Mae Young and The Fabulous Moolah are two of the sweetest ladies you’d ever meet. All the boys respected the hell out of them and everybody rolled out the red carpet whenever they were on the show. By 2000, they’d already got over 100 years of in-ring experience between them, so that tells you how old they were. But they would still get in the ring now and then when they were given the chance. On one show, Crash and I were booked to do a tag team match against them, so we sat down in catering together to go over the match. Out of respect for them, I took myself out of the equation and told them we would do whatever they wanted to do. Mae planned a spot where she would be in the ring with Crash and I’d sneak in behind her. She would turn around and I’d clothesline her. I said to her, “Mae, I’ve got all the respect in the world for you but if you’re asking me to clothesline you, you need to know that I lay it in there.” She said, “Sure I know that, I want you to clothesline me.” I said, “No, you don’t understand – when I clothesline somebody, I try to rip their head off. It’s TV, I don’t want it to look bad but I don’t want to hurt you.” This nearly 80-year-old woman just looked at me and said, “Bring it, motherfucker.”
Here we go with the sixth episode of Smoky Mountain Wrestling from March of 1992! Bob Caudle and Dutch Mantel are here to call the action because this is “wrestling the way it used to be and the way you like it!” Rip Rogers is also in the building with some disparaging words for the SMW faithful! He’s going to do free squats for the entire hour that the show is on, just to prove his physical prowess over all of these hillbilly wrestling fans! Hollywood Bob Holly squares off with Jumpin’ Joey Maggs! Tim Horner comes out for an interview with Bob Caudle, but is interrupted by Rip Rogers as he performs his free squats! Horner bets Rogers $500 that he cannot keep the squats going for the rest of the hour! Terry “Bamm Bamm” Gordy makes his Smoky Mountain debut against Tommy Angel! SMW commissioner Bob Armstrong announces that there will be tournaments held to crown championship titleholders, with the tag team tourney coming up in two weeks! Commissioner Armstrong goes on to inform everyone that Ron Wright will be banned from ringside due to his interference in several matches lately! He may have a manager’s license, but no one is under contract to him! Wright wheels his way out to protest Armstrong’s decision, but he forgets that they have known each other for a long time! Bullet Bob knows Wright’s tactics and will not be fooled! Off he goes! “Mr. Wonderful” Paul Orndorff is angry that the piledriver has been banned here in SMW since that move is his calling card! He then steps into the squared circle to take on Barry Horowitz! Jim Cornette sounds off about the socioeconomic ramifications of revealing his secret new tag team! Prime Time Brian Lee goes up against Carl Stiles in the main event! Dutch Mantel is in Carl’s corner and one has to wonder what kind of shenanigans the Dirty Dutchman has up his sleeve! Rip Rogers is still performing his free squats, but Tim Horner decides to trip him up so he loses that $500 bet! See you next time, folks!
frutti, good booty,” ran the pre-bowdlerized version of Little
Richard’s hit song, one of the lyrics the NPR music critic Ann Powers
cites to demonstrate the intersection of evocative gibberish and open,
transgressive eroticism that, she says, is “at the heart of American
popular music.” The line encompasses sexual frankness, piratical rapine,
the backside in fetish and dance and a wordless endorsement of the
pleasure principle. All this through the flamboyant vessel of a
performer who himself embodied complexities of sexuality, race and the
slippage between the spiritual and the carnal.
“embodiment” is the relevant term for Powers. Her argument, that “we,
as a nation, most truly and openly acknowledge sexuality’s power through
music,” is intimately tied to the body: enslaved and objectified black
bodies, the erotic sublimation and liberation of dance, the dialogue
between charismatic performer and enraptured audience and the problem of
“cyborg” singers like Britney Spears. She stresses the primacy of the
voice, the flesh and the communion of bodies in a room together over the
atomized experience of listening to disembodied sound (while
acknowledging new forms of intimacy introduced by the age of recording).
Powers connects her early attraction to popular music explicitly to its
“erotic pull,” the “physicality” of live performance, and the
centrality of music to the sexual awakenings of herself and her friends.
