The news of Dusty Rhodes’ passing sent ripples across the American consciousness this week. To wrestling fans, Rhodes was an icon of an era, a powerful kingmaker, and a highly complex figure who had been a part of wrestling’s greatest high- and lowlights in five different decades. To those who know little about wrestling beyond that it’s a thing that some people watch, Rhoades still stood out as a larger-than-life figure. He was a man who you didn’t channel surf past regardless of how you felt about pro wrestling, a captivating figure who came to represent far more than a fake fight ending with a big elbow.
Though his death robbed the wrestling business of one of the last great geniuses from the era of great wrestling geniuses, Rhodes’ legacy can be seen continuing through one of WWE’s hottest commodities, NXT. The build towards Finn Balor facing Kevin Owens in Japan for the NXT Title feels especially marked by Dusty’s touch. The match bears incredible similarity to the main event of one of the most important shows “The American Dream” ever helped put together: Starrcade ’83.
To compare Balor-Owens to Race-Flair may seem far-fetched, considering one represented two men at the pinnacle of the profession while the other is for a developmental title, but if you scale down the splendor that was Starrcade, the tremendous storytelling and structural similarities are clear to see. Both matches feature grizzled, physical heels taking on prettier, more athletic babyfaces. They are both David and Goliath stories in which “hometown” youths take on ugly bullies who came in from the other territory. Each match is strategically located in the place where the hero is most likely to get a megastar reaction: Flair in Greensboro and Balor in Tokyo.
On this week’s episode of NXT, a promo package hyping the upcoming match delivered the pitchline, “Finn Balor Arrives. Tokyo, Japan. July 4th.” The line was remarkably reminiscent of Scarrcade ’83 subtitle “A Flair for the Gold.” Each statement is basically promotional lingo for, “The babyface wins.” An essential part of the build is tipping the audience that they can be assured of consummation and don’t have to worry about being swerved or let down.
Therein lay the brilliance of Dusty Rhodes: he never forgot that for all the cleverness and complexity that can bookers and fans breathe into wrestling, at the end of the day people want to see the babyface win. Even when it was impractical in the large picture, Dusty’s instinct was always to give the people something that looked like a babyface victory. It was that desire to provide the fans with an uplifting moment that led to the creation and eventual over-use of the now-infamous “Dusty Finish.” In a sense, Dusty’s booking was like Marxism: it was highly humanistic and sought to make people happy but was hampered by the over-complexity of all the essential moving parts. Dusty may be gone, but the best parts of him live on.