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Dan Bynum: Innovator Behind Wrestling’s Television Revolution

Professional wrestling’s larger-than-life characters and storylines have captivated audiences for decades, but often the unsung heroes are the visionaries behind the camera. One such visionary is Dan Bynum, a television director whose creative production techniques helped transform the way wrestling is presented on TV. From pioneering innovations in the World Class Championship Wrestling (WCCW) TV show in the 1980s, to directing WCW Saturday Night on TBS, to shaping the look of Ring of Honor and Major League Wrestling (MLW) in the modern era, Bynum’s impact on wrestling television production is profound. 

WCCW: A New Standard for Wrestling TV in the 1980s

In the early 1980s, World Class Championship Wrestling out of Texas underwent a television makeover that would set a new standard for the industry. As the TV director for WCCW, Dan Bynum was part of a small team (led by producer Mickey Grant) that "revolutionized wrestling production"  ([From the Sportatorium to ‘The Iron Claw’: The Legacy of World Class Championship Wrestling - The Ringer]. 

Prior to this, most wrestling shows were simple two-camera studio setups; WCCW dared to be different. They introduced _multiple camera angles, including up to six cameras with shoulder-mounted units for ringside close-ups. This meant viewers at home could experience every body slam and expression from a variety of perspectives, making the action feel more immersive than ever.

Another major innovation was the placement of microphones on the ring posts and even under the ring canvas   By capturing the thud of each bump and the crack of each chop, WCCW made the  sounds of wrestling  a part of the show’s drama. Suddenly, the audience could hear everything – from the referees’ counts to the wrestlers’ banter – which added a new layer of realism (and meant wrestlers had to watch their language and stop calling spots aloud, since all the audio was picked up!). This audio advancement was  inspired by boxing broadcasts, , and it gave WCCW a hard-hitting feel unmatched at the time.

Perhaps most famously, WCCW pioneered the use of  rock ‘n’ roll music and cinematic vignettes to amplify its storytelling.  In an era when entrance music was still a novelty, WCCW went all-in. The promotion featured popular licensed songs for its stars – for example, the Von Erich brothers entered to Rush’s “Tom Sawyer” and the villainous Dynamic Duo used George Thorogood’s “Bad to the Bone” . Television director Dan Bynum later recalled how **WCCW was “at the forefront” of using rock music as entrance themes**: “Here we are, we’ve got the hottest show on television, and we are using music as entrance music, which is something we were kind of at the forefront of as well. So we used rock music… ‘Tom Sawyer’ for [Terry Gordy], etc.”  The music made the TV presentation feel lively and contemporary, tapping into the MTV generation’s energy. WCCW even introduced \original entrance music – most notably, “Badstreet USA.” This song was co-written by wrestler Michael “P.S.” Hayes and local composer Jimmy Papa as a custom theme for Hayes’ faction, The Fabulous Freebirds. It became an iconic anthem that “got over huge” with fans  and is often credited for changing the way the wrestling industry treated entrance music.

WCCW didn’t stop at music; they also produced music videos and vignettes to build characters. Bynum directed the “Badstreet USA” music video for the Freebirds – a  rock-and-wrestling mini-film featuring Hayes swaggering through the streets of Atlanta. This was one of the first times a wrestling act had a full-fledged music video to flesh out their persona. (Fans can watch the Badstreet USA (Director’s Cut) on YouTube for a taste of Bynum’s early directorial flair.) The use of such video packages and vignettes was cutting-edge in the early ’80s; WCCW would show behind-the-scenes clips and personality profiles of wrestlers to further storylines, something Bynum and team used to great effect . As wrestling writer Phil Schneider notes, many of the production innovations often credited to the WWF’s Rock ’n’ Wrestling era actually happened first in Dallas with WCCW, “years before the first WrestleMania”.

WCCW’s blend of marquee matches and top-shelf production turned it into a television phenomenon. The syndicated show (filmed at the Dallas Sportatorium) achieved massive ratings in both U.S. and international markets. “The show essentially syndicated itself,” explains executive producer Mickey Grant. “Everyone saw the kind of ratings World Class was getting, and wanted to add it to their programming.”  This widespread exposure made local Texas heroes like the Von Erichs into global superstars. Indeed, WCCW became must-see TV around the world, even airing in Israel and Japan  – a rarity for a regional promotion at the time.

