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Ernestina Poli was born in Ferrara, Italy on 3 April 1879, and she studied for only a few years before making her debut at Bergamo in 1902 as Amelia in Un Ballo in Maschera. She had a huge success and was retained for another dozen performances in Il Trovatore and the then very popular Salvator Rosa. She ended the year at Massa. At this point, despite her success, she retreated from the stage for another year of training, after which she debuted at Messina in Andrea Chenier with the tenor Ruggero Randaccio. On 17 Jan, 1904 she sang Micaela for the only time in her career, again with Randaccio as her stage partner. It was not long before the couple announced that they were to be joined in life, and in the summer of 1904, shortly before a tour to South America, they were married. She immediately changed her stage name to Tina Poli Randaccio, and there are interesting and amusing confusions in some South American reviews during the tour of 1904, in which she is listed as the tenor, he the soprano. Poli was assumed to be his first name and Ruggera, hers. 

The tour took the couple to Sao Paolo and Rio de Janeiro where Tina appeared as Mimi, the Trovatore Leonora, Desdemona, Aida, Maddalena di Coigny, Gioconda and Santuzza. He sang in Boheme, Andrea Chenier and Cavalleria Rusticana. The year ended at Sao Paolo with an opera called Cristo alla Festa di Purim, after which she added La Forza del Destino, Ballo in Maschera and Ernani to her assignments in Brazil. The couple traveled with the company to Manaus and Pernambuco, then returned to Europe where Ruggero announced his retirement from the stage. They decided that he would be her manager and coach, and from about this point his name was never seen on a billboard again. 

On 2 December 1904 Tina debuted at Milan's Teatro Dal Verme in an opera called Jana with Bergamasco and Schiavazzi conducted by Serafin and from there she went to Oporto where she sang in Aida, Il Trovatore, Don Carlo, Pagliacci, Un Ballo in Maschera and Cavalleria Rusticana. After a short respite, the couple sailed for Mexico, and in September 1905 Tina appeared at the capitol in Les Huguenots (in Italian), Aida, Germania, Un Ballo in Maschera and Giordano's recently produced opera Siberia. The company included Virginia Guerrini, Alice Zeppilli, De Marchi and Magini Coletti, and it is not surprising, given those names, that the tour extended for four months and included visits to Guadalajara. 

Turin welcomed her back to Italy when she appeared at the Teatro Vittorio Emanuele as Gioconda in January of 1907. A tour to Bucharest was arranged by Randaccio and on 11 November Tina debuted as Aida in a cast that included De Angelo, Angioletti and Bellat. On the 18th, she sang in Ernani with Angioletti, Titta Ruffo and Torres de Luna. Her season continued into the middle of December with Un Ballo in Maschera and Il Trovatore, both with Ruffo, Les Huguenots, and La Gioconda. A visit was made to Kiev and Odessa, but I have no record of her roles. 

Tina debuted at Parma's Teatro Regio on 6 January 1908 in Mascagni's brand new opera, Amica and after singing in Red Roses and Damnation of Faust, she undertook a four month tour of Italy with the new work, under Mascagni's direction. The cities visited included, Firenze, Bologna, Modena, Verona, Treviso, Trieste, Ravenna, Ancona, Cesena and Forli, where she received a thunderous welcome and was hailed as the greatest soprano seen there in a generation. At Livorno she sang in the composer's Le Maschere and Iris and the tour ended at Rome's Teatro Adriano, where Tina sang eleven performances of Amica and several of Le Maschere, the latter with Juanita Caracciolo and Carlo Galeffi. 

On 26 December, Tina made a much heralded debut at Venice's Teatro la Fenice as Aida with Ladislava Hotkowska and Henderson. The revival was so well received that a scheduled three performances became six. At Fiume, in April, she sang in Ernani and La Gioconda and in October she returned to the Adriano for Tosca, Aida and the world premiere of Raffaelo,by De Lunghi. 

In February 1910 Tina debuted at Madrid's Teatro Real as Gioconda in a cast that included Flora Perini, Giuseppe Taccani and Ruffo, after which she sang ten performances of Aida and six of Loreley at Catania's Masimo Bellini. The spring found the Randaccios back in Brazil, where, at Rio de Janeiro, on 27 May, Tina sang Isolde for the only time in her career, though it was a moderate, if not overwhelming success. At Rio, she also sang in Il Trovatore, La Gioconda, Loreley, Tosca, Aida, and Germania, and at Sao Paolo, she added another new work, Boscaiuola. Tina's tour partners included Anna Gramegna, Krismer, Giraldoni and Viglione-Borghese, and, as had been the case in Mexico, this starry roster resulted in an extended season both in Rio and in Sao Paolo. 

The most important moment of her career had arrived. On 17 December 1910 Tina debuted at La Scala as the Siegfried Brunnhilde, with the inimitable Giuseppe Borgatti in the title role. There were a dozen performances, and the production was a complete success. Fanny Anitua was an unforgettable Erda according to contemporary reviews, and the hero and heroine received memorable ovations every evening. Though hers would not be a major career in the most important of all Italian theaters, it continued at intervals for a good number of years, and included several world premiers. 

In February 1911 Tina returned to Parma for La Gioconda and then took a well needed break from performing. During the summer, she learned the role of Minnie in La Fanciulla del West, and on 10 September, at Puccini's invitation, she sang the first of thirteen performances at Lucca's Teatro del Giglio with Taccani as Dick Johnson. Her success was enormous, in fact, greater than her predecessor, Eugenia Burzio, who had sung in the Italian premiere earlier in the season. Poli was immediately engaged to repeat the opera at Naples' San Carlo with Martinelli and Viglione-Borghese and at Bari's Teatro Petruzzelli with Corti and Mariano Stabile. After a debut at Palermo's Massimo as Gioconda in March 1912, she sang Minnie at Monte Carlo, again with Martinelli and Viglione-Borghese, and in late May she debuted at the Paris Opera as Minnie in a gala performance with Enrico Caruso.

In November, Tina sang in La Gioconda at Genoa and then prepared for the Scala premiere of Fanciulla. There were many sopranos who had vied for the honor, whose partisans had lobbied intensely for them, and the uncertainty had been a major story in Italian newspapers. Burzio reigned at Scala, but it was not to be. Tina's reputation as Minnie was by now so secure that both Scala's management and the composer agreed that she deserved the honor. On 29 December, before a star studded audience, the Milan theater presented La Fanciulla del West for the first time with Poli Randaccio, Martinelli and Galeffi. Tullio Serafin was on the podium, and the clamor was so enormous that the opera was repeated fourteen times.

Tina repeated Minnie at Monte Carlo in February 1913 with Martinelli and George Baklanov, after which she sang the role at the site of its Italian premiere, the Costanzi of Rome. In the spring there were concerts at Modena in honor of the centenary of Verdi's birth and on 15 December, Tina sang in the world premiere of Mascagni's Parisina at La Scala under the composer's baton. The cast included Luisa Garibaldi, Hipolito Lazaro and Galeffi, and there were twelve performances. 

On 10 February 1914 Poli sang in the world premiere of Smareglia's Abisso and on 2 April in the world premiere of Alfano's Ombra di Don Giovanni, both at La Scala. In May she sang in Tosca at Milan's Teatro Carcano with Garbin and Viglione-Borghese and in October Tina participated in one of this century's most important stage debuts, that of Beniamino Gigli as Enzo, at Rovigo, on 15 October. It was the scene of veritable riots; a star had truly been born, and there were thirteen performances. Tina's year ended with Un Ballo in Maschera at Piacenza, a revival shared with the equally celebrated Celestina Boninsegna. 

