Yo. I have to get up early tomorrow for jury duty, which I think means I have to put on battle armor and hunt down Venom, so I’m just going to rush this update. It’s me, Jody, Gaijin Dan and Space Jawa. Was Taters is currently flailing around in a pit of quicksand.
Action Comics #16
Grant Morrison, Brad Walker, Rags Morales, Sholly Fisch and Chris Sprouse
Age of Apocalypse #11
David Lapham and Roberto de la Torre
Animal Man #16
Jeff Lemire, Steve Pugh and Timothy Green II
Date: November 22, 1998 Company: WCW Show: World War 3 Rules: 60 men compete in three rings. Once it’s down to 20, they all converge into one ring. Stipulation: #1 contender for WCW Championship at Starrcade Roster (60): Chris Adams, Chris Benoit, Bobby Blaze, Ciclope, Damien, El Dandy, Barry Darsow, the Disciple, Disco Inferno, Bobby Duncum Jr., Bobby Eaton, Mike Enos, Scott Hall, Héctor Garza, the Giant, Glacier, Juventud Guerrera, Chavo Guerrero Jr., Eddy Guerrero, Hammer, Kenny Kaos, Kaz Hayashi, Horace Hogan, Barry Horowitz, Prince Iaukea, Chris Jericho, Kanyon, Billy Kidman, Konnan, Lenny Lane, Lex Luger, Lizmark Jr., Lodi, Dean Malenko, Steve McMichael, Ernest Miller, Chip Minton, Rey Misterio Jr., Kevin Nash, Scott Norton, La Parka, Sgt. Buddy Lee Parker, Psychosis, Scott Putski, Stevie Ray, The Renegade, Scotty Riggs, Perry Saturn, Silver King, Norman Smiley, Scott Steiner, Super Caló, Johnny Swinger, Booker T, Tokyo Magnum, Villano V, Vincent, Kendall Windham, Wrath and Alex Wright
I didn’t get into WCW until sometime in 1998, shortly before this event. I actually didn’t start watching WCW simply because I’m a wrestling fan, but because I was a huge fan of the Nintendo 64 game WCW/nWo Revenge. Me and my best friend rented that game so many times that it gave us enough familiarity with the product to want to start checking it out. While I didn’t watch this match on PPV, I did watch it scrambled, back when that was a thing.
World War 3 was a rather short-lived match gimmick in WCW that sounded outright epic to someone who hadn’t seen one before. Royal Rumble has 30 men? World War 3 has 60. Royal Rumble has one ring? World War 3 has three rings! Having watched them all a few years ago, I discovered that sometimes bigger isn’t exactly better. The ones for 95, 96 and 97 were complete clusterfucks. Like with that Battle Bowl match, there’d be picture-in-picture, only for that we’d see the different rings while so much battle royal brawling is going on that you can’t even keep track of what’s what and who’s who. There’s no drama and nothing worth paying attention to.
Then when you get to the end of it, there’s always some kind of dumb swerve that kills it. Real life situations makes this edition of the World War 3 match infamous, but yet it’s still easily the best one. It’s too bad that it’s the last one because they really started to get a good handle on things. No picture-in-picture. Just constant focus changes with it explicitly saying which ring it is on the screen and a tendency to not have anything too important going on in two rings at the same time. There’s a counter of how many guys are still in the rings at any given time, making things easier to follow.
Not only that, but there’s actual story going on throughout the match instead of only getting interesting once there are 20 left.
Prior to the match, we get over five minutes of introductions as nearly the entire WCW roster empties out the back and into the ring. There’s one Turnertron video playing throughout that zips through all 60 names in different fonts. The commentators keep bringing up that Hollywood Hogan isn’t there. Cute thing in there is that some of the guys had matches earlier in the night and this includes Jericho, who’s selling his match against Bobby Duncum Jr. from minutes earlier.
Finally, the rings fill up and we’re off. Ring 2 is a ring where nothing is really going on, despite being where most of the big names are. They’re just killing time so most of them can stick around for the final round. Ring 1 is made up of a lot of smaller wrestlers with name value, such as Eddie Guerrero, Chris Benoit, Alex Wright and Disco Inferno as they share the ring with the Giant. Giant remains in the corner for most of the match, choosing to stay to himself. Then you have Ring 3, where it’s Kevin Nash and 19 jobbers. Nash decides to just go to town and clears the ring in less than three minutes.
Before he gets around to that, there is a funny moment where El Dandy and La Parka eliminate Tokyo Magnum. Then La Parka leaves El Dandy hanging.
Who are you to not high-five El Dandy?
Van Hammer is the last challenge to Nash and puts up enough of a fight, but he too is thrown out of there. That allows Nash to sit back for the next fifteen minutes or so, hanging alone in Ring 3 to catch his breath. Amusingly, his nWo Wolfpac comrade Konnan gestures to him from the second ring that they’ll catch up on things later.
Neat moment in Ring 2 is when former long-time tag partners Stevie Ray and Booker T cross paths. They decide that it isn’t even worth the effort in fighting.
Wow, Alex. Way to show some effort. You’re like me when I’m helping someone lift a couch.
Meanwhile, back in Ring 1, Giant starts going to town on everyone. This leads to everyone in the ring going after him all at once. It doesn’t work out so well.
Disco Inferno tries to rally the troops, but Chris Benoit figures he’d be safer in attacking Disco and hoping that they survive long enough to be in the final 20. Ring 2 whittles down enough that they get that. Everyone converges onto Ring 2, although Saturn and the Cat get themselves disqualified by leaving the ring and fighting to the back. A lot of the smaller guys are removed in one fell swoop and soon we’re down to various factions sticking together. nWo Hollywood has Scott Steiner, Scott Norton and the Giant. nWo Wolfpac has Kevin Nash, Lex Luger and Konnan. The Four Horsemen has Chris Benoit, Dean Malenko and Mongo McMichael. Scott Hall is out on his own. Then you have other independent wildcards like Booker T and Wrath.
