What was pro wrestling like before the larger-than-life personalities, bright lights, and drama we see today? Historian Ruslan C. Pashayev, one of the most respected authorities on 19th-century wrestling history, reveals the untold story of wrestling’s so-called "Golden Era."
Packed with 30 eye-opening facts, this deep dive shatters myths and exposes the real roots of professional wrestling. With over two decades of research, Pashayev’s work serves as the definitive guide for fans and historians alike, shedding light on an era few truly understand.
1. Was Pro Wrestling a Legitimate Sport in the 19th Century?
There has been a great deal of discussion regarding when exactly pro wrestling became what it currently is—the greatest athletic showcase on planet Earth.
For decades, fans were told the same story over and over again: how pro wrestling was originally a legitimate sport, similar to the modern Olympics, and how in the 1920s or around that time, it was changed forever by some “evil and greedy” promoters.
We all know this story; we’ve heard it many times, and we’ve certainly heard about how there reportedly was a GOLDEN ERA of pro wrestling (19th to early 20th century) and how wrestling became something else after it was gone.
As a matter of fact, that “something else” is what the vast majority of pro wrestling fans all around the world love and appreciate today.
But this “Golden Era” and the countless discussions about the glorious past—about how the old-timers were better than today’s athletes and about the world’s most dangerous shooters and the legendary matches—have left many myths that circulate among pro wrestling fans. What do we do with all this information?
The goal of this piece is to answer the most frequently asked questions about pro wrestling’s past and to shed light on that bygone era, often referred to as the Golden Era of wrestling. My research, or better yet, my comparative analysis of pro wrestling’s past and present, is based exclusively on credible evidence and historical material to which I have committed twenty years of my life. I hope you enjoy the read!
2. How Did 19th Century Wrestling Actually “Work”?
It was “worked,” and it worked really well. The business of 19th-century wrestling was carefully orchestrated.
Despite countless speculations and myths, after many years of study on this subject, I couldn’t find any credible evidence showing that nineteenth-century pro wrestling was anything other than the “job.”
Evidence points to the fact that wrestling in the 1800s was entirely a “work,” from start to finish. Just like any other job, it involved “employers” and their “employees.”
3. Employers: Who Were the Wrestling Promoters in the 1800s?
The organizers of the matches—promoters or venue owners—were the employers and bosses of the game, and the pro wrestlers were their hired personnel.
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4. Were 19th Century Wrestling Matches Predetermined?
Everything was a “job” and every match was a predetermined affair, including the “meeting all comers” or carnival-style wrestling events.
The promoters even had their “men” in the crowd who would challenge the champion, and the rest, as they say, is history.
The real business was in gate receipts and manipulating betting through local press and word of mouth. That’s how money was made in pro wrestling.
5. Employees: What Role Did Wrestlers Play in the Business?
The real money in this business was made solely by the promoters, while the hired wrestlers who did the job were paid very little.
It was an entry-level job requiring no prior experience—just a desire to choose this profession and join a troupe of wrestling performers.
6. How Did Promoters Build “The Work” and Wrestling Storylines?
Before the troupe arrived in town, organizers would build their reputation and storylines of hatred between wrestlers in local newspapers. This would raise interest and betting on the fights featured in the upcoming event.
7. Were the Championships Real?
The championship and prize money, such as “500 dollars a side,” were pure ballyhoo and glitz. The promoters, who were essentially business owners, paid the wrestlers per show.
It was an organized deception of the masses—a well-organized one, at that.
8. Did Pro Wrestlers Need an Amateur Wrestling Background?
It’s often said that pro wrestlers need to have an amateur wrestling background. In fact, they don’t, and they never did.
9. Who Were the Wrestlers of the 19th Century?
In the 19th century, amateur sports, including amateur wrestling, were only available to the wealthy. Pro wrestlers, on the other hand, were all working-class people. For them, wrestling was a profession and a high-level commitment.
It wasn’t about their background but rather about their future, and the most important thing was being faithful to their profession until the very end.
10. How Early Did Wrestlers Start Their Careers?
Many wrestlers joined the profession at a young age—some as young as 15 or even younger. They trained together daily for hours to ensure their performances were entertaining, as gate receipts directly affected their paychecks.
