By Tim Hornbaker

Television revitalized and ultimately revolutionized professional wrestling.  The regeneration of
support behind the wild and wooly mat sport ended the drought seen in many parts of the country
during the war time years.  Actually going back to the aftermath of the double-cross on unified
champion Danno O’Mahoney in 1936 and the kayfabe-breaking stories released by Dan Parker,
wrestling had declined heavily in many territories.  Madison Square Garden, once the center of the
grappling universe, lost pro wrestling for a number of years as a result.

In the early days of TV, arm chair spectators resting in their living rooms were besieged by wrestling
telecasts from all over the country.  There were the more graphic proceedings from Texas and the
colorful antics of Gorgeous George and “Baron” Michele Leone emanating from Southern
California.  Kinescopes (motion picture film made of the TV projection) of out-of-state action padded
the television schedule around the festive live programming, and in some cities, at least five nights a
week were covered by grappling action.

Highlighting the superstars, their high-flying maneuvers, and the distinct personalities, television
compelled fans to attend live arena shows.  However, at the same time, without a strict management
of wrestling on TV in a particular area, the medium had a seriously adverse affect on house
numbers.  The saturated market in the Los Angeles area collapsed on unsuspecting promoters,
seeing their weekly gates drop at the Olympic Auditorium to under $2,000 in comparison to
averaging upwards of $6,000 months before.  Hugh Nichols at the Legion Stadium in Hollywood was
facing such a decline that his weekly intake was lower than his rent at the arena.

Drastic changes in the way wrestling was shown on TV were implemented.  Certain high-quality main
events were withheld from broadcast, and more attention was given to enticing people to attend live
events.  In addition, booker Johnny Doyle laced the shows of his partners, Nichols, Mike Hirsch, and
Cal Eaton, with top name talent.  His membership in the National Wrestling Alliance protected the
territory and gave him leverage over any potential renegade operations.  With the Eaton’s
connections to the State Athletic Commission and the Governor, there was an iron curtain protecting
their combine.  And business began to flourish again.

The intensity of the common “backstage” quarrels between promoters was turned up to the highest
notch it could go, leaving wounded egos and jealousy running high.  Doyle capitalized on the
opportunities TV presented and not only secured high-paying contracts with stations that made him
rich, but expanded his operation to the point in which he was sending wrestlers to as many as 17
different clubs.  98% of all grapplers in the region were booked through his office.  Nary a major
decision was made by anyone in the region without first consulting Doyle.

Politicking became one of Doyle’s specialties.  He was juggling at least a dozen promoters at a time,
responsible for keeping recognizable wrestling talent going through each city, and maintaining, if not
improving, the individual gate numbers.  He was also working with station managers, the press, and
the umbrella of the NWA, which by the early 1950s was expanding to control all aspects of
professional wrestling in North America.  Additionally, let’s not overlook the fact that Doyle lived to be
social, enjoyed the nightlife, and was pursuing every avenue of indulgence.

The syndicate’s KTLA (channel 5) wrestling broadcast on Thursday nights from the Long Beach
Municipal Auditorium was the most popular on TV between 1950 and 1951 with a viewing audience
of 750,000.  Interest skyrocketed even further when, on June 28, 1951, a new gimmick was
introduced on the regular KTLA program.  A “Beat the Champ” feature was implemented that
evening that would continue in the following weeks, and see former amateur champion and Army
sergeant Joe Pazandak take on all challengers in defense of a jackpot of money.  If a challenger was
able to pin Pazandak within 30-minutes, they’d win the prize, an amount starting at $1,000 the first
week, and rising $100 each week thereafter if Pazandak was able to remain undefeated.  Once the
jackpot reached $2,500, KTLA would donate the money to charity.

Known as “The Champ,” Pazandak became the face of the popular series, and a new cultural
phenomenon was launched.

