Friday, April 21, 2017

2017 WWE Business Partner Summit


2017 WWE Business Partner Summit
VIDEO: http://corporate.wwe.com/news/company-news/2017/17-04-2017



* New Day comes out to kick things off.
Xavier & Kofi are wearing the unicorn horns. Xavier has a green trombone.



* Enzo & Cass interrupt.



They accuse of anyone who is not attending WrestleMania as "Sawft". Big E chimes in "N-A-W!"



Xavier plugs his YouTube page (Up-Up-Down-Down) hitting 1 million subscribers.



Kofi literally says - "We're out of time! We were supposed to be out here for 45 seconds and we've gone 3-4 minutes. Let's settle this in the back."

And then everyone walks off.



But it's a swerve.. New Day runs back out and starts a "New.. Day Rocks.." chant.

The looks of befuddlement dominate this audience.



New Day leaves again.

CHIEF BRAND OFFICER STEPHANIE MCMAHON


Chief Brand Officer Stephanie McMahon comes out and talks about her lifelong career in WWE:

- Merchandise model
- Receptionist in HS
- Sideline reporter in XFL
- Head of Creative
- TV Character











Role I'm more proud of is not only as today's host but as chief brand officer.. . As Chief Brand Officer, I have the privilege of supporting all of our lines of business - helping to drive revenue, drive brand awareness and enhance brand value for our fans as well as our partners



Stephanie talks about the mission of "putting smiles on people's faces" and gives examples from moms/kids, troop visits and Make-a-Wish.









We couldn't achieve that mission without our partners. We have over 200 partners around the world across all our lines of business.

She calls out investors, licensees, representatives from community and gov't organizations, media and technology companies.

Talks about showing gratitude. And then segues to "since this is WWE we're also here for some competition".

The partner who has achieved the highest rate of engagement from our collective audience across multiple lines of business.

BUSINESS PARTNER OF THE YEAR NOMINEE: BOYS AND GIRLS CLUB OF AMERICA





Enable young people to reach their full potential regardless of where they come from and working with WWE to help put an end to bullying.

In 2016, WWE & "Boys and Girls Clubs of America" announced multi-yr deal. The goal: "Reach as many youth as possible to help stop bullying".









Don't be a bully.. BE A STAR!









WWE is working w/ the Yale Center for Emotional Intelligence to "refresh the curriculum to focus to on social & emotional learning"









This new approach will be implemented in more than 4,000 clubs across country to reach "4 million kids by 2018". (updated Be A Star program)



We are excited about our multi-year partnership with the Boys & Girls Clubs of America and thank them for our nominee




Michelle Wilson, WWE Chief Revenue & Marketing Officer
George Barrios, WWE Chief Strategy & Financial Officer





Last year we talked about how we took a big risk in disrupting our lucrative pay-per-view business. - Michelle Wilson



We told you about that proverbial long dark hallway that you enter when you're transitioning away from a legacy business.

https://www.nytimes.com/2014/10/20/business/media/the-stream-finally-cracks-the-dam-of-cable-tv-.html



And we shared with you how we successfully emerged on the other side from that hallway with our direct-to-consumer service, WWE Network







It's now our 2nd largest and fastest growing business. If you remember, back in 2014, a lot of experts in the industry thought WWE was insane to walk away from the pay-per-view business model. But if you fast-forward to today, industry experts are recognizing and applauding WWE's strategic direction.



https://www.forbes.com/sites/kurtbadenhausen/2015/02/17/the-future-is-television-and-digital-broadcasting/



The WWE...will continue to...maximize its audience viewing dollars. The future is now, but the future is not television or digital. The future is television and digital. - Adam Grossman, Feb 2015

_Michelle_



Clearly, it shows that WWE's Culture is about being nimble, flexible and innovative.

We watch for industry trends that may shape the future of how we do business. We listen to our fans and we make a point to respond and react quickly.

This has helped lead us to another incredible year that, as Stephanie said, could not have happened without the tremendous partnerships of all you in the room.

I can tell you today, right here, right now, that we're already looking at the future and new trends that will compel us to continue to innovate with all of you.

_George_



2016:

* $730 million revenue

* 11% growth

* $200m in int'l revenue.

* 70% content consumer outside of US









Our digital business includes anything that can be monetized on a digital platform - ecommerce, WWE Network, YouTube $240 million.







The rapid shift from traditional to digital to difficult in any industry.

Talks about the change from Syndicated business (television) to PPV business (cable) to Direct-to-Consumer business (WWE Network).

This change will deliver strong performance for us and all of you. And it's what you're going to hear more about today.

_Michelle_

How we take Global Trends and translate them into a strategy for business around the world.



For example, half of world's population - 3.5 billion people - are under 35 years old.

Growing percentage of that poopulation is "Gen Z" - having never lived in a world without a connected device.

It's no surprise to see global consumer behavior shifting dramatically.



We've seen audiences viewing content wherever they want.

Whether it's a small town in India, a plane over the Pacific or an office where they should probably be working.





20% of 18-34 year old using only mobile devices to view content. They are 'cord-nevers'; never subscribed to cable or satellite service.



If they're not viewing digital media content, then they're spending their time on social media. In fact, they're spending 4 hours every day on Social Network.



Whether it's a YouTube clip, a Facebook Live video or a Snap on Snapchat, content now can be created by virtually anyone.



This doesn't take into account what will happen when our fans can fully immerse themselves in a virtual or augmented reality. That's also a technology that we're watching very closely.



Michelle Wilson is discussing how WWE tier's their content across platforms and developing a "24/7 content ecosystem".







Opportunity to "monetize the WWE brand" and truly exemplifies the concept of the rising tide.

_George_



The "hub of this content eco-system" is still our flagship live, long-form - Raw & SmackDown live.



Although television ratings, which you hear about, may be challenging, WWE continues to deliver on live, appointment viewing around the world.

Fans in Shanghai are tuning in at 9 AM on Tuesday to watch Raw.





Although tv ratings, which you hear about, may be challenging, WWE continues to deliver on live, appt. viewing around the world.

Domestically, our partnership with NBC Universal remains absolutely vital.

With 730 million hours of Raw & Smackdown consumed domestically in 2016, WWE remains #1 and #2 shows on USA Network



SmackDown went live on USA and created two different shows - different storylines, different character rosters.

Barrios is explaining how SmackDown ratings improved when show went live on USA and implemented the brand split.





WWE is now in "650 million international homes".



SkyTV in UK

SonyTen in India

Fox Sports in Latin America



In the digital and social ecosystem, our fans are able to view the continuation of our storylines through shortform content directly

On YouTube alone, it's incredible, we had an increase of over 40% over the previous year.



Claims that makes them the #1 Sports Channel in YouTube for the 3rd consecutive year.

750 million social media followers - "we can communicate directly with them".



Our fans consumed 600m hours of "that content" on "that platform" (I think he's talking Digital Content) in 2016 - "up 30x since 2010".





_Michelle_



As you all know, our storylines always culminate in spectacular fashion, on our pay-per-views which is the third of our ecosystem, the WWE Network.





1.5 million subscribers consuming nearly 300 million hours of content



Michelle says "1.5 million subscribers consuming nearly 300 million hours of content is average 4 hours/week per Network subscriber"



4th more engaging network behind CBS, ABC and "our friends at" NBC.

Parks Associates rated WWE Network among Top 5 Over-the-Top Video Networks in US and 2nd in consumer satisfaction"





Michelle refers to "Talking Smack" and "Raw Talk" as 'shoulder programming'.









We're actually curating our collection to tell stories about our superstars, their rivalries and our storied history.







_George_

New content helps our brand reach new audiences and WWE ever-expanding list of strategic partners does just that. So, on E! network the drama didn't stop with season six of Total Divas. It continued to our reality series Total Bellas further extending that reach with the female demo.



We also have produced documentaries with our strategic partners - ESPN's "This was the XFL" as part of their acclaimed 30 for 30 series. The show was a mass success - it beat the on-demand performance of all of ESPN's 30 for 30 in 2016 in just one week.



