Keith Elliot Greenberg Talks Indie Revolution
His new book covers the independent wrestling scene.
Photo: Slam Wrestling
Keith Elliot Greenberg is revered by wrestling magazine readers.
The New Yorker spent 22 years writing for various WWE publications, including the autobiographies of Ric Flair, “Classy” Freddie Blassie and “Superstar” Billy Graham. From the dawn of WrestleMania to the infancy of the P.G. Era, Greenberg covered the action inside the ring, as well as the drama behind the scenes in WWE.
Now he has broadened his horizons, examining the entire landscape of professional wrestling in his new book Too Sweet: Inside the Indie Wrestling Revolution. A tremendous introduction into the scene, the 294 pages chronicles the history of independent wrestling, from the outlaw promotions of the territory days to the emergence of ROH, PWG and CHIKARA in the wake of the McMahonopoly to the Bullet Club and now AEW.
For a review, click here. To purchase Too Sweet: Inside the Indie Wrestling Revolution, click here.
Were you an indie fan before writing the book?
Keith Elliot Greenberg: “I wasn’t a fanatical fan, but I followed the scene. Obviously, I had been to a few matches, but I wasn’t as deeply immersed as I am now.”
Were you surprised by what the scene had become compared to what independent wrestling looked like in the ‘90s?
Keith Elliot Greenberg: “Yeah. I was aware that there were now indie stars and that it was no longer former WWE talent that had to draw people to the arena. I was aware of the success of Cody Rhodes. I understood that when Kenny Omega appeared in the U.S. it was a big deal. I knew that The Young Bucks could make a living on the indie circuit. I understood the fascination that surrounded Joey Janela. I followed the promotions in England, just not as intimately as others would. I realized that the timing was right to do a book on that phenomenon. It was no longer so fringe that nobody would buy a book on it.”
Absolutely. Putting that Bullet Club logo on the cover was brilliant because it feels so synonymous with indie wrestling.
Keith Elliot Greenberg: “That was my idea. When I pitched the book idea, I pitched the cover idea along with it. The whole genesis of this book occurred when I was in New Orleans for WrestleMania 34 and I saw all the Bullet Club shirts. Even though we know there are dozens of indie shows at WrestleMania Weekend, the fact that so many people at a WWE event were walking the streets with Bullet Club gear indicated that this fixation with indie wrestling had now risen to another level.”
One of my favorite parts of the book is when you trace the history of indie wrestling back to the outlaw promotions who ran against the NWA. Was that information hard to come by?
Keith Elliot Greenberg: “Well, I knew about it. I was on retainer for WWE for 22 years, writing for the magazines. My relationship with WWE never really ended because periodically, I might be called upon to do a project with them. I spent enough time with old-timers, as well as wrestlers who were around during the territory era, who would tell me stories about working for various outlaw promotions. I’m old enough to remember the IWA in the mid-70s. They were on TV at midnight in New York City. Ivan Koloff, Mil Mascaras and Ernie Ladd were all there. I knew they weren’t affiliated with the NWA, WWWF or AWA. I knew they were renegades. I remember their brief surge of popularity before flaming out very quickly, and I was intrigued by that.”
I grew up during the era of wrestling being on prime time and online. I wish there was still that midnight mystique.
Keith Elliot Greenberg: “I’m sure there are renegade promotions on some obscure cable networks late at night. The difference is now you can watch things on YouTube or FITE TV. I remember in the ‘70s finding a UHF station way out on Long Island and I lived in Queens. I carried the TV into the living room because I couldn’t pick up the signal in my room and opening up the window and attaching a wire hanger to the antenna. I could watch an hour of Florida wrestling while living in New York City. To me, there was no greater excitement.
In fact, I remember having a dream when I was in sixth or seventh grade, that I was able to turn on the TV and found a channel with Mad Dog Vachon in a match. You know, I’d read wrestling magazines and learn about different territories. Even in my dreams, I’d fantasize about wrestling I couldn’t watch in New York City.”
You probably don’t dream about it anymore, but has your love of wrestling decreased after all these years?
Keith Elliot Greenberg: “Like everybody else, my fascination with professional wrestling has ebbed and flowed. There was certainly a period after I was no longer on retainer for WWE that I felt disenchanted. In fairness to them, I was getting a little cynical about some of the storylines and character development. I would periodically tune in and when CM Punk did his pipe bomb promo, that was when I started to watch again fairly religiously.”
I’ve given up on watching WWE on a weekly basis, but I try to catch AEW as much as possible.
Keith Elliot Greenberg: “It’s brand new. They’re trying things out. There don’t seem to be any regimented rules yet. I’m sure there are because they’re on TNT and have corporate overseers, but yet, there seems to be a freshness to it. There seems to be a freedom there.”
That freedom is missing from WWE and that kills the buzz of it.
Keith Elliot Greenberg: “Well, you know, I’m a fan of the Thunderdome. It’s very innovative. I’m fond of the genre of the cinematic match being developed during this time. I applaud WWE for being innovative when I was out of ideas on ways to make wrestling better. I don’t write off WWE as being part of the past like other fans do, but we’ve been familiar with WWE for a long time and there’s a certain expectation we have of the company. There are fans who look elsewhere and fans who can look elsewhere and still have appreciation of the old standard.”
Because you had that long relationship with WWE, do you feel you have to keep up with it?
Keith Elliot Greenberg: “It wasn’t just a place where I worked. It was the company I followed. In the days of the territories, that was my wrestling. Bruno Sammartino, Ivan Koloff, Stan ‘The Man’ Stasiak, Gorilla Monsoon and Chief Jay Strongbow. That was the wrestling I grew up with. When I started writing for them, I saw the old-timers backstage and felt this familial tie to them. So, I do like to know what’s going on with them.”
Part 2 is here. Part 3 is here.
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