More About Me

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Since the, "About Me" section of this blog is limited to a specific amount of characters, I decided to write a post that discusses more about what I have done in the pro-wrestling industry, beginning with when I first started in it and leading up to now.

Technically, I started back in the 1990s, contributing to, "Pro Wrestling Illustrated" and then, "Pro Wrestling Torch". In 1997, I contributed to The Official Website of the NWO. That same year, I briefly published my own newsletter, "The Wrestling Express".

In 1998, I taught myself how to design websites, and served as a consultant for various independent promotions. That next year, I worked as a website designer/maintainer for Dylan Summers (Necro Butcher) who was running the Texas-based Power Pro Wrestling Federation, and later was involved with Texas Outlaw Promotions.

During the period of 2000-2002, I was involved in many different projects at once. I was working as a website designer/publicist for talent, contributing to WCW.com, writing columns for independent promotions and the website of former WCW star The Stro, and writing for a variety of pro-wrestling media sites (including WrestlingObserver.com and PWTorch.com). In 2003, I began running my own website, World Wrestling Optimum, which consisted of news, articles, and interviews.

In 2004, I started working for the Michigan-based Ultimate Championship Wrestling as a publicist/columnist. They were an affiliate of American Wrestling Association Superstars Of Wrestling, and I soon became the publicist/columnist of the main governing body of AWA as well. During my time working for UCW, I played a major role in bringing in new talent, due to over the years my having had come into contact with many talents being underused and going unnoticed in the industry. Also, attendance increased by a significant amount.

In 2005, I started doing a column for 3PW. With DVDs sold nationwide, they had the potential to become much bigger than they already were at the time, and were very open to my ideas. I pushed for many changes behind-the-scenes. I had encouraged management to improve the production quality of their DVDs, which led to them dealing with a different production company. 3PW management had planned on waiting for its fan base to increase before getting TV for 3PW. I explained how getting TV for 3PW is what would increase its fan base, and I was then given the green light to find networks that were interested. Two networks were very interested, and I encouraged 3PW management to meet with them as soon as possible. Unfortunately, the owner of the company instead opted to shut 3PW down, due to losing interest. Working for 3PW put me in connection with the UK-based 1PW, who I worked as a columnist for.

After 3PW shut down, I began working as a publicist for independent promotions, including CHIKARA. I also worked as a columnist for CZW. Interestingly though, it was 2006 at this point yet I was still most recognized for the work that I had done for 3PW and AWA/UCW.

In 2007 I started working as a columnist for XCW, a promotion that was seen nationally on MAVTV, had a national DVD deal, and also had PPV events. Working for a promotion of national status was my biggest achievement at that point, and two years later I reached a bigger achievement- Big Japan Pro-Wrestling. Along with working for them as a columnist and an Administrator for their Facebook page, I helped bring Big Japan Pro-Wrestling together with Combat Zone Wrestling to form a working relationship after a previous working relationship between the two promotions had fallen apart. This new working relationship led to Big Japan Pro-Wrestling having its first event in the United States.

In October 2009 I assisted publicity & promotions company MGM Management with the HULKAMANIA- Let the Battle Begin tour by distributing their press release to pro-wrestling news sites that are popular with Australian fans, and conducting an interview with Solofa Fatu Jr. (better known as, "Rikishi"). Also, in 2012 I wrote a number of columns for Women Superstars United, which was known as Women Superstars Uncensored at the time.

In May 2018 I did social media for Great North Wrestling.

In April and May 2021, I did blogging and social media for Kyushu Pro Wrestling. During that time, the promotion gained 220 new subscribers and 52,746 new views on its official YouTube channel.

Recently, I have done blogging and social media for Yanagase Pro Wrestling. Since the time I began writing for them, Yanagase Pro Wrestling has their anniversary events at a venue where they have had 300 fans. All previous Yanagase Pro Wrestling events took place at a 50-seat venue.

