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Like, totally awesome: An in-depth look at Memphis and Mid-South Wrestling TV in 1983

November 18th, 2011 Leave a comment Go to comments
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The year 1983 dropkicked off with a bang in Jerry Jarrett’s territory. A continued smorgasbord of memorable Memphis mayhem was sure to follow in the New Year after the table had been set in 1982 with the emergence of the Fabulous Ones; debuts of fresh young talent like Terry Taylor and Jacques Rougeau; the continued hilarious, motor-mouth promos of manager Jimmy Hart, the leader of The First Family;  the introduction of Kimala, the Ugandan Giant; Andy Kaufman’s reign as Intergender champion; the tag-team excellence of Koko Ware and Bobby Eaton; and Jerry Lawler’s classic clashes with natural-born nemesis Nick Bockwinkel, the AWA World champion, whom the King had seemingly dethroned in front of 10,000-plus fans at the Mid-South Coliseum on Dec. 27, 1982.

A fabulous year: Stan and Steve were a red-hot box-office draw heading into 1983.

In many ways, Memphis started off 1983 so hot, packed with a variety of talent, that it seemed almost too good to last. In fact, with the pending invasion of the Vince McMahon marketing machine, two of the most innovative promotions in the country–Jarrett’s Memphis territory and Bill Watts’ Mid-South Wrestling were struggling to maintain consistent success at the box office by October 1983. After assessing each other’s product, including Watts visiting the Coliseum, and Lawler and Jarrett traveling to Shreveport for a TV taping (marking the first time the King and Jim Ross teamed on commentary), the two promotions traded talent. (Jim Cornette, who was shipped to Mid-South to begin his solo managerial career along with Eaton and veteran Dennis Condrey has since referred to it as the only time Jarrett came out on the short end of the stick in a deal.) But I’m getting ahead of myself here. Last week, I received the latest DVD set from Rick Crane over at 70s-TV.com: the near-complete season of  MEMPHIS WRESTLING: 1983, which consists of shows various sources, including some the 90-minute Memphis broadcasts, with most content from the 60-minute versions looped around other towns in the territory. The set comes on 25 discs, with a bonus disc to set up 1983: the 1982 Christmas episode.

With this wonderful collection in hand, I contacted Micah Watts, Bill’s son, who’s one of the last remaining holdouts in his refusal to sell his father’s storied tape library to Vince McMahon. (Micah’s site, Universal Wrestling Archives , is one of the most thorough ’80s wrestling collections around, as apparently Bill was one of the few promoters at that time who didn’t tape over his shows and kept them in pristine condition.) Rick and Micah agreed that a week-by-week review, culminating with the trade that would greatly transform how Mid-South Wrestling was presented (in part thanks to new booker Bill Dundee, who learned the craft under Jarrett) would be fascinating reading. (Special thanks to Micah for passing along the Mid-South footage, which I received yesterday.)

I’m starting with Memphis the ’82 Christmas show. Then on Saturday, I’ll have a rundown of the 1-1-83 Memphis shows, along a report of the first Mid-South show of 1983: the 1/6/1983 episode. Should be a fun look back at two of the most pivotal points in the histories of both promotions as they reshuffled their troops as Vince Jr. geared up for his nationwide takeover of the wrestling business.

 