One of the stories going on in the match is the status of Scott Hall. He’s been kicked out of nWo Hollywood and they’ve been doing some awesome teasing of he and Nash getting back together. One of the better instances is when they team up to beat on the Giant together and would have him out if not for the interference by the other Hollywood members.
When they’re down to ten, WCW newcomer Bam Bam Bigelow runs out and tries to enter the ring. The survivors fight him off until security pulls him out. Soon Goldberg rushes out and they start going at it until a dozen or so security guards pull them apart. During all this, the competitors in the ring take a break a watch on.
With only a handful of guys left, Nash steps forward and points at the Giant, who has since lost his Hollywood allies. Giant is ready to fight them all off on his own, but he’s overwhelmed and gets thrown over the top by his remaining enemies. Scott Hall makes sure to wave him off as he leaves the ringside area.
Our final three are Scott Hall, Kevin Nash and Lex Luger. Nash and Luger make a friendly, “What happens happens,” gesture and it becomes a three-way brawl. Luger is the first person to knock Nash over the whole match and it allows him to take apart Hall. For this final World War 3 match, they added a stipulation that pins and submissions are allowed. On one hand, it’s a moot point as nobody is shown getting pinned or submitting, but I guess it’s just there for the sake of having Luger pick up Hall in the Torture Rack. That opens him up for Nash to get back up and take both of them out with a running boot. Nash is the last man standing and wins a shot against Goldberg at Starrcade.
Did I mention that Kevin Nash was booking this? Because he was. Nash wrote that he should dominate this 60-man match so that he could go on to main event the biggest show of the year and end Goldberg’s streak. It’s something that in hindsight it’s easy to gnash at the teeth about (no pun intended, seriously), but at the time, I was all for it. People talk about how nuts WCW was to ever end Goldberg’s streak, but here’s the thing: Goldberg’s streak was boring as hell.
They refused to ever book him properly in the first place and only put him in midcard matches against guys who had zero chance. His streak and ho-hum title reign started to make him a borderline heel because they were running low on interesting challengers and whenever he fought another face (ie. Sting and DDP), it was too easy to root for them. Personally, I thought that when it was Nash’s time to step to the plate, the whole streak concept had run its course.
Unfortunately, they went about it all in the most convoluted (AKA “WCW”) way. The match ended in a clusterfuck and led to the amazingly stupid Fingerpoke of Doom where the nWo came back together under Hogan’s leadership. And that was the beginning of the end for WCW.
Tomorrow, we return to the WWF for Vince McMahon’s foolproof plot to escape Steve Austin’s wrath.
(I’m bad at email. A guy emailed me with a question about Django, so I answered it in my usual format: thirty-thousand words of overkill. Then, after reading a reply from him, I finally read the subject line of the email and I realized he meant to interview me for a quote, rather than being simply curious about stuff. Whoops. But, this is me. And is more:)
The Django Unchained and Blazing Saddles comparison is, at best, a really cheap comparison. The two movies are too different to compare directly. It’s sort of the same thing that leads people to compare Amistad and Beloved to Django Unchained. They share a few surface similarities, but as soon as you step into the waters, they’re entirely different animals.
The short version is that Blazing Saddles is a comedy (or satire, or whatever — let’s go with comedy because it’s easier) set in the late 1800s and Django Unchained is a western set in the antebellum south. Django Unchained has funny moments, and a lot of them, but the way it uses humor couldn’t be more different from how Blazing Saddles does.
Saddles wants you to laugh until you cry. Brooks layers in pointed jokes like the black sheriff, goofy stuff like anachronistic gags, and goofy names because he wants to make you laugh until you cry. It has a point that’s worth saying — most good comedy does, I think — but it isn’t controversial in the same way that Django is. It’s tackling sensitive subjects, but not to the extremes that Django is.
The sticking point with Django is that it’s about slavery, something we tend to tiptoe around, and it’s an action movie. More than anything else, Django Unchained is about a dude trying to get his wife back, even if he has to kill people in the process. It’s set in 1858 and 1859, so they couldn’t avoid slavery or excise it from the narrative without being dishonest. So Tarantino made the decision to tackle it head-on, to make slavery and its issues text instead of subtext, and that’s where the sticking point is. Considering how sensitive slavery is, an action movie set in that time period runs the risk of disrespecting, or maybe not paying enough fealty, to the very real misery that slavery caused.
Now, Django Unchained is funny. It’s really funny. But where Brooks was trying to make you laugh until you cried, Tarantino is trying to make you laugh to keep you from crying. He’s dealing with one of the most painful periods in American history, and having to confront the reality of that pain when you’re just trying to have a good time at the movies is tough. If he tilts too far in one direction, he’s disrespecting the subject by not treating it seriously enough. If he tilts it too far in the other, he makes a movie that feels more like a lecture than anything else (most slavery movies are the latter, here).
So he walks down the middle. The violence against the black characters in Django Unchained is realistic, whether that means rooted in history (the chains, the masks, the whips) or treated realistically if they’re fake (the mandingo fights, which are uncomfortably brutal and not like the fistfights we see in flicks usually). The white guys get geysers of blood and exploded and so on. There’s a marked difference there.
But the thing is, realistic depictions of pain suck. It’s a HUGE bummer, to understate things, and you run the risk of losing the audience that came to see dudes get shot and damsels de-distressed. So Tarantino layers in jokes that we can appreciate from our 2013 perch, but also jokes that work just because they’re good jokes. We laugh at the reaction to Django on a horse because, guys, really, people were SO backward. We laugh at the regulators arguing over their masks because it makes what those guys eventually turned into — church-burners, child killers, and terrorists — look like buffoons. It’s an agreeable idea to us, and executed in a way that’s fantastic.
That’s the reason why comparing Django Unchained to Blazing Saddles doesn’t work. Outside of black cowboys, black dudes on horses, and laughter, they don’t share too much at all. Django’s funny because it’s needed to keep you pushing past the pain. Blazing Saddles is funny because it’s a comedy.
