like, while others carry more verisimilitude.

An individual wrestler may keep one persona for his entire career, or may change from time to time to better suit the demands of the audience or company. Sometimes a character is owned and trademarked by the company, forcing the wrestler to find a new one when he leaves, and sometimes a character is owned by the wrestler. Many wrestlers are strongly identified with their character, even responding to the name in public or between friends. A professional wrestling character's popularity can grow to the point that it makes appearances in other media (see Hulk Hogan, El Santo) or even give the performer enough visibility to enter politics (Antonio Inoki and Jesse Ventura, among others).

Typically, matches are staged between a protagonist (historically an audience favorite, known as a face, or "the good guy") and an antagonist (historically a villain with arrogance, a tendency to break rules, or other unlikable qualities, called a heel). In recent years, however, anti-heroes have also become prominent in professional wrestling.

Story[edit]

While true exhibition matches are not uncommon, most matches tell a story analogous to a scene in a play or film, or an episode of a serial drama: The face will win (triumph) or lose (tragedy). Longer story arcs can result from multiple matches over the course of time. Since most promotions have a championship title, competition for the championship is a common impetus for stories. Also, anything from a character's own hair to his job with the promotion can be wagered in a match.

Some matches are designed to further a story of only one participant. It could be intended to portray him or her as a strong unstoppable force, a lucky underdog, a sore loser, or any other characterization. Sometimes non-wrestling vignettes are shown to enhance a character's image without the need for matches.

Other stories result from a natural rivalry between two or more characters. Outside of performance, these are referred to as feuds. A feud can exist between any number of participants and can last for a few days up to multiple decades. The career-spanning history between characters Mike Awesome and Masato Tanaka is an example of a long-running feud.

In theory, the longer a feud is built up, the more audience interest (aka heat) will exist. The main event of a wrestling show is generally the one with the most heat behind it. Commonly, a heel will hold the upper hand over a face until a final showdown, heightening dramatic tension as the face's fans desire to see him win.

Since the advent of television, many other elements have been utilized to tell story within a professional wrestling setting: pre- and post-match interviews, "backstage" skits, positions of authority, division rankings (typically the #1-contendership spot), contracts, lotteries, and even news stories on promotion websites.

Also, anything that can be used as an element of drama can exist in professional wrestling stories: romantic relationships (including love triangles and marriage), racism, classism, nepotism, favoritism, family bonds, personal histories, grudges, theft, cheating, assault, betrayal, bribery, seduction, confidence tricks, extortion, blackmail, substance abuse; even kidnapping, misogyny, rape and death have been portrayed in wrestling. Some promotions have included supernatural elements such as magic, curses, the undead and satanic imagery.

Commentators have become important in communicating the relevance of the characters' actions to the story at hand, filling in past details and pointing out subtle actions that may otherwise go unnoticed.

Non-standard matches[edit]

Often a match will take place under additional rules, usually serving as a special attraction or a climactic point in a feud or storyline. Sometimes this will be the culmination of an entire feud, ending it for the immediate future (known as a blowoff match).

Perhaps the most well-known non-standard match is the cage match, in which the ring is surrounded by a fence or similar metal structure, with the express intention of preventing escape or outside interference -- and with the added bonus of the cage being a potentially brutal weapon or platform for launching attacks.

Another good example is the Royal Rumble match, which involves thirty participants in a random and unknown order. The Rumble match is itself a spectacle in that it is a once-yearly event with multiple participants, including individuals who might not interact otherwise. But it also serves as a catalyst for the company's ongoing feuds, as well as a springboard for new storylines -- most importantly determining the main event at the following WrestleMania.



Rey[edit]

Rey means "king" in Spanish and Occitan, drived from the Latin rex. It is used as a surname throughout the world. It is also used as a given name for both males and females, sometimes as an alternative to Raymond.

People with the given name Rey[edit]

People with the surname Rey[edit]

Fictional characters named Rey[edit]

Other uses[edit]

See also[edit]


Culture[edit]

Professional wrestling has developed its own cultures, both internal and external.