The 1982 Memphis Wrestling Christmas Special 

Airing on December 25, 1982, the signature opening to Memphis Championship Wrestling begins with Strauss’s “Also Sprach Zarathustra” (Theme from “2001: A Space Odyssey”) playing as the statue of Greeks grappling (aka the “Hellenistic Greek Wrestlers Bonded Marble Statue“) spins, giving way to Lance Russell, without his faithful sidekick Dave Brown. In a slight departure from his usual greeting, Lance notes he’s “NOT right alongside ringside;” Christmas 1982 fell on Saturday morning, making a live show at the WMC-TV Studio impractical. Lance reassures the violence-starved audience, however, that this won’t be your typical Bing Crosby special, with the boys sitting around singing carols, though he admits “that’s not a bad idea” (um, have you heard Jerry Lawler sing?!); rather, despite, the delightful setting, complete with a huge frosted tree in the background, the holiday episode will be packed with “some great action tape,” along with live appearances by Lawler, Bill Dundee, Terry Taylor, the Fabulous Ones and Dutch Mantell–the nucleus of the strong babyface side of the crew. Like any good Southern business, the on-camera face of the company, promoter Eddie Marlin (Jerry Jarrett’s right-hand man and father-in-law) kicks things off by wishing his ticket-buying fans all the best and a Merry Christmas, earning praise from Russell: “By golly, Eddie, that’s an awfully nice greeting!” (Lance seems genuinely touched by Marlin’s poigiant words.) Lance reflects on the past year, praising Marlin for assembling the greatest bunch of talent he’s ever seen in the territory. (Jarrett preferred to concentrate company’s creative direction and business affairs, rarely appearing on camera at that time, so Marlin was seen as the talent negotiator in the eyes of the fans.) Russell, who usually kept the hype in check unless he was genuinely excited about a match or card to maintain his credibility, most likely meant that with all his heart, as 1982 was indeed one of most entertaining, lucrative years in the territory’s history. As they go to a break, the camera reveals a spectacular living room with an amazing wooded view, which means that they might have been taping from Jarrett’s house.

The King is the first guest, introduced by a video of clips of some his greatest bouts, mostly his triumphs since his return from a broken leg nearly two years to the day, set to Elvis Presley’s version of “My Way.” As Lawler might say, this touching tribute “could bring a tear to a glass eye.” A classic rogues gallery–Joe LeDuc, Austin Idol, Paul Ellering, Jimmy Valiant and Crusher Blackwell, etc.–goes down one by one at the right hand of Memphis’ number-one son as Elvis sings, “I’ve loved. I’ve laughed and cried. I’ve had my fill; my share of losing. And now, as tears subside, I find it all so amusing. To think, I did all that. And may I say, oh no, oh no, not me. in a shy way…I did it my way.” Apparently, Lawler’s way was a series of kicks and punches, followed by his surefire finisher of a fistdrop from the middle rope.

Lawler then appears on set, wearing a ski-lodge sweater, joining Lance and Marlin on the couch, humbly thanking for the fans for a strong year as Lance commends the King on his accomplishments. Lawler mentions his apparent defeat of NWA World champion Ric Flair on Memphis TV and how he was unable to get a rematch for the 10 pounds of gold after dropping the Southern title to Nick Bockwinkel, who went on to regain his AWA World title from Otto Wanz the following week. However, Lawler defeated Bockwinkel in the middle of the ring to regain the Southern crown on Nov. 8, setting up an AWA World title bout scheduled two nights after the Christmas show on Dec. 27. Lawler also discusses how he’s not only had to deal with Jimmy Hart throughout the year but also rookie manager Jim Cornette, a former photographer. Lance cracks, “When I first heard that Cornette wanted to be a manager, I thought, ‘You gotta be kidding me!’ A picture taker in wrestling!'”

With the Bockwinkel bout coming up–the King’s first real crack at a World title since his return from relinquishing the CWA title, Lance mentions how Lawler has beaten Terry Funk, Dory Funk and Jack Brisco. In a funny exchange, Lance reiterates Lawler’s distinguished record against former World champs, saying, “Jerry, I hope I’m not boring you with all this.” Lawler, in his best Jack Benny impression, deadpans, “Not, not yet. Go on!” (The comedic timing between those two, with Lance as the straight man, is priceless.) Lawler also mentions that young star Terry Taylor, the Southern champion, might be a nice guy but he’s carrying the King’s belt. (Too bad that bout never took place, with Taylor perhaps turning heel, displaying the arrogance that eventually made a strong heel briefly in the UWF before JCP bought out Bill Watts and buried Terry and most of the former Mid-South crew.) When the cocky-yet-likable Lawler feigns insult over learning he’s not the only special guest on today’s show, the segment closes with the King literally twisting Lance’s arm to show some classic ’70s footage of his career set to “Nobody Does It Better.” The show goes to a break as Willie Nelson sings “Jingle Bells.”

After a break, the show returns to a Bill Dundee video montage with the whimsical tune “The Way We Were” playing. That’s back-to-back videos with the two biggest single wrestlers in the territory featuring the musical stylings of Carly Simon and Barbara Streisand. Somehow, though, it actually works, since the Superstar spent much of the year injured so he wasn’t his old self. And there is something a little sad, especially in hindsight, with the closing clip of the video–a January 1981 shot of Dundee and an in-shape Tommy Rich (months away from his his first NWA World title win) celebrating a Louisville victory over Mantell and Idol–when you consider how Wildfire’s career as a major player burnt out just a few years later. (“If we had the chance to do it all again, tell me could we?”) The video highlight has to be the cool finish to a bout with Tony Charles, with a series of nice reversals that ends with the Englishman pinned by the crafty little Aussie.

