More About Me

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Since the "About Me" section of this blog is limited to a specific number 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.

From 2001 to 2013, I worked as a Sports Desk Assistant for Southern Westchester BOCES Athletics, responsible for inputting schedules and assigning officials for all public high school athletic events in the greater New York metropolitan area. This gave me an opportunity to hone my skills in organization and logistics. I also acted as in-house technical support.

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 my having come into contact with many talents being underused and going unnoticed in the industry over the years. 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 they 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, where I worked as a columnist.

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 to have written for a Chinese wrestling organization in history.

In 2019, I began writing for Michinoku Pro Wrestling, in charge of international wrestling as its International Officer. 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 articles, "A Look at the History and Future of WOW" and "Will WOW Go From Las Vegas Residency to an Even Higher Level?" were endorsed by WOW - Women Of Wrestling on social media in August 2025 and October 2025, respectively. My articles, "Why Florida Makes a Perfect WOW Superhero Stronghold", "Miami’s Sweet Heat on Beast Games Season 2: A Major Win for WOW", "WOW Hits the Jackpot: Women Of Wrestling Secures Season 4 & Groundbreaking Las Vegas Residency", A History of Women's Wrestling in America", "The 11 Most Must-See WOW Matches Right Now", "A Potential Game-Changer for Sophie Cunningham: The WOW Opportunity", "Independent Gaijin Dreams and the Japanese Experience of WOW's Superheroes" and, "A History of Wrestling Managers" were endorsed by WOW as well. In November 2025 and December 2025, WOW's official website saw a 122% increase in monthly visits, as my analyses initiated search traffic that the official domain then converted into brand engagement.

Many of my articles have been cited as sources in online encyclopedias Wikipedia, Grokipedia, and Hubbry entries on topics including Women of Wrestling, the Global Wrestling Federation (GWF), Michinoku Pro Wrestling, Kyushu Pro-Wrestling, MLW, 3PW, Japan's MMA business, WWE house shows from a business perspective, Right to Censor, the York Foundation, the impact of Japanese wrestling on the global wrestling scene, a comprehensive comparison of Japanese and American wrestling, the history of wrestling commentary, Hisashi Shinma as WWE President, the true power of joshi puroresu, the history of professional wrestling in Canada, the history of wrestling in South Carolina, the history of pro-wrestling in Osaka, the future of women's wrestling in America, Alex Shelley, Mad Man Pondo, Angel Orsini, GAINA, the early history of WWE video games, WWE Raw on Netflix, Strong Style Pro Wrestling, and more. Additionally, my 2013 interviews with the original cast of GLOW (Gorgeous Ladies of Wrestling) served as a primary historical resource for The Telegraph in their coverage of the true stories behind the hit Netflix series.

My work is used as a resource on learning platforms. My ebook "The Business Side of Wrestling: A Look Behind the Curtain" is available for lending internationally, across two major library systems: CLEVNET Library in Ohio and Dubai Public Library in the Middle East. My article, "The History of American Wrestling," has been used in Google Classroom by an educator.

In July 2025, I developed the core corporate communications and original strategic press release for the founding team of youth sports platform True Lacrosse announcing their strategic partnership with the incoming Private Equity partner, TZP Group, launching the new national platform, True Sports. The final deliverables were used as the basis and foundation for the final, official, public-facing, published corporate release and announcement. The document passed final approval by the founders and TZP Group.

After living in Japan for ten years and writing English content for Asian companies during that time, I am currently based in the US and open to new writing opportunities in the US, Japan, and globally, from event previews & results reports, to press releases, 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 platform averages over 80,000 monthly impressions across the digital ecosystem. This includes direct traffic, high-authority visibility on Google, Bing, ChatGPT, Yahoo, and Yandex, as well as significant engagement from networks like Facebook, LinkedIn, X, Threads, and Reddit.

My rate typically falls within the range of $500 to $800. info@harold-williams.com

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. My insights on this frontier have been recognized by wrestling-related outlets; including, Fightful cited my deep dive into specific applications of AI in wrestling as a key resource in an article.

I am a subject matter expert in the business side of Japan's MMA, baseball, soccer/football, lacrosse, and other sports.

