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What if every band had its own British football logo?
07.31.2018
08:08 am
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Some witty and likable folks with art school credentials and/or graphic design skills presumably residing in the British Isles recently started a Twitter presence for those of you out there who unaccountably are interested in both rock and roll music and athletics. The presence is called Bands FC and I urge you to go check it out, it’s very amusing.

The account’s geezer-ish slogan runs thus: “How it works. Bands as football teams. Football teams as bands.” There’s a lot of visual punning going on that requires some basic knowledge of Premier League Football logos. Every now and then they throw up an entry with the text “This is how we do it” that explains the concept to newcomers. Here’s one of the only ones that I actually understood without the help:
 

 
The logos are often quite clever, but they’re not afraid to go obvious when it suits them, as with Spinal Tap’s three “goes to 11” knobs or Nirvana’s smiley face.

The knowledge of the conventions involved in football logos runs deep. Sometimes the names of the band members are listed (“SIXX NEIL LEE MARS”), sometimes not. Sometimes there’s an “EST. 1967” (Fleetwood Mac) thrown in for fun, sometimes not. All in all the person or people who made these understood that the goal of a sports logo is to foster worship among the masses, and also the colors have to lend themselves to expression in the form of a garish winter scarf.

Below are some of my faves but there are lots more at the source.
 

 

 
Tons more after the jump…........
 

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Posted by Martin Schneider
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07.31.2018
08:08 am
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Bring It: Meet the Gorgeous Ladies of Japanese Wrestling
07.16.2018
08:53 am
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A photo of the female professional wrestling team The Beauty Pair. This image was used to help promote a film based on their exploits in the ring.
 
Professional wrestling has a long, storied history in Japan. Active cultivation of the sport was started following WWII as the country was collectively mourning and recovering after the horrendous bombings of Hiroshima and Nagasaki, killing approximately 200,000 people and other wide-spread, war-related devastation. The sport became hugely popular, and sometime in the mid-1950s wrestlers from the U.S. would make the trip to Japan to grapple with the country’s newest star athletes including an all-female “Puroresu” (professional wrestling) league, All Japan Women’s Pro-Wrestling Association, formed in 1955. Just over a decade later, the league would become All Japan Women’s Pro-Wrestling (AJW), and instead of going at it exclusively with American or other foreign wrestlers, the sport started to pit female Japanese wrestlers against each other which is just as fantastic as it sounds.

All-female wrestling in Japan in the 1970s was a glorious wonderland full of tough, athletic women happily defying cultural and gender norms. Matches were broadcast on television and a duo going by the name The Beauty Pair (Jackie Sato and Maki Ueda) were huge stars. Teenagers themselves, Sato and Ueda, were inspirational to their young female fans leading to the pair (and Sato as a solo artist), to be signed by RCA, producing several hit singles. They starred in a film based on their wrestling personas and sales of magazines featuring The Beauty Pair and other girl wrestlers were swift. The masterminds of the AJW—Takashi Matsunaga and his brothers—knew their ladies-only league was now unstoppable.
 

Japanese wrestling duo The Crush Gals, Chigusa Nagayo, and Lioness Asuka.
 
Female wrestling in the 80’s and 90’s in Japan was reminiscent of American producer and promoter David B. McLane’s magical GLOW (Gorgeous Ladies of Wrestling), and introduced more theatrics into the sport by way of heavy metal makeup, wild hairdos, and eccentric individual personas. In the 80s, televised matches would glue an estimated ten million viewers to the tube much in part to the insane popularity of The Beauty Pair’s successors, The Crush Gals. Both women had signature closing maneuvers; Chigusa Nagayo was known for her Super Freak and Super Freak II, and her partner, Lioness Asuka often finished off her opponents using one of her go-to moves like the LSD II, LSD III and the K Driller (a reverse piledriver). Like their predecessors, The Crush Gals were also musicians and put out a few singles during the 80s, often regaling viewers with songs during matches. Other ladies of the AJW such as Bull Nakano, Dump Matsumoto, Jumbo Hori and others had their own personal theme music. And since lady-wrassling was such a sensation (as it should be), the theme music created for various stars of the scene was compiled on a neat picture disc called Japanese Super Angels in 1985. Video games based on the goings on in the AJW started making the rounds in the early 1990s with titles from Sega and Super Famicom.

