The Fabulous Moolah - Training and Promoting

Training and Promoting

Ellison and her second husband Johnny Long began training women to become female wrestlers, which included Ella Waldek, Daisy Mae, and Katherine Simpson. Long later contacted promoter Jack Pfeffer, who agreed to book some of the wrestlers at his shows. After marrying wrestler Buddy Lee, he began helping Ellison train the female wrestlers. After she left Pfeffer's promotion in the 1950s, Ellison found it difficult to book her trainees in shows due to Pfeffer's influence over other National Wrestling Alliance promoters. Ellison claimed Pfeffer would threaten to reveal the pre-planned nature of wrestling if any other promoters did not do as he liked. As a result, Ellison began selling cosmetics door-to-door and Lee opened a service station to make enough money to pay their bills. They later began to book their wrestlers, including Judy Grable in Boston, under promoter Paul Bowser.

In the late 1950s when the once-dominant promoter of women's wrestling, Billy Wolfe, was out of business, Ellison and Lee began to book their female wrestlers for more and more shows. They began calling their promoting business Girl Wrestling Enterprises (GWE). Ellison demanded a lot from the girls of GWE, including that they had to keep their hair and make-up done, act like a lady, and not date men who were in the professional wrestling business. In addition to women, Ellison also trained midget professional wrestlers, including Katie Glass in the 1960s. Ellison founded the Ladies' International Wrestling Association, a non-profit organization to help retired professional wrestlers, in the late 1980s. In the 1990s, she spent most of her time training female wrestlers at her school in Columbia, South Carolina. She also began training men, including Del Wilkes, and in 1995 trained more men than women. She also spent time training in Los Angeles at Verne Langdon's Slammers Gym.

However, Wendi Richter stated that Ellison did not actually train the wrestlers at her wrestling school. Instead, Richter stated that Ellison accepted payment of the training fee (which at the time of Richter's training was five hundred dollars) and had other female wrestlers within her camp (including Leilani Kai, Judy Martin, Winona Littleheart, and Joyce Grable) train the new recruits, and that these women did not get paid for their additional work as trainers. Richter also stated that Ellison required all women that received training at her camp to each sign a contract that allowed Ellison to function as their booker and receive twenty five percent of their booking fee. Trainees were also required to rent duplex apartments on Ellison's property and they were responsible for paying her for rent and utilities. The training lasted six months and took place up to five hours per day inside a wrestling ring in a barn that lacked heating and air conditioning or fans. Debbie Johnson, another former trainee of Ellison's, stated that she was required to give Ellison thirty percent of her booking fee, and her paycheck was further reduced as Ellison deducted travel expenses, food, rent, and utilities before paying her. As a result, Johnson worked for Ellison for two years before she received any money. Johnson stated that Ellison would refuse to book certain women in her training camp if they angered her, and that Ellison monitored her and refused to let her leave the physical constraints of the training camp unless she was accompanied by someone else.

Over the years, various female wrestlers have come forward with stories accusing Ellison of being a pimp that often provided various wrestling promoters with unsuspecting female wrestlers that would be used as sex objects. One of the most notorious accusations is from the family of Sweet Georgia Brown (Susie Mae McCoy). McCoy, who was trained and booked by Ellison and her then-husband Buddy Lee, told her daughter that she was often raped, given drugs and made an addict in an intentional attempt by Ellison and Lee to control her. Ida Martinez, who wrestled during the 1960s, also recalls that many of the regional promoters “demanded personal services” before they would pay the female wrestlers. In a 2002 interview, Luna Vachon claimed that when she was sixteen years old and training at Ellison's camp, Ellison sent her out of state to be photographed by an older man. Although she remained clothed during the photo shoot, Vachon stated she felt taken advantage of by Ellison and the older man. Vachon also stated that her aunt, Vivian Vachon, witnessed Ellison abusing alcohol and having sex with her female trainees. Sandy Parker, a lesbian former pupil of Ellison's, also claims that Ellison forbade her from going to any gay bars and tried to pers­e her to date men. Parker says this enranged her, because "(Moolah) was two faced because she had her own little dalliances that we all knew about."

As well as allegedly exploiting female wrestlers sexually, Ellison has been accused of using her financial influence to control the women's wrestling scene and ensure that other women did not gain greater recognition. In addition to being a key participant in the original screwjob on Wendi Richter, Ellison used her influence to take over the spot originally held by her protégé Mad Maxine on the animated series Hulk Hogan's Rock 'n' Wrestling. Maxine was about to receive a big push by Vince McMahon but left the WWF shortly afterwards, as Ellison was unwilling to provide her with additional bookings. Numerous other former trainees defected from Ellison after growing tired of sharing their paychecks with Ellison. Women wrestlers including Vivian and Luna Vachon, Ann Casey, and Darling Dagmar moved into other regions where Ellison had less control and negotiated their own payouts with promoters. After defecting from Ellison, some women experienced additional financial hardships. Judy Martin stated that after Ellison left the WWF in 1988 (shortly after falling out with Martin and her partner Leilani Kai due to Ellison no longer receiving their booking fees), she sabotaged the duo while they were touring Japan. Martin stated that Ellison contacted Japanese promoters and informed them that the Jumping Bomb Angels were supposed to drop the WWF Women's Tag Team Championship to The Glamour Girls before Martin and Kai returned to the United States. This was contrary to the booking decision made by Pat Patterson before the Japanese tour began. Unable to reach Patterson by telephone, Kai and Martin agreed to drop the titles to the Angels since Ellison had already misinformed the Japanese promoters. Martin stated that upon returning to the United States, Patterson was angry with them and confirmed that nobody within the WWF made the decision for the title change. Shortly thereafter, the WWF phased out the WWF Women's Tag Team Championship. Women that chose to continue allowing Ellison to work as their booker were kept under tight control. Velvet McIntyre was forced to compete against Ellison (whom McIntyre stated she didn't care for) at Wrestlemania 2 instead of competing during an all-women tour of Kuwait with a group of Ellison's other female wrestlers. Women that did not agree to Ellison's booking fees faced limited options. Rhonda Sing stated that Ellison contacted her and offered to let her wrestle Richter in a couple of pay-per-view matches for the WWF in 1985, but demanded she receive half of Sing's pay check; a stipulation Sing was unwilling to accept. Penny Banner stated that her retirement was due in large part to Ellison refusing to allow any of her female wrestlers to accept bookings against Banner, which severely limited the number of bookings that Banner was offered by promoters.

Read more about this topic:  The Fabulous Moolah

Famous quotes containing the words training and/or promoting:

    At present I feel like a caged animal, bound up by the luxury, comfort and respectability of my position. I can’t get the training that I want without neglecting my duty.
    Beatrice Potter Webb (1858–1943)

    The historian’s job is to aggrandize, promoting accident to inevitability and innocuous circumstance to portent.
    Peter Conrad (b. 1948)