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When Ric Flair Traveled to North Korea for the Biggest Wrestling Show of All Time

Mark Dadswell/Getty Images
Mark Dadswell/Getty Images

Whether he was in a dimly lit convention center in front of a few dozen people or headlining packed arenas around the globe, the thrill of a hot crowd was more than enough motivation to keep “The Nature Boy” Ric Flair in the ring decade after decade.

Decked out in his signature fluttering robes, Flair became the face of '80s pro wrestling through his athletic prowess, showmanship, and the machismo-soaked poetry he spewed at the microphone. So when the opportunity arose for him to perform against the most popular wrestler in Japan’s history in front of more than 150,000 fans, Flair couldn’t resist.

There was just one catch: The match would take place in North Korea, in front of a sea of people who didn’t know who Ric Flair was, much less what American professional wrestling was all about. It was the first time an American wrestling company would visit the "Hermit Kingdom," and what followed was a rare glimpse into a notoriously reclusive regime for a star-studded event that has been lost to time.

The show, which took place on April 28 and 29, 1995, was dubbed the International Sports and Cultural Festival for Peace by the North Korean government. For a country that is usually intent on keeping outsiders away, inviting 300,000-plus people to cram into Pyongyang's massive May Day Stadium over the course of the two-day event seemed to be an about-face for the notoriously secretive regime.

"American tourists are almost never granted visas," wrote The New York Times's Sheila Melvin in 1996. "Yet less than a year after [Kim Il-sung's] death, North Korea was allowing outsiders to attend an International Sports and Cultural Festival for Peace. Perhaps it was an effort to showcase a North Korea ruled by Kim Jong Il."

The key to uniting communist North Korea with American grapplers was the legendary Japanese wrestler—and embattled politician—Antonio Inoki. With his political career in limbo, Inoki saw participation in this event as a prime opportunity for a diplomatic win in Japan due to his positive relationship with the North Korean government. He was, after all, a protégé of the iconic wrestler Rikidōzan, who had become something of a propaganda symbol in North Korea following his death in 1963.

To make the show the global spectacle that the North Korean government wanted it to be, Inoki, who ran New Japan Pro Wrestling, set out to gather up some of the marquee names in American wrestling. He got in touch with Eric Bischoff, president of America's World Championship Wrestling (WCW). The two had a working relationship, and Inoki wanted Bischoff to bring some of his best talent to North Korea to perform; Bischoff happily agreed. He even got Bischoff to convince Muhammad Ali, a one-time opponent of Inoki's, to join them in greeting the crowd.


Antonio Inoki

By 1995, Bischoff’s WCW was playing a never-ending game of catch-up against Vince McMahon’s WWE (formerly WWF), so an opportunity to see his organization showcased at such a large event—and in such a hostile country—had the potential to be a defining moment for the company. While WWE dominated the U.S. wrestling scene by teaming up with MTV in the '80s, a show in North Korea could potentially get WCW worldwide attention.

The key to the show was Inoki wrestling in the main event against an American star. Originally, he approached Bischoff about getting Hulk Hogan, the biggest name in wrestling at the time. “So I asked Hulk, and I might as well have asked him to row a boat to Pluto," Bischoff told Sports Illustrated. "It was not gonna happen.”

With Hogan out, Bischoff approached Flair. Viewing a match against the legendary Inoki as another coup in an already stellar career, Flair readily agreed. The trip promised two things he lived for: pro wrestling and the type of adventure he could talk about—and embellish upon—for years to come.

“I just thought, number one, it’d be cool to travel with Muhammad Ali," Flair told USA Today in 2014. "Number two, it was a challenge, and I just thought it would be an experience to remember later in life.”

Flair wasn’t the only performer headed to North Korea; he was joined by other ‘90s wrestling mainstays, including Road Warrior Hawk, the Steiner Brothers, Chris Benoit (under the guise of Wild Pegasus), Scott Norton, and 2 Cold Scorpio.


