Category: Новини

PHILADELPHIA — He surveyed the Arizona crowd that had paid to catch a wrestling glimpse of the planet’s mightiest heavyweight, as measured in both box-office heft and ink-stained muscles. Then The Rock let the abuse fly. And as with so many public outbursts these days, attacking his opponents wasn’t enough. He had to insult the people, too.

“The Rock did a little bit of research, and here’s what he found out. This is the truth. This is a fact. The No. 1 city in America for cocaine and meth use is Phoenix, Arizona,” The Rock said to a roaring crowd that seemed to revel in the insults. Then and only then did he lay the smack down on his WrestleMania opponents.

Were The Rock’s assertions true? Or just an engine for vigorous trash talk? Most importantly: Does anyone really care, as long as the entertainment value is cranked to 11 and WWE churns out more fans to watch and fork over cash for its signature spectacle, WrestleMania, unfolding in Philadelphia this weekend?

Along the murky lines that intertwine sports, entertainment and, yes, politics, the ethos of being bad has never been so good. Say what you want. Do you want. The public eats it up. And for decades, somehow, the garish world of professional wrestling has sat smack in the middle of it all.

Outside the ring, the Superman spandex traded for Clark Kent glasses and a leather jacket, Dwayne Johnson crafts his good-guy image to plug his movies, his tequila label, his men’s care line, his football league — business interests where the bottom line doesn’t require calling the competition a bunch of “roody-poo candy-asses.” But under the house lights each week on live TV, Johnson knows storylines are sold on his Hollywood heel persona.

“I feel like everybody wants to be the good guy, the good girl. Everyone wants to be loved and cheered and considered the hero, which is great and it’s natural,” he says. “But, I have felt in my career, the rare air is when you have the opportunity to grab it by the throat, you don’t let it go. And that’s the opportunity to be a great bad guy.”

Wrestlemania and its cultural pull

The Rock is set to headline one of two nights of the annual WrestleMania event this weekend in Philadelphia, where more than 70,000 fans each night are expected to pack the NFL stadium that is home to the Eagles.

Banners of your favorite wrestlers, or the ones you love to hate, have smothered city street poles. Philly has been overrun by wrestling conventions, autograph signings, independent wrestling shows, podcast tapings, a 2K24 gaming tournament and all the other trappings that have turned the industry into a mainstream cultural phenomenon.

From the start, WrestleMania was born to be different.

Mr. T and Muhammad Ali helped pack Madison Square Garden in 1985, and “The Showcase of the Immortals” quickly turned a night of wrestling usually reserved for smoky arenas into the Super Bowl of entertainment. As WrestleMania approaches 40, it’s never been bigger — even with brainchild Vince McMahon a pariah and ousted from the company in the wake of a sex abuse lawsuit.

Yes, McMahon and Donald Trump even tangled at WrestleMania in 2007 in a “Battle of the Billionaires” match.

“Donald Trump, to a certain extent, represents a great deal of Americana,” McMahon said in 2007. “He’s larger than life, which really fits into what the WWE is.”

Maybe wrestling really does represent who we are as a nation. But even if you still scrunch your nose like you took a whiff of curdled milk over the very idea that anyone would like this flavor of wrestling, odds are you’ve still heard of The Rock and Hulk Hogan. Andre the Giant and John Cena. You’ve snapped into a Slim Jim because Randy Savage ordered you to, or let out a “Woooo!” at a hockey game like Ric Flair. Dave Bautista won a WrestleMania championship before he ever guarded the galaxy.

“Look at the way it was marketed in the 80s, when Vince McMahon really changed the whole industry forever,” said author Brad Balukjian, whose new book is on 1980s WrestleMania stars. “He’s got the action figures, he’s got the cartoon and the bedsheets and the lunch boxes. He turned these guys into the Batmans and the Marvel Cinematic Universe of the 80s, in a way.”

Revel in the universally accepted fakery

Fans have long been in on the con — and embraced it. It’s a mutual agreement forged for even paying customers to play their own roles in the four-sided ring performance. So they cheer. They boo. And despite all evidence to the contrary, they openly accept that each move is as legitimate a sporting action as anything found in a weeknight ballgame.

Wrestling pretended for so long to be on the up-and-up. Comedian Andy Kaufman drew gasps when he was slapped by wrestler Jerry Lawler on Late Night with David Letterman. But the curtain was yanked open long ago. On Wednesday, Johnson and WWE Universal Champion Roman Reigns appeared on the The Tonight Show without any manufactured theatrics on their final hype job ahead of WrestleMania.

