#dogs named barbaro

[petsincollections]

Barbaro after the Hunt

c. 1858Marie-Rosalie Bonheur (also called Rosa Bonheur) (French, 1822–1899)

With soulful eyes, Barbaro dries off after a bath. Rosa Bonheur’s sensitivity to canine emotions (as well as her understanding of their anatomy) stands out here as she ably conveys the hunting dog’s desire to be free of his chain. Barbaro was one of several animals that Bonheur owned and painted at the Château de By, her home near the forest of Fontainebleau. The large size of the canvas and the prominent placement of the dog’s name on the wall lend this work the gravity and dignity of a portrait.

One of the most famous female painters of her day, Bonheur cut her hair short and obtained a special license from local police to wear trousers, a practice that was illegal for women at that time. These sartorial choices aided her work with animals and suited her belief in gender equality and her desire to break free of convention.

Object Details

Title: Barbaro after the Hunt Date: c. 1858

Artist: Marie-Rosalie Bonheur (also called Rosa Bonheur) (French, 1822–1899)

Medium: Oil on canvas

Dimensions:38 × 51 1/4 inches (96.5 × 130.2 cm)

Framed: 47 1/2 × 60 5/8 × 3 1/2 inches (120.7 × 154 × 8.9 cm)

Classification: Paintings

Credit Line:Gift of John G. Johnson for the W. P. Wilstach Collection, 1900

Accession Number: W1900-1-2

Geography:Made in France, Europe

Philadelphia Museum of Art

[paganimagevault]

Tomb of Cyrus the Great in Pasargadae 6th C. BCE

"The Tomb of Cyrus (Persian: آرامگاه کوروش بزرگ) is the final resting place of Cyrus the Great, the founder of the ancient Achaemenid Empire. The mausoleum is located in Pasargadae, an archaeological site in the Fars Province of Iran.

It was first identified as Cyrus' tomb in modern times by James Justinian Morier, who compared the monument to that described in the writings of Greek historian Arrian.

The mausoleum is a significant historical example of earthquake engineering as it is said to be the oldest base-isolated structure in the world, allowing it great resilience against seismic hazards. It is one of the key Iranian cultural heritage sites. On the 29th of October 2021, Iranian police barred people from visiting the mausoleum.

The site of the tomb is shut down every year during Cyrus the Great Day following a pro-monarchy protest in 2016.

The tomb, previously known as the Tomb of Madre Suleiman (referring either to Caliph Sulayman ibn Abd al-Malik or the biblical Bathsheba, mother of Solomon), was first identified by Venetian traveler Giosafat Barbaro and later by Johan Albrecht de Mandelslo. It was first identified as the Tomb of Cyrus in the early nineteenth century, first by James Justinian Morier and then by Robert Ker Porter. Morier described the tomb as follows:

'[It] is a building of a form so extraordinary that the people of the country often call it the court of the deevis or devil. It rests upon a square base of large blocks of marble, which rise in seven layers pyramidically... On every part of the monument itself are carved inscriptions, which attest the reverence of its visitors; but there is no vestige of any of the characters of ancient Persia or even of the older Arabic. The key is kept by women, and none but females are permitted to enter. The people generally regard it as the monument of the mother of Solomon, and still connect some efficacy with the name; for they point out near the spot a certain water to which those who may have received the bite of a mad dog resort, and by which, if drank within thirty days, the evil effects of the wound are obviated. In eastern story almost every thing wonderful is attached to the Solomon of Scripture: the King however, to whose mother this tomb is said to be raised, is less incredibly, (as the Carmelites of Shiraz suggested to Mandelsloe), Shah Soleiman, the fourteenth Caliph of the race of Ali. But though this supposition is more probable than that it is the monument of Bathsheba, it is not to my mind satisfactory, as it differs totally from all the tombs of Mahomedan saints which I have ever seen in Persia, Asia Minor, or Turkey.'

