| Who
Is That Masked Man? In
his heyday Kendo Nagasaki - brutal, silent and
with a hint of Samurai savagery - was the
most celebrated British wrestler of them all.
As his final bout looms, the man with the sword
gives up some of his secrets.
Observer Sport
Monthly, October 2001
Kendo Nagasaki, a man who has earned fame by
beating other men until they cry for mercy,
is walking around Finsbury in north London
in search of a place where he can have his
photograph taken. He has short brown hair,
a narrow face with a prominent and slightly
pinched nose, and deeply set eyes that squint
in the sunlight. He wears a dark jacket and
black trousers, newly shined shoes, a nice
fat metallic watch that he consults to find
he is a little early. He has three men with
him - his manager, his driver, and his website
designer. I recognise his manager first, and
call out his name: 'Lloyd!' At this moment,
Kendo takes something from his pocket. It is
a soft, worn woollen face mask, black with
white vertical stripes, and he pulls it on
with alarm. It tightens at the back with those
little pop-stoppers you find on baseball caps.
He looks menacing, he causes the traffic to
slow. On this balmy Wednesday afternoon he
believes it is as important as ever to keep
up appearances.
Kendo and his friends find the photographer's
studio and move straight for the changing room.
This was one of Kendo's two stipulations: a separate
changing area screened by a curtain. The second
was a request for photo approval, which might
seem a strange demand from a person who wears
a mask. 'He's not as young as he was, and wants
to make sure he looks good,' his manager explained.
'He doesn't want to blow the image at this stage.'
The picture approval was modified to a permission
to view the Polaroids.
He emerged from the changing area looking like
a man from Japan, only taller. He had a black
and gold metal visor, beneath which he had changed
the black mask to red. He had a red and silver
tunic, red vest and tights, high lace-up boots,
a polished breastplate and in padded gloves he
held an elegant sword. In truth, it could have
been anyone in there, but I knew it was Kendo
because he spent the next three hours without
speaking a word.
British wrestling was really something in the
Seventies and Eighties, though these days one
struggles hard to imagine how. Many millions
watched it on ITV's World of Sport on Saturday
afternoons, not all of them apoplectic grandmothers.
Shopkeepers complained that their customers vanished
when the wrestling began at 4pm, and promoters
said that the bout before the FA Cup final was
seen by more people than the final itself.
A few great characters emerged: Mick McManus,
Jackie Pallo, 40-stone Giant Haystacks, Big Daddy,
Les Kellett, The Royal Brothers, Peter and Tibor
Szakacs, Rollerball Rocco, Adrian Street. Some
of these people were so good at their job, so
convincing as both athletes and actors, that
it was sometimes hard to believe they were faking
it. These days it seems preposterous to think
of professional wrestling as anything but combative
soap opera - even the American executives behind
WWF acknowledge this now - but in its British
heyday there were a lot of people who were sure
that a Boston Crab was the pinnacle of legitimate
sporting prowess.
The best wrestlers had a history, or at the very
least a story. This being a simple world, the
stories were often reduced to the level of a
gimmick. Mick McManus didn't like having his
ears messed up and would make his point by moaning
'Not the ears, not the ears!' Jim 'Cry Baby'
Breaks used to throw a tantrum like a two-year-old
if things didn't go his way. A riled Johnny Kwango
and Honey Boy Zimba could be guaranteed to headbutt.
'Ballet Dancer' Ricki Starr twirled like a dancer.
Big Daddy entered to the chant of 'Easy! Easy!'
Adrian Street, a Welsh womaniser, pretended he
was gay. Catweazle wore a brown romper suit and
acted like a yokel. Deaf and dumb Alan Kilby
always got confused by not hearing the bell.
And Dropkick Johnny Peters did something special
with his feet.
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