Lance asks Bill about his “high spots” (dang it–kayfabe, Banana Nose!), with Dundee referring to the CWA World tag-title win with Rich to open the year. (Perhaps Bill was still punchy from his rough year, as that victory was in 1981.) Bill also discusses his low moments, including a legit separated shoulder that required them shooting an injury angle at the hands of Hart’s First Family. (That angle was well done, as Dundee is ganged up on, with Sweet Brown Sugar (heel Koko Ware) repeatedly diving onto the shoulder with a vengeance.) “Like any professional athlete suffering an injury” Dundee explains, he hit the gym for a comeback, when he was manhandled by some goons in the parking lot after a workout and was sidelined again. (In reality, it was just one goon, Randy Savage.) Hell, with all this misfortune, no wonder Dundee turned heel months later.

Lance marvels at Dundee’s resilisciency: “A lot of guys would have said, ‘Holy mackerel, the heck with this, but you kept coming back!” Another video plays, shot while Dundee was on the shelf earlier that year, on horseback with his arm in a sling (as the animal gallops briskly down a hill, the one-armed Superstar’s expression at one point appears to say, “Hold shit!), and later apparently daydreaming about a return while walking in the woods–yet another piece of footage most likely on Jarrett’s property, as Willie Nelson’s “All of Me” plays. Dundee humbly thanks the fans for their support and promises a better 1983–which would include turning his back on them and sticking a dagger into their broken hearts as he cheats his way to a win over Taylor for the Southern title on March 23, 1983.

Willie Nelson’s residual payday continues as “My Heroes Have Always Been Cowboys” plays over Dutch Mantell footage. Appearing on set wearing blue jeans, a flannel shirt and a huge cowboy hat, the Dirty Dutchman looks like he just stumbled out of a local honky tonk just hours earlier–and knowing Dutch, that might have been the case.

Lance and Dutch are great here discussing Mantell’s “rollercoaster year,” as Russell mentions each big title win, with Dutch raising his arms every time. And then each title loss is mentioned, with Oil Trough, Texan hanging his head in mock shame as if each defeat still carried a “Shoo-Baby” (his bullwhip)-like sting. When asked about the highlight of his year, Mantell points at Lawler, and says it was winning the Southern title from the King. In fact, Dutch and Jerry did have an incredible series in spring 1982, with Dutch receiving plenty of cheers as he pinned Lawler clean twice…a rarity. (Dutch discussed that unique feud with me in-depth in our interview last year.)

Dutch says that it was tough beating Lawler because he had everything going against him, including the fans. Lawler playfully tugs at Lance’s jacket, interrupting, saying, “That’s not true–you had plenty of fans…I heard them.” (Years later, Dutch recalled how much fan support he did in fact have, especially in Nashville, where fans threw rocks at Lawler’s car and broke his antennae–and this was at the height of the King’s popularity!) Fun to see the banter between these two, as Lawler also mentions that Dutch beat him on afternoon show–the same day of his wedding later that night, so clearly his mind was elsewhere. (And if you remember Mrs. Paula Lawler, can you blame the guy? Sounds feasible.) Dutch jokingly accuses Lawler of ruining the festive atmosphere, calling him Ebenezer Scrooge. (Speaking of which, Jimmy Hart is nowhere to be found, as Lawler had given fans an early present by burning the manager’s face repeatedly and breaking his arm in a cage match a week earlier. But, as 1983 opened, it would Hart who had the last–and loudest–laugh.) As Lawler puts his hands over his eyes, Lance airs footage of the afternoon win–set to the riveting music of…ABBA?! (“The Winner Takes It All.) Again, while an unusual choice, the slow music was by design, as Jarrett instructed cameraman Randy West to shoot extreme close-ups of the action a la World Class–which Memphis never did–to illustrate both the agony and defeat of a classic struggle. As they return to the set, Lawler offers Dutch his congratulations, giving him the boys’ soft worked handshake on TV (oops), with Dutch claiming that he really does like the King…just as much as he likes going to the dentist. Funny stuff and playful ribbing here.