In additon, I am working for TELUS Digital as an Online Data Analyst, developing and improving AI models by contributing data, assessments, and insights via writing and data collection/annotation/labeling.

The $500 Launch Phase: Why Your Promotion Isn’t Growing (And How to Fix It)

In the professional wrestling industry, there is a massive gap between a high-quality in-ring product and a global digital footprint. Many promoters want to take things slow, but in a digital-first economy, slow often leads to being invisible.

When I work as a Strategic Communications Consultant, I don’t only offer marketing. I offer a 30-Day Launch Phase designed to turn local promotions into international destinations. Here is the blueprint I use to bridge that gap.

1. Stop Being Local and Start Being Global
If your digital reach is limited to your local zip code, you’re leaving money on the table. My background in the US (working with promotions like WOW - Women Of Wrestling) and Japan (like being the International Officer of Michinoku Pro and a social media writer & blogger for Yanagase Pro Wrestling) have shown me that fans internationally are hungry for new content- they just need a reason to care about that content.

- The Strategy: Position your brand as a premier destination by framing it through a business lens. If a promotion features international stars, their reputations should be leveraged to ensure the promotion's digital reach matches the talents' in-ring reputations.

2. Leverage Search Authority Over Social Media
Social media is rented land. Search authority is real estate. Most promotions have YouTube channels with solid foundations, but they aren't converting that into ticket sales.

- The Strategy: Use a high-ranking global platform to create strategic event previews. By funneling active search traffic from fans looking for a specific style of wrestling product directly to your ticket pages, you create a measurable ROI.

3. The Power of the Narrative
For unique promotions, growth is about more than the matches; it's about the presentation.

- The Strategy: If it's a medium-size or larger promotion, frame it as an evolving entertainment property. If it's a charity organization, highlight its charitable impact so that it becomes eligible for community-focused media coverage that traditional promotions can't access.

4. Making Small Look Large
By creating high-impact brand analysis, a promotion can be made to appear bigger than it actually is. This can take it from a venue that seats 50 fans to one that seats 600.

- The Strategy: It’s about search authority. If your promotion looks like an international property online, the fans (and sponsors) will treat it like one.

The Bottom Line
If you're driven by a desire for growth, you need a digital strategy. My Launch Phase covers content optimization, search authority, and media syndication for a flat fee, ensuring the work pays for itself through increased visibility and sales. Reach out at info@harold-williams.com

Grunt! The Wrestling Movie You Don't Know About

When most people hear the phrase "wrestling movies," films such as No Holds Barred (1989), Body Slam (1986), or The Wrestler (2008) quickly come to mind. But when wrestling reached a peak of popularity in the United States in 1985 and became a household name, a determined production company, New World Pictures, attempted to capitalize on the wrestling boom and capture wrestling on film by releasing a low-cost satire: Grunt! The Wrestling Movie.

Grunt! The Wrestling Movie exists because of the business landscape of 1985. Professional wrestling was undergoing a massive cultural shift. The inaugural WrestleMania proved that wrestling could crossover with MTV, pop music, and mainstream celebrity culture. Plus, previously, territories controlled specific geographic areas- now, the WWF (known today as WWE), Jim Crockett Promotions, and the AWA were considered the "Big Three" of the industry, with WWF-TV and JCP-TV running in syndication, and AWA programs broadcast on ESPN. Pro-wrestling matches were regularly televised on national television with levels of viewership never seen before, and stars such as Hulk Hogan, Ric Flair, and Sgt. Slaughter were widely known and recognized by the majority of the general public.

As a result, film studios realized there was a massive, highly engaged audience ready to spend money at the box office. But Hollywood in general was unsure how to write a movie about pro-wrestling.

In the end, most studios eventually chose to focus on scale and universality. They focused on the high production values, stardom, or the intense personal tolls that can occur in the industry. But New World Pictures took a pivot. They looked at the small promotions and decided to make a parody based on them.

The story of Grunt! The Wrestling Movie is a documentary crew trying to find out whether the dominant and mysterious wrestler Marvelous Masked Marvel is actually legendary wrestling star "Mad Dog" Joe DeCurso, who supposedly committed suicide years prior after a match where he accidentally decapitated his opponent in the ring with a dropkick.