And in January 2018, we're going to premiere an Andre the Giant documentary in partnership with HBO Sports and Bill Simmons.



With Blumhouse Productions & Warner Bros, WWE Studios uses our talent across all different genres - from horror to kids animation.



_Michelle_



Market the WWE Brand - Cricket Wireless, Mars Snickers, Nestle DiGiorno, KFC.

We greatly appreciate these valued partnerships because they open doors to new audiences for WWE. "NBCU has brought on 50 new advertisers"



You'll hear more from John Brody who is the new head of Global Media Sales.

We also want to say how proud we are to welcome back Snickers as a presenting sponsor for WrestleMania.

Forbes has called WrestleMania among the top 5 most valuable sports brands in the world.





https://www.forbes.com/pictures/mlm45gelhg/forbes-fab-40-events/

We strive to have a lasting impact through these partnerships.



1. Diversity & Inclusion
2. Education
3. Hope
4. Military

Four pillars that form our social responsibility initiatives. - Michelle Wilson



From taking a stand against bullying with Boys & Girls Clubs of America to promoting awareness of pediatric cancer to helping those in military enter the civilian workforce with our partners at Hire Heroes to bringing a smile to the faces of those need it most through our thirty year partnership with Make-a-Wish.



We remain convinced of the power of the WWE brand to connect with communities around the world.

As we look ahead, and look at trends, we have narrowed our focus to address the things that we think will have the greatest impact our growth and yours.

Narrow Focus:



1. Super Serve Our Audience (New Content & WWE Network)

2. Localization (Localize Content for Key Emerging Markets)

3. Engage the Next Generation of WWE Fans

Continue to invest in programming that brings people more live in-ring content.

*plays video*

Most recently, we premiere the UK Championship Tournament.

A step in that direction of more and more regional and localized live content.

And in Emerging markets, as we explained earlier, we launched an exciting new partnership with PPTV in China, we've also got great plans for India, Latin America and Middle East.





We've already shared with you how young people are consuming content differently and most of you already know that WWE has long been a multi-generational brand. Our focus to engage the next generation of fans should come as no surprise.

We're launching new products with our global licensees and partnering with YouTube influencers and exploring animation. We're working on new initiatives that will engage WWE fans across all our platforms.

We are so excited about our future and confident that whatever trends that may emerge, WWE will continue to be at the forefront of driving business results for everyone in this room.

Thank you and Enjoy WrestleMania!

STEPHANIE MCMAHON



The question I'd like to address is.. Why? Why is WWE able to continue to grow our business and fanbase for over fifty years.

“Why do more families continue to watch WWE programming together than any other sports franchise the only exception being the NFL?”



“Why do they continue watching as a family together for generations?”



“Why at last year’s WrestleMania was there fans from all fifty states and 30 different countries, from all ages, races and socioeconomic backgrounds?”



Because WWE has unequivocal engagement with our fanbase. - Stephanie McMahon



We understand in order to relate to our audience, we need to give them a reason to care about our content and who we are as a brand.



We need to listen to them and respond, not just with words but with actions.

Whether it’s influencing who makes it to the main roster, influencing content on the WWE Network or starting a revolution.







But first, we have to capture their imaginations, and we do that through storytelling.







Whether you identify with the scrappy underdog that refuses to give up (Becky Lynch photo), relive your youth by cheering on icons (Undertaker photo), or you look up to the conquering hero whose mantra is all about hardwork, loyalty and respect (John Cena photo)..

You become invested in our characters and their journeys. And just like every great book, play, opera, ballet or movie, WWE's stories feature protagonists and antagonists with some kind of conflict resolution. Our conflicts are settled in the ring.”







WrestleMania represents the pinnacle of that storytelling.

“I remember when.. “

When Shane McMahon jumped off the top of that Hell in a Cell, when Charlotte moonsaulted off the top rope onto Becky Lynch and Sasha Banks on the outside of the ring and Austin/HBK/Foley made a surprise appearance and took down the “villanous” league of nations.

The success of WrestleMania would not be possible without the presenting sponsor and the next Business Partner Nominee.

BUSINESS PARTNER OF THE YEAR NOMINEE: SNICKERS








A custom themed Snickers bar is coming soon to a retailer near you."



Exclusive Presenting Partner of WrestleMania 33






JOHN BRODY



John Brody Executive Vice President, Global Sales & Partnerships
http://corporate.wwe.com/investors/news/press-releases/2015/12-07-2015



As many of you know, WWE is uniquely positioned in that special space we call Sports Entertainment. Over the last two years, we’ve transformed our services to offer turn-key one-stop shopping.









We are focused on building relationships with our global media partners led by NBCU here in the US, as you heard NBCU has partnered with 50 new advertisers. We’d like to thank last year’s partner of the year. WWE continues to tie more closely with our global investment partners.

We are so proud to call ourselves partners with these category leaders. All of them push us, enable us, and support us in countless ways. We applaud you all for your work. And thank you for your partnership.

As we heard earlier from Michelle & George, WWE offers special opportunities to engage with WWE

Event Sponsorships

Digital Platforms

Talent Intergrations on Traditional TV

Released “100+ pieces of branded content”

Live Story with Mattel on Instagram, New Day with Vudu, Post Fruity Peebles on YouTube, National Sandwich day with Subway.

Let’s take a closer look at how we’ve taken fan engagement to a whole new level..





They just referred to Enzo and that KFC chicken as a "talent integration on traditional TV".












CASEY COLLINS





Over the past four years, our global licensing business has increased by 37%.

Innovative and flexible approach we’ve taken in four key segments:









Games

2K

WWE 2K17 is once again the industry leading videogame franchise

Our hardcore gamers are shifting to digital downloads; seeing 41% growth in domestic digital game sales.

Goldberg’s return to WWE meant he immediately became an downloadable character.

2K ad campaign was “#1 for Ad Recall” in front of NFL and Party City.

Mobile Gaming

2K / zynga / topps

WWE Super Card (Season 3)

Brand crossovers (Hit it Rich! Slots, Family Guy: The Quest for Stuff, 8Pool)

Bringing portfolio to new genres, partnering with leaders Sega & Reliance












Toys

#2 Action Figures behind Star Wars

Crash Cage came to live at NXT, Raw















Fitness









TapouT

Was Men’s Brand

Expand to Women’s & Boy’s

Opened Gyms including two in NYC

Key areas:

Expansion into lifestyle sector

Int’l Growth

Retail









Partnered with FYE

Exclusive merchandise including Booty-O’s

Partnered with GameSpot with launch of WWE2k17

WWE collectibles

Toys R Us

Promotional Events

Instore Autograph signings



BUSINESS PARTNER OF THE YEAR NOMINEE: TOYS R US





Grew WWE footprint in the stores

Collectibles, Novelties, Roleplay, Action Figures





What defines a Hero?



A hero is someone who overcomes adversity.

Someone who never gives up.

Someone who has courage to stand up for themselves and others.

The real heros are the every day heros sitting in the audience.

WWE partnered with NBCU - “For the Hero in All of Us”

JAY DONLAN





Increasingly younger population are viewing content on alternate platforms. Millennials and Generation Z are spending more time on the platform of their choice.



(Back to VIRTUAL REALITY & Augmented REALITY talk..)

We’re extending the story that never ends for WWE and our partners

Core mission is put smiles on faces

Unique ability to nimble

Data driven approach to content creation

User-centric process

Program platform specific to each platform

Custom, tailor fan experience

We innovate with partners on social platforms

The ultimate behind the scenes experience

New dedicated

Virtual Reality










STEPHANIE MCMAHON

Stephanie McMahon telling the story of Zack Ryder and his WrestleMania dream.









...and Zack was able to elaborate on that story through his digital and social media channels giving our fans unprecedented access

Not only Zack Ryder the Superstar, but also Zack Ryder the person..
Not only do Zack's followers comment or like or share their stories

Stephanie is talking about it as "brand amplification" and "creating engagement".
This strategy is not unique to just one person.



