Posted on by rjonakait

Shut Up, You Elites

Hulk Hogan’s death and comments about his cultural significance have inspired me to re-post some previous entries about the connections between professional wrestling and our politics and society. Today’s thoughts originally appeared on ajsdad.blog, July 2017.

His hair is distinctive, one could say impossible, but there it is. A microphone is only a few inches from his lips, but he still leans into it. He does not really yell into the mike, but the voice is certainly not conversational. His words can be adamant; they can be bullying. He denounces enemies, enemies that stand in the way of greatness. He talks about the alliances he has entered or created and how strong they are. He makes promises about how he will perform, performances that he guarantees will be great. There is nothing nuanced in what he says; there are no ambiguities. It is a world of black and white; of good and bad; of greatness or failure. There is not a single shade of gray.

He pauses often, seemingly waiting for his audience to catch up. The audience reacts visibly and audibly. Each denunciation, each bragging claim elicits a hoot and a holler. He encourages the audience to mock his opponents, and the crowd often responds with a sing-song chant. This is an interactive, audience-participation performance. The speaker supplies the initial energy, but he soaks up energy as the frenzied crowd reacts to him.

The audience doesn’t really care about the specifics of his promises. They know that many can’t be kept. Indeed, they won’t be surprised if contradictory promises are made in a week or a month or that the alliances announced today are changed tomorrow or that the enemy previously castigated in absolute terms is now a dear friend with whom he has been secretly colluding. The audience is there not for truth, but for an attitude, and he supplies and feeds that attitude.

This audience seems bound together by something more than what most audiences have. They know that others, “nice” people, “successful” people, “elite” people, not only do not share their enthusiasm, those others, this group knows, think there is something wrong, ludicrous, maybe even shameful or dangerous and low class in what this audience feels. Here, however, together with this crowd and this performer who understands their visceral reactions, each can indulge the passions they all enjoy, and this brings them closer together.

Perhaps this is a Trump rally, but what I was trying to describe is pro wrestling. Since the rise of Trumpism, I have thought that those who are mystified by the appeal of Donald Trump might learn something by trying to understand the allure of professional wrestling.

The theatrics of professional wrestling remain strikingly similar to what they were in my childhood of Verne Gagne with his sleeper hold and his between bout pitches for a nutritional supplement. There were good guys (Wilbur Snyder, for example) and bad guys (definitely Dick the Bruiser) in a simulated reality of pain, danger, and improbable heroics. The business, however, has changed in some important ways.

What I watched growing up was largely regional. Different parts of the country had different wrestling companies. As a friend once said about a wrestler, “He was the world heavyweight champion of the greater Cleveland area.” The spectacle might have been similar everywhere, but the performers changed with the territory.

Vince McMahon of what is now the WWE (World, or maybe Worldwide, Wrestling Entertainment) changed that. His wrestling organization, started in the Northeast by his father, did not respect others’ territories. He drove many regional operations out of business or bought them out as they started to fail. WWE now dominates the business, and wrestling fans today all see pretty much the same product. The rise of cable television, the Internet, and other media has given more choice for news and entertainment and has fragmented popular culture. We don’t share as much in common as we once did.

Professional wrestling, with its nationalization, has gone in the opposite direction. The odds are overwhelming that its fans all know, and probably have opinions about, Kevin Owens, The Undertaker, the New Day, and Triple H. Wrestling is one of the few popular forces that is producing an increasingly unified cultural base, but a base that is out of sight to the rest of America.

The wrestling business has also changed because, while it is not trumpeted, it is not now a secret that the contests are not real sporting events. Back in the day, some fans may have thought that the spectacle was a legitimate sport, but today it is acknowledged that wrestling is “sports entertainment.” All but the most naïve of wrestling fans know that while the wrestlers can be athletic and do take risks, the violence is simulated, and the outcomes follow predetermined story lines. Wrestling’s popularity has fluctuated through the years, but its popularity does not seem to have been harmed because those involved no longer steadfastly maintain that it is “real.” Instead, it has always been a form of reality TV; something that pretends to be real.