Through all these innovations, Dan Bynum was the man in the TV truck calling the shots (literally). Wrestling historian Dave Meltzer has cited Bynum as “one of the pioneers of modern-day professional wrestling TV production”, given his work in this era ).  Conrad Thompson – host of several wrestling history podcasts – similarly touted Bynum’s influence when interviewing him, saying “He forever changed TV production in wrestling.”  The fingerprint of WCCW’s production style – the multi-cam cuts, wild crowd shots, booming ring audio, rock music intros, and dramatic video packages – can still be seen in wrestling broadcasts decades later. Extreme Championship Wrestling (ECW) in the 90s, for example, heavily used licensed music and ringside camerawork, which hearkened back to the ground WCCW broke . And today, major companies like AEW use licensed entrance songs and strive for that gritty, up-close feel, reflecting ideas that Bynum and his colleagues introduced long ago.

 WCW Saturday Night: Big Leagues and Big Challenges

By the late 1980s, Dan Bynum’s success in Texas took him to a national stage, World Championship Wrestling (WCW). Bynum became a director/producer for WCW’s television in 1989, including the flagship weekly show “WCW Saturday Night” on TBS. This show (airing 6:05 PM every Saturday) was a superstation staple and a direct descendant of the old NWA studio broadcasts, but under Turner Broadcasting it gradually adopted a more ambitious production style. Bynum brought his experience from WCCW’s high-end production to WCW, helping to present its stars in a more dynamic way. Shows like Clash of the Champions – live TV specials he directed – featured multiple cameras, on-screen graphics, and instant replays, much like what he’d implemented in Dallas years prior.

At WCW, Bynum was operating in a higher-budget environment with a bigger crew and millions of viewers across the country. He continued to pioneer techniques; for example, WCW’s broadcasts from arenas used roving ringside cameramen to follow brawls into the crowd or up the aisle (a style that felt more cinematic and was still novel at the time). Wrestling announcer Tony Schiavone praised the expertise Bynum brought, noting that WCW’s television production in that era was loaded with talented people.  Years later, Schiavone would point out that Bynum “worked in WCW for many years” and was a major asset to any promotion’s TV team .

However, working in WCW also presented new challenges – including managing the egos of some of wrestling’s biggest stars. By 1994, WCW had signed the legendary Hulk Hogan, whose arrival changed the backstage dynamic. Dan Bynum has candidly admitted that his relationship with Hogan was rocky from the start. In a 2023 interview, Bynum recalled a confrontation with Hogan during a TV taping at Atlanta’s Center Stage theater. While shooting a promo, Bynum (as director) cut the camera to focus on manager Jimmy Hart when Hart was speaking. This infuriated Hogan, who halted the promo and barked,“You never take a camera off the Hulkster, and you never cut too close to [not] see the pythons!”  demanding that he, the top star, remain the focus of the shot at all times. This incident kicked off a poor working relationship. Bynum didn’t mince words about Hogan’s behavior behind the scenes: “To me, he’s a narcissist-personality-disordered sociopath, and a terrible person to have to be around… a shoot heel, as far as I’m concerned”, Bynum said of Hogan, even crediting Hogan with making him “not want to be in wrestling anymore.”. Such strong words underscore the culture clash Bynum felt in WCW. He was a TV professional trying to direct a quality show, but found himself at odds with a megastar used to calling his own shots.

Bynum ultimately left WCW in 1995 to  become a Senior Producer at PGA TOUR Productions, with the Hogan experience cited as a major factor. It was a turning point that saw him step back from wrestling for a time. Still, during his WCW tenure, Bynum directed more than 300  episodes of  WCW Saturday Night  and special events (his IMDb credits include *Clash of the Champions XIV* and *Halloween Havoc 1994* [Dan Bynum Jr. - IMDb]). His work in WCW helped bridge the gap between the wild regional TV of the ’80s and the slick, Nitro-era TV of the mid-’90s. In fact, some of WCW’s later production staff would end up working with Bynum again in the future – a testament to the respect he earned. For example, Neal Pruitt (a WCW producer known for NWO vignettes) collaborated with Bynum and even commented on Bynum’s social media, “I’ve seen that look many times. Great stuff!” , referring to Bynum’s focused demeanor in the production truck. Despite the backstage politics, Bynum’s time in WCW cemented his reputation as a top-tier wrestling TV director on a national level.

