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, 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.

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 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/$HaroldWilliams1313

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.clippings.me/haroldwilliams3

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

A History of Wrestling Commentary

A commentator is in a position where they have the potential to change a bad match into a good match, as well as change a good match into a bad one. They are both narrators and storytellers, who can be important parts of the overall wrestling experience, with their evolution reflecting changes in the industry itself and the evolving relationship between wrestling and its audience.

Commentators began being utilized in the 1950s, when television became popular. The pro-wrestling industry felt a need for detailed play-by-play commentary to enhance drama and build character during shows that were now reaching a wider audience. During this period, commentary was often factual and straightforward. Commentators such as Gordon Solie and Lance Russell primarily focused on describing the action in the ring for the audience. They were the voices of wrestling, connecting with viewers at home and guiding them through the action.

Starting with the 1980s and 1990s, this foundational approach changed, as commentary teams became more defined to appeal to a broader audience that was now seeing pro-wrestling via cable television nationally. Commentary focused less on describing the action of a match and emphasized the drama and entertainment aspect of pro-wrestling, the impact of moves, the larger-than-life characters, and the feuds, while building up the stakes of matches. The heel color commentator became a feature, with figures like Jesse Ventura, Bobby Heenan, and Paul E. Dangerously (Paul Heyman) excelling at this. They would actively trash talk fan favorites, praise rulebreakers, and provide a contrasting viewpoint to the more neutral or fan favorite-leaning play-by-play commentator (like Gorilla Monsoon and Jim Ross), who continued to be the anchor of the broadcast. This added a new layer of drama and often humor. Wrestlers had developed more distinct characters, and commentators mirrored this change, as they presented unique personalities and popular catchphrases, while providing analysis. This was the beginning of when a commentator was no longer only a narrator and became a storyteller, wanting to enhance the overall entertainment value of the show.

There have been cases where people have entered a pro-wrestling company as a commentator, and later transitioned into a different role. One example is Bruce Prichard, who after working in WWE since 1987, joined the GWF in 1991. GWF play-by-play commentator Craig Johnson lobbied for him, possibly noting that Prichard had experience in WWE as a commentator and an on-screen character (Brother Love). After first working in the GWF as a color commentator, Prichard later became one of the prominent heel managers in the company.

While most commentators prioritized focusing on the drama, emotional stakes, and entertainment value of professional wrestling, using their voices to amplify the narratives and reactions, Mike Tenay was a commentator who was generally more focused on the action and technical/historical description of a match. While working for WCW and TNA, he was known for his deep knowledge of wrestling, with Tenay's commentary showcasing his knowledge by explaining moves, histories, and international styles. Tenay also had an appreciation for international wrestling, particularly Japanese wrestling and lucha libre- he was valuable in explaining lucha libre to a broader American audience in WCW.

In addition, founders/owners of wrestling companies have also been commentators for their shows. The best example is David McLane, the visionary behind both GLOW (Gorgeous Ladies of Wrestling) and WOW - Women Of Wrestling. Being both the creator and a commentator has several positives. Firstly, it ensures a consistent creative vision from inception to execution; his understanding of the product and its characters directly translates into his commentary, enabling McLane to highlight the narratives and personalities he intends for the audience to grasp. Secondly, McLane's direct involvement as a voice of the show grows a strong sense of ownership and passion that resonates with viewers, as they witness the architect of the product actively engaging with it. Lastly, his position allows for immediate, real-time adaptation and emphasis on feuds, as he can use his commentary to reinforce important situations or character developments as they unfold, giving the show a distinct and cohesive feel that might be lost if a different commentator were handling the role. McLane has a consistent, prominent, and long-running nature of his direct commentary for his own creations, which relies heavily on a strong, guiding personality. It's a testament to his vision and his commitment to being the voice of his product.

Many wrestling commentators have become legends, their voices instantly recognizable to wrestling fans, and their commentary has become a part of some of the most memorable moments in wrestling history. The evolution of wrestling commentary also reflects changes in audience expectations and the overall style of professional wrestling. As wrestling became more fast-paced and high-flying, commentators had to adapt, providing context for complex feuds and keeping up with the action.



Today, wrestling commentary is a diverse and dynamic landscape, constantly adapting to the evolving product and audience. In major American wrestling, particularly WWE and AEW, a trend has become prominent. The three-person commentary booth is now a common feature, often featuring a play-by-play announcer, a traditional color commentator, and a third 'analyst' or 'heel' voice, offering varied perspectives. This format is also seen in WOW, when Adriana Gambino sits at the commentary booth while members of her Alliance faction are having a match. Additionally, the popularity of social media means commentators frequently integrate fan reactions, trending topics, and even direct social media interactions into their calls.

