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

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

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

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

In additon, I am currently 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.

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

US-Based Writer With Global Experience Ready for New Opportunities

Get an audio summary of my skills and experience below:



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

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

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

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

https://www.clippings.me/haroldwilliams

https://www.clippings.me/haroldwilliams2

https://www.clippings.me/haroldwilliams3

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

Content Creation and Production for VR/AR Wrestling Experiences

The allure of Virtual Reality (VR) and Augmented Reality (AR) in wrestling lies in their ability to create immersive and engaging experiences. However, bringing these visions to life requires a strong content creation and production pipeline. From capturing the action to the creation of seamless interactive environments to shaping the entire user experience, the process presents a unique set of challenges and opportunities for promotions.

Capturing the Action

VR content often relies on 360-degree video, requiring specialized cameras and filming techniques to capture the entire environment, which presents difficulties in terms of lighting, sound, and camera placement. For immersive experiences, volumetric capture can be used to generate 3D representations of wrestlers and surroundings, which allows for greater interactivity and realism but calls for advanced technology and expertise. Motion capture (mocap) technology can be used to track wrestler movements and translate them into realistic animations for VR settings, adding a layer of authenticity and dynamic action to VR experiences (including VR games and pre-show interactive segments).

Building the Virtual World

Creating realistic virtual environments requires a fusion of architectural detail and game design via skilled 3D modelers and texture artists, who must recreate arenas, locker rooms, and other locations with accurate detail. VR/AR content is often developed using game engines like Unity or Unreal Engine, and these engines provide the tools and capabilities to construct interactive environments, implement real-time physics simulations (ensuring that the digital environment reacts realistically when a wrestler hits the mat in VR), and integrate AR overlays. Designing intuitive and user-friendly interfaces is crucial for VR/AR experiences. UI/UX designers must consider the unique challenges of navigating and interacting in a virtual or augmented environment, creating in-world interfaces (menus that exist within the world, like a hallway door) rather than flat buttons that would break the illusion.

Adding Interactivity

An immersive broadcast must be "alive." To make this happen, the back end of the tech must be fast enough to handle thousands of fans at once. Developers are needed to implement interactive features, such as AR overlays, virtual challenges, and multiplayer functionality, which needs expertise in programming languages like C# or C++ to ensure the data is synced perfectly with the live action. Real-time data integration is essential for AR experiences that display live match stats or social media feeds, requiring expertise in data management and API integration. Detailed testing and optimization are important for ensuring a smooth and enjoyable VR/AR experience, which involves testing on various devices and platforms to identify and resolve performance issues. The experience must be optimized for everything from high-end PCs to mobile thin-client headsets to prevent frame-rate drops that could cause user discomfort.

Crafting the Written Presentation

It must be made certain that the virtual wrestling experience has a human touch even though it's technologically advanced. The writers would invent storylines, character arcs, and dialogue for VR experiences. This would include writing for 360-degree environments where characters might interact directly with the viewer, requiring scripts that account for spatial audio cues.

While the potential of VR and AR in wrestling is exciting, there are significant challenges and considerations. Creating high-quality VR/AR content requires a team of skilled professionals with expertise in 3D modeling, animation, programming, and UI/UX design. Additionally, distributing VR/AR content can be challenging, as it requires specialized platforms and devices. Furthermore, crafting compelling narratives and appealing storylines in VR/AR requires a different approach than traditional media, and there will be pressure to constantly produce likable content. I minored in Computer Applications in college, which enables me to be a bridge between the wrestling industry and the technology industry. Wrestling companies having writers with technical knowledge would help them explore the potential of emerging technologies such as virtual reality or artificial intelligence, and incorporate interactive storylines that would enhance fan engagement.

As VR/AR technology continues to advance, we can expect to see more accessible and user-friendly tools for content creation. AI-powered tools, cloud-based platforms, and standardized development kits will streamline the production process and empower a wider range of creators to bring their visions to life. And while the creative potential is limitless, the technical execution requires a specific infrastructure. I've compiled a full technical requirement list -from API integration to Lidar mapping- for paid subscribers over on my Substack.

An Industry Roadmap for VR Wrestling Broadcasts

The promise of Virtual Reality (VR) in professional wrestling is no longer a future concept- it is a technical frontier that is currently open for capture. However, for a company to move from a standard HD broadcast to a truly immersive virtual ringside experience, the strategy must pivot from fan engagement to high-level industrial engineering.

