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Brits Attack at Arras

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 273rd installment in the series.

April 9, 1917: Brits Attack at Arras 

The German withdrawal to the Hindenburg Line in March 1917 didn’t derail Allied plans for a massive offensive in mid-April, as drawn up by the new French commander-in-chief, Robert Nivelle, an ambitious artillery officer who had been promoted to the top spot because of his successes at Verdun, including recapturing Fort Douaumont and Fort Vaux (the previous French commander-in-chief, Joseph Joffre, was kicked upstairs with an honorary position of Marshal of France, while General Petain, the architect of the original defense of Verdun, was sidelined for the moment).

Disregarding growing concern among French and British officers and civilians about the advisability of the strategy, Nivelle planned a multi-phased operation by four armies, depending on heavy artillery preparation and particularly a “creeping barrage” by French artillery, creating a curtain of destruction in front of the advancing infantry. Similar tactics had met with success at Verdun, prompting Nivelle to exclaim, “We have the formula!” But on the much larger scale of the Western Front, it proved a formula for disaster. 

The British were to play an important role in the “Nivelle Offensive” at the Battle of Arras (actually the second battle of that name), a major attack by the British First, Third, and Fifth Armies on the defensive lines of the German Sixth Army under Ludwig von Falkenhausen in the Pas de Calais region of northern France. The British attack was scheduled for April 9, 1917, a week ahead of the French attack, in hopes of pinning down German troops to prevent them from sending reinforcements. It included the famous advance by the Canadian Corps on Vimy Ridge from April 9-12, 1917, a stunning but costly victory; Vimy Ridge would come to be remembered as a key moment in the formation of Canadian national identity in some ways comparable to the impact of Gallipoli on veterans and civilians in Australia and New Zealand (whose ANZAC troops also fought at Arras).

The initial infantry assault was preceded by an unprecedented 19-day-long bombardment of German positions along 20 miles of front, ultimately expending around 2.7 million shells, including one million from April 2-9 alone. Philip Gibbs, a British war correspondent, described the bombardment on the final night before the battle: 

It was a beautiful and devilish thing… All our batteries, too many to count, were firing, and thousands of gun-flashes were winking and blinking from the hollows and hiding-places, and all their shells were rushing through sky as though flocks of great birds were in flight, and all were bursting over German positions, with long flames which rent the darkness and waved sword-blades of quivering light along the ridges. The earth opened, and pools of red fire gushed out. Star-shells burst magnificently, pouring down golden rain. Mines exploded east and west of Arras, and in a wide sweep from Vimy Ridge to Blangy southwards, and voluminous clouds, all bright with a glory of infernal fire, rolled up to the sky.

Gibbs also described the huge logistics effort and concentration of troops massing in the darkness for the offensive near Arras: 

… and then onwards there was the traffic of marching men going up to the fighting-lines, and of their transport columns, and of many ambulances. In darkness there were hundreds of little red lights, the glow of cigarette ends. Every now and then one of the men would strike a match, holding it in the hollow of his hands and bending his head to it, so that his face was illumined – one of our English faces, clear-cut and strong. The wind blew sparks from cigarette ends like fireflies. 

The first infantry assault was timed for 5:30 a.m. on Easter Monday, April 9, 1917. Minutes before the men went over the top, the British, French and Canadian engineers unleashed one final surprise, as the German trenches were rocked by 13 mines exploding under Vimy Ridge. R. Derby Holmes, an American serving as a volunteer with the Canadians, remembered the detonations: 

Then came a deep rumble that shook the ground, and a dull boom. A spurt of blood-red flame squirted up from the near side of the hill, and a rolling column of gray smoke. Then another rumble, and another, and then the whole side of the ridge seemed to open up and move slowly skyward with a world-wrecking, soul-paralyzing crash. A murky red glare lit up the smoke screen, and against it a mass of tossed-up debris, and for an instant I caught the black silhouette of a whole human body spread-eagled and spinning like a pin-wheel. Most of our party, even at the distance, were knocked down by the gigantic impact of the explosion. A shower of earth and rock chunks, some as big as a barrel, fell around us.

Now along miles of front, under the faint, growing light of early morning the Canadian and British troops advanced into the blazing chaos behind the creeping barrage of artillery fire (below, a map showing the timing of the barrage). The infantry attacks had been carefully rehearsed at the battalion level using full-size dioramas, while officers had trained with a large-scale model of the entire battlefield, and the preparation paid off – as did the decision to arm the attackers with mobile Lewis machine guns, a move towards “storm troop” tactics.

Click to enlarge Wikimedia Commons 

To the north, the four divisions of the Canadian Corps in General Henry Horne’s First Army surged forward and forced back the German defenders on Vimy Ridge again and again, occupying their first main objectives within an hour and had occupied the crest of the ridge by mid-morning – a remarkable success which left their commanders scrambling to maintain the momentum. 