Pazandak, 37 years of age, was schooled, in part, by Tony Stecher in Minneapolis, and attended the
University of Minnesota.  He was also one of the trainers behind budding superstar, Verne Gagne.  
At the right place at the right time, Pazandak was receiving a huge push with the “Beat the Champ”
series, and week after week, people were going to tune in to see if one of his professional or
amateur challengers were able to finally end his run at the top of the heap.  All combatants were
accepted, as long as they passed a California State Athletic Commission physical exam, and the list
to get their hands on Pazandak was long.

Beating Pazandak was another thing altogether.  As one newspaper columnist noted, he was
capable of mixing showmanship and genuine grappling, and did so flawlessly.  With that sound
skillset, he’d be comfortable against opponents of all backgrounds.  Excitable publicists called him
and Lou Thesz the top two heavyweights in the game.  In his first week on the throne, Joe topped
Hans Schnabel and then went over Sam Menacker.  By week three, now defending the $1,200 prize,
Pazandak pulled double-duty for the TV cameras, beating Tom Rice and Rey Urbano.

Former Navy wrestling champion and San Diego night club bouncer John Venus Jr. challenged him
on July 19, 1951 and, along with Bud Curtis, was defeated.  Two weeks later, he was held to a 30-
minute draw by youngster Leo Garibaldi.  The Swedish Angel and Alex Kasaboski were his victims
on August 16 and Ray Stevens and Bob Corby lost out on the $1,800 prize the following week.  
Pazandak’s streak was gaining some real steam.

A truck driver and regular guy William Bowman stepped up to the plate on September 6 at the
Auditorium in Long Beach and “The Champ” pinned him.  Two other amateurs, J.P Smith and Juan
Ortega were also defeated on September 13.  Adding the challenge of former military wrestling
champions to the drama, the promoters booked Pacific Fleet Navy champion Joe Green and
California state amateur titleholder Henry Swanlund, and neither were able to make a dent in his
record.  Established pros Red Berry, Kola Kwariani, and “Baron” Michele Leone couldn’t beat him
either, although the latter gave him his toughest challenge on November 1, 1951.

The $2,500 jackpot rolled back to square one after the October 11 program, and began again at
$1,000 the week after.  $1,500 was donated by KTLA to the Community Chest.

“Beat the Champ” was a major success, reportedly having one of the highest Hooper ratings of any
hour program on television.  The heavily hyped feature would be shown after one or two of the
regular Long Beach matches, and start around 10:45 p.m.

Surviving the tests of Rube Wright, Enrique Torres, Sandor Szabo, Dave Levin, and Don Arnold,
Pazandak was on his way to another unbeaten streak straight to the $2,500 pot.  This time around,
Johnny Doyle booked NWA World Heavyweight Champion Lou Thesz as his final opponent on
January 31, 1952.  After 30-minutes, Pazandak survived the ordeal and another $1,500 was
donated to charity.  For the third time, the series began with a $1,000 jackpot the following Thursday.

Since the summer before, “The Champ” had been in Long Beach every week for the televised
wrestling program.  When he was not booked for the regular February 28, 1952 show, it came as a
surprise to faithful followers in attendance.  Even though “Beat the Champ” was listed in the
television guide of the local newspaper that day, it is not clear whether or not old video was shown or
if this was the first evidence that KTLA had axed the segment altogether.  The next week, KTLA
offered “In This Corner,” the 1948 boxing film starring Scott Brady at 10:45 p.m. as a replacement
for the popular wrestling feature.

Shockingly, there wasn’t a widespread announcement proclaiming the end of the series, or the
reasoning behind it.  Politics of some sort may have played more of a role than a decline in the
ratings.

Pazandak was missing from his usual role on TV, but the management of another station was
monitoring the situation closely, and looking for a way to capitalize.  It didn’t take long for a decision
to be made regarding “The Champ,” as KECA (channel 7) announced on Saturday, March 15, 1952
that starting that evening, a block of sports programs would run beginning at 7:00.  The first show
would feature Pazandak in a “Pot of Gold” or “Wrestling Jackpot” segment, where he’d accept the
challenge of two competitors.  Using the same formula as the KTLA series, the program on KECA
wouldn’t be able to call the show “Beat the Champ” because the rights were owned by KTLA.

