Zebu oxen in Mumbai, India.

An ox (plural oxen), also known as a bullock in Australia, New Zealand and India, is a bovine trained as a draft animal. Oxen are commonly castrated adult male cattle; castration makes the animals more tractable. Cows (adult females) or bulls (intact males) may also be used in some areas.

Oxen are used for plowing, for transport (pulling carts, hauling wagons and even riding), for threshing grain by trampling, and for powering machines that grind grain or supply irrigation among other purposes. Oxen may be also used to skid logs in forests, particularly in low-impact, select-cut logging.

Oxen are usually yoked in pairs. Light work such as carting household items on good roads might require just one pair, while for heavier work, further pairs would be added as necessary. A team used for a heavy load over difficult ground might exceed nine or ten pairs.

Training[link]

A team of ten pairs of oxen in Australia.

Working oxen are taught to respond to the signals of the teamster, bullocky or ox-driver. These signals are given by verbal command and body language, reinforced by a goad, whip or a long pole (which also serves as a measure of length: see rod). In pre-industrial times, most teamsters were known for their loud voices and forthright language.

Verbal commands for draft animals vary widely throughout the world. In North America, the most common commands are:

• Get up: go
• Whoa: stop
• Back: back up
• Gee: turn to the right
• Haw: turn to the left

In the New England tradition, young castrated cattle selected for draft are known as working steers and are painstakingly trained from a young age. Their teamster makes or buys as many as a dozen yokes of different sizes for each animal as it grows. The steers are normally considered fully trained at the age of four and only then become known as oxen. In other traditions, adult cattle with little or no prior human conditioning are often yoked and trained as oxen. This is done for economy, as it is easier to let a calf be raised by its mother, and for lack of adequate methods for housing and feeding young calves.^[1]

A tradition in south eastern England was to use oxen (often Sussex cattle) as dual-purpose animals: for draft and beef. A plowing team of eight oxen normally consisted of four pairs aged a year apart. Each year, a pair of steers of about three years of age would be bought for the team and trained with the older animals. The pair would be kept for about four years, then sold at about seven years old to be fattened for beef – thus covering much of the cost of buying that year's new pair. Use of oxen for plowing survived in some areas of England (such as the South Downs) until the early twentieth century. Pairs of oxen were always hitched the same way round, and they were often given paired names (as in the well-known example of the names of Santa Claus's reindeer: Dasher and Dancer, Prancer and Vixen, Comet and Cupid, Donner and Blitzen). In southern England it was traditional to call the near-side (left) ox of a pair by a single-syllable name and the off-side (right) one by a longer one (for example: Lark and Linnet, Turk and Tiger).^[2]

Ox trainers favour larger animals for their ability to do more work. Oxen are therefore usually of larger breeds, and are usually males because they are generally larger. Females can also be trained as oxen, but as well as being smaller, they are often more valued for producing calves and milk. Bulls are also used in many parts of the world, especially Asia and Africa.^[3][4]

Shoeing[link]

A single left-hand ox shoe of the type used for large Chianina oxen in Tuscany

Karel Dujardin, 1622–1678: A Smith Shoeing an Ox

Working oxen usually require shoes,^[5] although in England not all working oxen were shod.^[6] Since their hooves are cloven, two shoes or ox cues are required for each hoof, unlike the single shoe of a horse. Ox shoes are usually of approximately half-moon or banana shape, either with or without calkins, and are fitted in symmetrical pairs to the hooves. Unlike horses, oxen are not easily able to balance on three legs while a farrier shoes the fourth.^[5][7] In England, shoeing was accomplished by throwing the ox to the ground and lashing all four feet to a heavy wooden tripod until the shoeing was complete.^[5] A similar technique was used in Serbia^[8] and, in a simpler form, in India,^[9] where it is still practiced.^[10] In Italy, where oxen may be very large, shoeing is accomplished using a massive framework of beams in which the animal can be partly or completely lifted from the ground by slings passed under the body; the feet are then lashed to lateral beams or held with a rope while the shoes are fitted.^[11][12]

Ox shoeing sling in the Dorfmuseum of Mönchhof, Austria; a pair of ox shoes is attached to the near left column

Such devices were made of wood in the past, but may today be of metal. Similar devices are found in France, Austria, Germany, Spain, Canada and the United States, where they may be called ox slings, ox presses or shoeing stalls.^[7][13][14] The system was sometimes adopted in England also, where the device was called a crush or trevis; one example is recorded in the Vale of Pewsey.^[6] The shoeing of an ox partly lifted in a sling is the subject of John Singer Sargent's painting Shoeing the Ox,^[15] while A Smith Shoeing an Ox by Karel Dujardin shows an ox being shod standing, tied to a post by the horns and balanced by supporting the raised hoof.

Uses and comparison to other draught animals[link]

Riding an ox in Hova, Sweden.

Oxen can pull heavier loads, and pull for a longer period of time than horses depending on weather conditions.^[16] On the other hand, they are also slower than horses, which has both advantages and disadvantages; their pulling style is steadier, but they cannot cover as much ground in a given period of time. For agricultural purposes, oxen are more suitable for heavy tasks such as breaking sod or ploughing in wet, heavy, or clayey soil. When hauling freight, oxen can move very heavy loads in a slow and steady fashion. They are at a disadvantage compared to horses when it is necessary to pull a plow or load of freight relatively quickly.