Digital/Social media gives fans opportunity to interact with their fav. stars in organic/meaningful way deepening connection to WWE brand.



But it allows us to proliferate our stories through our content ecosystem. - Stephanie McMahon

BUSINESS PARTNER OF THE YEAR NOMINEE: YOUTUBE








(Diamond play button)



ED WELLS, EVP INTERNATIONAL
(He’s been a rising star since Gerrit Meier left last year.)
http://www.wrestlinginc.com/wi/news/2016/0621/612892/exclusive-wwe-international-loses-key-wwe-executive/



No one-size fits all approach to International.



Ed notes that 1/3 of revenue comes from outside the US and WWE Network available in 180 countries. Raw & Smackdown broadcast in 20 languages.



WWE EVP Int'l Ed Wells: "in India alone 13 million fans are watching Raw every week. In South Africa 4 million fans watch Smackdown"

In Mexico, more people are now watching Raw than Monday Night Football on a regular basis.



India represents the “largest social region in the world” for WWE.







Completely dedicated to market-centric strategies

Recognize the power of local content.







Local show in India “doubled the audience in India”.

With this successful template, thrilled to announce imminent two new productions with Fox Sports Latin America and OSN in the Middle East.





Created “wholly-owned long-form content” with the UK tournament.





He also mentions that "we're excited to continuing this venture with more events next month in the UK."



We're bringing WWE superstars to our fans in unique and innovative ways providing additional touchpoints for the consumer.

One way we do this is to integrate our superstars into local programming..
(Example: Jericho hosts Rogers' Hockey Night in Canada.)









We're also integrating local celebrities into our nearly 90 international events each year. (Example of Tim Wiese in Germany)



We're continuing to localize and adapt our commercial approach in a number of key emerging markets.
Wells talks China (PPTV deals)

http://corporate.wwe.com/investors/news/press-releases/2017/03-27-2017-143004929
http://corporate.wwe.com/investors/news/press-releases/2016/06-16-2016-140201677







One primary area of focus is content and production

Raw & Smackdown have a clear & proven global appeal

But we recognize the power of local content because the WWE Universe always wants to see John Cena and the New Day but they also want to experience WWE in the context of their day-to-day lives.

Last year, we set Expansion in China as global priority and as you heard we entered into a groundbreaking partnership with best-in-class

Consumer Products Approach in Emerging Markets

E-commerce has emerged as a powerful solution to markets where traditional infrastructure remains a challenge



In China, the largest e-commerce market in the world, we’re partnering with local industry leader Bao Zun. In India, WWE is partnering with “Souled Store”. Coming soon: Amazon, Flipkart.



In Middle East, Wells: "Middle East is still driven by brick & mortar retail."
WWE is launching "WWE branded retail shops across the Middle East".





BUSINESS PARTNER NOMINEE: FOX SPORTS LATIN AMERICA




WWE Business Partner of the Year Nominee: Fox Sports Latin America.
(notes in 2014 they signed "5 year deal") Spanish & Portuguese



Lists places that WWE has brought live events to Latin America as: Puerto Rico, Panama, Mexico, *Peru, Ecuador, *Chile, Costa Rica. Peru & Chile were “key emerging markets”.



WWE is launching a "premium SMS service" across Latin America and co-producing a local studio program in Mexico.




PAUL "TRIPLE H" LEVESQUE









Paul Levesque talking "WWE Redefined".
Goal: have the most charismatic and elite athletes in the world."
Adopted simple motto.





Paul Levesque comes out:

One word to emcompass the innovation and content creation. One word that perfectly sums up the recruitment, training and development of our talent. And really talent is everything we have. That one word that clearly explains how we’ve expanded from 350 live events to 520 live events annually, all in an effort to super serve our fanbase.

WWE Redefined.

We've redefined how we recruit. We've redefined how we train. We've redefined how we create a WWE superstar. Results speak for themselves.

Levesque is talking about where they recruit from.
Notes that they'll be holding "a huge tryout in Dubai" later this month.

We train these athletes at the WWE Performance Center.

Not only become successful performers through in-ring techniques, strength & conditioning..."...nutritional counseling, public speaking - but also in life. "WWE offers advanced education including opportunity to earn a degree, learn new languages, lifeskill training and professional development" "All while learning how to use social media platforms to promote WWE, promote our partners, as well as their own individual brand."

How do you become a WWE superstar? First you create a place for them to become one. A place where they can hone their craft and characters



One of those platforms is WWE's third global brand, NXT.



NXT has 200 live events annually and is one of the most popular shows on the WWE Network.



It's own unique roster, it's own unique superstars, it's own unique various lines of merchandise. (on NXT)





There were pockets of underutilized athletes in various markets. For example, there was a large pool of male talent under 205 lbs.



The tournament was so successful, it led to it's own show - 205 live. That success lead us to dig even deeper.



In UK, arguable WWE's 2nd home, found hidden wealth of talent & audience that was hungry to see local favorites featured in a bigger way.







Paul Levesque says that the UK tournament "was so successful" that they're working on "expanding that to a regular on-air show."



Paul Levesque: "Over 80% of our main roster is straight out of our developmental system."









Paul Levesque on fans: "We're giving them a voice to who makes it to the main roster, who makes it to the top of the WWE"



Steph comes out and mentions “unprecedented fan engagement and that fans started a revolution”

On Feb 23, 2015, there was a Diva’s tag match that lasted all of 30 seconds. The audience started a hashtag that trended for three-days worldwide called “#GiveDivasaChance. The online commentary was calling for longer women’s matches.



On Feb 23, 2015, there was a Diva’s tag match that lasted all of 30 seconds. The audience started a hashtag that trended for 3-days

“The chairman responded.”



At NXT, a group of young women had already grabbed that brass ring. Sometimes, a lot of times, outshining their male counterparts. -HHH



Stephanie tying the Divas revolution to other movements: US Women's Soccer team ratings, Serena Williams, Ronda Rousey.







Paul Levesque welcomes the women's champions of Raw, Smackdown and NXT.
Bayley announces "this summer" will have women's tournament





WOMEN’S TOURNAMENT

Will feature "32 women from 17 countries" .
Asuka cuts a promo in Japanese and English "I'm proud to be part of the women's evolution"







Crowd in business suits really just doesn't know what to make of seeing Asuka in her wrestling gear at 9 AM in a hotel conference room.



The founder of the Business Partner of the Year awards. The man who challenged every one of you years ago to think bigger when it came to partnering with WWE. He is an actor, reality star, television host, executive producer, musician, philanthropist and 16-time WWE champion.





Ladies & Gentlemen - John Cena!

Stephanie is on very short list of people who are brave enough who, when I do something stupid, which is often, will tell me it's stupid.

But also in the same breathe, provide help and insight to turn it around - simply because we have the same goal - success. - John Cena



Cena uses a towel prop to announce the Business Partner of the Year.
The winner is Snickers.



Ray starts by thanking other nominees. 



Ray Amati: "Sometimes I look on my calendar and see a meeting that says 'Discuss Booty-O's' -- I really don't have a lot of meetings like that."

Ray talks about how he talked to "WWE Superstar Strowman" at breakfast that morning about his love of "driving emotion with the fans".







Wednesday, April 19, 2017

Wrestlenomics Radio - Survey Results

I put a survey up on Twitter about my Wrestlenomics podcast to look more about my audience with some anonymous feedback.

Here's a brief summary of the results:

----------------------------------------------------------------------
Q1: Do you regularly listen to the Wrestlenomics Radio podcast?

  • NO - 38%
  • YES - 38%
  • SOMETIMES - 24%
Analysis: While I expected a survey that is mostly distributed by Twitter would include a lot of people who have never listened to my podcast, I was a little surprised the preponderance of responses was non-listeners. For that reason, I implemented a "point system" where I weighted YES/4 point, SOMETIMES/2 point, NO/1 point when looking at answers.