I have also recently written for the China-based Middle Kingdom Wrestling in a Publicist capacity. My work is an essential piece in the multilingual activation, with it being adapted to traditional Chinese for readers in China. I am the first native English writer who has written for a Chinese wrestling organization in history.

In 2019 I began writing for Michinoku Pro Wrestling, in charge of international wrestling. Since the time that I began writing for them, Michinoku Pro stopped choosing Shin-Kiba 1st Ring for its Tokyo events and began focusing on the much larger Korakuen Hall for its Tokyo appearances. The Korakuen Hall is known as a place where many historical moments in the Japanese pro-wrestling scene have occurred. It's to Japan what Madison Square Garden is to the pro-wrestling scene in the United States. Michinoku Pro had a sellout, standing-room-only event on December 13, 2019 at the Korakuen Hall. The event had an attendance of 1,890. That was the highest reported attendance at the Korakuen Hall to date for a pro-wrestling event since April 2015.

In addition, I have blogged for the Allied Independent Wrestling Federations.

My article, "A Look at the History and Future of WOW", was endorsed by WOW - Women Of Wrestling on social media. My piece, "A Potential Game-Changer for Sophie Cunningham: The WOW Opportunity" was endorsed by WOW as well.

After living in Japan for ten years and writing English content for Asian companies during that time, I am currently based the US and open to new writing opportunities in the US, Japan, and globally, from event previews & results reports to wrestler spotlights & social media. I offer sponsored content and an international audience. Check out my samples and see how I can take your brand to the next level:
https://harold-williams.com/2012/05/samples-of-my-work.html


My rate typically falls within the range of $350 to $800. info@harold-williams.com

Google has created a knowledge panel about me and my work: https://g.co/kgs/x4pMxp1

I graduated from university with a major in Business and a minor in Computer Applications, which makes me an asset not only as a writer but in a business and technological capacity as well.

I am also a Technology Writer specializing in AI, VR, AR, NFTs, 5G, Web3, streaming, and the metaverse in the context of wrestling-and a subject matter expert in the business side of Japan's MMA scene, soccer/football scene, and other sports.

If you would like to support me and my blog, a valuable resource for anyone interested in learning more about the pro-wrestling industry, here is the link to my Cash App: cash.app/$HaroldWilliams131313

US-Based Writer With Global Experience Ready for New Opportunities

Get an audio summary of my skills and experience below:



After living in Japan for ten years and writing English content for Asian companies during that time, I have returned to the United States. I have extensive international experience that includes writing for the pro-wrestling industry in the form of everything from event previews and results reports to press releases. In addition, I have experience with news analysis of the American wrestling scene and coverage of the Japanese wrestling scene, with in-depth knowledge beyond the major promotions.

Outside of the pro-wrestling industry, I have experience with other types of content and copywriting needs in the staffing/recruiting, bar, sports merchandise, and luxury bike industries.

I graduated from an American university with a major in Business and a minor in Computer Applications, which makes me an asset not only as a writer but in a business and technological capacity as well. I also used my knowledge in the education industry during my time in Japan, giving tailored English instruction to Asian students, focusing on daily vocabulary and professional terminology for business and technology professions.

I am open to opportunities in the US as well as in Japan and other countries around the world. I can be contacted via info@harold-williams.com, and you can see samples of my work here:

https://www.clippings.me/haroldwilliams

https://www.clippings.me/haroldwilliams2

https://www.clippings.me/haroldwilliams3

https://www.harold-williams.com/2012/05/samples-of-my-work.html

A New Face Arrives: Emily Rose Makes Her AEW Debut

On the most recent episode of AEW Collision, viewers and fans in attendance were introduced to a new face: Emily Rose. While some might have classified her as an underdog, her appearance represents something much larger than a single match. It was a display of AEW's consistent routine of giving opportunities to talent on the independent scene, with a platform for wrestlers who want to promote themselves by being seen by a national audience.

This move by AEW not only provides a spotlight for newer talent but also is a pathway for a wrestler to qualify for a potential career in a major promotion in the future. Emily Rose's journey is a perfect example of this.

