More About Me

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.

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.

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. This blog is now included in Google News, which has over 11 million visits every day, giving your product the opportunity to be promoted in front of millions. 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


info@harold-williams.com

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

If you run a small wrestling promotion or wrestling news website and are looking to take your content to the next level in an affordable way- I am offering affordable rates starting at $110 / ¥16,000 per blog post/article.

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 scene, and other sports.

US-Based Writer With Global Experience Ready for New Opportunities

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

8/23/25 Sae's 30th Birthday Show: A Special Event in Japanese Independent Wrestling

As a US-based writer with extensive global experience in the wrestling industry, my blog has many readers in both the US and Japan who share an appreciation for the history and intensity of Japanese wrestling, so many times I have posted about events that would be of interest both domestically in Japan and internationally. This August, there will be an independent event that I am looking forward to taking place.

It's exciting when an independent wrestler produces their own show, entertaining fans while also building their own personal brand. Ever since 2019, Sae has called Yanagase Pro Wrestling her home promotion, and became an original member of Ladius, the ladies' division of YPW. Now, the YPW standout has announced that she will be producing her own 30th Birthday Celebration Show, titled 【サンジュウジャー】 (Sanjujar –"30-Hero"), which is very appropriate, considering Sae's passion for Super Sentai, a Japanese superhero team. A wrestler who is prominent for creating a career that is unique to her in order to showcase her talents, ambition, and individual style, this personal show is a significant milestone for Sae and a great opportunity to celebrate her career in a distinctive way. The event is set to take place on August 23, 2025, at Kobe Motomachi Ring Soul (Hyogo Prefecture, Kobe City, Chuo Ward, Motomachi Dori 2-chome 9-1, Motomachi Plaza Building B1F). Doors will open at 7:00 PM JST, with the show starting at 7:30 PM JST.

The wrestlers who will be participating in Sae's birthday event include:

Shigehiro Irie (former KO-D Openweight Champion)

"brother" YASSHI (former AJPW star)

Yusaku Ito (As seen in DDT, BJW, Ice Ribbon, and WAVE)

Van Vert Jack (former DDT Iron Man Heavy Metal Champion)

Tsuyoshi Okada (former DDT Iron Man Heavy Metal Champion)

Mikiya Sasaki (as seen in AJPW, DDT, BJW, ZERO1, and WAVE)

Van Vert Negro (as seen in DDT)

Hiroaki Taniguchi (as seen in BJW and ZERO1)

Yu Shimizu (as seen in Michinoku Pro)

Maori Kawashima

CoCo

In addition, Drake Morimatsu (as seen in DDT, BJW, AJW, Ice Ribbon, JWP, and PURE-J) will be a special guest. Although this event will take place on August 23, Sae's actual birthdate is August 21, which is Moritmatsu's birthday as well.

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.

Sae's initiative to produce her own event speaks volumes about the passion and dedication within the Japanese independent wrestling scene held by Sae and other wrestlers. These wrestler-produced shows are important, allowing talents to enjoy creative freedom and showcase their vision, bring together unique matchups, and connect directly with their most enthusiastic supporters.

WWE Evolution 2025: The Return of an All-Women's Event

The news that WWE Evolution is making its return on July 13, 2025, in Atlanta, Georgia, is a huge moment for women's professional wrestling. Seven years after its groundbreaking inaugural event, the confirmation of a second all-women's Premium Live Event is a significant statement on WWE's commitment to its female Superstars and a powerful signal to the entire wrestling world.

With the recent news of Asuka's upcoming return, the possibilities for this historic event have become even more interesting, adding another layer of anticipation to the women's division. Loved by fans and highly respected by her peers, the wrestling world patiently awaited the return to the ring of "The Empress of Tomorrow", a prominent Superstar who is considered by many to be one of the greatest wrestlers of all time. A Grand Slam Champion with a unique style and top-level in-ring skills, Asuka’s absence from WWE-TV was very noticeable. She arrived in the company as a charismatic submission master, and later embraced a more comedic style while still utilizing her superb wrestling talent. This transformation makes Asuka appealing to wrestling fans of all types. Last seen tag teaming with Kairi Sane as the Kabuki Warriors in the Damage CTRL faction, Asuka is a top name and one of the aspects of WWE that keeps fans talking- and when it comes to the show now, where there’s talk, there’s the potential for higher viewership numbers.