11. Did Wrestlers Really Face Strangers in the Ring?
Wrestlers didn’t face professionals outside their own troupe, making double-crossing impossible. It was a well-rehearsed, safe show, for the most part.
12. Were Wrestlers in the 1800s Better Athletes Than Today?
They definitely weren’t. Wrestling vocabulary in the 19th century was not nearly as extensive as it is now. Today, athletics is a science, but back then, it wasn’t.
19th-century wrestlers used a limited number of basic holds, such as the single leg, double leg, headlock, bear hug, and various standing and par terre nelson holds.
Finishing moves included the bodyslam, flying horse, flying mare, cross-buttock, and of course, the nelson-related finishers.
13. How Did 19th Century Wrestling Performances Play Out?
The wrestlers spent the entire match trying to get behind each other, whether standing or on their knees, to gain an “advantage” and attempt to turn their opponent onto their back.
They would either flip, roll, or slowly press their opponent’s shoulders to the ground or lift them bodily and slam them down on their two points.
All kinds of falls counted—flying, rolling, and pins. If the performers were skilled, this back-and-forth would happen quickly, which was the fun part to watch—the speed and how fast it happened.
Taking hold, breaking hold, getting behind, and extricating from the position was the art of catch wrestling.
One of the most common ways of evading the shoulders’ touch was the walking on the head technique, symbolic of the Lancashire style.
14. Was There a Three-Count Pin in 19th Century Wrestling?
The “count of three” rule (or a three-second pinfall) didn’t exist in the 19th century. As soon as both shoulders touched the mat and the referee saw it (quick falls), the fall was awarded. This was called a “fair back fall,” and the match was over.
The typical way of winning was two out of three fair back falls. A match could also end in disqualification, injury, or a knockout throw. Quick falls were often disputed by the wrestlers, claiming their shoulders didn’t really touch the ground.
Interestingly, under William Muldoon in the 1920s, the New York State Athletic Commission briefly brought back the quick falls rule from the 1800s.
But ultimately, it’s important to avoid comparing modern wrestling entertainment—or any modern sport—with 19th-century wrestling. They are simply incomparable, much like comparing modern technology to what existed back then.
15. What Were the Championships 19th Century Wrestlers Held?
There were no real championships in the 19th century as we understand them today. When we say “NWA champion” or “WWE champion,” we refer to organizations that own and run these titles. But in the 1800s, no such organizations existed.
Titles were created by the press and funded by promoters, who paid newspapers to advertise matches as championships. Nobody questioned the origins of these titles. It was all about drawing attention and getting fans to waste their money on betting.
The champion of that time was essentially the best-paid wrestler in a troupe, often the most experienced performer or the coach.
These troupes traveled the country, offering the same matches in every town, big or small. There was even a joke from back then: “How many times do you need to defeat the same person to convince the audience that you’re the better wrestler and thus win their hearts? And then suddenly lose to that same opponent to win the contents of their wallets!”
The only attempt to organize pro wrestling nationwide was made by the Police Gazette of New York City, which ran various professional championships in sports like Greco-Roman wrestling (with William Muldoon as their champion).
However, this never happened with catch wrestlers. They were independent showmen who did not need structure or control. They thrived in the chaos of “anyone can claim at least some kind of championship.”
16. Was Pre-1920s Pro Wrestling a Genuine Sport?
No, it never was. Yes, promoters deceived the crowds by claiming it was a legitimate sport, but the matches looked legitimate.
The smaller guys were the technicians, and the bigger guys, though less skilled, put on good roughhouse shows. Both were appreciated, and fans believed it was real competition.
Things started changing in the 1910s when pro wrestling was exposed as a “work.”
Fans worldwide learned the truth, and since there was no need to make it look like a sport anymore, the farce became more prominent in the matches. People would watch a show, have their fun, and either forget about it if it was bad or remember it fondly if it was good.
17. How Were Submission Holds Viewed in 19th Century Wrestling?
The concept of “submissions” as we know them today didn’t exist in early North American pro wrestling. This is because the wrestling styles that formed the foundation of American pro wrestling were either of European Continental or British origin.