----------------------------------------------------------------------
Q2: What topics do you prefer Wrestlenomics Radio to cover?

Options (randomized):

Highest Scores
  • Professional Wrestling Business News (financial filings, investor calls, corporate events)
High Score
  • Content Distribution News (cord-cutting, int'l TV rights, future of media, journalism)
  • Professional Wrestling History (legal, business, media, financial coverage)
Medium Scores
  • Professional Wrestling Legal News (lawsuits, proceedings, exhibits)
  • Professional Wrestling Metrics (Wrestlenomics - win/loss records, research, articles)
Low Score
  • Long-form discussion of recently published articles w/ author(s)
Lowest Scores
  • Guest Interviews
  • Professional Wrestling Discussion (storylines, feuds, booking)
  • MMA Business News (UFC/Bellator legal, business, PPV)

Analysis: I am not surprised to see that MMA business news wasn't highly ranked, and it validates my predisposition not to spend much time covering that industry. Seeing "Content Distribution News" so highly ranked is intriguing. I intrepret that subject as "looking at how the media landscape is transforming in general and the global trends we're seeing regarding how different platforms are developing". It's a subject that continues to interest me, but also something that I could spend more time immersing myself in. I was also very surprised to see "Professional Wrestling History" as highly ranked as it was. While normally a podcast would scoff at the idea of covering (in-depth) the history of WWF television deal making in the 90s, that's exactly the sort of subject matter which Wrestlenomics Radio prides itself on. It's interesting to see that "Professional Wrestling Discussion" ranked so poorly - that suggests that people are getting their fix of that topic from other podcasts. While I could certainly stand to offer my opinion more often, I am comfortable knowing that is not expected to be a major part of my show. Seeing both "Guest Interviews" and "Long-form discussions" lowly provides some interesting feedback. One comment was that I could use a steady co-host and/or show producer. I would agree with that. Overall, I'm glad that what I consider the core of my show - Professional Wrestling Business News - is still what people most expect from my show. Furthermore, as one person commented, I could continue to broaden my focus beyond just WWE to Ring of Honor, FloSlam, New Japan, TNA and other pro-wrestling companies out there.

----------------------------------------------------------------------
Q3: When is it best to release new episodes?
  • Regular Rotation (i.e. twice a month) - 53%
  • Immediately following big WWE Corporate events - 24%
  • Whenever (surprise me!) - 23%
Analysis: I was pleasantly surprised to see that the "surprise me" contingent was larger than expected. Historically, the show appears when it's going to appear. However, the resounding feedback is that it's easier to grow and maintain an audience if you're consistent in producing content. This is hardly revolutionary thinking, but it's a worthwhile reminder that there's a lot more I could be doing around producing this sort content on a frequent and predictable basis.

----------------------------------------------------------------------
Q4: How do address audience questions?
  • Email - 57%
  • Twitter - 29%
  • Open Lines - 12%
  • None of the Above - 2%
Analysis: This is a meaningful result because it speaks to one of the major concerns that I've had in the past. Normally, I sign up for BlogTalkRadio, I schedule a show, and we're off the races. I usually have my own notes, but I allow for open lines which means I'm plugging phone numbers throughout the show even though the majority of people are going to listen to things on delay. I think considering the in-depth emails that I get which take ages to respond to, it might just be better to turn those correspondences into show topics that are addressed on air and include some element of Twitter as a medium of correspondence. I will likely be discontinuing the use of open lines. This also opens up new options for how I produce and distribute the show.

----------------------------------------------------------------------
Q5: Where do you live?
  • United States - 65%
  • Canada - 19% 
  • United Kingdom/Ireland - 8%
  • Other - 8%
Analysis: Wrestling Twitter (and F4W) does seem to have a disproportionate amount of active Europeans fans. I've received calls on my show from as far away as England and South Africa. However, the vast majority of survey respondents are North Americans. It certainly makes sense to keep show production schedules and media talk focused around the domestic marketplace that I'm familiar with. 

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Q6: Optimal Podcast Length?
  • 45 minutes to 60 minutes - 39%
  • However long it takes to cover the Story - 31%
  • 30 minutes to 45 minutes - 15%
  • 60 minutes to 90 minutes - 13%
  • 90 minutes+ - 3%
Analysis: This result did surprise me. Considering the plethora of marathon wrestling podcasts out there, I expected there would be more votes for the longer 60+ timeframe. Lucky for me, that doesn't seem to be attitude of my survey respondents. That's encouraging for me because I've often felt that shows under 60 minutes are insufficient. This information really makes me rethink that attitude. Furthermore, the "cover the story" crowd makes a compelling argument that it should be the subject that dictates the length and not the other way around. I appreciate that I think I'm going to work on producing newer episodes that are under an hour. It's possible that I'm burning myself out when I do a 75 minute solo episode when it would have been a better two separate episodes. 

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Q7: Medium Preference for Wrestlenomics Radio
  • Audio Podcast - 77%
  • YouTube Podcast (see the hosts speaking) - 14%
  • Audio-Visual Presentation (see slides/charts/financial information) - 9%
Analysis: This result pleased me. I listen to podcasts in my car while I'm driving to/from work, when I'm working in the yard, when I'm on a plane, lying in bed, taking a shower or talking a walk. I don't like to "watch" to podcasts. I don't need to see the hosts talking. I was honestly expected more people would want to see the Audio-Visual presentation (where I would incorporate slides or other data into the podcast), but I'm glad to see that most people are content to just reference this blog or other website for the numbers that are too difficult to describe over the air.

----------------------------------------------------------------------
Q8: Podcast Sponsorship 
  • I skip/ignore podcast advertisers - 49%
  • I have visited the website of a podcast advertiser - 44%
  • I have purchased a product after I heard about them on a podcast advertisement - 6%
Analysis: I was curious if this would give me powerful ammunition to approach advertisers about the keen demographics and expansive buying power of my listening audience. It really doesn't. And that's OK. I can't say that I've ever bought a product that was being advertised on a podcast because I heard about it on the podcast. So, I'm in the 94% along with most of my listeners and non-listeners.

----------------------------------------------------------------------

Summary
This helps a lot. I have a much better vision for what I should be doing with Wrestlenomics Radio. Expect to see more episodes that are a little shorter but that are released more frequently. I will spend more time focusing on the most relevant topics and I will spend more time working on having a steady co-host and more show production. I'll also be soliciting more feedback via Twitter and email before I tape shows so I can answer audience questions. For the time being, I expect Wrestlenomics Radio to stick as a podcast. Thanks to everyone.

More feedback? Send it to @mookieghana on Twitter or email indeedwrestling@gmail.com

      Friday, April 14, 2017

      Tuesday, April 04, 2017

      When will the WWE Network generates same profit as PPV model did?

      In Wayne Duggan's article, he writes "Citi estimates WWE needs 1.76 million paid subscribers to replace the revenue the company lost when it abandoned its pay-per-view model."

      I don't know if that's "the number", but that's what one expert believed.

      As Dave Meltzer has noted before, it really depends on what number you're trying to hit.

      Here's how I might do the math:

      Last year, WWE made $180.9 million on the "Network" segment which is WWE Network + PPV. Of that $180.9m, they made $12.6m on traditional PPV. The OIBDA on the Network Segment in 2016 was $43.0 million. The OIBDA margin percentage in 2016 was 23.7%. That was down from OIBDA percentage of 30.4% in 2015 ($48.4m / $159.4m).



      According to the annual report, there were several reason that the Network OIBDA % dropped in 2016 compared to 2015:

      1) "In 2016, WWE incurred $13.1 million of additional programming related costs in the Network segment". The company said it was "in support of our focus on adding original programming to WWE Network and additional pay-per-view events."

      2) Pay-per-view revenue (which is usually at a higher OIBDA margin) dropped from $20.6 million in 2015 (12.9% of Network revenue) to $12.6m in 2016 (7.0% of Network revenue).

