Author Archives: Jonathan Williams

“Falls Count Anywhere” shows some of WWE’s rowdiest matches

Only a few weeks after the ECW Unreleased Volume 1 DVD set crashed onto store shelves, WWE releases another DVD set dedicated to some of wrestling’s most violent matches with Falls Count Anywhere: The Greatest Street Fights and Other Out of Control Matches. Spanning more than 30 years of chaos, Falls Count Anywhere includes more than two dozen matches from the National Wrestling Alliance, World Championship Wrestling, the World Wrestling Federation, Extreme Championship Wrestling and recent WWE history. But as you might imagine, it’s the older footage that offers a more genuine atmosphere of disorder and mayhem.

Beginning with a bloody WWF alley fight between Pat Patterson and Sgt. Slaughter at Madison Square Garden in 1981, the first disc is dominated by old NWA and WCW footage featuring the likes of the Four Horsemen, the Road Warriors, Doom and Sting. And if you’re looking for a single match that epitomizes the zany spirit of a street fight, you need look no further than the tag team match between Jimmy Valiant and Ms. Atlanta Lively taking on the Midnight Express at the Omni. This match features a cross-dressing competitor, powder being thrown into the eyes of adversaries, foreign objects and the involvement of Midnight Express manager Jim Cornette (and his signature tennis racket). Taking place at a time when fans truly didn’t know what might happen during a match like this, you can just feel the tumultuous energy as it unfolds in these matches form the ’80s and early ’90s.

Known for his numerous fights of this nature in WCW, ECW and WWE, “The Hardcore Legend” himself Mick Foley is an obvious choice to host this collection. But what’s somewhat surprising is the fact that he (as Cactus Jack) is only featured in two of Falls Count Anywhere‘s matches (one of my personal favorites from his feud with Sting in 1992, and against Triple H in 1997). What’s equally surprising is that “Stone Cold” Steve Austin, who is featured prominently on the DVD cover, is only featured in one match here. But it’s a brutal bout that culminates his feud with Bret Hart (and sees Stone Cold attack Hart in an ambulance after the conclusion of the match). And it’s an apt way to conclude the first disc since it signifies a time when street fights and the like were the breaking point of most rivalries, with both competitors pulling out all the stops to come out victorious.

With the influence of ECW’s more hardcore style, the ’90s saw an influx of street fights, strap matches and the emergence of the Hardcore Championship, which could be defended under pretty much any circumstances. That being said, the only ECW match included here features two of the hardest of the hardcore; Tazz and Bam Bam Bigelow. Hardore matches took on a very different tone and served a somewhat different purpose during the Attitude Era, and the matches on the second disc are indicative of this evolution. From Al Snow and Hardcore Holly battling into the Mississippi River for the Hardcore Championship to Mr. McMahon taking on his son Shane McMahon (and Ric Flair just a few months later), a majority of the matches on the second disc take place in 1999, which is proof of just how commonplace the idea had become by this time.

The third disc shows these types of no-holds-barred matches being reserved for dramatic conclusions or momentous turning points once again. From Shawn Michaels‘ heartfelt return after four years against his best friend Triple H in an unsanctioned street fight at 2002’s SummerSlam to a brutal street fight between Rey Mysterio and one-time friend Batista on SmackDown in 2009, the more recent matches feature more of the unpredictability of the stuff from the ’80s (and require a bit more emotional investment than the matches from the ’90s and early 2000s). We also see younger and less established talents such as Umaga, Cody Rhodes and Ted DiBiase rising to the chaotic occasion and using street fights (and fresher concepts such as a submissions count anywhere match between D-Generation X and Legacy at 2009’s Breaking Point) to elevate themselves closer to main event status. And the inclusion of a WWE Women’s Championship match between Melina and Mickie James from 2007 shows that falls count anywhere matches are not strictly for men.

Though it could be argued that Falls Count Anywhere suffers from the omission of certain matches (such as the last man standing match between John Cena and Batista at 2010’s Extreme Rules or anything from Memphis’ Continental Wrestling Association, arguably the birthplace of this style of match), it’s still another enjoyable collection of matches form WWE’s extensive vault of footage. And considering the extent of footage in WWE’s possession, it wouldn’t surprise me if we saw separate last man standing and Memphis collections in the near future anyway.

For more information, go to www.wweshop.com.