Beyond the American landscape, wrestling commentary globally offers interesting distinctions. This reflects the global reach of professional wrestling and the unique cultural approaches to professional wrestling in each region.

Wrestling commentary in Canada, while often mirroring the sports entertainment focus of its American counterpart due to geographical and cultural closeness, distinguishes itself through a significant emphasis on bilingualism, particularly in regions like Quebec where French-language broadcasts offer a distinct verbal and cultural flavor. Historically, Canadian commentators, especially those involved in notable promotions like Stampede Wrestling, also possessed a deep understanding of the technical aspects of wrestling, reflecting a broader appreciation for diverse styles that occasionally incorporated British or Japanese influences, even though modern commentary largely aligns with the dominant WWE style. This blend results in a commentary style that is familiar to American audiences but often carries subtle variations in tone, terminology, and historical context.

Wrestling commentary in Japan stands out with its emphasis on the fighting spirit (tōkon), the intensity of the in-ring action, and the precise technical execution of maneuvers. Japanese commentators (like Soichi Shibata) prioritize the drama unfolding within the match itself, focusing on impactful strikes, intricate submissions, and the endurance of the wrestlers. While analytical and knowledgeable about various wrestling and martial arts styles, Japanese commentary can also be excitable and exclamatory, particularly during key moments, seamlessly blending technical insight with an enthusiasm that highlights the hard-hitting, physical style of puroresu.

Wrestling commentary in Mexico is rapid-fire, which perfectly complements the athleticism, high-flying, and risk-taking of the in-ring action. Distinguished by its dynamic energy and dramatic skill, commentators energetically spotlight the never-ending battle between good and evil, openly displaying their loyalties and contributing to the clear good-versus-evil narrative. Using a unique blend of enthusiastic exclamations, vibrant sound effects, and even rhythmic vocalizations, lucha libre commentators elevate the spectacle and tradition of the sport, focusing on the agility, aerial artistry, and the culturally noteworthy symbolism of the mask in lucha libre.

From the early play-by-play announcers to modern-day color commentators, wrestling commentators have played an influential role in shaping the way we experience and appreciate professional wrestling. They have the potential to enhance the viewing experience by providing analysis, building narrative, and expressing the emotion and excitement of the match to the audience.

Why Olympic Gold Medalist Aaron Wolf Chose NJPW

A major topic of conversation among fans and within the wrestling media that follows the international wrestling scene is that Aaron Wolf, who won a gold medal in judo at the 2020 Summer Olympics, has signed with NJPW. Set to make his in-ring debut at Wrestle Kingdom 20 on January 4, 2026 – the same date as the legendary Hiroshi Tanahashi's retirement match – Wolf's decision to join NJPW has sparked discussion. With reports indicating options with other major promotions, and that Wolf made this choice after consulting with former NJPW star and current AEW star Kazuchika Okada, many are asking: Why did Aaron Wolf choose NJPW?"

Aaron Wolf's choice speaks volumes about the reputation and unique appeal of NJPW, especially for an athlete seeking to learn the craft from the ground up. According to reports, Kazuchika Okada advised Wolf that "If you want to learn pro wrestling from scratch, New Japan Pro-Wrestling is the place to be." After initially being trained by legend Ultimo Dragon, Okada continued his training in NJPW. A sign of a great place to train is if it has a notable track record of graduates who have had good exposure. While in NJPW, Okada held the IWGP Heavyweight Championship five times (with his fourth reign lasting 720 days, the longest in the company’s history), and later held the IWGP World Heavyweight Championship two times (with Okada's first reign being the fourth-longest in the company's history). In 2024, he signed with AEW, where he captured the AEW Continental Championship. Okada's success in the pro-wrestling industry is a ringing endorsement for the training that NJPW offers.

NJPW's training features the Noge Dojo system, a form of training that focuses on understanding fundamentals, ensuring that students comprehend the nuances of psychology and physical execution that define the biggest wrestling company in Japan. For an Olympic judoka, this environment offers a seamless transition from one demanding combat sport to another, where technique, discipline, and resilience are primary.

Beyond the training philosophy, Aaron Wolf brings cross-cultural appeal to NJPW. As a Japanese-American born in Tokyo to a Japanese mother and American father, he has a heritage that resonates with both the domestic Japanese audience and the international fanbase. Also, Wolf's Olympic gold medal instantly gives him a high level of public recognition and athletic credibility. This combination positions Wolf as a potential Ace - a top-tier cornerstone who NJPW can build around in the coming years. Hiroshi Tanahashi had the responsibility of being NJPW's Ace in the past, and Wolf's background offers a fresh, compelling narrative for a new generation. His debut at Wrestle Kingdom 20, on the same night as Tanahashi's retirement, symbolically marks the passing of a torch and the beginning of a new era for the promotion.