      3) Most importantly, there was a shift of "shared costs that WWE now allocate to the Network segment from our Television segment." That impacted the 2016 Network OIBDA by $15.4 million. (A non-trivial number!)

      So, if WWE hadn't moved those shared costs, the 2016 Network OIBDA would have presumably been 32.2% which would have been higher than 2015. It's probably more accurate to look at it the other way around - the 2015 Network OIBDA should have been lower because WWE was allocating a lot of shared costs to the very profitable TV Rights segment instead of the not-so-profitable Network segment.

      Should we assume that the WWE Network segment is finally carrying it's fair share and generates about 24% OIBDA? (Keep in mind that we're looking at 2016 which didn't have a full year of dual PPV events. That Network OIBDA percentage could be even lower in 2017.)

      The next question is how does that compare to the PPV model? WWE used to generate between low of $70 million (2010) and high of $94 million (2006-2007) in PPV revenue. Even as late as 2012-2013, the PPV segment still generated $83 million annually.



      Of course, WWE doesn't make it easy to compare total's company to the old company because they're always using different accounting measures (cost of revenues, OIBDA, adjusted OIBDA, profit contribution, EBITDA, etc.) in one period versus another period.



      The "profit contribution" of the PPV revenue varied between a low of $40 million (2010) and high of $52 million (2006) during 2006-2012. The average profit contribution percentage was 54%.



      We have a shorter time-period where we got PPV OIBDA. The average OIBDA for PPV was $40 million (average of 2011-2013), which would be OIBDA percentage of 48%.

      (Again, this OIBDA % for PPV is probably artificially low because by 2011-2012 WWE had already investing money in what would become the WWE Network. And this included the WWE Classics on Demand/VOD service for a period.)

      So, the simple comparison would be that since the PPV segment was twice as profitable as the WWE Network segment is today, they would need approximately twice as much WWE Network revenue to achieve the same PPV profitability.
      That's about $165 million in WWE Network revenue if you want to replicate the profitability they achieved under the PPV model in the years prior to the WWE Network launch.

      From that comparison, you could say they are about break-even (in terms of annual profit) to where they were prior to launching the WWE Network. There was 2014 where they had a OIBDA of -1.8 million on the Network segment, which means there's at least $40 million that WWE never earned because they blew up their PPV model. If you include those costs, WWE is still way behind.

      How far behind? Imagine that WWE had earned $40 million OIBDA from PPV from 2014-2017. That's $160 million.
      So far, 2014-2016, WWE is at $91 million OIBDA for the WWE Network segment. That leaves a $69 million gap. At current rates, that would require having annual average subscribers of 2.4 million ($289 million revenue = $69 million OIBDA). They're not going to do that.

      So, how far do you stretch out the model? 5 years? 7 years? 10 years?

      Let's say that this year maybe WWE will average 1.6 million paid subs. I'd guess that would generate only $46 million in OIBDA. It will take a long time to recapture that $40 million in OIBDA they gave up in 2014.

      Based on what we know about PPV from UFC and Boxing, it's hard to say that we should discount the medium as dead for the big events like WrestleMania or Royal Rumble.

      (Note: this ignores the other segments that were cannibalized by the WWE Network launch.)

      Friday, March 31, 2017

      Q&A: WWE PG? Blood? Part Timers?

      Periodically, people reach out to me with Q&A.
      1) Turning PG for creating viewership among kids and families seems to have overly sanitized it for the crucial 18-34 male demographic. This set seems to be losing interest and is increasingly weaned away by the bloodier options e.g. UFC. Is turning a sub-brand (Smackdown?) into a Rated show for the Male 18-34 an option? Full of the good ole blood n cuss show?
      It's an interesting question and certainly a subject that comes up a lot – does the “PG” nature of the product limit WWE’s ability to continue to grow their audience?

      I think it’s important to look at how WWE makes their money:

      · Television Rights ($241.7 million; 33.1%) – about 49.6% OIBDA %
      · WWE Network Subscriptions ($168.3 million, 23.1%) – about 23.8% OIBDA %
      · Live Events and Travel Packages ($144.4 million, 19.8%) – about 28.9% OIBDA %
      · Licensing ($49.1 million, 6.7%) – about 55.8% OIBDA %
      · WWEShop ($34.6 million, 4.7%) – about 21.1% OIBDA %
      · Digital Media ($26.9 million, 3.7%) – about 17.1% OIBDA %
      · Venue Merchandise ($24.2 million, 3.3%) – about 40.5% OIBDA %
      · Home Entertainment ($13.1 million, 1.8%) – about 40.5% OIBDA %
      · Traditional PPV ($12.6 million, 1.7%) – about 23.8% OIBDA %
      · WWE Studios ($10.1 million, 1.4%) – negative OIBDA (-2.0%)
      · Corporate & Other ($4.2 million, 0.6%) - negative OIBDA (-4257.1%)

      Not only is television rights their largest revenue source, it’s their most profitable revenue source ($120 million OIBDA annually). It’s twice the OIBDA % compared the WWE Network or even Live Events.

      And WWE Television rights fees have contractual escalators. Regardless of the ratings or value of the advertisers, WWE is pretty much guaranteed to receive more and more money from their largest television deals (US, UK, India) through 2019. Those top three deals are likely to represent more than three-quarters of all of WWE’s television revenue and the US deal is certainly more than half the company’s total television revenue. They’re looking at nearly $20 million in incremental TV rights fees annually for the next three years.

      USA Network (parent company NBC Universal) has agreed to these terms. They get the value by using WWE programming to keep their network as a top rated cable network with commands high carriage fees. They can go to advertisers to sell the eyeballs that WWE is delivering. While professional wrestling has always done well in terms of ratings and poorly in terms of advertising, since WWE has basically turned the keys over to USA, in recent years, USA has succeeded in bringing in a host of new “blue-chip” advertisers to air during WWE programming. That’s a huge win for WWE and according to their marketing and branding officers, that win came directly from selling a PG product. Advertisers were leery of man-on-woman violence and overtly sexually situations. That said, obviously, blood & sex sell plenty well on other networks.

      Some of that may be because professional wrestling has historically commanded low ad rates and been associated with demographics that don’t have much income.

      Look at the Sports Business Journal;s 2013 article comparing wrestling, boxing and MMA fans. WWE fans were the least educated and had the lowest household income.

      WWE has changed their product because that’s what the network wanted them to do so they could better sell advertising. While it might impact WWE’s ability to attract new fans (which in turn damage their WWE Network subscription base and the Live Events business), they must see the trade-off being the ability to deliver their promised product to the Network which has guarantee the television revenue.

      When you watch the WWE Business Partner Summits (something I did in 2015 and 2016), what is very obvious is how much WWE values being associated with higher-end brands and how that's been a priority for the company. This was a slide from the presentation about new advertisers that WWE had:



      Regarding Smackdown, the decision to move it to the USA Network and make it live was driven by the Network. As I understand it, WWE was actually able to negotiate a bit for additional funding to off-set the added expenses of going live. And while Raw ratings have continued to slip year-over-year, Smackdown ratings are up.

      Would it benefit Smackdown to be further differentiated from Raw by showcasing a different style? Absolutely. But while both shows are under the thumb of the same corporate parent, I just don't see it happening in the near future.

      I do believe that for a time, WWE was able to use shows like Total Divas (and now Total Bellas) as decent tool to create more interest and awareness of WWE characters in an underserved demographics (women). And it's true that coverage of these reality shows has begun on female-centric websites like Jezebel or more mainstream websites like Buzzfeed that probably would never have happened unless WWE (again through NBC Universal) found a way to put a different product on a different channel. However, there is great argument about whether this has a cross-over effect which benefits WWE - are these people tuning in to watch Raw & Smackdown? Are they going to live events? Are they purchasing merchandise of the characters on the reality shows? Are they subscribing to the WWE Network to watch back episodes?