Rome's Costanzi welcomed Tina back as Gioconda, Tosca and Minnie in the winter of 1915, and after Gioconda at Naples and Aida at Firenze, she sailed for South America and her debut at the Teatro Colon of Buenos Aires. On 25 May, Poli debuted as Gioconda in a cast that included Perini, Lazaro, and Riccardo Stracciari. La Prensa referred to her as "a major talent whose voice can send shivers down one's spine, so present and immediate is the reaction". On 6 June she sang Santuzza and on the 17th, she sang in a concert with Caruso, Bernardo de Muro, Mario Sammarco and Lazaro. The season ended with Tosca and had included performances with the company at Cordoba and Rosario, where she sang Tosca and Santuzza, and at Tucuman, where she sang Santuzza.

Tina traveled from Argentina to Santiago, Chile, and on 27 August, she opened the season at the Teatro Municipal in La Fanciulla del West. The work was so well received that an additional performance was added; it was the only opera to be seen as many as four times. She stayed at Santiago for two months, singing Tosca, Aida, Gioconda, Santuzza, the Trovatore Leonora and Maddalena di Coigny and appeared as Aida, Tosca, Gioconda and the Trovatore Leonora at Valparaiso. Tina returned to Buenos Aires in late October where, at the Teatro Coliseo, she sang all of her Chilean roles except for Maddalena, and after a brief rest, she undertook a long tour of the Caribbean Basin. World War I was in its most intense period and the safety of the Western Hemisphere certainly seemed more attractive than the dangers of Europe.

On 29 January 1916 Tina debuted at Havana as Aida, and later sang in Tosca, Il Trovatore, Cavalleria Rusticana, Iris, La Gioconda, Les Huguenots, and La Fanciulla del West. Her tenor partners were Lazaro and Zinoviev; Enrico Roggio carried most of the baritone weight and Amelita Galli-Curci appeared with Poli in Les Huguenots (in Italian). The company stayed at the Cuban capitol for nearly two months, then toured to Cienfuegos, Camaguey, Santiago de Cuba, Mananzas and in the late spring, to Costa Rica.

In November Tina returned to Italy for Tosca at Bologna with Aureliano Pertile and Jose Segura-Tallien and in January 1917 she sang at Milan's Dal Verme in a gala concert, including act 3 of Aida and act 4 of La Gioconda. At La Spezia she sang Aida, and in June Tina debuted at Zurich as Tosca with Gubellini and Sammarco. After singing Santuzza at the Swiss theater, she returned to the Dal Verme for Aida and at Genoa, she sang in La Gioconda with Vita Ferluga, Folco-Bottaro and Galeffi. 

Tina decided that the climate in Europe was not what the doctor ordered, and in fact, work was difficult to find for nearly everyone in 1917. Many of Italy's most important theaters were closed, and those that remained open presented very shortened seasons. Havana again beckoned and Tina returned in December for Aida, La Fanciulla del West, Les Huguenots, Tosca, La Gioconda, L'Africaine, La Boheme and a new opera, Doreya. Her colleagues included the tenor, Jose Palet, Edith Mason, Maria Barrientos and the basses, Nicoletti-Korman and Virgilio Lazzari. The tour again included Camaguey, Cienfuegos and Santiago. In mid March 1918, the company moved to San Juan and Ponce for a two month season in Puerto Rico. Poli sang the same roles and added Amelia in Un Ballo in Maschera. In June, at Caracas, Venezuela she sang in Aida, Tosca, Les Huguenots, La Gioconda and Cavalleria Rusticana. 

The Great War was over and Tina returned to the safety of a victorious Italy for La Gioconda at Bologna, Milan's Teatro Lirico and Firenze's La Pergola. On 18 December she reappeared in glory for the first of eleven performances of Aida at La Scala. The next few months were spent at Turin with Cavalleria Rusticana and Aida. It was during the revival of Aida that Tancredi Pasero made his absolute opera debut as Il Re, substituting for an indisposed colleague. It is with some pride that the author acknowledges this event, since Pasero's debut has always been listed as at Vicenza in La Sonnambula much later in the year. And with pleasure, I also acknowledge that this information was kindly provided by Robert Tuggle of the Metropolitan Opera Archives. 

After La Fanciulla del West at Trieste's Teatro Rossetti, in late November, Tina debuted as Aida at Barcelona's Liceo and in December she completed her engagement as Gioconda. In January 1920 Tina sang thirteen performances of Aida at Trieste's Teatro Verdi with the stellar cast of Giuseppina Zinetti, Miguel Fleta and Carmelo Maugeri. Rome's Costanzi welcomed Poli back with seven performances of La Gioconda and Genoa saw her as Santuzza in March. May was spent at the Fenice of Venice, where Tina sang in Suor Angelica with Elvira Casazza and in Aida. In June, she traveled to London for a debut at Covent Garden in Tosca with Fernand Ansseau and Dinh Ghilly and was very poorly received by both public and press who recoiled from her strong vibrato and melodramatic impersonations. Tina left London after one performance, never to return.

However, on 31 July she was welcomed with an enormous ovation at the Verona Arena when she sang in Aida with Zinetti and Pertile. After La Gioconda at Turin's Teatro Chiarella, Tina returned for a very long season at Barcelona, appearing in Aida, La Gioconda, Un Ballo in Maschera, Lucrezia Borgia, Cavalleria Rusticana and Ernani, as well as in act two of Tosca during a gala benefit. Her reviews were nothing short of magnificent and in Gioconda, she was heralded by several critics as the greatest that the city had ever seen or heard. The Liceo and Tina Poli Randaccio would continue their love affair over several more seasons. 

In 1921, Tina appeared at Brescia and Trieste for La Gioconda, Palermo for La Gioconda and La Fanciulla del West, Rome for Aida, the Milan Arena for La Gioconda, Vicenza for La Fanciulla del West with Ismaele Voltolini and Stabile, Venice for La Gioconda and at Parma on 29 December in a stellar revival of the Ponchielli work with Giannina Arangi Lombardi as Laura, Irene Minghini Cattaneo as La Cieca, Voltolini as Enzo, Noto as Barnaba and Bruno Carmassi as Alvise. 

The new year found her in revivals of La Fanciulla del West at Naples, Milan's Carcano and at Turin where she was joined by Voltolini and Apollo Granforte. The Dal Verme hosted Tina in Il Trovatore with Zinetti, John O'Sullivan and Benvenuto Franci in October, and after eleven performances of Les Huguenots at Bologna with O'Sullivan, Poli returned to Barcelona for Aida with Aurora Buades and Lazaro, Tosca with Lazaro and Les Huguenots with Cassini and Lazaro.

Tina debuted at Cairo on 27 January 1923 as Gioconda and continued her season as Minnie and Santuzza, after which she repeated all three roles at Alexandria. Santuzza was the role of her return to Milan's Teatro Lirico in May and on 11 August she appeared at Venice's Lido di San Nicola in Aida with the riveting Gabriella Besanzoni. In November, Trieste saw Poli as Gioconda and on the 22nd, she sang in a gala performance of Aida at Rome's Costanzi in honor of the King and Queen of Spain. Zinetti, De Muro and Enrico Molinari completed the stellar cast and the conductor was Mascagni. Tina's year ended at Mantua with four performances of Tosca, after which she appeared at Brescia's Teatro Grande in Loreley. Neapolitan audiences appreciated her Trovatore Leonora and Romans admired her in L'Africaine with Pasini, Giulio Crimi, Molinari and Pasero and in Tosca with Crimi and Stracciari.