Willie Nelson’s “Here Comes Santa Claus” takes us to the next break; coming back, we see video of Taylor’s highlights, with John Denver’s “Some Days A Diamond” playing–this could almost pass for a “Hee-Haw” Christmas special at times. The montage include footage of some amazing tag matches between Eaton and Sugar vs. Taylor and Jacques Rougeau–a feud that was all-too brief. Taylor comes in slacks, a sports coat and glasses, looking more like a substitute math teacher or a graduate assistant than the Southern champion. But when asked how it feels to be champ, Taylor suddenly transforms into an Muhammad Ali, jokingly claiming to be “the greatest of all time”–not too shabby. Mantell breaks out his own impression of John Wayne, warning that “the ride gets tougher, pilgrim.” Dundee plants the seeds for his heel turn with a great line directed at Taylor, who’s still mugging for the camera: “I hope that you when you wrestle me for that belt in 1983, your best impression is as a wrestler because my bad luck is behind me.” Taylor responds with a Roddy Piper impression, “Me, me, you wanna fight me?!” Taylor shows more personality here than he did all year.

The Fabs are next, with their introductory video that changed that set the tone for the MTV-style presentation that would become a staple of the promotion–and broaden its demographic greatly to teenage girls.

Steve Keirn and Stan Lane are clearly dressed for the occasion as they make their way to the couch wearing their sequined tuxedo jackets, high hats, white gloves–looking sharp, looking for love (cue ZZ Top’s “Sharp Dressed Man”). Keirn credits mentor Jackie Fargo for their success, saying the original Fabulous One had the most charisma of anyone ever in the business–and he might be right about that, paly. Keirn really puts over Fargo as their inspiration for providing their magical spark, saying they feel the spirit of the Fabulous Fargos every time they strut to the ring. Lane, ever the ladies’ man, with a sly grin and a slight wink, encourages their female fans to “hang their stockings up tight because the Fabulous Ones might be coming down their chimney tonight,” as Lance guffaws. Awesome.

Lance wraps up the show, as the boys mix and mingle, decorating the tree, acting as if there all having the time of their lives, despite the lack of booze and women. Russell warmly thanks for the fans again:  “We are looking forward to 1983 with zest–because of you.”

An entertaining show that reminds of the campy fun WWF would begin to emulate in 1984. The chemistry among the boys at the time was really special, and it’s evident in this production–classic Memphis TV.

(For more on the year 1982 in Memphis Wrestling history, check out Mark James’ book on the subject, which can be ordered below.) 

  1. Mark coale
    November 18th, 2011 at 11:24 | #1

    Great idea.

    We are doing something similar for 1984 mid-south at russianflagburial.blogspot.com

  2. David
    November 18th, 2011 at 16:54 | #2

    Super article, Scott!! I just got ’83 in the mail as well, so I look forward to following along with the corresponding articles!! I’ll have to take your word on the Mid South shows though… that stuff’s too rich for my blood!!

    I did want to say something about your last post, though… for some reason, you can’t get to the comments page on that one… however, it’s about “Memphis Heat” and the omission of the Fabs. You say it’s because they were only in the territory initially for 16 months… do you really think that’s the reason? I mean, Rocky Johnson wasn’t in the territory for anywhere near as long as the Fabs (as far as I’m aware…) and he got quite a long segment in the film. No, I think the reason the Fabs got ignored is because the guys who did the film aren’t very versed in wrestling.

    I’ve known Sherman for over 20 years, if only in passing. His interest/participation in the film is strictly to do with his being somewhat of a Memphis pop culture historian… I used to buy punk rock 45s from him at Shangri-La back in the early 90s. The other guy (whose name escapes me) is the one who put out the book in ’09. You can tell by that book that he wasn’t “smart”… there’s one pic of the Jet Set, and no one involved knew who Bobby Eaton was, but George Gulas got labeled! As far as Sherman goes, I chatted with him online earlier in the year, and he didn’t think Jerry Jarrett was important enough to interview… really!?!? I don’t know if they’re up still or not, but the initial trailers for the film didn’t include Jarrett. I was incredulous! Luckily, someone got to him and rectified the situation… but this told me that the participants producing the film simply weren’t familiar with the history of the territory… thus, the Fabs omission.

