This was the absolute worst and the only thing that made me give up watching WCW for an entire summer (AND I LOVED WCW).
Hated all of the New Orleans rap that exploded onto the mainstream scene around this time, so having that end up getting mixed into my wrestling world was too much. Master P only showed up for one segment with Silkk the Shocker to start the storyline and introduce the No Limit Soldiers stable, but they never really went beyond feuding with the West Texas Rednecks.
Still — this stuff was an absolute turn-off for me and just another part of the general awfulness that was WCW in mid 1999.
For whatever reasons, WWE.com is highlighting Max Moon over on their page. While the photo gallery is nice and all, I’m a bit disappointed that there aren’t any photos of Max Moon’s jetpack he used to “fly” into the ring (actually, bits of smoke would shoot out of it whenever he hopped up the stairs on the way into the ring).
The weird thing about the Max Moon character is that he was created and played by Konnan in 1992 before he left the company and the attire was given to jobber Paul Diamond. So far, it seems that the official version of this character is the one played by Diamond as I’ve yet to see any photos of Konnan in this ridiculous suit.
In recent shoot interviews with RF Video, both Shane Helms and Konnan shared interesting comments on the developmental structure currently used by the WWE. I have been making similar claims for quite some time, and feel that the continued growth of WWE’s farm systems Florida Championship Wrestling (FCW) and NXT bring these issues to light again.
In one interview, Shane Helms argues that WWE newcomers who rise through the FCW system would really benefit from playing to different audiences than they do currently. Helms suggests that they travel to different countries (or at the very least different areas of the US) to learn new and different styles as they continue to develop, rather than play to the same Florida crowds over and over again.
I agree completely; though all of these wrestlers work extremely hard, seeing so many of them work the exact same style despite their vastly different body types and personalities gets extremely boring.
I mean no disrespect by that comment, and I’m sure Helms meant no disrespect in his suggestion either. However, there is a quality that is very often lacking in recent callups to the WWE. This problem is even exemplified in their finishers. How many stars use variations of D’Lo Brown’s “Sky High”, the Reverse STO, or the Ura-Nage as their finisher? Why do Michael McGillicutty, David Otunga, and Heath Slater work such similar styles despite having extremely different body types, personalities, and opponents?
I would argue that a shift in WWE’s developmental strategy, preferably along the lines of what Shane Helms suggested, would address these issues and help new stars better connect with the crowd. This would help younger wrestlers really hone their craft, and also set themselves apart from their contemporaries. Altogether, the quality of their matches would improve greatly as well.
Of course, developmental structures are not inherently bad; I just feel that variation is the key to their success. Konnan’s thoughts on Sin Cara encapsulate this argument. He feels that Sin Cara is someone who would have benefitted greatly from some time in FCW in order to be “deprogrammed” from the Lucha Libre style he excelled in during his time in Mexico.
I agree: until just a few months ago, it was clear that Sin Cara’s style did not mesh well with other wrestlers on the roster.
Konnan reminds listeners that Lucha Libre has an entirely different pacing, a different way of selling, and, again, a different way of connecting with the crowd. Sin Cara did not make these adjustments at first, and struggled greatly as a result. Indeed, the first few months of Sin Cara’s time in the WWE felt much like watching CMLL matches on Spanish television; his old Tilt-A-Whirl Armbar finisher didn’t help matters much either.
Though these seem like oppositional points at first glance, they are not. My argument is not that developmental structures negatively impact wrestling, but that wrestlers who have been wrestling a certain style for so long need to know when to switch things up, and how to incorporate new experiences into their repertoire. Wrestling for as many promotions and areas as possible is a great way to do that.
On the “Breaking the Code: Behind the Walls of Chris Jericho” DVD, Jericho credits his time in Mexico, Japan, Canada, and the US to his successful wrestling career. He states that this varied experience taught him how to play to different crowds, while working in Germany for the same crowd every night taught him what to do to keep those same folks interested day in and day out. In my opinion, this sensitivity and awareness on Jericho’s part plays a huge role in the high quality of his matches with the WWE.
One can only hope that the current state of WWE’s developmental system doesn’t turn Chris Jericho’s approach into a lost art.
The Wolfpac - WCW Magazine #44 [November 1998]
Can we be honest now? Can we finally admit how lame the good-guy version of the nWo was and how ridiculous of the concept of these guys (and “Macho Man” Randy Savage who’s not included in the photo) forming a gang to be absolutely ridiculous? I will admit that the Wolfpac shirt design was kind of alright and probably something current-day hipsters would kill to own, but this whole group was dumb.
Also by writing this, I have to openly announce by law that I am an nWo black and white guy “4 life”, but I don’t think I’m THAT biased. That group went to hell around this time too! Don’t even get me started on the nWo 2000 group that had Jeff fucking Jarrett as their leader with Bret Hart as one of his minions.
“Bad as They Wanna Be” - WCW Magazine #56 - December 1999
The Filthy Animals were a great stable in WCW that I enjoyed, but I never picked up on what Wikipedia claims that they were trying to be: WCW’s version of D-Generation X.
However, I do remember the segment where Kidman was secretly “filming” Liz backstage with his camcorder with Rey and Eddie, and the entire thing went to hell due to Lix and Luger goofing around on the live feed. To make matters worse, the camera then cut to a producer next to Kidman, who called for a wrap before the feed went back to the ring.
Regardless, these guys were entertaining due to the number of different stables they had to feud with even if Rey Mysterio Jr. looked like he was sixteen.
The finisher of Konnan, who some people describe as “The Mexican Hulk Hogan”.