Women's wrestling consistently ranks as my blog's most popular content, and as I wrote in a blog post last month, television networks are actively scouting for high-quality, female-based competition that can deliver viewership and excitement- and recent data shows a clear upward trend in audience engagement for these types of events. All of this highlights the lasting and extensive interest in this aspect of the industry globally. The return of Evolution is not just a domestic event; it carries international significance, acknowledging the various forms of women's wrestling that are thriving worldwide.

This new Evolution offers WWE a major opportunity to showcase the depth of its current women's roster across both Raw and SmackDown. It's a chance to give opportunities to newer talent and demonstrate the continued evolution of their female competitors. For fans, it's an exciting promise that they will witness an entire card dedicated exclusively to the in-ring skills, athleticism, and charisma of these women.

Since originally writing this post, the exciting news has been announced regarding Asuka's confirmed return, prompting a significant revision of my suggested card to reflect the possibilities for Evolution 2025 and to account for key talent dynamics. The official card is yet to be announced, but I think interesting matches to see would be Asuka versus Becky Lynch, Trish Stratus versus Charlotte Flair, Bayley versus IYO SKY (bad blood remains between the two of them), Rhea Ripley versus Natalya, Alexa Bliss vs. Nia Jax (a reunion of a long-standing rivalry), Nikki Bella & Kairi Sane versus Raquel Rodriguez & Liv Morgan, Jade Cargill versus Naomi (although they are currently feuding, they have had only one singles match with each other), and Tiffany Stratton versus Zelina Vega

In an age when women wrestlers take center stage with their matches often either being in the main event or the one that fans are talking about the next day, the return of WWE Evolution is a verification of the importance of women's wrestling and a testament to its growing global appeal. It's a platform where history will be made again, and a moment to celebrate the incredible talent that continues to shape the industry.

The Evolution of Wrestling Attire

Professional wrestling is a spectacle, a captivating blend of athleticism and showmanship. But beyond the action and the drama, there's another element that plays an important role in shaping the wrestlers' personas and enhancing the overall performance: their attire. From the trunks and one-piece athletic wear to the fancy costumes of modern wrestling, the evolution of wrestling attire is a reflection of changing times, evolving styles, and the desire to impress the audience.

In the early days of professional wrestling, attire was often basic. Men usually wore dark trunks or a singlet and black boots. Meanwhile, the women wore solid-color one-piece athletic bathing suits that prioritized coverage and freedom of movement. The focus in both cases was wearing what was needed to do their work in the ring and didn't restrict them from executing necessary athleticism. These early outfits were more about the basic requirements of professional wrestling, and less about character expression.

As wrestling grew in popularity and began to embrace showmanship elements, so too did the wrestlers' attire, with both male and female performers exploring new visual avenues. The wrestlers' personas and presentation became more important. This marked the beginning of wrestling attire as a form of self-expression, allowing wrestlers to develop unique looks that helped them stand out from the crowd and connect with the evolving expectations of the fanbase. Also, wrestlers began to understand that along with their appearance potentially being just as impactful as their in-ring skills in creating a connection with the audience, their attire could be used as another tool to develop unique identities.

Some wrestlers that were supposed to have a powerful presence wore leather or heavier fabrics, while those emphasizing speed & agility tended to wear spandex, which stretched and had a sheen. The introduction of more durable and decorative synthetics also enabled wrestlers to represent more complex concepts, with patterns and vibrant colors becoming increasingly common as a way to visually communicate their unique identities to the audience.

By the late 1990s and early 2000s, the emphasis on having a distinct and visually impactful look remained strong, while wrestlers started wearing revealing designs or attire that strongly reflected a wrestler's specific character and attitude. It was an era with its own unique style.

Today, flashy and distinctive ring gear is fundamental in professional wrestling. It can have bright colors and sparkle, but it also includes unique designs, high-fashion influences, character-specific elements, and even intentionally conservative but notable looks. Wrestlers use their gear as a key part of their branding.

