More About Me

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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

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

YouTube's Champions: How WWE Outranks Music Superstars in Online Searches

Professional wrestling, specifically WWE, is dominating online searches on YouTube. This isn't only about viewership; it's also about active fan interest and search intent, revealing a powerful digital footprint that highlights the evolving business landscape of sports entertainment.

According to fresh research from Riverside, an all-in-one podcast and video creation platform, WWE stands as the fourth most searched YouTube channel in the U.S. based on average monthly Google searches. This places them ahead of a number of global music sensations.

To put this into perspective, here is the Top 10, listed in order of average monthly Google searches:

1. Cocomelon: 87,607
2. MrBeast: 26,863
3. Taylor Swift: 9,828
4. WWE: 9,227
5. Dude Perfect: 4,409
6. Mark Rober: 3,101
7. Masha and The Bear: 3,045
8. Ariana Grande: 1,779
9. Vlad and Niki: 1,769
10. Billie Eilish: 1,658

While children's content (Cocomelon, Masha and The Bear, Vlad and Niki) and mega-creators like MrBeast hold the top spots, WWE's strong showing is remarkable. It highlights the sustained, passionate engagement its fanbase has with WWE's digital content.

WWE's YouTube channel isn't just a supplementary platform; it's a critical component of its global business strategy. The high search volume indicates consistent fan engagement, the power of episodic & live content, brand building & discovery, as well as a broader entertainment appeal than pure music channels.

It's also worth noting the presence of Dude Perfect, a sports and comedy group, at fifth place. This further solidifies the idea that highly engaging, personality-driven sports and entertainment content thrives on YouTube, even against traditional media giants.

As Abel Grunfeld, VP of Marketing at Riverside, notes, this data provides valuable insights for all content creators. For professional wrestling promotions, understanding these digital preferences is key to tailoring strategies that effectively reach specific audiences and, in turn, generate more revenue. The battle for eyeballs isn't only on cable or streaming services; it's intensely competitive across digital platforms, and WWE is clearly winning a significant share of that fight.

The future of professional wrestling's growth isn't only about securing the next big TV deal; it's also about leveraging social media, and understanding how online consumption drives fan interest and overall brand value.

Independent Gaijin Dreams and the Japanese Experience of WOW's Stars

The allure of wrestling in Japan has long captivated foreign talent, creating the "Gaijin Dream" – the pursuit of success and respect in the Land of the Rising Sun. While names like Kenny Omega, Vader, and Scott Norton often dominate these narratives, the depth of this phenomenon lies not only in the main eventers, but in the journeys of independent wrestlers who also dedicate themselves to the Japanese scene.

Simultaneously, as the global industry continues to evolve, we see promotions like Women Of Wrestling (WOW) continuously rising in prominence. What's unknown to many is how deeply intertwined WOW and the Japanese pro-wrestling scene are. As someone who analyzes the business and cultural differences of wrestling, I've connected with independent foreign wrestlers who have pursued their dreams in Japan. Furthermore, a closer look at the WOW roster reveals a number of female stars who have significant, often unacknowledged, experience in Japanese promotions. This post will explore both areas, shedding light on the independent "Gaijin Dream" and revealing the Japanese experiences that enrich WOW's talent pool.

The Independent Gaijin Experience

The journey of an independent foreign wrestler in Japan is often one of, along with dedication, cultural adaptation and never-ending hard work. They immerse themselves in the local scene, learning the customs and the unique wrestling styles. I have helped some of them share their stories.

Thunder Melendez: Originally known as Thunder Summers at the time that he began wrestling in Japan, Thunder Melendez has a unique journey as a "gaijin" wrestler in Japan, stemming from his extensive training in both the United States and Japan. Melendez has wrestled in Michinoku Pro many times, where he impressed veterans and integrated his hybrid wrestling style, appreciating the blend of American and Japanese pro-wrestling. Melendez has also appeared in BJW.

Sidney Shota Stephens: Making his debut in 2017, Sidney Shota Stephens is an American who was raised and wrestles in Japan, where he utilizes a brawler/semi-powerhouse style. Stephens trained at MMA gym Mouri Dojo under former Japanese Tag Team Champion Michiko Omukai and MMA gym T. K. Esperanza under Tsuyoshi Okada, who has made appearances in DDT. In addition to wrestling in independent promotions, Stephens has also appeared in AJPW.

