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", "Will WOW Go From Las Vegas Residency to an Even Higher Level?", and "How WOW’s 'Human First' Digital Strategy Works in 2026" were endorsed by WOW - Women Of Wrestling on social media in August 2025, October 2025, and June 2026, respectively. In May 2026, my article, "An Education on The Enlightened: WOW's Psychological Supergroup," was endorsed on social media by the group's founder, Samantha Smart, which was followed by an exclusive Q&A with her, which she shared on social media. My articles, "WOW Superhero Spotlight: Jessie Jones & Big Rig Betty - Southern Attitude", "WOW Superhero Spotlight: Gabriella Cruz - A Brazilian Bombshell With Lucha Libre Influence", "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.

My article, "How World Woman Pro-Wrestling Diana Is Succeeding Globally," was endorsed by World Woman Pro-Wrestling Diana President Taishi Fuwa. I have also written event previews/wrestler spotlights and done social media for Diana.

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 history of wrestling commentary, Hisashi Shinma as WWE President, the true power of joshi puroresu, the history of wrestling in South Carolina, Alex Shelley, Mad Man Pondo, 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" has been 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 100,000 monthly impressions across the digital ecosystem. This includes direct traffic, high-authority visibility on Google, Bing, ChatGPT, Yahoo, DuckDuckGo, Ecosia, 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. 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, which 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 addition, 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

Why Pro-Wrestling Promoters are Switching to Flat-Rate Box Office Software

Ticket sales are a cornerstone of revenue generation for wrestling promotions. A strong advance gate covers venue costs, insurance, and talent deposits before the doors even open. Yet, many promotions struggle with low online conversions, leaving them dependent on unpredictable walk-up crowds. A solution to securing their revenue while at the same time streamlining operations is shifting from the ticketing agency model to flat-rate office software.

Eliminating Checkout Friction and Gate Anxiety

Standard ticketing agencies add fees at checkout to make their own profit, which usually leads to fans purchasing the tickets at the event to avoid the extra cost. This creates a lot of anxiety for a promoter who cannot gauge the event's turnout in advance, calculate logistical needs, or know whether they are going to make a profit from the event. Plus, between the time that a fan could purchase a ticket online and the day of the show, they might decide to go to a different promotion's show.

Alternatively, flat-rate platform Ticket Tailor in particular wouldn't charge your customers a handling or service fee, and would instead bill you (the promoter) directly for using their software. In addition, it's generally much easier and faster to buy tickets through a flat-rate platform than from a traditional ticket agency, which turns casual online browsers into fans of your promotion who become guaranteed advance ticket holders.

Fee Control: Direct Billing vs. Commission Deductions

If you've ever hosted an event and sold tickets via a ticketing agency, then you probably have experienced being charged percentage commissions on the total ticket cost. Ticket Tailor never takes a percentage commission from your ticket sales. With Ticket Tailor operating strictly on a flat, fixed fee per ticket, you control the revenue. Ticket Tailor makes the same amount whether you sell a ticket for $15 or $150.

Since you would be billed directly, this model would completely preserve your pricing integrity while you retain 100% control over your ticket pricing. If you choose to absorb the flat fee as a minor cost of doing business, the price the fan sees is exactly what they pay. If you choose to pass a small, transparent fee onto the buyer to keep your base gate untouched (canceling out costs from software, credit card processing, and venue facility expenses), you dictate the exact amount- not an outside agency.

Zero Upfront Risk to Launch

Ticket Tailor does not require any initial membership, signup, or subscription fee. It is completely free to create an account, build your event page, and launch your box office. You would only be charged when you actively process a paid ticket, aligning your software expenses perfectly with your actual revenue generation.

Trusted by over 73,000 Event Creators across 120 countries, Ticket Tailor makes it simple and affordable to sell event tickets online, thanks to industry-leading low fees, important features (time-slot ticketing to seating charts, self-serve and hundreds more), and 24/7 support. Last year, the platform processed 25M tickets for events of all sizes. Discounts are available for charities, low-price tickets, PTA's, not-for-profits, and B Corps. Free tickets are free.