For millennia, oxen also could pull heavier loads due to the use of the yoke, which was designed to work best with the neck and shoulder anatomy of cattle. Until the invention of the horse collar, which allowed the horse to engage the pushing power of its hindquarters in moving a load, horses could not pull with their full strength because the yoke was incompatible with their anatomy.^[1]

Well-trained oxen in general are also considered less excitable than horses.

See also[link]

• Aurochs
• Bullock cart (ox-cart)
• Bullocky (ox-driver, teamster)
• Ox-wagon (bullock wagon)
• Oxtail
• Ridge and furrow
• Ox

References[link]

External links[link]

Wikimedia Commons has media related to: Oxen

• Don't Knock the Ox, Canadian short showing ox-shoeing and ox-pulling
• Rural Heritage-Ox Paddock
• Two articles about oxen compared with horses

Rapper Vordul Mega (a.k.a. Vordul Megallah) (born Shamar Gardner on March 24, 1979) is one-half of underground hip hop duo Cannibal Ox and a member of the hip hop group Atoms Family. Vordul's debut solo album, Revolution Of Yung Havoks, was released in 2004. That same year, Vordul Mega also put out a supplemental compilation LP composed of new and rare work, some of which was not included on Revolution Of Yung Havoks. This second album, titled Yung World, features guest appearances by Aesop Rock, PR Terrorist (also known as Dom Pachino), Keith Masters and Billy Woods. It was released exclusively through Sandbox, an online retailer based in New York City. Vordul's counterpart and fellow Cannibal Ox member Vast Aire appears with Vordul on a track titled "Handle That" from Vordul's Revolution Of Yung Havoks. Vast Aire released a solo album called Look Mom... No Hands earlier in 2004.

Vordul has also been involved in numerous side projects with record labels ranging from Think Differently Music to Backwoodz Studioz to Embedded Music. Perhaps most notable among these side-projects has been his work with Billy Woods on the 2002 album Camouflage. Although the album was billed as a collaborative effort, it has since come to be viewed as Billy Woods' solo debut, despite Vordul's presence on one-third of the tracks. Nevertheless, Camouflage's limited pressings, quirky production, and socio-political commentary right after the September 11th attacks garnered some accolades.

In 2005, Vordul again collaborated with Backwoodz Studioz as part of a ten-member ensemble of New York based MC's called The Reavers. The Reavers include artists Akir, Vordul Mega, Karniege, Billy Woods, Dom Pachino, Kong, Keith Masters, Goldenchild, Privilege, Hasan Salaam and Spiga. The group thus incorporates members of several New York crews and collectives including Cannibal Ox, Monsta Island Czars, Backwoodz Studioz, Killarmy, and 5th Column. Terror Firma, The Reavers' debut album, was applauded in some circles for its creativity and gritty aesthetic, despite being poorly-received by other critics. Shortly afterwards, Definitive Jux announced that it had signed Vast Aire and Vordul Mega to do a second Cannibal Ox album with El-P.

Discography[link]

• Revolution Of Yung Havoks (2004)
• Yung World (2005)
• Megagraphitti (2008)

External links[link]

• Cannibal Ox profile at Definitive Jux
• 2008 Interview Cool 'Eh Magazine

This biographical article related to hip hop music in the United States is a stub. You can help Wikipedia by expanding it. v t e

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2007)

John Entwistle
Entwistle in 1978
Background information
Birth name	John Alec Entwistle
Also known as	The Ox, Thunderfingers
Born	9 October 1944 (1944-10-09) Chiswick, London, England
Died	27 June 2002 (2002-06-28) (aged 57) Paradise, Nevada, United States
Genres	Rock, art rock, hard rock, power pop
Occupations	Musician, songwriter, record producer, musical arranger
Instruments	Bass guitar, french horn, double bass, vocals, guitar, piano, harmonica, trumpet, jaw harp, trombone, cello,Electric Guitar,Triangle
Years active	1962–2002
Labels	Polydor, MCA
Associated acts	The Who, The John Entwistle Band, Gov't Mule, Led Zeppelin
Website	johnentwistle.com
Notable instruments
Alembic Exploiter Warwick Buzzard Gibson Thunderbird Status Graphite Buzzard Fender "Frankenstein" Precision Bass

John Alec Entwistle (9 October 1944 – 27 June 2002) was an English bass guitarist, songwriter, singer, horn player, and film and record producer who was best known as the bass player for the rock band The Who. His aggressive lead sound influenced many rock bass players.^[1][2] He was inducted into the Rock and Roll Hall of Fame as a member of the Who in 1990.