Georgia Wrestling Now welcomes NWA Elite’s Jerry Palmer and Barber Shop Window’s Ken Tuccio

This week’s episode of Georgia Wrestling Now was an exciting one. First, Wrestling with Pop Culture, “The Human Hand Grenade” dany only and Team All You Can Eat’s Matt Hankins talked to former NWA Anarchy owner Jerry Palmer, whose shocking alliance with the NWA Elite finds him battling for control of the company this Saturday at Hostile Environment. We also heard from Barber Shop Window‘s Ken Tuccio.

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“Brave” courageously goes where Disney and Pixar haven’t really gone before

Disney has obviously built its kingdom on recreating ancient folk tales that center around the animated adventures of various mythical princesses. Pixar, however, usually sticks to more contemporary computer animated tales about creatures in the toy box, in the closet or under the sea. With Brave, the two combine their talents for a visually magnificent CGI fairy tale filled with somewhat subversive adult humor and a moral that’s more empowering than the typical Disney damsel in distress.

 

Merida (Kelly Macdonald) follows a will o' the wisp to her new fate in "Brave"

Merida (voiced by Kelly Macdonald) is a defiant young princess who would rather explore her Scottish Highland surroundings with her trusty bow and arrow than be the prim and proper lady Queen Elinor (Emma Thompson) wants her to be. Her father, King Fergus (Billy Connolly), finds Merida’s defiance endearing, and her trouble-making triplet siblings appreciate that she sneaks them fresh-baked sweets under the dinner table. But when her parents invite three suitors to compete for Merida’s companionship, the young princess flees into the woods, only to have will o’ the wisps (small blue fairy flames known for leading people to new fates, not the masked character once portrayed by Jeff Hardy) direct her to a mysterious cottage occupied by a strange old woman (Julie Walters) who carves things (mostly bears) out of wood.

The triplets have a sweet tooth, which means trouble when there's a pastry with a spell on it lying around

Preying on Merida’s apparent adolescent frustrations towards the queen, the old woman offers Merida a pastry that will “change” the queen after she consumes it. But the change that takes place isn’t quite what Merida had in mind and she soon finds herself hiding in the woods with the bear that used to be her mom. To make things worse, Fergus is highly regarded for his conquests over ferocious bears and has an innate desire to add more to his taxidermy collection. And don’t forget about the triplets and their collective sweet tooth.

All Merida asked for was to change her fate, and she soon realizes she should have been a little more specific about that before making a deal with a witch in the woods. But as this red-haired beauty and her beast of a mother try to figure out how to undo this spell, they not only have to comically evade the bear-hungry king, they also learn a lot about themselves and each other. But the queen is becoming more and more like a bear and less and less like her human self as time goes on, so they must hurry before the curse becomes permanent.

While the girls are away, the three potential suitors have created chaos back at home, and the king seems to be reveling in it. But at the urging of her mother (who’s transformation has given her a fresh perspective and a change of heart), Merida brings order back to the castle by breaking tradition and introducing the novel idea that people should have free will when it comes to marriage rather than going along with arranged romances. But before we see a happily ever after, there just has to be a big bear battle. And it’s a good one as the very same bear responsible for the king’s peg leg shows up and Merida’s mommy bear takes on the challenge.

Mama bear saves Merida from the mean bear in "Brave"

Brave showcases the courage of women (and men) who stand up for what they believe in, while also teaching lessons about how to do that without harming those around them. It’s when that balance is struck that the fairy tale ending can truly happen. But the real star of this movie is Pixar, whose work here is unlike anything that’s been seen in the studio’s previous movies. From Merida’s realistic red hair to the rain cascading down the castle’s stone walls to astonishing aerial views of Scottish landscapes, the animation in Brave blends surrealistic caricatures with eerily realistic elements for visual magic unlike anything Disney has done before. And it’s these visual and thematic progressions that make this otherwise traditional Disney tale an eye-opening new adventure.

Brave. Directed by Mark Andrews, Brenda Chapman and Steve Purcell. Starring Kelly Macdonald, Emme Thompson and Billy McConnolly. Rated PG. www.disney.com/brave.

Eye Empire strikes back with an “Impact”

Although today’s release of it’s debut album Impact might indicate that Eye Empire is a new band, the heavy metal heritage of its members says otherwise. Anchored by former Dark New Day bandmates Corey Lowery (also of Stuck Mojo and Stereomud) and B.C. Kochmit, the band also features former Submersed singer Donald Carpenter and former Texas Hippie Coalition drummer Ryan Bennett. Together, these four musicians (and occasionally some of their friends) now proudly wave the Eye Empire flag as they continue the next chapter of their collective hard rock journey. As the band continues its tour, leading into summer support dates with Nonpoint and Seether, Carpenter takes a moment to talk to Wrestling with Pop Culture about the empowering imagery and themes on the two-disc Impact release, the band’s formation and more.