While Aaron Wolf's judo success is notable, the pro-wrestling industry is a completely different world. The road ahead for him will be challenging, as he himself states he is "starting from zero" in pro-wrestling. However, with the backing of NJPW's respected dojo, the guidance of figures like legend Yuji Nagata (who is currently a trainer in NJPW and has been in contact with Wolf), and the value of an Olympic gold medal, his journey is one of much potential. Wolf's decision to immerse himself in the traditional, fundamental approach of NJPW is a good match for his prior athletic experience. As Wolf prepares for his Tokyo Dome debut, the wrestling world will be watching closely to see how he will make an impact in NJPW.

Why CONTRA Unit Remains MLW's Most Feared Faction

In MLW, no faction has cast a longer, more chilling shadow than CONTRA Unit. While their roster and specific objectives have evolved over time, CONTRA's core identity as a ruthless, rebellious force has remained consistently formidable. Understanding why they continue to be MLW's most feared faction offers an interesting look into one of the most compelling aspects of the promotion.

Much like the devious COBRA organization in the G.I. Joe universe– a global terrorist syndicate with a distinctive military look and a continuous pursuit of world domination – CONTRA Unit operates similarly within MLW. They are a faction that works together with great efficiency, unified by a destructive ideology, and constantly seeking to weaken the established order. This comparison perfectly captures CONTRA's calculated chaos and their enduring ability to be a threat to everything MLW stands for.

CONTRA Unit's continuing threat is emphasized by their remarkable unpredictability. After a period of intense dominance, CONTRA went inactive in 2022, and its sleeper cell waited until 2024 to make its shocking return, attacking then-MLW World Heavyweight Champion Jacob Fatu after a successful title defense. This re-emergence and attack was a testament to CONTRA's unbreakable spirit of anarchy.



Today, the fear inspired by CONTRA Unit is driven by its menacing lineup of current members, each contributing a distinct element to their collective menace:

Mads Krule Krügger: The monstrous, dangerous leader, Krügger represents raw, untamed power. His presence and capacity for brutal violence make him a formidable force at the forefront of CONTRA's assaults.

Minoru Suzuki: Known by many as, "The Emperor of Strong Style" and a former NJPW star, Suzuki being a member of CONTRA Unit elevates the faction's credibility to an international level. His excellent grappling ability and vicious attitude add legitimacy to CONTRA, with every encounter being perilous.

Babathunder: Another CONTRA powerhouse, Babathunder intimidates opponents with his size and strength. Babathunder's destructive capabilities help ensure that CONTRA remains a dominant physical force in MLW.

Ikuro Kwon: The sly and unpredictable member of CONTRA, Kwon brings a unique element of danger with his toxic mist attacks and strategic strikes. Kwon is the most mysterious member of the faction.

In addition, CONTRA includes the SENTAI Death Squad, which operates as the enforcement arm of the faction. The exact number of squad members is a mystery, as they are often seen interfering in matches, executing ambuses, and generally creating mayhem to further CONTRA's power in MLW.

CONTRA Unit's ability to remain MLW's most feared faction also lies in its evolving lineup. CONTRA shows an understanding of how to integrate diverse talents and adapt its tactics to keep opponents off balance and maintain its edge. This constant re-injection of new blood and fresh dynamics ensures that CONTRA never becomes predictable, always presenting a renewed and evolving threat to MLW.

Steps have also been taken to strengthen the CONTRA brand. The faction utilizes Pro Wrestling Tees to sell merchandise, generating revenue and reinforcing their influence simultaneously.

Another way that CONTRA could strengthen its brand is by having its own website. Such a platform could provide a space for manifestos and cryptic messages, member bios, news, match results, and videos of televised segments featuring CONTRA.

In a business where factions often rise and fall, CONTRA Unit's consistent ability to inspire fear, adapt its ranks, and embody an ideological threat firmly establishes them as MLW's most enduring and dangerous faction. Their impact cannot be denied.

A Look at the History and Future of WOW - Women Of Wrestling

In the world of professional wrestling, few promotions have carved out a niche as unique and persistent as WOW - Women Of Wrestling. Born from a vision to showcase female athletes in sports entertainment, WOW has navigated decades, remaining relevant in the wrestling scene. Existing in an industry that features women's wrestling in a variety of styles of presentation, WOW's journey helps the company stand out.

WOW made its debut in 2000, created by David McLane, known for his previous work with GLOW, which to this day continues to have ongoing popularity. McLane's vision was clear: to present an all-female wrestling product that emphasized athleticism and larger-than-life characters, while aiming for a family-friendly audience. WOW was the only wrestling company on syndicated television that was putting its female athletes front and center, allowing them to be the sole focus of the action.