In the summer Tina debuted at Vienna as Aida with Maria Gay, Giovanni Zenatello and Viglione-Borghese, a revival that had to be repeated sixteeen times before moving to Kaiserdam, Germany in September. Berlin saw her Santuzza before she returned to Barcelona in November for another daunting season. This time Tina sang in Aida, Les Huguenots, L'Africaine and a new work, Suor Beatrice. Though Tina Poli Randaccio is primarily remembered in Italy as the quintessential Italian dramatic soprano, she had by now appeared in twenty countries, and with the singular exception of England, had been rapturously received in all. There would be a twenty first. 

1925 began at Naples with L'Africaine and on 30 January, Tina returned to the Costanzi for La Fanciulla del West with Crimi and Parvis. After further performances of Tosca and Aida at the San Carlo in February, she returned to Rome for Il Trovatore and Aida. The Lido di San Nicola at Venice feted Tina to a serata di gala on 1 August as the prelude to an engagement as Aida at the Fenice, after which she sang in Tosca at Rimini with Pertile and Viglione-Borghese. In October, she returned to Genoa for La Gioconda, and on Christmas Night 1925, at Bari's Teatro Piccinni, she sang Norma for the first time. Though she sang six performances, it was not a great critical success, and she decided to drop plans for several other planned engagements in the role.

Trieste's Teatro Verdi hosted Tina in Abisso and Il Trovatore at the outset of 1926, after which she sang in La Fanciulla del West at Genoa's Carlo Felice, in Aida and a Benefit Concert at Rome's Costanzi, and in Il Trovatore at Naples' San Carlo, the last with Ebe Stignani. Poli had been singing for a quarter century and it had been an enormously intense and successful twenty five years, but Father Time, as he will, began to play his inevitable role. After Naples, it was not until September that Tina again appeared on a stage, when she debuted at the Athens Arena in Aida with Franco Battaglia. And so, her year ended.

La Scala beckoned one more time, and, on 9 March 1927, Tina sang in the world premiere of Guarino's Madame de Challant with Francesco Merli and Carlo Morelli, and with these three performances she said farewell to the theater that had presented her as its first Minnie, and in four world premieres. 

Naples again welcomed Tina for Il Trovatore and Aida, and she debuted at Modena's Teatro Comunale in April as Gioconda, and, a week later she unveiled the role of Turandot at the Comunale. At Milan's Carcano she sang in Isabeau and at year's end she returned to Barcelona for the last time, appearing in Aida and La Gioconda, with identical casts, Zinetti, Aroldo Lindi, Granforte and Vela. 

In February of 1928 Tina sang in Turandot at the San Carlo and in February, she bade farewell to Naples as Gioconda. In April she returned to Rome, where, at the newly named Teatro Reale, she sang for the last time, when she appeared in Il Trovatore. Her last engagement of 1928 was as Isabeau at Livorno in a revival conducted by Mascagni. 

In 1929, Tina sang Gioconda and Santuzza at Milan's Lirico, Turandot at Nice, which is listed in the program as the French premiere of the Puccini opera, Aida at La Spezia and Tosca at Firenze's Teatro Verdi. In 1930, her only Italian engagements were at Genoa where she sang Isabeau, Aida, and Santuzza, after which she sailed to Caracas for a season as Gioconda, Tosca, Maddalena di Coigny, Santuzza and Elena in Mefistofele. There would be no further engagements outside of Italy, and few enough in her homeland though she continued to appear for another six years. 

In 1931, she sang Santuzza at Bergamo, Gioconda for Italian Radio both at Rome and Turin, Gioconda in Palermo's Teatro Garibaldi, Nedda at Isola, and Aida at Biela and at Rome's Teatro Adriano. In 1932 she sang in Gioconda at Crema and in Tosca at Milan's Teatro Puccini and at Brescia. 1933 found her again at the Puccini for Isabeau, at the Adriano for Minnie and Aida, and at Milan's Politeama for Santuzza.

In 1934 she returned to Norma, which had played so minor a role in her career, and she sang it at both Monza and the Lido of Pesaro. At Pesaro she also sang Santuzza, a role repeated at Milan's Arena. At year's end she sang Aida at Milan's Nazionale and at the Puccini she sang in La Forza del Destino, a role repeated at Foggia in early 1935. At Foggia she also sang Santuzza. The end came in early 1936, where at Asti and finally at Modena Tina Poli Randaccio sang her opera farwell as Santuzza. The career had encompassed nearly fifty roles, and had presented her on the stages of the World over fifteen hundred times, a monumental parade of memories for nearly two generations of opera goers.

After retiring from the stage, Tina abandoned musical life almost entirely, and died at Milan on 10 February 1956.

[wweallresultspage]

NWA Powerrr Results - September 26, 2023

1. Mims def. Blake Troop, Chris Adonis, and Jordan Clearwater in an NWA World Television Championship #1 Contender's 4-Way Match in 3:21

2. Kamille def. Madi in 5:15

3. Daisy Kill & Talos def. Ruffo the Clown & Yabo the Clown in 4:59 to retain the NWA United States Tag Team Championships

4. EC3 def. Jay Bradley in 6:07 to retain the NWA Worlds Heavyweight Championship

5. Carnage & Damage def. Mike Knox & Trevor Murdoch by disqualification in an NWA World Tag Team Championship Match in 4:19

[lamilanomagazine]

Verona: Primo itinerario turistico digitale dedicato alla storia delle signore di Verona

Verona: Primo itinerario turistico digitale dedicato alla storia delle signore di Verona. Il 3 marzo 2023, alle 15 alla sala Ruffo del Museo di Storia Naturale, in Lungadige Porta Vittoria 9, verrà presentato il nuovo itinerario turistico “Le Signore di Verona”. Si tratta di un percorso di visita originale che racconta la vita di otto donne veronesi illustri, dal periodo romano fino ai primi anni del '900. Grazie alla Web App FOODWalk, il progetto consentirà ai cittadini e ai turisti di passeggiare nelle vie del centro storico di Verona percorrendo otto tappe speciali dedicate ad altrettante donne veronesi che hanno segnato la storia cittadina. Il nuovo percorso al femminile, disponibile nella settimana dell'8 marzo in occasione della Giornata internazionale della donna, è stato illustrato dall'Assessora alla Cultura e Turismo Marta Ugolini. Il progetto si aggiunge agli altri contenuti della Web App gratuita FOODWalk, nata dalla collaborazione tra il gruppo Food Democracy, l'Università di Verona, la Fondazione CUEIM e l’agenzia di comunicazione Pensiero visibile. Il convegno, vedrà la partecipazione della ricercatrice Mareva De Frenza, dello storico medievista Gian Maria Varanini, della giornalista e autrice dei profili delle otto donne Monica Rubele, della project manager del progetto Maria Grazia Cucci e dell'imprenditore Michael Cortelletti. Le protagoniste dell'itinerario sono donne coraggiose, autonome e anticonformiste che, pur appartenendo ad epoche diverse, hanno osato diventare protagoniste del loro tempo. Fra le otto donne veronesi, vi è la matrona romana che finanziò generosamente l'acquedotto, Beatrice della Scala, detta Regina, figlia di Mastino II, che si mise alla testa di 1400 cavalieri in battaglia, Adelaide Melanotte, diva della lirica che difese un patriota durante il Risorgimento, e Silvia Curtoni Verza, intellettuale del '900 che dedicò la vita all'emancipazione femminile. Il convegno ha lo scopo di approfondire le tematiche legate al ruolo delle donne veronesi nella storia, un tema spesso trascurato dalla storiografia ufficiale. In una città raccontata più spesso attraverso uomini illustri, i relatori si confronteranno anche sul modo in cui le donne sono state raccontate dagli uomini. Al termine dell'incontro, i partecipanti potranno sperimentare una breve passeggiata guidata alla scoperta di alcune tappe dell'itinerario. L'inedito itinerario diventerà parte integrante del Food Democracy Museum, museo digitale diffuso nato dall'idea dell'imprenditore Michael Cortelletti. L'iniziativa è patrocinata dal Comune di Verona e rappresenta un nuovo modo di valorizzare e divulgare la storia delle donne.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[wewerecore]