The capture of Vimy Ridge gave the Allies possession of the strategic heights looking out over the plain of Douai to the east – a key advantage in the chess-like game of artillery and counter-artillery fire. The Canadians would ultimately advance almost four kilometers in places from April 9-12, but later attacks in the Battle of Arras would pit them against dug-in defenders; by the end of the battle the Canadians had lost 10,500 killed (a large figure in proportion to the dominion’s total population of around 7.9 million). 

As storm after storm descended dumped rain, sleet and snow on the battlefield, mud was inescapable, according to Gibbs:

In addition to the ordeal of battle they are enduring now a weather so abominable, when it is in the fields of battle, that men fight for days wet to the skin, lie out at night frozen stiff, and struggle after the enemy up to the knees in mud… Our men came back from this fighting like figures of clay, and so stiff at the joints that they can hardly walk, and with voices gone so that they speak in whispers. All over this lower slope of the Vimy Ridge is a litter of enormous destruction caused by our gun-fire. German guns and limbers, machine-guns and trench-mortars lie in fragments and in heaps in infernal chao of earth, which is the graveyard of many German dead. 

Meanwhile the British Third Army, attacking in the center, also scored a surprising victory from April 9-14, advancing up to three miles along a 15-mile front stretching on both banks of the River Scarpe – along with the Canadian advance, the single biggest advance in years of trench warfare on the Western Front. But the Brits soon ran into fierce renewed German resistance around the village of Monchy, as the defenders of the Bavarian 3rd Division dug in while German engineers worked feverishly on new defensive lines in the rear. 

Billy Bishop, a British pilot in the Royal Flying Corps, described the view from the air (often obscured by thick fog and snow) as British artillery fired at Arras on April 9: 

The ground seemed to be one mass of bursting shells. Farther back, where the guns were firing, the hot flames flashing from thousands of muzzles gave the impression of a long ribbon of incandescent light. The air seemed shaken and literally full of shells on their missions of death and destruction. Over and over again one felt a sudden jerk under a wing-tip, and the machine would heave quickly. This meant a shell had passed within a few feet of you. 

The British bombardment succeeded in splitting open barbed wire defenses and blowing enemy strongholds out of existence, according to Bishop, who next witnessed a shockingly easy advance by British troops: 

The waves of attacking infantry as they came out of their trenches and trudged forward behind the curtain of shells laid down by the artillery were an amazing sight. The men seemed to wander across No Man’s Land, and into the enemy trenches, as if the battle was a great bore to them… That is the way with clockwork warfare. These troops had been drilled to move forward at a given pace.

To the south the picture was much grimmer, however, as the troops of the British Fifth Army got their first harsh taste of German defenses at the Hindenburg Line. The offensive around the village of Bullecourt from April 10-11 got off to a bad start when some British units, not hearing about a last-minute delay, attacked early – suffering a bloody repulse and giving away any element of surprise. This battle later saw the second major attempt to employ tanks in offensive warfare, after the Battle of the Somme, but this time the Germans were expecting them – including new armor-piercing shells – and once again the new weapon proved prone to technical failures. 

Major W.H.L. Watson described the mixed performance of one section of tanks employed in the first attack: 

The first tank was hit in the track before it was well under way. The tank was evacuated, and in the dawning light it was hit again before the track could be repaired. Money’s tank reached the German wire. His men must have “missed their gears.” For less than a minute the tank was motionless, then she burst into flames. A shell had exploded the petrol tanks… Bernstein’s tank was within reach of the German trenches when a shell hit the cab, decapitated the driver, and exploded in the body of the tank. 

Although they captured the village of Bullecourt itself, the British otherwise mostly failed to advance in the south, frustrated by the new German tactics of “defense in depth” along the Hindenburg Line. Meanwhile chief of the general staff Hindenburg and his collaborator, quartermaster general Erich Ludendorff, were frustrated by Falkenhausen’s failure to grasp the tenets of the new defensive doctrine, and replaced him on April 23. To the north the British and Canadian advances soon slowed as well, leaving them in possession of Vimy Ridge and the lower Scarpe but still far from Lens or Douai, and the utter failure of the French Nivelle Offensive soon removed any reason to continue the attack.

The advance at Arras was still tremendous by the standards of the First World War, and British engineers were working feverishly to repair roads across newly-conquered territory behind the lines – in many cases, what used to be No Man’s Land. Coningsby Dawson, an officer with a British engineering unit, later recalled in a letter home: 

We ran across what had been No Man’s Land end entered the Hun wire… His frontline trench was piled high with dead. The whole spectacle was unreal as something that had been staged; the corpses looked like wax-works. One didn’t have time to observe much, for flames seemed to be going off beneath one’s feet almost every second and it seemed marvellous that we contrived to live where there was so much death. As we went further back we began to find our own khaki-clad dead. I don’t think the Huns had got them; it was our own barrage, which they had followed too quickly in the eagerness of the attack. Then we came to where the liquid fire had descended, for the poor fellows had thrown themselves into the pools in the shell-holes and only the faces and arms were sticking out.