These were traditional forms of wrestling, culturally unique pastimes in their respective regions, long before they became professional entertainment. For example, the modern Greco-Roman style evolved from Provencal wrestling traditions in France, while catch wrestling originated in Lancashire, England.
Matches in these styles were won by physically felling the opponent—either off their feet in standing positions (common in all Western European upright styles) or from their knees (as allowed in both French Greco-Roman and Lancashire catch-as-catch-can wrestling) and pinning them to their backs.
Submission culture, on the other hand, is exclusively of Oriental origin. There is no doubt that all the submission holds and finishing moves used in modern pro wrestling are rooted in Japanese traditions. Historically, this is a well-documented fact.
The Japanese martial arts of judo and jiu-jitsu introduced submission techniques into North American pro wrestling when it transitioned away from the strict European styles. Wrestling became more of a free-for-all showcase, where matches could be won by pinfall, submission, or knockout. This marked a fusion of two wrestling cultures—East and West.
This raises an important question: should we consider holds like the chancery (headlock), full-nelson, or hammerlock as submission holds?
These techniques were indeed used for centuries in both Continental Europe and Britain. However, these holds were traditionally part of self-defense wrestling vocabulary and were not allowed in official wrestling matches or tournaments, which were genuine competitions.
The goal in these contests was to throw or pin the opponent, not to deliberately cause pain or force them to submit.
In some instances, holds like these were used to punish an arrogant opponent, but this had nothing to do with the competitive wrestling styles that eventually gave rise to North American pro wrestling.
That said, in professional wrestling shows, holds like the headlock, full-nelson, and hammerlock became essential, whether it was French Greco-Roman or Lancashire catch wrestling.
These holds, along with basic roughing, added excitement to the performance. Without them, the show would have been dull, lacking the spectacle that made wrestling entertaining. In a way, these holds were like adding spice to a dish—they made the performance more engaging for the audience.
18. Who Was Farmer Burns and Why Is He Important?
There is a great deal of discussion about Farmer Burns being the greatest wrestling educator of all time, credited with giving rise to generations of championship-class wrestlers.
Burns was undoubtedly a great coach, but he was a pro wrestling coach, not an Olympic wrestling coach—these two roles are completely unrelated. Burns coached men who wanted to become professional wrestlers, and he was great at that.
Originally, Burns wasn’t even a wrestler. He was a circus performer—an acrobat: short, lightweight, and very flexible. In fact, in the 19th century, pro wrestling was often referred to as “circus wrestling” because many shows literally happened in circus arenas, with wrestling troupes traveling with circuses.
Burns reportedly learned his catch wrestling skills from an English professional named Tom Connor of Wigan, Lancashire.
At some point, Burns became so influential in American pro wrestling circuits that to become a wrestler of quality, you had to be trained by him at some point.
He knew everything about his profession—how to make the crowds happy and keep them coming back to watch the shows. That’s what the profession of wrestler is all about and always was.
Burns basically controlled the American pro wrestling championship in the late 1890s and early 1900s, passing it to whomever he wanted, including Canadian McLeod, Jenkins, and his most famous student, Frank Gotch.
Burns was never a heavyweight wrestler himself, but after inventing the light heavyweight division and championship, he paraded the country as light heavyweight champion and passed his title to Jim Parr of Wigan, Lancashire, who was the best exponent of classical Lancashire catch wrestling in America in the early 1900s.
19. The Legend of Frank Gotch: Fact or Fiction?
For many people who not only love professional wrestling but also follow its history, Frank Gotch is regarded as the greatest American pro wrestler of all time. This claim is supported by his biographers and legions of fans. But is it the actual truth?
If we measure success by the numbers, then yes—Gotch was the wealthiest pro wrestler of his generation. He could turn anything he touched into a dollar. While maybe not the richest of all time, Gotch is certainly in the top five earning wrestlers if we adjust for modern-day money.
The biggest myth about Gotch is his supposed technical superiority, as if he were a wrestler ahead of his time. None of that is true. In fact, Gotch was a typical American heavyweight of his era—big, strong, rough, and tough, much like the Bruno Sammartino of his generation.