Those involved in producing professional wrestling have developed a kind of global fraternity, with familial bonds, shared language and passed-down traditions. New performers are expected to "pay their dues" for a few years by working in lower-profile promotions before working their way upward.[1][2] The permanent rosters of most promotions develop a backstage pecking order, with veterans mediating conflicts and mentoring younger wrestlers.[3] For many decades (and still to a lesser extent today) performers were expected to keep the illusions of wrestling's legitimacy alive even while not performing, essentially acting in character any time they were in public.[4] Some veterans speak of a "sickness" among wrestling performers, an inexplicable pull to remain active in the wrestling world despite the devastating effects the job can have on one's life and health.[5]

Fans of professional wrestling have their own subculture, comparable to those of anime, science fiction, video games or comic books. Those who are interested in the backstage occurences, future storylines and reasonings behind company decisions read newsletters written by journalists with inside ties to the wrestling industry.[6][4] These "rags" or "dirt sheets" have expanded into the internet, where their information can be dispensed on an up-to-the-minute basis. Some have expanded into radio shows.

Some fans enjoy a pastime of collecting tapes of wrestling shows from specific companies, of certain wrestlers, or of specific genres. The internet has given fans exposure to worldwide variations of wrestling they would be unable to see otherwise.[7] Since the 1990s, many companies have been founded which deal primarily in wrestling footage.

Like other mainstream sports, fantasy leagues have developed around professional wrestling. Some take this concept further by creating E-feds (electronic federations), where a user can create their own fictional wrestling character, and roleplay storylines with other users, leading to scheduled "shows" where match results are determined by the organizers, usually based on a combination of the characters' statistics and the players' roleplaying aptitude, sometimes with audience voting.

Every year, there are growing numbers of regional, national and international wrestling fan conventions, where fans can meet and converse with wrestlers and each other. These often coincide with a wrestling show featuring an all-star card filled with legends.

Professional wrestling in mainstream culture[edit]

From the first established world championship, the top professional wrestlers have garnered fame within mainstream society. Each successive generation has produced a number of wrestlers who extend their careers into the realms of music, acting, writing, business, politics or public speaking, and are known to those who are unfamiliar with wrestling in general.

Conversely, celebrities from other sports or general pop culture also become involved with wrestling for brief periods of time. A prime example of this is The Rock 'n' Wrestling Connection of the 1980s, which combined wrestling with MTV.

Professional wrestling is often portrayed within other works using parody, and its general elements have become familiar tropes and memes in American culture.

Some terminology originating in professional wrestling has found its way into the common vernacular. Concepts such as "cage match", "body slam", "sleeper hold" and "tag team" are used even by those who do not watch professional wrestling. The term "smackdown", which originated in the late 90s in the World Wrestling Federation, is now listed in Webster's Dictionary as of 2007.

Many television shows and films have been produced which portray in-character professional wrestlers as protagonists, such as Mucha Lucha, Nacho Libre, and the Santo film series.

At least two stage plays set in the world of pro wrestling have been produced: The Baron is a comedy that retells the life of an actual performer known as Baron von Raschke. From Parts Unknown... is an award-nominated Canadian drama about the rise and fall of a fictional wrestler.

Critical study and analysis of professional wrestling[edit]

[6]

With its growing ubiquity, professional wrestling has attracted attention as a subject of serious academic study and journalistic criticism. Many courses, theses, essays and dissertations have analyzed wrestling's conventions, content, and its role in modern society. It is often included as part of studies on theatre, sociology, performance, and media.[8][9]

But this was not always the case; in the early 20th century, once it became apparent that the "sport" was worked, pro wrestling was looked down on as a cheap entertainment for the uneducated working class[4] -- an attitude that still exists to varying degrees today.[6] The French theorist Roland Barthes was among the first to propose that wrestling was worthy of deeper analysis, in his essay "The World of Wrestling" from his book Mythologies, first published in 1957.[10][4] Barthes argued that it should be looked at not as a scamming of the ignorant, but as spectacle; a mode of theatric performance for a willing, if bloodthirsty, audience. This work is considered a foundation of all later study.[11]

While pro wrestling is often described simplistically as a "soap opera for males", it has also been cited as filling the role of past forms of literature and theatre; a synthesis of classical heroics[12], commedia dell'arte[13], revenge tragedies[14], morality plays[14] and burlesque[15]. The characters and storylines portrayed by a successful promotion are seen to reflect the current mood, attitudes, and concerns of that promotion's society[6][7] (and can, in turn, influence those same things[16]). Wrestling's high levels of violence and masculinity make it a vicarious outlet for aggression during peacetime.[17]

Documentary filmmakers have studied the lives of wrestlers and the effects the profession has on themselves and their families. The 1999 theatrical documentary Beyond The Mat focused on Terry Funk, a wrestler nearing retirement; Mick Foley, a wrestler within his prime; and a school of wrestling students trying to break into the business. The 2005 release Lipstick and Dynamite chronicled the development of women's wrestling throughout the twentieth century. Pro wrestling has been featured several times on HBO's Real Sports. MTV's documentary series True Life featured two episodes titled "I'm a Professional Wrestler" and "I Want to Be a Professional Wrestler". Other documentaries have been produced by The Learning Channel (The Secret World of Professional Wrestling) and A&E Network (Hitman Hart: Wrestling with Shadows).