So, in the event all this talk about Japanese female wrestling has you wondering if it is still a thing in Japan, I’m happy to report it looks to be alive and well. I’ve posted loads of images taken from Japanese wrestling magazines, posters, and publicity photos from the 70s, 80s, and 90s featuring some of the ballsy women which took on the game of wrestling in Japan and won. Deal with it.
 

Bull Nakano and Dump Matsumoto.
 

Dump Matsumoto and her partner Crane Yu pictured with referee Shiro Abe after winning the WWWA Tag Titles in February of 1985.
 

 
Much more after the jump…

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Posted by Cherrybomb
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07.16.2018
08:53 am
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Avalanche Bob is the yodeling outsider musician promoting the ‘snowboard revolution’
07.09.2018
01:52 am
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If you’re a frequent listener of The Best Show, then you may already know Avalanche Bob. He’s one of those unknown “regulars” who relentlessly calls into independent (and otherwise) radio stations in search of that precious airtime. There may be someone like that on your town or city’s college station or morning show. While the nature of the discussion might be for casual banter and a couple of “look at this guy” laughs, lest not we forget that these are some of the world’s best self-promoters on the line. Most of which have something menial for sale, like their music or other obscure offerings. And they will just keep on hustling to get by with life. 
 
Avalanche Bob was born Robert Cribbie in Hudson, New York. At an early age, young Bob picked up the unfamiliar form of singing known as yodeling. Bob describes his dedication as having stemmed from a dream he had, in which he heard a sound that he could not describe. That sound soon became a yodel and it was then realized that any song could be sung through yodeling. Having recognized that his bizarre form of music could potentially materialize into something other than just a gimmick, Cribbie hoped to push “rock yodeling” into the mainstream.
 

‘Rockabilly Yodel’ by Bob Cribbie (1959)
 
Bob released his first single in 1959, appropriately titled “Rockabilly Yodel.” I’m not entirely sure how the song was received back then, but it was his last for nearly sixty-years. Despite the huge, unexplained gap in his musical narrative, Bob has never stopped yodeling. He has recorded “thousands” of original songs to tape, half of which were written about the extreme sport of snowboarding. Oh, and he doesn’t want to perform as Bob Cribbie any longer - now he’s Avalanche Bob.
 
When Cribbie first got into songwriting in the 50’s and 60’s, the Beach Boys and surf music were what was popular. Everyone wanted to be part of the phenomena, but only few actually lived near the ocean to participate. But it didn’t matter so much because it was more of a rhythm and a feeling. That sensation is what Avalanche Bob is going for with his recent discovery of a so-called “snowboard revolution.” According to the revolution, snowboarding is the solution. To what, you may ask? Bob didn’t exactly specify. But, someday snowboarding could be “as big as the WWE,” Cribbie often cites. Maybe someday. The high-velocity brand was originally to be centered around skiing, but I can see why Bob went with snowboarding.
 

 
So with a little backstory, it now partially makes sense why Avalanche Bob has dedicated at least some of his life to yodeling and the snowboard revolution. Last year, Cribbie teamed up with New York musicians Owen Kline and Sam Kogon to self-release Avalanche Bob’s debut record, High Power Snow Power! To The Stars! Protect The Earth! With hits like “Drivers of the New Rock (Snowboarding Nation),” “The Hoodoo Man,” and “Rock ‘n’ Roll to the Winter Olympics,” Bob transforms doo-wops into “snow-wops” with his truly imaginative and oftentimes unhinged style of songwriting. It’s all about the powder and the slopes for this yodel-punk maestro.
 

Robert Cribbie self-portrait
 
Avalanche Bob has yet to actually go snowboarding. At eighty-four years old, he is hopeful that he will someday. Cribbie has already been on Kimmel, however, and was the subject of a 2017 indie short that bears his moniker. Bob’s main focus right now is to get his commercial idea to Red Bull and, let’s not forget, to release the thousands of songs he has allegedly already written. He also has four musicals ready for Broadway.
 
It’s been a bizarre and even supernatural journey for Avalanche Bob. A true-to-life outsider musician and a cosmic yodel-punk navigating the mountains of the snowboard revolution, one cannot help but to love the guy and everything that he’s pushing for. And once again, I’m not entirely sure what that is.
 
Listen to Avalanche Bob’s debut record ‘High Power Snow Power!’ after the jump…

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Posted by Bennett Kogon
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07.09.2018
01:52 am
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Ian MacKaye’s article on DC skateboarding for Thrasher magazine, 1983
04.04.2018
09:04 am
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All photos by Glen E. Friedman
 
A few months ago, I told you about the Cedar Crest Country Club and the importance it played within DC’s skate punk scene. The political climate of the capital in the early eighties inspired a revolution significant of the times, one that would continue to influence underground culture up until present day. And we have Ian Mackaye to thank for much of it.

