Showing posts with label Vince Russo. Show all posts
Showing posts with label Vince Russo. Show all posts

Friday, August 17, 2012

String Pullers: The Evolution of the Creative Process in Professional Wrestling (Part 3)

Here is the final part of my Senior Thesis. It takes a look at the future of professional wrestling. This includes my theory on what will make a successful booker/writer in the current wrestling environment. Enjoy!



The Main Event: The Future of the Creative Process


            As professional wrestling continues on with this constant evolution, the rift created in professional wrestling will widen, or begin to verge into a new era of the creative process in professional wrestling. I believe that the next stage of evolution that will solve the rift in professional wrestling is a hybrid of the traditional skills of a wrestling booker to weave the history of the sport inside the limitations of the genre fused with the trained skills and natural talents of a college educated English major with a background in various creative mediums. In seeing the growth of professional wrestling as an evolution then the same traits of the theory of evolution apply to the creative process. The theory of evolution is based on the strongest attributes “accumulating and the result is an entirely different organism” (Allaboutscience.org). This belief in the theory of evolution would lead to the eventual hybrid of traditional booker and creative writer.

            The creative process hybrid that would come from this next stage of evolution would possess the trained skills of a professional writer to develop in depth story lines enhanced with the writer's natural talents in the creative realm. These natural talents in creativity are no different than the athletic skills of a sports figure. As in sports all athletes must respect and understand the limitations of their sport to fully achieve success, something understood and practiced by bookers.

            In the game of basketball the ability to jump is necessary, just as the ability to create a basic story line is necessary to the creative process in wrestling. If a person could jump twenty feet that person would be seen in the same light as some of the professional writers who possess similar amazing abilities when it comes to creative writing. The limitations of basketball would dictate the restrictions of this ability as the basketball hoop, which represents the purpose of the sport, is only ten feet high. If a player has tremendous skills, such as jumping twenty feet, but is constantly violating the limitations of the sport by jumping beyond the basketball hoop then that player is letting that tremendous ability prevent success instead of achieve it.

            This same respect for the limitations of the creative process in professional wrestling is found in the history of professional wrestling. This ability to know and excel under these limitations is what the professional booker in wrestling brings to the new hybrid in the evolution of the creative process. As professional wrestling moves beyond the niche audience that has made up wrestling's fan base, and expands to a global audience, the need for bookers to develop trained skills in creative writing, and to possess a natural ability to understand how to thrive in the new global digital age, becomes a requirement for survival.

            As professional wrestling evolved the need for these skills became a kin to that of predator, who excelled in a small habitat, needing to gain a stronger and faster approach when that habitat became expansive. No longer can the usual skills that helped on such a small scale be of the same effect on a larger scale. This is the purpose of evolution, not only just in wrestling, but in life. Now that the habitat for professional wrestling has changed; the people behind the scenes need to change with it, or become extinct.



The Post-Show Reviews: Criticisms and Conclusions



            As with all things that involve change there can be skeptics toward the evolution of professional wrestling’s creative process. Gabe Sapolsky, when asked about this theory of the next phase in professional wrestling, had his doubts when he said, “This would seem like it would be the best of both world's on paper, in reality I'm not sure if it would work because the two viewpoints might not be able to co-exist” (Sapolsky). I agree that the two viewpoints wouldn't exist because the role of evolution would weave these viewpoints into one viewpoint creating this new creative process in wrestling. In doing this both viewpoints become a thing of the past as the evolution in the creative process replaces them with one viewpoint built on the strengths of both viewpoints while weeding out the flaws.

            While those in professional wrestling can be skeptical towards change; there is consensus that wrestling in some way will always be changing. There is an agreement that for better, or for worse, professional wrestling is in a constant state of change with new ideas and characters to continue the path of wrestling's history that extends centuries before today's current state of wrestling. This new evolution of professional wrestling writing is seen by Jimmy Jacobs when he says,

“There are old traditional wrestling bookers who book good enough television aimed to traditionally get fans emotionally invested with traditional heel and baby face roles; this can work to an extent but can often be unspectacular. There are also many wrestling television writers that, while perhaps entertaining, can fail to emotionally captivate fans and can come off as over the top or cheesy. The foundation of traditional professional wrestling concepts set in new creative ways will, in my opinion, always make for good television“ (Jacobs)

This recognition of the need for a hybrid of the strengths of both traditional booker and professional writer is the beginning of the evolution of professional wrestling's creative process in the decades to come.

