The modern era of pro wrestling is tremendous, beyond the really depressing lack of proper crowds that we're all bargaining with because we'd be even more profoundly depressed otherwise. That is because, via the advent of AEW and everything that led to it, the scene is less homogenised than it has been for decades plural. This is reflected in the soundtrack.
Kenny Omega's 'Battle Cry' is a relentless blitzkrieg of ethereal synths and shredding guitar that effectively conveys the beauty and propulsion of his snug in-ring. Darby Allin's 'I Fell' is Bauhaus misanthropic sludge that erupts into a shout-along chorus that proves only half of the man is dead inside. The Pinnacle's theme is a modern update on '80s fretboard noodling very much indebted to the Four Horsemen.
WWE's oeuvre is less good. It is shockingly bad/forgettable, in fact, considering that Vince McMahon was once so aware of the importance of an iconic musical accompaniment. Sasha Banks' 'Sky's The Limit' is however a superb update on her iconic NXT theme that plays with a battle sound element.
Persevere through the list, though, because this decidedly wasn't true in the butt rock-tastic 2000s.
The '90s, though, Jesus Christ. Pop after pop after pop after...
32. 1990 - Hulk Hogan
Yes, Hulk Hogan had peaked as a drawing attraction by 1990 and yes, it's hard to put over anything he does all these years later because the man behind the heroic facade is such an awful human being.
But if it was all bullsh*t, and it was, it was such good bullsh*t. 'Real American' was essentially the national anthem of specifically '80s Americana: fist-pumping, oozy cheese with a march to the beat, there's even an ethereal synth element that has the audacity to think any of this is profound. It's so good that it actually becomes profound in the moment.
There's also a backing singer so high on f*ckin' 'Murica that she goes into an orgasmic frenzy during the fade-out.
WRESTLING! AMERICA! YES!