As another icy storm swept the battlefield, Dawson felt a moment of sympathy for recently captured German prisoners-of-war, whose condition summarized all too clearly the human cost of the war: 

You never saw such a mess – sleet driving in our faces, the ground hissing and boiling as shells descended, dead men everywhere, the wounded crawling desperately, dragging themselves to safety. I saw sights of pity and bravery that it is best not to mention, and all the time my brave chaps dug on, making the road for the guns. Soon through the smoke gray-clad figures came in tottering droves, scorched, battered, absolutely stunned. They looked more like beasts in their pathetic dumbness. One hardly recognised them as enemies.

See the previous installment or all entries.

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12 Sharp Facts About Hellraiser
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In 1987, the New World Pictures released Hellraiser, a horror film about a family who opens a puzzle box and invites hell in their lives in the form of pleasure-pain creatures known as Cenobites, who are lead by Pinhead (played by Doug Bradley). Unlike many other horror films at the time, Hellraiser wasn’t a slasher film, and Pinhead wasn’t a boogeyman.

British novelist, playwright, and screenwriter Clive Barker wanted to direct a feature film, so he adapted his 1986 horror novella, The Hellbound Heart, into Hellraiser. Despite the graphic nature of the film, it’s really a love story between Julia Cotton and her demented—and skinless—lover Frank  ... whose relationship just so happens to revolve around sadistic torture.

Hellraiser was produced for around a $1 million and grossed $14 million, making it lucrative enough to spawn nine sequels, including this year’s Hellraiser: Judgment. (Bradley hasn’t starred in a Hellraiser film since 2011’s Hellraiser: Revelations, and Barker didn’t direct or write any of the sequels, most of which were direct-to-DVD releases.) As we near the 30th anniversary of its release, let's take a look back at this horror classic.

1. THE ORIGINS OF PINHEAD CAME FROM A 1973 PLAY.

Before Doug Bradley uttered the catchphrase “We’ll tear your soul apart,” Clive Barker directed him in a 1973 play called Hunters in the Snow, in which Bradley played the Dutchman, a torturer who would become the basis for Pinhead.

“The character I played in Hunters, the Dutchman, I can see echoes of later... Pinhead in Hellraiser," Bradley said. "This strange, strange character whose head was kind of empty but who conveyed all kinds of things.”

Barker’s mid-1980s short story “The Forbidden”—which was adapted into Candyman—from his "Books of Blood" series, featured the first incarnation of Pinhead’s nails. “One image I remember very strongly from 'The Forbidden' was that Clive had built what he called his nail-board, which was basically a block of wood which he’d squared off and then he’d banged six-inch nails in at the intersections of the squares,” Bradley said. “Of course, when I saw the first illustrations for [Pinhead], it rang a bell with me that here was Clive putting the ideas that he’d been playing around with the nail-board in 'The Forbidden,' now 10, 15 years later. He’d now put the image all over a human being’s face.”

2. CLIVE BARKER CAST “REAL ACTORS.”

Unlike many other horror movies of the time, which were more concerned with gore than great acting, Barker insisted that they look for real talent in the casting. “I’m not just taking the 12 most beautiful youths in California and murdering them,” Barker told The Washington Post in 1987. “I’ve got real actors, real performers—and then I’m murdering them.” The “real” refers to British theater actors like Bradley, Clare Higgins, and Andrew Robinson.

3. PINHEAD WASN’T SUPPOSED TO BE ON THE POSTER.

New World Pictures

Bradley said the filmmakers wanted skinned Frank to be on the poster, but the studio said no to the grotesque imagery, so Pinhead was used on the poster instead. “Maybe that came from Clive, because what we get in that image of Pinhead with the box is the heart of the Hellraiser mythology,” Bradley said. “If you put The Engineer or the skinned man on the poster, it’s an amazing image but it’s just an image, and it could come from any movie.” Bradley thought using Pinhead’s face made more sense. “The big success of Pinhead is because the image is so original, so startling. It is just an incredible image to look at, and that made a big difference in terms of the public's perception of the movie.”

4. NO ONE KNEW THAT DOUG BRADLEY WAS PINHEAD.

Bradley’s Pinhead mug was everywhere—on the cover of magazines and on the movie’s poster—but no one mentioned his name. “It was great to be so heavily featured, but there was no way to prove to anyone that it was actually me,” Bradley said. “Those who were following Hellraiser at the time were wondering where the guy with the pins was! Well I can tell you where I was—I was sitting at home in England, watching it all happen from the sidelines.”