 Reinventing the Playbook:  Ring of Honor

After WCW, Dan Bynum broadened his horizons with projects outside of wrestling – from golf tournaments to other sports TV – but he wasn’t done leaving his mark on the squared circle. In the 2000s, Bynum helped shape the look of Ring of Honor (ROH), bringing classic production expertise to one of the leading independent promotions. In 2011, Sinclair Broadcast Group purchased ROH with the goal of producing a weekly wrestling television show. Bynum was brought on board to spearhead ROH’s television production, effectively founding a new production infrastructure for the company .He became ROH’s Director of Production, tasked with translating the gritty, hard-hitting action of ROH’s ring to a TV audience on a limited budget.

Bynum, with Production Manager Mark Davis, created the ROH production company, and with Executive Producer Jim Cornette, created the episodic television series.  He drew on all his past experience – WCCW’s innovation and WCW’s polish – to give ROH a distinct look. Under Bynum’s guidance, ROH’s weekly show (which began syndication in late 2011) employed multi-camera setups in small venues, intimate backstage vignettes to highlight the wrestlers’ personalities, and a blend of old-school and new-school techniques. He understood that ROH’s appeal was its authentic, athletic presentation, so the production avoided overly cartoonish effects and focused on capturing in-ring action and crowd passion clearly. 

ROH commentator  Kevin Kelly  noted that Bynum’s presence was a big plus for the young company, as he brought veteran leadership to the TV crew. By 2015, job listings for ROH were touting that hires would  “work alongside head ROH producer Dan Bynum, who previously worked for WCCW and WCW in the ’80s and ’90s.”   This nod in recruitment materials highlights how Bynum’s pedigree was a selling point – essentially a stamp of credibility for ROH’s production quality. Under Bynum, ROH gradually improved its lighting, audio, and camerawork, making its events feel bigger than their modest soundstages and arenas might suggest. He was often seen at ringside or in the production truck calling camera switches, just as he had decades earlier, proving that passion for wrestling TV never fades.

Beyond week-to-week TV, Bynum also helped produce ROH’s early pay-per-views and promotional videos. He navigated the challenges of producing wrestling for a syndicated television format, where the show had to fit varying timeslots and content standards across many local stations. ROH’s COO Joe Koff and others have credited the production team for making ROH’s show look “major league” even without a major network budget. Bynum remained with ROH through its growth period (roughly 2011–2015), laying a foundation that the company would build on for years. More recently, when reflecting on his career, Bynum has expressed pride in helping a new generation of wrestlers get TV exposure*, comparing it to how he once helped the Von Erichs or Sting (in WCW) appear like stars to viewers at home.

One fun full-circle moment: In 2016, WWE inducted the Freebirds into the Hall of Fame, and Michael Hayes performed “Badstreet USA” live on stage. The original music video Bynum directed decades prior was highlighted on WWE’s website as a historic piece of footage, reminding everyone just how ahead of its time that project was. For Dan Bynum, seeing “Badstreet USA” celebrated on a WWE platform was likely gratifying – a recognition that his early creative gamble still resonates in wrestling lore.

Major League Wrestling (MLW): Mentoring a New Generation

Even decades into his career, Bynum’s enthusiasm for directing wrestling (“I love my job!” as he says) remains evident in the control room.

In the late 2010s, Bynum took on another challenge: helping to launch Major League Wrestling’s weekly television program. MLW was a promotion originally active in the early 2000s that was revived by promoter Court Bauer. When MLW secured a TV deal with beIN Sports in 2018, Bauer assembled a production “dream team” of veterans to ensure a high-quality show. He tapped Dan Bynum as MLW’s television director – a move that excited many insiders. Long-time commentator Tony Schiavone (who came out of retirement to call MLW action) noted the wealth of experience behind the scenes: “[Court] has Dan Bynum as his director – Dan worked in WCW for many years,” Schiavone said, emphasizing the value Bynum brought to MLW’s TV product​

With Bynum in the truck and other ex-WWE/WCW folks like Nelson Sweglar and Bruce Prichard on board, MLW’s show immediately had a major league feel despite being a smaller company.  The weekly show, MLW Fusion, debuted in April 2018 

 He implemented familiar techniques (multiple cameras, ringside handhelds, clear audio for in-ring impacts) and helped MLW carve out its own identity. Fusion mixed old-school vibes with modern elements – for instance, Bynum ensured that brawls spilling into the crowd were caught on camera (a WCW throwback), and he embraced wrestlers producing short pre-taped  vignettes  to build their feuds (a nod to the WCCW/ROH style of character packages). At the same time, MLW under Bynum’s direction used  slick graphics, and dramatic lighting,  giving it a contemporary sports entertainment polish. Fans and critics took notice; early episodes of MLW Fusion were praised for looking  “surprisingly well-produced for a start-up”  – no doubt a credit to Bynum’s steady hand at the helm.