The allure of pro wrestling to the outsider is hard to fathom, but it must have something to do with the power of simulated reality, violence, the simplicity of good and evil, outrageous characters, and the continuing tensions of soap opera. As epic poems, sagas, novels and movies show, we want, maybe need, superheroes and supervillains. At least some of the time, we don’t want nuance, caveats, and tough choices. During the wrestling shows, we have those heroes and villains and only easy choices. Who and what is good or bad is crystal clear.

It is not my point and beyond my abilities to analyze the allure of wrestling, and anyway, the appeal may largely be visceral and, thus, cannot be satisfactorily explained to those who don’t feel it. What should be recognized is that the spectacle has had an enduring appeal, and if I am right, that Trump at a rally performs much like a pro wrestler talking to the audience, and that audience responds much as a wrestling crowd does. It may make sense for those who can’t grasp Tumpism to try to grasp pro wrestling.

When Trump was gaining traction in the political arena, this wrestling fan thought back to one of the WWE storylines. It featured Donald Trump. Oh, yes, Trump has been a part of pro wrestling for quite some time. As I recall, Vince McMahon backed one wrestler and Trump another, and Trump and McMahon agreed to have his head shaved depending upon which wrestler lost some big event. This billionaire-baiting went on for weeks or maybe even months, providing us with the recently reprised and altered video of Trump “taking down” Vince McMahon in a moment of made-up macho madness. But of course, no one could really believe that Trump was going to appear bald to further wrestling ratings. The mere thought of it, however, whipped up the crowd. Politicos have studied Trump’s business records and pop culture critics have talked about The Apprentice, but pundits mystified about his appeal should also have been studying Trump on Monday Night Raw and then watching more of the wrestling shows.

Perhaps roots of Trump can be found in Huey Long and William Jennings Bryan, but we should also consider Gorgeous George. Gorgeous George was–perhaps next to Milton Berle–early television’s biggest star. Professional wrestling has always presented itself as what is now called reality TV, and GG was America’s first huge reality TV star. Gorgeous George (George Raymond Wagner), often shortened by TV announcers to Gorgeous or Georgie, was in wrestling parlance a “heel,” a bad guy. (Good guys are “babyfaces” or just “faces.”) But he broke stereotypes. In what was supposedly a testosterone-fueled world, his character displayed effeminacy. Flunkies would precede him up the arena’s aisles spraying perfume in his path. He entered the ring wearing elaborate robes no “man” would have been caught in—festooned with ostrich feathers, for example. No one but his valet was allowed to touch his robe, and the referee in a Chaplinesque routine would be repeatedly blocked from doing so. And he had that hair. It was some sort of yellow or straw color never seen in nature, and it was curled and primped in ways that only permanents and feminine implements could produce. His hair was secured with what otherwise would have been called bobby pins; his were labeled Georgie pins. Before a match, he would elaborately remove and toss them to the crowd. The hair was central to the character. The storylines often said that he would not fight someone unless the opponent contracted not to touch his hair. And late in his career, as other wrestlers were eclipsing him, he fought a match where the loser would have his locks sheared. Gorgeous lost the match and his hair.

There is a line leading from Gorgeous George to Trump. This path meanders with stops for Muhammed Ali and James Brown, both reportedly fans of Gorgeous. It goes through Ric Flair, William Regal, and other wrestlers. But although the line goes to him, Trump in some ways has flipped (piledriven?) the Gorgeous George persona on its head. Gorgeous played the heel to fill the arenas with those who came to jeer him. Trump, too, acts the heel, but not to the faithful in front of him. Trump unites with the audience, and together they act as the heel to all who are not Trump’s fans or are, like Vince McMahon, Trump’s real or imagined nemeses. It provided pleasure akin to that at a wrestling spectacle when he would say–and the crowd would join in denouncing–little Marco, that nasty woman, the lying press. The fantasy of pro wrestling, however, becomes dangerously real when Trump wants the audience to join him in jeering at and taking down legitimate news media. Wrestling stars in the ring have a made up and scripted role, but Trump seems not to realize the President of the United States is not a fictional character.

