Rikidōzan, seen as the pioneer of Japanese wrestling.

Professional wrestling has existed in Japan at least since the late 1880s when sumo wrestler Sorakichi Matsuda travelled to the United States and competed alongside the Greco-Roman and catch wrestlers of the day. However, the sport didn’t become firmly established in the country until 1951 when the great Rikidōzan became a breakout celebrity and national icon. Rikidōzan was an emigrant from Korea who came to Japan to train as a sumo wrestler, but eventually quit and picked up professional wrestling instead.

Rikidōzan quickly established himself as a hero to the Japanese when he consistently defeated a string of opponents from the United States (who helped hum out by always playing heel), giving Japan someone to root for and cheer on in the aftermath of World War II and the invasive Western sanctions and presence that came in its wake. In fact, it was Rikidōzan who gave us the ubiquitous “karate chop” which, despite its name, has nothing to do with actual karate and is in fact a wrestling move descended from the sumo practice of harite and is more properly called a knifehand strike. With Rikidōzan’s rise to celebrity status, professional wrestling became a staple of Japanese culture and social life.

Rikidōzan’s legacy is felt elsewhere in Japanese professional wrestling as well, namely in its unique blend of different fighting styles. Though pro wrestling remains by and large choreographed in Japan just as it does in other regions, there’s less of an emphasis on the scripted drama aspect and it’s portrayed as far more of an actual competitive sport than it is in, say, the United States. What story there is has less to do with the grudges and angles that define wrestling outside of Japan, and more to do with each individual wrestler’s fighting spirit, honour and strength of will. Furthermore, the additions of holds and techniques from other combat sports mean the Japanese professional wrestling is far more of a contact-oriented experience, and resembles in some ways what we might think of today as mixed martial arts, with which pro wrestling outfits in Japan have a very close relationship with to this day.

So, much like in the United States, Japanese wrestlers, especially of this period, were celebrity entertainers. However, because of the fierce loyalty and local fervor that characterizes wrestling in Japan, as well as the fact this kind of professional wrestling is viewed far more as a kind of sport, there’s a sense of communal eventfulness that accompanies wrestling in Japan that wrestling in the United States lacks. While Vince McMahon was busy turning the WWF into a national brand and a form of mass consumerist entertainment, Japanese wrestling fans continued to view their local performers as a source of cultural pride and would attend matches to socialize. This all culminated in the early part of the 1980s, when Japan experienced its own kind of pro wrestling boom, albeit one that was manifestly different than the one Vince McMahon ushered in.…

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I’ve never been a pro wrestling aficionado. There are certain things about my life and positionality that don’t match up with accepted cultural narratives, and professional wrestling is one of them. Along with Star Wars, superhero comics, G.I. Joe and Transformers, pro wrestling’s so-called Golden Age was one of the biggest shared cultural signifiers of the mid-period Long 1980s fondly remembered by anyone old enough to have lived through them, yet notably absent from my own lived experiences of the era.

I didn’t choose those topics at pure random: Those subjects are things I’ve noticed over the past decade or so trotted out as some of the most beloved and iconic pop culture memories and reference points from this period. I do think there’s a secondary story here though in that nostalgia for these particular things, above all others, is a recent innovation brought upon by the reification of a specific kind of retro discourse from a specific subset of a specific generation, namely Nerd Culture. But though its roots can arguably be traced back here, the rise and subsequent normalization of Nerd Culture and the Nerd Culture Agenda is not the real story of the Long 1980s, at least from my perspective, so we’re not going to be addressing that here. In terms of pro wrestling in particular, however, there’s a thread that leads directly into topics we’re going to be talking about imminently, so the Golden Age of Professional Wrestling is relevant to us in the here and now.

Vince McMahon, who transformed the face of pro wrestling.

