Loss
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We'll probably find out after Summerslam, which is the first show that's ever really been built around him. -
Iron Sheik having such a disproportionately lofty place in the WWE version of history is also not really new. When A&E did the Unreal Story of Professional Wrestling in 1998, he was portrayed as the most hated heel of his time. Sheik was a very good worker at his peak, so I won't bash him, but obviously his place in history has been skewed a little unfairly by the winners who get to write these things.
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It's possible that he earned respect from Vince when he didn't accept a payoff from Verne Gagne to break Hogan's legs.
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Well, "Summertime" by The Sundays is what it is, but "Over" by Portishead works for me everytime!
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If Jeff Hardy had a dad in the business.
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Yes to all of that, but "We Like To Party" is awesome!
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There wasn't anyone in the Horsemen that was in J-Tex.
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When you do your show, please talk about how you see the potential of a babyface Great Muta and how you both see it, because it's a topic that interests me.
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Pat Tanaka was supposed to fill that spot in J-Tex, then the WWF signed Tanaka pretty much only to fuck with WCW's plans. I suspect Dragon Master was a last minute replacement.
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The biggest criticism I can make of Arn as a worker in the 90s (and I don't know that this applies in the 80s) is that he cuts a promo where he promises a doomsday scenario for his opponents -- talks of broken bones, hospitals and even morgues -- then works matches that are really solid and enjoyable, but are completely lacking the sense of danger he promised in his interview. I don't feel like his promos adequately set the tone for his matches, even though he's great at both. He was incredible cutting promos in the build for War Games '96, then worked a completely by-the-numbers match once he got in the cage. I wish he backed up what he said a little more.
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I'm cracking up that this second generation performer has gotten indie cred after being repackaged in a new gimmick and delivering one very good performance. Better booking than WWE's use of Joe Hennig.
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One other thing I should have mentioned is the length of this match. It was much longer than your usual juniors match -- about 27 minutes. That's not the reason I love it so much, but I think it's interesting that they were working a "deeper" story than usual that really demanded more time to play out. They made use of the additional time exceptionally well. They didn't add additional filler because they had extra time to play with. If anything, there was less of the typical early match filler than usual, and the match felt tighter and leaner than many matches half the length.
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Also, the Tony Atlas signing because Vince randomly decided that his favorite time period for wrestling was 1979-1985.
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Yes.
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This is such a beautiful pro wrestling match. Everything about it from the opening bell. Liger's selling of Otani's ground game in the opening part of the match is outstanding. This is a mix in some ways of Choshu/Hashimoto (the awesome extended collar-and-elbow to start things out) and Misawa/Kobashi (Otani working over Liger's arm to neutralize his palm strikes) mixed in with things that these guys can do that the heavies simply can't. Otani kicks out of the shotei, which is progress from the match these two had the year before. But he's still Otani, celebrating victory before it's his -- stalling and showboating unnecessarily before hitting his final move. He practically dares Liger to knock him out after taking multiple palm shots, and sure enough, Liger finally does. A brilliant match - probably the best juniors match of the decade - but I think Otani actually getting a win over Liger is being stretched out way too long. Does it ever even happen?
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This match took place in Penn Station in NYC. What a wild setup to see them both coming down the steps and having a match in an area I've walked through many times. This is a really good match that I enjoyed quite a bit. They cut a quick pace and HHH turned up the aggression. Undertaker ends up giving Helmsley a tombstone on the escalator then sending him down. Really cool spot, and a great segment.
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The Spellbinder was recently beaten by Brian Christopher and issues a challenge to him. They end up in a shouting match when Brian Christopher comes out for his match, and Spellbinder challenges Christopher to arm wrestling ... with a candle on each side of their arms so that the loser gets burned! Oh live TV ... the candles keep going out, but they finally are able to get started. Christopher makes a comeback and is about to win when Spellbinder surprises him by throwing a fireball in his face! I liked this segment.
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BRIAN PILLMAN is in the Memphis studio. Lance Russell seems happy to see him, but Pillman immediately starts insulting him and cracking age jokes.
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Bobby Bolton, whoever he is, is filming a commercial for a Memphis restaurant. He's interrupted by Mike Samples, who tells him he's a nobody. Things get heated and they brawl all over the restaurant, breaking plates, throwing food and knocking over tables. Can't a nobody with a ponytail cut a commercial for a local Memphis restaurant in peace? Joking aside, fun brawl and I marked out when Samples took off his belt to whip Bolton.
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Most of the yearbooks I've watched in the last year or so have been in the first half of the decade, so it's interesting to see Santo and Casas a little older and more grounded. I like that approach, because they spend more time on the mat and what they give us is really good. At this point, Santo is still a rudo so it's interesting to see them doing a tour showcase match (which maybe that's not what this is since CMLL Japan ran a few shows) with a role reversal, not to mention Casas getting the pin. Really good match. The small crowd that was a little on the quiet side hurt it some, but the work they were doing in the ring was really strong. Not in the upper echelon of their matches against each other, but a worthy addition to the canon.
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Roddy Piper returns to Nitro and immediately dates himself with a rubik's cube reference. He has his son with him. He says he's been offered another shot, but he doesn't feel like he has anything to prove, and it's time to be a father. Cue Hogan and the NWO. Piper says "Terry, please don't do this, man." Hogan tells him he wants him to drop to his knees and beg for mercy and he and Bischoff have fun taunting Piper for a few minutes. Hogan and Bischoff want Piper to say "Hollywood Hogan beat me like a drum". Piper says it just so he can get out of there. Then, he wants Piper to admit that Hogan is the icon. Piper cooperates because again, he just wants to leave the ring with his kid. Hogan gets in his face one more time and accuses him of hiding behind his kid, says he disgusts him and tells him to leave the ring. Hogan slaps him on the back of the head a few times as he's leaving and Piper tries his hardest to keep his cool but hands his kid to a friend at ringside then explodes on Hogan. This segment was great for setting up a main event. Hogan and Bischoff were phenomenal in this.