Gorgeous entered the arena to work and work up the audience. When the crowd frenziedly taunted him, he would shout back, “Shut up, you peasants.” The crowd would roar with delight. Trump’s has shifted the heel’s performance. His audience roars because Trump and his audience together seem to shout to all those that are not enthralled by him, “Shut up, you elites.”

Posted on by rjonakait

Finding My Soul Again

I had loved him on TV, and now he was coming to the RKO Albee, just a few blocks from my apartment. The RKO Albee was one of those grand vaudeville/movie theaters built in the 1920s. It was said to be the second largest such theater in New York City after Radio City Music Hall. The Albee, by the time I made it there, was in serious decline. It was situated in downtown Brooklyn that once had many similar theaters, but downtown Brooklyn and large movie houses no longer remained fashionable. Shades of the grandeur that had once been in the Albee were evident, but seeing them took some faith and imagination, except for the bathrooms which remained magnificent.

Going to a movie there, however, was a bit creepy not only because of the auditorium’s deterioration, but also because of the size of the place. It is only a guess, but the theater held three or four thousand, and the first time I went there, for Diary of a Mad Housewife (who remembers Carrie Snodgrass? Richard Benjamin?), no more than a hundred of us were there. These numbers added up to a lot of empty seats, and an eerie feeling. (Diary remains in my mind not because I remember much about the movie, but because it was my first exposure to people talking back to the movie screen. With the size of the audience, it was easy to hear all the words of those who conversed with the on-screen characters.)

Now, however, it was not a movie coming to the RKO Albee, but James Brown. The Hardest Working Man in Show Business. The Godfather of Soul. Mr. Dynamite.

The wife and I got tickets. Good seats. Fourteenth row, just a little right of center. This time we did not feel as if we were alone in the Albee. I could not see an empty seat. We had a great view of the stage for the opening act, a comedian (perhaps, but I am not sure, Clay Tyson). The audience made it clear that it wanted him off the stage and James Brown on. I could only feel sorry for the comedian, and the clamor was made worse when James Brown with an entourage came down the side aisle. (Huh? The Albee did not have a stage door? Didn’t seem likely. Oh, you think that this was another ploy to whip up the crowd?)

Finally, the warmup was over, and there he was! Our good seats started to be less desirable. Not because anything happened to them, but because it seemed as if everybody who had been behind us left their seat and rushed towards the stage. Still we could see, but then all those seated in front of us stood up. Now to see we, too, had to stand, which we did. But then those in front of us stood on their seats so we had to stand on our seats. And finally, those in front of us stood on the arms of their seats, and soon, feeling precarious, we, too, were standing on the arms. And we saw a great show.

As we were leaving and I saw the crowd heading towards the exits, it hit me then that besides the spouse, I was not seeing another white person. I had not been uncomfortable before, but this realization made me a bit uneasy. Would all those thousands of black faces think there was something wrong with whites going to see James Brown? There was no reason to think so. The crowd was noisy and excited, but everybody was as polite as you could be in a crowd that size. But still, we seemed to be the only whites. Wasn’t there a good chance something bad might happen to us? At least this white had not confronted this situation before—one that many blacks no doubt had faced—of being the only one of his race in the place.

The Duffield theater was only a few blocks from the RKO Albee, but it had never been a palace, only a neighborhood movie house. It was there we saw The Great White Hope, with James Earl Jones and Jane Alexander. (I have had the privilege of seeing Jones on the stage a number of times, but from years ago the most memorable performances were Fences and Othello, the latter in a production with Christopher Plummer, Dianne Wiest, and, in a much smaller part, Kelsey Grammer.) The Great White Hope is the fictionalized account of the black boxer Jack Johnson. Once again, we seemed to be the only whites in the theater, but this time during the performance we were acutely aware of that. In the James Brown concert, our reactions were not much different from the rest of the audience, but that was not true at this movie. In this story about an extraordinary man’s confrontation with race and racism, there was a scene with a country preacher encouraging Johnson to prayer. The wife and I were moved, but, to our surprise, the scene brought derisive laughter from around us, the kind of laughter reserved for an Uncle Tom. I was acutely aware that I had not experienced what others in the audience had, and as we left the theater, I wondered if all those other exiting people were wondering what that white couple was doing there.