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The trip got off to an ominous start. When WCW consultant Sonny Onoo informed the Japanese embassy of the trip, he was told, “You understand we cannot guarantee your safety.” The warning fell on deaf ears, and a rickety military transport plane soon brought the group from Japan to the heart of North Korea’s communist government.

Upon landing, “almost immediately, they separated us into groups of two and assigned each of us a handler, or 'minder' as they called it,” Bischoff recalled. Everyone was stripped of their passports and subjected to a carefully manicured tour of the country, including paying their respects to the late Kim Il-sung, North Korea's Supreme Leader until his death in 1994.

After being indoctrinated with a speech on their “Great Leader,” the government officials gave Bischoff and his fellow wrestlers flowers to leave in front of a statue of Kim Il-sung.

“They buy it for you and then charge you," Orville Schell, who reported on the event for the Asia Society, told Sports Illustrated. "You have to put it in front of the statue and then they take videos of you. And then they take the flowers back and sell them to the next guy.”


Scott Steiner
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When it came time for the actual event to start, even the wrestlers—some of whom had been doing this for decades—were at a loss.

“The first time I got on the ropes and looked out there, I looked to the very top of the stadium,” wrestler Scott Steiner told Sports Illustrated. “They were like toothpicks, that’s how small they were. I was like, 'Wow, I can barely see them, how are they seeing me?' It was mind-blowing. But it was a fleeting moment. After that, I locked into the match.”

Despite the size of the crowd (which was rumored to be 150,000 on the first day and 190,000 on day two, though reports vary), the audience remained almost completely silent throughout the event—a far cry from the nonstop chants and cheers the American wrestlers were used to. But there was good reason for that: They likely had no idea what they were even watching.

“I think initially they expected it to be more like amateur wrestling,” Flair said. “[They] would ask me how [these wrestlers] could do this to somebody, you know, a wrestling move. I would say ‘I don’t know, they couldn’t do it to me.’ They probably thought they were getting duped a little bit.”

Even Muhammad Ali, who was “essentially a political prop” for the event, got a positive, albeit unremarkable, reaction from the people when he waved from his seat, according to CNN’s Mike Chinoy, a reporter brought over to cover the show.

Of course, when you want a reaction, there are few in the history of the wrestling industry better than the show’s headliners. Flair/Inoki main-evented the second night, with Inoki getting the win over Flair in about 15 minutes. More impressive than a choreographed melee between two legends was the fact that they had the audience in the palms of their hands. The two had put butts in arena seats all over the globe for decades, and even in an unfamiliar communist country, they hit their marks.

“Those two guys go out there and took that crowd from nothing to pandemonium. It was just amazing,” wrestler Scott Norton, who was the main event during the first night, said.

As with everything on the show, there were motives outside of just a fantastic match. One specific photo from the match—of a battered Flair being slammed around by an enraged Inoki—became part of a deluge of North Korean propaganda leaflets that were dropped over Seoul in late 1995.

After the final bell rang, the fight wasn’t over—at least not for the cadre of weary American wrestlers looking to get back home. Before they were able to return to Japan, then make their way back to the U.S., the North Korean government made one very unsettling request of Flair: They wanted him to read a statement basically saying that after visiting North Korea, he understood that the country could dominate the United States.

Flair refused to recite their requested language, but agreed to make a more diplomatic statement, praising this “beautiful and peaceful country” and saying, “His Excellency, Kim Il-sung, will always be with us.”

Even though it broke the all-time attendance record for a wrestling event, there wasn’t much to celebrate: In the United States, the event hadn't garnered much curiosity, and there were only scattered news reports covering its aftermath. To the wrestlers, it was just another show. Later on that year, WCW released part of the event as a U.S. pay-per-view special titled Collision in Korea; the event drew 30,000 buys—a paltry sum in comparison to the company’s other shows. What should have been a political moment draped in neon spandex soon faded into obscurity.