Grunt! The Wrestling Movie presented wrestling through a low-budget, regional, and satirical lens, complete with smoke-filled venues (which were common during events hosted by small promotions during this period). To give the film legitimacy, the producers included wrestling stars in the cast: Dan Spivey months before he began wrestling for the WWF, former WWF Superstars Dick Murdoch, John Tolos, and Victor Rivera; AJPW legend Richard Beyer (best known as The Destroyer); former NWA stars Adrian Street (with his manager/wife Miss Linda), Billy Varga, Mando Guerrero, and Steve Strong; and future GLOW star Dee Booher (best known as Matilda The Hun).

It's also worth noting that Grunt! The Wrestling Movie helped to launch a pro-wrestling career. Before entering the wrestling industry, Magic Schwarz was a bodybuilder training at Gold's Gym. A casting contact at the gym connected him with the production team for the movie, landing him the co-starring role of Mad Dog Joe DeCurso, although he had no wrestling experience. To prepare for the film, the production had Mando Guerrero coach him, and Schwarz spent two weeks training alongside wrestlers, including Victor Rivera, at Gil's Garage in Los Angeles, a garage gym where local wrestlers from Mexico actively trained. All of this led to Schwarz later becoming a professional wrestler, best known as "Harley Davidson". His pro-wrestling career highlights included wrestling in the WWF, the AWA, and AJPW.

While polished studio films that came later appeal to a broader range of wrestling fans as well as non-wrestling fans, Grunt! The Wrestling Movie mostly appeals to people who were wrestling fans specifically in the 1970s and/or early 1980s and especially if they were generally familiar with territories, which is why it is not well known and didn't achieve mainstream success. People who were first exposed to wrestling in the mid-1980s or later viewed it as being a nationalized television product, and are less likely to "get" Grunt! The Wrestling Movie.



Contrast Grunt! The Wrestling Movie with some of the films that followed:

No Holds Barred & Body Slam (Focus on Stardom): These films translated wrestling into the universal language of 1980s action and comedy. They focused on the courage, the theatrical villains, and the spectacle of Western wrestling, making them digestible and exciting for a broad demographic, from children and their parents to casual fans who just wanted to see Hulk Hogan, Roddy Piper, or Tonga Kid on the big screen.

The Wrestler (Focus on Personal Toll): This film succeeded because it told a deeply human story. The gloomy portrayal of the journey of a professional wrestler who has passed his athletic prime and the physical and emotional toll of a life spent in the ring as he struggles with aging, injuries, and a declining career gives a raw look at the obstacles that athletes encounter as they age and struggle to continue their careers. The Wrestler resonated with general moviegoers and critics alike, even if they had never watched a single wrestling match.

On the other hand, by keeping its focus narrow, Grunt! The Wrestling Movie was not able to easily connect with the broader public. As a result, it only attracts old-school pro-wrestling fans and enthusiasts of low-cost films.

New World Pictures was founded in 1970 by Roger Corman, a well-known pioneer of producing and directing low-cost, high-efficiency films, and he sold it in 1983 for $16.5 million to entertainment lawyers who strictly maintained Corman’s low-cost, high-volume philosophy. New World Pictures was built on the idea of identifying a rising pop-culture trend, producing a film to make money from it at a low cost, and getting it into theaters just in case the trend is actually a fad. For this reason, the production of Grunt! The Wrestling Movie began in July 1985, and it was released in the US on November 30, 1985, indicating there was a fast production turnaround of roughly five months.

Casting pro-wrestlers over actors for action scenes in Grunt! The Wrestling Movie was likely a decision influenced by New World Pictures' business model. Along with pro-wrestlers giving the film authenticity, actors would have needed to be taught the fundamentals of wrestling, such as how to bump, and how to take & perform wrestling moves. The real pro-wrestlers were already trained, which saved days on the shooting schedule. Magic Schwarz was an exception- he wasn't a pro-wrestler at the time, but it was common for the person who cast him to assign roles to bodybuilders. Also, instead of building expensive arena sets that would have cost millions like most movie studios would have, the crew for Grunt! The Wrestling Movie shot in real locations in Los Angeles, including the old-fashioned Grand Olympic Auditorium, which gave the match scenes the same unrefined look of real pro-wrestling matches in small promotions of that period.