Part of the reason that we were in the minority at these theaters is that then, and for most of my years in Brooklyn, we have lived in neighborhoods where whites are in the minority. I regarded this as neither undesirable nor desirable. It was just a fact. Not surprisingly when I played basketball in one of the local schoolyards, which I did frequently before blowing out my knee in my 30s, as a white, I was in the minority.

It was an especially eclectic crowd at the hoop courts nearest to home. The neighborhood had a few whites, but also a sizeable group of Native Americans, who had been in construction in New York City, and were frequently, it seemed, on crutches. Their roots were from near Montreal, and when they found we were going in that direction for a vacation, they were quick to give advice about the places for food and drink on the way to Canada. There was also a group of Puerto Ricans that had been established in the neighborhood for quite some time having come to work at the then-functioning nearby Ex Lax factory. There were blacks with relatives in the Carolinas and some Argentinians who had migrated to South America from Italy before coming to the United States. As I said, an eclectic mix.

One day playing basketball, an argument broke out. I am not sure what triggered it, but soon I heard one kid yell an epithet at the other, “You’re white.” “No, I am not. You’re white.” Both were high schoolers. I knew one of them, whose mother was Puerto Rican and whose father was Native American. I did not know the other one, but he looked to be mixed race white and black. As the argument went on, I looked around and realized that I was the only white there. For a moment, with the “W” word being tossed around, I wondered whether I should be concerned but decided not to be. I was older and a fixture in that schoolyard and had done favors for the families of some of the other players. My guess is that I was not so much the white guy, as the old guy. I am not sure how the argument was settled, but it did not escalate into anything major. (This was not a typical incident. Although I played basketball for countless hours in the neighborhood, I don’t remember another time of something intended as a racial epithet.)

These incidents may have made me aware of my race, something that does not happen often to this white person, and probably not to most other whites either, but none made me feel deeply uncomfortable. Sometimes while jogging, however, I did feel threatened. I would often use my running as a commuting mode and sometimes that took me through parts of New York where my skin color made me stand out, including the South Bronx, then considered to be an especially dangerous neighborhood. I did feel conspicuous, and I sometimes heard what I only hoped were sarcastic remarks coming in my direction, but I soon learned behaviors that seemed to defuse potential problems. Almost always there was a mother with a baby in a stroller on the sidewalk. I would look intently into the stroller as I jogged closer, and when nearby I would smile and then look the mother in the eye and smile even more broadly. Almost always the mother smiled back, and her smile seemed to make others on the block relax. I would also look for young kids, usually boys, on the block. The ten year olds often did make veiled racial remarks, but my response was to urge them to race me to the corner. Most took up the challenge, and seeing me with a kid running neck and neck up the block also seemed to make others relax. (The kids invariably won. I want to say that I always let them win, but not always.)

These methods almost always worked when I ran in “bad” neighborhoods, but for some reason, I found they did not work to defuse any tensions in parts of Harlem, and mostly I stopped running there.

My running led to another incident that was not overtly racial but once again led me to think about my whiteness. I was running through a lily-white, affluent suburb north of New York City. I was not running in fancy running clothes, but, as was my wont, in cast-offs with hair that most would have thought needed a barber. Why affluent communities can’t afford sidewalks I don’t know, but as a result I was jogging on the side of the road. I was coming up to a nice car at a stop sign with a young woman in it. She saw me and the slightest look of panic came over her face. And then I heard the car locks click shut. I was amused. In the thousands of miles I had run, I was not aware of this happening before, but then I thought, I bet a lot of young black males have heard that clicking sound many, many times. And for some—think Ahmaud Arbery—much worse.