His success came at a time when the real heavyweight division was beginning to emerge in catch wrestling. Prior to that, most catch wrestlers were short lightweights, many of them foreigners. Wrestlers like Tom Jenkins and Gotch were pioneers of the heavyweight division.
Gotch originally started as a member of Farmer Burns’ troupe. Burns trained him, taught him the profession, and most importantly, gave him the push needed to enter the elite ranks of pro wrestling. Burns’ promotion made Gotch a future champion, first as a challenger, then as a worthy opponent, and finally as the champion of America.
Gotch “won” the title from Tom Jenkins, who, at the time, was losing interest in the profession and wasn’t committed to holding the championship anymore.
Gotch was an incredibly smart wrestler—he only entered the ring if he knew the result he wanted. For him, reputation was everything, even more than the money. He cherished his undefeated status, which is why his wrestling record is unparalleled.
20. Was Frank Gotch Double-Crossed in Montreal?
Many interesting tales surround the legendary life of Frank Gotch. One such story involves a double-cross in Montreal.
Although many believe Frank Gotch was double-crossed once, this allegedly happened during the international Greco-Roman wrestling tournament in Montreal in 1906.
The tournament was organized by George Kennedy, who had promised Gotch the Canadian championship. However, Gotch was unexpectedly defeated by an Italian pro wrestler named Emilio Pietro, who went on to win the tournament, sharing the title with American heavyweight "Apollo" Joe Rogers.
But was this really a double-cross, or was Gotch’s defeat part of a bigger plot?
Prior to the tournament, the local press had been hailing Gotch as the best of the best, leading fans to put their money on him, despite Gotch not being familiar with Greco-Roman wrestling.
With Gotch’s unexpected loss, a lot of money likely changed hands, suggesting a planned outcome.
Gotch, however, needed to keep his record clean. So, shortly after the Montreal tournament ended, Gotch, Kennedy, and some participants traveled to Buffalo, New York, to continue the now-finished tournament—this time under catch wrestling conditions.
Gotch won in Buffalo, and the American press was none the wiser about his earlier defeat in Canada. The press reported Gotch’s Buffalo win as his championship victory from Montreal!
21. Frank Gotch’s Early Career Shenanigans
This wasn’t the first time Frank Gotch was involved in questionable tactics. While a member of Farmer Burns’ troupe, Gotch fooled fans in the Yukon territory, wrestling under the assumed name Frank Kennedy.
These manipulations were not uncommon, especially in Gotch’s early career, as he navigated the competitive landscape.
22. First Gotch vs. Hackenschmidt Match and the Tampa Tournament Scandal
A similar situation arose before Gotch’s first match against George Hackenschmidt in 1908.
Gotch was slated to participate in an international wrestling tournament in Tampa, Florida—a championship-status tournament organized by Jack Curley, with the winner awarded the American title’s silver belt.
Everything was in place until Gotch suddenly decided not to show up, leading to him being “stripped” of the title for "no defense."
Fred Beell became the winner, but neither Beell nor Curley pursued the title claims. Shortly after, Gotch faced Hackenschmidt and became the world heavyweight champion.
23. Fooling the Fans: Beell and the 1906 Title Swap
Frank Gotch’s habit of manipulating fans continued when he briefly dropped the American championship to Beell in 1906, only to regain it after a couple of weeks.
This, too, was a clear case of fooling the fans, a common tactic during that era.
24. The Truth About the Frank Gotch vs Hackenschmidt ‘Screwjob’
Much has been said about the Gotch-Hackenschmidt matches. It’s important to remember that when Gotch first faced Hackenschmidt in 1908, Hack was a retired pro wrestler.
For Hack, the championship he won from Jenkins in 1905 meant very little, but Gotch needed it. The arrangement was simple: Hack gets the money, Gotch gets the title, and his undefeated record grows even stronger.
During their first encounter, Hack refused to continue the match, claiming that Gotch was acting unfairly by gouging, biting, headbutting, and being covered in grease, making it impossible to secure a proper hold. Despite this, the referee awarded the match to Gotch.
When back in England, Hack claimed that he had been robbed by the ref and Gotch, allowing both wrestlers to walk away with what they wanted—Gotch as the champion and Hack as the sympathetic victim rather than a loser.