To successfully launch a VR live event, stakeholders must address four critical pillars: Physical Capture, Network Infrastructure, Production Logic, and Immersive Monetization.

1. Capture and Safety
Capturing wrestling is unique because the action zone is a high-vibration environment. A standard 360° rig placed at ringside would fail the moment a wrestler hits the canvas as the resulting vibration causes immediate nausea for the headset wearer.

- Vibration Isolation: Industry leaders are moving toward active gyroscopic stabilization and weighted dampening mounts for ringside rigs to separate the camera from the ring's impact.

- The 8K Baseline: To achieve true presence, you must broadcast at a minimum of 8K resolution (4K per eye). Anything less would feel like looking through a screen door, breaking the immersion.

- Ambisonic Audio: Sound is 50% of the VR experience. Using spatial audio arrays -placed under the ring and at corner posts- would enable fans to hear the direction of a crowd chant or the specific thud of a slam relative to where they are looking.



2. Infrastructure
The greatest threat to a VR broadcast wouldn't be the hardware; it would be the motion-to-photon latency. If the video lags behind the user’s head movement by more than 20ms, the experience would be ruined.

- 5G Slicing: For live arena events, promotions should utilize 5G network slicing. This ensures the massive data upload required for an 8K VR feed isn't competing with 20,000 fans uploading Instagram stories on the same tower.

- Edge Computing: By processing the "stitching" of 360° camera feeds at the arena’s edge rather than a remote server, you would shave off critical milliseconds of lag.

- Cloud Rendering: To make the experience accessible, use cloud-based GPUs to do the heavy lifting. This allows a fan with a $300 thin-client headset to see the same high-fidelity graphics as someone with a $3,000 rig.



3. The Virtual Director and Spatial Production
In VR, there is no behind-the-camera. Production teams must learn to direct a 360-degree field of view where the crew and equipment are invisible or digitally masked.

- The Multi-Seat Strategy: Give the virtual ticket holder the power to toggle between perspectives: Ringside, Commentary Desk, Top-Turnbuckle, and Overhead.

Augmented Overlays: Use AR diegetic graphics -wrestler stats and health bars that float in 3D space- to provide information without breaking the immersion of being in the arena.


4. Monetizing the Virtual Event
Physical events have a hard cap on attendance- VR would remove this limit. Pricing for virtual tiers could be based on "closeness" to the ring (VIP VR vs. General Admission VR). Sponsorship 2.0 would involve digital ad placement that only exists in the VR feed (e.g., a virtual sponsor logo on the ring mat). And interactive merchandise would enable fans to buy a digital T-shirt for their avatar during the live stream.

WWE would likely treat this as a high-margin Premium Live Event upgrade for their audience on ESPN's direct-to-consumer service. Since WWE already has a partnership with Cosm to deliver events in 12K Shared Reality LED domes, WWE is very technically prepared. For them, it wouldn't only be about extra ticket sales; it would be about scaling. ESPN plans international availability in key markets- a fan in Tokyo could pay $15 for a Virtual Ringside seat at WrestleMania, effectively bypassing the physical venue's capacity and turning it into a 1-million-person digital stadium. WWE's corporate structure is also perfectly built for Sponsorship 2.0, allowing them to sell the digital ring mat to different local sponsors in different regions simultaneously (different viewers would see different ads based on their location/preferences/demographic data within the same event), maximizing the value of every pixel.

AEW fits this model through the lens of engagement for its core audience. The average AEW viewer is within the age range of the average Meta Quest virtual headset user, making AEW's audience potential adopters of it. For AEW, this would be less about corporate scaling and more about gamifying the broadcast. Interactive merchandise -like buying a digital version of a new Adam Copeland shirt for your avatar the moment he debuts it on screen- aligns perfectly with their gaming division. AEW could leverage VR to offer tiers where a higher-priced VR ticket gives access to exclusive, specialized cams.

WOW - Women Of Wrestling would benefit most from this as a virtual venue. The company has already accomplished its groundbreaking residency in the entertainment capital of the world, Las Vegas, and WOW Co-Owner and Co-Founder Jeanie Buss has expressed that she has always wanted to see WOW become a touring property, further connecting with fans. By selling Virtual General Admission tickets, WOW can project a "Superhero Arena" atmosphere that cannot be replicated in the real world, aligning with WOW's comic book-inspired presentation of a colorful roster of athletic Superheroes on a show with polished and top-tier production quality. VR would enable the integrated media company with a major distribution deal to "tour" globally (without the massive overhead costs of international physical tours), scale revenue far beyond physical seat limits, generate arena-sized revenue through targeted, interactive VR sponsorships, and provide digital ad space to brands that might not be able to afford traditional television spots and would jump at a targeted, interactive VR sponsorship.

