The Journeyman: Max Maverick Part 3 0

And now, the third and final part of The Max Maverick interview. MG: Who’s been your favorite opponent to work with? and least favorite?

MM: I love working Steve O’Malley and Rob Anarchy. With O’Malley, it’s easy. We know each other so well we can just go out there and riff. Same with Anarchy. He’s fun to throw around. Roosevelt’s another guy I’d put on my list. My least favorite is Red Dragon. I’m not going to delve too deeply into that one, but it’s just not good when he’s in a ring, from anyone’s perspective.

MG: At this point in the interview, Max and I were unable to speak for several weeks. During this time, Max worked a few local shows that were at opposite ends of the spectrum on his list of life experiences. . .
So you’ve worked a couple of shows since we last spoke. would you like to relate those experiences for the interview?

MM: In the span of a month, I’d went from one extreme to the other extreme as far as shows go. I did a show in Pascagoula for Adrian Whisper, XIW. It’s the most professional shows around here I do. Whisper has the card well planned out before hand, the show runs smooth, and the boys are there to do a good job. I refed some matches and wrestled in one. The biggest difference though, is the locker room. With Whisper’s show, we’re all chilled out together, talking smack, running our mouths, having a good time together; whereas in other promotions, some boys will be in one corner, others on the other side, and a couple chilling out by themselves. I’m not saying that’s necessarily a bad thing, to each their own, but it’s nice having all the boys chilling out and goofing with each other.

The other extreme I mentioned happened shortly thereafter. The promoter/booker actually wasn’t able to make the show due to personal reasons which I won’t hold against him because, hey, life happens. But the boys commandeered the show, booked it, and ran with it. I’ve gone on at lengths about it shortly thereafter, and the major heat’s died down, so I won’t go much into it, but it had many elements that drag down the indy scene.

MG: Both vastly different experiences. How indicative of the local scene were these shows in your mind?

MM: You’ve got good and bad. Half the issue is promoters. There are those that just want to run a show so they can wrestle and don’t want to actually promote. They don’t advertise, they don’t take care of the boys. When a promoter tells you he’s paying off the door, you’re not going to get what you deserve. A promoter should have his money lined up for the building, the ring, equipment, commission fees, advertising, and to pay your boys before the door opens.

The good ones know these things and do it. I’ve been working with Darrell for Hard Knocks Wrestling, and yeah, it’s been a bit since we’ve done a show, but we decided if we can’t do it right, then we won’t do it, and that’s the way it should be.

The other half is the boys. You’ve got guys who think they are better than they are, and if they were half as good as they thought they were, they’d be twice as good as they are now. Bad workers don’t know they’re bad workers. It’s an ego thing. I can accept the guys who know their limitations and are open to learning and getting better and want to get better. We’ve got good guys in the area, enough to run a good show.

MG: Would you give your thoughts on the mainstream wrestling scene?

MM: Going mainstream, I’d say things are on an upswing. I’m not an active watcher of what’s on TV, but I follow what I can. WWE is starting to do some new things, different things. CM Punk doing his thing, and I swore hell froze over when Bryan Danielson won the big belt. Even TNA is perking up with what they’re doing with their title scene. As the economy gets better, more money will come to the big time, and that trickles down to the indies.

MG: I understand you have a friend, a masked luchadore called the Blue Puma. would you tell us about him?

MM: He’s the quiet sort, but he’s an intense competitor in the ring. Intensity is key with the Blue Puma. I understand he’s getting ready to unleash a darker side of him.

MG: What music do you use for your entrances and how does it relate to your character?

MM: I use “Let it Rock” by Kevin Rudolf. It’s got a self-hype type of feel to it. I’ve used other songs. I don’t get too into entrance music, a song plays, a guy comes out. It’s not a very important thing to me. I’ve come out to something with banjos playing and so I just made it work.

MG: That’s an interesting perspective, because I’ve always felt that intro music was a key way to bring a wrestler’s persona across to the audience.

MM: I’m not saying it adds nothing, but frequently music gets screwed up, your song won’t play or they’ll play the wrong song or play nothing at all, and you’ve still got to go. No one around here is a big enough star to refuse to go out unless their song is playing.

The key to making an impact on your entrance is the energy you give out as a wrestler. They did it for years without music. I wouldn’t recognize the song most of the guys go out to as their music anyways.

MG: Any final words?

I’d like to tell everyone out there if you want to see one of the best cruiserweights in the area, let your voice be heard. Max Maverick’s ready to tear up the scene. Promoters, give me a call, you won’t be disappointed.

MG: Thanks, Max.