The origins of skateboarding are rooted in Southern California surf, but many can say its attitude came from DC punk. Bands like Government Issue, Bad Brains, SOA, and of course Minor Threat, brought a much needed edge to the sport, substituting the sunny beaches with grit and concrete. The only issue was, in DC there was nowhere to skate. So, the punks had to improvise. Later in 1986, the ramp at Cedar Crest Country Club opened, a steel halfpipe oasis just an hour outside the city.

In October 1983, Ian MacKaye, founder of Dischord Records and frontman of Minor Threat, Fugazi, Embrace, and Teen Idles, penned a “scene report” for skateboarding magazine, Thrasher. The article, set to describe the skate vibe of the nation’s capital, characterizes Ian not as a hardcore punk legend, but rather as a DC kid who lives to skateboard. The young MacKaye was a member of ragtag boarding crew Team Sahara, along with another punk forefather, Henry Garfield (now known as “Henry Rollins”). Ian’s piece is a nice little snapshot of the spirit of skate culture during the era; his feature goes on to describe the team’s favorite ramps, a legendary wipeout by Rollins, their first empty pool, and an infamous team session at the Annandale halfpipe. Also in the issue is a photo spread of vertical sequences, a story on a Swedish skate camp, competitions in Del Mar and Oceanside, and a music piece on a punk band called The Faction.

Read Ian MacKaye’s article in Thrasher magazine, along with a complete transcript below:
 

 
Much more after the jump…

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Posted by Bennett Kogon
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04.04.2018
09:04 am
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That time Frank Zappa invented ‘The Wave’ in 1969


 
We are currently amid Zappadan, an annual observance that pays tribute to the late Frank Zappa. Beginning on the anniversary of his death of December 4th, the holiest of all Zapptist occasions concludes blissfully on December 21st, the creation date of the almighty. While it would be difficult to list his every achievement and influence over the years, Frank Zappa is best remembered as a rock & roll innovator, a spirited free-thinker, and a cultural mad scientist. Oh, and I guess he invented The Wave?
 
I have always been curious of the origins of The Wave. The popular spectator pastime involves a stadium crowd to lift their arms in succession, thereby creating a pulsating human current that ripples and crashes. A simple Google search of the subject reveals a man named Krazy George Henderson to be its creator. George was a local celebrity and self-proclaimed “professional cheerleader,” who would often show up at sporting events to invigorate the crowd. It was at an Oakland Athletics game on October 15th, 1981 where Krazy George was believed to have orchestrated the very first wave. After years of perfecting his craft, it was here when George’s vision was fully realized. But apparently he wasn’t the only one. Television host Robb Weller claims that he had led the first wave at a University of Washington football game on October 31st, 1981—mere weeks after Krazy George’s first tube had barreled over in Oakland. Regardless of who did it first, it was at the widely-televised 1986 FIFA World Cup that incited the tradition. For that reason, many sports fans refer to the popular activity as the “Mexican Wave.”
 

Krazy George
 
I don’t intend to be brazen with my skepticism of the subject, but The Wave wasn’t created by Weller or Krazy George. It was invented by Frank Zappa. On June 27th 1969, Zappa and the Mothers of Invention performed at the Denver Pop Festival, a psychedelic three-day concert held at the Mile High Stadium in Colorado. Joining the Mothers on the bill were some serious heavy-hitters of the era, including Creedence Clearwater Revival, Big Mama Thornton, Iron Butterfly, Three Dog Night, and the very last performance of the Jimi Hendrix Experience. Hendrix even performed the “Star Spangled Banner” at the Denver Pop Festival, an event that would soon be obscured by the peace & love behemoth that was Woodstock just two months later. Unlike Woodstock, however, unruly attendees and gatecrashers were tear-gassed during Hendrix’s set, causing disturbance to those in the grandstands.
 

 
Frank Zappa and the Mothers of Invention played before Iron Butterfly on the first day of the festival. Their set contained a whimsical array of classic Mothers numbers including “Hungry Freaks Daddy,” “The String Quartet,” and “A Pound for a Brown on the Bus.” The last song of the performance was more of an improvisation, wherein Zappa attempts a stunt that he refers to as “Teenage Stereo.” Playing conductor to an audience of 50,000, Zappa calls on successive sections of the crowd to make gestures and odd noises (such as clapping and vomiting sounds) when pointed at. The sound travels throughout the stadium in a metachronal rhythm, thereby demonstrating this new human instrument “in stereo.” What Zappa hadn’t realized, however, was that his playful experiment would eventually become a sports fan phenomena that continues to make “waves” to this day.
 