She decided, she says, “to write a book about American music and
American sex, one that would really be about American dreaming,
violence, pleasure, hunger, lies and love.”
a self-consciously ambitious program (the jacket copy prepares the
reader for a “magnum opus over two decades in the making”) befitting one
of the rare rock critics with a national audience, and a key female
voice in the field. It’s also one that Powers admits will be necessarily
incomplete: “To talk about what’s revealed within the sexiest moments
of American music … is to recast its history in terms that are more
inclusive, and less dominated by old ideas of artistic genius or great
works. … This retelling of American popular music doesn’t always focus
on the big stories. It has gaps.” Powers does spend time with obscure
artists like Florence Mills and Jobriath, and fruitfully explores the
colorful, gender-fluid world of early gospel music. However, her story
hews to a broadly conventional narrative — the intersection of
African-American expression, white curiosity and appropriation, and the
dialogue between the spiritual and the secular — that begins in Congo
Square ring shouts and leads with inexorable circularity back to the New
Orleans of Beyoncé’s “Lemonade.” Familiar figures like the Grateful
Dead, Janis Joplin, Jimi Hendrix and Jim Morrison stand in for “the
sexual revolution and its discontents,” while Madonna and Prince do the
same for the MTV ’80s. Meanwhile, the centrality of eroticism in
Powers’s narrative necessitates a de-emphasis on canonical artists
without an obvious erotic component to their personas (Louis Armstrong,
Bob Dylan), and inconclusive glosses on others (Chuck Berry, Michael
Jackson) whose sexual and racial stories are more complicated. [Read More]
Chris Benoit vs Adam Bomb - Inside Wrestling [November 1995]
In the middle of his NJPW run and his appearances in ECW, Chris Benoit stopped by Vince Jr’s territory for three dark matches during summer 1995. He took on (and lost to) Sparky Plugg (Bob Holly), Owen Hart, and Adam Bomb, but Benoit never ended up signing with the World Wrestling Federation that year. Instead, he’d continue with New Japan until officially becoming a full-time wrestler for World Championship Wrestling in October 1995.
This Inside Wrestling story is kinda funny too as the kayfabe narrative it writes out has Benoit paired with Ted DiBiase specifically due to DiBiase wanting the “Crippler” on his team. The story mentions “The Million Dollar Man” sending off a henchmen to Philadelphia to raid ECW talent, with the hopes of stealing away Sabu. Once Benoit saw the DiBiase stooge at the show, Benoit set out to prove himself and “put Sabu away in spectacularly gruesome fashion, breaking a pair of vertebrae in Sabu’s neck with a suplex”.
The manner at which Chris Benoit destroyed Sabu impressed DiBiase’s associate causing DiBiase to arrange a deal with Benoit that would involve him being a member of his Million-Dollar Corporation. Obviously that all never happened, but who knows – in an alternate universe, maybe it was Chris Benoit who become The Ringmaster for Ted DiBiase!
- aestheticism - art deco - art noveau - aubrey beardsley - jamie hewlett - henri matisse - pablo picasso - vincent van gogh
DIRECTORS AND FILMS
- back to the future - quentin tarantino - stanley kubrick - wes anderson
- adam and the ants - anamanaguchi - billy joel - bob dylan - buddy holly - charli xcx - david bowie - gorillaz - lorde - marina and the diamonds - mumford and sons - muse - neutral milk hotel - new romantics (ie the whole genre) - orchestral manoeuvres in the dark - the smiths - the strokes - the vaccines - vampire weekend
hey ya } sarah blasko / scar } 67 special / mistress } holly throsby / not fair } bob evans / lie down here (& be my girl) } abbe may / video games } bluejuice / chelsea hotel no. 2 } regina spektor / what i wouldn’t do for that man } frankie trumbauer & his orchestra / the bluest eyes in texas } nina persson
Warning: There may be spoilers ahead for some of you, so read at your own risk.
Carmilla characters sorted into Hogwarts houses (and tendency houses)
Laura: Laura, as most people would believe, is a Hufflepuff, though she definitely shows Gryffindor tendencies. Of course, we all know her as sweet, adorable, and willing to do anything for her friends. Her Gryffindor tendencies were shown when she literally sacrificed herself to save Carmilla at the end of Season Three. It’s also shown through the countless times she and LaFontaine fearlessly went into the library in Season One while on the hunt for links to the disappearances, in Season Two when she killed both Mattie and Vordenberg, and once again in Season Three when she faced a death goddess head-on and kicked her ass at Scrabble.
Carmilla: Carmilla, also quite obviously, is sorted into Slytherin due do to her broody and dark nature. While she does have Ravenclaw tendencies, having lived a few centuries, I believe, like our tiny gay journalist, Carmilla shows Gryffindor tendencies. She’s saved the day more than once, fearlessly jumping into the pit with The Dean to kill her in Season One, and in retrieving the blade of Hastur and literally looking death in the face and saying “no” during Season Three. Sometimes, however, her intentions become cloudy and she embraces her Slytherin.