Front man Donald Carpenter (second from left) makes an "Impact" with Eye Empire (photo by Angela Villand)

Eye Empire’s debut album Impact is out today. How does this release compare to the independently released Moment of Impact?

There are some tracks that have been released on a limited basis on some collector’s issues that we’ve put out independently so far. Some of those songs did make the final version of the album. The first 1,000 we printed were hand signed and hand numbered. We did that so each CD would be unique and once those sold out after the first month and a half, we decided to do a second run of 1,001-2,000 where we changed the artw0rk and actually included some photos of anybody who bought the first album in the artwork. We changed out three songs on each of those collector’s issues, so the track listing varied a little bit and there were some new songs on the second thousand. It’s been a way for us to promote our band and give our fans from the beginning something to give them patience as we build this behind the scenes. In the end, it makes it kind of unique with the collector’s discs because there’s only a few of them out there.

The completed album is a two-disc album. What all is included on that?

The cool thing about it is it’s kind of the culmination of everybody’s faith, love, respect and support from these first three years. Each little CD and each little word-of-mouth thing that’s come along has helped build to this disc, and that’s turned into 19 studio tracks, three acoustic versions and two live recordings. So five of the new tracks are actually like bonus material.

The CD cover and other imagery are interesting, with this very unifying flag and whatnot. What was the inspiration behind Impact‘s aesthetic?

The concept is that we want our fanbase to have an identity. We realize what our place is in this, and I think that’s kind of understood from the beginning with everybody involved. I don’t think music’s about inflating the ego of the band, I think it’s about bringing the fans up to our level. We wanted our fanbase to have an identity and we found that identity within the Empire itself. We wanted to keep it simple and clean and put out the colors. Those are our colors, that’s our flag, that’s what represents our fanbase and represents us as a band.

The title Impact is about what we want our music to be about, and that’s about making an impact. It’s about writing music we can relate to and find refuge in, but it’s also about empowerment and giving the fans an identity.

Eye Empire features former members of Stuck Mojo, Dark New Day, Submersed and other bands, and you’ve worked with some of the guys from Sevendust. How did you all come together to create this band?

All of that helped us have some familiarity with each other. We were always about one degree of separation apart and we went through our little experiences and all of those led to Empire. For whatever reason, Dark New Day came to an end around the time that Submersed came to an end for me and Switched came to an end for Brad [Kochmit]. It took them a few years to find me, but those guys worked together for three or four years and put together some music and were searching for the voice. So three years ago on Halloween I came in and got involved. We feel like all of that was for this and it was all the experience and growth we needed to get to this point.

Lajon Witherspoon and Morgan Rose from Sevendust also contributed to this album. How did they get involved?

Well, Corey’s brother is Clint, who is the founding guitarist for Sevendust. Corey grew up very close to all of those guys. Morgan and Lajon live in Atlanta, which is where Corey’s studio is based. When Corey and Brad got together and started jamming on some of their early music, they needed someone to fill in on the drum set. Morgan happened to be off the road at that time and he enjoys playing music, so he sat in and jammed a little bit. When we started to record the first part of the record, it only felt natural for him to come in and complete the process on some of those early song. LJ was one of those situations where the brotherhood was growing and he’s been somebody I’ve respected for a long time coming up as a vocalist. We were in the studio working together on some other things and the opportunity came up, so we had fun with it. It’s kind of a cool way to show how carefree the process is. We’re really just a lot of people who have a lot of respect for each other and we have a lot of friends that we respect a lot who have high abilities and we thought it would be fun to make a record we could all enjoy.

You guys have done a lot of touring recently and will be on the road a lot this summer. What do you have planned for the shows you have coming up?

Yeah, we’ve been touring for about ten months playing some headlining dates. We went out with Mushroomhead, Wayne Static and Sevendust last year. We’ve played some shows with Volbeat and Five Finger Death Punch over the last few months. On July 28 we’re playing Band Camp in Madison, Wisconsin, then we hit the road with Nonpoint and Call Me No One for about six weeks before we head out with Seether, Sick Puppies and Kyng, which we’re all friends with so we’re excited about that.