Entwistle's lead instrument approach used pentatonic lead lines, and a then-unusual trebly sound ("full treble, full volume") created by roundwound RotoSound steel bass strings. He had a collection of over 200 instruments by the time of his death, reflecting the different brands he used over his career: Fender, Danelectro, and Rickenbacker basses in the 1960s, Gibson and Alembic basses in the 1970s, Warwick in the 1980s, and Status all-Carbon fibre basses in the 1990s. In 2011, a Rolling Stone reader poll selected him as the No. 1 rock bassist of all time.^[3]

Birth and early career[link]

John Alec Entwistle was born in 1944 into a musical family in Chiswick, a London suburb. His father Herbert played trumpet and his mother, Queenie Maud Johns Entwistle (29 November 1922 – 4 March 2011), played piano. His parents' marriage failed soon after he was born, and Entwistle was mostly raised by his grandparents. He attended Acton County Grammar School and joined the Middlesex Youth Orchestra. His initial music training was on trumpet, french horn and piano, all three of which would feature in his later rock compositions.

In the early 1960s, Entwistle played in several traditional jazz and Dixieland outfits. He formed a duo called The Confederates with schoolmate Pete Townshend, and later joined Roger Daltrey's band The Detours, playing a major role in encouraging Townshend's budding talent on the guitar, and insisting that Townshend be admitted to the Detours as well. After changes in personnel, Daltrey had fired all members of his band with the exception of Entwistle, Townshend, and the drummer, Doug Sandom, although it was only because he had not yet found a drummer with sufficient talent to replace him. Upon the entry of Keith Moon to the band, Daltrey relinquished the role of guitar to Townshend, becoming frontman and lead singer in the band, while the band considered several changes of name, temporarily performing as the High Numbers, and finally settling on the name The Who. When the band decided that the blond Daltrey needed to stand out more from the others, Entwistle dyed his naturally golden hair black, and it remained so until the early 1980s. Around 1963 Entwistle played in a London band called The Initials for a short while; the band split when a planned resident stint in Spain fell through.

Entwistle picked up two nicknames during his tenure as a musician. He was nicknamed "The Ox" because of his strong constitution and seeming ability to "eat, drink or do more than the rest of them." Bill Wyman, bassist for the Rolling Stones, described him as "the quietest man in private but the loudest man on stage." Entwistle who was one of the first to make use of Marshall stacks, in an attempt to hear himself over the ruckus of his bandmates, who famously leapt and moved about on the stage, with Townshend and Moon smashing their instruments on numerous occasions. (Moon even employed explosives in his drum kit during one memorable performance). Pete Townshend later remarked that John started using Marshalls in order to hear himself over drummer Keith Moon's rapid-fire drumming style, and Townshend himself also had to use them just to be heard over John. They both continued expanding and experimenting with their rigs, until (at a time when most bands used 50–100 watt amplifiers with single cabinets) they were both using twin Stacks with new experimental prototype 200 watt amps. However, no matter what was taking place on stage, Entwistle stood by calmly and quietly, while plucking the strings very fast, in what was later described as his "typewriter" technique of playing, which earned him the name "Thunderfingers" by his bandmates and some fans of the Who. The band had a strong influence on the equipment of their contemporaries at the time, with Cream and the Jimi Hendrix Experience both following suit. Although they pioneered and directly contributed to the development of the "classic" Marshall sound (at this point their equipment was being built/tweaked to their personal specifications), they would only use Marshalls for a couple of years. Entwistle eventually switched to using a Sound City rig in search of his perfect sound, with Townshend following suit later as well. Townshend points out that Jimi Hendrix, their new label mate, was influenced beyond just the band's volume. Both Entwistle and Townshend had begun experimenting with feedback from the amplifiers in the mid-1960s, and Hendrix had not begun destroying his instruments until after he had witnessed The Who's "auto-destructive art".

Entwistle backstage with The Who, 1967

Entwistle's wry and sometimes dark sense of humour clashed at times with Pete Townshend's more introspective work. Though he continued to contribute material to all of The Who's albums, with the exception of Quadrophenia, his frustration with having his material recorded by the band, only to relinquish the position of vocalist to Daltrey, was a large part of the reason^{[citation needed]} he became the first member of the band to release a solo record, Smash Your Head Against the Wall (1971). The only member of the band to have had formal training, he contributed backing vocals and performed on the French horn (heard in "Pictures of Lily"), trumpet, bugle, and jaw harp, and on some occasions (generally at least once per album & concert), lead vocalist on his compositions, the only exceptions being the first verse of "Happy Jack" and Ivor's part on "A Quick One, While He's Away". Examples are on Tommy, ("Cousin Kevin", "Fiddle About"), on the live favourite "Heaven and Hell", and on Who's Next ("My Wife"). He layered several horns and performed all pieces to create the brass as heard on songs such as "5:15", among others, while recording the Who's studio albums, and for concerts, arranged a horn section to perform with the band. In concert, Entwistle was content to stand quite still beside the uproar onstage, delivering dense and high-energy body to the music, but taking the spotlight only when singing lead. The exception was blinding illumination of his roaring solo notes in opening "Pinball Wizard".

Entwistle playing at Maple Leaf Gardens, Toronto 1976 Photo: Jean-Luc Ourlin

Entwistle also experimented throughout his career with "bi-amping," where the high and low ends of the bass sound are sent through separate signal paths, allowing for more control over the output. At one point his rig became so loaded with speaker cabinets and processing gear that it was dubbed "Little Manhattan," in reference to the towering, skyscraper-like stacks, racks and blinking lights.