If you're a promoter looking to eliminate checkout friction, protect advance gate revenue, and regain complete control over your fee structures, sign up via this article, and you will receive 50 free ticket credits. In addition, your promotion will be spotlighted on Harold-Williams.com

The History of Pro-Wrestling in Las Vegas

Las Vegas has evolved into a premier destination for landmark pro-wrestling industry-shifting events and major stadium spectacles. The city has produced stars of today: Nikkita Lyons, Kendal Grey, and Silas Mason; as well as wrestlers who made an impact in previous eras: Godfather, Rico, and Buddy Rose. While other parts of the United States, like North Carolina, were hotbeds for pro-wrestling historically, Vegas has its own unique history.

Early History, the NWA, Mildred Burke (1920s-1950s)

During the late 1920s, Las Vegas was still a small railroad town- years away from the casinos and the Strip of today. Professional wrestling matches were hosted in small halls, fraternal lodges, or outdoor arenas in the city. Local promoters frequently advertised regional main events under titles like "World Championship Wrestling Match" to drive ticket sales.

In 1948, the NWA was formed, acting in the role of a governing body for regional wrestling promotions. The NWA's model was that territories controlled specific geographic areas, with each state having key markets. In 1953, Las Vegas became a key market of NWA Los Angeles, with the NWA affiliate becoming the first promotion to have a long-term presence in the city.

Via the NWA, a women's championship was defended in Las Vegas that is considered legendary internationally today. Mildred Burke won the original Women's World Championship in 1937, and remained champion for two decades. The championship became the WWWA World Championship in the 1950s when she founded the Los Angeles-based World Women's Wrestling Association. She defended the championship at a May 1954 NWA Los Angeles event in Vegas. In 1970, the very successful Japan-based AJW acquired the rights to the championship, positioning it as the company's top singles championship. This makes Mildred Burke not only a significant part of the history of pro-wrestling in Las Vegas, but in Japan as well.

More Territories (1960s-1970s)

The next promotion to have a notable presence in Las Vegas was the California-based North American Wrestling Association in April 1961, which then became the World Wrestling Alliance the next month. Throughout the 1960s, the WWA brought American wrestling headliners Freddie Blassie and Edouard Carpentier to the city, as well as Japanese wrestling star Giant Baba.

In the 1970s, NWA Big Time Wrestling became a valuable representative of the NWA in Las Vegas. With the city being visited by stars such as Billy Graham, Pat Patterson, and Rocky Johnson, the promotion drew as many as 4,683 fans to a convention center in the city. This was considered a big crowd for a wrestling show in the 1970s, when large Las Vegas convention centers generally had a seating capacity of around 6,300 seats.

The AWA on ESPN & GLOW (1980s)

Wrestling reached its peak of popularity in the United States in the 1980s. Television was becoming more popular as well, which caused a significant change in American wrestling. In the early days of wrestling, matches were typically held in front of live audiences. However, with television, wrestling matches could be seen by millions of people around the world. This helped to popularize wrestling and make it a household name, as matches were regularly televised on national television with levels of viewership never seen before. The AWA was considered one of the "Big Three" of the industry, and began regularly broadcasting programs on ESPN from the Showboat Sports Pavilion inside the Showboat Hotel & Casino in Las Vegas.

The 1980s were also when a Las Vegas-based promotion was created that focused fully on women. Created by David McLane, GLOW (Gorgeous Ladies Of Wrestling) made its debut in 1985, and the hugely popular, character-driven syndicated show demonstrated the marketability and entertainment value of an all-female promotion. Each episode was taped at the Riviera Hotel & Casino, featuring wrestlers who were likable regardless of whether they were face or heel. There was someone for everyone, with each character having their own unique personality.

WCW & WWE (Late 1990s)

In the early 1990s, wrestling's popularity began to decline, but it experienced another boom in the late 1990s, with WCW being one of the leaders of it. The company held its annual WCW Halloween Havoc event at the MGM Grand Garden Arena in Las Vegas for five consecutive years, spanning 1996 through 2000. WCW Halloween Havoc 1997 drew a sellout crowd of 12,457 fans, and it was the second most purchased WCW pay-per-view that year. In addition, WWE, which was also leading the late 1990s boom, taped episodes of "SmackDown" and "Sunday Night⁠ Heat" at the Thomas & Mack Center in Vegas.

