In this book, Lowery A. Woodall III explores the ways that diverse populations are portrayed, stereotyped, and sometimes villainized in the WWE’s colorful and dramatic programming. Each chapter examines the surprisingly complex and multilayered representation of marginalized populations throughout the modern history of the WWE under the leadership of Vincent K. McMahon. Through weekly shows like Raw and SmackDown, pay-per-view spectaculars like WrestleMania, and a vast library of wrestling-related material on their streaming platform, Woodall argues that the WWE and McMahon have created calculated and carefully curated representations of diversity that are viewed by millions of fans worldwide. What effects do those representations have on the men, women, and children who consume WWE content? How are wrestlers and performers impacted by their on-screen portrayals? This book explores these questions and demonstrates that when representations are inaccurate or problematic, more than just kayfabe is in danger of being broken. Scholars of professional wrestling studies, media studies, and communication studies will find this book of particular interest.

Race and representation has been a leading issue in the history of television. Racialized narratives present themselves within film and television through scripting of content. World Wrestling Entertainment (WWE) is the world's leading wrestling promotion. The WWE has become the juggernaut of the wrestling industry because of its programming. The WWE has used racialized content to advance the storylines within their content. This study has examined the scripted nature of the WWE and how racialized narratives have entered the content of the WWE. In this thesis, I argue that the WWE constructs an audience that accepts the racialized narratives and that those narratives have possible implications on the perception of black men. The thesis is structured to have done this by examining first what race is, then providing a history of the WWE and an examination of the production behind the WWE's content. In the third chapter, there is the examination of the racialization within the WWE and the final chapter concludes with the findings within the study.

"I'm the man of the hour," Superstar Billy Graham told his audiences, "the man with the power. Too sweet to be sour!" Despite years of devastating health issues (a long history of drug abuse led to a liver transplant in 2002), the man regarded as one of the most influential professional wrestlers of the past thirty years still flaunts the same optimism that made his interviews as compelling as his matches. In Tangled Ropes, his autobiography, Graham remembers his victories -- and his setbacks -- on both the wrestling and the evangelism circuits in vibrant detail. At his core, Graham is still Wayne Coleman, the artistic, curious boy who escaped the wrath of his disabled father in post-war Phoenix through painting, sports, and bodybuilding. When his photo appeared in a bodybuilding magazine, the young man caught the attention of a family in Texas who began praying for his soul. Soon, Wayne found religion at a revival meeting, then mortified his parents as he left home to bend steel, rip phone books in half, and preach the Gospel on the back roads of America. Because of his natural athleticism, Wayne held a series of jobs -- from bouncer to boxer, from repo man to football player. However, it was under the training of the "Mentor of Mayhem," Stu Hart, that the wrestler was revealed. Then the fading headliner Dr. Jerry Graham bleached Wayne's hair blond and transformed him into an in-ring "brother." Still reverent of men of faith, Coleman became "Billy Graham," after the preacher. Graham completed the package with his golden tan and enormous "pythons," a succession of color-coordinated outfits and jive-talking -- a persona imitated by countless wrestlers, including Hulk Hogan and Jesse "The Body" Ventura. The Superstar's greatest wrestling achievement came in 1977, when he took the World Wide Wrestling Federation Championship from Bruno Sammartino. He held the prize for nearly a year -- the first wrestling villain to do so. But after he lost the title to wholesome Bob Backlund, Graham fell into a deep depression. He disappeared from the business, squandering his money and losing himself in a haze of drugs. In Tangled Ropes -- co-written with Keith Elliot Greenberg -- Superstar Billy Graham tells a story that transcends his life in the wrestling profession, offering candor, nostalgia, inspiration, and humor. Graham's narrative is supplemented by anecdotes from personalities like Vince McMahon, Jesse Ventura, Ivan Koloff, Ric Flair, Dusty Rhodes, and California governor Arnold Schwarzenegger.

This book examines how the current era of "convergence" has affected, and is reflected in, the world of professional wrestling, which combines several different genres, including drama, action, comedy, horror, science fiction, and even romance. Professional wrestling's business practices exist at the intersection of bottom-up fan-centric strategies and strict top-down corporate control. Meanwhile, the wrestlers themselves combine aspects of carnival hucksters, actors/actresses, comedians, superheroes, martial artists, or stuntmen, and the narratives consist of everything from social critique to geopolitical allegories, and from soap opera melodramas to stereotyped exploitation. Bringing together the latest scholarship in the field, Convergent Wrestling analyzes various texts, business practices, and fan activities to explore the commonalities that define professional wrestling and consider how it exists in today's new media ecology. In addition, the book considers the professional wrestling industry from several different angles, from massive multinational conglomerate World Wrestling Entertainment (WWE) to local indie federations. As such, it will appeal to scholars with interests in popular culture, media and cultural studies, and fan practices.