His "full treble, full volume" approach to bass sound was originally supposed to be captured in the bass solo to "My Generation". According to Entwistle, his original intention was to feature the distinctive Danelectro Longhorn bass, which had a very twangy sound, in the solo, but the strings kept breaking. Eventually, he recorded a simpler solo using a pick with a Fender Jazz Bass strung with LaBella tapewound strings. This solo bass break is important as it is one of the earliest bass solos (if not the first) captured on a rock record. A live recording of The Who exists from this period (c. 1965), with Entwistle playing a Danelectro on "My Generation", giving an idea of what that solo would have sounded like.

Late career[link]

In 1990 he toured with The Best, a short-lived supergroup which also included Keith Emerson, Joe Walsh, Jeff "Skunk" Baxter and Simon Phillips. Toward the end of his career, he formed "The John Entwistle "Project"" with longtime friend, drummer Steve Luongo, and guitarist Mark Hitt both formerly of Rat Race Choir. Out of that, came "The John Entwistle Band". Godfrey Townsend ("no 'h', no relation" [to Pete]) replaced Mark Hitt on guitar and took over lead vocals. In 1996, the band went on the "Left for Dead" tour with Alan St. Jon on keyboards. After Entwistle toured with The Who for Quadrophenia in 1996–97, the Entwistle band set off on the "Left for Dead – the Sequel" tour in late 1998, now with Gordon Cotten on keyboards. After this second venture, the band released an album of highlights from the tour, called Left for Live. In 1995 Entwistle also toured and recorded with Ringo Starr in one of the incarnations of Ringo's "All-Starr Band". This one also featured Billy Preston, Randy Bachman, and Mark Farner. In this ensemble, he played and sang "Boris the Spider" as his Who showpiece, along with "My Wife". Towards the end of his career he used a Status Graphite Buzzard Bass, which he designed. From 1999 to early 2002, John played as part of The Who. As a side project, John played bass in a country-rock album project of original songs called the Pioneers, with Mickey Wynne on lead guitar, Ron Magness on rhythm guitar and keyboards, Roy Michaels on vocals and John Delgado doing drums. The album was released on Voiceprint Records. Shortly before his death, Entwistle had agreed to play some US dates with the band including Nashville's Grand Ole Opry, following his final upcoming Who tour.

In 2001 he played in Alan Parsons' Beatles tribute show "A Walk Down Abbey Road". The show also featured Ann Wilson of Heart, Todd Rundgren, David Pack of Ambrosia, Godfrey Townsend on guitar, Steve Luongo on drums, and John Beck on keyboards. Between that tour and his prior tour with Ringo, Entwistle joked that he had played "Yellow Submarine" more often than Paul McCartney. That year he also played with The Who at The Concert for New York City. He also joined forces again with "The John Entwistle Band" for an 8 gig tour. This time Chris Clark was on Keyboards. In January–February 2002 John played his last concerts with The Who in a handful of dates in England, the last being 8 February in London's Royal Albert Hall. In late 2002, an expanded 2-CD Left for Live Deluxe was released, highlighting The John Entwistle Band performances.

Death[link]

Entwistle died in hotel room 658 at the Hard Rock Hotel and Casino in Las Vegas on 27 June 2002 one day before the scheduled first show of The Who's 2002 US tour. He had gone to bed that night with a stripper/groupie, Alycen Rowse, who woke at 10 am to find Entwistle cold and unresponsive. The Clark County medical examiner determined that death was due to a heart attack induced by cocaine.^[4] His funeral was held at St Edward's Church in Stow-on-the-Wold, Gloucestershire, England, on 10 July 2002. He was cremated and his ashes were buried privately. A memorial service was held on 24 October 2002 at St. Martin-in-the-Fields, Trafalgar Square, London. Entwistle's enormous collection of guitars and basses was auctioned at Sotheby's in London by his son, Christopher Entwistle, to meet anticipated duties on his father's estate. Joy Division/New Order bassist Peter Hook is among those who acquired some of Entwistle's basses at the auction.

His mansion in Stow-on-the-Wold in the Cotswolds and a number of his personal effects were later sold off to meet the demands of the Inland Revenue; coincidentally, Entwistle worked for the agency in 1962-3, prior to joining The Who. While the band – including Entwistle and Moon – recorded with a multitude of instruments, they always performed as a four-piece band. Following his death, Moon was replaced not only by Small Faces/Faces drummer Kenney Jones and later Simon Phillips and then Zak Starkey (son of Ringo Starr), but The Who also added keyboardist John "Rabbit" Bundrick to the live band. Similarly, when Entwistle died, his place in the live band was filled by Pino Palladino, with second guitarist Simon Townshend (Pete Townshend's brother) having been added at rehearsals just weeks before Entwistle's death.

