Tim Hornbaker: National Wrestling Alliance: The Untold Story of the Monopoly That Strangled Pro Wrestling. Toronto: ECW Press, 2007.
Professional wrestling in the United States began in the circuses and traveling carnivals of the nineteenth century, with who knows what mixture of competition and hoax. In Germany, staged matches were firmly in place by the 1880s, so it is unlikely that Europe’s American cousins trailed less than a generation behind, if that. Whatever its provenance, the early pros had to know how to wrestle for real, not only how to put on a show. If your opponent decided to ‘shoot,’ try to beat you when he was supposed to lose, you needed to be able to defend yourself and your reputation. For this reason, the best-trained performers learned ‘hooks’—potentially crippling, always painful holds that could save them if, well, a situation arose.
Along with boxers, wrestlers became sports celebrities late in the century—John L. Sullivan the boxing champ in the 1880s, Martin “Farmer” Burns the wrestling champ in the 1890s. Burns trained Frank Gotch, the first American claimant to a pro wrestling ‘world’ championship in 1905. Gotch reportedly enjoyed inflicting pain on his opponents, whether the match was a contest or a show. By the time of the Great War, the top promoter in the United States was Jack Curley, a.k.a. Jacques Armand Schmuel, headquartered in New York City and allied with Midwest promoters Billy Sandow and Tony Stecher in the wrestling “Trust.” Such a dangerous business cried out for reform, which began in the Progressive era in the person of Ed “Strangler” Lewis.
Robert Herman Julius Friedrich took his ring name from a famous wrestler of the previous generation, Evan “Strangler” Lewis. The new Strangler was managed by Billy Sandow, a.k.a. Wilhelm Baumann, trained by Joe “Toots” Mondt. A finer group of German-American lads could scarcely have been assembled, and, whether intentionally or not, they broke from Curley’s Trust and followed their countrymen’s tradition by gathering “a stable of grapplers who followed [Sandow’s] orders.” Those who chose not to conform were quickly schooled to the contrary by the ‘policeman,’ John Pesek, “a shooter beyond compare,” who “simply could not be beaten.” In the first half of the 1920s, the “Gold Dust Trio,” as the sports journalists of the day named them, dominated the industry with short, fast-paced matches that kept the marks coming back for more. In the Strangler, pro wrestling had found its Babe Ruth, its Jack Dempsey, as sports became part of the entertainment and mass media industry of that decade.
Alas, the boys outsmarted themselves. A popular University of Nebraska football star, Wayne Munn, looked like money to the boys. They arranged for him to win a spectacular upset match against the Strangler in 1925, planning to promote a return match that would make all parties to the deal a boatload of money. The deal went down in Kansas City, with Munn next undertaking a national tour of championship bouts while, for his part, the Strangler kept on the heat by refusing to relinquish his diamond-studded championship belt, prompting a sham court case, well publicized by the cooperative journalists of the day. The flaw in the plan was Munn’s lack of shoot-wrestling experience. One of his opponents on the tour was Stanislaus Zbyszko, a veteran wrestler who had taken a fall for Munn in the past. But in April, Zbyszko crushed the hapless footballer in Philadelphia, and it transpired that Jack Curley was behind the double-cross.
In an attempt to bring a touch of order and (it was fondly hoped) respectability to the game, the National Boxing Association established the National Wrestling Association in 1930, headquartered in New Orleans. This organization competed with the American Wrestling Association, which had been founded a couple of years earlier by Boston promoter Paul Bowser. Curley allied with Lewis and eventually formed a new version of the Trust in 1933. A year later, he installed the photogenic Jim Londos as champ. Lewis, half-blind from trachoma, did the job, although even then he could have mauled the diminutive Greek hero.