Date: February 16, 1997 Company: WWF Show: In Your House 13: The Final Four Rules: Pins and submissions allowed Stipulation: Winner becomes WWF Champion Roster (4): Bret “The Hitman” Hart, “Stone Cold” Steve Austin, the Undertaker and Vader
The 1997 Royal Rumble ended with some controversy. Bret Hart eliminated Steve Austin while the refs were too busy dealing with an eliminated Mankind. Despite the crowd and cameras seeing everything clearly, nobody official noticed Austin was gone, so he got back in, threw out the Undertaker and Vader at the same time, waited for Bret to finish off Fake Diesel, then eliminated Bret to win the match. Bret was understandably pissed and Undertaker and Vader weren’t so happy either. For the next In Your House PPV, it was decided that they’d redo the final four (minus Fake Diesel, who was eliminated fairly) and the winner would become #1 contender against champion Shawn Michaels.
Plans change. Michaels made this big announcement that his knee wasn’t up to snuff and that he “lost his smile”. He gave up the WWF Championship and walked off into the sunset. Because of that, the Final Four match became for the vacated championship.
Really weird to have a PPV main event that’s just a four-man battle royal, but at the time, there’s a real feeling that any four of these guys could come out the winner. Remove the battle royal aspect and make it pin/submission only and it’s suddenly far too big for just an In Your House show. One cool little aspect of this match is that there’s no battle royal teamwork that you’d usually see, other than a brief instance of Bret holding back Austin so Undertaker can get a shot or two in. Our two heels are so independent that at no point do they want anything to do with each other.
The match goes a full 25 minutes and it helps that the weak link in terms of workrate is Undertaker. It’s a ton of brawling that’s mostly focused on Bret vs. Austin and Undertaker vs. Vader. They do mix it up quite a bit and the brief Austin vs. Vader heel/heel stuff is intriguing to watch, but we’re mostly treated to two matches going on at the same time. There’s a lot of guys going under the bottom rope for the sake of brawling on the outside.
Very early into the match, Vader runs at Undertaker with a chair and gets it booted right into his face. Vader’s eye pretty much explodes at this point. He doesn’t have a gusher, but it’s open enough that by wrestling for another 20 minutes, his face gets increasingly grosser to the point that it eventually looks like his face is a volcano.
Towards the end, he gets very wobbly and even removes his mask for the sake of vision.
Nearly 20 minutes in, we randomly see a shot of Bret holding Austin across his shoulders and he drops him out with a fireman’s carry. Since we don’t see any lead-up to this, it comes out of nowhere, but Austin is gone. Bret and Undertaker trade headbutts until Vader clips Undertaker’s knee and rolls him to the outside. As Undertaker gets to his feet, Paul Bearer – Vader’s manager at this point – smashes his skull with the urn. Bret wins out against Vader and puts him in the Sharpshooter, but Undertaker gets back in there and breaks the hold just because.
Soon Austin comes back and continues fighting with Bret, leaving us with more Undertaker vs. Vader. Vader takes down Undertaker and sets up for the Vader Bomb in the corner. Undertaker sits up and exploits the open advantage.
Out goes Vader, who later wanders around ringside screaming while covered in a disgusting amount of blood. We’re left with Undertaker vs. Bret, but Undertaker notices Austin is still stomping down on Bret. Undertaker clotheslines him out of the ring and begins to finish Austin’s job by chokeslamming Bret. He holds him up for a Tombstone, but Austin still wants a piece of Bret, so he pulls him off Undertaker’s shoulders. Undertaker keeps getting distracted by having to punch down Austin and after the third time, Bret is able to catch him with a clothesline, sending Undertaker over the top.
Bret Hart is champion for the fourth time while Undertaker wonders what the fuck just happened. Of course, this was originally supposed to be Bret winning a title shot for Wrestlemania so he could get his win back against Michaels, but that guy has a bad knee (which appears to be just fine shortly after) and he lost his smile and… well, what I’m saying is that 90’s Michaels is a jerk.
If anything, this match is an entertaining prelude to the infamous Montreal Incident.
Speaking of taking trips to WCW, tomorrow I’ll cover that company’s three-ring circus.
Oh! Oh, wait! Before you go, I almost forgot. One of the things talked about was that the winner would have to face Sycho Sid on the following Raw. To illustrate that, they’d occasionally show Sid backstage watching the match. Here’s a gif of Sid being King Galoot.
A brief burst of things I couldn’t fit into the jillion words I’ve written about Django Unchained since I saw it:
-Part of writing about Django Unchained is reading about Django Unchained. That was interesting, but it also sorta sucks. There’s a lot of pearl clutching over Quentin Tarantino daring to write the word nigger in a movie set during slavery times, whether it’s disrespectful… I thought this piece from io9 was particularly bad, on account of it suggested that Django Unchained was a white man’s fantasy without ever mentioning that basically every black person ever has had that conversation that goes “Boy, if I was around back then, I’da taken that whip from massa and shown him what a slave looks like.” (The point at the end about Django in the blue suit is weirdly infantilizing and emasculating, too.)
I picked up on a few things that most of the essays I hated did. The first is that they expected Django Unchained to have a moral, like it was Roots or something. Another was that they looked at Hildi and thought she was some type of passive damsel in distress, instead of somebody who was continually trying to escape from bondage, no matter the price she paid. That’s passive? Nah, son. She was having adventures elsewhere while Django was coming to get her. (I’d watch that movie.)
The biggest warning sign, and the only one that’s not me being petty and overly concerned with my own rightness, is when people start talking about the n-word. Does Quentin Tarantino use the n-word too much? Is it controversial for Leonardo DiCaprio to say the n-word?
Basically, if you are utterly incapable of saying the word nigger, you shouldn’t be talking about the word nigger. It’s dishonest to have that discussion and not treat the word as a real thing. I get the reasons why — you don’t want to offend people, it’s ugly, and so on — but if you’re having this conversation? You’re going to have to approach it on its own terms. I don’t think I liked a single essay that was n-word this or n-word that.