NY Times: MTV True Life (http://64.233.167.104/search?q=cache:0jUslHHtY3oJ:query.nytimes.com/gst/fullpage.html%3Fres%3D9C03E7D91138F937A25756C0A9669C8B63%26sec%3D%26spon%3D%26pagewanted%3Dall+MTV+documentary+Professional+Wrestler&hl=en&ct=clnk&cd=3&gl=us)

Chicago Flame: Lipstick and Dynamite review (www.chicagoflame-inferno.com/news/2005/05/31/Film/Wrestling.Women.Makes.A.Dynamite.Show-954639.shtml)

Wrestling With Instinct (http://wrestlingwithinstinct.blogspot.com/)

Barthes: "The World of Wrestling", Mythologies (http://social.chass.ncsu.edu/wyrick/debclass/rbwres.htm)

The Influence of The Commedia Dell'arte (http://www.spiritus-temporis.com/commedia-dell'arte/the-influence-of-the-commedia.html)


http://64.233.167.104/search?q=cache:jV9XN8aPuzwJ:home.broadpark.no/~agjoyst/Wrestling.htm+%22professional+wrestling%22+commedia+dell%27artes&hl=en&ct=clnk&cd=1&gl=us


Professional Wrestling and Its Fans: A Sociological Study of the Sport of Pro-Wrestling (http://www.solie.org/articles/pwandfans.html) Kreit, Alex (1998). "Professional Wrestling and Its Fans: A Sociological Study of the Sport of Pro-Wrestling". Solie's Vintage Wrestling. Jump City Productions. {{cite web}}: Cite has empty unknown parameter: |coauthors= (help)


An Informal History of Wrestling Music (http://members.aol.com/solie11/music.html)

Yelton, Jeff (1996). "An Informal History of Wrestling Music". Solie's Vintage Wrestling. Jump City Productions.


2) commedia dell'arte: Foreign Objects Included (http://www.pwawrestling.net/scope.php) Adams, Jonathan. "Foreign Objects Included". The Scope magazine. {{cite web}}: Text ""there is a sense in which wrestling resembles nothing if not a kind of postmodern commedia dell’arte"" ignored (help)

The World Titles: An Historical Perspective (http://members.aol.com/solie11/worldt.html) Benaka, Matt (1997). "The World Titles: An Historical Perspective". Solie's Vintage Wrestling. Jump City Productions.

Paul Weiss (1969) Sport: A Philosophical Inquiry (Carbondale: Southern Illinois University Press)

Lacey Sugarman (2005) Grasping the Moral, Mercer Street Publications (http://www.nyu.edu/cas/ewp/sugarmangrasping04.pdf) Sugarman, Lacey (2005). "Grasping the Moral" (pdf). Mercer Street Publications. New York University. Retrieved 3-19-2008. {{cite web}}: Check date values in: |accessdate= (help); Cite has empty unknown parameter: |coauthors= (help)

The Operational Aesthetic in the Performance of Professional Wrestling (May 2005), William P. Lipscomb III (http://etd.lsu.edu/docs/available/etd-01252005-152153/unrestricted/Lipscomb__III_dis.pdf)

1) heroics: The Athlete as Buffoon: Cultural and Philosophical Considerations on Professional Wrestling, Dr. William G. Plank http://www.msubillings.edu/CASFaculty/Plank/ (http://www.msubillings.edu/CASFaculty/Plank/THE%20ATHELETE%20AS%20BUFFOON.htm) Plank, Dr. William. "The Athlete as Buffoon: Cultural and Philosophical Considerations on Professional Wrestling". Montana State University-Billings. {{cite web}}: Check |authorlink= value (help); Cite has empty unknown parameter: |coauthors= (help); External link in |authorlink= (help)

The Baron, By Corey McLeod (in collaboration with Jim and Karl Raschke.) Meet “The Crusher,” “Mad-Dog Vaschon,” “The Baron,” “The Claw” and other favorites in this wacky comedy about the world of professional wrestling in the 1960s and 1970s. History Theatre, 30 E. 10th St., St. Paul, MN 55101; 04/14/07-05/20/07. Call 651-292-4323 or visit www.historytheatre.com. Tickets $25-$32


