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Marko Simonen of Kayfabe Diary working as a professional wrestling referee in 2023, with Estonian pro wrestler Artur Arder. Marko Simonen steps back into the spotlight of the squared circle in "11 Years, a Hot Day, and a Shoutout to Referees," trading his camera for the iconic zebra stripes. This narrative finds him at a unique juncture, returning to the role of a referee after a decade-long hiatus. His background in the creative arts provides a sharp contrast to this physical endeavor; while he is often the one designing posters or capturing matches from the floor, this transition requires him to become a functional pillar of the match itself. As a pro wrestling veteran, he understands that the referee is the "third person" in the ring, responsible for the pacing and safety that allows the drama to unfold. The setting is a beautiful summer evening in Haapsalu, Estonia, where an outdoor show necessitated his return to active duty. Recognizing that his cardiovascular endurance might not be at its peak after years focusing on the visual and technical aspects of the business, Marko details his pragmatic preparation. He describes hitting the elliptical trainer in the days leading up to the event, a move driven by a desire to avoid "gassing out" in front of the live crowd. This commitment to the craft, even in a temporary role, reflects the discipline he applies to his design and photography work—a belief that the excellence of the final product depends on invisible preparation. The physicality of the evening proves to be a visceral reminder of the referee’s demanding role. Despite refereeing only four matches, Marko explains that his active style left him completely drenched. He discusses the specific mechanics of the "diving count," a movement that resulted in a lingering left shoulder injury lasting over a year. This injury serves as a physical record of the night, a testament to the fact that the drama of the ring carries real-world consequences. He finds a certain irony in the fact that he is right-handed, as it was his non-dominant side that bore the brunt of the evening’s labor. Ultimately, the article is a tribute to the overlooked importance of the referee. Marko uses his platform to advocate for the respect this position deserves, arguing that the success of a wrestling match depends on the performers listening to the official in the ring. By merging his artistic sensibilities with his deep knowledge of wrestling tradition, he highlights the referee as a vital collaborator in the storytelling process. For Marko, the return to the ring was more than a temporary fix; it was a reconnection with the physical roots of an industry he usually views through a lens or a computer screen.

11 Years, a Hot Day, and a Shoutout to Referees

This one was an interesting show. In the summer of 2023, I had the opportunity to referee again, after an 11-year hiatus. A hot, yet absolutely beautiful summer evening outdoors, in Haapsalu, Estonia. It was… 

Badstreet USA was a classic pro wrestling song from 1984, popularized by Michael P.S. Hayes and the Fabulous Freebirds. A cover version by the band Crossfyre, a new music video produced by Marko Simonen. Marko Simonen's creative portfolio often finds him at the intersection of sonic energy and visual spectacle, a space he occupied fully during the production of a music video for the band The Crossfyre. The project was a high-octane cover of the 1984 anthem "Badstreet USA," a song deeply embedded in professional wrestling lore through Michael “P.S.” Hayes and the legendary Fabulous Freebirds. Given his background as a creative artist and a fixture in the wrestling industry, Marko recognized the inherent synergy of the project: the band’s lead vocalist was none other than “The Rebel” StarBuck, the pioneer of Nordic professional wrestling. To honor the spirit of the original World Class Championship Wrestling (WCCW) theme, Marko approached the project with the discipline of a historian and the eye of a modern director. He spent considerable time analyzing the aesthetic elements of the 1984 original video, ensuring his version would serve as a faithful yet contemporary tribute. The production was split across two distinct locations to capture the dual nature of the track—performance footage was captured on the stage of the Culture House Grand in Porvoo, while the narrative, black-and-white segments were filmed in the streets of Helsinki. The technical execution of the shoot required the precise multitasking for which Marko has become known. To achieve a cinematic atmosphere, he utilized white smoke grenades, a tool that demanded perfect timing due to their brief 30-second burn rate. Understanding how light interacts with atmosphere, he worked alongside his colleague Jarmo Katila to rig backlighting that would emphasize the smoke’s texture, transforming a simple street corner into a dramatic backdrop. This meticulous attention to detail highlights Marko's ability to maximize a production's visual impact even when working with the constraints of a DIY indie environment. Ultimately, the video stands as more than just a promotional piece; it is a collaborative archive of a specific moment in the Finnish creative scene. While the passage of time has blurred the names of some contributors, the project remains a poignant milestone for Marko, particularly as a tribute to the late guitarist Jaakko Kinnari. By merging his ring-tested instincts for drama with his technical prowess in cinematography, Marko created a visual bridge between the golden era of wrestling and the modern Nordic rock scene, proving that a great anthem deserves a frame just as iconic as its riff.

Badstreet USA

Somewhat related to pro wrestling, I had a chance to shoot a music video years ago, which you could perhaps call a ‘cover video’. The song in question was Badstreet USA, originally made famous in… 

Mirrorless camera Sony A7 Mk III of Marko Simonen / Kayfabe Diary, with over a half million shutter count, 2025.

506,686 and a Word About Sony

I’ve shot Canons and Nikons and whatnot, but one of my true workhorse cameras has been the Sony A7 III. I got my first one in the summer of 2018 and paid my bills shooting…