{"id":6392,"date":"2017-07-12T21:33:18","date_gmt":"2017-07-13T01:33:18","guid":{"rendered":"https:\/\/lwosonprowrestling.ms.lastwordonsports.com\/?p=6392"},"modified":"2017-07-13T08:08:26","modified_gmt":"2017-07-13T12:08:26","slug":"western-front-championship-wrestling-hollywood","status":"publish","type":"post","link":"https:\/\/lastwordonsports.com\/prowrestling\/2017\/07\/12\/western-front-championship-wrestling-hollywood\/","title":{"rendered":"David Marquez and The Western Front: California Indie Breaks Out"},"content":{"rendered":"

When the Great Collapse of mainstream professional wrestling occurred in 2001 – when the WWE<\/strong> purchased WCW<\/strong> and absorbed ECW<\/strong> – many predicted the absolute end of professional wrestling as we know it. The juggernaut of the WWE was now in absolute control of the world’s pro wrestling market and everyone else would be reduced to bingo halls forever – after all, if the financially backed territories of the NWA and AWA couldn’t compete with Vince McMahon<\/strong> and the WWF, what chance did smaller promotions have with less budget or star power against a corporation that was now even\u00a0richer\u00a0<\/em>and powerful than its last two Great Wars. But in a way they would be right – it\u00a0did\u00a0<\/em>change the landscape forever. You see, where the territories failed – and ultimately the majors like WCW and ECW – was that they died trying to compete with the WWE. Sure, ECW was a lot more hardcore and edgier, and some of the territories had their “stamps”, but in the end, the territories died because they couldn’t keep up with Vince and his TV, the Monday Night Wars ended because ultimately no one can out-Vince Vince on television. Taking on the McMahonpire<\/em> was as futile as resisting the Borgs.<\/p>\n

THE RISE OF THE INDIES<\/strong><\/h2>\n

So these new territories emerged – now referred to as indies (independents) – but instead of trying to fight the WWE with a similar product, they decided to remain organic and grassroots and instead produce a product that was dissimilar with the Stamford blueprint and showcased talent that the WWE watch seemed uninterested in. Promotions like PWG<\/strong> in California, Ring of Honor<\/strong>, Combat Zone Wrestling (CZW)<\/strong>, and CHIKARA<\/strong> in Philadelphia, and TNA<\/strong> in Nashville all rose from the ashes and began to offer real alternatives to the WWE style of storytelling and ring work. Cult followings began and they soon became congregations, with most of them rising to national prominence in the wrestling mainstream, profitable companies that were able to grow and build (most of the time), and whose talent scouting and booking began to influence the very landscape of the WWE Universe – well over 50% of the WWE’s current roster passed through a few of the major indies before landing in Connecticut.<\/p>\n

CALIFORNIA DREAMING<\/strong><\/h2>\n

And with a resurgence in the world of indie wrestling, with ROH, CHIKARA, EVOLVE<\/strong>, and more now touring beyond their smaller “territories”, plus the indies foresight in jumping onto the on-line world of streaming\u00a0long\u00a0<\/em>before there was a WWE Network<\/strong>, it’s only natural that many of United States’ strongest markets are getting national coverage on cable television and touring to become viable major promotions – they’re all still miles from the WWE, but the fight for #2 to #10 have never been closer. But oddly, a major force out of one of the US’ largest states – and arguably it’s most creative\u00a0and\u00a0<\/em>wealthiest – California, has not truly appeared. Sure, they’ve got Pro Wrestling Guerrilla (PWG)<\/strong>, arguably one of the most well known indies in the world. Their annual Battle of Los Angeles<\/strong> tournament is one of the most prestigious wrestling tourneys of the year. It was one of the first ten things on Cody Rhodes’<\/strong> “List” when he left the WWE last year (he wrestled at the 2016 BOLA). But the ownership – former PWG wrestlers Super Dragon<\/strong> and Excalibur<\/strong> – seem quite content where PWG is at. They’ve happily remained steadfast to Reseda, California and rarely leave the same arena (which holds a miniscule audience for what it\u00a0could\u00a0<\/em>get). They don’t tour, they don’t do European tours – they just book monthly shows with some of the very best indie talent in the world and make lots of cash off DVD sales and online streaming. Their working agreement with the East Coast’s ROH only makes it far less enticing to travel that way – they can use ROH stars to cast their shows and their talent can find work on the East Coast without their assistance. Hey, not everyone needs to be McMahon wealthy or famous. Some bands would rather stay Sonic Youth<\/strong> their entire career than be a Spin Doctors<\/strong> for one year. And while PWG’s stuff is readily available on-demand at the Highspots Network,<\/strong> they have no regular programming on television.<\/p>\n

Another argument\u00a0could\u00a0<\/em>be made for Lucha Underground – after all, it tapes in California. But Lucha Underground<\/strong> isn’t exactly a promotion. It’s a television show that just happens to feature wrestling as part of it. It’s not a live event, it’s a match in front of a studio audience. They don’t even tour or put on live events locally. In all reality, Lucha Underground has more in common with the original GLOW<\/strong> than it does Ring of Honor.<\/p>\n

DAVE MARQUEZ AND CHAMPIONSHIP WRESTLING FROM HOLLYWOOD<\/strong><\/h2>\n

\"\"<\/p>\n

But there\u00a0is\u00a0<\/em>one promotion out of California that has the potential to really step up California’s presence in the world of television wrestling. And that’s Championship Wrestling of Hollywood (CWFM)<\/strong> and the mind of David Marquez<\/strong>, a TV broadcast\/production man who has worked for\u00a0WWE, WCW, WSX, XPW, ROH, NJPW, you name it. Back in the mid-2000’s, he helped New Japan open the original NJPW US Dojo. He has nearly a 30 year career in the wrestling industry.<\/p>\n