Morier then proposed that the tomb may be that of Cyrus, based on the description of Arrian. He noted the similarities, as well as the differences including the lack of the inscription noted by Arrian, the lack of a grove of trees, and the triangular roof against Arrian's "arched" description:

'If the position of the place had corresponded with the site of Passagardae as well as the form of this structure accords with the description of the tomb of Cyrus near that city, I should have been tempted to assign to the present building so illustrious an origin. That tomb was raised in a grove; it was a small edifice covered with an arched roof of stone, and its entrance was so narrow that the slenderest man could scarcely pass through: it rested on a quadrangular base of a single stone, and contained the celebrated inscription, "mortals, I am Cyrus, son of Cambyses, founder of the Persian monarchy, and Sovereign of Asia, grudge me not therefore this monument". That the plain around Mesjed Madre Suleiman was the site of a great city, is proved by the ruins with which it is strewed; and that this city was of the same general antiquity as Persepolis may be inferred from the existence of a similar character in the inscriptions on the remains of both, though this particular edifice does not happen to display that internal evidence of a contemporaneous date. A grove would naturally have disappeared in modern Persia; the structures correspond in size; the triangular roof of that which I visited might be called arched in an age when the true semi-circular arch was probably unknown; the door was so narrow, that, if I had been allowed to make the attempt, I could scarcely have forced myself through it; and those who kept the key affirmed that the only object within was an immense stone, which might be "the base of a single piece" described by Arrian; but as he was repeating the account of another, the difference is of little consequence, if it exists. I suspect however, as many of the buildings at Persepolis are so put together that they might once have seemed one vast block, that the present structure might also at one time have possessed a similar appearance. The eternity of his monument indeed, which Cyrus contemplated by fixing it on one enormous stone, would be equally attained by the construction of this fabric, which seems destined to survive the revolutions of ages. And in the lapse of two thousand four hundred years, the absence of an inscription on Mesjed Madre Suleiman would not be a decisive evidence against its identity with the tomb of Cyrus.'

The most extensive description of the structure, based on a lost account by Aristobulus (who had accompanied Alexander the Great on his eastern campaigns in the late fourth century BC), is to be found in The Anabasis of Alexander (6.29), written by Arrian in the second century AD.

Arrian, writing in the second century AD, described the tomb as follows:

'He (Alexander) was grieved by the outrage committed upon the tomb of Cyrus, son of Cambyses; for according to Aristobulus, he found it dug through and pillaged. The tomb of the famous Cyrus was in the royal park at Pasargadae, and around it a grove of all kinds of trees had been planted. The park was also watered by a stream, and high grass grew in the meadow. The base of the tomb itself had been made of squared stone in the form of a rectangle. Above it there was a stone building surmounted by a roof, with a door leading within, so narrow that even a small man could with difficulty enter, after suffering much discomfort. In the building lay a golden coffin, in which the body of Cyrus had been buried, and by the side of the coffin was a couch, the feet of which were of gold wrought with the hammer. A carpet of Babylonian tapestry with purple rugs formed the bedding ; upon it were also a Median coat with sleeves and other tunics of Babylonian manufacture. Aristobulus adds that Median trousers and robes dyed the colour of hyacinth were also lying upon it, as well as others of purple and various other colours; moreover there were collars, sabres, and earrings of gold and precious stones soldered together, and near them stood a table. On the middle of the couch lay the coffin which contained the body of Cyrus. Within the inclosure, near the ascent leading to the tomb, there was a small house built for the Magians who guarded the tomb; a duty which they had discharged ever since the time of Cambyses, son of Cyrus, son succeeding father as guard. To these men a sheep and specified quantities of wheaten flour and wine were given daily by the king; and a horse once a month as a sacrifice to Cyrus. Upon the tomb an inscription in Persian letters had been placed, which bore the following meaning in the Persian language: "O man, I am Cyrus, son of Cambyses, who founded the empire of the Persians, and was king of Asia. Do not therefore grudge me this monument.” As soon as Alexander had conquered Persia, he was very desirous of entering the tomb of Cyrus; but he found that everything else had been carried off except the coffin and couch.'

Strabo stated that when Alexander the Great looted and destroyed Persepolis, he paid a visit to the tomb of Cyrus and commanded Aristobulus, one of his warriors, to enter the monument. Inside he found a golden bed, a table set with drinking vessels, a gold coffin, some ornaments studded with precious stones and an inscription on the tomb. No trace of any such inscription survives. Strabo (Geography Book 15.3) described it as follows:

'Alexander then went to Pasargadae; and this too was an ancient royal residence. Here he saw also, in a park, the tomb of Cyrus; it was a small tower and was concealed within the dense growth of trees. The tomb was solid below, but had a roof and sepulchre above, which latter had an extremely narrow entrance. Aristobulus says that at the behest of the king he passed through this entrance and decorated the tomb; and that he saw a golden couch, a table with cups, a golden coffin, and numerous garments and ornaments set with precious stones; and that he saw all these things on his first visit, but that on a later visit the place had been robbed and everything had been carried off except the couch and the coffin, which had only been broken to pieces, and that the robbers had removed the corpse to another place, a fact which plainly proved that it was an act of plunderers, not of the satrap, since they left behind only what could not easily be carried off; and that the robbery took place even though the tomb was surrounded by a guard of Magi, who received for their maintenance a sheep every day and a horse every month. But just as the remoteness of the countries to which Alexander's army advanced, Bactra and India, had led to numerous other revolutionary acts, so too this was one of the revolutionary acts. Now Aristobulus so states it, and he goes to record the following inscription on the tomb: "O man, I am Cyrus, who acquired the empire for the Persians and was king of Asia; grudge me not, therefore, my monument." Onesicritus, however, states that the tower had ten stories and that Cyrus lay in the uppermost story, and that there was one inscription in Greek, carved in Persian letters, "Here I lie, Cyrus, king of kings," and another written in the Persian language with the same meaning.'"

-taken from wikipedia

[thequeerwitch]

First fanfic: Charlotte Russo: The Lost Angel of Empire Bay (Vito Scaletta x OC)  Introduction

Hey everyone, thanks so much for the support I’ve received with my transition to this blog. It’s time that I post my first fanfic to this blog. This story will follow a character from a fandom that’s not very well known, but deserves to be recognized, nonetheless. Vito Scaletta from Mafia 2 & 3. I played Mafia 3 first and absolutely fell in love with Vito, so I decided to play Mafia 2 as well. I can’t tell you which one I like better, I love them both equally. I highly recommend everyone who loves open world GTA-type games to play this game. It’s funny, action packed, emotional at times, and filled with plenty of colorful characters. Players be warned, however, that the game is rated M and deals with mature themes such as drug use, sex, cursing, violence, basically anything you’d expect from a GTA/Godfather mashup. Keep in mind that the fanfic will also be of a similar rating, though I will provide a trigger warning at the beginning of each chapter, as well as a word count and a general rating of each story. Alright, enough chit-chat. I’d like to introduce you to the OC of the evening: Charlotte Russo.

Charlotte Russo: Mafia 2

Charlotte Russo: The Blissful Angel 

Charlotte Russo: Mafia 3

Basic Stats:

Name: Charlotte Russo, “Big Tits” Charlie Alfonsi

Age: 19 (beginning), 42 (near the end)

Sex/Gender/Pronouns: Female, Woman, she/her

Race/Ethnicity: Italian

Fandom: Mafia

Background: Charlotte’s family emigrated from Sicily to Empire Bay in 1927 when her mother was pregnant with her.  Marco began working for Frank Vinci and built up a reasonable living. He planned to will his eldest daughter, Alessandra, the business, but she married and moved away as soon as she could. Charlotte became her father’s golden child, the one who would carry on the legacy and see the business out. When Charlotte was eighteen, her father was involved in a risky hit and was killed in the process. Don Frank Vinci severed ties with the family, but provided a certain amount of protection for them to survive off of until they got back on their feet. In the meantime, Charlotte scrambled to get a steady job and keep food on the table, electricity on in their tiny apartment, and a roof over their heads.

Appearance:

Figure/Eyes/Skin/Hair/Other: Charlotte has a thick, pair shaped figure with an average bust and full hips. She has tawny eyes, olive skin, and charcoal black hair with bangs across her forehead, full lips, a freckle on her cheek, and a scar cutting down the bridge of her nose.

Dress style: She typically dresses comfortably, but appropriate for her job. What that job is often varies from a dancer in a cathouse (lingerie) to running hits on the streets for her boss (jeans and a blouse).

Relationships:

Parents: Marco and Gianna Russo. Charlotte was always a daddy’s girl. She picked up much from her father including her strength, fighting skills, and her taste for fancy cigars. The death of her father tore Charlotte up, it was hard for her to think of much else for a while afterwards, but she was forced to keep moving to keep money coming in. Her mother isn’t exactly the same story. Charlotte picked up cooking and cleaning skills, many things that would make a good housewife, but she was never drawn to that path. She preferred the life of crime and action, like her father. Gianna didn’t take her husband’s death well. She started drinking to wash away the pain, but she wasn’t a happy drunk. When she was drunk, everything came out. Secrets, insults, truths that no one wants to hear, and a side of Gianni that she would be ashamed of sober. Charlotte’s relationship with Gianni was never great, they always fought over Charlotte’s future and wellbeing, which would drive a wedge between the two in their final years of communication.