More after the jump…

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Posted by Bennett Kogon
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12.18.2017
11:29 am
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‘You’re the One for Me, Fatty’: Amusing Morrissey-themed skateboard decks
09.25.2017
08:47 am
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“You’re the One for Me, Fatty”
 
Paisley Skates has produced these rather amusing Morrissey-themed skate decks. Each one is done by a different artist including Todd Bratrud, Sean Cliver and Dave Carnie. Every deck is signed on the top by the artist and sells for $70 a pop. I dig the “Vicar in a Tutu” board by Sean Cliver.

Dimensions: 9.25 x 33.125

N: 7.125 / T: 6.875 / WB: 14.75

Click on any image to enlarge for more details.


“Vicar In A Tutu”
 

“Bigmouth Strikes Again”
 
via The World’s Best Ever

Posted by Tara McGinley
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09.25.2017
08:47 am
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‘Jack Johnson,’ 1970 documentary about the first black heavyweight champion, scored by Miles Davis
08.18.2017
09:02 am
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Even people who don’t like Miles Davis’ electric period (!) recognize the greatness of Jack Johnson, one of John McLaughlin’s finest moments, and a record I’d heard dozens of times before I realized it was the score to a movie. Long before
Ken Burns’ Unforgivable Blackness, there was this 1970 documentary by promoter Bill Cayton and fight film collector Jimmy Jacobs.

Jack Johnson was the first black boxer to win the world heavyweight championship. The phrase “great white hope” originates from the terror he struck into the hearts of pale Americans, both by winning the title and enjoying himself in public. His success did not go unpunished. Busted under the Mann Act and sentenced to a year and a day, Johnson skipped bail and fled the country. (In one memorable scene in Jack Johnson, the champ meets Rasputin.)
 

 
In his autobiography, Davis writes that he was boxing in the spring of 1970, when he wrote the soundtrack:

The music was originally meant for Buddy Miles, the drummer, and he didn’t show up to pick it up. When I wrote these tunes I was going up to Gleason’s Gym to train with Bobby McQuillen, who was now calling himself Robert Allah (he had become a Muslim). Anyway, I had that boxer’s movement in mind, that shuffling movement boxers use. They’re almost like dance steps, or like the sound of a train. In fact, it did remind me of being on a train doing eighty miles an hour, how you always hear the same rhythm because of the speed of the wheels touching the tracks, the plop-plop, plop-plop, plop-plop sound of the wheels passing over those splits in the track. That train image was in my head when I thought about a great boxer like Joe Louis or Jack Johnson. When you think of a big heavyweight coming at you it’s like a train.

Then the question in my mind after I got to this was, well, is the music black enough, does it have a black rhythm, can you make the rhythm of the train a black thing, would Jack Johnson dance to that? Because Jack Johnson liked to party, liked to have a good time and dance. One of the tunes on there, called “Yesternow” was named by James Finney, who was my hairdresser—and Jimi Hendrix’s, too. Anyway, the music fit perfectly with that movie. But when the album came out, they buried it. No promotions. I think one of the reasons was because it was music you could dance to. And it had a lot of stuff white rock musicians were playing, so I think they didn’t want a black jazz musician doing that kind of music. Plus, the critics didn’t know what to do with it. So Columbia didn’t promote it.

Watch ‘Jack Johnson’ after the jump…

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Posted by Oliver Hall
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08.18.2017
09:02 am
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Blood and Steel: Punk meets skateboarding at the Cedar Crest Country Club
06.13.2017
09:30 am
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The invention of the polyurethane wheel in 1972 literally reinvented the wheel for the modern skateboard. While Team Zephyr etcetera were tearing up the empty pools of the west coast, it wasn’t for another decade that underground skateboarding began to seep into the cul-de-sacs of suburban America. More than just a surfer fad, skateboarding echoed the defiant self-expression of the nation’s youth subcultures. So it was no surprise then, that the sport often gravitated toward the thriving punk movements of the era. Ever the locale for political discomfort, Washington DC under Reagan was a mecca of punk and hardcore, with bands like Minor Threat and Bad Brains setting the nation’s pulse. Obviously, the skate culture came along with it.