Bynum’s enthusiasm for the craft was evident. After an MLW taping in Chicago that drew a sold-out crowd, he posted a photo from the production truck with the caption: _“Another night at the office for Major League Wrestling... five episodes of incredible professional wrestling ... in the can. I love my job!”By this point, Bynum had been directing wrestling on and off for nearly  40 years , yet here he was, treating an MLW taping with the same excitement as ever. His passion clearly rubbed off on younger MLW crew members, who got to learn from a true veteran. MLW producer Alex Greenfield remarked on how having people like Bynum around was a huge boon to the company’s presentation and to mentoring new staff in live TV production.

During his MLW tenure, Bynum also reunited with familiar faces. He worked alongside  Cornette and Schiavone  (both of whom did commentary for MLW in 2018) – a mini WCW reunion behind the scenes. Court Bauer publicly thanked Dan for his contributions as MLW grew. By late 2019, MLW announced some production staff changes (eventually naming a new head of production), indicating that Bynum stepped aside from the weekly grind. However, even after moving on, Bynum’s influence remained: MLW continued using the production playbook he helped establish, and episodes of Fusion carried a credit thanking him for his prior role.

To this day,  Dan Bynum remains active in television production . He’s the owner of DBtv Media in Denver, Colorado, working on projects ranging from sports broadcasts to marketing media. In 2022, he was inducted into the  Southern Wrestling Hall of Fame  in Ft. Worth, Texas – a fitting honor in the state where his wrestling career began . Colleagues and friends congratulated him, with one former co-worker writing, “A well deserved tribute for a man I was honored to work with at WCW and ROH, but even more honored to call friend.” Bynum’s journey has come full circle, and he’s now a respected elder statesman of wrestling TV.

 The Bynum Legacy

Dan Bynum’s career reflects the evolution of pro wrestling on television. He was there in the territorial days, making a regional show look like a national broadcast. He navigated the corporate wrestling wars of the ’90s and brought lessons from that era to the indies of the 2000s. The  production values we take for granted in wrestling today  – multiple camera angles for every slam, on-screen instant replays of high spots, wrestlers portrayed through cinematic vignettes, entrance music that becomes an anthem – owe a debt to Bynum’s innovations in WCCW and beyond.  The techniques he helped pioneer have become standard operating procedure in the industry.

Importantly, Bynum always strove to make the  wrestlers the stars of the show. His job, as he saw it, was to capture and enhance the emotion of what happened in the ring. As he once explained, if you do it right, the television audience feels like they’re in the front row at the Sportatorium or Center Stage – hearing the ring rattle, seeing the sweat fly, singing along to the entrance songs. Wrestlers and promoters who have worked with Bynum often praise his ability to “get the shot” that makes a moment iconic. Whether it was Kerry Von Erich hoisting the NWA Title at Texas Stadium (with cameras zooming in to catch tears in the crowd), or a young high-flyer in ROH hitting a dive (replayed in slow-motion from three angles), Bynum had the instinct to capture it and enrich the storytelling.

Fans, too, have taken note over the years. On forums and podcasts, WCCW is still lauded for being “ahead of its time” in production, and you’ll often find Dan Bynum’s name mentioned alongside Mickey Grant as the brains behind that success. Modern viewers who discover classic WCCW footage are sometimes shocked at how well-produced it was for its era – you can thank Dan Bynum for a lot of that. As one wrestling fan on social media put it, *“Watching old World Class, you’d think it was the WWE of its day with how good it looked. Dan Bynum doesn’t get enough credit.”

While directors don’t usually get the spotlight in a business dominated by on-screen talent, Bynum’s peers have been vocal about his importance. Court Bauer, who hired him in MLW, said having Bynum on the team was like having an encyclopedia of TV production at their disposal. And when Conrad Thompson hosted a special interview with Bynum in 2023, he introduced him by saying "Dan Bynum’s work changed the way we watch wrestling on TV” . It’s a bold claim, but one that is hard to dispute after examining his contributions.