Siblings: Alessandra Russo-Lombardi was ten years old when Charlotte was born. At the ripe, young age of 21, Alessandra married her high school sweetheart and moved far away from Empire Bay. She still maintains a good relationship with Charlotte, calling every couple of months to check in, but is mostly estranged from the rest of her family.

Love interest(s): Vito Scaletta, the mysterious man who saved her life and took her under his wing to show the ways of casual crime.

Friends: Margaret Young, a close friend and neighbor since Charlotte could remember. Their mothers were both stay at home moms, and her father owned a small bakery below Charlotte’s apartment. The two worked together between cathouses and department stores, and their bond often felt more like sisters than friends. Joe Barbaro was a friend of Vito who helped introduce Charlotte into the crime world. Matteo Ricci was a young man who Charlotte saves at some point in the story, and for her charity, Matteo sets out to repay her by giving back to the world in some way. Ronnie Espinoza, the only friend Charlotte has to depend on when she is at her lowest. More on him in the fic.

Enemies: Sidney “The Fat Man” Penn was an ex-boss of Charlotte, Lorenzo Alfonsi was Charlotte’s ex-husband from a loveless marriage, and Sal Marcano attempted to work with Charlotte under impossible terms and set out to have her killed when she didn’t agree to them. More on all of them in the story.

Sexuality and Romance:

Sexuality: Pansexual

Attraction: Charlotte was a butt person. She loved a nice, plump ass on men and women that she could pinch or smack during intercourse.

Experience: Charlotte experimented a little before finding Vito. She had a steady boyfriend for about a year before she found out he cheated on her, and a girlfriend who moved away and never contacted her again.

Skills and Work Life:

Skills: Charlotte learned how to take care of a house and a child from her mother, skills she retained her whole life. She learned how to defend herself and handle a knife from her father, and she learned how to drive and shoot a gun from Vito. Charlotte always had a knack for performance. She loved to sing, dance, and act both in public and private.

Hobbies: In her downtime, Charlotte loved to read, and secretly enjoyed to sew. She always wanted to be a seamstress as a child, a dream she secretly retained through her adult life.

Education: Charlotte had a middle school education, but was forced to drop out when her family couldn’t afford it anymore. She knows how to speak English and Italian.

Job: Dancer in a cathouse, made woman under Alberto Clemente, seamstress.

Personal:

Theme Songs: Troublemaker by Olly Murs, Bottom of the River by Delta Rae

Personality: Charlotte was a family girl, always taking steps to protect her team over herself. She liked to develop a first name basis with everyone she worked with to show a form of mutual respect. She was a tough cookie, but she managed to keep her emotions in check pretty well. It took a lot to break her, but when you do, be prepared. Her anger was scary, and her sadness usually results

Likes: Cars, clothes, jewelry, classic literature, jazz music, dancing

Dislikes: Not getting her way, cucumbers, liars, cheaters,

Philosophy:

Colors: Blue, purple, red, black

Beliefs/Spirituality: She grew up Catholic and retains general Christian beliefs, but she’s not a very good Christian. 

Fears: Death, dogs, wasps, knives, betrayal

Goals: To get out of Empire Bay, to survive in the mafia world, to become rich enough and settle down with Vito, other goals revealed in the fic.

Other

The titles of the chapters are lyrics from songs I associate with major scenes throughout the chapter. I’ll release the soundtrack after I finish the story as there will be some major spoilers within the soundtrack. 

Each chapter will be pretty long, around 6000 words each. 

I used this avatar creator to design them Charlotte’s avatars: http://www.azaleasdolls.com/dressupgames/1940s-fashion.php 

As Charlotte was present for many events from Mafia 2, the story is written as a documentary, titled “Charlotte Russo: The Lost Angel of Empire Bay.” I did this so I wouldn’t have to recap events from the game that just had Charlotte shoehorned in. Thus the story is split into different narrative styles. The narrative of the story will follow a similar structure as Mafia 3, told through flashbacks and interviews like a documentary. The formatting for each POV will look different, so I'll provide a key here to explain it.