At least one aspect of Entwistle`s life came out after his death even for his closest fellows and The Who members. "It wasn’t until the day of his funeral that I discovered that he’d spent most of his life as a freemason", said Pete Townshend.^[5]

Welsh-born bassist Pino Palladino, who played on several of Pete Townshend's solo records, took over for Entwistle on stage when The Who resumed their postponed US tour on 1 July 2002.^[6] Pete Townshend and Roger Daltrey spoke at length about their reaction to Entwistle's death. Some of their comments can be found on The Who Live in Boston DVD. Geddy Lee, of the band Rush, dedicated their performance of the song "Between Sun and Moon" to Entwistle on the opening night of their Vapor Trails tour which began the following night on 28 June 2002 in Hartford, Connecticut.^{[citation needed]}

Technique[link]

Entwistle performing at the Manchester Apollo in 1987

Entwistle's technique ranged from using fingers, plectra and tapping to using harmonics in his passages. He would change the style of play between songs and even during songs to change the sound he produced. His fingering technique would involve pressing down on the string hard and releasing in an attempt to reproduce a trebly, twangy sound. Note, however, that he would change his thumb position from pick-up, to the E string and occasionally even allowing his thumb to float near the pick-up. His plectrum technique would involve holding the plectrum between his thumb and forefinger, with the rest of his fingers outstretched for balance.

Entwistle's playing style was rarely captured well in the studio. He was better heard in concert, where he and guitarist Pete Townshend frequently exchanged roles, with Entwistle providing rapid melodic lines and Townshend anchoring the song with rhythmic chord work. Indeed, Townshend noted that Entwistle did the rhythmic timekeeping in the band, fulfilling the role of the drummer. Moon, on the other hand, with all his flourishes around the kit, was like a keyboard player. In 1989, Entwistle pointed out that, according to modern standards, "The Who haven't a proper bass player."^[7]

Entwistle also developed what he called a "typewriter" approach to playing the bass. It involved positioning the right hand over the strings so all four fingers could be used to tap percussively on the strings, causing them to strike the fretboard with a distinctive twangy sound. This gives the player the ability to play three or four strings at once, or to use several fingers on a single string. It allowed him to create passages that were very percussive and melodic. He used this approach to mimic the fills used by his drummers in band situations, sometimes sending the fills back at the drummers faster than the drummers themselves could play them.

This method is unique and should not be confused with the hammer-on tapping techniques of Eddie Van Halen and Stu Hamm or the slapping technique of Larry Graham, and in fact pre-dates these other techniques. A demonstration of this approach to bass playing can be seen on a video called John Entwistle – Master Class, part of Arlen Roth's Hot Licks instructional series, as well as Mike Gordon's film, Rising Low, where Entwistle can be seen frequently using his fore, middle, and ring fingers on his right hand when playing. This allowed him to create "clusters of notes" in his bass lines, as well as play triplets with relative simplicity. Notable in his left-handed technique is his use of slides, positioning the left hand for octaves and his use of the pentatonic scale.^{[citation needed]}

Influence[link]

Entwistle identified his influences as a combination of his school training on French horn, trumpet, and piano (giving his fingers strength and dexterity). Musicians who influenced him included rock & roll guitarists Duane Eddy and Gene Vincent, and American soul and R&B bassists such as James Jamerson.^[8] In turn, Entwistle has been a massive influence on the playing styles and sounds used by generations of bass players that have followed him, including Geezer Butler,^[9] Steve Harris, Matt Freeman, Krist Novoselic, Ian Hill, Geddy Lee,^[10] Billy Sheehan,^[11] Victor Wooten,^[12] Tom Petersson,^[13] and Chris Squire.^[14] Entwistle continues to top 'best ever bass player' polls in musicians magazines. In 2000, Guitar magazine named him "Bassist of the Millennium" in a readers' poll.^[15] J. D. Considine ranked Entwistle no. 9 on his list of "Top 50 Bass Players".^[16] He was named the second best bassist on Creem Magazine's 1974 Reader Poll Results.^[17] In 2011, a Rolling Stone reader poll selected him as the No. 1 bassist of all time.^[3]

Equipment[link]

This is a list of Entwistle's amps and guitars in chronological order of which he used them:

• Fender Precision Bass (sunburst, refinished to white in 1965)
• Gibson EB-2 semi-acoustic bass (natural)
• Mosrite Ventures Bass
• Danelectro long-horn bass
• Fender Jazz Bass (sunburst)
• Rickenbacker 4001S bass
• Gretsch 6070 Hollow Body Bass
• Gibson EB-3 bass
• Fender Bass VI
• Vox Cougar Sidewinder IV V272 bass in a burgundy-grain finish
• Custom “Axe” Jazz bass – seen using one with a thunderbird neck in "Tommy"
• Custom-made “Spider” bass
• Fender Precision Bass (slab body) in Olympic White, with maple neck
• Sunburst Fender Precision Bass with rosewood fretboard and tortise shell pickguard
• “Frankenstein” Fender Precision Bass with maple neck (made from several different Fender basses, and Entwistle's main stage and studio bass from 1967–1971)
• Vox Violin Bass
• Fender Precision Bass with rosewood fingerboard (black)
• Rickenbacker 4005 hollow body bass
• Gibson Thunderbird IV bass (both "Reverse" and "Non-Reverse"-styles)
• "Fenderbird" basses (consisted of Gibson Thunderbird bodies (mostly "non-reverse" styles) and maple Fender Precision bass necks)
• Rickenbacker 4005LS "Lightshow" hollow body bass
• Alembic Series I basses
• Fender “Explorer-Bird” (studio only)
• Rickenbacker 4001 prototype 8-string bass (white)
• Alembic Series I Exploiter basses, 4 & 8 string
• Custom Peter Cook “Lightning Bolt” bass
• Modulus Buzzard graphite bass (with Warwick body, green)
• Warwick custom Buzzard JE
• Alembic Spyder Bass
• Status Graphite JE Buzzard Bass
• Mellophone (Marching French Horn)