      While the percentage of females watching Raw has actually gone up in recent years (and it's dramatically up from twenty years ago when the product has an overwhelming young male viewership), some of that is just because there has been greater attrition of men watching TV rather than an enormous growth in women viewers. I would say the "Divas Revolution" certainly has resonated with many viewers, but it's a little too simplistic to tie the entire narrative into a single bullet point in my opinion.

      The idea that what fans want is "blood" is an open question. We're entering a phase where blood has been away from the screen so much, that many fans don't have any interest or desire to see it return. I know my wife can't stand it when it shows up accidentally during matches or when I'm watching old footage. But there is certainly a gritty, story-telling element to it which helps UFC connect. That said, UFC is built on stars just like WWE. When the stars are fighting, people tune in. Just like wrestling, good matches don't usually lead to good ratings. Stars leads to ratings. And likewise, UFC has increasingly seen feast or famine as the number of megastars dwindles. Bellator's ability to draw has never been predicated on having the best matches, but rather on the nostalgia of the star fighters they can reregurgitate one more time. I would also argue that UFC plays the "real sports" element in a way that WWE struggles as sports entertainment. The suspension of disbelief is simpler in a MMA fight than a pro-wrestling match. That's also why WWE likes to pretend their competition is other entertainment shows rather than other live combat events. Yet, WWE's contracts with performers and arenas have specific language about MMA written in because it's clear there is a big cross-over there both in terms of audience and in terms of talent.
      2) Using part-timers. Prohibits the creation of more/enough Superstars that generate viewership. Also, part-timers keep getting top billing at PPVs and the 4 tent-pole events undermining the growth of new generation Superstars. It's a vicious cycle, then.
      On one hand, WWE has an enormous number of people under contract between Raw, SmackDown and NXT. That said, the business is still struggling to create mega-stars that stick around above the pack. While everyone loves to rag on Roman Reigns, the reality is that he is selling a lot of merchandise and in some circumstances, his house show numbers are decent. Cena is still a star. And beyond that, it gets fuzzy – Owens? Orton? Rollins? AJ? They’re great wrestlers, but they don’t have that aura about them that puts them into the stratosphere like Austin or Rock or even HHH.

      I did a study once in an article for Fighting Spirit Magazine about new talent joining WWE and how long before they were a “main eventer”. I didn’t qualify whether business did well or not while they main evented, but rather just how look it took them to get to that point. What I learned was that it was essentially a crapshoot – the best strategy you could have was to bring as many people up as possible in a year because on average, the same percentage of people succeeded. My conclusion was that it’s tough to pick winners & losers – you’re better letting the wisdom of the masses start to see who connects and who works. We know Vince never saw Foley as a main eventer, but he ended up being the right guy at the right time. Same thing could be said for both Daniel Bryan and CM Punk.

      That all said, what makes a wrestler into bonafide draw is that specialness. And one thing that can be said for part-timers is that they often give off that vibe that what you’re seeing is not commonplace. Brock Lesnar might have a sweetheart deal but the fact that WWE (Vince, really) is willing to pay him that much (and continue to renew the deal) says something about the value they’re seeing in him. The fact UFC went out of their way to get him back, says something about him. The fact that bringing him to a house show in Chicago with Orton made the gate explode, says something about him. I can understand the dilemma about whether you can build your promotion around a guy that isn’t working house shows. They’ve done with Rock. They’ve done it with Brock. They’re doing it with Goldberg. And I do agree that some hardcore fans are turned off about it. Yet, I must admit that when Goldberg came back suddenly my facebook feed was flooded with older fans, people who haven’t watched WWE in a decade, posting on my wall – “GOLDBERG OMG!”.

      Fans long for a connection with the stars of their use. Sting was the same way. George Barrios, WWE CFO & Chief Strategy Officer, tells a story that when the WWE Network launched one of the first things they noticed was the number of people searching for Sting matches. That surprised the company since he was not someone they had ever used and someone Vince didn’t have a strong interest in anymore. However, between that evidence of fan interest and the video game deal, WWE made it happen.

      And that’s a big part of it, we’ve seen several of the stars which have been negotiated through the video game deals which have turned into actual WWE deals (Angle, Warrior, Goldberg, Sting).

      That said, WWE has altered the structure of what they are selling. They believe they are selling a company act – not individual superstars. You’re going to WrestleMania for the weekend – not for the individual matches. Same thing is true with house shows. In addition, the WWE Network essentially evens out the drawing ability of PPVs. We don’t have peaks & valleys. Instead, the number of subscribers outside of the January-April timeframe is generally pretty flat. So, WWE feels less and less that it’s critical that they must put a certain matchup together and instead it’s just the general feeling that whatever they put up, that’s what the hardcore consumers are going to buy.

      It is probably worth noting that part-time talent is not subject the drug testing policy that full-time talent is. That means that Undertaker, Goldberg and Lesnar have certain advantages that help them stay show-ready despite their advancing age.

      I completely agree that WWE is sacrificing the ability to create mega stars and long-term relationships for short-term pops. Yet, they have been able to make the part time wrestlers seem special. Perhaps it’s an argument that there should be more rotation (making the brand split more important, or developing alternative territories to send talent away for awhile). As long as the bottom line keeps growing, WWE seems increasingly less concerned about the declining ratings and the stagnant environment.

      What I wonder is whether we’re reaching a plateau or whether it’s the cusp of the next level. The latest real stars to join WWE have mostly been either multi-generational talent (Usos, Reigns, Charlotte) or imported and seasoned wrestlers (Nakamura, Asuka, Samoa Joe, Rollins, Ambrose, Harper). There is a very thin list of people who are genuinely NXT-trained talents (Corbin, Braun) that the performance center has produced from scratch. Maybe all of that is about to change. Maybe the lack of remaining part time stars that can still go will force WWE’s hand.

      -Chris Harrington
      @mookieghana

      Tuesday, March 07, 2017

      WON Most Improved (1980-2016)


      Dataset: https://docs.google.com/spreadsheets/d/1dGByZWBhRdvTk3AA0HdbOLcedAEPSjX26dNRCJDxaTY/edit?usp=sharing

      Data: https://sites.google.com/site/chrisharrington/mookieghana-prowrestlingstatistics/wo_awards_history