The slow transition to VR is a move toward the virtual seat economy. By prioritizing 5G-enabled infrastructure and high-fidelity/resolution capture, wrestling promotions can scale their audience globally without the overhead of physical venue expansion. The tech is ready; the question is which company will have the vision to claim the first worldwide available virtual event?

Bringing Collectibles to Life: Augmented Reality and the Future of Wrestling Merchandise

Imagine holding a wrestling action figure in your hand and, with a quick scan of your phone, watching it come to life with a virtual signature move. Or wearing a T-shirt that displays real-time match stats as you watch the event unfold. Augmented Reality (AR) is poised to revolutionize wrestling merchandise, transforming static collectibles into interactive and engaging experiences.

AR can breathe new life into traditional wrestling merchandise:

Action Figures That Come Alive: Scan an action figure with your smartphone to unlock exclusive AR content, such as wrestler videos, virtual signature moves, or interactive mini-games. Mattel (WWE's major toy partner) and other companies have explored AR integrations for action figures and trading cards. The Jurassic World Play app is an example of this- with its Dinosaur in Your World feature, you can watch a Mattel Jurassic World dinosaur appear right in front of you in AR.

T-Shirts with Dynamic Content: Wear a t-shirt that displays real-time match stats, wrestler bios, or even social media feeds related to the event.

Posters with Hidden Content: Scan a poster to reveal interviews, behind-the-scenes footage, or exclusive AR experiences. Many movie and event posters have already used AR apps to reveal trailers or bonus content when scanned, including Black Panther, Toy Story, Jurassic World, Avengers: Infinity War, Mission: Impossible, and Rogue One: A Star Wars Story.

AR enables the creation of virtual collectibles that can be collected, traded, and displayed:

Digital Trading Cards: Collect and trade digital AR trading cards featuring wrestlers, match highlights, and exclusive content. This is already happening, primarily in the form of NFTs (Non-Fungible Tokens). Best known so far have been the Topps WWE Slam digital trading card game, and Upper Deck's (under their Evolution banner) “AEW Sensations” digital trading cards, which feature three highlights from the previous week’s broadcast of “AEW Dynamite” with visual effects.

Virtual Championship Belts: Collect virtual championship belts that can be displayed in a virtual trophy room or shared with friends. WWE has offered the Undisputed WWE Championship title belt on Snapchat Bitmoji.

AR-Enhanced Event Tickets: Event tickets could unlock AR experiences at the venue, or even virtual autographs.

AR allows for personalized and engaging experiences that cater to individual fan preferences:

Customized AR Content: Fans could unlock customized AR content based on their favorite wrestlers or storylines.

Interactive AR Games: Merchandise could unlock AR-powered games and challenges that fans can play at home or at live events. Interactive AR games are common, with Pokémon GO being an example.

Virtual Meet-and-Greets: AR could facilitate virtual meet-and-greets with wrestlers, allowing fans to interact with their heroes in a new and exciting way.

AR seamlessly blends the physical and digital worlds, creating a richer and more immersive fan experience. It transforms static collectibles into dynamic and interactive experiences, adding a new layer of value and engagement.

As AR technology continues to advance, we can expect to see even more innovative and creative applications in wrestling merchandise. From interactive action figures and dynamic T-shirts to virtual collectibles and personalized experiences, AR is poised to redefine the way fans collect and interact with their favorite wrestling brands.

Miami’s Sweet Heat on Beast Games Season 2: A Major Win for WOW

Laurie and Lindsey Carlson, collectively known as Miami’s Sweet Heat and record 5x WOW Tag Team Champions, are heading into season 2 of Amazon Prime's reality competition show Beast Games, and this announcement validates the core belief that today, success in professional wrestling is defined not only by championship reigns and records, but also the ability to elevate one's personal brand into mainstream, non-wrestling media.

One of a wrestler's goals is to always maximize their exposure, and with two of WOW's top Superheroes being on a show available in more than 240 countries and territories, the company will indirectly gain access to millions of viewers, which will include people who currently don't watch wrestling.