Documentary narration

"Interviews" —Person's Name

Time period

Charlotte’s narration

The investigator of the documentary is going to be Jonathan Maguire from Mafia 3. I know he was only investigating the Lincoln Clay files, but I’m gonna level with you guys, I’m too lazy to make my own. :P 

Charlotte's narration

[ear-worthy]

“Mobituaries” Third Season: John Denver, Loretta Lynn, Death Of A Name

I hear dead people. No, I’m not channeling the 1999 film The Sixth Sense. I am talking about listening to the third season of Mobituaries, humorist-writer Mo Rocca’s engaging paean to those who have passed on but left us bodies of work they deserve more reflection.

This is the podcast’s tagline: “CBS News correspondent Mo Rocca has always loved obituaries. Each episode of Mobituaries covers his favorite dearly departed people and things, from the ‘Latin Lover’ who redefined Hollywood masculinity in the 1920s to the TV dog who introduced kids to literature in the 1990s. Every Wednesday, hear fresh takes on famous legacies and uncover people worthy of their overdue moment in the spotlight. Even if you know the names, you’ve never understood why they matter until now!”

Rocca calls these episodes “Mobits.” Get what he did there. But the real charm is inherent in Rocca’s delicately balanced re-examination of the subject’s life.

The first two seasons of Mobituaries garnered critical reviews and impressive ear time from listeners. Rocca had even published a successful book, Mobituaries in November 2019. Rocca’s last episode premiered in March 2020 and then COVID hit.

It’s been over two years since a Mobituaries episode was released, so it was with great joy that Rocca released a late September two-minute introductory teaser episode to season three.

The first episode dealt with singer John Denver (“Rocky Mountain High”), who in the mid-70s was one of the most popular and well-known celebrities of his time. The episode, titled, “Death Of The Sunshine Boy” relied on interviews with Denver’s ex-wife Annie, Denver’s close friend Tom Crum, and music critic Bill Flanagan.

Rocca’s treatment of his “Mobit” is not simply an audio Wikipedia page, with a laundry list of his accomplishments and often messy personal life. Rocca details Denver’s rise to fame, his cultivation of his public persona, and his inevitable fade from the public short-attention span eye.

Especially during the height of his musical career, John Denver was dismissed by music fans and critics as bland, middle of the road, and too safe. But Rocca and Flanagan navigate those turgid waters, discussing the depth of Denver’s talent to balance the thermostat of the culture during the turbulent, treacherous 70s with music, a stage persona, and early onset environmental activism that made millions fans.

Third-season episode topics include June Foray, who voiced classic cartoon characters such as Rocky The Flying Squirrel, Anna May Wong, a trailblazing movie star for Asians and the first Asian American features on U.S. currency.

Mobituaries host Mo (Maurice) Rocca is a correspondent for CBS Sunday Morning, which is perhaps one of the most underrated shows on television today. For podcast fans, Rocca is well-known for years as a guest on the NPR’s Wait Wait…Don’t Tell Me! show. Who can forget the swirling controversy around Rocca’s unintentional slight of sweater knitters on Wait Wait…Don’t Tell Me! in late 2010? Trust me, you had to be there, especially when Rocca had to issue an on-air apology for those nicked-off knitters.

Rocca’s voice is not classically podcast with a frictionless smoothness like Michael Barbaro, Roman Mars, or Dallas Taylor. His nasal tone underlies a hypervigilant sense of balance, fairness, and investigative rigor on the subjects of his “Mobit” episodes.

Today, we have too many podcast hosts who offer listeners answers all wrapped up in a conspiratorial bow with no thinking required.

A key manifestation of a thoughtful and comprehensive podcast episode is that it asks more questions than it provides answers. That’s Mo Rocca’s Mobituaries. In fact, Rocca simulates the Socratic Method, asking and answering questions to stimulate critical thinking and to draw out ideas and underlying presuppositions.

[weeklyhumorist]

I’m the Guy who Makes the Fake Crowd Noise at Baseball Games, and Yes, I Have Been Secretly Inserting Rupi Kaur Poems

Hey guys,

I’ll start by saying that being a sound mixer is not as glamorous as the worst part of the Oscars makes it seem. Some of my recent “gigs” have included sitting in front of a crackling fireplace for 10 hours and filtering Michael Barbaro’s nonsensical pauses out of interviews, the auditory equivalent of draining salt from the sea. So, as you can imagine, I jumped at the chance to create fake fan noise to accompany the dystopian human cut-outs in baseball stadiums. At first, I was doing a “good job,” but then I had a better idea; I decided- let’s show those sound editing guys how to really “steal focus from the things people actually care about”! I played maniacallaugh.wav and then downloaded the audiobooks of Rupi Kaur.