We’re adults, right? Adults use words, understand the history of those words, and understand that painful words can be used in certain contexts without offense.
So either do it or don’t, but don’t do it halfway. You want to have that conversation? Cool. Put on your adult clothes and have it.
Until you can do that, it’s grown folks talking. Shut your yap.
-I can’t tell you how happy I am that Tarantino got Anthony Hamilton on the soundtrack. The John Legend song is super hard — “Now, I’m not afraid to do the Lord’s work/ You say vengeance is his but I’ma do it first” YO! SON!!!!! — but Hamilton is that dude. He’s like… I keep comparing him to Curtis Mayfield, which is unfair and limiting. But Mayfield is legendary to me. I could listen — more like “have listened,” I’m not even kidding here — to Superfly or Curtis or whatever for weeks at a time. Mayfield poured so much emotion and heart into his music that I just can’t get enough of it, no matter how many times I try to sing along to “Freddie’s Dead” and can’t hit the notes.
Hamilton is that dude to me nowadays. His latest album, Back To Love, is a straight tear jerker, but on that strong black man tip. It’s real soulful, and it’s real on a level that most people just cannot match these days.
When I think of people who should be singing about the black American experience more than any other person who is currently alive, it’s Anthony Hamilton. And Django Unchained needed his voice. The result is “Freedom,” a collab with Elayna Boynton, which you should listen to as you read the rest of this joint:
I know I’m talking a lot about Hamilton and not his duet partner, but trust: Boynton is a powerhouse, too. This is my introduction to her, but come payday, I’m going to find more. Her voice is amazing, that perfect mix of weathered and hopeful. Like Macy Gray + Norah Jones? I don’t know. She’s great. She sells it. She keeps up with my favorite sanger.
-Using anachronistic music was a good choice on Tarantino’s part. Setting aside the indisputable fact that there was no good music before DJ Jazzy Jeff and the Fresh Prince’s He’s The DJ, I’m The Rapper, using modern music further removes Django Unchained from being a boring, depressing, sadface slavery movie. We’re meant to enjoy this film, and the music goes a long way toward opening us up to do just that.
-“I need one hundred black coffins for one hundred bad men…” The needle dropping on that song had me fanning myself in the theater like I was in church.
-I’m incapable of objectively judging that Tupac/James Brown mash-up, mostly because they took one of the hardest JB joints and merged it with a tight Pac verse. What am I supposed to do, not like it?
-I don’t know who Brother Dege is, but “Too Old To Die Young” is great, too.
-Hildi’s last name is von Shaft, or maybe von Schaft. Regardless, Tarantino has suggested that she and Django are John Shaft’s ancestors. I like this a lot, in part because it creates a lineage for Shaft that I want to know more about. I’m used to the idea that I won’t get to know much about my ancestors past I think the mid-1800s, but I can’t tell you how obsessed I am with the idea of knowing everything. Knowing about the men and women whose existence and actions led to me… I don’t expect the Shaft line to be filled with crime fighters and crusaders — I figure Django and Hildi retired after getting out — but I want to know more.
-The first time I saw Django Unchained, I was with my cousins, none of which are as into action flicks as I am, so I had no one to debate the possibility that Tarantino beat the climactic gunfight in The Killer during the massacre at Candyland. The second time I saw it, I still didn’t have anyone to debate it with, but I realized it doesn’t need debating at all. He beat it. That shot of Django discarding one gun during the fight is everything I wanted.
-I love that Tarantino weaponized Alexandre Dumas. I didn’t know Dumas was black (black-ish — black enough for the Klan to want to lynch him, at any rate) for years, and I love that that fact was used to slam racism and faux-intellectual culture. Calvin Candie doesn’t know anything. He’s a dilettante.
-As a result, the second-best line of the movie was “D’Artagnan, motherfucker!” when Django kicks in the door with his guns blazing. It’s vengeance and guilt, all wrapped up in one. Django was partially responsible for D’Artagnan’s death, he let it happen, so he comes back around to make it right. How does he do it? By striking in his name.
-I’ve seen a lot of people talk about how docile the slaves were in this movie, to the point where I wonder if folks saw the same flick I did. In the mandingo fight that introduces Calvin J Candie, only the whites are watching the battle. The negroes are looking away — Sheba is entirely turned away from it! — and the bartender is focused on something else. Lil Jody, breaker of eggs, watches Django with surprise by way of a hilariously placed mirror while she’s tied to a tree. The servants in Candyland during the dinner keep looking at Django like “Is this nigga for real, why does he think he can get away with this?” At the end, with the dudes in the cage? They don’t fail to leave their cage because they’re cowed and scared. They just saw a black dude murder like 80 white people, talk his way out of bondage, kill two more white dudes, blow up another, hop on a horse, take some dynamite, and ride away. That’s like eighty unthinkable things in a row, so it’s no wonder they stayed in the cage and just watched him. They were shocked. Shoot, I’d sit there, too.
Throughout the movie, the slaves pay a lot of attention to Django. They’re watching. They know how far they can push, but if they see someone else pushing? They’ll push harder.
You know the beginning of the movie, when the slaves kill that last Speck brother? They’re silent and shocked, too. They’re shocked because this ain’t the way of things, but once they’re given an option, what do they do? They choose to punish their tormentor and escape to freedom. It sets the tone for Django and Schultz’s interaction with everyone else in the movie.
Now, what do you think all those suddenly masterless slaves at the Candyland plantation and Big Daddy’s big house are doing now? Picking cotton? Nah, son.
–Django Unchained is seriously funny. “That’s not what I meant” got the biggest laughs at my first showing, back home in Georgia. It deserves it.
-Django is forced to choose between himself and his race, and that’s real interesting. His love for Hildi lets/helps him do terrible things to people. That’s a tough row to hoe.