Roland Barthes, The World of Wrestling, Mythologies (http://www9.georgetown.edu/faculty/irvinem/theory/Barthes-Mythologies-Wrestling-1957.pdf)

5) burlesque: Diana E. Garvin, [1] Et tu, Steve Austin?, The Harvard Crimson (2005) (http://www.thecrimson.com/article.aspx?ref=508906) Garvin, Diana (2005). "Et tu, Steve Austin?". The Harvard Crimson. Harvard University. Retrieved March 19, 2008. {{cite web}}: Check |authorlink= value (help); External link in |authorlink= (help)

From Parts Unknown... Official site: http://www.secondbestbird.com/SecondBESTbird/Past%20Productions.html UBC alumni shows: http://www.theatre.ubc.ca/students/alumni_events.htm

3, 4) revenge tragedy, morality play: Mazer, Sharon. Professional Wrestling. Sport and Spectacle. Jackson: University Press of Mississippi, 1998. Mazer, Sharon (1998). Professional Wrestling: Sport and Spectacle. Jackson: University Press of Mississippi. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)


Ernesto Cruz Caceres, Monday Night Identity Wars: The Evolution of Performance Conventions in Professional Wrestling, 2005 Popular Culture Association/American Culture Association National Conference Program (http://www.popularculture.org/2005%20PAGES/2005%20Program.htm) Ernesto Cruz, Caceres (2005). Monday Night Identity Wars: The Evolution of Performance Conventions in Professional Wrestling. 2005 Popular Culture Association/American Culture Association National Conference Program. Retrieved March 19, 2008. {{cite conference}}: Cite has empty unknown parameters: |booktitle= and |coauthors= (help)CS1 maint: location (link)

(http://www.siue.edu/CAS/COLLOQUIA/MasculProgramFINAL.pdf) Ledford, Brian. Grappling with Masculinity: Representation and Reception of Televised Professional Wrestling Imagery (PDF). 2005 Spring Colloquium: Thinking About Masculinity: SIUE College of Arts and Sciences. {{cite conference}}: Cite has empty unknown parameters: |booktitle= and |coauthors= (help)CS1 maint: location (link)


ECW supercard events[edit]

1993[edit]

NWA Ultra Clash[edit]

NWA Ultra Clash was held at the ECW Arena on September 18, 1993. 1,131 people attended.


NWA Bloodfest[edit]

1994[edit]

The Night the Line was Crossed[edit]

The Night The Line Was Crossed took place February 5, 1994 in the ECW Arena, South Philadelphia, Pennsylvania. It had a sell-out attendance of 1,300 people.

  • JT Smith defeated Mike Awesome (2:02)
    • Smith pinned Awesome with a small package
    • Smith's back was legitimately injured by a suicide dive from Awesome onto the guardrail.
    • After the match, Awesome powerbombed the referee twice, then mounted the turnbuckles, which caused the top rope to snap.
  • Shane Douglas (w/Sherri Martel) and Sabu (w/Paul E. Dangerously) fought to a time-limit draw (15:00)
    • The winner of this match was slated to earn the right to wrestle Terry Funk for the ECW Championship.
    • No winner had been determined by the 15-minute time limit, so Funk entered and the match continued with the time limit extended to 60 minutes and the title on the line.
  • ECW Heavyweight Champion Terry Funk, Shane Douglas, and Sabu fought to a time-limit draw in a No Disqualification match (45:00)
    • This was the first three-way singles match ever booked in American professional wrestling

http://members.hometown.aol.com/puroresu1king/ecw2594.htm http://www.wrestlingclothesline.com/TapeECWNight.htm

Ultimate Jeopardy[edit]

see ECW Ultimate Jeopardy#1994

When Worlds Collide[edit]

Hostile City Showdown[edit]

Heat Wave[edit]

see ECW Heat Wave#1994

Hardcore Heaven[edit]

see Hardcore Heaven#1994

NWA World Title Tournament[edit]

November to Remember[edit]

see November to Remember#1994

Holiday Hell[edit]

Entertainment[edit]

Closed-circuit television systems are used to transmit entertainment events to theaters, where patrons pay to watch. This system was available in Canada for watching hockey games before the CBC started broadcasting.

The first closed-circuit concert was held in March 1964 and featured The Beatles, The Beach Boys and Lesley Gore.

Sports events are also shown, including horse races, boxing, and professional wrestling.

The use of CCTV for entertainment purposes has largely fallen out of use in favor of pay-per-view television, which allows the same service in a private home setting.