The only problem was, in DC there was nowhere to skate. The short-lived scene saw a demise in the mid 80s, with the closing of the city’s only parks and backyard ramps. That was, until the Cedar Crest Country Club. Located in the middle of a forest in Centreville, Virginia, the half-pipe was built in March 1986 on the property of a golf club. The property owner’s son was given free-reign on expenses, resulting in the construction of a ramp like none other. Besides its behemoth-like qualities, the most notable feature of the ramp was its steel bottom, which ensured maximum speed and higher air time. There was nothing else in the country like it at the time, and it was free to ride if you could make the hour trek outside of the District.
 

Tony Hawk skates Cedar Crest
 
Before long, people from all over the world were dropping in at CCCC. Some of the world’s greatest skaters, like Tony Hawk and Bucky Lasek, all came out to skate. Camping was allowed, and people started showing up for the punk shows they had on the ramp. Bad Brains played, along with Government Issue, GWAR, and Scream (with a young Dave Grohl on drums). Fugazi was scheduled to play CCCC for one of their earliest shows, but the cops broke it up during the opener’s set (evening skating resumed, however).
 

 

 
Continues after the jump…

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Posted by Bennett Kogon
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06.13.2017
09:30 am
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Before Marilyn Monroe & Jayne Mansfield, the dangerous curves of Betty Brosmer ruled the world
06.06.2017
09:32 am
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Model Betty Brosmer.
 
Like many models Los Angeles-born beauty queen, Betty Brosmer, got her start early, with her first photographs appearing in the Sears & Roebuck catalog in 1948 when she was just thirteen. A year later Brosmer visited New York City with her aunt and had the opportunity to pose for more photographs, one of which made its way to electronics company Emerson who used the photo in published advertisements in magazines across the country.

While she was still a teenager Brosmer received requests from two rather influential pinup artists—Earl Moran, who famously captured some of the earliest images of Marilyn Monroe (while she was still known as Norma Jean), and a man whose name is synonymous with the word pinup, Peruvian artist Alberto Vargas. That high-profile work would prompt Brosmer to make the move to New York City. While attending high school in Manhattan Brosmer would continue modeling, and her photographs would appear in numerous magazines as well as on the covers of sexy pulp novels. The young model was pursued by Playboy magazine, which ended up in a sitting for a shoot in Beverly Hills. But not in the nude as the magazine had hoped. The final photos were ultimately rejected by Playboy and I’m sure many of you will be disappointed to learn that Brosmer never did any nude photography during her long career, as she feared the images would be hurtful to her family, not because she thought it was dishonorable.

Although Marilyn Monroe is the most recognizable blonde bombshell of the time, it was Brosmer’s fair hair, face, and impossible eighteen-inch waist that made her the highest paid model of the 50s, and her image helped pave the way for both Monroe and Jayne Mansfield. In 1961 Brosmer married bodybuilder Joe Weider, the founder of the Mr. Olympia competition and mentor to former Governor Arnold Schwarzenegger, a seven-time Mr. Olympia title holder. After that, Brosmer would drop her last name for Joe’s and subsequently end her modeling career. Betty would then go on to co-author a book with Weider in 1981 The Weider Book of Bodybuilding for Women as well as becoming a long-time contributor to Muscle and Fitness magazine, and an associate editor of the popular women’s fitness magazine, SHAPE. I’ve posted images of Betty (who still looks fantastic at the age of 82 by the way), below that must be seen to be believed.
 

 

 
More after the jump…

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Posted by Cherrybomb
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06.06.2017
09:32 am
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Big hair, big muscles, totally 80s: Glorious images & footage of the lady wrestlers of ‘GLOW’
05.26.2017
11:59 am
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A few of the girls of ‘GLOW’ back in the 80s.
 
Next month, on June 23rd Netflix is launching the highly anticipated series based on the gonzo television series Gorgeous Ladies of Wrestling or GLOW that got its start in Las Vegas back in 1986. I can’t lie—I’m one of those people who can hardly wait to binge-watch the series because I was a huge fan of the original TV series as well as the early days of the World Wrestling Federation (or the WWF) that dominated the television airwaves during the 80s.