Discography[link]

References[link]

External links[link]

Wikimedia Commons has media related to: John Entwistle

• JohnEntwistle.com
• John Entwistle Photo Galleries
• The John Entwistle Foundation
• The Who's Marshall history
• John's gear reference

v t e The Who Roger Daltrey Pete Townshend John Entwistle Keith Moon Kenney Jones John "Rabbit" Bundrick Pino Palladino Doug Sandom Zak Starkey Simon Townshend Studio albums My Generation A Quick One The Who Sell Out Tommy Who's Next Quadrophenia The Who by Numbers Who Are You Face Dances It's Hard Endless Wire Extended plays Ready Steady Who Tommy Won't Get Fooled Again Wire & Glass Live albums Live at Leeds Who's Last Join Together Live at the Isle of Wight Festival 1970 BBC Sessions Blues to the Bush Live at the Royal Albert Hall Live from Toronto View from a Backstage Pass Greatest Hits Live Encore Series Encore Series 2002 Encore Series 2004 Encore Series 2006 Encore Series 2007 Compilations Magic Bus: The Who on Tour Direct Hits Meaty Beaty Big and Bouncy Odds & Sods The Story of The Who Phases Hooligans Who's Greatest Hits Rarities Volume I & Volume II The Singles The Who Collection Who's Missing Two's Missing Who's Better, Who's Best Thirty Years of Maximum R&B My Generation: The Very Best of The Who The Ultimate Collection Then and Now The 1st Singles Box Greatest Hits Soundtracks Tommy The Kids Are Alright Quadrophenia Amazing Journey: The Story of The Who Filmography Tommy The Kids Are Alright Quadrophenia Who's Better, Who's Best Thirty Years of Maximum R&B Live Live at the Isle of Wight Festival 1970 Classic Albums: The Who – Who's Next The Who & Special Guests: Live at the Royal Albert Hall The Who Special Edition EP Live in Boston Tommy and Quadrophenia Live The Vegas Job Amazing Journey: The Story of The Who The Who at Kilburn: 1977 Discographies The Who discography Roger Daltrey discography Pete Townshend discography John Entwistle discography Two Sides of the Moon Performances 1968 tour 1969 tour 1970 tour 1971 tour 1972 tour 1973 tour 1974 tour 1975 tour 1976 tour 1977-1978 performances 1979 tour 1979 concert disaster 1980 tour 1981 tour 1982 tour 1985 and 1988 reunions 1989 tour 1996–1997 tour 1999 performances 2000 tour 2001 The Concert for New York City appearance 2002 tour 2004 tour 2005 Live 8 appearance 2006–2007 tour 2008–2009 tour Related people Personnel Jon Astley Chris Charlesworth Bill Curbishley Bob Heil Glyn Johns Kit Lambert Peter Meaden Bob Pridden Chris Stamp Bill Szymczyk Shel Talmy Musicians Mitch Mitchell Dave Golding Julian Covey Chris Townson Scot Halpin Tim Gorman Steve "Boltz" Bolton Simon Phillips Jon Carin Damon Minchella Steve White Brian Kehew J.J. Blair Jon Button Related articles The Boy Who Heard Music Lifehouse The Who's Tommy Who's For Tennis? The Roots of Tommy The Who's Tommy Pinball Wizard A Tale of Two Springfields Musical equipment Personnel Track Records Double O Ramport Studios The Rolling Stones Rock and Roll Circus CSI franchise Las Vegas Miami New York No Plan B Kim McLagan The Wick Chapel House, Twickenham Ashdown House, Oxfordshire Tara, Chertsey Quarwood Holmshurst Manor Categories Albums Associated people Compilation albums EPs Live albums Members Songs Soundtracks Templates Category

This article relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Please add citations from reliable sources. (March 2007)

Ox Baker
Ox Baker speaks at the Walter "Killer" Kowalski Memorial Show in Malden, Massachusetts on October 26, 2008.
Ring name(s)	Doug Baker Ox Baker The Ox The Arkansas Ox
Billed height	6 ft 5 in (1.96 m)
Billed weight	340 lb (150 kg)
Born	(1934-04-19) April 19, 1934 (age 78) Sedalia, Missouri
Resides	Torrington, Connecticut
Billed from	Waterloo, Iowa
Debut	1962
Retired	1988

Douglas A. Baker (born April 19, 1934) better known professionally as Ox Baker, is an American former professional wrestler and actor, and was feared for his dreaded finishing move, the Heart Punch, sometimes called the "Hurt Punch", after Baker's famous catchphrase "I love to hurt people!" He has appeared in several movies including Blood Circus and Escape from New York.^[1]

Career[link]

Early life and career[link]

Ox Baker, oldest of five siblings (three brothers and one sister), began as an amateur high school wrestler, boxer and football player in his adopted hometown of Waterloo, Iowa in 1962 before getting thrown out of school. He also played football for two years in the armed forces. In the early 1960s Ox approached Kansas City, Missouri promoters about wrestling and was paid $300 for his first night. Following that night he went into training with Buddy "Killer" Austin, Pat O'Connor, and Bob Geigel. A couple of years later he was ready, standing 6'5" and weighing 342 pounds (hence the nickname "Ox"). He began his pro wrestling career by defeating Frank Hickey in Kansas City, and later the Missouri Mauler as well. As time went on he was winning a majority of his matches by knock out caused by the Heart Punch (which he borrowed from Stan Stasiak) and adapted into his own ring arsenal. He would later rename the move the Hurt Punch after Stasiak objected.