-It’s not a slave revenge movie. It’s a movie where a slave takes revenge, yeah, but it’s not Inglourious Basterds. You can’t kill slavery as easily as killing Hitler. It was an institution that was propped up by the government, the citizens, and the culture. Hitler and his closest goons were figureheads, so you could theoretically force real change by taking them down and then taking advantage of the snake having no head. Who’re you gonna kill in 1858 to kill slavery? Everyone?
-I like that Schultz, our outsider character, loses his patience when he’s finally confronted with the real horrors of slavery. He did something to someone that they definitely deserved, but he did it at an exceedingly poor time. But, because of the bond between him and Django, he knows that if anyone can survive the aftermath of his temper tantrum, it’s Django. “Sorry. I couldn’t resist.”
And Django does. The only thing holding him back? Ammunition.
-I figure that Hamilton song is over now, yeah? Here’s Brother Dege’s “Too Old to Die Young” to wrap things up:
-Walton Goggins is one of my favorite actors, and he’s been entirely typecast as playing racists. To my recollection, the last time I saw him in a role that wasn’t a racist was in The Bourne Identity as a computer analyst, who may well have been a secret racist when not at work. But Miracle at St Anna, The Shield, Justified, Predators… this guy regularly plays one of my least favorite types of people and I love him every single time.
He’s such a good actor that the racism of his characters is beside the point. He brings a real human touch to these people we usually look at as being fairly black & white or cartoonish. And his swagger as Billy Crash — best name in the movie, by the by — is incredible. There’s this shot late in the movie where several shadowed people are walking down a path. You can’t see their faces or any details, but that dude in the middle? You can tell he’s Billy Crash by how he walks.
Goggins is stunning and a show-stealer, every single time. I’ll follow that guy just about anywhere at this point. I wish there was some link between Cletus van Damme and Billy Crash, but all I have to go on now are my daydreams.
You can’t underrate this dude. He’ll rock any role you give him.
Date: October 4, 1993 Company: WWF Show: Monday Night Raw Rules: The surviving two competitors will wrestle a week later Stipulation: Winners to compete for vacated Intercontinental Championship Roster (20): Adam Bomb, Bam Bam Bigelow, Bastion Booger, Bob Backlund, Diesel, Giant Gonzalez, Irwin R. Schyster, Jacques, “Superfly” Jimmy Snuka, Mabel, Marty Jannetty, Mr. Perfect, the MVP, 1-2-3 Kid, Owen Hart, Pierre, “Macho Man” Randy Savage, Razor Ramon, “the Model” Rick Martel, and Tatanka.
Shawn Michaels was a very scummy guy in the 90’s and one of the things that shows it off is how insistent he was to not put people over when it came to dropping titles. When it happens once or twice, you can give the man the benefit of the doubt, but over the years, he’s dropped every major title he’s held in some ridiculous fashion that doesn’t involve losing an actual match. One of the first major instances is in late ’93, where as Intercontinental Champion, he is briefly fired from the company. The reasoning has never been clear (rumors include steroids and posturing for a jump to WCW), but in the storyline, he had to vacate the belt due to not defending it within 30 days.
On this Raw, they make the first step in crowning a new champion via a battle royal. 20 men enter and go at it until instead of one winner, there are two. Whoever they are, they’ll have a match the following week on Raw. This is during a time when Raw is only an hour long, so this match actually takes up literally half of it. Strangely, this is chosen for the first half, leaving the rest of the show for squash matches. Why have a half hour battle royal for a major title as the main event when you can just throw on Doink the Clown vs. some guy?
It’s a pretty packed ring in terms of names. It’s arguably a better roster than most Royal Rumbles around this time. While certainly not the best name in there, having Giant Gonzalez in the battle royal is certainly a notable thing due to how his size makes him a kayfabe favorite. Randy Savage enters the ring last and notices how Gonzalez is standing near the corner, facing everyone else while playing it up how ready he is. Savage plays it smart by going right for him.
A bunch of guys help him out and out goes Gonzalez within seconds. This would be his final televised appearance in wrestling. The other 19 make the following minutes without elimination plenty entertaining, most notably when Mabel has Tatanka in the corner, looks straight into the camera and yells, “EVERY MAN FOR HIMSELF!” while drooling. Mabel would be the next big threat and his opponents choose to gang up on him. Diesel is the next favorite, though he hasn’t made a name for himself yet in Royal Rumble ’94, and he screws himself over by running full-steam at Mr. Perfect, missing and sailing over the top.
Interesting moment comes when Razor Ramon throws out IRS and starts leaning over the top ropes while pointing at him to leave. If he was a heel, this would be a prime moment for him to be dumped over due to his own stupidity. Instead, it’s used as a perilous moment where Jacque of the Quebeccers almost dumps him out, but Razor barely holds on and gets back in with the help of the 1-2-3 Kid and Savage.
Bam Bam throws Razor out through the middle rope and celebrates, not realizing that he needs to send him over the top. Razor slides back in and takes him out with one hell of a bump.
Things begin to thin out after the third commercial break. One of the competitors is newcomer MVP (also known as Abe “Knuckleball” Schwartz), who would go on to do a big pile of nothing in the WWF. Here, he lasts quite a while until Owen Hart flings him out. Owen’s done away with shortly after and we’re down to six. On one side, we have Randy Savage and Razor Ramon. On the other side, we have Rick Martel, the Quebeccers and Adam Bomb. The heels choose to team up together and play the numbers game. There’s some nice commentary by McMahon and Heenan, who come up with reasons as to why these guys would work together. For one, Adam Bomb and the Quebeccers are managed by Johnny Polo. Also, Martel and the Quebeccers are French-Canadian, so there’s a kinship there.
While the French-Canadians triple-team Razor, Savage is able to fight back against Adam Bomb and fireman’s carry him over the top. Bomb is pissed and grabs Savage by the ankle. Bomb’s allies rush him from behind and are able to easily dump him out. Now it’s them against Razor. Personally, I think it would make sense in-story for Martel to try and betray the Quebeccers as due to the rules of the match, he’d be at a huge disadvantage once Razor’s gone, but that never happens. The three proceed to beat down on Razor repeatedly, no matter how many times he fights back.