At 7:45, a “Wrestlers’ Roundtable” would be shown from a conference room, and wrestlers,
managers, and even promoters would discuss the ins and outs of the sport.  After that, KECA
completed their evening of sports action with boxing programming.

KTLA continued to offer their Thursday night spectacle from the Long Beach Auditorium, and Dick
Lane called the action, but it was without the heat generated by Pazandak and the drama of the
“Beat the Champ” program.

These changes coincided with another with another major happening that had consequences for
Doyle’s office and even the National Wrestling Alliance.  Throughout the territory, it was common
knowledge that Doyle and his partners specifically tailored their booking arrangements to favor the
shows they had more of a financial interest in.  That meant Hollywood, San Diego, the Olympic
Auditorium, Long Beach, and Ocean Park were always given the prime wrestlers and attention.  
Their responsibilities to affiliated promoters running smaller arenas were considered less important,
and by February 1952, a coup of sorts was being mulled over by a quartet of men who were fed up.

The neglected businessmen were Ernie Steffen at the Wilmington Bowl, Phil Solomon at the Valley
Garden Arena, Tige Clinton at Santa Ana, and Claude Bridges from Pomona.

These promoters felt they had other options, including the creation of their own, independent
booking agency, and possible membership in the NWA.  With better talent coming through, they’d
supply their own needs for a television show without having to seek approval from the Southland
syndicate.  Solomon wrote a letter to NWA President Sam Muchnick seeking membership in the
organization, but was told that because he was just a promoter, he wasn’t allowed in the group.  Only
bookers were in the NWA.  Incidentally, though, Doyle was the Chairman of the NWA Membership
Committee at that same time, and would’ve seen to it that any outsider from his territory seeking
membership be denied.

Steffen reached out to Hardy Kruskamp, a veteran of 20-years and manager of Primo Carnera, and
inquired about the possibility of starting a new booking office to supply them talent.  Kruskamp talked
the situation over with Sandor Szabo, who was also working for booker Joe Malcewicz, and Szabo
agreed to put up around $5,000 to get the operation into motion.

To obtain talent, Szabo and Kruskamp planned to work closely with Malcewicz in San Francisco, and
this new system had all the potential in the world.  Wanting to play by the unwritten “rules,”
Kruskamp went to Los Angeles and met with Doyle.  He told him that he wanted to buy the rights to
the four small arenas from the syndicate, but Doyle replied by saying he had nothing for sale.  
Kruskamp reportedly offered $1,000, and Doyle countered by offering Kruskamp a job.  Hardy
turned it down.

His partner wouldn’t do the same.  Behind Kruskamp’s back, Doyle went to San Francisco and met
with Szabo, offering him a sweet deal that would keep him from working in opposition.  Szabo
agreed, and cancelled all plans of working with Kruskamp as an independent.  Kruskamp’s
preliminary dealings with Sam Muchnick about gaining NWA membership were also faltering majorly.

Any optimism for Kruskamp and the four small arena promoters in that endeavor were gone.  But
there was light at the end of the tunnel for the latter group.  After consultations with Doyle, a new
arrangement was agreed upon that would better support their promotions, and including the rotation
of the Sunday “Wrestling Workouts” between four different arenas, giving each facility a four-week
run on television before shifting to the next building.  Valley Gardens, Ocean Park, South Gate
Arena, and the Wilmington Bowl would be involved in the rotation.

Another concession made by Doyle was to shift the “Pot of Gold” jackpot wrestling series, formerly
known as “Beat the Champ” from the KECA studios on Saturday nights to the Wilmington Bowl and
the South Gate Arena, again using a monthly rotation basis.  This would help alleviate talent
shortages for arenas in Visalia, San Bernardino, Pomona, and Valley Gardens in North Hollywood on
Saturdays.  Beginning on April 22, 1952, “The Champ” Joe Pazandak would be starring in
Wilmington.