The Beatles http://www.beatlesource.com/bs/to-washinton1.html

Hockey Hall of Fame http://www.legendsofhockey.net/html/ind00.htm http://www.hhof.com/html/ind99.htm

Theater Television http://www.museum.tv/archives/etv/C/htmlC/closedcircui/closedcircui.htm

Education[edit]

CCTV is also used for instructional purposes. The Pennsylvania State University incorporated a closed-circuit lecture system.

Pennsylvania State http://www.museum.tv/archives/etv/E/htmlE/educationalt/educationalt.htm

Channel One (educational) http://www.museum.tv/archives/etv/C/htmlC/closedcircui/closedcircui.htm

http://mlmiller.myweb.uga.edu/timeline/1960s.html

Advertising[edit]

Many companies with brick and mortar presence develop in-house programming which is shown on monitors to customers or visitors. This programming contains a combination of advertising, self-promotion and public relations information, and is sent via satellite from a central location.

in-store advertising http://www.museum.tv/archives/etv/C/htmlC/closedcircui/closedcircui.htm

http://query.nytimes.com/gst/fullpage.html?res=9F03EED91639F931A35752C1A963958260


Life and career[edit]

Sheehan tried piano and violin before trying guitar. While still in middle school he joined a group called The Doctors; Sheehan was asked to play bass since they already had a guitarist. The group attempted an unsanctioned concert in the school's auditorium. http://www.pacpubserver.com/new/news/8-24-99/deadblues.html

Sheehan was largely self-taught.

Sheehan attended the Berklee College of Music in Boston as a teenager. He graduated from Princeton High School where he formed Blues Traveler, and moved to New York City, enrolling in The New School for Social Research's Jazz program with two of his bandmates. http://www.berklee.edu/bt/112/a.cadence.html

Played a 1970s Fender bass. http://www.xtrememusician.com/info/artists/profiles/380.html


Blues Traveler Mountains Win Again - http://www.aspentimes.com/article/20071207/AE/71206031 Love of My Life Pretty Angry

New Orleans[edit]

Sheehan played with New Orleans funk fusion group Galactic and lead singer Theryl DeClouet.

Death[edit]

Sheehan had been playing with blues guitarist John Mooney and his band Bluesiana, filling in for their regular bassist.http://www.bluesaccess.com/No_40/mooney.html Sheehan had been planning a solo album at the time of his death. http://www.mtv.com/news/articles/1426245/19990820/blues_traveler.jhtml


In 1997, Blues Traveler was touring as an opening act for the Rolling Stones on their Bridges To Babylon tour. Sheehan was detained by Canadian border guards at the Winnipeg National Airport when he was found to be in possession of 2 grams of cocaine, found in the Stones' private jet. He was put on two years of probation. http://music.yahoo.com/read/news/12039617

Carlos Nuccio home studio.

Ranked as one of the greatest rock bass guitarists of all time. www.digitaldreamdoor.com/pages/best_bassguitar.html

Under the Influence[edit]

  1. "Call Me the Breeze" - Les Claypool (3:50)
  2. "Saturday Night Special" - Galactic (3:59)
  3. "Simple Man" - Gov't Mule (7:56)
  4. "Whiskey Rock a Roller" - North Mississippi Allstars (4:34)
  5. "The Ballad of Curtis Loew" - moe. (4:53)
  6. "Free Bird" - Blues Traveler (5:38)
  7. "Every Mother's Son" - Drive-By Truckers (4:47)
  8. "Sweet Home Alabama" - Big Head Todd & The Monsters (3:37)
  9. "Gimme Three Steps" - The Disco Biscuits (3:34)
  10. "Four Walls of Raiford" - Yonder Mountain String Band (4:05)
  11. "Workin' for MCA" - Particle (7:12


Timeline[edit]