            As this evolution continues through professional wrestling, one aspect will never change as pointed out by Roland Barthes. This aspect is that “wrestlers remain gods because they are, for a few moments, the key which opens Nature, the pure gesture which separates Good from Evil, and unveils the form of Justice, which is at last intelligible” (Barthes 25). This basic moral situation is the heart of professional wrestling, and will remain a constant during the evolution of professional wrestling. As the hybrid form of the creative process begins to take shape this role of professional wrestling in society will keep wrestling anchored to its purpose. The evolution of the creative process in professional wrestling, fusing the strengths of both booker and writer, will bring a new way to extend the purpose of professional wrestling to a wider audience in the new digital age for the near future and beyond. 

Thursday, August 16, 2012

String Pullers: The Evolution of the Creative Process in Professional Wrestling (Part 2)

This is the second part of my Senior thesis. This part covers a deeper look in the change of kayfabe in the creative process that allows for fans to peak behind the curtain and know the ins/outs of professional wrestling.


The Curtain Jerker: Removing the Veil


            Jimmy Jacobs says, “When I started in nineteen ninety nine, wrestling was in a huge boom. It was wildly popular. Fast forward eleven years later, pro wrestling is the black sheep of the entertainment business” (Jacobs). Jacobs had started his career during the creation of the rift in professional wrestling. He had seen the curtain pulled away as not only a fan, but also a budding wrestler. This boom in popularity in professional wrestling created a need for a new kind of writer, as professional wrestling had moved its focus from the tens of thousands of fans in local arenas towards the hundreds of millions of fans around the world viewing professional wrestling on various mediums during the dawning of the digital age.

            With this shift in professional wrestling writing the view of wrestling also shifted, as stated by Jacobs, that no longer was wrestling its own sports genre, but soon wrestling became known, and judged, as entertainment. This began in “2001 when World Wrestling Entertainment began putting ads in the trade magazines for television writers” (Oliver). This was unheard of to publicly admit that professional wrestling was theater. The largest professional wrestling company in the history of the business had placed a classified ad for the biggest secret in professional wrestling. At this moment the traditional role of professional wrestling booker had changed and been replaced by the more modern, television friendly, creative writer.

            Professional wrestling had evolved into a new age and the creative process needed to evolve with it. For the first time the audience was in on the story lines of wrestling, and the writers needed to create the sense of reality without an illusion of legitimate sport. While this sounds impossible, Roland Barthes believes this task was not because he sees that the belief in the reality of the story isn't what is truly important to the creative process in professional wrestling. Barthes believes that in professional wrestling “there is no more a problem of truth than in the theatre. In both, what is expected is the intelligible representation of moral situations which are usually private” (Barthes 18). This belief in the purpose of professional wrestling is a strength for the modern creative process as the currently sought after colleges educated English majors with backgrounds in creative writing, and television, possess the exceptional ability and trained skill to create these moral situations for the modern wrestling fan.

            The advantage of hiring professional writers with degrees in creative writing is the talents and developed skills they possess over a traditional booker. Due to professional wrestling protecting the secret of the creative process the position of booker was usually held by former wrestlers or performers. In being a former, or even current, performer gave a booker the knowledge of how to manipulate a crowd to believe what they were seeing was real. Bookers didn't write story lines like a television script with written interviews and detailed segment break downs. It would not be farfetched to have the whole show for an evening written out on the napkin of the restaurant the booker had eaten dinner at.

            When wrestling became entertainment the ability to acquire highly skilled writing talent also became available. No longer did companies have to search amongst the secret circle of wrestling to find the creative minds behind the stories and characters. World Wrestling Entertainment could find the greatest writing minds of the twenty first century. With all this great ability and skill professional writers had a very prominent weakness when compared to a traditional booker; they had a disconnection with the essence of professional wrestling.