If you are interested in watching Grunt! The Wrestling Movie, you can see it here on Tubi, a free ad-supported streaming television (FAST) channel available in the United States, Canada, Mexico, Australia, New Zealand, and several Latin American countries (Costa Rica, Ecuador, El Salvador, Guatemala, Panama).

Japanese Professional Wrestling (Puroresu) at Shinkiba 1stRING

While Korakuen Hall is the Madison Square Garden of Japan, Shinkiba 1stRING provides an intimate experience. With a capacity of 300 people, there is a big focus on the in-ring action and interaction between the pro-wrestlers and the crowd. The atmosphere is fun and laid-back, for both the talent and the audience. Located at 1-6-24 Shinkiba in Koto-ku, Tokyo, this small, wood-paneled converted storage warehouse is loved by fans and wrestlers alike.

Shinkiba 1stRING is a venue that has unique energy during a pro-wrestling event, very similar to WWE house shows in the United States. Located in an industrial area three minutes away from Shin-Kiba Station, the venue's interior is lined entirely with dark wood paneling, which absorbs and vibrates the crowd noise. A crowd of 300 people in Shinkiba sounds like 2,000 people anywhere else.

Tickets are not handled at Shinkiba 1stRING- the most common way to reserve tickets is via promotions directly, via an online shop, phone, or social media. A number of promotions use fan clubs to provide early access to tickets via lotteries before they go on sale to the general public as well. It is also common for pro-wrestlers to offer ticket reservations through social media for shows that they appear on. You can see the Shinkiba 1stRING seating arrangement here.

One side of Shinkiba 1stRING has an elevated stage area that is usually used as the entrance ramp for the pro-wrestlers, and has chairs and bleachers on both sides of the ramp. Here is a view of the ring from the stage at a Marvelous event.

There are folding chairs in the ringside area, and the first row is very close to the ring, as you can see from this ringside view at a Sendai Girls event.

Feeling like you're inches away from action like this 2019 match between KAORU and AKARI, the perspective is highly intense.

Being that there is little physical space between the ring apron and the front row, if the match goes outside the ring, it will soon go into the crowd. The ring crew will shout- stand up and get out of the way immediately.

There is fixed tiered seating on three sides of Shinkiba 1stRING, located behind the folding chairs. Below is a picture that was taken at YMZ Summer Festival 2018, which gives a perspective of sitting in that area.

Many wrestling promotions have shows at Shinkiba 1stRING regularly, ranging from small-sized promotions to major ones. They include Stardom, NOAH, AJPW, BJW, Sendai Girls, SEAdLINNNG, ZERO1, Actwres girl'Z, World Woman Pro-Wrestling Diana, and Marvelous.

Each offers 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. Most promotions allow still photography but not video recording of the matches.

Guide to Attending Japanese Professional Wrestling (Puroresu) at Korakuen Hall

The Korakuen Hall is known as a place where many historical moments in the puroresu (Japanese pro-wrestling) scene have occurred. It's to Japan what Madison Square Garden is to the pro-wrestling scene in the United States. If you want to experience puroresu in Japan, Korakuen Hall should be one of your planned destinations.

Here is a guide for attending an event there:

1. The Ticketing Landscape

- Korakuen Hall 5th Floor Office: Head to the 5th floor of the brown building at Tokyo Dome City, which has "5F" written on a white sign.

This office handles advance tickets and same-day tickets. A member of the staff will show you a seating chart so you can pick your exact spot. If you go to the office and the show that you want to see is sold out, it won't be a wasted trip- they always have flyers and tickets for other Korakuen Hall events.

- Champion: This pro-wrestling shop sells tickets in-store until around the day before the event. Champion also sells merchandise that includes DVDs, VHS titles, T-shirts, magazines, books, photo albums, clothing, event pamphlets and posters, masks, figures, autographed shikishi (traditional Japanese art boards), and other autographed items.

- Ticket agencies: Loppi (at Lawson), Ticket Pia (at 7-Eleven), and FamiPort (at FamilyMart) are ticket agencies/in-store kiosks used to purchase or print tickets. Also, e+ is an online option.