CORE Pro #115

Regional Pro-Wrestling Day 2023 02/04/23 Arlen Specter US Squash Center - Philadelphia, Pennsylvania Attendance: No Vacancy

Match #1 Special Attraction Match

The Trustbusters (Ari Daivari, Sonny Kiss, and Slim J) vs. Team Sabu (Homicide, Suicide, and Jennacide) - Sonny Kiss connected with a superkick to Suicide which was followed up with a springboard inverted DDT from Slim J. Ari Daivari came off the top rope with a big splash and picked up the pinfall victory. Winners: The Trustbusters

Match #2 Wrestling Fears CZW Offer Match

CMD (Desean Pratt and Boom Harden) vs. Griffin McCoy and Michael Mistretta - Griffin McMcoy rebounded off the second rope for his Sunset Kick, but he was caught out of the air and planted with a Michinoku Driver from Boom Harden. Desean Pratt closed things out with a top rope doublestomp and the pin. Winners: CMD

Match #3 LVAC Offer Match

Big Dan Champion vs. The Boar - With Big Dan Champion backed into the corner, The Boar charged in for the gore, but Big Dan got out of the way and Boar hit shoulder first into the ring post. The Boar staggered toward the center of the ring and into a TKO from Big Dan. Winner: Big Dan Champion

Match #4 Juggalo Championship Wrestling Offer Match - JCW Tag Team Title Match

Brothers of Funstruction (Ruffo The Clown and Yabo The Clown) (Champions) vs. Mad Man Pondo and Kongo Kong - Before the opening bell, Officer Colt Cabana made his way to the ring and confiscated all weapons from the participants. During the match however, Yabo The Clown reached into his baggy pants and produced a comically oversized mallet. Ruffo The Clown held Mad Man Pondo’s legs open and Yabo pummeled Pondo’s privates with the mallet. The clowns worked together to slam Kongo Kong on top of Pondo and piled on top for the WrestleFest style pin. Winners: Brothers of Funstruction

Match #5 Memphis Wrestling Offer Match - Memphis Wrestling Internet Championship

Mike Anthony vs.  Tim Bosby (Champion) - Former Memphis Heritage Champion Mike Anthony went for his Genetic Dream double leg sole food, but the rookie standout Tim Bosby caught Anthony’s legs and countered with a Boston crab. Anthony fought to the ropes, Bosby relinquished the hold and hit a deadlift gut wrench suplex and got the upset win. Winner: Tim Bosby

- Before the Blackcraft Wrestling Offer Match, the lights in the building went out, and when they came back on standing at the entrance curtain next to a crucifix was The Preacher. The Preacher had a large scar on his neck from when he had his throat slit four years earlier. The Preacher asked for a volunteer from the crowd to be sacrificed on the cross. A muscular fan with a head like a pumpkin walked toward the entrance, but rather than be willingly crucified, the fan charged toward the ring in the direction of Simon Grimm but was easily subdued by CORE officials Andy Harner and Aaron Arbo. The Preacher began to hammer his own left hand into the crucifix and then called on the wrestlers for a little help hammering a nail into his free hand. The Preacher laughed maniacally and the wound on his neck opened up and began to pour blood. The lights were flicked on and off and CORE officials called for a stop to this segment. The match was declared a no contest and an intermission was held as everyone involved with Blackcraft Wrestling were escorted out of the building.  

Match #6 Blackcraft Wrestling Offer Match

Simon Grimm vs. Zicky Dice Winner: No Contest

- During the intermission as blood was mopped up and the chains were removed from the ring and ropes put back in their place; Big Dan Champion, Big Swole, Big Swole, and BIG BOSS Shimizu were made available for photo opportunities with the crowd.

Match #7 Special Attraction Match

Big Swole and Big Swole vs. Kerry Morton and Billie Starkz - Big Swole went for the rip cord rolling elbow on Billie Starkz, but Swole spun around into a superkick from Kerry Morton. Billie Starkz came off the top with a swanton bomb while Kerry Morton held off Big Swole from breaking up the pin on Big Swole. Winners: Kerry Morton and Billie Starkz

Match #8 Control Your Narrative Offer Match

EC3 and Fodder vs. Flip Gordon and Dontae Smiley - Dontae Smiley locked the Texas Cloverleaf on Fodder. EC3 charged in to the ring to break it up, Flip Gordon tried to cut him off but was tripped up by Fodder’s valet Angelina Love. EC3 connected with a lariat to the back of Smiley’s head, and Fodder got back to his feet for the big running legdrop on Dontae. Winners: EC3 and Fodder

Match #9 TransGraps Offer Match

Gisele Shaw vs. Edith Surreal - Edith Surreal went for the straight jacket DDT on Gisele Shaw, but Gisele countered with a back body drop. Shaw hit the ropes and landed a running knee strike to Edith’s external occipital protuberance. Winner: Gisele Shaw

Match #10 TERMINUS Offer Match

Jonathan Gresham vs. Baron Black - The contest between these two TERMINUS grapplers went to the full fifteen minute time limit. During the ninety second overtime period, a desperate Baron Black intentionally low blowed Jonathan Gresham. According to TERMINUS rules, a grappler is issued a technical foul for a low blow, but will only be disqualified with two technical fouls. So after being issued his technical foul, Baron Black covered Gresham and got the three count.   Winner: Baron Black

Match #11 Wrestling Entertainment Series World Championship Offer Match

Alistair Overeem (Champion) vs. Mojo Muhtadi - Mojo Muhtadi made his triumphant return to pro-wrestling by finding himself on the receiving end of repeated knees to the chest Alistair Overeem before slumping to the ground and being pummeled into unconsciousness with fists to the face until the referee called for the bell. Winner: Alistair Overeem

Match #12 Special Attraction Match

The Last Wave (Josh Alexander and Mr. Takeshita) vs. Natural Vibes (BIG BOSS Shimizu and Kzy) - Josh Alexander tried for the German suplex on BIG BOSS Shimizu, but Shimizu elbowed his way out and countered into a Shot-put Slam attempt. Mr. Takeshita saved his partner with a jumping Jumbo knee between Shimizu’s shoulder blades. Alexander hoisted Shimizu up for the Jay Driller in the center of the ring and the successful pinfall. Winners: The Last Wave

Upcoming Shows:

CORE presents The Co-Op 2023 03/30/23 - 04/02/23 Pico Union Project - Los Angeles, California

March 30th Trustbusters: Answer The Call Masakatsu Funaki's The Quest JUST TAP OUT Professional Wrestling Senior Division Slam-O-Rama

March 31st Johnny Ace's Dynamic Dames JTO vs. CORE Jeff Jarrett's Spring Breakers Trustbusters: Afterlife

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[americaistheoldworld]

Knights of the Order of the Crescent

Knights of the Order of the Crescent is a worthy discussion since we know that the crescent moon is an indigenous symbol from Southern Arabia, aka, Mexico, since Mexico was Southern Arabia and Mexico means, “In the center of the Moon”: https://rb.gy/himgj1.