LaFontaine: Our beloved scientist LaFontaine is most definitely a Ravenclaw with Slytherin tendencies, though most people house them as the opposite. They are beyond dedicated to science, the only thing more important to them than science being a certain anxious, ginger floor don, and this feeds their inner Ravenclaw. However, I sorted them with Slytherin tendencies because their efforts of science sometimes lead them to do things they shouldn’t do, like probing a girl who’s been accused of being a vampire (Season One).
Perry: Perry is most definitely a Hufflepuff; With her innocence and motherly sense of being, it’s hard to imagine her as anything else. I sorted Perry with Ravenclaw tendencies because, as seen in Season Zero, she has (or had, now) an obsession with the supernatural world and carried a literal apothecary in her backpack. Her Ravenclaw is also shown by her commitment to her current studies, as well as being floor don and having to have knowledge of everyone on the floor.
Danny: Though most people would sort her into Slytherin after Season Three, my feeling that Danny is a Gryffindor remains unchanged. As a Summer, you have to be brave to risk your life for those of your fellow students and society members. Where most, as I said, sort her into Slytherin, I believe she has Slytherin tendencies rather than the full qualities of the house. Like I said, you have to be brave when you’re a Summer, but I believe that, sometimes, Danny’s intentions become cloudy. Most notably, when it comes to one Laura Hollis. Staying true to her Gryffindor roots, Danny is more than willing to do anything for Laura. However, when she discovered that she wasn’t the journalist’s first priority, Danny didn’t quite think her actions through completely, thus showing off her Slytherin side.
Mel: Mel, like Danny, is sorted into Gryffindor with Slytherin tendencies (though she despises the title). As a Summer, it’s her duty at Silas to protect her fellow sisters and the people of the university, no matter what the cause. However, her Gryffindor side is easily matched by her Slytherin tendencies. She’s a hard-headed, outspoken girl who’s temperament is easily influenced by who’s pissed her off that day. I’d just hate to be on the wrong end of her bow on one of those days.
Kirsch: Kirsch is absolutely, 100% without a doubt, a Hufflepuff. He’s loyal, charismatic, and for Christ’s sake, we consider him a golden retriever puppy in the fandom. His loyalty has been shown countless times, not only to his Zeta bros, but also to Danny and the Scoobies. As well as his Hufflepuff status, Kirsch also shows major Gryffindor tendencies. Not only is he loyal as hell, he’s always anxious to fight for the good guys, doing whatever it takes, so long as it’s purely good.
Will: Will is a straight-up Slytherin, with a slight Ravenclaw tendencies, though only because he’s lived a few centuries like Carmilla, so he knows quite a bit. He, as everyone knows, turned out to be more than just a misogynistic frat boy. He’s just an all-around douche-canoe, whose purpose is nothing more than to help the Dean with her cause.
J.P: Pretty obviously, I put Jeep in Hufflepuff with Ravenclaw rising. He’s so new to this century that it’ll take him quite a bit of Hufflepuff-ing around before he gets used to it. Not only is he innocent, but he’s so genuine and loyal, especially to LaFontaine. He was even friendly with Perry, though he didn’t realize she was angry at him for stealing her best friend. The Ravenclaw, of course, comes from him being a literal walking library. He knows quite a lot of information, enough to make our heads spin. And he’s totally fine and is living a happy life and I’m okay.
Theo: Theo is, like Will, a straight Slytherin. He isn’t afraid to get his hands dirty to help himself, and he fights for whatever side is most beneficial to him. His actions aren’t really influenced by other people’s feelings in the long-run, which is why he thinks he can do whatever the hell he wants.
Mattie: Matska is a Ravenclaw with Slytherin tendencies. I know most people would sort her as the opposite, but I feel like, having lived several more centuries than Carmilla and Will, she’s obtained a lot of information, more-so than her vampire counterparts, and knows how to her advantage. However, as her Slytherin side would suggest, she doesn’t always use that information in the best possible way, most times for her own benefit rather than anyone else’s.
Sherman: Sherman is, much like his daughter, a Hufflepuff with Gryffindor tendencies. He’s intensely loyal to Laura, and eventually Carmilla and LaFontaine, and he’s so innocent in the sense that all of the supernatural is so new to him and is very overwhelming, save for his (boy)friend, Bob the giant. Papa Hollis’ Gryffindor came out when he left the safety of the library to go back with Bob to find someone who would help his baby girl.
The Dean: The Dean is a straight-up Death Eater. No contest.