Development Hell: The NXT Story, penned by former Power Slam scribe and WhatCulture.com's own Michael Sidgwick, chronicles the history of WWE's NXT brand. NXT has drew universal critical acclaim for its fan service fusion of old-school booking philosophies and progressive body of in-ring work - but the road to critical acclaim was arduous. When WWE destroyed its territorial and mainstream competition, the monolith had also annihilated the talent pool. Replenishing it was an unenviable task made all the more difficult by a blasé and counterproductive attitude and a curiously myopic direction. All of which is documented in a book covering the inauspicious beginnings of the dusty Stamford Farm warehouse and the murmurings of Memphis Power Pro, the halcyon days of Ohio Valley Wrestling, the infamous disaster of Deep South Wrestling and the literal lunacy that was Florida Championship Wrestling. The roots of the triumph that was NXT were toxic...

This meticulously crafted and searing critique of pro wrestling is unlike any wrestling book published: Chokehold is a penetrating description of pro wrestlings dark side, a secret underworld of deception, exploitation and greed. The storyteller is Big Jim Wilson, All-American football player and survivor of seven years in the NFL, who was promised wealth and the world championship as pro wrestler. Instead, Jim Wilson found a surprisingly lucrative sports entertainment industry built on a pyramid of secrets that included abusive control of its performers and a long history of illegal business practices and corruption of politicians and state athletic commissions. Chokehold describes and documents the abuses that Jim Wilson witnessed and endured blacklisting, strong-arm tactics, homosexual blackmail, defiance of the U.S. Justice Department and bribery of TV executives and arena managers. Chokehold is an explosive indictment of the pro wrestling industrys business practices as well as a thoughtful proposal for pro wrestlings reform. This book is not a conventional expos of pro wrestlings orchestrated stunts, gimmicks and blade jobs. Instead, it is an unprecedented examination of pro wrestlings less visible cons outside the ring -- its hidden manipulation of wrestlers with broken promises and broken bones and a backstage power of the pencil that writes scripts for wrestler stardom or extinction. Chokehold describes a secret slice of the wrestling life where traveling troupes of heels and babyfaces understand how they got into the game, but cannot find a way up or out. This is the story of why and how the big guys almost always lose. Chokehold is part autobiography and part pro wrestling history. Written in wrestlespeak (the industrys insider argot), it is dedicated to the memory of the older boys whose broken bodies and shattered lives should have taught us something. In addition to Jim Wilsons experiences in The Business, this book reviews significant but forgotten episodes in the wrestling industrys long history of gangland tactics. The industrys infamous blacklist is revisited by revealing the dozens of wrestlers from the past whose names were on it. The industrys history of predatory promotional wars in California, Georgia, Texas and Virginia is told with FBI reports obtained through a Freedom of Information Act request. From court documents, this book names compromised state athletic commissions, TV station managers and local politicians from wrestlings viewpoint, the best that money could buy. There are many famous wrestling names in this book --Gorgeous George, Lou Thesz, Jack Brisco, the Funk brothers, Dusty Rhodes, Bruiser Brody, Bill Watts and others. Another is The Sheik (Eddie Farhat), who says: There aint no nice guys in this business. There aint no people theres dollars! Another is Jim Wilsons tag team partner Thunderbolt Patterson who warned Jim, The wrestling business takes advantage of anybody who has any notoriety or ability. You got to understand that wrestlers are worse than whores. They are pimped. They use you as long as they possibly can or as long as you dont complain. When you complain, they get rid of you. Another is Jim Wilsons friend The Magnificent Zulu (Ron Pope) who summarizes his career this way: Its such a crooked business. The guys [wrestlers] are a bunch of crooks. They steal from the marks and the promoters steal from them. The guys [wrestlers] want to be stars! Theyll do anything theyll cut throats for it. Actually, wrestlers dont have to be paid. All they need is a couple of six packs of beer a night and a nice looking ring rat with a good body. Or, drugs and a ring rat. Its not the money. Its being a star! Its the glory and the pussy! This book confronts the wrestling industrys traditional practice of punishing wrestlers who refuse

Performance and Professional Wrestling is the first edited volume to consider professional wrestling explicitly from the vantage point of theatre and performance studies. Moving beyond simply noting its performative qualities or reading it via other performance genres, this collection of essays offers a complete critical reassessment of the popular sport. Topics such as the suspension of disbelief, simulation, silence and speech, physical culture, and the performance of pain within the squared circle are explored in relation to professional wrestling, with work by both scholars and practitioners grouped into seven short sections: Audience Circulation Lucha Gender Queerness Bodies Race A significant re-reading of wrestling as a performing art, Performance and Professional Wrestling makes essential reading for scholars and students intrigued by this uniquely theatrical sport.