Like all menaces to society, I started small. It was the bottom of the 5th, and after their third out, the Cardinals left a man “stranded” on base. “Aww, shucks!” said the voice of a child. “Booo!” grumbled an inebriated male. Then, from amidst the general discontentment, a serene, ethereal proclamation: “fall/ in love/ with your solitude.” Boy, what a rush! I hadn’t felt that alive since playing the wrong track for Ashlee Simpson.

Once I got a taste, I couldn’t stop. “Let’s go Pirates!!!” screamed the “crowd” at the beginning of a home game. “C’mon ‘Buccos!” cried a local. “your name is/ the strongest/ positive and negative/ connotation in any language/ it either lights me up or/ leaves me aching for days,” said Rupi, truly articulating the experience of rooting for a team that’s 4–16.

The game began, and soon the opposing coach got mad at the referee over a perceived misjudgment. “Grow up!” screamed a fan. “Play the game!!” yelled another. Rupi cleared her throat, hydrated; “a lot of times/ we are angry at other people/ for not doing what/ we should have done for ourselves,” she declared. “Yeah!!!” cried the peanut guy.

At a certain point, however, Rupi began to go against the general sentiment of the crowd, focusing less on the statistical minutiae of the game and more on its implications for the human condition. When a Pirate managed to “steal” second base, he was met with enthusiastic approval from the crowd. Rupi, on the other hand, found cause for concern: “you have so much/but are always hungry for more,” she chastised the runner. “stop looking at everything you don’t have/ and look around at everything you do.” The player blushed, looking back at first base with remorse.

As my experiment continued, I began to lose control, and soon my work was causing controversy among the public. It turns out that Rupi Kaur poems are somewhat of a millennial dog whistle; people were watching the same game but having very different auditory experiences. If you’re a quarantined 20-something who’s been watching baseball with your family, you’re probably familiar with the following exchange:

“Nice hit, Trout!” says Dad.

“Succinct metaphor, Rupe!” you cry.

“He’s out!” cries Dad.

“She’s melancholic yet introspective!!!” you scream.

“Wow,” says Dad. “I like the crowd noise. It’s like you’re there!”

“I agree!” you say, “if by there, you mean perched on a rock overlooking a forested valley, a brisk autumn wind biting your cheeks as you contemplate the closure of a chapter in your life, a chapter that’s setting like the sanguine sun before your eye-

“[Your name],” he says. “What the fuck are you talking about!?”

“Dad,” you say. “It’s poetry!”

“NO,” he yells. “It’s BASEBALL. We should have never sent you to [liberal arts college]!!”

Of course, you were both right. Which is why I’m coming clean; I don’t want to drive a wedge between American families during this difficult time. Intergenerational conflict is bubbling throughout this nation, over important topics like unemployment, healthcare, WAP, who ruined the world; the last thing we need to be arguing about is subliminal Instagram poetry. I could even see this issue taking up important airtime in this fall’s political debates (Kamala is the only one who hears it). I know I’ll suffer personal and professional consequences for coming clean, but I’ll sacrifice my well-being for the comfort of the American people, just like the players themselves.

Now that we’ve reached the Scooby-Doo unmasking moment, there remains only one question: Why did I do it? Was it a mental break? A desperate call for help? By way of an answer, allow me to emulate my favorite poet, a prolific author with a gift for profound brevity;

sometimes, in life,

you just want to watch

the world

burn.

I’m the Guy who Makes the Fake Crowd Noise at Baseball Games, and Yes, I Have Been Secretly Inserting Rupi Kaur Poems was originally published on Weekly Humorist

[lostinyourears]

Arena Mexico Super Friday Report! 09/18/2018

Star Jr. & Magnus vs. Akuma & Espanto Jr.

Who’s who?

Star Jr. in blue & Magnus in pink

Akuma in red/black and Espanto in black/white. 

How’s the match?

Good, I’m a big fan of Star Jr. and think Magnus did well here too. Akuma/Espanto Jr. came out on bikes which was a unique entrance for the opening tag match. Perhaps they will continue to be an informal tag team like Signo/Metalico have become buddy/body in the last few months in the opening tag slot. Apparently this match ended a little early and seemed a little off for the 3rd fall. Still a good opener for Friday night. 