Hailing from Charleston, West Virginia, the six-foot-tall Emily Rose brings a strong athletic background to the wrestling ring. Before becoming a pro-wrestler, she was a college softball player. However, it was an AEW Dynamite show in Charleston in October 2019 that inspired her to pursue professional wrestling. Under the tutelage of trainers former ECW World Heavyweight Champion Shane Douglas and Shane Storm, Rose learned the fundamentals of wrestling. This, combined with her AEW-inspired passion for the business and the athletic foundation of the power that softball players possess, prepared her for the ring.

Emily Rose’s hard work has not gone unnoticed on the independent scene. In 2024, she was named ACW Newcomer of the Year by the West Virginia-based Appalachian Championship Wrestling (ACW), where she continues to wrestle. This accolade is a clear indicator that ACW recognizes that Rose is beginning to connect with their audiences and leaves a lasting impression. Beyond ACW, she has also wrestled in other promotions, including Ohio Hatchet Wrestling, the Indiana-based Battle On The Border, and the Kentucky-based Elevate Pro Wrestling throughout 2024 and 2025. These appearances on the independent scene have not only allowed her to improve her skills but also led to her AEW opportunity.

Emily Rose’s appearance on AEW programming is a significant moment in her career and a great look at how AEW operates with talent. By regularly including independent wrestlers, AEW is able to help keep its product fresh by introducing fans to wrestlers they are unfamiliar with. It's also valuable to the wrestler's career growth. At AEW Collision, she gained exposure to a large audience, which can lead to name recognition on the independent scene and increased bookings. This is especially valuable when it comes to getting booked in her home state of West Virginia, where many long-standing independent promotions run shows, including AIWF affiliate Mega Pro Wrestling, Big Time Wrestling, and All Star Wrestling. Her appearance in AEW increases her chances of being booked by these promotions.

For wrestlers like Emily Rose, an AEW appearance is more than a single match- it's an invaluable opportunity to put all their training and hard work to use and get noticed by a massive fanbase. Her debut is a promising sign for her future and a clear reminder that for a dedicated independent wrestler, the path to a national stage is more accessible than ever.

A Legend Returns: Why Victoria's WWE Survivor Series Appearance is Perfect Timing

Victoria (real name Lisa Marie Varon), one of the most respected figures of her era, has announced that she has been invited back to a very special event: Survivor Series, which will take place this year on November 29 in California, Victoria's home state. The invitation comes as the event will mark the 23rd anniversary of a monumental moment in Victoria's career -winning her first WWE Women's Championship- which is a perfect opportunity to celebrate a Hall of Fame-worthy career.

Victoria's invitation to Survivor Series is part of a larger, ongoing relationship with WWE. Last year, she signed a Nostalgic contract with the company, which she announced via X (Twitter) while at Appalachian Wireless Arena in Pikeville, Kentucky, where she made an appearance for a Meet & Greet as a part of the pre-show for the 8/31 Ohio Valley Wrestling Fight Night event.

💥 ANNOUNCEMENT 💥

Here it is, my big announcement! Earlier this week I signed a WWE Nostalgic contract. I am so excited and honored that @wwe reached out to me about this! It's a true honor to be part of the WWE Universe again. This doesn't mean I will be hopping back into the… pic.twitter.com/YtPRQFvE7a

— Lisa Marie Varon (@REALLiSAMARiE) September 1, 2024

Victoria's Nostalgic deal includes video games and merchandise, and just before Survivor Series, she will be included in the newest WWE video game, WWE 2K25, as part of the "Attitude Era Superstars Pack" DLC, which is scheduled to be released in September. This return to digital media, combined with Victoria's upcoming appearance at a Big Four PLE, demonstrates how WWE is investing in its past to build excitement for its future.

Victoria is a two-time WWE Women's Champion, and her career spanned almost two decades, leaving a mark on the pro-wrestling industry with her very impressive toughness, wrestling skills, aggressiveness, and athleticism. As a member of the WWE family, Victoria adds a touch of nostalgia and excitement to the company that is appreciated by WWE Universe members of all ages.