The story of professional wrestling in the 1980s begins, predictably, with television. With the advent of cable and pay-per-view and a desire to find ways to take advantage of the new medium, it would make sense one of the first places the new media climate would turn to would be wrestling, an old standby of ready-made TV spectacle. The rise of the so-called Golden Age is in many ways a sequence of events extremely suited to the 1980s: Just as the medium of television was beginning to shift, the wrestling business was in the process of being rapidly consolidated by two wildly successful and powerful promoters with lofty ambitions: Vince McMahon and Ted Turner. It’s McMahon who is, of course, the most storied and influential figure here. Before taking over the World Wrestling Federation, also known as the WWF, from his father, the company, like all wrestling promotions in the United States, was a regional outfit strictly limited to the Northeast. McMahon was the first promoter to syndicate wresting matches on national television, with which he heavily promoted his recent acquisition of three rising superstar performers: Hulk Hogan, Rowdy Roddy Piper and Jesse Ventura.

McMahon’s expansion incensed his colleagues and competitors, who viewed it as a betrayal of the basic fundamental structure of the wrestling community and an overt attempt to muscle in on their territory. It didn’t help when McMahon used the proceeds of his pay-per-view events, advertising and video sales to recruit talent from rival promoters, essentially using the streamlined privatization of the WWF to attack other promotions.When…

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In order to properly talk about this show, we of course need some historical context.

The history of professional wrestling of the kind we most commonly recognise can be traced back to at least the 1830s in France. There is, of course, a difference between the competitive sport of wrestling and “pro wrestling”, and this is where the distinction really began to be made: Circus sideshows would feature strongmen acts who could also wrestle (acts with positively delightful names like Edward the Steel Eater and Gustave d’Avignon the Bone-Wrecker), and would challenge members of the audience to try and take them to the mat. After a decade or so, these acts became popular enough to headline circus troupes of their own, with the first such all-wrestling troupe appearing in 1848 presented by Jean Exbroyat. It was Exbroyat’s troupe that first introduced the rule that holds were only valid if executed above the waist, eventually evolving into that most famous of combat sport phrases “no rough stuff; no striking below the belt”. In Europe, this style became known by the famous moniker “Greco-Roman Wrestling”.

Georg Hackenschmidt, early crossover performer.

But it was in the early 20th century where professional wrestling truly began to crystallize into its most famous form. And, as is the case for much entertainment in the United States and United Kingdom, it has a strong connection to Vaudeville, Burlesque and Music Hall culture. Looking for new twists on the strongmen acts in their variety shows, presenters would offer challenges to the audience to last a specified amount of time grappling with the performers, much as had been done in France in the 1830s. When Greco-Roman wrestler Georg Hackenschmidt travelled to the UK and teamed up with a local promoter to take on a series of publicized bouts against British wrestlers, he brought with him the Greco-Roman institutions of titles and championship tournaments. But the big change came when a variant of Greco-Roman wrestling showed up in the US and the UK that allowed more and more varied kinds of grips and holds, including leg holds. This style, known as catch-as-catch-can, eventually further subdivided into the choreographed spectacle wrestling is known for today.

It was in the United States where this became the most obvious and pronounced. Starting in the 1860s, wrestlers would travel with the largest circuses as part of athletic showcases promoted by carnies. Sometimes they would challenge the audience, but most of the time they competed in staged exhibitions with other wrestlers from other promoters, where they would dress in elabourate costumery and adopt fictional monikers and backgrounds. Some of these performers transcended the carnival to become proper stars in their own right, like Farmer Burns, a famous wrestler and trainer known for competing in over 6,000 matches and coaching other wrestling luminaries like Frank Gotch, who gained fame and notoriety for defeating Georg Hackenschmidt, making him one of the first world champions.

Although professional wrestling waned throughout the 1910s and 1920s (curiously due to complaints about how fake it was), this period did see three major figures in the Gold Dust Trio: A joint promotion created by the wrestlers Ed Lewis, Billy Sandrow and Toots Mondt.…

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