- Direct: Many promotions offer ticket reservations directly, via an online shop, phone, or social media. A number of promotions use fan clubs to provide early access to tickets via lotteries before they go on sale to the general public as well. It is also common for pro-wrestlers to offer ticket reservations through social media for shows that they appear on.

- Tokon Shop: Tickets for NJPW events can be purchased at this shop, as well as T-shirts, baseball caps & other items related to NJPW.

2. Korakuen Hall’s Seating

The Korakuen Hall is roughly divided into Ringside (floor) and Reserved (everything else) seats. Every seat is good, but to make sure that you have the exact experience that you want, you should make note of how each section is different before choosing a seat:

- South (the section at the bottom part of the graphic above)
The South side is where the hard cameras are located when an event is broadcast or taped.

- Rows A-H: These are the lower-level permanent seats. They provide an elevated view as the rows go up. Below is a perspective from Row B at a Michinoku Pro event:

Rows I-R: These are the upper-half of the South side. The picture below is from when Michinoku Pro drew a sellout, standing room only crowd of 1,890 at the Korakuen Hall in Tokyo in December 2019, which was the highest reported attendance at the Korakuen Hall for a pro-wrestling event since April 2015. As you can see, every seat was filled, but because the seats are inclined, everyone had a clear view of the action.

- East & West
These are the wooden, bench-style seats. The picture below was my view from these seats, which are right behind the folding chair floor seats, at the We Are SUZUKI-GUN event that took place in June 2015.

While brawls often carry out into the South side, wrestlers have easy access to the East and West sections, as these seats are located near their entrances. At this event, the chaotic monster Takashi Iizuka decided to charge his way through my section on his way to the ring, and with him being 5 feet 11, over 231 pounds, and wielding his Iron Finger from Hell, everyone got out of his way.

- North
The North side mainly consists of bleachers located directly behind the ring announcer and timekeeper, as you can see in this picture from Real Japan Pro Wrestling's June 2015 Legend Of The Gold event.

Sometimes the seats in this section are not utilized, as can be seen here in this picture that was taken at SEAdLINNNG Summer Blast 2018, where this section was instead used as an entrance stage.

- Ringside
These are folding chairs placed around the ring. These seats are the closest to pro-wrestling action.

When a brawl carries out of the ring, the first three rows are usually where it will go.

- The Balconies
If a show is standing room only, they will sell tickets for the balcony sections.

East/West Balconies: These are the narrow strips above the bench-style seats, giving a bird's-eye view, as can be seen in the picture below from the December 2019 Michinoku Pro event.

3. Logistics

- Start Times: On average, Korakuen Hall hosts approximately 350 combat sports events per year. This includes 250 professional wrestling events and 100 boxing events, as well as occasional MMA, kickboxing, and even TV show tapings. Because it is so heavily utilized, it is not rare for the hall to host two different events in a single day- one in the morning/afternoon and one in the evening. So if you are used to Western wrestling schedules where almost everything starts at night, remember not to assume that is the case for an event that you plan on attending at Korakuen Hall. Also, if it indeed will be starting at night, check to see whether there will also be a pro-wrestling event taking place earlier that day- you might have an opportunity to see a double-header of pro-wrestling.

- Concession Stand: Although there are many restaurants in the Korakuen Hall area, the concession stand in the lobby is a great place to buy food, featuring everything from pre-made sandwiches to hot food.

- Merchandise: Merchandise tables being utilized as meet-and-greet areas are set up in the lobby.

4. Venue Etiquette
The atmosphere in a Japanese venue during a pro-wrestling event is a mix of deep respect and enthusiastic energy.

- Crowd noise: Cheering and clapping is encouraged, but there is often silence during technical wrestling, with the crowd being focused on the action. Generally, fans at Korakuen Hall wrestling events are also more likely to be quieter at events than fans at many other venues in Japan, being analytical of the wrestlers and the matches. However, they become loud when it appears that a match is going to end, as it seems that a wrestler they like is about to win or lose.

- Photography/Video Recording: Most promotions allow still photography but not video recording of the matches.