5. THE CENOBITES' DESIGN WAS INSPIRED BY S&M CLUBS.

In the box set’s liner notes, Barker wrote that the Cenobites's “design was influenced amongst other things by punk, by Catholicism, and by the visits I would take to S&M clubs in New York and Amsterdam.” Costume designer Jane Wildgoose created the costumes, based on Barker’s instruction of “repulsive glamour.”

“The other notes that I made about what he wanted was that they should be ‘magnificent super-butchers,’” Wildgoose said.

As for Pinhead, Barker said he “had seen a book containing photographs of African fetishes: sculptures of human heads crudely carved from wood and then pierced with dozens, sometimes hundreds, of nails and spikes. They were images of rage, the text instructed.”

6. IT'S REALLY A LOVE STORY.

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Julia is forced to bring men back to her house and murder them for Frank so that he can replenish his flesh. Barker looked at Hellraiser as more of a love story, with Julia committing these heinous acts in the name of love, not just to be brutal for no reason.

“She’s not committing murder in the way that Jason in the Friday the 13th films commits murder—just for the sake of blood-letting —she’s doing it for love,” Barker told Samhain. “So there is a sympathetic quality about her, enhanced hugely in my estimation by the fact that Clare Higgins does it so well.”

7. BARKER’S GRANDFATHER INSPIRED THE PUZZLE BOX.

When a person twists the box, known as the Lament Configuration, it summons the Cenobites from the gates of hell into the individual's world. “I wanted to have access to hell in the book and in the first movie, explored by something rather different than drawing a circle on the floor with magical symbols around it,” Barker told WIRED. “That seemed rather stale and rather old.”

Barker explained his grandfather was a cook on ship and brought back a puzzle box from the Far East. “So when I went back to the problem of how to open the doors of hell, the idea of [using] a puzzle box seemed interesting to me. You know, the image of a cube is everywhere in world culture, whether it’s the Rubik’s Cube or the idea of the [Tesseract] in The Avengers movies. There’s a lot of places where the image of a cube as a thing of power is pertinent. I don’t know why that is, I don’t have any mythic explanation for it, but it seems to work for people.”

8. ROGER EBERT WASN'T A FAN OF THE FILM.

Roger Ebert gave Hellraiser just a half star when he reviewed it in 1987. “Who goes to see movies like this? This is a movie without wit, style, or reason,” he wrote, adding that, “I have seen the future of implausible plotting, and his name is Clive Barker.”

9. SOMEONE HAD THE JOB OF MAGGOT AND COCKROACH WRANGLER.

In England, there was a law in which cockroaches of both sexes weren’t allowed on set, because they could have mated and caused an infestation. So Barker had to hire someone to oversee the situation. “The wrangler, this is the honest truth, had to sex the roaches,” Barker told an audience at a Hellraiser screening. “They were all male. And we had a fridge. They move very fast, so the only way to slow them down was to chill them. We chilled the maggots and the roaches. We'd open it up and it was all reassuring. It was fun.”

10. BARKER PREFERS "HELL PRIEST" TO "PINHEAD."

In The Hellbound Heart, the Cenobite with pins sticking out of his head is called The Hell Priest. One of the special effects guys who worked on the movie gave the character his nickname. “I thought it was a rather undignified thing to call the monster, but once it stuck, it stuck,” Barker told Grantland.

In 2015, Barker published a sequel to The Hellbound Heart, The Scarlet Gospels, which features Pinhead getting annoyed when people call him that—as well as Pinhead’s demise. “He will not be coming back, by the way," Barker said. "That I promise you."

11. A HELLRAISER VS. HALLOWEEN MOVIE ALMOST HAPPENED.

In an interview with Game Radar, Bradley said the success of Freddy vs. Jason led Hellraiser distributor Dimension Films to flirt with a Hellraiser vs. Halloween film. “I was actually getting excited by the prospect of this because Clive said he would write it and John Carpenter said he would direct it,” Bradley said. “I actually spoke to Clive about it a couple of times and he was interested in finding the places where the Halloween and Hellraiser worlds intermeshed.” But Moustapha Akkad, who owned the rights to Halloween, extinguished the idea.

12. THE BRITISH BOARD OF FILM CLASSIFICATION HAD TO CHECK THAT NO RATS WERE HARMED IN THE MAKING OF THE MOVIE.

While the MPAA requested that a spanking scene be cut for its American release, England's BBFC agreed to release the movie as it was, if they were assured that the rats used in the film weren’t hurt. “I had to bring three remote-control rats into the censor’s office and make them wriggle about on the floor,” producer Christopher Figg told The Telegraph. “They wanted to be sure we hadn’t been cruel to them.”

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