    I realize some are going to be left out, but the Fabs literally revolutionized tag team wrestling, right? This hurts the film more than anything else, IMO. Anyone familiar with wrestling in general would know the importance of the Fabs.

  3. November 21st, 2011 at 12:03 | #3

    Really enjoyed the article, Scott. Always such interesting insight and details.

    I agree with David on the Fabs and Memphis Heat. It was a shame. Chad Schaffler asked me to give him a list of all the people and angles that should be included in the film. The Fabs and Austin Idol were on my list and after the fact he just said they couldn’t include everyone.. just ran out of funds to pay people.. so… still waiting on the documentary that Lance and Dave have said they will do.. Hope it is soon.

  4. admin
    November 21st, 2011 at 14:40 | #4

    I appreciate the feedback, guys. I’m just saying that I understand the decision to omit the Fabs, provided the documentary had the daunting task of covering the late ’50, ’60, ’70s and mid-’80s. That’s too much ground in 90 minutes, even if you are an expert on the subject. Granted, the Fabs could have easily been covered in 3 minutes with Jarrett explaining his decision to recreate that Fargo magic with Jackie endorsing Stan and Steve, followed by a snippet of their introductory video. But I think their run is more special to fans our age, who remember the perfect casting and innovative execution of the gimmick, with MTV-style videos. But I think we do need to keep in mind that the Fabs’ greatest run in the territory lasted a little more than a year. Nothing was drawing in the territory by the end of 1983, which led to the Watts trade.

    David, your point about Johnson may be valid, but Rocky was the first black Southern champion in the territory and even headlined Jarrett’s first loaded card at the Mid-South Coliseum, challenging Harley Race in front of nearly 9,000 fans. Rocky clearly had an impact and was a major player who helped Jarrett win the Memphis war over Gulas, as he was headlining against Lawler at that time. I believe Rocky got over so strong because he was positioned as a real athlete as opposed to a special “negro” attraction, like so many black wrestlers in Memphis before him and he had a very natural charisma.

    Compared to Monroe, Wicks, Fargo, Valiant, Lawler and Dundee, the Fabs didn’t have the same sustained drawing power. Again, I believe it’s in part because of their abrupt departure in 1984, and Fargo burying them afterward and naming Rich and Gilbert the new Fabs. It just wasn’t quite the same after that. I feel that Jarrett should have been handled it differently, perhaps booking Stan and Steve in a loser leave town bout if they did in fact want to test the waters elsewhere, leaving fans desperate for their return and making them even hotter and fresher months down the road. Instead, some fans never forgave them for leaving voluntarily for “the big time” cities like Chicago and Minneapolis. That’s my take on it.

  5. David
    November 21st, 2011 at 15:50 | #5

    Well put, and, as usual, you make valid points… however, you are somewhat of a scholar when it comes to Memphis Wrestling. You know the history, hands down. Backwards and forwards. I really don’t think the makers of the film have your encyclopedic knowledge of the territory (or wrestling in general, which is the key), and I still believe that their omission was ultimately due to incompetence on the filmmakers’ part. As you say, three minutes is all you’d need… cut Jim Blake’s commentary and you’d practically have all the time you’d need… really, we’re talking about the biggest, most influential tag-team in the territory’s history. No Koko? I understand… No Dutch? Well, ok… No Austin Idol? (except for just a bit) Ok, there’s only so much time… No Scott Bowden? You’re pushing it, but I guess… No Fabs? FOUL!!

    …and I want to see a “negro” attraction…

  6. Sherman Willmott
    November 27th, 2011 at 20:23 | #6

    The film Memphis Heat was based on a book by Ron Hall–Sputnik, Masked Men, & Midgets: The Early Days of Memphis Wrestling, a fun coffee-table book covering pictures of wrestlers who performed in the Memphis area as well as memorabilia from the early ’50s through the late ’70s (It was not a Street & Smith’s statistical guide to who won what pre-determined match in what town 40 years ago!) We stretched the film into the early ’80s as that was when the area was arguably the hottest with Jimmy Hart, Jerry Lawler, Andy Kaufman, etc. For me, the ’70s & ’80s were a great time to be in Memphis as a fan of Memphis wrestling, seeing the Saturday morning tv show with Lance & Dave et al and going to the matches at the Coliseum. I don’t need anyone else speaking for my reasons for making this film as I am happy to say that this was a labor of love for both Ron Hall and me. I may have sold someone a record 20 years ago, but that really doesn’t have anything to do with the making of this film. I do appreciate the fanaticism and understand the constant second-guessing about all facets of the film. That comes with any subject matter that is this popular and hotly debated.