5. The Promotions
Many wrestling promotions have shows at Korakuen Hall regularly, each with its unique style and loyal following. While NJPW quickly comes to mind for many, there are other notable promotions, including Stardom, NOAH, AJPW, BJW, Michinoku Pro, Dream Star Fighting Marigold, SEAdLINNNG, and World Woman Pro-Wrestling Diana- which celebrated its 15th anniversary at Korakuen Hall this past April.

Each offers 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.

6. Post-Show
Just like in New York, there will be many places that you can go to in Tokyo after a show. But keep in mind that the Japanese train system usually stops running around midnight. If you stay out past this time, night buses, bicycles, or staying in a karaoke box or capsule hotel until the first train runs at roughly 5:00 AM are common solutions. Alternatively, you can take a taxi or stay overnight at a hotel near Korakuen Hall.

Why American Professional Wrestlers Never Stop Studying Japan

When comparing Japanese and American wrestling, you can see that while both styles have matches that focus on technical skill and athleticism, showmanship is another important aspect of American wrestling, while Japanese wrestling often emphasizes physicality and competitiveness. In America, pro-wrestlers ranging from veterans to rising stars watch and study Japanese wrestling, not only being entertained but also inspired.

The conversation recently resurfaced during an episode of Official WOW Podcast With Nigel Zane, where Animal Instinct tag team partners Goldie Collins and Katarina Jinx discussed their mutual interest in the Japanese wrestling style and how they bond over it. Jinx hit on a point that demonstrates the emotional aspect of the true power of joshi puroresu.

"It brought the physicality to a new height," Katarina Jinx said regarding Japanese wrestling. "they are so invested in that moment and it it brings out a different kind of fierceness that I think most people would shy away from it...this almost sense of honor that they have to prevail and there's so much strength there...for us especially here in the US you get that 'oh well, maybe I'll get them next time.' In Japanese wrestling, you have less of that. It’s more of like, "I have to do it now."

This fierceness that she described elevates joshi matches beyond athletic contests; they become compelling dramas that present the theme of the human spirit. When a wrestler adopts that Japanese sense of urgency, the match goes to another level. That excitement sells tickets and further builds a brand.

Goldie Collins, who watches Stardom, noted how Japanese wrestling has brought out the best in talented wrestlers. "I just think that anyone who comes back from their training is better for it," she said. "I think that there's a lot to aspire to."

She also explained how even though she has not wrestled in Japan, observing the style of Japanese wrestling has influenced her as a wrestler, which shows the impact of Japanese wrestling on the global wrestling scene: "I think it's easy for me to be like, 'Oh, I came from this performance background and one of the harder things to step into was the physicality. I knew how to be a showman, but did I really know how to get gritty and fight?' And I watched these women throw their bodies like they do was like, 'Oh, okay. So like you really have to lean in and commit and put it all out there and that's how you succeed.' And so yeah, I just have really admired anyone and everyone who I have ever watched."

This professional passion isn't something new- it's the foundation for some of the most resilient careers in the business. Before former CZW star and No Holds Barred - The Chains owner Danny Demanto's 26-year journey began, he would sit in high school counting down the minutes until he could leave and go to the Doghouse wrestling school, where he would watch Japanese tapes with his trainer. Along with experiencing his fandom, seeds were planted as Japan became Demanto's main pro-wrestling goal. In 2025, that decades-long objective culminated in him doing it his way and taking his promotion to Japan. A wrestler who looks at the industry outside of their home base puts themselves into a position where they can eventually navigate the global market.

Some of the keenest watchers of Japanese wrestling can be found watching it in the early hours of the morning. AEW star Bryan Keith knows what it's like to be up after midnight watching Japanese wrestling, and that degree of enthusiasm likely played a role in his pro-wrestling career, taking him to Japan in 2024 to wrestle for DDT, where the matches he participated in included an opportunity to wrestle MAO, who was defending the DDT Universal Championship.

Beau James, who has wrestled for over four decades (crossing the 90s, 00s, 10s, and 20s) and today is also the promoter of Southern States Wrestling, represents a generational bridge in the business. While James has only watched the Japanese style here and there over the years -and is currently shooting for his fifth decade in the ring- his work ethic reflects the exact same grit that Western talent sees when watching Japanese wrestling. For a traditionalist like James, the focus has always been on the timeless psychology of the industry- proving that whether a wrestler studies southern style wrestling or Japanese wrestling, physicality and competitiveness are a universal language.