The viewers tuning in for drama, fitness, or reality TV will see Laurie and Lindsey Carlson, who are proven winners in WOW - Women Of Wrestling, and will undoubtedly present themselves with that same aura of confidence and clear intention. This organic, unforced validation establishes WOW as a source of elite athletic talent and can direct non-wrestling fans straight to the WOW product.

WOW's action is defined by its athleticism, and participating in Beast Games -a show focused on physical challenges- is undebatable third-party proof that Laurie and Lindsey Carlson are built for pressure. This outside endorsement adds significantly to their credibility and strengthens the images that they have already built in WOW.

For Laurie and Lindsey Carlson, this is important brand diversification- their value as performers is now linked to not only a successful career in WOW, but also a run on Beast Games. For WOW, every external accomplishment potentially increases their talent's leverage and drawing power into the purple ring. The next time Miami's Sweet Heat steps into the ring after Beast Games Season 2, they will be bigger public figures, multiplying the monetization avenues (sponsorships and public appearances) for the entire organization, extending beyond the wrestling scene. This kind of crossover is a win not only for the twins but for the entire concept of the WOW brand.

The Economics of Pro-Wrestling Schools

For aspiring professional wrestlers, a wrestling school is the crucial gateway to the industry. For the owner, however, it is a complex business enterprise balancing high overhead, regulatory risk, and an unpredictable product: potential talent. The successful wrestling school operates on a thin margin, relying on three key pillars: consistent tuition revenue, managed facility costs, and the value of its brand and graduate network.

A wrestling school's primary income source is tuition, which typically falls into two major models. The first is the flat-rate, fixed-term contract, where a student pays a lump sum (often $3,000 to $6,000) for six to twelve months of training. This model provides the school with immediate capital and a predictable cash flow for a specific period. The second model is the monthly recurring subscription, which ranges from $200 to $500 per month. While offering less immediate cash, the monthly model reinforces long-term retention and allows the school to smooth out student loss. A reputable school may offer lifetime or graduate programs at a premium, promising unlimited ring time and continuous advanced access, creating a strong, high-value informal partner. Furthermore, leveraging these successful graduates as guest coaches or seminar leaders offers a highly cost-effective staffing strategy; the school secures high-prestige training for current students through a temporary stipend, trading on the alum's established brand equity without committing to a permanent, high-level salary.

Unlike many service industries, wrestling schools face substantial, specific overhead costs. The single largest ongoing cost is the facility itself. Leasing or owning industrial space large enough to house multiple rings, crash pads, and a gym area is expensive, often driven by a want for heavy-duty flooring, high ceilings for maneuvers, and ventilation, categorizing it as light industrial real estate.

Equipment is another significant expense. A quality professional wrestling ring can cost more than $8,000 and requires continual maintenance (replacing ropes, turnbuckle covers, and padding). Coaching staff must also be paid, whether through a fixed salary for head trainers or stipends for veteran wrestlers who oversee specialized classes.

While tuition pays the bills, the school’s ultimate economic product is not training hours, but marketable talent. The school's reputation, or brand equity, is built entirely on the success of its graduates. When a graduate has worked in either a major promotion or wrestled internationally, the school's perceived value increases. This creates a powerful cycle: a strong graduate network attracts higher-level prospects, enabling the school to justify raising its tuition rates, which, in turn, allows for better facility investment and higher-quality coaching if need be.

The most critical -and often underestimated- cost is liability insurance. Given the inherent risks of physical training, a comprehensive insurance policy is necessary and represents a considerable continuing financial burden that cannot be overlooked. The complexity and high price of liability insurance for a wrestling school stem from the mandatory need for two distinct coverage types, which significantly elevate the overall risk profile and premium. While General Liability (GL) is required to cover routine business risks like customer slips and falls or property damage unrelated to training, this standard policy, in all cases, excludes injuries sustained by participants actively engaged in the core contact sport activity. Therefore, the school must also secure specialized and very costly Participant/Athlete Injury Coverage, which protects the business from liability related to the natural dangers of wrestling itself -such as broken bones or concussions from high-impact maneuvers- making the combined insurance burden a major economic concern.

Many schools are also directly affiliated with a small promotion, using weekly shows as a way for their students to gain important live-crowd experience. This affiliation is a showcase, making the school itself an integrated part of the independent wrestling ecosystem and providing value beyond teaching how to bump and how to take & perform wrestling moves. The economics of a wrestling school are, for that reason, less about selling classes and more about trading on the future value and network potential of its graduates.