After Curley died, in 1937, promotional wars continued, with more double-crosses and title changes. By 1940, the dominant promoters were Tom Packs of St. Louis, head of the National Wrestling Association, whose ‘world champion’ was Bill Longson, and Bowser, who installed Frank Sexton as his champ. Bowser was the more influential of the two because he had connections with more state athletic commissions, which had designated the ‘world’s champion’ since 1930. Annoyed at the National Wrestling Association’s secondary status, other Midwestern promoters, notably Sandow and Maxwell Baumann, broke with the Association and founded the first entity called the National Wrestling Alliance in 1941, putting their headquarters in Wichita, Kansas and naming Roy Dunn, a legit amateur wrestler (a former Olympian, in fact) as their champion. A couple of years later, Des Moines promoter Paul “Pinkie” George appropriated the National Wrestling Alliance name for his own promotion, naming his own champion. Partnering with Wichita promoter and wrestler Orville Brown, he expanded the new Alliance to Minneapolis and Omaha. By 1944, Brown himself was the Alliance champion. As Hornbaker duly notes, a champion was whomever a promoter or consortium of promoters called a champion.
After the war, back in St. Louis, a former sportswriter named Sam Muchnick began a promotion in competition with Packs, with support from Stecher and Sandow. He was successful, and in July 1948 Muchnick, Stecher, Sandow, Brown, and Chicago promoter Fred Kohler met in Waterloo, Iowa, founding a third entity called the National Wrestling Alliance; the Pinkie George organization remained intact but allied with the larger organization. Brown was its first champion, thus giving some continuity to two of the “Alliances.” By the end of 1948, the Alliance had members in twenty states, including Ohio (Al Haft in Columbus) and Michigan (Harry Light in Detroit) to its membership, thus forming a strong Midwest, though as yet hardly ‘National,’ organization in rivalry with the National Wrestling Association. Muchnick was elected president in September 1950, a position he held for more than two decades. Muchnick was that rarity, an honest and trustworthy promoter, proving once again that in the kingdom of the blind the one-eyed man is king.
The National Wrestling Alliance compact stipulated that each promoter would, in the words of the by-laws, “run his existing territory as he sees fit without the interference of any other member.” The promoters agreed to mutual aid in terms of sharing talent, including the recognition of one heavyweight champion and one junior heavyweight champion, whose appearances would be distributed “so that each member receive[s] equal benefit in showing said champions” in his territory. The Alliance members would “act as their own commission to police wrestling,” whereby a wrestler suspended in one territory would be suspended in all territories. Each territory had several promoters, with only the top promoter as a member of the Alliance; he was also the ‘booker,’ that is, the person who sent wrestlers under contract to ‘his’ promoters for their local shows.
Less materially but far more entertainingly, the incorporation documents also included among its purposes the intention “to enlighten and direct public opinion with regard to the relation between professional wrestling and public welfare”—as if there could ever had been so much as a tincture of doubt—and to “promote good will between members of this association with state athletic commissions”—a mission rapidly accomplished, inasmuch as money talks—and “to promote fair play, sportsmanship, and a high standard of competition and interest in the wrestling profession.”
Meanwhile, Packs sold his promotion to wrestlers Lou Thesz and Bill Longson (both of whom had worked as champs for him), who were backed by Canadian promoters Frank Tunney (Toronto) and Eddie Quinn (Montreal), rivaling Muchnick in St. Louis. An initial meeting between the two groups ended in stalemate, but in July 1949 Thesz gave in, joining the NWA and quickly becoming its heavyweight ‘world champion,’ since Brown had been seriously injured in an automobile accident. Tunney and Quinn joined soon afterward, as did promoters in Los Angeles (Johnny Doyle, who gave the world Gorgeous George), San Francisco (Joe Malcewicz), and Honolulu (Al Karasick). Billy Wolfe, who controlled the principal stable of women wrestlers, also joined. The organization gained an important inroad in the northeastern U. S. when Toots Mondt of Pittsburgh joined; Mondt had the contract with Antonino Rocca, the star of Madison Square Garden shows since the late 1940s, a venue Mondt had booked since the beginning of that decade. Rocca exemplified a new sort of pro wrestler. He couldn’t wrestle much, for real, but within a well-disciplined promotion, that didn’t matter, since no one would shoot on him. (Although in one match Thesz disgustedly dropped him on his head, just to send a message.) This enabled Rocca to enliven the sport with spectacular but utterly ineffectual maneuvers like dropkicks, which his opponents ‘sold’ to the audience as devastating aerial strikes.