Jack Kennedy: As a wrestler who born & raised in America, trained to wrestle in Japan, Jack Kennedy uniquely received his training directly in Japan at Yanagase Pro Wrestling (YPW). He debuted in December 2021 after training under notable figures like Team Japan Olympic wrestler Akinobu Takeuchi and former WWE Superstar/former AJPW World Tag Team Champion Yoshitatsu, and aims for an international pro-wrestling career while appreciating both American and Japanese wrestling styles. With YPW being Kennedy's home promotion, he has also wrestled in other promotions, including AJPW, DDT, BJW, and ZERO1. In addition, Kennedy has experience with Japan's acting world.

These men represent the many independent wrestlers who contribute to the Japanese professional wrestling industry. It's a noteworthy career accomplishment and an important step in their development as performers.



WOW's Japan Forged Gems

Women Of Wrestling (WOW) has built a loyal following by utilizing the late-1980s/early-1990s style of having a big focus on characters, while empowering female athletes and telling their stories in a unique way. Meanwhile, an interesting layer of their talent's development often goes unmentioned: their experience in the tough and respected world of Japanese professional wrestling. For those looking to truly understand the depth of the WOW roster, recognizing these Japanese experiences provides invaluable insight.

Here are some prominent WOW Superheroes who have honed their craft in Japan:

Santana Garrett: The third-longest-reigning WOW Champion in history, Santana Garrett has also wrestled in Stardom (2015 to 2016), where she became the eighth-longest reigning Wonder Of Stardom Champion in history. Garrett's experience in Japan contributed to her technical skills and ability to connect with diverse audiences.

Chantilly Chella (as Ray Lyn): Known in WOW for her fluid and energetic in-ring style, Chantilly Chella wrestles outside of the promotion as Ray Lyn and had a tenure in Japan (2019), where she wrestled in Sendai Girls, Marvelous, and World Woman Pro-Wrestling Diana. This gave her the opportunity to experience adapting her style to one very different from her own, with the Japanese pro-wrestling scene having a more intense environment.

Holidead: Her aggressive and mysterious persona makes Holidead a WOW standout. Her experience wrestling in Stardom (2015 to 2016) allowed her to hone her technical wrestling ability and develop a deeper understanding of wrestling psychology that transcends cultural boundaries, and that she can utilize if the need arises.

Island Girl Kalaki (as Tracy Taylor): With a powerful presence, Island Girl Kalaki is recognized in WOW for her in-ring resilience. Her time in Japan (2007) wrestling as Tracy Taylor in ZERO1 and other Japanese promotions early in her career exposed her to a more physical style, contributing to her demeanor.

Selina Majors (as Bambi): A top member of the WOW roster during the promotion's beginnings and currently a trainer and mentor in WOW, Selina Majors is a veteran of the wrestling world and a key figure in the company. She also has a historical connection to Japan, wrestling as Bambi in FMW (1994). Her experience added another dimension to her career. With FMW having a distinctive and intense style, due to its hardcore elements, its fans were passionate and had specific expectations. Performing for them exposed her to a new audience and added valuable international experience to her resume, which ultimately enriched her legacy as a versatile and experienced performer.

These women's journeys through Japan highlight the global nature of talent development in professional wrestling. Their time in Japanese promotions, known for their demanding training and emphasis on a stiffer style, has contributed to their performances in WOW.

Why These Journeys Matter

The stories of independent male gaijin and the Japan-influenced WOW Superheroes present a powerful truth about professional wrestling: it is a worldwide ecosystem. The "Gaijin Dream" isn't only about individual ambition; it's about a continuous exchange of talent, styles, and ideas that supplements the entire industry.

For promotions, understanding these interconnected pathways is crucial. It highlights the depth of experience within a roster, the different influences that shape a wrestler's style, and the potential for cross-promotional collaboration. For fans, recognizing these journeys adds another layer of appreciation for the athletes they watch, knowing the commitment and global experience that often lies beneath the surface. This international talent pipeline is vital for the wrestling industry's continued innovation and growth.