Initially debuting as a kind, horn-rimmed glasses wearing, country simpleton, Ox would eventually evolve into one of the most hated and feared villains in the History of Professional Wrestling, known for his captivating mic skills, his finishing maneuver The Heart Punch (later dubbed The Hurt Punch), and his unique look with his shaved head and dark black bushy mustache and eyebrows. In press and television he stood out among other wrestlers because of his ability to interview well. His heart punch was one of the most feared moves of its time. Baker worked wrestling promotions all over the United States and Canada, as well as several in other parts of the world.

In 1967 Baker had worked for the WWWF as The Friendly Arkansas Ox, most notably at the Market Street Arena in Philadelphia. In his first appearance there, Baker teamed with Armand Hussein (whom Ox traveled with) in a handicap match versus Gorilla Monsoon.

Later on Baker went to fight in different promotions through North America. He Fought in Detroit, Stampede Wrestling in Calgary,and AWA throughout the 1970s.

It is believed that Ox Baker's short 1980 stay in the World Wide Wrestling Federation (he did one television taping) was aborted because Vince McMahon Sr. was unimpressed with his ringwork (some rumors have Baker initially planned to challenge then heavyweight champion Bob Backlund).

In his career he would defeat "Cowboy" Bob Ellis for the World Wrestling Association belt in Dick The Bruiser's Indianapolis territory, he would also defeat Carlos Colon for the WWC World Title in Puerto Rico. Baker was a multi-time Tag Team Champion; he has teamed with the likes of Ole Anderson and Skandor Akbar to capture Tag Team Championships in the NWA and NWF. Baker teamed with Big John Studd (then known as Chuck O' Connor) to win the WWA Tag Team Title in 1976. He also teamed with Superstar Billy Graham to hold the NWA Florida Tag Team Title. Baker would go on to Heart Punch his way through The Sheik to win the Detroit version of the US Heavyweight Title, he also won the World Class Championship and the World Class Texas Title several times. Another memorable Baker feud was with Randy "Macho Man" Savage, in the southern promotion that Savage ran with his father Angelo Poffo and his brother Lanny Poffo.

An estimated 8,000 men have fallen to the Heart Punch. Among them are Fritz Von Erich, David Von Erich, Kerry Von Erich, Jimmy Snuka, Verne Gagne, Ernie Ladd, Harley Race, Bulldog Brower, Mil Mascaras, Hulk Hogan, and The Sheik. Hogan's knockout came when he tried to wrestle the Florida Title away from Baker. Hogan would eventually get knocked out three nights in a row. Ed Roney challenged Baker numerous times and also chased Baker out of the ring four times. Baker never accepted Roney's challenge.

Late in his career, Baker appeared with Central States Wrestling as a face and feuded with Rip Rogers.

The Heart Punch Kills[link]

On June 13, 1971, Ox and his partner the Claw were wrestling in a AWA Midwest Tag Team Championship tag team match against Alberto Torres and his partner Cowboy Bob Ellis in Verdigre, Nebraska. Torres was injured during the match and died three days later. Though evidence indicated that Torres died of a ruptured appendix, Baker's Heart Punch was blamed and, though by his own account Baker was privately distraught over the death, he did "work" it as though he had killed Torres.

On August 1, 1972, in Savannah, Georgia Baker faced Ray Gunkel, who was a popular wrestler in (and part owner of) the Georgia promotion. Though it was claimed that Gunkel dropped dead in the ring from the Heart Punch, other accounts, most notably in the biography of Vince McMahon Sex, Lies and Headlocks, state that Gunkel had suffered a heart attack apparently from over-indulging at a restaurant before the match. The truth is that Gunkel won the match and died in the dressing room after the match.^{[citation needed]} In both cases, Baker was "blamed" for the death.

Current[link]

Ox Baker can be seen in the NY based independent promotion Pro Wrestling Syndicate where he is the manager of "The Samoan Mastadon" Fala.

Retirement[link]

Baker has worked in movies from time to time, most notably in the late 1970s and early 1980s, as a fighter in Jackie Chan's The Big Brawl and as Kurt Russell's gladiatorial opponent in John Carpenter's Escape From New York as well as the cult classic wrestling film which "borrowed" from his catch phrase...I Like to Hurt People.

On February 12, 1981, Baker was a contestant on the game show The Price is Right. He won his way on stage (winning Poker Game) but lost in the Showcase Showdown. He was called down by his real name, Douglas.

In 1985, Ox Baker played the Russian in the wrestling movie "Blood Circus".