With forty members leasing ruling territories from New York to Honolulu, the NWA now had some real nationwide heft. Competitors were, of course, unwelcome. “Controlling the best talent in the business was the key in shutting down independents. Members used contracts to tie up wrestlers and the threat of suspension by state athletic commissions to keep their athletes in check,” and the athletic commissions, seldom offended by offers of cash, “limited the number of licenses issued to prospective bookers or promoters” and reserved the best arenas for NWA members. Even so, a stubborn challenger could still be countered. In such cases, “members united and sent their top grapplers to the [NWA] promoter engaged in the conflict,” and President Muchnick made sure that the champ would visit the territory for more than his usual allotment of dates. As supplementary measures, “verbal and physical threats were not unheard of.”
All of this coincided with the rise of television. The small, black-and-white screens conveyed boxing and wrestling better than they did the more complicated team sports. Fred Kohler had put a weekly show on a local station, debuting in July 1946, proving that a TV show could be used to promote shows in the big arenas. With NWA backing, he built an empire within the empire, taking his shows national in 1949 by distributing them on the Dumont Network. Although he used Thesz, he also established his own champion, crowning the current NWA junior heavyweight champion Verne Gagne as the “United States Heavyweight Champion,” a title Kohler invented. He soon allied with Mondt and Madison Square Garden promoter Charley Johnston, never stepping outside the limits of the NWA but prospering beyond any others within it, until he lost his arrangement with Dumont in 1955 and his contract with its local affiliate, two years later.
Thesz proved a highly successful champion for the NWA. He had been trained in his native St. Louis by a shooter named George Tragos, then further by Strangler Lewis, so he could actually wrestle, lending credibility to the exhibitions and guarding the title against any wrestler bold enough to try to grab the title for himself. (Once established, he had the NWA hire Lewis as his traveling manager, exhibiting a sentiment, gratitude, that seemed a bit eccentric to his colleagues. Lewis was good for business, too, having mastered the art of publicity during the Roaring Twenties.) The very size of the NWA brought a new challenge, however. The bigger it was, the fewer times the champ could tour any one territory, and the more exhausting his schedule became. As usual, arrangements were made. In 1955, Thesz and San Francisco favorite Leo Nomellini staged a match with an intentionally ambiguous finish, thus enabling Nomellini to be billed as world champ in that city, Thesz everywhere else. Injured in 1956, he lost to Tunney’s Toronto hero, Whipper Billy Watson, another relatively trustworthy soul, who readily lost a return match once Thesz had recovered. In 1957, he lost a match by disqualification to Eddie Flynn’s top draw, “The Flying Frenchman,” Edouard Carpentier (a.k.a. Weczerkiewicz)—yet another dodge to split the title, since Thesz could claim that a DQ loss was no ticket to the championship and Flynn could bill his local boy as the ‘real’ champ. Thesz relinquished his title to one of the few wrestlers he respected, Dick Hutton, a former NCAA champion. Verne Gagne’s U.S. title had rubbed Thesz the wrong way, and the other major star of the period, Buddy Rogers, had not only jumped from Thesz’s St. Louis promotion to the fledgling NWA before Thesz did but had the temerity to joke about Ed Lewis in front of Thesz, a few years later. Thesz blocked both of them from becoming the NWA champ.