It's worth mentioning that today, it's an established tradition in the Japanese wrestling scene for male rookie wrestlers to wear plain black trunks and black boots. This simple and uniform attire serves as a clear visual marker of their trainee status, emphasizing their need to focus on mastering the fundamentals of wrestling without any distractions of elaborate gear. It symbolizes discipline, humbleness, and respect for the traditions of puroresu and their seniors, highlighting that they must first prove their skills before earning the right to detailed and personalized ring attire as they progress in their careers. Meanwhile, female rookie wrestlers typically wear simpler and less fancy gear compared to more established wrestlers, instead wearing basic wrestling trunks or shorts and a simple top or singlet, with the main focus being on having gear that is comfortable and enables them to wrestle with a full range of motion. In both cases, they earn the right to more elaborate gear as they climb the ranks.

An example of this is Manami, whose wrestling gear showcases a clear change from a more traditional rookie style to a personalized presentation. When she began her career in Sendai Girls back in 2017, Manami wore a black & gold singlet.

Later, after winning the Sendai Girls Junior Championship, Manami began displaying a more individualized look, wearing different styles of attire that featured blue & black with eye-catching designs. This change suggests a growth in her character and confidence as a performer, reflected in a more elaborate and individualized ring presence.

The evolution of wrestling attire reflects changes in norms and fashion trends, impacting how both men and women presented themselves in the ring. As society became more accepting of diverse forms of self-expression, wrestling attire followed suit. Wrestlers began to push boundaries, experimenting with outfits. This evolution also saw the creation of specialized costume designers who catered specifically to the needs and creative visions of professional wrestlers. The best-known example is Sandra Gray, who has worked for both WWE and AEW during her career.

Wrestling attire is a diverse and dynamic landscape for all who step into the squared circle. From the classic trunks and boots, and the earlier athletic one-pieces, to the detailed costumes and accessories, wrestlers use their attire to express themselves, enhance their characters, and connect with their fans. It's a major part of the overall wrestling experience, a visual spectacle that adds another layer of excitement and entertainment to the matches. The evolution of wrestling attire is a testament to the creativity and artistry of the performers, a reflection of changing times, and a vital factor in the ongoing spectacle that is professional wrestling, a tapestry woven by the threads of countless individual styles and expressions.

Attention Women's Wrestling/MMA/Boxing Promotions: TV Networks Are Looking for You!

The combat sports and entertainment industries are evolving, and one trend is the rising popularity and increasing demand for female-oriented competition. From the athleticism of women's wrestling to the vicious battles of women's MMA and the strategic intensity of women's boxing, audiences are enthused like never before. And now, television networks are taking notice, actively seeking engaging female-focused content to captivate their viewers.

There was a period when female-oriented combat sports were presented as novelty acts. Times have changed, as they are now taken more seriously and given the respect they have earned. The talent and dedication of women's wrestling, MMA, and boxing are drawing in a diverse and enthusiastic fanbase, and television networks are recognizing the huge potential.

I've learned firsthand that networks are actively scouting for high-quality, female-based competition that can deliver viewership and excitement- and recent data shows a clear upward trend in audience engagement for these types of events. The appetite is there, and the platform is waiting. If you have a promotion showcasing the talent within women's wrestling, the hard-hitting action of women's MMA, or the skillful displays of women's boxing, now is the time to seize this opportunity.

Television provides an excellent platform to reach millions of potential new fans who might not be aware of your events or athletes. A TV deal elevates your promotion's image and brand recognition, attracting more talent, sponsors, and media attention. Television partnerships can unlock significant new revenue streams through broadcast fees, advertising revenue shares, and increased merchandise sales. Increased exposure on a larger platform can elevate the profiles of your athletes, attracting more opportunities for them and further boosting your promotion.

Are you ready for the spotlight? If your women's wrestling, MMA, or boxing promotion has consistent event schedules, an established talent roster, delivers exciting events and has video to show it, has a dedicated and growing fanbase, and is a product that is ready for a wider audience, I want to hear from you. I have a deep understanding of the combat sports landscape and the changing needs of television networks, and I can introduce your product to them as I bridge the gap, connecting your promotion with the broadcast opportunities that can take your product to the next level.

Don't let this opportunity pass you by. The world is ready for more female-oriented competition. If you believe your promotion has what it takes to captivate a national or international audience, reach out today. Let's discuss how we can bring your vision to a bigger stage and deliver the action and entertainment that viewers are demanding.

Contact me at info@harold-williams.com to start the conversation.

The spotlight is waiting. Let's make sure it shines on YOU.