For those interested in hearing directly from the man himself, there are a few great resources:  Dan Bynum has given long-form interviews  where he discusses his career. In a conversation on the  Talking Rasslin’ with Pondwater Dave  show, Bynum recounts tales from WCCW, WCW, and more – from dealing with the Von Erich family to the infamous clash with Hulk Hogan (the full interview is available on YouTube, titled *“Meet Dan Bynum: Renowned Wrestling Director and Producer”*). He also appeared on the *Airey Bros Radio* podcast , where he goes in-depth about directing the “Badstreet USA” video and being called a pioneer by Dave Meltzer. These interviews are treasure troves for wrestling history buffs, giving a behind-the-scenes look at how the magic is made on television.

In conclusion, Dan Bynum’s impact on professional wrestling television production is undeniable. He combined technical skill, creativity, and a genuine love for wrestling to push the medium forward. From the glory days of World Class to the modern indy scene, Bynum proved that you don’t have to be in front of the camera to shape how fans experience wrestling. Next time you’re enjoying a particularly well-shot wrestling match on TV – the kind where the cameras catch every moment just right and the excitement practically leaps through the screen – take a moment to appreciate the directors like Dan Bynum who make it possible. They are the unsung auteurs of wrestling, turning matches into movies in real-time, and in Bynum’s case, leaving a legacy that will echo in bodyslams and power chords for years to come. 

**Sources:**

- Schneider, Phil. “From the Sportatorium to ‘The Iron Claw’: The Legacy of World Class Championship Wrestling.” *The Ringer*, Dec. 19, 2023 ([From the Sportatorium to ‘The Iron Claw’: The Legacy of World Class Championship Wrestling - The Ringer](https://www.theringer.com/2023/12/19/wwe/world-class-championship-wrestling-history-von-erich-family-dallas-texas#:~:text=different%20production%20style,portions%20of%20the%20match%20would)) ([From the Sportatorium to ‘The Iron Claw’: The Legacy of World Class Championship Wrestling - The Ringer](https://www.theringer.com/2023/12/19/wwe/world-class-championship-wrestling-history-von-erich-family-dallas-texas#:~:text=on%20them%20and%20mercenaries%20brought,whenever%20they%20left%20the%20house)).  

- Wrestling Inc. Staff. “Former WCCW TV Director Details How The Freebirds Innovated Wrestling Entrance Music.” *Wrestling Inc*, Aug. 16, 2023 ([Former WCCW TV Director Details How The Freebirds Innovated Wrestling Entrance Music](https://www.wrestlinginc.com/1365820/wccw-dan-bynum-freebirds-innovated-wrestling-entrance-music/#:~:text=,It%20was%20a%20big%20hit)) ([WCCW's Dan Bynum Recalls Creation of Fabulous Freebirds' Theme Song | 411MANIA](https://411mania.com/wrestling/wccw-dan-bynum-creation-fabulous-freebirds-theme/#:~:text=Bynum%20continued%2C%20%E2%80%9CAnd%20so%20he,%E2%80%9D)).  

- Thomas, Jeremy. “WCCW’s Dan Bynum Recalls Creation of Fabulous Freebirds’ Theme Song.” *411Mania*, Aug. 16, 2023 ([WCCW's Dan Bynum Recalls Creation of Fabulous Freebirds' Theme Song | 411MANIA](https://411mania.com/wrestling/wccw-dan-bynum-creation-fabulous-freebirds-theme/#:~:text=WCCW%20alumnus%20Dan%20Bynum%20recently,group%E2%80%99s%20entrance%20theme%20came%20about)) ([WCCW's Dan Bynum Recalls Creation of Fabulous Freebirds' Theme Song | 411MANIA](https://411mania.com/wrestling/wccw-dan-bynum-creation-fabulous-freebirds-theme/#:~:text=Michael%20Hayes%20and%20gave%20him,%E2%80%9D)).  

- Miller, Nick. “Former WCW TV Director Hated Working With Hulk Hogan…” *Wrestling Inc*, Aug. 16, 2023 ([Former WCW TV Director Hated Working With Hulk Hogan, Thinks He's A 'Terrible Person'](https://www.wrestlinginc.com/1365703/wcw-tv-director-dan-bynum-hated-hulk-hogan-terrible-person/#:~:text=was%20asked%20why%20he%20departed,pointed%20the%20finger%20at%20Hogan)) ([Former WCW TV Director Hated Working With Hulk Hogan, Thinks He's A 'Terrible Person'](https://www.wrestlinginc.com/1365703/wcw-tv-director-dan-bynum-hated-hulk-hogan-terrible-person/#:~:text=,not%5D%20see%20the%20pythons)).  