The three have fun messing with him, like having two hold him back while the other smacks him around. Razor kicks down Martel and the Quebeccers go back on the assault. Jacques holds him back while Pierre tries a clothesline. Razor moves, Jacques takes the hit and gets propelled out of the ring. As Pierre reacts to this, Razor grabs him from behind and eliminates him too. He turns right around and gets ready for Martel, doing his angry stomp taunt. The refs won’t allow it.
The match is over. Razor Ramon and Rick Martel are the winners. The following week has them wrestle for the vacated Intercontinental Championship and to the surprise of absolutely nobody, Razor wins. Regardless, it’s a pretty awesome match. This would be the last hurrah of Martel, who immediately falls back into obscurity and does nothing for the next few months until his release.
Shawn Michaels would come back weeks later and get injected into a Survivor Series match against the Hart Family due to Jerry Lawler’s legal issues. It made little sense and it sucked, but whatever. He starts a feud with Razor based on how he never lost the Intercontinental Championship, culminating in a legendary Ladder Match at Wrestlemania 10. Razor would win and show himself to be the undisputed Intercontinental Champion.
For tomorrow’s installment: Shawn Michaels is still a piece of shit.
The story of Icarus is one about obedience and hubris. “Be happy with what you have. Don’t fly too high and too close to the sun,” Daedalus said. Icarus, consumed with glee at being able to fly and escape his fate, ignores his father’s advice and pays the price.
In Dust Tracks on a Road, Zora Neale Hurston writes:
Mama exhorted her children at every opportunity to ‘jump at de sun.’ We might not land on the sun, but at least we would get off the ground.
I had to google around for the exact quote, but I knew it more or less already. “Things can only get better. Jump at the sun.”
Maybe it’s unfair to compare these two, but whatever. I like the contrast. Listen:
It’s hard for me to think of a quote that better defines the experience of being black in America. Growing up, I was taught that I’d have to work twice as hard to be heard, and deal with half the praise. Others would praise me more than my peers, simply because performing on par is exceptional when you start behind the eightball. Either way, I needed, need, to do more than my peers. I need to be better, faster, stronger, smarter, just so that I can be treated as normal instead of a niche.
America is short on black heroes. We don’t get to be the princes on white horses and princesses in high castles. When we are the king and queen, it’s in a creative work that people see as being specifically black, rather than mainstream. That’s “a black movie,” that one’s “a black comic.” It doesn’t get to be normal.
That’s how America works. White is the default. And once you begin changing up the formula — a black hero here, a spanish hero there — you move away from the default and become… niche.
What’s worse? Being invisible or being a curio?
One of my favorite aspects of Django Unchained is that it isn’t that black of a movie at all. It’s not a niche story. It’s a classic, an epic. It’s a story that we all know and love. There is a princess in a castle and there is a hero coming to save her. It’s a little different from damsel in distress tales — Hildi is thrown in the hotbox for trying to escape again, not for just trying to escape; she’s a troublemaker — but at its core? It’s the same. The difference? It stars a black man who loves a black woman, instead of a white man who loves a white woman.
Dr King Schultz tells the story of Siegfried and Brunhild to an attentive and eager Django not because it’s cute, or because Tarantino wanted you to know the end of the movie before it went down. Schultz, and Tarantino, relate that story to show just how universal this movie, a movie that tells the story of a freed slave trying to rescue his wife during one of the most dismal periods in American history, actually is.
Schultz even tells the story in the oldest possible way. He and Django are outside, sitting by a fire. While they eat, Django sits and listens while Schultz tells a story. Shadows flicker on the rocks behind them while they talk.
It’s the oldest story. It’s a love story. That’s what’s at the heart of it. There are revenge elements, but that isn’t what makes the story go. It’s about a man who will do anything to protect the woman he loves. When he finds out where his wife is and what she’s being forced to do, Django says something along the lines of “Not while I’m alive. Not while I have my gun.” We know that feeling. We know love.
Hildi is Django’s everything. His love for her is the engine that keeps him going, letting him push past the misery and horrors he has to indulge in. There’s no point in getting dirty if you don’t get to wash it off at the end of the day. Hildi is his salvation.
And he’s hers. They ran away together, they paid for it together, and after they were separated, she kept trying to get away. She’s no wilting flower. She’s a soldier. She’s going to run until they finally kill her, because freedom beats death every time. She’s willing to die for him, and he’ll die for her.
You don’t see a lot of these stories between black characters in big budget movies. Just a straight-up, no-nonsense, high profile love story. What was the last one? Independence Day? Men in Black? There’s probably been once since, there has to have been, but the fact that you’re wracking your brain right now says it all, if you think about it. It’s such a little thing, but you can feel that lack if you grow up and nobody like you gets to play in the big leagues.
“I know it’s not the most feminist idea to be a woman in a tower wanting to be rescued, but for a woman of color in this country, we’ve never been afforded that fairy tale because of how the black family was ripped apart [during slavery],” Washington said. “I really saw the value of having a story that empowers the African American man to do something chivalrous for the African American woman, because that hasn’t been an idea that has held women back in the culture — it’s something we’ve never been allowed to dream about.”
She said it better than I ever could. It feels good to finally get to be the prince, and I figure it feels good to finally get to be the princess, too. Damsel in distress stories might be passé to some people, but I bet those people never grew up wishing for fundamentally different skin or hair so that they could indulge in these fantasies.
I love that Django Unchained exists. I hate that it took this long for Hollywood to sit up, pay attention, and hook up a well-done picture that’s treated on par with any other big movie, despite the presence of a willing and clearly underserved black audience. Tyler Perry is a punchline, a cheap joke for internet types, instead of a model. “Nobody’s making movies for black grandmas? Well shoot son, I got these scripts right here…” We — everyone — should be part of the spectrum, part of “normal,” rather than an exception.