Raw Roulette, No Way Out 2001, TNA Impact! (2000s)

In the 2000s, WWE continued having shows at the Thomas & Mack Center, and on the October 7, 2002 episode of "WWE RAW", the company debuted its Las Vegas-inspired and casino-themed Raw Roulette concept. A giant, custom-built roulette wheel featured different wild match stipulations, and just like how the spin of a wheel in a Vegas casino decides the immediate financial payout, a spin of the Raw Roulette decided what style of match a WWE Superstar was going to participate in. The episode had strong viewer retention heading into the second hour, peaking at an estimated 4.5 million viewers during the main event and marking it as the program's most-watched night in over a month.

WWE No Way Out 2001 drew a sellout crowd of 15,223 fans to the Thomas & Mack Center, making it the highest-performing No Way Out event in history, and it drew a larger buyrate than several of that decade's “Big Four” WWE pay-per-view events, including SummerSlam 2001, Survivor Series 2001, and WrestleMania XIX in 2003. No Way Out featured a double main event: a "Three Stages of Hell" match between Steve Austin and Triple H, and Kurt Angle defending the WWE Championship against The Rock.




In October 2008, TNA made history by broadcasting the first-ever live episode of "TNA Impact!" outside of Orlando's Impact Zone from the Hard Rock Hotel & Casino in Las Vegas. The event was a sellout and pulled in a viewership of 1.6 million.



ROH, Mae Young Classic, "Double or Nothing" (2010s)

In the 2010s, Las Vegas was utilized for a variety of special pro-wrestling shows. ROH turned the city into a primary location for its milestone events, hosting its 13th (2015) through 17th (2019) Anniversary Show pay-per-views and multiple Death Before Dishonor events in the city at Sam's Town Live and the Orleans Arena. In September 2017, the first WWE Mae Young Classic concluded at the Thomas & Mack Center, as Kairi Sane and Shayna Baszler faced each other in the final match of the historic 32-woman tournament. And in May 2019, AEW hosted its inaugural "Double or Nothing" pay-per-view event at the MGM Grand Garden Arena. It was the company's first pay-per-view, and the event's title is a direct nod to the city's casino culture.

AEW, WrestleMania, WOW (2020s-Present)

In recent years, Las Vegas has become a main city for pro-wrestling. AEW has been returning to the city annually since 2022 to have events, including AEW DOUBLE OR NOTHING 2024 and AEW Dynamite - 3 Year Anniversary.

In 2025, WWE held WrestleMania 41 at Allegiant Stadium in Las Vegas. As a result of the event being the most successful and highest-grossing event in the company's history, WWE returned to the sports and entertainment capital of the world for WrestleMania 42 in 2026.



At a special WOW panel at San Diego Comic-Con in July 2025 focused on female representation in sports and discovering new talent, WOW - Women Of Wrestling co-owner and co-founder David McLane announced that the company's weekly product was renewed for its fourth season. In a monumental step forward for WOW and a strategic move that solidified the company's position & opened up exciting new avenues for growth- WOW's new residency in its fourth season is the iconic Fremont Street Experience in Las Vegas. "WOW Fights on Fremont" marks the first-ever professional wrestling events to be held there, with WOW bringing their signature purple ring to the famous downtown Vegas destination, and the heart of the city's entertainment district. The Fremont Street Experience has a unique combination of historic charm, dazzling light shows, and energetic atmosphere. It's known as the birthplace of Las Vegas, offering a nostalgic glimpse into the city's past with its vintage casinos and neon signs, while also providing modern entertainment. The initial episodes of the "Fights At Fremont Street Experience" debuted in October 2025 and have continued to air throughout 2026, featuring the WOW Superheroes offering high-energy spectacles to thousands of tourists and locals alike, with amazing backgrounds during matches.





Sports entertainment organizations' utilization of Las Vegas demonstrates how they are constantly innovating to maximize their reach and profitability in a dynamic media landscape. It's an exciting time for the industry as a whole, and with pro-wrestling and Las Vegas both thriving on action and drama, they are a natural match.