    I’ll let the fans argue over who should or shouldn’t have been left out of the film. There is no way everyone would have been perfectly happy–no matter what we did–as there were only 90 minutes to the film, and we covered over 40 years of history! Of course some were left out who should have been included! We would have loved to interview Plowboy Frazier, Don or Al Greene, Saul Weingeroff, Phil Hickerson, Tojo Yamamoto, etc. For various reasons, they were not available or obtainable. That’s the nature of any film or project like this.

    But David is absolutely, 100% wrong to say that I did not want to include Jerry Jarrett. When we requested an interview, Jerry Jarrett said he had a contractual obligation that prevented him from doing any interviews. Later, before the film was completed, the contract expired and we were thrilled that Mr. Jarrett then participated in the film as he is unbelievably important to both Memphis wrestling history and the film. Austin Idol was indeed in the film–in one of my favorite scenes–albeit briefly–and is also represented in the extras quite nicely so I don’t think David is as accurate as he thinks he is. Koko Ware declined being interviewed. Dirty Dutch Mantell was not available when we did the interviews nor was he integral to the story. He, like dozens of others, would have been great to include, but we had a miniscule $5,000 budget to make this film, and I think Chad Schaffler, Prichard Smith, Billie Worley, and the whole crew did an amazing job working within the budget and the reality of filmmaking, which involves thousands of moving parts and logistics.

    Carry on and thanks for keeping Memphis wrestling history interesting, Scott, and thanks for letting me clear up these misconceptions!

  7. admin
    November 29th, 2011 at 13:27 | #7

    Hi, Sherman, thanks for setting the record straight. I voiced my opinion to David–not that you needed anyone to defend what you guys did or didn’t include–only because I recognized that the project was indeed a labor of love. (Much like this site, which I lose money on each year. Good thing I’ve got that rich daddy in Germantown!) I was thrilled with the result, and it does my heart well to know that you were able to not only interview Fargo, Jarrett, Wicks, Dundee, Lawler, etc., but also track down that interview footage of the late Sputnik, who was so integral to the story. And knowing how Mr. Coffey was struggling at the time, I can tell you it was likely a thrill for him to share his stories about the best times of his life. (I’m sure Jarrett and most of the boys would say that as well as about their respective eras in Memphis.) But as for you claiming wrestling is predetermined, I say prove it! 😉

  8. David
    December 3rd, 2011 at 07:40 | #8

    @Sherman: If I offended you with my assessment of the film (particularly the mistakes in it), I apologize… I didn’t mean to offend you in any way, and nothing I said was meant in an insulting way. Despite the glaring flaws, I enjoyed the movie… as I’ve written before, I was surprised at how thorough the business side was covered, including Gulas’ business practices. Stuff like this would most certainly be left out of, say, a WWE doc-dvd. There may be integral things that were left out, but I am certainly pleased with the outcome.

    However, I do have to take umbrage with your claim of me saying you “didn’t want” Jarrett involved. That isn’t exactly what I said. Previously, you seemed to act as if Jarrett wasn’t that important when it looked like he wasn’t going to be in the film. I wouldn’t think you didn’t want him in the film, my contention was you didn’t seem to realize how important he was to the promotion… it’s like making a doc about Memphis music and not including Elvis. My contention was that any movie pertaining to Memphis wrestling that didn’t include Jarrett would be flawed. He was the architect.

    Finally, to simply prove that I’m certainly in favor of the film, I went to the premiere, I took friends to the film once it went to Studio on the Square, I went to the Orpheum when it showed there, I bought the DVD from your hands at Central BBQ… I even have the poster! It is a fine film, Sherman, but not a perfect one. I honestly think the film would have been helped with more consultation from someone who is more familiar with the biz… and, again, this isn’t an insult, Sherman… I didn’t mean to “second guess” your reasons, I was just judging by your previous projects. None of which have anything to do with wrestling. So go make a doc about Georgia wrestling and prove me wrong!

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