Thanks to NXT, women’s wrestling has finally started getting the attention it deserves in WWE after decades of evening gown matches and lingerie pillow fights. This, combined with the company’s newfound love of the tournament format lead to the Mae Young Classic, touted as WWE’s attempt to gather the best female pro wrestlers from across the globe under one roof and give them the spotlight. I finally had a chance to binge watch the first four episodes and thought I’d share my top five takeaways from this so far wonderful event.
After what seems like an eternity of hot hot heat, summer is finally over and autumn has arrived. But as excited as I am about the prospect of being able to go outside free of butt sweat, I’m even more excited about New Japan Pro Wrestling’s upcoming Destruction series, which is set to take place in Fukushima, Hiroshima and Kobe this month. Nearly every title the company has to offer will be defended during this trio of events, so they’re bound to have a major impact on the NJPW landscape. Without further ado, let’s break down all the title matches…
Summerslam weekend is nearly upon us, and with WWE’s so-called “new era” growing more and more stale by the month, the company’s only saving grace is NXT. How does NXT get everything so right while the main roster continues to get everything so wrong? I can only assume it has something to do with the fact that people with actual wrestling knowledge are booking the shows, as opposed to a bunch of jabronis that wrote for those godawful daytime soap operas your grandma used to watch. Whatever the case, let’s break down the show that’s guaranteed to wipe the floor with Summerslam.
For the most part, everyone already knows the scoop on American Psycho; after years of bitter legal disputes with Glenn Danzig, bassist Jerry Only was finally given the rights to record and perform under the Misfits name. Recruiting new drummer Dr. Chud and vocalist Michale Graves along with longtime guitarist/Only’s brother Doyle, the resurrected Misfits signed with Geffen records and released their first album in nearly a decade-and-a-half. End of history lesson.
Atsushi Onita is generally credited with bringing the deathmatch style of professional wrestling to Japan. Most American pro wrestling fans are familiar with Japanese deathmatch wrestling thanks to Mick Foley (competing as Cactus Jack), who famously took on Terry Funk in the finals of IWA’s King of Deathmatch tournament on August 30, 1995 at Kawasaki Baseball Stadium, but Onita was having deathmatches in Japan as far back as 1989, even going so far as to create his own promotion, the legendary Frontier Martial-Arts Wrestling, or FMW. FMW might be the very first hardcore wrestling promotion, as ECW didn’t go “extreme” until 1994 and Combat Zone Wrestling wasn’t even founded until 1999.
Over the past several years, Jerry Only has been both lauded for keeping the Misfits alive and demonized for continuing to milk the Crimson Ghost cash-cow. To say that I’ve been skeptical of the Jerryfits would be an understatement; aside from the Project: 1950 covers album, I hadn’t checked any of the band’s post-Michale Graves discography until this year. Sure, Project: 1950 was a fun little experiment, but there was just something about Only continuing to front the band that didn’t sit well with me.
All of these album anniversaries are starting to make me feel old. But with that said, I can think of few better to celebrate than the silver anniversary of what is arguably Danzig’s masterpiece, How The Gods Kill. I can’t remember exactly what year I bought the album, but I do remember picking it up at one of the three record stores that populated the local shopping mall (ah, the good ol’ days), bringing it home and subsequently being blown away. It immediately struck me as one of the deepest, darkest albums I’d ever heard up to that point in my life, and given that I was still an impressionable teenager, I’d like to think it was one of the key albums that helped to propel me down the path of heavy music.