Total Nonstop Action WrestlingRing of HonorPro Wrestling ZERO1-MAXPro Wrestling NOAHWAR (wrestling promotion)Jersey All Pro WrestlingExtreme Championship WrestlingAsistencia Asesoría y AdministraciónWorld Championship WrestlingUniversal Wrestling AssociationWorld Wrestling CouncilNew Japan Pro WrestlingAll Japan Pro WrestlingWorld Class Championship WrestlingWorld Wrestling EntertainmentAmerican Wrestling AssociationChampionship Wrestling from FloridaStampede WrestlingNational Wrestling AllianceGeorgia Championship WrestlingConsejo Mundial de Lucha LibreJim Crockett PromotionsNational Wrestling Association
  1. ^ Grabianowski, Ed. "Wrestling School". How Professional Wrestling Works. HowStuffWorks.com. Retrieved 3-21-2008. {{cite web}}: Check |authorlink= value (help); Check date values in: |accessdate= (help); External link in |authorlink= (help)
  2. ^ Ryan, Derek (8/11/2007). "Discovery: Accidental Perfection". The Wrestling Oratory. Dragon Gate is a unique promotion as they still follow many of wrestling's biggest traditions, one being that veterans get theirs first because rookies need to "pay their dues" like they did. {{cite web}}: Check |authorlink= value (help); Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help); External link in |authorlink= (help)
  3. ^ Gadd, Mitchell (07/13/2006). "Unions". Reading Between the Ropes. WrestleZone.com. Retrieved 3-21-2008. {{cite web}}: Check date values in: |accessdate= and |date= (help)
  4. ^ a b c d Kreit, Alex (1998). "Professional Wrestling and Its Fans: A Sociological Study of the Sport of Pro-Wrestling". Solie's Vintage Wrestling. Jump City Productions. Retrieved 3-19-2008. {{cite web}}: Check date values in: |accessdate= (help)
  5. ^ Kamchen, Richard (2/5/2008). "Retro review: Piper's tale scrappy as he is". SLAM! Wrestling. SLAM! Sports. Retrieved 3-21-2008. {{cite web}}: Check date values in: |accessdate= and |date= (help)
  6. ^ a b c d Lipscomb, William (May 2005). "The Operational Aesthetic in the Performance of Professional Wrestling" (pdf). Department of Communications Studies, Louisiana State University. {{cite web}}: Cite has empty unknown parameter: |coauthors= (help)
  7. ^ a b Bollom, Brandon W. (May 7, 2004). "Professional Wrestling Migration: Puroresu in America" (pdf). Retrieved March 20, 2008.
  8. ^ Ernesto Cruz, Caceres (2005). Monday Night Identity Wars: The Evolution of Performance Conventions in Professional Wrestling. 2005 Popular Culture Association/American Culture Association National Conference Program. Retrieved March 19, 2008. {{cite conference}}: Cite has empty unknown parameters: |booktitle= and |coauthors= (help)CS1 maint: location (link)
  9. ^ Ledford, Brian. Grappling with Masculinity: Representation and Reception of Televised Professional Wrestling Imagery (PDF). 2005 Spring Colloquium: Thinking About Masculinity: SIUE College of Arts and Sciences. {{cite conference}}: Cite has empty unknown parameters: |booktitle= and |coauthors= (help)CS1 maint: location (link)
  10. ^ Barthes, Roland (1957). "The World Of Wrestling". Mythologies. Retrieved 3-21-2008. {{cite web}}: Check date values in: |accessdate= (help)
  11. ^ Lagorio, Christine (January 4th, 2005). "Wrestling With The Margins". Education Supplement 2005. The Village Voice. Retrieved 3-21-2008. {{cite web}}: Check date values in: |accessdate= and |date= (help)
  12. ^ Plank, Dr. William. "The Athlete as Buffoon: Cultural and Philosophical Considerations on Professional Wrestling". Montana State University-Billings. {{cite web}}: Check |authorlink= value (help); External link in |authorlink= (help)
  13. ^ Adams, Jonathan (11/09/06). "Foreign Objects Included". The Scope magazine. Retrieved March 19, 2008. there is a sense in which wrestling resembles nothing if not a kind of postmodern commedia dell'arte {{cite web}}: Check date values in: |date= (help)
  14. ^ a b Mazer, Sharon (1998). Professional Wrestling: Sport and Spectacle. Jackson: University Press of Mississippi. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  15. ^ Garvin, Diana (2005). "Et tu, Steve Austin?". The Harvard Crimson. Harvard University. Retrieved March 19, 2008. {{cite web}}: Check |authorlink= value (help); External link in |authorlink= (help)
  16. ^ "Merchants of Cool". Frontline. Season 2001. Feb. 27, 2001. {{cite episode}}: Check |episodelink= value (help); Check |serieslink= value (help); Check date values in: |airdate= (help); External link in |episodelink= and |serieslink= (help); Unknown parameter |episodelink= ignored (|episode-link= suggested) (help); Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  17. ^ Farley, Frank. "CZW: Blood, Philadelphia and Fun". Rat Blood Soup magazine. {{cite web}}: Cite has empty unknown parameter: |coauthors= (help)
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