All of this might strike the casual observer as monopolistic, in light of the venerable Sherman Antitrust Act. “Although the monopolistic practices of the NWA were not yet on the radar of government officials, it was just a matter of time.” Corruption of state athletic commissions had been routine for decades, but corruption coming from a traceable, centralized source eventually raised some eyebrows. By the mid-1950s, there had developed a sufficiency of disgruntled promoters and wrestlers to enable U.S. Department of Justice investigator Stanley Disney to begin building a case, starting with L.A.’s Doyle, who had quit the organization in 1954. That old trouble-maker, Stanislaus Zbyszko, also got in touch with the Antitrust division; “his disdain for the Alliance’s methods were well known,” and he went to the extreme of writing an article exposing the theatrical character of the genre, although the limited circulation of The Man’s Magazine, where the article appeared, made the publication in itself unthreatening to the industry. But by June of 1955, Muchnick was interrogated by Disney on NWA business practices. “One thing Muchnick sought to avoid was a public proclamation, either by the Department of Justice or in a federal courtroom, that wrestling was a scripted sport,” which might “demoralize the fans,” “sinking the industry.” That never happened, but Disney did issue a memorandum recommending a grand jury investigation, “elaborat[ing] on a conspiracy of 38 bookers in controlling specific territories, browbeating promoters into dealing with Alliance associates, the sale of towns, discrimination, price fixing, and systematic blacklisting.” He additionally recommended a civil case, resulting in United States of America v. National Wrestling Alliance, which resulted in a consent decree ordering the NWA to “cease illegal practices.” For his part, President Muchnick generously admitted that some members of the organization had, well, “deviated from the true purposes of the organization, and that some corrections should be made.” This enabled him to admit no wrongdoing while agreeing to reform. In an especially fine turn, he named Doyle as one of the delinquents. Congressman Mel Price of East St. Louis, a Muchnick ally, may have been influential in limiting the Justice Department to the consent decree, and Hornbaker also suspects United States Senators Everett Dirksen of Fred Kohler’s Illinois and Estes Kefauver of Tennessee of intervening. (Upon the occasion of Dirksen’s death, many years later, the conservative writer William F. Buckley, Jr., claimed that the only thing the senator really cared about was getting the marigold designated as the national flower—a manifest calumny, as this shows.)
The real effect of the investigations was that a reformed NWA was no longer an especially effective NWA. Its members had less incentive to stay in it and independents were less intimidated by it. The most significant secessionists were Verne Gagne, who formed the American Wrestling Alliance, centered in Minneapolis—a lucrative promotion that endured for three decades—and (as it turned out, much more significantly), Vincent McMahon.
McMahon’s family had been involved in sports promotion since the early years of the century. Brothers Edward and Roderick “Jess” McMahon promoted baseball and boxing after graduating from Manhattan College, with Jess promoting the Jack Dempsey-Jack Sharkey fight in Madison Square Garden, one of the major sports events of 1927. He also promoted wrestling in the New York City area. Son Vincent, born in 1914, moved to Washington, D.C., after serving in the Coast Guard during World War II, managing the Turner Arena, the main wrestling venue in the city. He bought the territory from NWA affiliate Joe Menendez in 1952 and began producing TV shows on the local Dumont Network affiliate, four years later. The matches were syndicated to the Dumont affiliate in New York, and “Wrestling from Capitol Arena” (as McMahon renamed Turner Arena) became a popular weekly feature on Channel 5 until the mid-Sixties. Philadelphia-based promoter Ray Fabiani ran opposition shows at the Uline Arena, featuring Buddy Rogers, the top ‘heel’ performer in the business, but McMahon won the ‘war’ and the two promoters became allies. Rogers would prove instrumental to McMahon’s eventual plans.
The main attraction in the New York-Philadelphia-D.C. area was Antonino Rocca. Allying with Toots Mondt, who had Rocca signed to a contract, “McMahon devised a strategy to rule wrestling in the Northeast, partnering with Charles Johnston, his nephew Walter Smallshaw, and matchmaker Kola Kwariani, who controlled Madison Square Garden and other smaller venues in city.” McMahon and Mondt supplied the wrestlers, and with both Rocca and now Rogers in the stable, the New Yorkers had little choice but to play. The first McMahon-Mondt card in the Garden, in February 1957, drew the biggest crowd for any sports event in 25 years—without Thesz in the main event, it might be noted. This earned Mondt status as co-promoter with Johnston, and McMahon replaced Kwariani as matchmaker. Rocca, who was in the main event, was “the biggest wrestling attraction in New York since Jim Londos,” headlining every card there until January 1961. That the fans were suitably engaged may be seen not only in the attendance figures, but in the riot that occurred at the November show in 1957, when Dick the Bruiser and Dr. Jerry Graham committed acts of manifest felony against Rocca and his tag team partner, Edouard Carpentier, leaving the crowd no righteous choice but to engage in prompt citizen action. Rocca next teamed with the young Miguel Perez, the first Puerto Rican star in the territory, to defeat ‘brothers’ Eddie and ‘Dr.’ Jerry Graham in another record-setting show held in January 1959. (Jerry explained his doctorate by claiming alternatively, a B.S. in psychology from Arizona State or, only a bit less impressively, by saying “I’m a tree surgeon.”)