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Map of Mayaca, Florida (Ethiopia)

There is a town in Ethiopia called Mayo, Ethiopia. The name Mayo is the same as Maya (Mayans), so we are dealing with the Mayans. There was once a Mayan city in Florida called Mayaca (see post image of map), which is further proof that the Mayans established La floridas (Ethiopia Superior/ Tameri). This city was obviously named after the Mayas/ Mayans since we can see their tribal name of Maya in Mayaca (Maya-ca). Mayaca is now extinct and so is the Mayaca Tribe (Mayaca people), and we can blame the Spanish invasion (the Holy Wars) of the 1500's for their extinction; however, Florida still has Port Mayaca as evidence of a city now gone.

Duke of Milan (1454);

SFORZA (François-Alexandre) Quarterly: 1st and 4th Or, to the eagle Sable crowned of the first (LOMBARDY); 2nd and 3rd, Argent, to the bisse Azure in pale, crowned Or, giving birth to a child Gules (VISCONTI-MILAN). Duke of Milan (1454); natural son of Muzio Attendolo dit Sforza, lord of Cotignola, and Lucrezia Trezana or Tresciano; husband: 1° of Polyxène Ruffo, widow of Jacques Marilli (?) Grand Seneschal of the Kingdom of Naples, daughter of Charles Ruffo, Count of Montalto and Corigliano, and of Cevarella de Saint-Séverin; 2° (August 1, 1441) of Blanche-Marie Visconti, natural daughter of Philippe-Marie Visconti, Duke of Milan; born at San-Miniato (Tuscany), July 25, 1401, died at Milan, March 8, 1466.

First Baron of Maine, Viceroy of Sicily and Anjou

CHAMPAGNE (Peter I of) Sable, fretty Argent; a chief or charged with a lion issanl gules (1). Currency (2): Sta closes. Lord of Champagne, Pescheseul, Lonvoisin, Bailleul and Parcé, Prince of Montorio and Aquila, First Baron of Maine, Viceroy of Sicily and Anjou; third son of Jean III of Champagne and Ambroise de Crénon; married, according to contract of April 22, 1441, with Marie de Laval, sister of Guy de Laval (see this name), and daughter of Thibaut and Jeanne de Maillé-Brézé; died in Angers, almost a hundred years old, on October 15, 1486, and buried on the 22nd of the same month, in the church of Saint-Martin de Parce (3). This valiant knight, who had distinguished himself in many battles, won two great victories against the English: the first in 1442, in the plain of Saint-Denis d'Anjou, and the second in 1448, before Beaumont-le-Vicomte. The following year, Jean d'Anjou gave him the order to help Charles VII against the English, and he covered himself with glory at the Battle of Formigny (1450).

ANJOU (Charles I of) Count of Maine

ANJOU (Charles I of) Azure, semé of fleurs-de-lis Or, to the lion Argent set in quarter; bordered gules. Count of Maine, Guise, Mortain, viscount of Châtellerault, lieutenant general for the king in Languedoc and Guyenne; third son of Louis II of Sicily and Yolande of Aragon; married: 1°, before 1434, with Cobelle Ruffo (2), widow of Jean-Antoine Marzano, Duke of Sessa, Prince of Rossano, daughter of Charles Ruffo, Count of Montalto and Corigliano, Grand Justice of the Kingdom of Naples, and of Cevareila de Saint-Séverin (see this name); 2°, by contract of January 9, 1443, with Isabelle de Luxembourg, daughter of Pierre de Luxembourg, count of Saint-Pol, and of Marguerite des Baux; born in the castle of Montils-les-Tours, October 14, 1414; died at Neuvy, in Touraine, on April 10, 1472, and buried in the church of Saint-Julien in Le Mans. (2) Through this alliance, Cobelle Ruffo had become the sister-in-law of three kings, Louis III of Sicily, René of Anjou and Charles VII. Polyxène Ruffo, his sister, first married François-Alexandre Sforza (see this name).

Baron of Mison

AGOULT (Fouquet or Foulques d') Or, to the ravishing wolf Azure, armed, langued and vilené Gules (1). Baron of Mison, of La Tour-d'Aigues, of Sault and of Forcalquier, lord of Thèze, Barret, Volone, La Bastide, Peypin, Niozelles, etc., chamberlain of René d'Anjou, viguier of Marseilles (1443, 1445 and 1472); son of Raymond and Louise de Glandevès-Faucon, his second wife; married: 1° with Jeanne de Beaurain; 2° with Jeanne de Bouliers; died without posterity at La Tour-d'Aiguës in 1492, nearly 100 years old. Fouquet d'Agoult had been nicknamed by his contemporaries the Great and the Illustrious, in view of his love of justice, his magnificence and his liberality. Nostradamus (2) reports that "after the death of this so good and so excellent Roy (René d'Anjou) several and various eulogies, epitaphs and learned compositions were placed on his tomb, in the church of the Convent of the Carmelites of the City of Aix...The eulogies were in various languages, Hebrews, Greeks, Latins, French, Italians, Cathalans and Provencals, which the magnificent Fouquet d'Agoult, lord of Sault, had collected and transcribed exactly by the express command de la Reyne his second wife.

Moslem-Jerusalem under the Order of the Cresent, 1070

Muslem-Jerusalem from 1070 under the order of the Cresent. Moslem-Jerusalem, which looks very Moorish with the Crescent moons at the top of those Maurice domes. I love the Phoenician purple trim too at the top. This image is a full-page miniature of Jerusalem and the Dome of the Rock Image taken from feature 5 of Book of Hours, Use of Paris ('The Hours of René d'Anjou'). Written in Latin, calendar, and rubrics in French.

King René of Anjou

The Ordre du Croissant (Order of the Crescent; Italian: Ordine della Luna Crescente) was a chivalric order founded by Charles I of Naples and Sicily in 1268. It was revived in 1448 or 1464 by René I of Naples, the king of Jerusalem, Sicily, and Aragon (including parts of Provence), to provide him with a rival to the English Order of the Garter. René was one of the champions of the medieval system of chivalry and knighthood, and this new order was (like its English rival) neo-Arthurian in character. Its insignia consisted of a golden crescent moon engraved in grey with the word LOZ, with a chain of 3 gold loops above the crescent. On René's death, the Order lapsed. The Order of the Crescent, also known as "Order of the Crescent in the Provence,” a French chivalric order was founded on 11 August 1448 in Angers by King Rene of Provence as a court order. The order, which united itself, features from knighthood and spiritual orders, and counted up to 50 knights, of which can be dukes, princes, marquises, viscounts and knights with four quarters of nobility.

A French Canadian Maur by the name of Ann Marie Bourassa sent me a link to the Armorial Chevaliers (Knights) of the Order of the Crescent and the images in this post spoke to my DNA, since my maternal surname, “Chavis” means the Goat and Brave boy: https://rb.gy/qk2k10.