Victoria's in-ring career began in the early 2000s, wrestling in the Kentucky-based Ohio Valley Wrestling, the California-based Ultimate Pro Wrestling, the Ohio-based Heartland Wrestling Association, the Memphis-based Power Pro Wrestling, and Memphis Championship Wrestling, promotions that were being used by WWE in a developmental capacity. After honing her skills, Victoria began wrestling on WWE-TV in September 2002, and she won her first WWE Women's Championship only two months later at Survivor Series in a hard-fought, "Hardcore" match, which was the first-ever hardcore-style match for the championship.

Throughout her career, Victoria has faced fellow legends of the ring such as Trish Stratus and Lita, and has also been in the ring against the newer generation of WWE Superstars, as she was a surprise Royal Rumble entrant at Royal Rumble 2021.

An appearance at Survivor Series is a great way to honor Victoria's legacy. It not only recognizes her historic title win but also allows a new generation of fans to experience her presence on a major stage, as a popular WWE Legend who has made a lasting impact on women's wrestling.

This series of events -from the Nostalgic contract and her involvement in WWE 2K25 to an upcoming in-person return at the same PLE where she made history- showcases a smart strategy by WWE to recognize its history and help keep Legends visible across multiple platforms.

WWE's Multi-Platform Domination: From Peacock to Abema to Netflix to ESPN

In the rapidly evolving world of sports entertainment, content is a foundation, and distribution is its bridge to the audience. WWE has demonstrated this by aggressively pursuing a multi-platform media strategy, transforming its revenue model and cementing its status as a global giant. What began with a groundbreaking deal for its premium media has now expanded to include a partnership with dedicated wrestling platform Abema, and major agreements with two of the world's most influential streaming giants: Netflix and, most recently, ESPN. This isn't only about broadcasting; it's also about diversified revenue streams and strategic market penetration.

In 2021, WWE made a major business decision to move its streaming service from the WWE Network to Peacock, due to having a decades long relationship with NBCUniversal (the parent company of Peacock), through its television deals with USA Network and Saturday Night's Main Event being featured on NBCUniversal-owned networks, and WWE wanted to continue that partnership. WWE's exclusive partnership in the United States involved WWE Network's huge library and all Premium Live Events moved to NBCUniversal's streaming service, which was a monumental shift. It provided WWE with a significant, guaranteed revenue stream and offloaded the operational costs of maintaining its own streaming platform. For Peacock, it brought a loyal, engaged fanbase and a wealth of exclusive content. This move showed WWE's clear intent to leverage its content as a valuable asset for media partners.

In 2023, WWE made a big move to expand its reach in Japan, WWE forging a new media rights partnership with the popular Japanese streaming platform Abema. The partnership gives Abema access to WWE's vast library of content, which includes episodes of Raw/SmackDown and PLEs, many of which include classic matches; as well as documentaries. All of this makes Abema a one-stop shop for WWE fans in Japan who subscribe.

The recent announcement of Raw moving to Netflix globally was another major event. This deal, reportedly worth $5 billion, not only brings Raw to a massive international audience but also positions Raw as one of Netflix's key live events offerings. For WWE, it represents an unprecedented global reach for its weekly programming, tapping into Netflix's immense subscriber base in over 190 countries. This move highlights WWE's commitment to expanding its worldwide footprint and monetizing its core content on a global scale different from separated international TV deals, moving to a streaming partner that is not only powerful, but also centralized.



The latest development -a landmark rights agreement with ESPN- adds another powerful layer to WWE's media empire. The deal, valued at a reported $1.6 billion over five years, will see ESPN's new direct-to-consumer service become the exclusive U.S. domestic home of all WWE PLEs starting in 2026. This means that PLEs will be moving from Peacock to this new ESPN streaming service.

The conclusions are clear. ESPN's large subscriber base will expose WWE content to millions who might not actively seek out wrestling on other platforms, and this platform creates another distinct revenue channel, reducing reliance on any single platform and strengthening WWE's solid financial flexibility.