With a second weekly television show, beginning in February 1959, McMahon could reach fans from Canada to Virginia, giving him “unparalleled leverage” in the industry, with a roster of some fifty wrestlers remitting booking fees to Capitol Wrestling. The organization earned as much as fifty percent of the gross in the shows its wrestlers worked. McMahon used his influence to have Buddy Rogers obtain the NWA championship in 1961, and since he’d had Rogers under contract since the previous year, he made sure the champ headlined his own shows on a regular basis. This displeased the other Alliance members, and when they moved to take the belt from Rogers (Thesz was tapped, for the sixth time), McMahon simply dropped out of the Alliance, forming the World-Wide Wrestling Federation in 1963 and ignoring the title transfer. The story line had Rogers winning an “international tournament” in Rio de Janeiro, a city Rogers in fact never saw in his life. McMahon also co-founded a Cleveland-based promotion, unknown to WWWF fans, wherein Rogers passed his title to Dory Dixon. McMahon took care not to break relations with his former colleagues entirely, continuing business dealings with many of the NWA promoters.
In his main territory, he had plans that didn’t include a major role for Dixon. Rogers suffered from a heart condition; although he was one of the top attractions in the country, he would have to be replaced. Rogers’ health condition was carefully concealed, not only from the fans but from the several state athletic commissions, which would have barred him from appearing if they had known about it. It is not inconceivable that money changed hands. Be that as it may have been, necessity led to the decision that would make the WWWF the most successful company in the industry: on April 17, 1963, “The Italian Strongman,” Bruno Sammartino, defeated Rogers in Madison Square Garden, a match that lasted only 47 seconds. (Incensed at having been passed over, Rocca started his own promotion, using workers from promoter Jim Crocker’s Charlotte-based territory, but the enterprise went bust in a year or so.) The difference between Cleveland and the Connecticut-to-DC corridor was simple: Cleveland’s fan base consisted of a high percentage of African Americans, who would buy tickets to see the Jamaican-born “Calypso Kid,” Dory Dixon. On the East Coast, however, the fan base consisted of a high percentage of Italian Americans, who had supported the now aging (and alcoholic) Rocca (and, indeed, the lumbering ex-boxer Primo Carnera before him); they now exulted in the triumph of their new hero over the detested heel, Rogers. Sammartino went on to become the biggest box-office attraction in wrestling, until Hulk Hogan came along, under much-changed promotional circumstances, twenty years later. By then, McMahon the Elder and his partners had sold their stock to McMahon the Younger, Vincent K. McMahon, the first promoter to establish wrestling as ‘sports entertainment,’ abandoning the claim that it was a competitive sport. It was a bold and potentially risky move at the time, but the revenues almost immediately spoke for themselves.
As for the NWA, it has never regained its dominance, although for a time the billionaire showman Ted Turner owned it and offered some competition to McMahon. Many people don’t know that it still exists, after many permutations. McMahon the Elder himself rejoined it in 1971, although his son jettisoned the partnership for good, twenty-two years later.
Professional wrestlers are the true American gymnosophists. When called upon, they could speak with words and not merely bodies, deploying a variant of the ‘carny’ code they called ‘kayfabe’—which means ‘be fake’ in carny. But as Hornbaker’s well-researched book shows, they had nothing on their employers when it came to the arts of legerdemain.
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