In 2001, McMahon’s WWE bought WCW and its tape library, yet the company rarely references the event, nor has it ever released Collision in Korea on its expansive WWE Network, which features nearly every other WCW show. There are theories about why the event seemed to disappear: WWE likes to maintain the claim that the company’s WrestleMania III, which drew (a disputed) 93,173 fans to Michigan's Pontiac Silverdome in 1987, holds one of the highest attendances for a wrestling show. Having a rival's event in North Korea basically double that number in just a single day might hurt the prestige of their own accomplishment.

According to wrestling historian Dave Meltzer, “WWE, they want to claim these records, so this kind of hurts that narrative." Bischoff was more blunt, saying the North Korea show is simply “an inconvenient fact for the branding and the positioning that the WWE is so great at.”

Despite feeling like hostages in a foreign country and wrestling to near-silence in front of a confused audience, there’s no denying the significance of the event—even if the world has seemingly forgotten all about it.

“Were they paying customers? I don’t think so,” Bischoff said. “Maybe. But the fact is, over the course of two nights, 350,000 people came to a stadium and watched professional wrestling with some of the biggest stars of the time. I think that’s a phenomenal achievement.”

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Watch 18 Minutes of Julia Louis-Dreyfus Seinfeld Bloopers
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Sometimes you just need to settle in and watch professional actors cracking up, over and over. That's what we have for you today.

In the two videos below, we get a total of 18 minutes of Seinfeld bloopers, specifically focused on Julia Louis-Dreyfus. When Louis-Dreyfus cracks up, Seinfeld can't help but make it worse, goading her. It's delightful.

Sample quote (during an extended break):

Seinfeld: "We won an Emmy, you know."

Louis-Dreyfus: "Yeah, but I didn't."

Her individual Seinfeld Emmy arrived in 1996; the show started winning in 1992. But in September 2017, Louis-Dreyfus—who turns 57 years old today—set a couple of Emmy records when she won her sixth award for playing Selina Meyer on Veep.

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8 Surprising Facts About Bubble Bobble
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by Ryan Lambie

Originally released in 1986, Bubble Bobble is a colorful platform video game with a fiendishly addictive two player co-op mode, which quickly became an arcade hit for Taito. Widely ported to home computers and consoles, Bubble Bobble marked the start of a long-running series of sequels and spin-offs that is still remembered fondly today. Here are a few things you might not know about the '80s classic that started it all.

1. IT HAS ITS ROOTS IN AN EARLY 1980s TITLE.

Before Bubble Bobble, there was Chack’n Pop, a far more obscure platform game released by Taito in 1983. Some of Bubble Bobble’s ideas appear here in nascent form: a single-screen platform game where the player controls a weird chicken-like creature (the Chack’n of the title). The aim is to retrieve a heart from one corner of the maze-like screen before rushing back to the top.

Some of the mechanics are a bit strange: Chack’n’s primary attack is a grenade-like weapon, which is quite difficult to control. Nevertheless, many of the enemies and collectible items are identical to those in Taito’s later classic—the purple enemies called Monstas make their first appearance here, while two levels in Bubble Bobble directly reference Chack'n Pop.

2. IT WAS AIMED AT COUPLES.

Bubble Bobble was designed by Fukio Mitsuji, who joined Taito in his mid-20s and initially worked on such games as Super Dead Heat, Land Sea Air Squad, and the (very good) vertical shooter Halley’s Comet. For his next game, however, Mitsuji wanted to create something very different from the experiences commonly found in arcades at the time. Noticing that arcades in Japan were commonly frequented by men, he wanted to create a game that couples could enjoy together.

"Back then, women were rarely seen in Japanese arcades," Mitsuji later said in a video interview for the video game compilation, Taito Legends. "So I thought bringing more couples would help solve this issue. That's why I designed cute characters and included cooperative play in Bubble Bobble."

3. THE GAME WAS AN EARLY CO-OP.

Mitsuji’s concept was unusual for its time. If two-player games existed at all in '80s arcades, they were usually competitive and violent. The four-player Gauntlet, released in 1985, warned that “shots do not hurt other players—yet ...”, while 1987’s seminal beat-'em-up Double Dragon ended with its players fighting to the death over the woman they had just rescued.