Key Clauses and Best Practices for Professional Wrestling Contracts

Handshake agreements were very common in the pro-wrestling industry for decades, but today, operating a professional wrestling promotion -or managing a career as a performer or their agent- requires legally binding clarity. A structured contract protects both the promotion’s business investment and the wrestler’s long-term interests, establishing clear expectations for both parties so that everyone knows where they stand, while preventing legal disputes down the line.

Whether you are launching an independent promotion or solidifying agreements with talent, here is a detailed breakdown of the critical clauses, legal considerations, and operational frameworks necessary when drafting a professional wrestling contract.

1. Core Contractual Clauses

Parties Involved & Performance Identity
Clearly identify the promotion by its corporate legal entity and the wrestler by their legal name, while recording any professional ring names or gimmicks used in their performances- this is standard practice in sports entertainment contracts to ensure rights, royalties, and legal obligations are locked in for the the talent while protecting character IP. Also, include permanent notice addresses and official legal contact details for both parties (and representation, if applicable).

Scope of Services & Booking Logistics
Define specific obligations, including pre-show call times, promo shoots, in-ring performances, autograph sessions, and media appearances. Outline required dates, show frequencies, and maximum event caps over a given period. In addition, require wrestlers to maintain reasonable physical conditioning and adhere to agreed-upon character or storyline parameters. Major promotions routinely require specific obligations, including call times, fan conventions, media access, and maintaining physical fitness/conditioning appropriate for ring performance.

Term, Scope, and Options
Lay out start and expiration dates, and detail any automatic renewal conditions. It's very common for major promotions to extend a wrestler's contract for another 1-2 years at predetermined pay rates without requiring new consent, as well as to utilize clauses to freeze a contract while a performer is injured, adding the missed time to the end of the contract term. However, while unilateral extensions and injury freezes give strong asset protection, they can decrease wrestlers' morale and lead to them wanting to leave, which could be reflected in how they perform, making your shows less enjoyable for fans. To strike a sustainable balance between corporate security and maintaining morale amongst the talent, implement mutual renewal options tied to automatic pay increases, or place strict caps on how much time an injury freeze can add to a contract. Ultimately, a contract that protects the company while rewarding a performer's value improves the roster's morale and creates a healthier long-term business model.

Compensation Structure & Revenue Sharing
Specify the payment model- whether structured as per appearance fees or a downside guarantee (a contractual floor that guarantees a minimum annual payout, plus bonuses or extra event pay once a specific match threshold is exceeded). Clearly state royalty splits for merchandise. Also, define who pays travel expenses and for hotels.

2. Industry-Specific Considerations

Intellectual Property & Likeness Rights
Clarify who owns the wrestler's ring name, entrance theme, attire design, and trademarked catchphrases both during and after the contract term. In major promotions, characters created in-house are owned by the promotion. If a wrestler created the persona prior to joining (or negotiated to keep it), they retain ownership.

Grant the promotion continuous rights to broadcast, stream, distribute, and monetize match footage, archival content, and promotional stills. Additionally, address permissions or rejections regarding third-party platforms (e.g., video games, private fan video bookings, external sponsorship deals, and personal streaming accounts).

Independent Contractor vs. Employee Status
Clearly outline worker classification under relevant jurisdiction standards. Also, detail tax responsibilities, gear/equipment obligations, and the wrestler’s freedom over their training methods.

Exclusivity & First-Right-of-Refusal
Specify whether or not the wrestler is allowed to perform for other promotions/appear on their televised broadcasts. In addition, establish the notice window required for talent to request approval for outside bookings.

Injury Liability & Medicals
Outline handling procedures for injuries sustained in the ring, including medical clearance requirements prior to returning to action. Major promotions usually require concussion protocols, formal doctor sign-offs, and pre-performance physicals.

Designate risk regarding standard performance hazards, and hold-harmless provisions (which stop one person from blaming or suing the other person for accidents, damage, or money loss). While major promotions generally cover surgeries, medical treatment, and rehabilitation for injuries sustained during an in-ring performance, independent promotions usually can't financially afford to.

Contract Ending Early
Define conditions for a contract ending early, including release, and termination for breach of contract, long-term non-performance, or disciplinary actions.

3. Best Practices for Promoters and Performers
Review all terms prior to both parties signing to ensure mutual agreement on dates, travel logistics, and gimmick ownership. Any changes to original terms -such as schedule changes or bonus structures- must be recorded in writing and signed by both parties. Maintain secure digital copies of signed agreements, medical clearances, and royalty logs for IP/royalty audits and accounting purposes.