Posted on by rjonakait

Finding My Soul

Recent news suggests that he did not die naturally of congestive heart failure stemming from pneumonia but that he was murdered. I know little about these reports, but they made me think back to all the times I had loved seeing him on TV and that I became excited because he was coming to the RKO Albee Theater, just a few blocks from my apartment.

The RKO Albee was one of those grand vaudeville/movie theaters built in the 1920s. It was said to be the second largest theater in New York City after Radio City Music Hall. The Albee, by the time I made it there, was in serious decline. It was situated in downtown Brooklyn that once had many similar theaters, but neither the Brooklyn neighborhood nor large movie houses remained fashionable. The grandeur that had once been in the Albee was there, but seeing it took some faith and imagination, except for the bathrooms which were still magnificent.

Going to a movie there, however, was a bit creepy not only because of the auditorium’s deterioration, but also because of the size of the place. It is only a guess, but the theater held three or four thousand, and the first time I went there, for Diary of a Mad Housewife (who remembers Carrie Snodgrass? Richard Benjamin?), no more than a hundred of us attended. These numbers added up to a lot of empty seats, and an eerie feeling. (Diary remains in my mind not because I remember much about the movie, but because it was my first exposure to people talking back to the movie screen. With the size of the audience, it was easy to hear all the words of those who conversed with the on-screen characters.)

Now, however, it was not a movie coming to the RKO Albee, but James Brown. The Hardest Working Man in Show Business.  The Godfather of Soul. Mr. Dynamite.

The spouse and I got tickets.  Good seats. Fourteenth row, just a little right of center. This time we did not feel as if we were alone in the Albee. I could not see an empty seat. We had a great view of the stage for the opening act, a comedian (perhaps, but I am not sure, Clay Tyson). The audience made it clear that it wanted him off the stage and James Brown on. I could only feel sorry for the comedian, and the clamor was made worse when James Brown with an entourage came down the side aisle. (Huh? The Albee did not have a stage door? Didn’t seem likely. Oh, you think that this was a ploy to whip up the crowd?)

Finally, the warmup was over, and there he was! Our good seats started to be less desirable.  Not because anything happened to them, but because it seemed as if everybody who had been behind us left their seat and rushed towards the stage. Still we could see, but then all those seated in front of us stood up. Now to see we, too, had to stand, which we did. But then those in front of us stood on their seats so we had to stand on our seats. And finally, those in front of us stood on the arms of their seats, and soon, feeling precarious, we, too, were standing on the arms. And we saw a great show.

As we were leaving and I saw the crowd heading towards the exits, it hit me then that besides the spouse, I was not seeing another white person. I had not been uncomfortable before, but this realization made me a bit uneasy. Would all those thousands of black faces think there was something wrong with whites going to see James Brown? There was no reason to think so. The crowd was noisy and excited, but everybody was as polite as you could be in a crowd that size. But still, we seemed to be the only whites. Wasn’t there a good chance something bad might happen to us? At least this white had not confronted this situation before—one that many blacks no doubt had faced—of being the only one of his race in the place.

The Duffield theater was only a few blocks from the RKO Albee, but it had never been a palace, only a neighborhood movie house. It was there we saw The Great White Hope, with James Earl Jones and Jane Alexander. (I have had the privilege of seeing Jones on the stage a number of times, but from years ago the most memorable performances were Fences and Othello, the latter in a production with Christopher Plummer, Dianne Wiest, and, in a much smaller part, Kelsey Grammer.) The Great White Hope is the fictionalized account of the black boxer Jack Johnson. Once again, we seemed to be the only whites in the theater, but this time during the performance we were acutely aware of that. In the James Brown concert, our reactions were not much different from the rest of the audience, but that was not true at this movie. In this story about an extraordinary man’s confrontation with race and racism, there was a scene with a country preacher encouraging Johnson to prayer. The spouse and I were moved, but, to our surprise, the scene brought derisive laughter from around us, the kind of laughter reserved for an Uncle Tom. I was acutely aware that I had not experienced what others in the audience had, and as we left the theater, I did wonder if all those other exiting people were wondering what that white couple was doing there.

(concluded February 27)