Kruskamp was the only one without a guaranteed spot and affiliated himself with Nick Lutze in some
small-time promotions.  His primary money-maker, Primo Carnera, ex-boxing heavyweight champion
and for years a top wrestling attraction, was alienated from Doyle’s office, and struggling to find
work.  Reportedly, Carnera’s name went out NWA-wide, blacklisting him, and some Alliance bookers
wanted Primo to remain inactive for up to six months as punishment after he’d appeared for Lutze on
March 28, 1953.

As for Szabo, he was rewarded when he returned to Southern California as Doyle had promised.  
Because he’d backed out of the Kruskamp deal, Szabo was given the honor of handing the
undefeated “Champ” Joe Pazandak his first loss in two years on April 18, 1952 at Santa Monica, and
then on May 6, 1952, officially took over the “Pot of Gold” jackpot feature on KECA-TV.  Pazandak
was said to be leaving for Australia and Szabo was awarded the championship spot because he had
been the only man to defeat him.  It should be noted that Szabo’s victory over Pazandak on April 18
wasn’t for the jackpot “title.”  The jackpot was only defended on KECA television and the Santa
Monica show wasn’t broadcast on the station.  Pazandak never lost the money prize in the ring.

On May 6, 1952, from the Wilmington Bowl, Szabo successfully retained the $1,800 prize, pinning
Hilo Lee Kolima and holding Hans Schnabel to a 30-minute draw.  Szabo, interestingly, would also
hold ownership in the California Wrestling Office, securing a position that would keep him active in
wrestling for many years.  To think, if he’d turned Doyle down, his role in the business would’ve
turned out so much differently.

Frank Pasquale, on May 13, promoted the “Pot of Gold” jackpot show from the South Gate Arena
and would for four weeks in total.  He later told the Department of Justice that the syndicate only
paid him $25 a week to broadcast the program.  Steffen, at the Wilmington Bowl, where the telecast
ran from June 10, 1952 until March 10, 1953, claimed that he was initially paid $25 a week, but
protested, and saw a raise to $50.  The booking office took the dominant share in all proceeds,
which were substantial.

A few side notes:

The ABC Television Network created “Meet the Champ” in January 1952, and this wasn’t an
extension of the popular “Beat the Champ” wrestling show.  This program featured champion boxers
from the armed services and was shown on 35 stations across the country.

There is some confusion that the “Beat the Champ” championship was the main television title of the
Southern California NWA office, and this is just not true.  It was a TV gimmick for KTLA and then
KECA broadcast the same program under a different name in 1952-’53.  When it was taken off the
air as of Tuesday, April 7, 1953, the formula remained off the air entirely until KCOP started its own
“Beat the Champ” in September 1955 with Hard Boiled Haggerty as the defending champion.  KCOP
may have bought the rights to the show’s name from KTLA.

In the interim, CBS had a national Saturday afternoon wrestling show that premiered on February 6,
1954 at Hollywood Legion Stadium, and featured an “International TV” Title.  This was the main
championship of the program and it had no lineage to “The Champ” Joe Pazandak and the famous
“Beat the Champ” show.  Wilbur Snyder was one of the wrestlers to hold that particular distinction.

The more harmful wrestling wars in Southern California were right around the corner, and people
like Pasquale and Steffen would again find themselves fighting a system that heavily favored their
opposition.  Doyle was also on the outs within a short time, and became a key figure in the
Government’s investigation of anti-trust violations by the NWA.  It would be an odd position to be in
since he’d been at the forefront of isolating rouge wrestlers and promoters in Los Angeles for such a
long period of time.  He’d apparently seen the light.

Or was he just affected by the same corrupt policies he helped enforce.  Can you say “karma?”
Southern California Shenanigans and Beat the Champ