Chavis/ Chavers is also short for Chevaliers, since the Chavis are a Royal family of knights that is associated with bravery and passing the BAR. Chevaliers is French for Knights since the number one code of the knights is chivalry, which means bravery. During the old-world chivalry (honor) was established from being brave in battle, and cavalry is another word that is derived from chevaliers since cavalry means an army of mounted braves (Knights) on horses.

In 1066 during the Battle of Hastings, my French royal family of Shivers, which is French for Chavis, as knights, helped the French Viking King, “William the Conqueror,” a Danite, conquer England with the aid of two dragons and were given the Shivers Mountains in England by William the Conqueror due to the acts of Chivalry (bravery=Knighthood) on the battlefield: https://rb.gy/n9vlao.

Here is the link to the Armorial Knights of the order of the Crescent: https://rb.gy/y2hpa4. This link is in French, but you can use Goggle Translate to translate the French into English.

Please, avoid the hijack with the whitewash when reading the Armorial Knights link, because the original French were the Franks or Gauls (Gullah Geechee/ Galilee), and they were French Maurs (Merovingians): https://rb.gy/posjrm.

“Franks (Franci), a Germanic people who conquered Gallia (Gaul), and made it Francia (France).” [End quote from Oxford Classical Dictionary]. “Gaul, French Gaule, Latin Gallia, the region inhabited by the ancient Gauls, comprising modern-day France and parts of Belgium, western Germany, and northern Italy”: https://www.britannica.com/place/Gaul-ancient-region-Europe.

The Americas has the most place names associated with Gaul/ Gales/ Gules/ Gola/ Galley/ Gullah/ Galilee/ Gaelic (France). For example, Galesburg, Illinois; Galilee, Pennsylvania; Angola, Louisiana; Angola, Indiana, etc. Some of the African slaves allegedly came from Angola, aka, the Congo (Congo, Alabama*), which is a country allegedly in Africa on the Slave Coast. Gola, which is short for Angola (An-Gola), is also Gula as in Gullah Geechee – Seminole and Creek (Greek) Indians: https://msuweb.montclair.edu/~sotillos/moore.htm.

Guale was a historic Native American chiefdom (Tribe) of Mississippian culture peoples located along the coast of present-day Georgia and the Sea Islands. This tribe of Guale Indians were Maurs (Maur-iners as in Marine and Mar/ Mer as in sea), aka, Sea people. Guale was once a city on the Sea Coast of Georgia that is now extinct and so is this tribe of Indians (Washitaw Muurs = Yamasees and the five civilized tribes), due to Spanish conquest: https://www.americaistheoldworld.com/gibraltar-of-the-west/.

In South America we have the Spanish equivalent to the Gullah Geechee, the “Gualeguaychú.” Gualeguaychú is a city in the province of Entre Ríos, Argentina, on the left bank of the Gualeguaychú River (a tributary of the Uruguay River). In Mexico, we have Guatemala, which is a derivative of Gaul since the prefix Guate in Gutemala is Gaul.

This book, “Africa vs. America,” demonstrates that Europeans copied ancient Ghana that was in South America (Guyana) and built a second Ghana on the other coast [Africa], which is known as Congo or Angola. Africa vs. America,” by Isabel Alvarez: https://www.americaistheoldworld.com/ancient-ghana-is-guyana/.

This FB post deals with a French Merovingian Queen, nicknamed “The She Wolf,” since she convinced a Baron (wizard), Lord Roger Mortimer, to help her to overthrow her gay husband, King Edward II of England to take the crown: https://rb.gy/7g9b4s.

Speaking of the She Wolf, the Capitoline Wolf is the She Wolf and is a symbol of the founding of Rome. The wolf is a sacred symbol of the Turks and the Danites. The Americas has 13 Capitoline Wolf Statues, which suggests that the greater Rome or Imperial Rome was in the Americas. Rome is derived from the Egyptian word Ramen and the Hebrew word Rimon, which means pomegranate. The pomegranate is a symbol of Granada Land (the promised land), which was in the Americas: https://www.americaistheoldworld.com/imperial-rome-and-italy-superior/.

The Armorial Knights of the order of the Crescent has a few coats of arms with the She Wolf in the center of the moon. Mother Mary/ Maya/ Meru, aka, the Queen of Heaven, is shown in many images as the Venus Star Transit, which is the Mayan 5-pointed Star, standing in the center of the crescent moon. The wolf is code for the Dragon, aka, the constellation Draco when its Star Theban was the Pole Star or the North Star.

Who was Rene d’Anjou?

In this post are some images of the Royal Knights’ coat of arms of the Order of the Crescent, instituted by King René d’Anjou, ms. Fr. 5225. Statues of the Order of the Crescent, founded by René d’Anjou (1448), ms. Fr. 25204. (Source: gallica.bnf.fr, National Library of France).

The Ordre du Croissant (Order of the Crescent; Italian: Ordine della Luna Crescente) was a chivalric order [knights’ order] founded by Charles I of Naples and Sicily in 1268. It was revived in 1448 or 1464 by René I of Naples, the king of Jerusalem, Sicily and Aragon (including parts of Provence), to provide him with a rival to the English Order of the Garter. René was one of the champions of the medieval system of chivalry and knighthood, and this new order was (like its English rival) neo-Arthurian in character. Its insignia consisted of a golden crescent moon engraved in grey with the word LOZ, with a chain of three gold loops above the crescent. On René’s death, the Order lapsed.

The Armorial Knights of the Order of the Crescent, also known as “Order of the Crescent in the Provence,” a French chivalric order was founded on 11 August 1448 in Angers by King Rene of Provence as a court order. The order, which united itself, features from knighthood and spiritual orders, and counted up to fifty knights, of which can be dukes, princes, marquises, viscounts, and knights with four quarters of nobility.

The Knights committed themselves to mutual assistance and loyalty to the order which, after the Provence became part of France in 1486, was soon forgotten. Ackermann mentions this knighthood as a historical order of France.

In this post is a poorly whitewashed image of King Rene of Anjou since he is still swarthy (dark/ Black) in his image. King Rene was the grandson of King John II of France, aka, John the Good, who was undoubtedly a Naga/ Negro: https://rb.gy/onckrm.

René of Anjou (Italian: Renato; Occitan: Rainièr; Catalan: Renat; 1409–1480) was Duke of Anjou, King of Jerusalem, King of Sicily, King of Aragon (Gules), and Count of Provence [Province, Maine*] from 1434 to 1480, who also reigned as King of Naples as René I from 1435 to 1442 (then deposed as the preceding dynasty was restored to power). Having spent his last years in Aix-en-Provence, he is known in France as the Good King René (Occitan: Rei Rainièr lo Bòn; French: Le bon roi René).

René was a member of the House of Valois-Anjou, a cadet branch of the French royal house, and the great-grandson of John II of France. He was a prince of the blood, and for most of his adult life also the brother-in-law of the reigning king Charles VII of France. Other than the aforementioned titles, he was for several years also Duke of Bar and Duke of Lorraine.

René was born on 16 January 1409 in the castle of Angers.[2] He was the second son of Duke Louis II of Anjou, King of Naples, by Yolanda of Aragon.[2] René was the brother of Marie of Anjou, who married the future Charles VII and became Queen of France.[3]

Anjou is just a Latinized way of saying Andros/ Andrews, so we are dealing with Saracens (old Arabs) of the lost 10 lost tribes of Israel that were descendants of the first Apostle Saint Andrew: https://the-red-thread.net/genealogy/andrews.html.

