conversations.from: human
conversations.value: What could be a title for a book about Sonny, acutely, Ages with the genre: Teen & Young Adult, Literature & Fiction?
conversations.from: assistant
conversations.value: A title for this book could be 'The Squared Circle'
conversations.from: human
conversations.value: Give me the first five paragraphs for this book.
conversations.from: assistant
conversations.value: The Squared Circle
  Not long after, Rude began decorating his tights with his own face, a level of narcissism previously unmatched even in wrestling's ego parade.* To be self-absorbed and overconfident was perhaps an act of sensible egomania; to paint one's own treasured visage with one's crotch as canvas was an unprecedented affront to our wrestling sensibilities. Previously, ring gear had largely been an afterthought, a series of unspectacular minibillboards reminding us of things like nicknames ("Mr. #1derful") and the names of special moves ("Thump"). If anything, such sewn-on words distracted us from the fact that we were looking at a man's pelvic region. Rude's attention-grabbing ensembles inverted such convention. They underscored the fundamentally homoerotic nature of the enterprise: His comeliness was indistinguishable from his physique and also from his, ahem, manhood. The masturbatory allusion was not ambiguous. When Rude rotated his hips in the ring, hands behind his head, he wasn't showing off for the crowd or playing mind games with his opponent: He was sucking his own dick.
  The Warrior was wildly popular with the crowds and was quickly climbing the ranks of the WWF despite the fact that he was very limited in the ring, and Rude—as stated, a much better grappler than most other muscleheads of his era—was tasked with carrying him through a series of matches. They feuded through much of 1989, with Rude taking the intercontinental title from the Warrior at WrestleMania and dropping it back to him in August. They feuded again in 1990 after the Warrior had become heavyweight champ—their most notable fight was in a steel cage match at SummerSlam—but in this later iteration, Rude was never presented as a credible threat to the ascendant Warrior. By that fall, a dispute with the front office had sent Rude packing. He had just started a feud with the Big Boss Man; WWF on-screen president Jack Tunney explained to viewers that Rude had been suspended for sleeping with the Boss Man's mother.
  Rude's following run in WCW is interesting simply because of how well he fit in. The WCW product was still basically an outgrowth of its predecessor, the NWA—a gritty, old-school Southern counterpart to the WWF's antic play fighting. It's a tribute to Rude's versatility that he could tweak his character—turning down the gigolo, turning up the tough guy—so as to work himself seamlessly into the WCW counterculture. On some level, this was because, despite the excessiveness of his WWF persona, the core conceit of the Rick Rude character was so basic, and so universally deplorable.
  Rude soon won the U.S. Championship—the counterpart to the intercontinental belt that Rude had long held in the WWF—and a couple of years after his debut he defeated Ric Flair for the heavyweight strap. It was significant again in juxtaposition to his WWF run—despite his high profile there, he never threatened Hulk Hogan's title reign, and his heavyweight feud with the Warrior petered out until he was left feuding with second-tier faces like Big Boss Man.* After Rude beat Flair, he feuded with fan-favorite Sting. In 1994, during a match with Sting in Japan, Rude was dropped awkwardly—some would say recklessly—onto the edge of a steel platform outside the ring and injured his neck, functionally ending his wrestling career. He started collecting on a Lloyd's of London insurance policy and faded from view.
  Rude's later act—the Lothario in winter—would be sad if it weren't so forgettable. The remainder of his career was a strange sequence of brand hopping. He still seemed to be in immaculate shape, but because of lingering neck issues—and/or an inclination to continue collecting insurance payments—he couldn't compete. He turned up in ECW in 1996 and teased an in-ring return, but he never wrestled. He went back to the WWF the next year as a bodyguard for Shawn Michaels and Triple H's new D-Generation X faction, and the crowd popped memorably when he first appeared.
conversations.from: human
conversations.value: Give me five more paragraphs.
conversations.from: assistant
conversations.value: It would have been a conceivable punch line to send the beleaguered superhero—or a mannequin dressed to look like him—crashing down from the rafters into the ring. Such attention-grabbing stunts were common in those days. Wrestling is based on the premise of fake injury, of course, but pro wrestling in the modern age has been ever intent on pushing the boundaries in such a way as to simultaneously shock viewers and yet underline the ridiculousness of it all. It was clear from the crowd's reaction that when Owen fell, at least briefly, they thought the fall was part of the act.
  And why shouldn't they? The boundary between real life and fake life was irreparably blurred by that point thanks to any number of fourth-wall-breaking storylines, but the Blue Blazer angle—Real Owen playing Fake Owen playing a masked avenger fighting for Real Owen's honor—was surely the pinnacle of such multilayered surrealism.