Comparing the Booking Strategies of WWE and AEW

Professional wrestling, at its core, is entertainment. While the athleticism and performing are important,a compelling wrestling storyline combined with character development makes fans even more engaged and invested. And behind every storyline is a booking strategy, a creative guideline that guides the direction of the promotion. Comparing the booking strategies of WWE and AEW offers an interesting glimpse into two distinct approaches to this unique form of entertainment, revealing how different philosophies contribute to the shape of the wrestling landscape.

WWE historically operated with a highly centralized and tightly controlled booking strategy under Vince McMahon. However, the creative environment has changed notably. As Chief Content Officer, Triple H oversees all aspects of WWE's creative direction. This change in leadership has reshaped the company's approach to storytelling, character development, and match presentation. Wrestlers' creative input has contributed to more compelling shows, drawing from their own experiences and perspectives. Under Triple H's leadership, WWE wrestlers now have freedom that they previously did not have. An example of increased wrestler input under Triple H is Damage CTRL. After Bayley and WWE's Creative Writing Team pitched the idea of the faction, it was turned down more than once. After Triple H gained full creative control, the faction made its debut at SummerSlam 2022.

WWE's booking has traditionally prioritized spectacle and entertainment value. Big moments, shocking surprises, and larger-than-life personas are things that WWE is known for. Storylines tend to be long-term, unfolding over weeks or even months, with a focus on building anticipation for Premium Live Events. While in-ring work is important, character development and storyline progression are also major focuses.

One of the strengths of WWE's booking strategy is its ability to create mainstream stars. The company has a proven track record of identifying and developing talent, turning them into household names that became bigger than WWE itself. However, the previously top-down approach, with centralized creative control, possibly suppressed creativity in a way. Now, the challenge lies in maintaining consistency and a clear creative vision across the large and complex WWE machine. The increased collaboration and input from more creative voices under Triple H are expected to make achieving this consistency more manageable, with multiple perspectives helping to identify any inconsistencies or plot holes in storylines that might occur.

AEW has always emphasized creative freedom, allowing wrestlers input into their characters and how they are used, embracing a collaborative and decentralized booking strategy. While Tony Khan is the ultimate authority, he works closely with the wrestlers, allowing them input into their storylines and character development. AEW (as well as WWE now) is willing to work alongside wrestlers to create mutually beneficial shows. This collaborative environment encourages creativity and gives wrestlers a noteworthy sense of ownership over their work. Wrestlers' creative input has contributed to more compelling shows, drawing from their own experiences and perspectives as they showcase their individual personalities and in-ring abilities. If a wrestler has input on the development of their character and is motivated to pitch ideas regarding upcoming matches, their morale is increased, and it is reflected in how they perform, making the show more enjoyable for fans.

AEW's booking often prioritizes in-ring work and athleticism. The promotion showcases a diverse range of wrestling styles, from high-flying artistry to demonstrations of technical skills. While storylines are a part of AEW, the company often places a stronger emphasis on showcasing the individual journeys and in-ring capabilities of its wrestlers.

One of the strengths of AEW's booking strategy is that it utilizes an understanding of fan desires, which has enabled the company to grow a loyal and passionate fan base that contributes to the electric atmosphere at their shows, creating a vibrant and energetic live event atmosphere. Meanwhile, AEW's challenge lies in allowing wrestlers to pursue their own narratives while also maintaining consistency in storytelling. Although it can be done, it is much more difficult than there being a single, unifying vision.

The contrasting booking strategies of WWE and AEW reflect two distinctive philosophies about professional wrestling. WWE concentrates on creating a highly polished and entertaining product, still prioritizing spectacle and mainstream appeal even with its changed creative structure, appealing to a broad audience, die-hard and casual wrestling fans alike. AEW, on the other hand, puts more attention on in-ring work and showcasing a variety of wrestling styles, appealing to die-hard wrestling fans.

In the end, both approaches have their strengths and weaknesses. WWE's style equipped the company to become a dominant force in sports entertainment with unparalleled mainstream success, while AEW's style led to explosive growth as it established itself as an alternative to WWE in its strive to reach the top. The ongoing dynamic between these two companies is driving innovation and pushing the boundaries of professional wrestling, both in the ring and behind the curtain.

To read more about the similarities and differences in WWE and AEW's strategies, as well as how both companies interact with the worlds of ticket sales, merchandise branding, TV rights, streaming, talent relations, technology, and more, check out my ebook, "The Business Side of Wrestling: A Look Behind the Curtain".