Former WWE star Dave Schultz slapped a 20/20 reporter in the 1980s for calling wrestling fake. Now ESPN, The Athletic, Sports Illustrated and CBS Sports have dedicated pages that report on both storylines and behind-the-scenes news, where the real drama is more likely found. Wrestling news is treated as seriously as any other sport’s.

But is it? A sport, that is.

Debate the definition all you want. Wrestling — a precursor to reality TV and all the Real Housewives — isn’t going anywhere. And its biggest fans are often the athletes who want to emulate the super-sized stars.

This week, Joel Embiid was about to divulge that he suffered from depression during an injury that cost him two months of his NBA career. But before the Philadelphia 76ers big man unburdened himself, he pulled on a WWE T-shirt emblazoned with the slogan of the wrestling company’s most boorish faction, Degeneration X: “Suck It.”

For pro wrestling, momentum is at hand. WWE’s weekly television show Raw will move to Netflix next year as part of a major streaming deal worth more than $5 billion. That’s some serious cash that even the “Million Dollar Man” Ted DiBiase would envy.

So go ahead. Sneer at wrestling. Or let go, turn a blind eye to the subterfuge and embrace Hulkamania and the frenzy that followed as a staple of the global sports landscape. Because it’s not leaving the building anytime soon.

Consider John Kruk, retired Phillies star and team broadcaster. You’d think that the pinnacle moment of baseball each year would be a must-see for him. But if pro wrestling is coming to town, as he told wrestler Kofi Kingston on TV recently, other priorities prevail.

“If it was a World Series game, if the Phillies aren’t participating, and wrestling was on,” Kruk said, “I’m watching wrestling.”
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RABAT, Morocco — When Morocco ‘s King Mohamed VI visited Havana in 2017, Cuban-American gallery owner Alberto Magnan impressed him with a “full immersion” in the Caribbean island’s art and culture, drawing a line between the cultural and historical themes tackled by Cuban artists and those from across Africa.

Seven years after that encounter, one of the first exhibitions of Cuban art at an African museum is showing at Morocco’s Mohammed VI Museum of Modern and Contemporary Art.

It’s part of an effort to give visitors a view beyond the European artists who often remain part of the school curriculum in the North African nation and other former French colonies, museum director Abdelaziz El Idrissi said.

“The Moroccan public might know Giacometti, Picasso or impressionists,” El Idrissi said. The museum has shown them all. “We’ve seen them and are looking for other things, too.”

The Cuba show contains 44 pieces by Wifredo Lam — a major showing of the Afro-Cuban painter’s work more than a year before New York City’s Museum of Modern Art will honor him with a career retrospective show in 2025.

“We’re kind of beating MoMA to the punch,” Magnan said.

The Morocco show also marks the first time that the work of another luminary, Jose Angel Toirac, is being displayed outside Cuba. Previously, his paintings depicting the country’s late anti-capitalist president Fidel Castro in the iconography of American advertisements and consumer culture were not allowed off the island.

Other works in Cuban Art: On the other side of the Atlantic — open until June 16 — show prevalent themes in Cuban art ranging from isolation and economic embargo to heritage and identity.

In Cuba, almost half of the population identifies as mixed race and more than 1 million people are Afro-Cuban. The island’s diversity is a recurring subject for its painters and artists, including Lam. That’s why it was important to show his work — including paintings of African-inspired masks and use of vibrant color — in Africa, Magnan said.

Morocco is among countries that have shown new interest in Cuban art since the United States restored diplomatic ties with Cuba in 2014 and Castro died in 2016. American art dealers and major museums flocked to the previously difficult-to-visit island.

But the intrigue was curbed by the COVID-19 pandemic and former U.S. President Donald Trump’s decision to redesignate the country as a “state sponsor of terrorism,” Magnan said.

Meanwhile, Morocco has increased funding for arts and culture in an effort to boost its “geopolitical soft power” in North Africa and beyond.

In both Morocco and Cuba, 20th century artists responded to political transition — decolonization in Morocco, revolution in Cuba — by drawing from history and engaging in trends shaping contemporary art worldwide.

But the current show does not touch on Moroccan-Cuban diplomatic relations, which were restored following King Mohamed VI’s 2017 visit to Cuba.

The countries had cut ties decades ago over Cuba’s position on the disputed Western Sahara, which Morocco claims. Cuba has historically trained Sahrawi soldiers and doctors and backed the Polisario Front’s agenda at the United Nations. 
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Discrimination dating back decades has often meant Chinese Muslims living in Indonesia have had a difficult time blending in with others of their faith. Several mosques in the country now aim to bridge that gap, as VOA’s Ahadian Utama reports. VOA footage by Gregorius Giovanni.
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