By Jesse Marx
By Chris Parker
By Jake Rossen
By Jesse Marx
By Michelle LeBow
By Alleen Brown
By Maggie LaMaack
By CP Staff
Around the same time, Sharkey met Lenny Montana, who would later achieve cinematic fame playing the role of mob hit man Luca Brasi in The Godfather. Montana was a popular wrestler, a fast-talking East Coast guy. After striking up a friendship, Montana clued Sharkey in on the then-unacknowledged truth about professional wrestling: The outcomes are all predetermined. "Everyone suspected it, but there was always an air of mystery, and you never quite knew," Sharkey remembers. A strict code of silence among wrestlers helped foster the illusion. "You'd talk to your fellow wrestlers about it. Anyone else, you'd die first. You wouldn't tell your own mother. And if you smartened anyone up, you'd get fired. Right away. That's just the way it was."
For contemporary viewers of professional wrestling, it is hard to imagine anyone would be suckered by the sport's obvious choreography. But wrestling fans, young and old, were a less skeptical bunch back in the day. Even the great orchestra conductor Arturo Toscanini was among the millions duped by the spectacle. "He would be backstage at the Metropolitan Opera, watching the matches on TV, and he would be shouting, 'Keel heem! Keel heem!'" recalls wrestling historian Bert Sugar. "And he believed it was real. He absolutely believed it. That's the way it was."
Ironically, Sharkey got his toehold in the world of staged combat as a result of many bona fide brawls. As Sharkey tells it, back in 1961 Verne Gagne was on the lookout for genuine tough guys to round out the AWA roster. One night Sharkey was dining with a handful of AWA wrestlers at Luigi's Café, a favorite hangout of the group, when a fellow patron sucker-punched a woman sitting nearby. "I got up and knocked him out with a left hook, and then his buddy came running at me and I hit him with a right-hand. Boom! He went down." Word of the smiting spread, and two weeks later Sharkey was offered a fill-in spot on an AWA card in Fargo.
Despite his carnival experience, Sharkey was pretty raw. And his debut, he allows cheerily, was lousy. But he soon became popular among fans as a good guy or a "face," which in wrestling parlance is short for "baby face." "Eddie was a real popular face. I used to watch him all the time when I was a kid," remembers Mick Karch, a longtime Twin Cities wrestling announcer. "About once a year he'd get to wrestle Danny Hodge, who was an Olympic champion wrestler and very, very popular. Of course, Eddie would always get beat. But he was a good, solid wrestler."
For the next decade, Sharkey honed his craft; usually in Minnesota, but also in San Francisco, Salt Lake City and Denver. If his act got stale, he would hit the road and work another territory. In the ring, Sharkey was almost always a face. Outside the ring Sharkey continued to scrap whenever the opportunity presented itself. "I think I knocked out more guys on Hennepin Avenue than anyone in the history of Hennepin Avenue," Sharkey says. "I was young, in shape, and I didn't give a shit about anything. I thought it was wonderful."
Sometimes, Sharkey's altercations were with wrestling fans. And sometimes, he says, a matter of self-defense. "Nowadays, you can associate freely with the fans, but back then it was a totally different story. They could be a scary bunch of people because they believed it was real," he says. "Wrestlers got stabbed sometimes, and they got attacked a lot. And we could fight back, because there weren't any lawsuits." In one memorable albeit gruesome episode following an event in Denver, Sharkey rushed to the defense of well-known champion Harley Race, who was mixing it up with an agitated fan. "The guy was biting Harley's finger, and so I grabbed him and I was gonna stick my hand in his eye, on the outside corner. But when I reached down, I stuck my finger in an empty socket. Harley had pulled the guy's eye out. So off they went to the hospital. They stitched up Harley's finger, and put the guy's eye back in the socket, and that was it."
Ron Peterson, a former wrestler turned boxing promoter, first met Sharkey in the mid-Sixties. Sharkey was already established and Peterson knew him by reputation alone. "He was my role model. I was a starstruck, stupid kid, and I'd seen him on TV. On TV, he was the quintessential good guy: all-American, rough and tough, always ready to climb in there with the monsters," Peterson says. "But in truth, he was just a tough prick. He was a little man, and he had that little-man complex, and he started the fights and he beat people up to earn recognition. That was the story. He was to be feared because he wasn't afraid of anybody."
As the years wore on, Sharkey grew weary of the constant travel. Looking for another source of income in the late Sixties, he partnered up with Peterson on the first of several mutual business ventures, opening a massage parlor in downtown Minneapolis. Around that same time he became smitten with a woman wrestler named Dixie Jordan. Like Sharkey, Jordan worked for the AWA, wrestling under the name Princess Littlecloud. In the early 70s, an episode involving the Princess cemented Sharkey's reputation as a wild man. According to Peterson, it all began when Sharkey caught wind of the AWA's plans to send Princess Littlecloud to Japan. As Sharkey, the Princess, and Peterson sat at a downtown tavern discussing the matter, Sharkey grew convinced that Gagne had improper designs on his girlfriend. Incensed, he marched down to the old Dykeman Hotel in downtown Minneapolis, where the AWA had its headquarters, and proceeded to shoot up the empty offices with a 9 mm pistol. (Sharkey confirms the story, but prefers not to discuss the details. Gagne, who insists he doesn't remember Princess Littlecloud, says he was never certain who shot up his offices, though he always suspected Sharkey.)