      • Mike Mizanin: birthdate 10/08/80 -- #1 (2008), #1 (2009), #2 (2010), #2 (2016)
      • Dolph Ziggler: birthdate 07/27/80 -- #5 (2009), #3 (2010), #1 (2011), #9 (2012)
      • Cody Rhodes: birthdate 06/30/85 -- #4 (2008), #2 (2009), #4 (2011), #9 (2013)
      • Dustin Rhodes: birthdate 04/11/69 -- #1 (1991), #4 (1992), #8 (2009), #3 (2013)
      • Buff Bagwell: birthdate 01/10/70 -- #2 (1993), #8 (1996), #3 (1997)
      • The Rock: birthdate 05/02/72 -- #2 (1997), #1 (1998), #4 (2000)
      • Sting: birthdate 03/20/59 -- #3 (1986), #2 (1987), #1 (1988)
      • Batista: birthdate 01/18/69 -- #2 (2004), #2 (2005), #10 (2007)
      • Marc Mero: birthdate 07/09/60 -- #5 (1994), #1 (1995), #5 (1996)
      • John Cena: birthdate 04/23/77 -- #2 (2003), #7 (2006), #8 (2007)
      • John Morrison: birthdate 10/03/79 -- #10 (2004), #2 (2006), #3 (2008)
      • Steve Williams: birthdate 05/14/60 -- #1 (1985), #4 (1993), #10 (1994)
      • Shelton Benjamin: birthdate 07/09/75 -- #4 (2003), #3 (2004)
      • Ray Hernandez: birthdate 05/07/56 -- #4 (1983), #4 (1984)
      • Michael Elgin: birthdate 12/13/86 -- #2 (2012), #6 (2015)
      • Alex Wright: birthdate 05/17/75 -- #5 (1995), #7 (1997)
      • Roman Reigns: birthdate 05/25/85 -- #1 (2013), #4 (2015)
      • Curt Hennig: birthdate 03/28/58 -- #1 (1983), #3 (1987)
      • Butch Reed: birthdate 07/11/54 -- #2 (1982), #5 (1990)
      • Diamond Dallas Page: birthdate 04/05/56 -- #4 (1995), #1 (1996)
      • Mitsuharu Misawa: birthdate 06/18/62 -- #3 (1984), #4 (1985)
      • Bobby Lashley: birthdate 07/16/76 -- #5 (2006), #6 (2014)
      • Ricochet: birthdate 10/11/88 -- #9 (2010), #3 (2011)
      • Booker T: birthdate 03/01/65 -- #9 (1998), #9 (2001)
      • Scott Steiner: birthdate 07/29/62 -- #2 (1989), #3 (1990)
      • Go Shiozaki: birthdate 01/21/82 -- #4 (2005), #10 (2006)
      • Chris Jericho: birthdate 11/09/70 -- #6 (1998), #6 (2001)
      • Jeff Hardy: birthdate 08/31/77 -- #4 (1999), #6 (2007)
      • Maunukea Mossman: birthdate 11/18/75 -- #4 (1997), #3 (2001)
      • Brock Lesnar: birthdate 07/12/77 -- #1 (2002), #1 (2003)
      • Charlotte: birthdate 04/05/86 -- #2 (2014), #8 (2016)
      • Brutus Magnus: birthdate 11/06/86 -- #6 (2009), #7 (2013)
      • Randy Orton: birthdate 04/01/80 -- #7 (2003), #1 (2004)
      • Steve Austin: birthdate 12/18/64 -- #2 (1991), #4 (1996)
      • Rick Steiner: birthdate 03/09/61 -- #1 (1986), #2 (1988)
      • Bubba Ray Dudley: birthdate 07/14/71 -- #7 (2000), #5 (2012)
      • Rob Van Dam: birthdate 12/18/70 -- #7 (1996), #2 (2001)
      • Test: birthdate 03/17/75 -- #3 (1999), #5 (2001)
      • Sasha Banks: birthdate 01/26/92 -- #3 (2014), #3 (2015)
      • Austin Aries: birthdate 04/15/78 -- #8 (2004), #9 (2005)
      • Shawn Michaels: birthdate 07/22/65 -- #5 (1986), #3 (1992)
      • AJ Styles: birthdate 06/02/77 -- #7 (2002), #8 (2003)
      • Shinjiro Otani: birthdate 07/21/72 -- #4 (1994), #10 (1996)
      • Kurt Angle: birthdate 12/09/68 -- #1 (2000), #4 (2001)
      • Lex Luger: birthdate 06/02/58 -- #4 (1987), #1 (1989)
      • Jun Akiyama: birthdate 10/09/69 -- #5 (1993), #3 (1996)
      • Takeshi Morishima: birthdate 10/15/78 -- #1 (2006), #4 (2007)
      • Ken Shamrock: birthdate 02/11/64 -- #5 (1997), #4 (1998)
      • Tetsuya Naito: birthdate 06/22/82 -- #6 (2011), #9 (2015)
      • KENTA: birthdate 03/12/81 -- #6 (2002), #6 (2003)
      • Tomohiro Ishii: birthdate 12/10/75 -- #2 (2013), #10 (2014)
      • Trish Stratus: birthdate 12/18/75 -- #4 (2002), #3 (2003)
      • Wade Barrett: birthdate 08/10/80 -- #8 (2010), #7 (2011)
      • Zack Ryder: birthdate 05/14/85 -- #4 (2009), #5 (2011)
      • Kofi Kingston: birthdate 08/14/81 -- #7 (2008), #3 (2009)
      • Adam Cole: birthdate 07/05/89 -- #6 (2012), #5 (2013)
      • Taka Michinoku: birthdate 10/26/73 -- #2 (1996)
      • Chad Gable: birthdate 03/08/86 -- #8 (2015)
      • Candice Michelle: birthdate 09/30/78 -- #5 (2007)
      • D-Lo Brown: birthdate 10/22/70 -- #3 (1998)
      • Chris Benoit: birthdate 05/21/67 -- #5 (1988)
      • Billy Jack Haynes: birthdate 07/10/53 -- #10 (1995)
      • Tracey Smothers: birthdate 09/02/62 -- #1 (1993)
      • Don Kernodle: birthdate 05/02/50 -- #3 (1982)
      • Paul Roma: birthdate 04/29/60 -- #4 (1990)
      • Billy Kidman: birthdate 05/11/74 -- #2 (1998)
      • Rush: birthdate 09/29/88 -- #3 (2012)
      • Eddie Edwards: birthdate 12/30/83 -- #4 (2010)
      • Bayley: birthdate 06/15/89 -- #1 (2015)
      • Edge: birthdate 10/30/73 -- #2 (2002)
      • Damien Sandow: birthdate 08/03/82 -- #4 (2012)
      • El Samurai: birthdate 04/19/66 -- #1 (1992)
      • Yamato: birthdate 09/10/81 -- #6 (2008)
      • Elix Skipper: birthdate 12/15/67 -- #9 (2003)
      • Naoki Sano: birthdate 02/02/65 -- #4 (1989)
      • Erick Rowan: birthdate 11/28/81 -- #4 (2014)
      • Rhett Titus: birthdate 09/15/87 -- #10 (2008)
      • Ethan Carter Iii: birthdate 03/18/83 -- #9 (2014)
      • Al Snow: birthdate 07/18/63 -- #9 (1994)
      • Finn Balor: birthdate 07/25/81 -- #9 (2009)
      • Sandman: birthdate 06/13/63 -- #7 (1995)
      • Frankie Kazarian: birthdate 08/04/77 -- #10 (2012)
      • Chris Harris: birthdate 12/25/73 -- #10 (2003)
      • Genichiro Tenryu: birthdate 02/02/50 -- #2 (1985)
      • Cima: birthdate 11/15/77 -- #8 (2000)
      • Black Tiger: birthdate 10/20/70 -- #7 (2001)
      • Tatsuhito Takaiwa: birthdate 07/05/72 -- #1 (1997)
      • Halloween: birthdate 05/22/71 -- #9 (1996)
      • Titus O’Neil: birthdate 04/29/77 -- #8 (2012)
      • Hayabusa: birthdate 11/29/68 -- #6 (1995)
      • Umaga: birthdate 03/28/73 -- #7 (2007)
      • Hector Garza: birthdate 06/12/69 -- #8 (1995)
      • Yuji Nagata: birthdate 04/24/68 -- #6 (1996)
      • Hernandez: birthdate 02/11/73 -- #8 (2006)
      • Moose: birthdate 04/23/84 -- #2 (2015)
      • Hirooki Goto: birthdate 06/25/79 -- #9 (2007)
      • Nikki Bella: birthdate 11/21/83 -- #10 (2015)
      • Hiroshi Tanahashi: birthdate 11/13/76 -- #4 (2004)
      • Cedric Alexander: birthdate 08/16/89 -- #8 (2014)
      • Jack Swagger: birthdate 03/24/82 -- #10 (2010)