I don’t think I’ve had a chance to see Eye Empire live yet, so…

I can promise you one thing; if you did  you would know. It’s all about energy. Like I said, it’s about bringing the fans up to our plane. Sometimes we feel a little insignificant out there and it’s about inflating the ego of the rock star. But for us it couldn’t be any more opposite. It’s about us coming out there and celebrating the fans being present, bringing their energy and being such an integral part of keeping music alive. That’s what it is; it’s a celebration of the fans and our love for music.

For more information, go to www.eyeempire.com.

The Smashing Pumpkins drift into familiarly fresh sonic realms with “Oceania”

When he’s not busy running his Resistance Pro wrestling promotion, Billy Corgan has a little musical side project called The Smashing Pumpkins. Considering how influential the band has been on the rock scene since the early ’90s, I’m guessing you may have heard of them. And after reissuing their first two albums – 1991’s Gish and 1993’s Siamese Dream – as remastered expanded box sets last November, Corgan’s latest Pumpkins incarnation releases its first traditional album in five years with Oceania.

Recorded amidst the band’s Teargarden by Kaleidyscope experiment (an ongoing, open-ended series of singles released digitally as they were recorded), Oceania is a return to the overall album experience as an art form. Rather than pump out singles in advance of the album’s physical release, the band instead streamed the album in its entirety (devoid of individual track separations) over the course of the past week. That means many fans are already familiar with the entire album before it hits store shelves today.

But Oceania is a return to the Pumpkin vine in other ways, as well. With the psychedelic guitar buildup that begins opening track “Quasar,” longtime Pumpkins fans might think they are listening to a Gish outtake or “I Am One” B-side. And that trend continues as songs like “Panoptica,” “The Celestials” and “My Love is Winter” feature Corgan’s blissful lyrics alongside his Brian May-like guitar wailing and overall blend of ’70s progressive rock, shoe gaze-y haze and occasional goth rock leanings. But Corgan also revisits the electronica elements he started toying with on 1998’s Adore and 2000’s Machina/The Machines of God, most notably on “One Diamond, One Heart,” the Kraftwerkian “Pinwheels” and “Wildflower.”

Corgan indulges his New Age-y rock side a few times, too, especially on the somewhat meditative title track.  Then “The Chimera” and “Inkless” return to the harder rocking “Cherub Rock”/”Mayonaise” alt-rock sound that established Corgan and the Pumpkins as rock royalty. And even though many Smashing Pumpkins fans will claim Oceania is not a true Pumpkins album (especially since longtime drummer Jimmy Chamberlin is no longer in the band, leaving Corgan as the sole original Pumpkin), Corgan has always been the creative force behind the band’s uniquely heavy sound. And with a newer lineup that seems to be just as accomplished in the studio as any previous members, Oceania proves that Corgan is not only still good at creating the yet-to-be-duplicated Pumpkins sound, but he also has a talent for finding equally accomplished musicians to help him realize his musical vision.

For more information, go to www.smashingpumpkins.com.

Georgia Wrestling Now welcomes PCW’s Stephen Platinum and Montez/the Curry Kidd

There’s never a dull moment on Georgia Wrestling Now, especially with a lineup of guests like we had this week. Listen in as Team All You Can Eat’s Matt Hankins, “The Human Hand Grenade” dany only and Wrestling with Pop Culture find out about the big shows Platinum Championship Wrestling‘s Stephen Platinum has planned over the next few weeks. We also heard from Empire Wrestling’s Montez, who had an interesting revelation about the man competing under the Curry Kidd mask this Saturday at NWA Action‘s Bash at the Bridge. Jon Williams from the Washington Bullets sat in as guest co-host, only recapped his intense weekend at Resistance Pro and Beyond Wrestling and The Jagged Edge once again interrupted the show.

Though we thought the Curry Kidd and Montez were the same person, the bitter host of The Montez Zone (TMZ) says he's no longer the man under the colorful mask. (photo by Jason Ventura)

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Volbeat answers “A Warrior’s Call” on summer tour

It’s been more than a year since Danish band Volbeat released its fourth album Beyond Hell/Above Heaven. And since then the single “A Warrior’s Call” has become an anthem for fighters and wrestlers, as well as rock fans looking for something to pump their fists to. Written specifically for Danish boxer Mikkel Kessler, “A Warrior’s Call” is just one of several songs that blend the punk rock stylings of the Misfits and the rockabilly swagger of Johnny Cash and Social Distortion with thrash metal riffs and hardcore sing-alongs. After touring with Metallica, then opening for MegadethMotörhead and Lacuna Coil on the Gigantour earlier this year, the band set out on a United States festival tour for most of last month. As Volbeat prepares for a summer headlining tour of North America with support from Hellyeah and Iced Earth beginning June 18, drummer Jon Larsen takes a moment to talk to Wrestling with Pop Culture about “A Warrior’s Call,” album themes and the band’s creative process.