A standout member of the WOW roster during the promotion's beginnings was Selina Majors. She is a two-time former NWA World Women's Champion, and this success, along with Majors' extensive career in professional wrestling, was an asset to WOW, adding credibility to the promotion and establishing it as a valuable platform for women's wrestling.



One of the people who WOW piqued the interest of was Jeanie Buss (who later became owner of the Los Angeles Lakers), who was invited to a show by David McLane, and eventually even joined McLane at the commentary table for a WOW event.

WOW went on hiatus in 2001 as a result of the 9/11 terrorist attacks, which created a chain reaction never before seen across the media and entertainment sectors, as the economic repercussions and the TV industry's immediate focus on news and more established programming made it challenging for a new wrestling company to secure the necessary backing and audience. During WOW's hiatus, Jeanie Buss continued to support its concept, believing that it was evidence that women could make a living as entertainers and professional athletes. The passion for an all-women's wrestling promotion on national television never decreased, and during this time the wrestling industry was more receptive to female-led content. Buss' belief in WOW, led to her and David McLane relaunching it in 2016.

Leveraging social media, WOW shows were produced for Facebook originally, and later for YouTube. WOW utilized the late-1980s/early-1990s style of having a big focus on characters while remaining relevant in the current wrestling scene, presenting its colorful roster of athletic Superheroes with distinct personas and backstories.



There were a number of wrestlers who were at the forefront of popularity during this era of WOW, one of them being Jungle Grrrl. With her athletic and high-flying style, Jungle Grrrl became the longest-reigning WOW Champion in history.



WOW quickly built a loyal following, and that, combined with the company's renewed commitment, was a signal that a strong return to national television as in WOW's near future, which happened in 2019, via AXS TV. This was the beginning of WOW's modern era, featuring an upgrade in production values, a new generation of female athletes, and a continued focus on blending in-ring action with character development.

In 2021, Women Of Women achieved its best distribution deal yet, forming a partnership with Paramount Global Content Distribution, resulting in WOW airing in national broadcast television syndication beginning in 2022. WOW's product moving to broadcast television nationally significantly expanded WOW's reach, attracting a viewership of over 300,000 via syndication without having a prime-time cable slot. WOW presented its unique blend of athleticism and performance, and WOW's viewership numbers suggested that it has a loyal audience and broad appeal that allows it to succeed across various local stations and time slots. It solidified WOW's position as a prominent player in the modern wrestling scene, demonstrating the growing demand for diverse, high-quality women's sports content, and increasing its potential for greater mainstream recognition.

WOW has always been more than just a wrestling product; it's a platform dedicated to empowering female athletes and telling their stories in a unique way. Its decision to being character-driven, combined with a strong emphasis on athleticism, offers a distinct flavor in the wrestling world. It appeals to a broad demographic, from long-time die-hard wrestling fans to families simply looking for accessible, engaging entertainment.

With its strong TV presence via Paramount Global Content Distribution, the future of WOW looks positive, with there being the possibility for continued expansion and influence. Looking ahead, WOW can further grow its diverse roster of Superheroes, and as new talent emerges and existing characters evolve, the possibilities within WOW are limitless, ensuring that fan interest will remain high. Most importantly, Selina Majors continues to be a part of WOW, utilizing her knowledge as a trainer and mentor, directly shaping and developing the next generation of WOW Superheroes. Majors' passion for women's wrestling and her dedication to passing on her expertise are fundamental to WOW's mission and success, making Majors a cornerstone of the organization.

Beyond traditional broadcast, there's a significant opportunity for WOW to enhance its digital and international footprint, which it will be doing in the near future. Paramount Global Content Distribution is going to launch Wrestling Central, a free ad-supported streaming television (FAST) channel on The Roku Channel in the United States and Canada, which will include weekly matches from WOW.

Currently, there is already a 24-hour streaming channel dedicated to WOW programming on Pluto TV, a free ad-supported streaming television service owned by Paramount Global that has 80 million monthly active users and is available in the Americas and Europe. WOW leveraging Wrestling Central will amplify its reach in North America.

In addition, further strengthening its social media engagement will also amplify WOW's reach, drawing in fans who appreciate its unique brand of sports entertainment. The ongoing success of WOW will also be an inspiration and benchmark for other women's wrestling promotions, further fueling the overall growth and innovation within the industry, and paving the way for future generations of female wrestlers.

As someone who closely follows the evolution of women's wrestling globally, it's clear that WOW holds an important place. Its history is a testament to perseverance, adapting its format and distribution while staying true to its values and its mission. The journey of WOW is a powerful reminder that compelling characters and athletic ability, when combined with a clear vision and unwavering dedication, create a lasting legacy in professional wrestling.

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.