Sam Adonis is a star in Mexico's AAA, where he is a former AAA World Trios Champion. But the main focus of his pro-wrestling fandom since age seven was Japanese wrestling, as he obsessed over FMW and later also NJPW and AJPW, dating back to the 1970s. This helped in his eventual travel to AJPW, where he wrestled from 2017 to 2019.



American professional wrestlers who never stop studying Japan see a place for showmanship in the ring, but also see value in prioritizing a display of emotion and fighting spirit. Promoters generally view this type of wrestler as the most valuable asset in the industry, as this hybrid style bridges the gap between the American and Japanese wrestling styles. Showmanship ensures the spectacle and character-driven moments that sell tickets and merchandise, and the displays of emotion and fighting spirit make the match more compelling, as the wrestler builds a connection with the audience that is a foundation for support, increasing the drama of the action. By blending these elements, a wrestler satisfies the promoter’s need for a complete package: someone who can play to the cameras and social media clips while maintaining the intensity required to keep fans emotionally invested in the outcome of the match.

The Maverick Who Changed Pro-Wrestling: Remembering Ted Turner (1938-2026)

The passing of Ted Turner isn't only a loss for the world of cable news and philanthropy; it is a moment of reflection for the professional wrestling industry. While many will remember him as being outspoken or the man who revolutionized news with CNN, the wrestling world also knows him as the visionary who provided the platform and the capital to challenge an industry leader.

Long before the Monday Night War, Turner Broadcasting System (TBS) provided a platform for Jim Crockett Promotions (JCP), which helped keep wrestling a staple of American television. In 1988, TBS acquired JCP for $9 million and rebranded it to WCW. This deal was one of the most monumental acquisitions of a sports entertainment company during that century. Not only did Ted Turner buy an organization, but he also preserved a legacy.

Ted Turner’s strategy was a masterclass in the loss leader business model. While wrestling didn't always attract the top advertisers of the era, he knew that its massive, loyal viewership was the engine that powered TBS. By transforming his station into a superstation, distributing it by satellite in 1976, Turner made wrestling, which was low-cost, high-rating content, the anchor of the TBS lineup and available nationwide. Cable operators across the country carried TBS because wrestling provided reliable, consistent viewership, forcing them to include it in their lineups. This kept eyeballs on the screen for his other ventures, such as the Atlanta Braves baseball team. This is the same blueprint we see today with media giants like Amazon and Netflix, who invest billions in live sports and entertainment not just for immediate profit, but to build an ecosystem that viewers never want to leave.

Ted Turner was the only person with the boldness and resources to go head-to-head with WWE. His goal was for WCW to be competitive with WWE, which would be no small feat- WWE was the #1 company, with a loyal fanbase behind it. Founded in 1952, it took WWE over 30 years to become a major success (and without true competition). And yet, Turner wanted Eric Bischoff (as Executive Vice President) to come up with a way for WCW to pose as a serious competitor to the giant of the pro-wrestling industry. Bischoff suggested to him that WCW needed a prime time show in order to be competitive with Vince McMahon and WWE. Turner gave WCW a live time slot on TNT opposing WWE Raw during that same meeting, and this led to the launch of Monday Nitro, which later led to the formation of the New World Order (nWo) faction, an 83-week winning streak against WWE Raw in the ratings war, and triggered WWE's Attitude Era.

Ted Turner's competitive spirit and going against WWE head-on caused WWE to adopt a more spontaneous and unpredictable product in order to respond. The transition to weekly live TV and improved production values are direct descendants of the Turner era.

Ted Turner understood the value of the pro-wrestling audience when others, including at TBS, looked down on it. He gave the business respect, prime-time slots, public support, and a level of financial investment that was unprecedented. Turner was ahead of the curve in the advertising industry, seeing wrestling fans as a loyal consumer demographic. It was easy for him to do this, being that he himself was passionate about the pro-wrestling product.



Today, as we look at the diverse landscape of wrestling on cable and streaming, we are seeing the seeds Ted Turner planted decades ago. He changed the industry for the better during a time when no one felt that change was needed.

Rest in peace, Ted Turner. You took pro-wrestling to another level, and your impact is still being seen today.