How AEW Might Be Secretly Changing The Game
The fans who liked ECW loved receiving the Sandman as this heavy metal folk hero, but until the move to TNN, there weren't enough of them to absorb too much cost on the sliding scale of exposure. "Real music" was an enormous benefit to ECW's early popularity, particularly since Paul Heyman was so in touch with the trends at the time and had such a winning ability to match music and character. The use of licensed tracks was so inspired because ECW's appeal lay in its contrast to the lame, childish, perceived "fake" fare of the big two.
Are we set for a renewed era of licensed music and the credibility - and roof-removing elation - that comes with it?
AEW's themes are largely very good. A balance must be struck, provided 'Tarzan Boy' is not a mere "Christmas present" but the trial of a new strategic ploy. Mikey Rukus does excellent work - he nailed Sting's mystique and grandeur to pen an instantly, suitably iconic theme - and Kenny Omega's 'Battle Cry' (composed by Little V) is another of AEW's characterful mini-masterpieces.
Jon Moxley's 'Unscripted Violence' theme bangs. But Pantera's 'Cowboys From Hell' would bang harder. Give Joey Janela 'Protovision'. Give Orange Cassidy 'Jane'.
AEW has thus far pulled WWE's pants down in the popular vote - and taken the demos far earlier than analysts projected - by shredding the competition's in-house guide as their own.
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