- **World Class Memories** blog – “WCCW Milestones” (production innovations and syndication) ([World Class Memories: WCCW Milestones](http://wccwmemories.blogspot.com/p/wccw-milestones.html#:~:text=The%20weekly%20television%20shows%2C%20under,action%20from%20inside%20the%20ring)) ([World Class Memories: WCCW Milestones](http://wccwmemories.blogspot.com/p/wccw-milestones.html#:~:text=,add%20it%20to%20their%20programming)).  

- **PWInsider** – Mike Johnson. “IHWE Southern Wrestling Hall of Fame Class of 2021” (Dan Bynum induction) ([IHWE PRESENTING SOUTHERN WRESTLING HALL OF FAME & 2 LIVE EVENTS THIS THURSDAY IN FT. WORTH, TEXAS | PWInsider.com](https://www.pwinsider.com/article/157391/ihwe-presenting-southern-wrestling-hall-of-fame-2-live-events-this-thursday-in-ft-worth-texas.html#:~:text=Military%20Veteran%2C%20Pro%20Wrestling%20Broadcaster%2C,Wrestler%2C%20Promoter%2C%20Actor%20Chaz%20Taylor)).  

- **Ringside Intel** – “MLW Is Run By Ex-WWE Writers And Producers – Can They Take on Vince?” (Tony Schiavone quotes on Bynum in MLW) ([An In-Depth Look At The WWE Power Behind MLW](https://ringsideintel.com/wrestling/mlw-is-run-by-ex-wwe-writers-and-producers-can-they-take-on-vince/#:~:text=former%20WCW%20and%20WWE%20names%3A)).  

- LinkedIn – Dan Bynum posts and profile info (career summary and personal insights) ([Airey Bros. Radio / Dan Bynum / Pro Wrestling / Sports Entertainment / Wrasslin / Bad Street USA / WCCC / WCW / ROH / MLW — BlackSheep Endurance ](https://www.blacksheependurance.com/thttps/wwwspreakercom/show/1566903/episodes/feed/2022/12/29/airey-bros-radio-dan-bynum-pro-wrestling-sports-entertainment-wrasslin-bad-street-usa-wccc-wcw-roh-mlw#:~:text=Cited%20by%20Dave%20Meltzer%20as,projects%20for%20PGA%20TOUR%20Productions)) ([#wrestling | Dan Bynum](https://www.linkedin.com/posts/danbynum_wrestling-activity-6466547521467531264-JrcC?trk=public_profile_like_view#:~:text=)).  

- BlackSheep Endurance (Airey Bros Radio) – “Dan Bynum – Wrasslin’ Bad Street USA/WCCW/WCW/ROH/MLW” (career overview) ([Airey Bros. Radio / Dan Bynum / Pro Wrestling / Sports Entertainment / Wrasslin / Bad Street USA / WCCC / WCW / ROH / MLW — BlackSheep Endurance ](https://www.blacksheependurance.com/thttps/wwwspreakercom/show/1566903/episodes/feed/2022/12/29/airey-bros-radio-dan-bynum-pro-wrestling-sports-entertainment-wrasslin-bad-street-usa-wccc-wcw-roh-mlw#:~:text=Cited%20by%20Dave%20Meltzer%20as,projects%20for%20PGA%20TOUR%20Productions)) ([Airey Bros. Radio / Dan Bynum / Pro Wrestling / Sports Entertainment / Wrasslin / Bad Street USA / WCCC / WCW / ROH / MLW — BlackSheep Endurance ](https://www.blacksheependurance.com/thttps/wwwspreakercom/show/1566903/episodes/feed/2022/12/29/airey-bros-radio-dan-bynum-pro-wrestling-sports-entertainment-wrasslin-bad-street-usa-wccc-wcw-roh-mlw#:~:text=series%20broadcast%20on%20beIN%20Sports,the%20Comcast%20National%20Media)).  

- **Additional interviews**: *Talking Rasslin’ with Pondwater & Friends* (YouTube, 2024) and *Airey Bros Radio Ep. 187* (YouTube, 2022) – firsthand accounts from Dan Bynum.