Date: December 28, 1992 Company: WCW Show: Starrcade ’92 Rules: Normal Stipulation: None Roster (8): Van Hammer, Danny Spivey, Big Van Vader, “the Natural” Dustin Rhodes, Great Muta, Barry Windham, “Dr. Death” Steve Williams and Sting
I didn’t watch all that much WCW in my childhood and I especially didn’t see any WCW PPVs. The concept of Battlebowl always had me interested, though, and it’s something I’d love to see WWE bring back. The first step to it is the Lethal Lottery. A bunch of wrestler names are picked out of a hat to create very random tag team matches. For instance, at this show, Big Van Vader and Dustin Rhodes had to team up to face the Barbarian and Kensuke Sasaki. Vader and Dustin won, each advancing into the big battle royal to end the show. In Vader’s case, it also softened him up a bit for a scheduled match against Sting that he ended up losing.
Sting is the last entrance into the fray and as they hype him up as last year’s winner, Vader rushes out the ring and collides into him. He goes from repeatedly clobbering him to trying to choke him out while Harley Race cheers him on. Refs try to separate the two while the other six go at it in the ring.
Sting and Vader eventually find their way in there and for quite a while, a big pile of nothing happens. It’s made a bit more boring from the fact that whoever’s directing this feels the need to hold back on changing any camera angles. It’s just the same hard camera shot of eight men brawling for far too long. Eventually, they show two more screens of other camera angles, which makes an 8-man brawl look more complicated than it really needs to.
Dr. Death eliminates Van Hammer about five minutes in and finally we’re onto something, but it’s barely noticed as the focus is more on Dustin giving Windham a bulldog on the walkway to the ring. With the eight guys involved, the only two feuds that have any meat on them are Sting vs. Vader and Dustin vs. Windham, who were partners before Windham turned heel. Sting soon after eliminates Spivey and that too is rather underwhelming.
With six guys left, Vader cuts it down quite a bit by diving into Sting and taking them both out in one go.
That leaves Muta vs. Dr. Death while the Dustin/Windham fight keeps on keeping on. Once it’s time to reach the end, Dr. Death repeats the same exact spot as Vader and accidentally eliminates himself along with Dustin Rhodes. That brings us to Windham – who is bloodied from that earlier bulldog – and the Great Muta. The crowd suddenly wakes up at this point and there are huge chants in support of Muta.
Windham works on Muta and holds the advantage for a few minutes. After a nice dropkick, he figures it’s time to finish it and throws him over the top rope. Muta holds on, does the “skin the cat” spot and saves himself from elimination.
He bombards Windham with a couple dropkicks and sends him over the top, thereby winning the Battlebowl Ring in what Jesse Ventura insists is an upset. The place goes nuts and fireworks go off for our Japanese victor.
Keep in mind, this is a pretty mind-blowing finish for the time. Shawn Michaels made it memorable at the 1994 Royal Rumble, but that’s still just over a year away by this point. So that’s cool.
Speaking of Shawn Michaels, tomorrow is all about his absence and the need for a replacement.
Django Unchained is controversial in part due to the fact that a slave revenge story utilizes one of the most painful periods in American history for action movie thrills. The extreme Fox News types want to know why Quentin Tarantino is producing a hate tract, Spike Lee and them want to know who Tarantino thinks he is to tell this story, and it seems like everybody else is trying to figure out if Tarantino is racist and how racist he is (this one’s pretty dumb). Django Unchained is, to a certain extent and on a few different levels, something we aren’t used to seeing. It’s getting a lot of attention accordingly.
But what’s easy to miss in all the hullaballoo is the fact that Django Unchained isn’t that foreign of an object at all. In fact, Django himself is a quintessentially American hero, a type of character we already know and love. Well, to a point.
I like this bit from Andrew Dominik’s Killing Them Softly, delivered by Brad Pitt’s Jackie Cogan:
My friend, Thomas Jefferson is an American saint because he wrote the words ‘All men are created equal,’ words he clearly didn’t believe since he allowed his own children to live in slavery. He’s a rich white snob who’s sick of paying taxes to the Brits. So, yeah, he writes some lovely words and aroused the rabble and they went and died for those words while he sat back and drank his wine and fucked his slave girl. This guy wants to tell me we’re living in a community? Don’t make me laugh. I’m living in America, and in America you’re on your own. America’s not a country. It’s just a business.
America isn’t baseball, bald eagles, apple pie, and pretty blonde cheerleaders dating sturdy quarterbacks. America is John Wayne. America loves John Wayne. I could be mean and point out how Wayne’s racism and white supremacist views are as American as apple pie, if not more so, but really, it’s his persona we love. The reputation of the dude he played in the movies. It’s the idea that one man can stride into town with not much more than a gun, a grimace, and strong sense of right and wrong, and make a difference.
We love lone gunmen out here. Men of action, not like our wishy-washy politicians or corrupt constables. Men who know how to get things done. Mavericks. We like John McClane more than just about anything. Films noir are littered with these guys. It’s one man against the world, and we love it so much because the man can win.
The lone gunmen gives us an icon to look up to, a hero to aspire to. You can see it in the rhetoric that comes after shootings. “If only one man was there with a gun to do the hard thing…” It’s stupid if you think about it for more than half a second, but it’s undeniably sexy. We don’t have a lot of control over our lives, so the idea that one man can take control, and that in the right situation, that man would be us, is wildly seductive.
Django Unchained is an incredibly American movie, isn’t it? Django’s up against blatant evil, an evil that has been propped up by a corrupt government and culture, and that frees him to do the hard thing without being a bad man. Generally, killing someone is something to be frowned upon, but when Django does it? It’s righteous. He’s giving them what they deserve and we cheer him because he is right. Never mind the murder, or the laws, or any of that. What matters is that someone has done wrong, and they need to pay for that.