Shinjuku FACE Deserves Credit for Its Production Quality

On September 30, 2026, event hall Shinjuku FACE will be closing its doors after 21 years. While everyone is sharing their favorite match memories, what stands out the most to me about the venue is its exceptional production quality- that's what I thought about every time I was at a Shinjuku FACE-hosted event.

While the matches that have taken place there are unforgettable, with their blend of hard-hitting strikes, high-flying maneuvers, and psychology, Shinjuku FACE has earned recognition for how it added to events with its visual and technical presentations. While traditional Japanese venues have a raw and classic presentation, Shinjuku FACE stands out with its hyper-bright, high-intensity stage lighting. The venue comes equipped with a sophisticated overhead lighting grid -driven by an Avolites Quartz console running 14 LED Wash Moving EXCEED units, 5 ROBE Spikie moving heads, and 16 LED Quad Pars directly over the ring- providing comprehensive spotlight capabilities and rich color wash systems that transform its appearance. Combine that with a top-tier audio system anchored by a Yamaha QL5 digital desk running through concert-grade Meyer Sound and NEXO speakers, and a small promotion looks like it's ready for a TV deal.

To paint a picture of Shinjuku FACE's size- although its official combat sports layout caps at 511 (467 pipe chairs, 42 standing spots, and 2 wheelchair spaces), the venue has a maximum capacity of 600 people. Shinjuku FACE is around double the size of Shinkiba 1stRING, and around one-third the size of Korakuen Hall. Situated on the 7th floor of the Humax Pavilion in Kabukicho, Tokyo, the room previously housed the famous LiquidRoom live music club, which is why it has a nightlife/concert-lighting look. In addition, the first row is very close to their 20-foot (6m x 6m) ring, and you can see the action clearly from all seating areas in the venue, resulting in Shinjuku FACE providing both an intimate experience and great production quality.

While Korakuen Hall is a place of history and Shinkiba 1stRING provides a laid-back atmosphere, Shinjuku FACE gave independent wrestling events a professional edge in terms of presentation. When it shuts down, Tokyo isn't only losing a venue- it's also losing a unique production infrastructure that gave promotions tools to make their shows look like big events, no matter whether it was a major organization's or a smaller promotion's.

WOW Superhero Spotlight: Gloria Glitter - The Cardio Queen

With a passion for the 1980s aerobics craze, Gloria Glitter uses her superior cardiovascular stamina to push her opponents to their limits every time she steps into the purple ring of WOW - Women Of Wrestling.

The 1980s aerobics craze was a massive fitness movement driven by figures like Richard Simmons and Jane Fonda, who became iconic as they featured high-energy dance workouts, bright spandex, and leg warmers. Embracing that era, Gloria Glitter brought the lifestyle into WOW, combined with her hybrid '80s and '90s retro gear and high-energy fitness presence.



And there is more to Gloria Glitter than Richard Simmons-level energy and exercise-inspired moves; she is a technician of the ring. Glitter was trained for four years by Japanese wrestling superstar FUNAKI, who gave her a strong foundation in technical wrestling and diverse international styles. During FUNAKI's pro-wrestling career, he was a Cruiserweight and Hardcore champion in the US, and he also held the UWA World Light Heavyweight Championship, a title that has a very historical past that began in the Mexico-based Universal Wrestling Association and is currently active in Japan. In addition, FUNAKI was a member of Kaientai Deluxe, which was a notable faction in Michinoku Pro, a Japanese promotion that has a lucha libre atmosphere. Being trained by a wrestler with such extensive experience prepared the Cardio Queen for WOW Superheroes of all athletic backgrounds.



Wanting to reach the top of WOW, Gloria Glitter accepted an offer from top trainer Coach Campanelli to join her and Kandi Krush in forming the "Top Tier" team. Campanelli could see Glitter's potential every time she was in the WOW ring, and she was also a great prospect because she had captured tag team championship gold on the independent wrestling scene in the past and had a long reign. With Campanelli as the leader, Top Tier won a WOW Trios Tag Team Championship Tournament to become the first-ever WOW Trios Champions.