Bubble Bobble, on the other hand, had a far lighter atmosphere. While players could compete over the items that appeared on the screen, the game encouraged cooperation rather than aggression. Indeed, the only way to get to Bubble Bobble’s true ending was for two players to work together.

4. IT CONTAINS HIDDEN EXTRAS.

As well as the game’s central concept—which involves spitting bubbles at enemies to capture them before bursting the bubbles to finish them off—Mitsuji packed in all kinds of bonuses and hidden extras among Bubble Bobble’s 100 levels. The hardest to find are the three hidden rooms, which can only be unlocked by reaching levels 20, 30, and 40 without losing a life, and then entering a special door.

Full of jewels to collect, these hidden rooms also contained coded messages, which, when deciphered, gave clues as to how to complete the game. “If you want to get back your love of truth you must help each other until the last,” for example, hinted that you could only complete Bubble Bobble with two players.

5. NUMBERS WERE IMPORTANT.

There are hidden depths to Bubble Bobble that will only become obvious after long hours of play, such as the way items are linked to certain digits in your score. If the two penultimate numbers of a player’s score are identical—so, 5880, for example—then higher-scoring items will appear once the level’s completed. Similarly, rounds ending with a 0 or a 5 will also generate rarer bonuses.

6. THERE WERE MULTIPLE ENDINGS.

Bubble Bobble may look cute, with its cartoon dinosaurs and bouncy theme tune, but it’s also a tough game to crack. Later levels can only be completed by mastering tricky techniques, like riding on bubbles to get out of otherwise inescapable pits. The cruelest twist comes at the end, where a single player will be told, after 100 levels of action, to “come here with your friend.”

Even in two-player mode, the game has to be completed twice in order to see the true ending; get through the first 100 levels, and “Super Mode” is unlocked, where the same 100 levels are made faster and more difficult to complete. At a time where most games either didn’t have a conclusion, or concluded with a simple “Congratulations!” message, Bubble Bobble’s multiple endings were quite unusual. And the ending you’re rewarded with when completing the Super Mode is very strange indeed...

7. IT WAS ALL ABOUT FAMILY TIES.

The plot of Bubble Bobble sees its two brothers, Bubby and Bobby, turned into bubble-blowing dragons, while their girlfriends have been kidnapped by the evil Baron von Blubba. Completing the game once reveals what’s called the “Happy End,” where the heroes are reunited with their girlfriends and turned back into humans. But complete the game’s Super Mode, and you’re treated to an unexpected twist: the huge boss you’ve just defeated—the hooded, bottle-throwing Super Drunk—is revealed to be Bubby and Bobby’s parents, who must have been transformed by the same grim magic that turned the heroes into dragons. It’s a surreal—and even quite dark, depending on your interpretation—ending to a classic game.

8. THE SERIES IS STILL GOING STRONG.

The popularity of Bubble Bobble quickly made it one of the most widely-ported games of its era. It appeared on such computers and consoles as the ZX Spectrum, the Amiga, the NES, and Sega Master System—even the Game Boy got its own monochrome, handheld version of the game. Bubble Bobble’s success also prompted Taito to create a string of loose sequels and spin-offs, including Rainbow Islands, Parasol Stars and Bubble Bobble Symphony. The spin-off series are still going strong, with recent installments hitting the Nintendo DS, Wii, and Xbox in recent years.

But Mitsuji himself only worked on the first sequel to Bubble Bobble, Rainbow Islands (1987), a wonderful single-player platform game that differed wildly from its predecessor in terms of mechanics and pace. Mitsuji also created three other games for Taito— Syvalion, Darius II, and Volfied—before he left the company in the early 1990s. His last game came in 1991—an obscure yet delightful platform puzzler called Popils for the Sega Game Gear, which contained much of the elegant simplicity of Bubble Bobble.

For the remainder of his life, Mitsuji taught game design, before he passed away at the tragically young age of 48 in 2008. It was a sad loss for the video game industry, for sure, but his most famous creation delighted a generation of players with its lighter-than-air action. More than 30 years later, Bubble Bobble remains an out-and-out classic.

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