This album has been your most successful one yet, at least here in North America. That’s largely because of the first single “A Warrior’s Call,” which is about a boxer. Did you know a lot of independent wrestlers also use that as their entrance music?

We are quite familiar with those stories, actually. We also know there is a hockey team, maybe, that is using it. It seems like a lot of people in the world of sports have really picked up on that song and use it as an intro song or whatever, which is kind of amusing and fun for us. The song was written specifically for a Danish boxer and that’s basically what it was. He had been using one of our older songs from the Guitar Gangsters album for his intro when he walked into the ring. We got to know him and kind of just said, “Why don’t you have some decent music when you enter the arena?” And he said, “Well, why don’t you write a song for me?” So that’s what Michael [Poulsen, singer/guitarist] did. He said, “Sure. That’s a challenge. I’ll do that.” So it was written specifically for him, but it’s interesting that a lot of independent wrestlers, hockey teams, soccer teams or whatever started to use that song. But, hey, it’s all good. We aren’t complaining.

Beyond Heaven/Above Heaven picks up thematically where Guitar Gangsters & Cadillac Blood left off. For those who are just discovering Volbeat through the newer album, what is the connection between these two albums?

Some of the songs on the Guitar Gangsters album were combined into a story. I’m not really that familiar with the story either. I know that Michael got the idea after watching an old gangster movie on TCM and didn’t finish the movie because he was doing something else. So he started wondering what actually happened during that movie, what happened to that guy. So that’s where he picked up the story and made it into his own story. There were seven songs on the Guitar Gangsters album that were combined into this story and on the new album there are three or four songs that continue the story.

He obviously writes the lyrics and comes up with the overall concepts, but how much input do you have as the drummer when it comes to writing songs and albums?

It varies from time to time. Sometimes Michael will have a full song ready when we meet up in the rehearsal room and he will say, “Try to play like this” or “Try to do something like this.” Sometimes he doesn’t really have anything and we just start fooling around with a riff and all of a sudden it’s like, “Whoops! We’ve got something there.” Then he goes home and continues working on that. Of course, we all throw in any ideas we have and if he can use them, he will. But if it’s too stupid, he won’t use it. Most of the time, he and I will meet up at the rehearsal room before the other guys show up and start just pounding out ideas and riffs and beats and whatever and see what we can come up with.

You recently finished a string of festival shows and now you’re heading out on your own headlining tour. How will the shows on this tour compare to the festival shows you’ve been playing?

We just did 15 festivals and seven headlining shows. A festival is what a festival is and headlining shows are actually sometimes more fun because we’re in better control of everything. On this run we’ll be hitting some shows on the West Coast, which we did not on the last run. We’re going back to Canada, doing some shows on the West Coast and some East Coast shows, so we’re going to be all over America on this run. We don’t really change anything production-wise. It’s not about a stage show for us; we are what we are and it’s just basically amps, drums and guitars.

Volbeat drummer Jon Larsen (right) prepares for North American summer tour (photo by Erik Weiss)

You are what you are, but your sound is an amalgamation of everything from metal to punk to rockabilly. Do those influences creep in from individual band members or do you all share similar interests in many rock genres?

We’re four different people with four different musical tastes, so we just throw in everything we’ve got. Like you said, there’s some metal in there, some punk in there, some rockabilly, some three-chord bar rock, there’s everything. We just play the kind of music we like to play. We don’t really think too much about what it is, it’s just how we started. We didn’t really think too much about if it’s supposed to be this or that, we just said, “OK. We’re going to do this. Does it work? Yeah, it works. Does this thing work? Yeah, it works.” That’s what we did in the beginning and that’s what we’re still doing, basically.

Given the appeal that “A Warrior’s Call” has had with wrestlers, sports teams and the like, do you think Volbeat might continue writing music for specific wrestlers or other athletic entities in the future?

Right now, no. But never say, “Never.” Who knows? If something interesting pops up, why not?

For more information, go to www.volbeat.dk