The Future of Global Talent

The future of professional wrestling is global, driven by both wrestlers seeking new horizons and the strategic vision of promotions building diverse rosters. From the independent gaijin forging their paths in Japan to the WOW Superheroes who carry the lessons learned in Japanese rings, these stories are central to understanding the industry's evolution.

As the wrestling world continues to expand its reach, the ability to analyze these global trends, understand talent development across different cultures, and identify strategic opportunities will become increasingly vital.

Keep visting Harold-Williams.com for more in-depth analysis on the business side of professional wrestling, global market trends, and talent spotlights. And if you are a promoter looking for assistance with writing, content creation, public relations, talent recruitment, and securing TV opportunities, by someone with extensive global experience in the wrestling industry, contact me via info@harold-williams.com

India: The Next Frontier for Professional Wrestling? Analyzing an Emerging Giant

For years, the professional wrestling world has largely revolved around America, Canada, Japan, and Mexico. But as the industry continues its global expansion, a new giant is emerging on the horizon: India. It is the most populated country in the world, has the fourth-largest economy (behind only the United States, China, and Germany), and a thriving digital landscape. India isn't just a market; it's potentially the next major scene for professional wrestling. As someone who is as interested in the business side of wrestling as I am in the action in the ring, the trends unfolding in India present an interesting case study and a significant area of opportunity.

Wrestling, in various forms, has a long cultural history in India, beginning with malla-yuddha and later kushiti. Also, the country makes up a notable amount of regional traffic going to the official websites of global organizations WWE and AEW, showing that the fan interest in sports entertainment is definitely there.

This familiarity provides a fertile ground for professional wrestling to thrive. Simultaneously, recent years have seen a merging of factors that are truly accelerating its growth.

India's population of over 1.4 billion offers an unparalleled audience base. As India's economy expands, so does the disposable income of its middle class, leading to greater willingness to spend on entertainment, and merchandise, as well as live events, a market that exceeded INR 12,000 crore in 2024. And with a large and increasingly wealthy youth demographic, the potential for fan engagement and consumption is huge. The country's young demographic, with a median age of 28.4 years and over 371 million youth, represents a significant and growing economic force, driving big spending in the entertainment sector. This demographic shapes consumer behavior, particularly through their direct influence on household purchases, which are projected to reach $1.4 trillion by 2030, with their own earnings contributing significantly to this.

India is a mobile-first nation, experiencing an impressive digital increase. The addition of affordable smartphones and widespread internet access has made social media, online content consumption, and streaming services common. This is a game-changer for wrestling promotions, allowing them to reach audiences directly and cost-effectively. Also, it's worth noting that the video streaming market in India is projected to reach USD 11.6 billion by 2033.

WWE has long recognized India's value, with noteworthy viewership (335 million unique TV viewers in India annually) and localized content efforts (programming offered in multiple Indian languages and a weekly highlights show in Hindi, for example). Their sustained presence validates the market's potential and helps breed a mainstream appetite for the product.

Beyond WWE and AEW, a vibrant independent wrestling scene exists. Wrestling Xtreme Mania (WXM) launched in early 2025, aiming to elevate Indian wrestling talent globally and also bring name talent from the current major wrestling scenes to India. Combining athleticism, drama, and cinematic storytelling, WXM plans to establish a year-round entertainment property through broadcast media and regular live events across the country, with the ultimate goal of making India a major wrestling scene as well.

For all its potential, the Indian professional wrestling market is still in its formative stages of commercialization. This creates crucial emerging needs, which is where strategic expertise comes in to:

- Publicize the promotion.

- Advise on how to use streaming services to reach a wider audience.

- Help find and book the right talent.

- Develop a successful marketing strategy.

- Increase attendance.

- Leverage social media to grow the promotion's fanbase.

The trends are clear: India is poised for monumental growth in professional wrestling and offers intriguing opportunities both in the ring and behind the scenes. The future of professional wrestling is truly global, and a significant part of that future is being written in India, as it represents a dynamic and exciting frontier.

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.