In 1988 Ox returned to professional wrestling for The AWA. Under contract, Ox teamed up with The Russian Brute of ICW fame. The following year he opened "Ox Baker's Wrestling School" becoming a well-renowned trainer. His students include Star The Night Stalker (real name Bryan Clark, later known as Adam Bomb), NWA New England Superstar The Dark Angel, and his Kayfabe twin Brother Micky Byggs of Wrestling Spotlite Radio. He has published a children's coloring Book, recorded a music CD and always a fan favorite, continues to make public appearances, most recently to promote his new cookbook. Ox is assisting The Russian Brute with his book Dreams Through A Window. He also did commentary for some IWCCW events in the early 1990s.

During his years as a territorial wrestler Baker had gained a reputation as an accomplished cook, saving money on the road by avoiding restaurants and cooking meals for his fellow wrestlers himself. Sometime after his retirement Baker wrote and privately published his own cookbook/memoirs.

On February 14, 1996, Ox Baker was united in marriage to his second wife Peggy Ann Kawa.

Baker made an appearance in Ring of Honor in 2004 during their At Our Best show, confronting Dusty Rhodes before the show started and again during the main event.

In 2005 an extensive documentary on Baker's life and career was filmed, directed by Halfbreed Billy Gram, shot by Robert Lucas. At last word the film is still in post production with a working title of "I Love the People I Hurt-The Life and Legend of the Mighty Ox Baker". Also filmed during this time was a short comedy feature titled "My Smorgasboard with Ox", co-written and co-starring Ox and Gram. A very crude, rough cut of this film exists, Ox has been selling copies at personal appearances.

In 2006 the North Carolina-based indie band The Mountain Goats released a song on the album Babylon Springs entitled Ox Baker Triumphant in which Ox is betrayed by the wrestling community and rises up to strike vengeance upon them.

Baker also made an appearance in CZW on December 8, 2007, in Philadelphia, during their Cage of Death 9 show. Ox appeared as the guest of Cult Fiction, Halfbreed Billy Gram and Toby Klein, in an interview segment that opened the show, serving a dual purpose of paying respect to Ox and setting up some heat around the main event later in the evening. This appearance is available from SmartMark Video.

Baker resides in Connecticut, doing shows in the New England area and has been inducted into the NEPWHOF.

Peggy Ann Kawa-Baker died on April 24, 2010, in Danielson, Connecticut.

In wrestling[link]

• Finishing moves
  • Heart Punch

• Managers
  • Jimmy Hart
  • Oliver Humperdink^[2]

Championships and accomplishments[link]

• All Star Pro Wrestling (New Zealand)

• NWA Australasian Tag Team Championship (1 time) - with King Kamaka^[3]

• American Wrestling Association

• AWA Midwest Tag Team Championship (3 times) - with Rock Rogowski (1), the Claw (1), and the Great Kusatsu (1)^[4]

• Cauliflower Alley Club

• Other honoree (2002)

• Championship Wrestling from Florida

• NWA Florida Tag Team Championship (1 time) - with Superstar Billy Graham^[5]
• NWA Southern Heavyweight Championship (Florida version) (1 time)^[6]

• International Wrestling Association

• IWA North American Heavyweight Championship (1 time)^[7]

• Mid-Atlantic Championship Wrestling

• NWA Mid-Atlantic Tag Team Championship (1 time) - with Carl Fergie^[8]

• Mid-South Sports

• NWA Georgia Tag Team Championship (1 time) - with Skandor Akbar^[9]

• Midwest Championship Wrestling
  • MCW International Heavyweight Championship (1 time)^[10]

• NWA Big Time Wrestling

• NWA American Heavyweight Championship (2 times)^[11]
• NWA Texas Heavyweight Championship (1 time)^[12]

• NWA Detroit

• NWA United States Heavyweight Championship (Detroit Version) (1 time)^[13]

• NWA Hollywood Wrestling

• NWA Americas Tag Team Championship (1 time) - with Enforcer Luciano^[14]
• NWA World Tag Team Championship (Los Angeles version) (1 time) - with Enforcer Luciano^[15]

• NWA New Zealand

• NWA British Commonwealth Heavyweight Championship (1 time)^[16]

National Wrestling Federation

• NWF North American Heavyweight Championship (1 time)^[17]

• New England Pro Wrestling Hall of Fame
  • Class of 2009

• Southeastern Championship Wrestling

• NWA Southeastern Heavyweight Championship (Southern Division) (1 time)^[18]

• Stampede Wrestling

• Stampede North American Heavyweight Championship (1 time)^[19]

• World Championship Wrestling (Australia)

• NWA Austra-Asian Tag Team Championship (1 time) - with Butcher Brannigan^[20]

• World Wrestling Association

• WWA World Heavyweight Championship (1 time)^[21]
• WWA World Tag Team Championship (1 time) - with Chuck O'Connor^[22]

• World Wrestling Council

• WWC Puerto Rico Heavyweight Championship (1 time)^[23]
• WWC World Heavyweight Championship (1 time)^[24]

References[link]

External links[link]

Professional wrestling portal

Wikimedia Commons has media related to: Ox Baker

• Ox Baker's official website
• Ox Baker at the Internet Movie Database

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2007)

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