Greater France or France Superior in the Americas:

If you have read my post about Imperial Rome and Italy Superior you already know that Italy Superior was La Floridas and there is also a Naples, Florida, which suggests that Rene Anjou was once the king of Naples, Florida since La Floridas was the original Italy. Remember that France borders Italy, which means that since Italy Superior was in the Americas Greater France or France Superior was also in the Americas.

Now, if we include Gules/ Gual (Aragon) and Maine, it leaves no doubt that this history is referring to Greater France in the Americas since the Imperial Rome and Italy Superior post proves that Africa, Europe, and the Middle East was originally in the Americas.

Maine and the New England states were once part of the Nova France and this territory was once known as Nova France (New France), according to old maps from the 1500’s – 1700’s, however, we know that it is nothing new about Nova France since the Americas is the East (the Orient) and the old world. Maine also has a Bar Harbor, now a resort for the wealthy. Notice that when you read the description of the coat of arms in the Armorial Knights link you will see a few references to Bar and Maine, which suggests that ancient Frankish (French) history is referring mostly to the Americas.

France borders Italy, according to modern-day maps, therefore, this post is more evidence confirming that the original France was in the Americas since Florida was Italy Superior.

King Anjou was born and buried in Angers, France. Angers sounds a lot like Algiers, Louisiana. Algiers was part of the Ottoman Empire that was originally in the Americas: https://www.americaistheoldworld.com/the-ottoman-empire-in-the-americas/.

The French and the Ottoman Turks as Moormans (Danites=Vikings=Sea people) were blood allies against Spain (Rome) during the Crusades or Holy Wars. Louisiana has France written all over it since Louisiana is called Cajun Country. Plus, the prefix of Louis in Louis-iana is a French name that is associated with a long list of French Kings. Cajun and Acadian (Akkadian) are the same word. In fact, Louisiana used to be a part of the Acadian Republic. Louisiana is called the boot kicking state since Louisiana is shaped like a boot, and so is Italy and Florida. Louisiana has a French Quarters and the people called themselves Cajuns (Acadians).

Additionally, the city of New Orleans, Louisiana, is called the Crescent City and it shares the same place names as Orleans, France. Louisiana also has Parishes (Parish=Paris), which is derived from Paris, as in Paris, France. Paris means “For Isis” or “City of Isis,” and Paris is short for Paradise. Baton Rouge (Louisiana) is a French word that means Red Stick.

The New Orleans Saints logo is the fleur-de-lis (Florida*). It’s a French word that means lily flower in English. French Maurs (High Priest of Anu) known as the Merovingians introduced the fleur-de-lis as a symbol of France, which is sometimes spelled fleur-de-lys; and it is a stylized lily or iris commonly used for decoration. In fact, translated from French, fleur-de-lis means “lily flower.” Fleur means “flower,” while lis means “lily.” The interesting thing about the fleur-de-lis or Lily Flower is that it is derived from the Bee, and it is just an upside-down Bee: https://rb.gy/jpasca.

AGOULT (Fouquet or Foulques d’)

Or, to the ravishing wolf Azure, armed, langued and vilené Gules (1). 

Baron of Mison, of La Tour-d’Aigues, of Sault and of Forcalquier, lord of Thèze, Barret, Volone, La Bastide, Peypin, Niozelles, etc., chamberlain of René d’Anjou, viguier of Marseilles (1443, 1445 and 1472); son of Raymond and Louise de Glandevès-Faucon, his second wife; married: 1° with Jeanne de Beaurain; 2° with Jeanne de Bouliers; died without posterity at La Tour-d’Aiguës in 1492, nearly 100 years old.

Fouquet d’Agoult had been nicknamed by his contemporaries the Great and the Illustrious, in view of his love of justice, his magnificence and his liberality. Nostradamus (2) reports that “after the death of this so good and so excellent Roy (René d’Anjou) several and various eulogies, epitaphs and learned compositions were placed on his tomb, in the church of the Convent of the Carmelites of the City of Aix…The eulogies were in various languages, Hebrews, Greeks, Latins, French, Italians, Cathalans and Provencals, which the magnificent Fouquet d’Agoult, lord of Sault, had collected and transcribed exactly by the express command de la Reyne his second wife.

(1) All the genealogists and heraldists describe the d’Agoult coat of arms in the terms we have just used; however, the wolf is always represented crawling and not ravishing, that is to say holding its prey in the mouth. We didn’t want to change anything in the accepted description; but it was necessary to point out that it does not agree with the representation of the coat of arms. In 1220, the seal of Raymond II d’Agoult bore a passing wolf. (2) History and Chronicle of Provence, p. 646.

ANJOU (Charles I of)

Azure, semé of fleurs-de-lis Or, to the lion Argent set in quarter; bordered gules.

Count of Maine, Guise, Mortain, viscount of Châtellerault, lieutenant general for the king in Languedoc and Guyenne; third son of Louis II of Sicily and Yolande of Aragon; married: 1°, before 1434, with Cobelle Ruffo (2), widow of Jean-Antoine Marzano, Duke of Sessa, Prince of Rossano, daughter of Charles Ruffo, Count of Montalto and Corigliano, Grand Justice of the Kingdom of Naples, and of Cevareila de Saint-Séverin (see this name); 2°, by contract of January 9, 1443, with Isabelle de Luxembourg, daughter of Pierre de Luxembourg, count of Saint-Pol, and of Marguerite des Baux; born in the castle of Montils-les-Tours, October 14, 1414; died at Neuvy, in Touraine, on April 10, 1472, and buried in the church of Saint-Julien in Le Mans.

(2) Through this alliance, Cobelle Ruffo had become the sister-in-law of three kings, Louis III of Sicily, René of Anjou and Charles VII. Polyxène Ruffo, his sister, first married François-Alexandre Sforza (see this name).

ANJOU (Jean d’)

Per fess of one party, of two, which makes six quarters: 1 barage Argent and Gules, of eight pieces (HUNGARY); 2nd, Azure, strewn with fleurs-de-lis Or, a label Gules, five pendants in chief (ANJOU-SICILY); 3 Argent, to the cross of Jerusalem Or, at angle (JERUSALEM); 4th, azure, strewn with fleurs-de-lis or, a border gules (ancient ANJOU); 5th Azure, strewn with recrossed crosses set foot Or, two bars backed by the same debruising over all (BAR): 6th Or, a bend Gules charged with three alerions Argent ( LORRAINE); a label Gules three pendants in chief, debruising on the large quarters.

Duke of Calabria and Lorraine, senator of the Crescent (1470); eldest son of René d’Anjou and Isabelle de Lorraine; married, by treaty of April 2, 1437, with Marie de Bourbon, daughter of Charles I, Duke of Bourbon, and Agnès de Bourgogne; born in Toul on August 2, 1426, died in Barcelona on December 16, 1470, and buried in Angers, in the church of the Cordeliers (1).

(1) On a glass roof of this church, this prince was represented on his knees, his hands joined, a floral crown on his head, and wearing a loose coat with a turned down collar. In front of him was the coat of arms described above, supported by the emblem of the order of the Crescent with its motto. (MONTFAUCON, op. cit., t. II, pl. LXI11). These arms are absolutely identical to those which appear on a counter-seal of Jean d’Anjou, affixed to a document of 1465 (DOUET D’ARCQ, Collection de sceaux, t. I, n°789).

ANJOU (René d’)

Cut from one, from two, which makes six quarters; to 1 of HUNGARY; at 2 d’ANJOU-SICILY; at 3 of JERUSALEM; at 4 d’ANJOU old; at 5 of BAR; at 6 LORRAINE; over all Or, four pales Gules (ARAGON).