The Mid Card: The Booker vs. The Writer


            The issue with the creative process of professional wrestling moving into this new need for professional writers, instead of traditional bookers, becomes the loss of the connection to professional wrestling's history. While most of the professional writers will have their own personal histories with professional wrestling, the exposure can't compare to the pedigree instilled in a traditional wrestling booker. This knowledge of wrestling's history also becomes an important part of knowing the limits of the creative process in professional wrestling.

            Due to professional wrestling's authentic connection to reality as a fun house mirror that reflects reality back onto reality; there are certain limitations of reality that have to be respected in writing a wrestling story line. These types of limitations on creativity don't apply for other mediums that professional writers work in. When asked about these limitations, Jimmy Jacobs says,

“There's nothing really like wrestling. The range for the suspension of disbelief from the audience is very small. What I mean by this is that in any given TV show there can be terrorists, rape, flashbacks, and a number of other scenarios and tools the writers can use. In wrestling all of that is very limited. So often creative writers in wrestling come up with an idea that may work on a different stage, but for pro wrestling, it's either offensive or cheesy” (Jacobs)

In presenting such a wrestling product that relies on a genuine connection with its audience, this violation of the limitations creates the rift that is present in the current state of professional wrestling. This limited window for creativity gives wrestling a sense of reality that can be used in developing the characters that will be the roles of the wrestlers.

            The role of the wrestler is crucial to the creative process in wrestling. Barthes says that, “wrestling is an immediate pantomime, infinitely more efficient that the dramatic pantomime, for the wrestler's gesture needs no anecdote, no décor, in short no transference in order to appear true” (Barthes 18). Barthes is stating that for the genuine connection of wrestling to happen between the wrestling match and the audience, the role of the wrestler must come from the wrestler. This is something that, as a former performer, a traditional booker has a better grasp on than a professional writer, who find actors to take on characters. The characters that wrestlers take on are like the sport of professional wrestling, exaggerated realities.

            Gabe Sapolsky approaches his creative process the same way when it comes to developing characters for his writing. Sapolsky believes “in developing a character out of a person's real life personality. I think if you develop a character and then force someone to play it you won't quite fit” (Sapolsky). This has become the pitfall with the current process of professional writers who have been trained to create characters and find actors after creation to fill the roles. The roles become hollow and without the spark of reality to create a connection with the audience. In looking at wrestlers as having the same skill set as professional actors, creative writers produce roles that don't transfer the ideas from the story lines to the audience with the same effect as when those characters are forged from the personalities of the men and women who will assume those roles. The opposing roles of booker and writer create a paradox where one side’s weakness is the other side’s strength resulting in a perpetual struggle between the two styles. The solution to this struggle is the eventual evolution of the role into a hybrid resembling a yin yang of writer and booker.

Wednesday, August 15, 2012

Pro Wrestling Senior Thesis



When I graduated from the University of Saint Francis with a BA in English: Creative Writing, I wrote my senior thesis on the creative process in professional wrestling. I decided that people may enjoy reading this researched piece with interviews from Gabe Sapolsky and Jimmy Jacobs, plus other sources such as the widely popular "Guest Booker" series. Before I begin I wanted to share my work cited page that can be used when I cite my quotes in the next three posts (today, Thursday, and Friday).


Work Cited


Allaboutscience.org. “Darwin's Theory of Evolution”. 2002. 20 Nov. 2010 <http://www.darwins-theory-of-evolution.com/>

Barthes, Roland. “The World of Wrestling” Mythologies. Translated by Annette Lavers, London: Paladin, 1972. 15-25

Jacobs, Jimmy. Personal interview. 8 Nov. 2010.

Oliver, Sean. “Guest Booker with Jim Cornette”. Interview. Jim Cornette. DVD. Kayfabecommentaries.com. 7 Nov. 2010.

Sapolsky, Gabe. Personal interview. 16 Nov. 2010.

The Rise and Fall of ECW. Dir. Kevin Dunn. Perf. Paul Heyman, Eric Bischoff, Vince McMahon, and Tommy Dreamer. 2004. DVD. World Wrestling Entertainment, 6 Nov. 2010.