  Owen's storyline wasn't always pitched at such a meta level. He was born into wrestling, as the youngest child in the legendary Hart family, son of Stu Hart and brother to Bret (and five other brothers who would wrestle to less acclaim), and he was by many accounts the most naturally gifted grappler of the bunch. But despite his best efforts to find a career outside the ring—supposedly to keep his new family away from the wrestler's life that he grew up with—he soon decided that wrestling was his only lucrative path. He started off as a golden boy in his father's Canadian promotion, Stampede Wrestling. Brother Bret was then entrenched in the WWF as half of the Hart Foundation (along with Jim "The Anvil" Neidhart); Bret was a star, but certainly nobody would have predicted his future as a long-term Heavyweight Champion, as he was several inches too short and several degrees too plain to compare to the likes of Hulk Hogan or Randy Savage.
  And Owen was, if anything, smaller and less flamboyant than his brother—he was unaffected, Real Owen playing himself—and despite his popularity in Stampede, he wasn't offered a job with one of the major American shops. He wrestled through Japan and Mexico, where his size wasn't a deterrent and his high-flying style was more commonplace. His success there would eventually lead to a job with the WWF, but rather than capitalize on his relationship with Bret, McMahon put him in a mask and called him the Blue Angel. (That beatific moniker was soon corrupted into the "Blue Blazer.") There was very little affectation; this was Real Owen with a mask. He wowed the more attentive fans with his seemingly revolutionary mix of aerial maneuvers and old-school grappling, but he was a gimmick without a backstory, form without substance, and the audience at large was unsure of what to make of him.
  After only a brief run, he went back to the global circuit—Stampede, Mexico, and a cup of coffee in WCW. He landed back in the WWF, once again as plain old Owen Hart, forming the "New Foundation" with Neidhart after Bret left the Hart Foundation tag team to embark upon his singles career, and later teaming up with the unspectacular Koko B. Ware to form the team High Energy. Neither team was much of a success—the neon parachute pants probably had something to do with that.
conversations.from: human
conversations.value: Give me the last five paragraphs.. Start with the sentence 'Territorial Era, 35–49; and advertising, 190; and Albano, 166, 167; and Brody, 92, 93; and competition between wrestling organizations, 261, 265; and contract disputes, 346; and geopolitics in wrestling, 289; and Gordy, 88; and the Guerrero family, 352; and Hackenschmidt, 30–31; and Jones (S'.
conversations.from: assistant
conversations.value: Territorial Era, 35–49; and advertising, 190; and Albano, 166, 167; and Brody, 92, 93; and competition between wrestling organizations, 261, 265; and contract disputes, 346; and geopolitics in wrestling, 289; and Gordy, 88; and the Guerrero family, 352; and Hackenschmidt, 30–31; and Jones (S. D.), 127; and "King" titles, 151–52; and labor disputes, 343–44; and language of wrestling, 15–16; and Native American wrestlers, 100; and nepotism, 71; and race issues in wrestling, 132, 140; and regional designations, 298n2; and the Road Warriors, 205, 212; and spoilers, 109; and the Von Erichs, 70, 75; and women's wrestling, 59, 60; and the Wrestlemania Era, 117–18
  Triple H: and the Attitude Era, 278; and Benoit, 349–50, 359, 360; and competition between wrestling organizations, 265–66, 272; and Hennig, 242; and the "Plane Ride from Hell," 244; and race issues in wrestling, 140; and Rude, 224; and wrestling weddings, 199
  Ultimate Warrior, 249–55; and advertising, 190; and Andre the Giant, 163; and geopolitics in wrestling, 293; and human growth hormone, 233; and the Road Warriors, 209; and Rude, 217, 219, 222–23; and Savage, 185, 186, 187
  The Undertaker: and the Attitude Era, 274, 278; and Big Boss Man, 303; casket matches, 313; and "Crush" Adams, 287; and geopolitics in wrestling, 294; and Gordy, 89–90; and Savage, 186; and the Ultimate Warrior, 252, 253; and wrestling weddings, 198–99; and Yokozuna, 324, 325
  WrestleMania, 115–23; and Albano, 169; and Andre the Giant, 155, 160; and the Attitude Era, 275–76, 278; and competition between wrestling organizations, 270–71; and "Crush" Adams, 285; and drug abuse, 244; and famous venues, 81; and geopolitics in wrestling, 291; and Guerrero/Benoit victories, 349–50; and Jones (S. D.), 125, 128–29, 130; and Junkyard Dog, 143, 149; and "King" titles, 152; and Miss Elizabeth, 195; and race issues in wrestling, 137; and the Road Warriors, 202, 282; and Rude, 223; and Savage, 181–85; and Smith (Davey Boy), 230; and the Territorial Era, 46; and the Ultimate Warrior, 249, 252–53; and Yokozuna, 321–22, 324