      • Rick Rude: birthdate 12/07/58 -- #3 (1989)
      • Jack Victory: birthdate unknown -- #4 (1986)
      • Charlie Haas: birthdate 03/27/72 -- #5 (2003)
      • Jamie Noble: birthdate 12/23/76 -- #7 (2005)
      • R-Truth: birthdate 01/19/72 -- #8 (2002)
      • Jason Jordan: birthdate 09/28/88 -- #7 (2015)
      • Samoa Joe: birthdate 03/17/79 -- #5 (2004)
      • Jay Briscoe: birthdate 01/25/84 -- #4 (2006)
      • Satoshi Kojima: birthdate 09/14/70 -- #5 (1998)
      • Jeff Cobb: birthdate 07/11/82 -- #10 (2016)
      • Seth Rollins: birthdate 05/28/86 -- #2 (2008)
      • Bob Holly: birthdate 01/29/63 -- #5 (1999)
      • Chris Hero: birthdate 12/24/79 -- #7 (2009)
      • Jim Duggan: birthdate 01/14/54 -- #1 (1982)
      • Christian: birthdate 11/30/73 -- #10 (2000)
      • Jimmy Rave: birthdate 12/08/82 -- #5 (2005)
      • Biff Wellington: birthdate 04/18/65 -- #3 (1988)
      • Bobby Fish: birthdate 10/27/76 -- #5 (2010)
      • Colt Cabana: birthdate 05/06/80 -- #6 (2005)
      • Alberto Del Rio: birthdate 05/25/77 -- #6 (2010)
      • Terry Allen: birthdate 06/11/59 -- #3 (1983)
      • John Tatum: birthdate 10/21/59 -- #2 (1986)
      • Dan Kroffat: birthdate 09/16/61 -- #5 (1989)
      • Juice Robinson: birthdate 04/10/89 -- #3 (2016)
      • Daniel Bryan: birthdate 05/22/81 -- #10 (2001)
      • Alex Shelley: birthdate 05/23/83 -- #8 (2005)
      • Davey Boy Smith Jr: birthdate 08/02/85 -- #6 (2013)
      • Justin Credible: birthdate 10/16/73 -- #7 (1998)
      • Delirious: birthdate 12/19/80 -- #6 (2006)
      • Juventud Guerrera: birthdate 11/23/74 -- #3 (1995)
      • Yoshihiro Tajiri: birthdate 09/29/70 -- #8 (1997)
      • Kane: birthdate 04/26/67 -- #2 (1999)
      • Zeus: birthdate 01/27/82 -- #5 (2016)
      • Karl Anderson: birthdate 01/18/80 -- #7 (2012)
      • Monty Brown: birthdate 04/13/70 -- #9 (2004)
      • Katsuhiko Nakajima: birthdate 03/11/88 -- #3 (2005)
      • MVP: birthdate 10/28/73 -- #1 (2007)
      • Kazuchika Okada: birthdate 11/08/87 -- #1 (2012)
      • Nigel Mcguiness: birthdate 01/23/76 -- #3 (2006)
      • Keiji Muto: birthdate 12/23/62 -- #1 (2001)
      • Nwo Sting: birthdate 08/14/62 -- #10 (1997)
      • Bradshaw: birthdate 11/29/66 -- #6 (2004)
      • Carlito: birthdate 02/21/79 -- #10 (2005)
      • Kendo Ka Shin: birthdate 08/05/68 -- #8 (1998)
      • Ray Traylor: birthdate 05/02/63 -- #1 (1987)
      • Kenny King: birthdate 07/22/81 -- #10 (2009)
      • Rhyno: birthdate 10/07/75 -- #8 (2001)
      • Kenny Omega: birthdate 10/16/83 -- #7 (2016)
      • Cesaro: birthdate 12/27/80 -- #2 (2007)
      • Braun Strowman: birthdate 09/06/83 -- #9 (2016)
      • Road Warrior Animal: birthdate 09/12/60 -- #3 (1985)
      • Kenta Kobashi: birthdate 03/27/67 -- #1 (1990)
      • Roderick Strong: birthdate 07/26/83 -- #1 (2005)
      • Kerry Von Erich: birthdate 02/03/60 -- #2 (1984)
      • Ron Simmons: birthdate 05/15/58 -- #2 (1990)
      • Kevin Nash: birthdate 07/09/59 -- #1 (1994)
      • Rusev: birthdate 12/25/85 -- #1 (2014)
      • Brett Sawyer: birthdate 08/10/60 -- #2 (1983)
      • Sabu: birthdate 12/12/64 -- #3 (1993)
      • King Kong Bundy: birthdate 11/07/57 -- #5 (1982)
      • Samson Fuyuki: birthdate 05/11/60 -- #4 (1988)
      • Brian Christopher: birthdate 01/10/72 -- #2 (1992)
      • Chris Adams: birthdate 02/10/55 -- #5 (1983)
      • Koji Kanemoto: birthdate 10/31/66 -- #6 (1997)
      • Scott Hall: birthdate 10/20/58 -- #6 (1994)
      • Konnan: birthdate 01/06/64 -- #8 (1994)
      • Seiya Sanada: birthdate 01/28/88 -- #8 (2011)
      • Kuniako Kobayashi: birthdate 01/11/56 -- #5 (1985)
      • Shane Douglas: birthdate 11/21/64 -- #2 (1994)
      • Adrian Adonis : birthdate 09/15/54 -- #1 (1981)
      • Sheamus: birthdate 01/28/78 -- #1 (2010)
      • Kyle O'Reilly: birthdate 03/01/87 -- #10 (2011)
      • Shingo Takagi: birthdate 11/21/82 -- #8 (2008)
      • Kyoko Inoue: birthdate 04/22/69 -- #5 (1991)
      • Shinsuke Nakamura: birthdate 02/24/80 -- #7 (2004)
      • Lance Archer: birthdate 02/28/77 -- #4 (2013)
      • Steve Corino: birthdate 05/29/73 -- #5 (2000)
      • Larry Zbyszko : birthdate 12/05/51 -- #1 (1980)
      • Stevie Richards: birthdate 10/09/71 -- #9 (1995)
      • Latin Lover: birthdate 10/25/67 -- #7 (1994)
      • Suwama: birthdate 11/23/76 -- #5 (2008)
      • Alexa Bliss: birthdate 08/09/91 -- #4 (2016)
      • Takao Omori: birthdate 10/16/69 -- #3 (2000)
      • Low Ki: birthdate 09/06/79 -- #5 (2002)
      • Tama Tonga: birthdate 10/15/82 -- #9 (2011)
      • Luke Harper: birthdate 12/16/79 -- #5 (2014)
      • Ted Dibiase Jr: birthdate 11/08/82 -- #9 (2008)
      • Manabu Nakanishi: birthdate 01/22/67 -- #9 (2002)
      • Big E Langston: birthdate 03/01/86 -- #8 (2013)
      • Art Barr: birthdate 10/08/66 -- #3 (1994)
      • The Cobra: birthdate 06/23/58 -- #1 (1984)
      • Mariko Yoshida: birthdate 02/15/70 -- #5 (1992)
      • Tiffany: birthdate 12/28/85 -- #10 (2013)
      • Mark Briscoe: birthdate 01/18/85 -- #9 (2006)
      • Tomoaki Honma: birthdate 11/18/76 -- #7 (2014)
      • Mark Henry: birthdate 06/12/71 -- #2 (2011)
      • Tonga Kid: birthdate 10/11/65 -- #5 (1984)
      • Masaharu Funaki: birthdate 03/13/69 -- #5 (1987)
      • Triple H: birthdate 07/27/69 -- #2 (2000)
      • Matt Hardy: birthdate 09/23/74 -- #10 (2002)
      • Tyson Tomko: birthdate 03/23/76 -- #3 (2007)
      • Matt Riddle: birthdate 01/14/86 -- #1 (2016)
      • Vader: birthdate 05/14/55 -- #1 (1999)
      • Akira Tozawa: birthdate 07/22/85 -- #7 (2010)
      • William Regal: birthdate 05/10/68 -- #9 (2000)
      • Baron Corbin: birthdate 09/13/84 -- #5 (2015)
      • Yoshi-Hashi: birthdate 05/25/82 -- #6 (2016)
      • Michiko Omukai: birthdate 05/30/75 -- #10 (1998)
      • Yoshihiro Takayama: birthdate 09/19/66 -- #3 (2002)
      • Mick Foley: birthdate 06/07/65 -- #3 (1991)
      • Billy Black: birthdate 04/09/57 -- #4 (1991)
      • Buzz Sawyer: birthdate 06/14/59 -- #4 (1982)
      • Disco Inferno: birthdate 11/12/68 -- #8 (1997)
      • Mikey Whipwreck: birthdate 06/04/73 -- #2 (1995)
      • Kid Kash: birthdate 07/31/69 -- #6 (2000)