Wrestling Information Archives. “Raw is War Ratings History”. 9 June 2008. 20 Nov. 2010. <http://www.100megsfree4.com/wiawrestling/pages/wwf/wwfraw.htm>

Wednesday, August 8, 2012

Size Doesn't Matter, Sizzle Does!


Kevin Nash once again has opened up the discussion that small wrestlers don't draw money. In an article for Grantland.com, Nash said that at WrestleMania 20 the crowning of Eddie Guerrero & Chris Benoit as champions is what destroyed the business. He claims that when wrestling went away from Monsters to normal sized competitors that the fans went away too.

Many have fired shots back at Big Sexy. Chris Jericho says it was Nash's run as WWE champion in 1995 that was the lowest drawing period in the WWE, and that he merely took a ride on Hall & Hogan's coattails in the NWO. Chavo Guerrero Sr, who knows a little about this sport called wrestling, laid into Nash claiming besides his size that he lacked any wrestling ability. Jim Ross even disagreed with Nash, but wasn't as vocal in his opposition.

The fact is that Kevin Nash is good at creating a buzz. It maybe his greatest talent. He's like that kid on the playground that just knows what buttons to push. He's a big guy, there are a lot of smaller wrestlers in today's environment, and the two guys he talked about aren't around anymore to defend themselves. Put all of it together, and it creates the perfect storm. In short, he hooked em.

Now no matter what side you're on you have gone to Grantland and read the article. You've read the small snipet that is creating all this craziness, but you've also read about his Hollywood projects. You've read about what Kevin Nash is upto now. You've made Kevin Nash a headline story on all the wrestling sites, and he hasn't stepped foot in the ring for one of the big 3 wrestling promotions. He's more talked about right now than Brock Lesnar, HBK, or HHH; the main players in the Summer Slam main event in 11 days. Kevin Nash without trying has out sizzled the WWE and TNA, both going into big pay per views.

Now I disagree with Kevin Nash. I don't believe size matters because even as far back as the 60's midgets have drawn money. What draws money is the bookers or writers being able to create storylines, matches, and moments for talents big & small that keep the fans opening their wallets.

Truly what has killed wrestling, especially in the WWE, is the lost art of true creative minds in the business. The head of creative for the largest promotion got her job because of her last name. The guy leading the writers in TNA is still living off his stroke of luck from the attitude era that he hasn't been able to recreate in nearly 15 years. Finally the brain trust in Ring of Honor continues to run it's promotion like it's the late 80's, which hasn't done much to move the needle.

All in all the talents and fans have evolved, the creative process has devolved. That kind of seperation between the major factors in pro wrestling is what kills business. When the writers and bookers stop believing they are smarter than the talent, start working with them instead of above them, then the money will come back.

The curtain has been pulled back on the mystery of wrestling, but the ability to tell a story hasn't. People still go to broadway even when they know the play isn't reality TV, the same can happen for Pro Wrestling. Bookers just need to stop booking for their own benefit and start doing it for the best interests of the talents and the fans. Stephanie, Russo, and Cornette need to evolve with the business instead of kicking and screaming to keep it the way they like it. Simply put they need to leave their comfort zone.

When the bookers/writers of wrestling take risks then they will break new ground. They will establish new places for the minds of fans and talents to go, which is all both sides are asking for. Fans want fresh storylines that don't look like the same recyled crap they have watched since Flair and Hogan. Talents wants new ways to get their characters over other than the cookie cutter ways that have been the standard since Nash was Oz.

People will say there is no new ground in pro wrestling. They will say that everything has been done. Those are the people who think the world of pro wrestling is flat. I am here to tell you it is round. If we sail our ships to the edge, we won't fall off, we'll just discover new territory. Money can be made with a seven footer or a midget. Money can be made with women or men. Money can be made with anyone. It's up to the creative minds to finally start doing their jobs and finding that money by discovering new ground in Pro Wrestling.

In this business it will never be about size, but about sizzle. The easiest way to get sizzle is to give people something they've never seen before. That will get people talking, which is what Kevin Nash has done. And they're only talking because there is nothing new to take Nash's place.