Okumura, Kawato San & Virus vs. Fuego, Blue Panther Jr. & Black Panther

Who’s who?

Okumura in orange/white pants, Kawato San in red pants and Virus in black.

Fuego in orange, Black Panther in black and Blue Panther Jr. in blue.

How’s the match?

Very good, I’m a sucker for the Panther Bros tho. I’m certain some fans will also come to this for Fuego and of course the NJPW Young Lion Kawato San with his mentor Okumura and Virus too has his fans for good reason. So plenty of reasons to come to this match and those reasons were all re-enforced by this excellent match. Blue Panther Jr. used a new finisher, didn’t quite get all of it. Looked interesting tossing someone from his shoulders down to a backbreaker? I’ll be interested to see it more going forward or if it’s just a one off. 

Stuka Jr., Triton & Esfinge vs. NGD(Sanson/Cuatrero) & Rey Bucanero

Who’s who?

Stuka in blue/black/silver, Triton in white and Esfinge in gold white.

NGS in black/white Cuatrero has horseshoes on his gear and Rey Bucanero is the only maskless guy in this contest.

How’s the match?

Great, a wild ride where both teams pulled out things you’d expect in a great trios/team match. From standard like the fuck all corner spot and a mega suplex to more wild spots later in the contest. This crop of guys stole the night for me and this Super Friday(for the most part) really lived up to the Super name. I don’t want to give away any of the biggest spots, just go watch the match if your curious about why I dug it so much. 

Los Guerreros Lagunero(Ultimo Guerrero, Gran Guerrero and Euforia) vs. Cl4n(Ciber The Main Man, The Chris & Scharly Rockstar)

Who’s who?

Lagunero in green/black Ultimo maskless, Gran not in full pants and Euforia the biggest guy in the contest.

Ciber not in full pants, both other Cl4n are with Scharly Rockstar in facepaint.

How’s the match?

Very Good, much better than their Anniversary match. Helped by the fact it was fairly brief. Guerreros went over 2 round to 0 in large part to Cl4n throwing the 1st via a kendo stick DQ. Post match Ultimo Guerrero challenged for a belt, so perhaps we’ll get that rematch for the title next week? Not a bad match, I thought it went pretty well even though I’m not all that into this feud really. Cl4n can’t just fight Guerreros forever. I think this feud will likely end with Gilbert joining the Cl4n, but that’s just a guess. 

Negro Casas vs Mistico lightning match

Who’s who?

Negro Casas maskless in his black gear and Mistico in all white masked. 

How’s the match?

Good, but hampered by a poor ending and some new bad CMLL production. They put Match Relampago on the screen as well as a count up and CMLL logo. Made the camera obscured and was too big in font, I just prefer having it on the titantron, but I wouldn’t be opposed complete to a count up... it didn’t need to be as big as it was. I’m normally fine with CMLL production, but this was done pretty poorly and hampered the match. The finish too was a bit weak and wonky. Not the singles match people thought and hoped it’d be.  

Atlantis, Diamante Azul & Fenix vs. Rush, Terrible & Barbaro Cavernario

Who’s who?

Atlantis in his iconic white mask, Azul in a silver mask and Fenix in black/red.

Rush in western boots, Terrible in a matching outfit with some athletic tape on his shoulder and Barbaro in animal print. 

How’s the match?

Very good, Rush/Terrible/Barbaro are still riding high after last week when Rush/Barbaro won the 85th Anniversary Main Event. I dug this match as it continued that thread. Still Barbaro hasn’t officially joined los ingobernables and if he hasn’t yet, I don’t think he is going to at all. Which I’m totally behind, ingobernables has been maskless since Mascara lost his at 83rd and I’d really like the next recruit to have a mask he could put on the line. With that scenario seems like Mistico joining to go full rudo in his feud with Caristico would make the most sense, but adding a guy who has less fanfare might be a good choice too. To give a boost to an up and coming talent like Templario. Good match, fun end and it’s nice to see Terrible tearing it up again with Rush after his brief injury hiatus. Really fun Super Friday overall. 

Highlights :

Arena Mexico Super Friday 09/21/2018

[namesfordogsxyz-blog]

Babs - Dog Name

Babs – Dog Name

Gender: Male The origin of the dog name Babs: English. [wp_ad_camp_1]

The meaning of the dog name Babs: From the Greek ‘Barbaros’ meaning foreign or strange, one who travels from a foreign land. In Catholic custom St. Barbara protects against fire and lightning.

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