25. George Hackenschmidt’s Return in 1911: What Really Happened?
In 1911, Frank Gotch brought George Hackenschmidt out of retirement again, likely paying him enough to agree to a clean wrestling defeat by fair back falls. This win gave Gotch the undisputed world champion title that he desired so much.
Interestingly, Gotch never defended his championship outside of the United States, which meant he remained an American champion, relatively unknown overseas.
Though there were plans to hold another Gotch vs. Hack match on neutral ground in Europe or Australia, Gotch refused to wrestle outside the U.S., likely to protect his reputation and income. Gotch preferred to bring foreign wrestlers to America, decisively defeating them one by one and further solidifying his untarnished record.
26. Was Frank Gotch’s Championship Backed by Promoters?
One key detail in Frank Gotch’s legacy is that he was the first American pro wrestler whose title was not created by the newspapers. Instead, his championship was supported by powerful promoters from across the country, who agreed that Gotch was the best candidate to hold the heavyweight championship.
Gotch was the best-selling wrestler of his time and truly the champion of the crowds!
27. Was Frank Gotch’s Toe Hold Really the Deadliest Move?
Finally, one of the most popular myths about Frank Gotch is his famous “toe hold,” often hailed as the deadliest submission hold. In reality, Gotch’s toe hold was not a submission hold in the true sense.
The hold was designed to force opponents to turn onto their backs to escape the pain, which would immediately put both shoulders on the mat, resulting in a pin.
So, technically, Gotch’s toe hold was a pinning combination rather than a submission hold by modern wrestling terminology. This was the true essence of Gotch’s legendary toe hold!
For those who want a more realistic picture of Gotch, I highly recommend reading Joseph Bowles’s 1913 biography “Frank Gotch—World’s Champion Wrestler” and especially “Wrestling and How To Train,” a wrestling manual written by Frank himself. Reading his wrestling instructions book will give you a good understanding of his actual wrestling method, and his biography has a lot of details about his “mat battles.
28. Jack Carkeek: The Forgotten King of Wrestlers Overseas
Jack Carkeek was the only American pro wrestler from the 1800s who achieved star status overseas, particularly in England, where he “defeated” top professionals and held various “championships” won in open tournaments.
Among them was the Tom Cannon Promotion’s World Heavyweight Title and the prestigious Gold Belt—yes, the very first Big Gold Belt—making him the King of All Wrestlers.
29. Muldoon and Lewis: The First Heel and Babyface Duo
William Muldoon and Evan “Strangler” Lewis were two different types of champions, each unique in their own ways. Muldoon represented the Greco-Roman style, while Lewis was a master of catch wrestling.
They were responsible for creating two of the most recognizable personas in pro wrestling: the heel and the babyface.
Lewis was the archetypal heel, the most feared and brutish wrestler of his time, while Muldoon was the first true babyface, admired by all—especially the ladies.
30. What Legacy Does 19th Century Wrestling Leave Behind?
There is no secret—pro wrestling fans are the most loyal fans there are! Let’s keep that in mind when we approach the subject. Fantasizing about the past, speculating about something that never was, or referring to it as the Golden Era of Pro Wrestling is dangerous. It shows a lack of respect for today’s fans, who love wrestling for what it is now, and I am here to prove it to everyone—it’s what wrestling has always been.
The actors—the wrestlers—have changed, but the stage, the play, and the authors remain the same. That’s why I encourage everyone to appreciate wrestling’s past as it was. It doesn’t need whitewashing or anti-historical claims; it is fascinating and great without any of that!
Be sure not to miss the author of this article, Ruslan C. Pashayev’s highly recommended book, The Story of Catch: The Story of Lancashire Catch-as-Catch-Can Wrestling. First Fifty Years 1820-1870, which is packed with fascinating history and in-depth research on the origins of catch wrestling. It’s a must-read for any pro wrestling history enthusiast!
These stories may also interest you:
- Gotch vs. Hackenschmidt: The Original Wrestling Screwjob
- Evan Lewis: The 19th Century’s Most Feared Wrestler
- Wrestling Human Oddities: 20 Freakish Sideshow Acts
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