WWE's deals are not isolated. They represent a cohesive, multi-platform strategy designed to maximize reach, revenue, and brand value. Each deal taps into different audience segments and offers distinct revenue streams, creating a sturdy financial ecosystem. And from national exclusivity to global reach, WWE is ensuring its content is available to fans worldwide, wherever they consume media. In addition, by diversifying across streaming platforms, WWE is adapting to changing consumption habits and positioning itself for long-term success in the digital age.

WWE's aggressive pursuit of these high-value media rights deals demonstrates a clear vision for its future. As the company continues to expand its global presence, as seen with its upcoming return to Japan, these streaming partnerships will be foundational. They ensure guaranteed revenue, expand audience reach, and solidify WWE's position as the largest company in the pro-wrestling industry.

WWE's Strategic Return to Japan: A Business Deep Dive

While the eyes of many fans and the wrestling media have been on returns to the ring and new talent acquisitions, a significant international development recently surfaced: WWE is set to return to Japan this October for a two-night tour at the Ryōgoku Kokugikan in Tokyo on Friday, October 17, and Saturday, October 18. WWE's tours in Japan (including the tour that took place in 2024) go over big with fans, as they have the opportunity to see WWE Superstars live and in person. However, this is more than simply another tour; it's a very smart and calculated move with very significant business implications for the company's global strategy and its presence in a major wrestling scene outside of the United States.

There is a long, historic bond between WWE and fans in Japan, and the company's return signals a continued focus on this key wrestling scene, which is driven by several factors. One is that Japan has always been an important scene for professional wrestling, with a rich history and a dedicated audience. Maintaining a strong live presence enables WWE to directly connect with these fans, reinforcing brand loyalty and potentially converting casual viewers into more engaged consumers.

WWE recently partnered with Abema in Japan, and WWE SuperShow Japan events can serve as powerful promotional tools for their streaming content on the platform, driving subscriptions and increasing viewership for their weekly programming and Premium Live Events. The unity between WWE SuperShow Japan events and digital distribution is essential to maximizing revenue.

WWE SuperShow Japan events provide valuable direct market data. They can gauge local interest, identify popular talent, and understand regional consumption habits, all of which inform future business decisions and content localization efforts. And localizing in Japan is a part of WWE's plan for Global Localization.

Japan is home to many of the world's most talented wrestlers, many of whom have found success in WWE, including IYO SKY, a former WWE Women's Champion & former WWE Women's World Champion, and a talent who is always a must-see.


Lastly, WWE returning to Japan allows them to showcase their current roster, both Japanese talent and talents who have experience in the tough & respected world of Japanese professional wrestling and carry the lessons learned in Japan's rings (AJ Styles, Sami Zayn, Gunther, Finn Balor, Rhea Ripley, Xavier Woods, and JD McDonagh), as well as talents who are known to fans in Japan as a result of their success in WWE (Kofi Kingston and Jey Uso). This strengthens the company's connections to the country.

WWE returning to Japan fits perfectly into WWE's broader strategy of global expansion and diversification beyond traditional US television. As domestic TV rights deals become increasingly competitive, international markets offer notable growth potential. Investing in events abroad is a direct path to boosting ticket sales, merchandise revenue, and potentially attracting new local sponsorship opportunities. Also, maintaining a physical presence in major global markets helps WWE solidify its position as a global giant in sports entertainment, and it's something that should be done by any company that wants to assert its brand authority worldwide. In addition, footage from these Japanese events can be utilized across WWE's huge content ecosystem- from social media clips to network specials, providing unique content that appeals to a worldwide audience.

While primarily a strategic move for WWE, their return could have ripple effects within the intense Japanese professional wrestling environment. Japanese wrestling fans are passionate about the business, and any major wrestling event in Japan, regardless of promotion, has the potential to generate excitement and can draw new eyes to the industry as a whole.