Seeing this kind of story in action, the ultra-capable lone man hero, makes us feel good inside. It suggests that there is order in the world, and that our problems can be solved in spectacular fashion. It fills a need that is hard to express in polite society. It isn’t fair or kind, but some people deserve to die. They’ve reached that point that we, as individual people or a society, say “Build his gallows high.”
We want to see Django kill those folks because they deserved to die for their crimes. Tarantino mined the history of slavery, and simply seeing it in action let us mentally justify the massacres at the end. Django is our lone man, our instrument of vengeance. We have seen evil, and we want it gone.
The lone man is a stupid and evil idea, too, of course. I assume you know that already. The idea of a lone gunman sucks for everyone who doesn’t want to play lone gunman. It’s the pretty face of imperialism and terrible, murderous aggression. Django’s just the inverse of the oppressor, a cruel answer to a cruel wound. And even then… he has to willingly take part in the exploitation of his own people. He has to stand by and let two men be murdered, just so that he can get his wife back.
It can be nice to visit, to indulge our desire to be the big man on campus, but you can’t let it stick around in the back of your head. You can’t take it to heart. A lone man is no way to be a part of a family or a community. Lone men just hold everyone back in the long run. America can be Martin Luther King Jr as well as John Wayne.
Date: January 28, 1991 (broadcast on February 16, 1991) Company: WWF Show: Superstars Rules: One man being eliminated counts for his partner as well Stipulation: #1 contender spot for WWF Tag Team Championship at Wrestlemania 7 Roster (14): The Bushwhackers (Butch and Luke), Demolition (Smash and Crush), the Legion of Doom (Hawk and Animal), the Nasty Boys (Brian Knobbs and Jerry Sags), the Orient Express (Kato and Tanaka), Power and Glory (Hercules and Paul Roma) and the Rockers (Shawn Michaels and Marty Jannetty)
Here we go. I started watching wrestling in early 1991, so this is one of my earliest WWF memories. At the time, the tag champs are the Hart Foundation and we’re in the final days of the company having a great tag division. It’s been said that the Legion of Doom were the last time Vince really cared about tag teams and this is the first step in their rising up the ranks.
With the exception of Haku and the Barbarian and, naturally, the tag champs themselves, we have the entire tag division duking it out here for a chance at the belts. Kind of cool to see a battle royal for tag teams being used for #1 contenders in a stipulation they still weren’t using for the Royal Rumble by this point. In fact, the first time someone became #1 contender via Royal Rumble, it was also for the chance to dethrone Bret Hart. Huh.
After two minutes of clusterfuck clobbering all over, the Rockers take out Demolition. First they stagger Crush with a double superkick, then they do a double dropkick that sends Smash to the outside. Crush is annoyed that he has to leave and attacks the Rockers for a moment until accepting his loss. Soon after, the Bushwackers are out. What follows is something I’ve always wondered about as a kid. Jannetty holds Knobbs and Michaels goes for a dropkick. It misses and Jannetty goes flying out.
They get over it, but I was never sure whether or not they were trying to lay down the groundwork for the Rockers split-up at this point. Keep in mind, they spent MONTHS building it up through all kinds of screw-ups on either side. Was it just a cool spot or was this the first step in Shawn Michaels’ amazing singles career? I can never figure out just how long-term that booking really was.
Four teams become three once the ever-forgettable Orient Express are done with. That leaves the Legion of Doom, Nasty Boys and Power and Glory. Despite the heel dominance in the ring, Roma spends the last few moments running from Animal, even getting chased out of the ring, only to be thrown back in. His fate is sealed when Hercules throws Roma at Animal and fails to take him down.
Power and Glory are now out, leaving the Legion of Doom to take apart the Nasty Boys with little problem. As Animal sets up the Doomsday Device, Hawk climbs to the top rope. An annoyed Roma gets on the apron and shoves Hawk’s leg, causing him to fall to the floor. Despite Power and Glory no longer being in the match, that still counts as an elimination and the Legion of Doom are done. The focus appears to be more on Animal angrily glaring at Roma and Hercules as they walk off than on the fact that the Nasty Boys are Wrestlemania-bound.
The Nasty Boys would indeed go on to defeat the Hart Foundation, allowing Bret to go off on his own budding solo career. On the same Wrestlemania 7 undercard, the Legion of Doom got their hands on Power and Glory, destroying them in a fit of swift vengeance less than a minute in length. Said match also gave us the most cringe-worthy Hawk quote of all, “Power and Glory? POWER AND GLORY?! When we’re done with you, you’re gonna be SOUR… and GORY!”
Hawk and Animal earned their right to challenge for the belts and their climactic battle with the Nasty Boys took place months later at Summerslam. The Legion of Doom won their first WWF title victory and the wheels started rolling with this match.
Tomorrow, we’ll have a tag team battle royal of a different sort.
. The John Legend song is super hard — “Now, I’m not afraid to do the Lord’s work/ You say vengeance is his but I’ma do it first” YO! SON!!!!! — but Hamilton is that dude. He’s like… I keep comparing him to Curtis Mayfield, which is unfair and limiting. But Mayfield is legendary to me. I could listen — more like “have listened,” I’m not even kidding here — to 
or Curtis or whatever for weeks at a time. Mayfield poured so much emotion and heart into his music that I just can’t get enough of it, no matter how many times I try to sing along to “Freddie’s Dead” and can’t hit the notes.
, is a straight tear jerker, but on that strong black man tip. It’s real soulful, and it’s real on a level that most people just cannot match these days.
during the massacre at Candyland. The second time I saw it, I still didn’t have anyone to debate it with, but I realized it doesn’t need debating at all. He beat it. That shot of Django discarding one gun during the fight is everything I wanted.
. You can’t kill slavery as easily as killing Hitler. It was an institution that was propped up by the government, the citizens, and the culture. Hitler and his closest goons were figureheads, so you could theoretically force real change by taking them down and then taking advantage of the snake having no head. Who’re you gonna kill in 1858 to kill slavery? Everyone?
, 
, 
, 
… this guy regularly plays one of my least favorite types of people and I love him every single time.