If just the mere mention of GLOW makes you think you smell the heavy fragrance of Aqua Net while feeling terribly nostalgic for the gift that was bad television programming from the 80s, you are not alone. The decade was jam-packed with awesome and strange shows like Night Flight, The Young Ones, and Pee-wee’s Playhouse just to name a few. That was back when you could solve all your problems just by watching the tube while under the influence of Budweiser (tallboy, of course), and a $2 joint. Sure, I could easily reproduce that very same cheap buzz I just described but it just wouldn’t be the same now, would it? Getting back to GLOW, if you recall anything about the show you recall how purely campy it was, especially when the girls tried their hand at performing comedy skits. Then there was the cultivation of the right image for the fictional characters the women played on the show. For instance, there was Queen Kong (aka Dee Booher who also played “Matilda The Hun” on GLOW) who looked like a mashup of Divine and Fred Flintstone, and the blonde duo of Brandi Mae and Malibu looked like castoffs from another show that was still on the air during the 80s, Hee-Haw.

My personal favorites were always the girls who were decked out like the wrestling version of former Warlock vocalist Doro Pesch, who painted their faces like King Diamond, with glitter or Halloween spray-on hair color on their heads. There were a few that took on that style during the good-old-days of GLOW, following in the footsteps of season one stars Spike and Chainsaw Wilinsky, “The Heavy Metal Sisters.” There was also seemingly no need for political correctness on GLOW and often girls would portray a character that was based on their actual or perceived ethnicity. “Palestina” (Janeen Jewett) was supposed to be some sort of Middle Eastern terrorist with a penchant for wrestling and Latino stuntwoman Erica Marr was dubbed “Spanish Red.” One of the show’s more popular attractions was Samoan wrestler “Mt Fuji” (Emily Dole), who was descended from actual Samoan royalty. Back in 1976 while she was still in high school Dole nearly made it to the Olympics, thanks to her shot putting skills. And it would seem that having the ability to hurl heavy, metal balls long distances also translated to being able to twirl a girl over her head before tossing her out of the ring. GLOW was good times.
 

A group shot of the girls of GLOW.
 
Don’t get me wrong here, despite its high levels of soap opera silliness, the girls of GLOW were mostly tough women who worked out hard, lifted weights and liked to show their guns off like Hulk Hogan. Some were even stuntwomen (like Erica Marr) who were trying to break into Hollywood by pretending to break their opponents’ bones in the ring. The concept of doing a show featuring female wrestlers following a scripted storyline was the genius idea of David McLane. McLane got his start working with Dick the Bruiser—the former 260-pound NFL star who started his three-decade-long wrestling career in the 1950s. McLane would quickly excel as a promoter and later as a blow-by-blow commentator for the WWA (World Wrestling Association). Now here’s where things get a little bizarre—McLane would reach out to Jackie Stallone, you know, Sly’s mom, who was running a ladies-only gymnasium in Las Vegas called Barbarella’s. He pitched his show to Stallone who in turn gave him access to the girls who frequented her gym. The pair then enlisted the talent of Italian producer, director, and screenwriter (who was also briefly married to Jayne Mansfield before she died), Matt Climber, and GLOW was born.

The show itself was shot in a ballroom at what used to be the Riviera in Las Vegas before it was demolished last year, and if there’s a more appropriate setting for a wrestling match featuring gorgeous half-dressed women, I don’t know what would be. The girls of GLOW lived in Vegas and when they were out in public the ladies were required to stay in character. Split into two classes, the “good girls” and the “bad girls” the wrestlers were not allowed to fraternize with members not in their designated groups and would be fined if they did. Many of the girls lived full-time at the Rivera which the management of GLOW paid for and received $300 bucks a week and free tickets to the hotel’s buffet for their work on the show. If all this has gotten you chomping at the bit in anticipation of the new series then I’d suggest you check out the fantastic 2012 documentary GLOW: The Story Of The Gorgeous Ladies Of Wrestling. I don’t want to give anything away about that but my eyes leaked a little when some of the former cast members were reunited, many of whom hadn’t seen or spoken to each other for two-plus decades. I’ve posted some great vintage shots of the girls of GLOW below as well as some footage from the original show, including the infamous “GLOW Rap” that opened season one. I also threw up the trailer for upcoming series of GLOW on Netflix in case you haven’t seen it yet.

If this trip down memory lane doesn’t make you smile, your lips might be broken. You should probably have that checked out. Some of the photos are slightly NSFW.
 

Dee Booher as “Matilda the Hun.” Booher has fallen on hard times and is currently trying to raise some much needed cash for medical expenses. Help out if you can here.
 

Spike and Chainsaw Wilinsky aka “The Heavy Metal Sisters.”
 
;
 
Much more after the jump…

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Posted by Cherrybomb
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05.26.2017
11:59 am
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