By Ric Flair

One of many largest wrestling superstars of the prior twenty years, and one of many maximum champions of all time, Ric aptitude has carved out a legacy for himself that may by no means be exceeded. Born Richard Fliehr in Minneapolis, he made his expert wrestling debut in 1972, fast emerging to the pinnacle of the Mid-Atlantic sector the place he gained the local and tag-team titles in addition to the USA identify. In 1975 despite the fact that his profession virtually ended while he suffered a damaged again, mockingly in a aircraft crash, no longer within the ring. exhibiting significant resilience, aptitude again to the hoop inside six months. Teaming up with Gregory Valentine, he gained the NWA Tag group identify, later successful the NWA name by means of defeating 'The American Dream', Dusty Rhoades. consequently he entered the WWF and beat Randy 'The Macho Man' Savage for hte WWF Heavyweight identify, in simple terms to come to the WCW with great luck. he's now again with WWE the place he nonetheless competes whilst coping with different stars, between them Triple H. often called 'The Dirtiest participant within the Game', Ric aptitude is likely one of the cagiest opponents ever to step into the hoop. outdoors the hoop he's either flamboyant and outspoken, a character who stands proud even among the various larger-than-life stars of the WWE. His tale is person who each WWE fan probably want to learn.

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Extra info for Ric Flair: To Be the Man (WWE)

Sample text

After a week, I headed north to Chicago. On the South Side I toured the declining blues clubs, most of whose customers were old and poor. The area was poised between its golden age, when it vied with Harlem for the role of capital of Black America, and the dismal last decades of the twentieth century when it spiralled down into violence and destitution. I introduced myself to Muddy Waters at Pepper’s Lounge, his home base. His band included stars in their own right, such as James Cotton on harmonica and pianist Otis Spann.

I repeated the experiment with Big Joe Williams a few months later, but despite lessons learned, his visit was almost as stressful as Estes’. I was beginning to grasp some of the recurring themes in my life: the tension when artists from a poverty-stricken community confront the spoiled offspring of the educated middle class and the conflict between the latter’s desire to hear the ‘real thing’ and the former’s desire to be ‘up to date’. Hearing traditional musicians when they first emerge from their own communities is a wonderful experience but impossible to repeat: the music is inevitably altered by the process of ‘discovery’.

Before long, prefab rockers like Fabian and Frankie Avalon started edging out the doo-wop groups. In a year or two, the rock’n’roll era was over, replaced by chirpy corporate pop. Like most non-conforming kids, we began to look further afield for our musical adventures. Chapter 2 THERE IS A NAÏF SKETCH from the 1820s of apprentices at a New York market watching black kids ‘dancing for eels’ on overturned stall tables. The white boys lean forward, fascinated by the exuberance of the dancers. Warwick and I and a few of our friends were like the boys in that old drawing, leaning towards a culture we sensed held clues for us about escaping the confines of our middle-class upbringing and becoming male sexual beings.

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