Notable promotions, including NJPW, Stardom, NOAH, AJPW, BJW, Michinoku Pro, and Dream Star Fighting Marigold, as well as local promotions such as Kyushu Pro Wrestling and Yanagase Pro Wrestling, all operate in a competitive environment, each offering a distinct style of puroresu, from the power of joshi to the King's Road style to the hardcore style to the lucha libre style to promotions that have a unique blend of wrestling styles. WWE's presence might motivate increased innovation or strategic adjustments from these companies as they compete for fan attention and market share. This is a reverse of the impact of Japanese wrestling on the global wrestling scene, as Japan-based independent promotions used streaming services to reach audiences internationally, leading to major promotions outside of Japan partnering with streaming services in order to reach a wider audience and generate new revenue streams.

It's also worth noting that NJPW and Stardom formed the Asia Pacific Pro Wrestling Alliance in 2023- an initiative that brings together the top-pro wrestling promotions in the Asia-Pacific region, with the alliance working to promote and support each other, providing opportunities for wrestlers and fans across the region to come together. Plus, three independent promotions have an alliance in the Chubu/Kansai region of Japan. They are Yanagase Pro Wrestling (based in Gifu), Sportiva Entertainment (based in Nagoya), and Doutonbori Pro Wrestling (based in Osaka), with all three promotions featuring wrestlers from their part of Japan and its surrounding area, giving those talents a platform to showcase their skills for local fans. Combined with the fact that the Japanese market is also known for its loyal fanbases, competing directly as a non-Japan-based company becomes complex.

WWE's return to Japan is more than two shows; it's a very smart and calculated business maneuver designed to strengthen their global footprint, leverage strategic partnerships, and tap into one of the world's most impassioned wrestling markets. It highlights the company's continuous efforts to innovate and expand its diversified revenue streams in the ever-evolving sports entertainment industry.

[UPDATE] The complete card for Sae's 30th Birthday Show 8/23/25

On Saturday, August 23, 7:30 PM JST (doors will open at 7:00 PM JST), Sae will be producing her own 30th Birthday Celebration Show at Kobe Motomachi Ring Soul (Hyogo Prefecture, Kobe City, Chuo Ward, Motomachi Dori 2-chome 9-1, Motomachi Plaza Building B1F). The show will be titled 【サンジュウジャー】 (Sanjujar –"30-Hero").

The card will be as follows:

Tsuyoshi Okada (former DDT Iron Man Heavy Metal Champion)
Mikiya Sasaki (as seen in AJPW, DDT, BJW, ZERO1, and WAVE)
vs.
Maori Kawashima
Yu Shimizu (as seen in Michinoku Pro)

"3-way" match
Shigehiro Irie (former KO-D Openweight Champion)
vs.
CoCo
vs.
Van Vert Negro (as seen in DDT)

Yusaku Ito (as seen in DDT, BJW, Ice Ribbon, and WAVE)
vs.
Van Vert Negro (as seen in DDT)

Sae (of Yanagase Pro Wrestling)
Hiroaki Taniguchi (as seen in BJW and ZERO1)
vs.
Drake Morimatsu (as seen in DDT, BJW, AJW, Ice Ribbon, JWP, and PURE-J)
"brother" YASSHI (former AJPW star)

All-standing tickets for Sanjujar are available for 4,000 yen (with a separate 600 yen charge for a drink). These can be reserved by contacting Sae on X here.

Sae has also announced special sponsor-exclusive seats, limited to just 20 individuals. These come with various tiers of benefits:

10,000 yen Tier: Includes a limited portrait, sticker, and towel (and the all-standing ticket fee).
30,000 yen Tier: Includes everything from the lower tier, plus a T-shirt, acrylic keychain, and a guaranteed reserved seat.

50,000 yen Tier: The ultimate supporter package, includes everything from the lower tiers, plus a limited acrylic keychain, Sae's entrance music CD, and an all-wrestler signed poster art acrylic stand, along with a guaranteed reserved seat.

Being that the number of special sponsor seats is very limited, interested fans are encouraged to inquire early with Sae via direct message.