King of Naples, Sicily, Jerusalem and Aragon, Duke of Anjou, Lorraine and Bar, Count of Provence, Senator of the Crescent (1449); son of Louis II, Duke of Anjou, King of Naples, and Yolande of Aragon; married, in first marriage, by treaty of March 20, 1419, with Isabelle de Lorraine, eldest daughter and heiress of Charles II, Duke of Lorraine, and of Marguerite de Lorraine; in second marriage, September 10, 1454, with Jeanne de Laval, daughter of Guy XIV, Count of Laval, and Isabelle de Bretagne; born in Angers on January 16, 1409, died in Aix on July 10, 1480, and buried in the church of Saint-Maurice in Angers on October 26, 1481.

From the institution of the Armorial Knights of the Order of the Crescent, King René accompanied these coats of arms (1) (still existing in 1620, at Saint-Maurice d’Angers) with the insignia of the order (2), which he had painted and sculpted on a large number of monuments and works of art, to engrave on its seals (3) and to embroider (4) on its tapestries and ceremonial costumes.

(1) On the subject of the various coats of arms carried successively by René, see our work: La Croix de Jerusalem dans le Blason, p. 14. (2) Ung radiant and marvelous crescent, Garny of fine gold and white enamel, Of which there was in frank writing, Loz in crescent in engraved and understood, Such motto had this lord taken. Not without reason, for his loz would grow On all living beings who had loz and be. (OCTAVIE DE SAINT-GELAIS, Le Séjour de l’Honneur.) (3) Some of these seals have a double crescent on the reverse that Mr Douet d’Arcq (collection of seals, n°11783) took for two bags or stacked purses. (4) In 1448, Pierre du Villant, painter and embroiderer to the King of Sicily, two professions closely united in the Middle Ages, executed four embroidered crescents for his new order of chivalry (LECOY DE LA MARCHE, Extracts from accounts and memorials, n ° 632).

CHAMPAGNE (Peter I of)

Sable, fretty Argent; a chief or charged with a lion issanl gules (1). Currency (2): Sta closes.

Lord of Champagne, Pescheseul, Lonvoisin, Bailleul and Parcé, Prince of Montorio and Aquila, First Baron of Maine, Viceroy of Sicily and Anjou; third son of Jean III of Champagne and Ambroise de Crénon; married, according to contract of April 22, 1441, with Marie de Laval, sister of Guy de Laval (see this name), and daughter of Thibaut and Jeanne de Maillé-Brézé; died in Angers, almost a hundred years old, on October 15, 1486, and buried on the 22nd of the same month, in the church of Saint-Martin de Parce (3).

This valiant knight, who had distinguished himself in many battles, won two great victories against the English: the first in 1442, in the plain of Saint-Denis d’Anjou, and the second in 1448, before Beaumont-le-Vicomte. The following year, Jean d’Anjou gave him the order to help Charles VII against the English, and he covered himself with glory at the Battle of Formigny (1450).

(1) In the 17th century, this family sought to attach itself to the illustrious house of the Counts of Champagne and took its arms, which are: Azure with a silver band, bordered by two cotices potent and counter-potentiated Golden. (2) Motto and coat of arms still visible in 1620, in the chapel of the Knights of the Crescent in Saint-Maurice d’Angers. (3) The epitaph engraved on his tomb had been composed, it seems, by the king.

SFORZA (François-Alexandre)

Quarterly: 1st and 4th Or, to the eagle Sable crowned of the first (LOMBARDY); 2nd and 3rd, Argent, to the bisse Azure in pale, crowned Or, giving birth to a child Gules (VISCONTI-MILAN).

Duke of Milan (1454); natural son of Muzio Attendolo dit Sforza, lord of Cotignola, and Lucrezia Trezana or Tresciano; husband: 1° of Polyxène Ruffo, widow of Jacques Marilli (?) Grand Seneschal of the Kingdom of Naples, daughter of Charles Ruffo, Count of Montalto and Corigliano, and of Cevarella de Saint-Séverin; 2° (August 1, 1441) of Blanche-Marie Visconti, natural daughter of Philippe-Marie Visconti, Duke of Milan; born at San-Miniato (Tuscany), July 25, 1401, died at Milan, March 8, 1466.

As you can see, the Armorial Knights of the Order of the Crescent were very distinguished and extraordinary gentlemen and so was their King, Rene of Anjou since King Rene was a Saracen (Moslem) that was the King of Jerusalem, Sicily, Naples, and Aragon. In this post is an image of Moslem-Jerusalem, which looks very Moorish with the Crescent moons at the top of those Maurice domes. I love the Phoenician purple trim too at the top. This image is a full-page miniature of Jerusalem and the Dome of the Rock Image taken from feature 5 of Book of Hours, Use of Paris (‘The Hours of René d’Anjou’). Written in Latin, calendar, and rubrics in French: https://picryl.com/media/jerusalem-from-bl-eg-1070-f-5-4d2417.

The royal coats of arms of the Knights of the Order of the Crescent display powerful images of occult symbols like the kingfish (fisher king), the Falcon (Horus), and the Bee/ Beetle. The Fleur-de-lis symbol is an upside-down bee. We know that the study of the birds (falcons) and the bees/ beetles is real sex (love) through alchemy, and this advanced knowledge (magic) that was acquired from Thoth/ Thought was used to create an Eden style of government or Ethiopia = Utopia that was based on free energy and a resource-based economy: https://www.americaistheoldworld.com/teotihuacan-is-the-home-of-thoth/.

The fisher kings who were Fishers of men, aka, Magi’s, were the High Priest of Anu (Maurs) from Nineveh, which was Jacksonville, Florida, and surrounding areas. Nineveh means place of fish or House of fish and is the home of Prophet Jonah of the Bible: https://www.americaistheoldworld.com/nineveh-was-jacksonville-florida/.

Speaking of Jonah, a fish/ whale swallowed him for 3 days and then spit him out, which is code for him being born from a dragon, making Jonah a messiah, a Christ-king, and/or a Dragon-king: https://rb.gy/dsgf9g.

In this post is the coat of arms of royal knight, SFORZA (François-Alexandre), that depicts a Maur (High priest of Anu) being born from a blue dragon since serpents/ dragons don’t eat their prey feet-first. Also, notice the double headed Turkey of the Holy Roman Empire on the coat of arms. People think that this bird is an Eagle when it really is a Turkey, since Turkeys have beards and Eagles don’t. If you view different images of Hapsburg (Holy Roman empire) coat of arms you see that the bird on this coat of arms is clearly a double headed Turkey with a red beard. The Turkey is indigenous to the Americas and so is the Roman Empire. The Turkey is a hybrid bird that was spliced together with light codes (sound frequencies), aka, light alchemy, by Turkmen/ Moorman long ago using a combination of the Tukey Buzzard and the Chicken (the base metals) to create another meat source known as Turkey (the gold or good product).

I know this Roman History is confusing because Rome was a global empire that was on both sides of the world, however, the legit honorable Roman Empire that was in the Americas and under French Washitaw rule was overthrown by the duplicate Christian and Catholic Rome in Europe since the American version of the Romans were Saracens (Moslems) and pagans (Hebrews) that were labeled as infidels, in the eyes of the duplicate Roman hijack.

    The post Knights of the Order of the Crescent appeared first on America is the Old World.

source https://www.americaistheoldworld.com/knights-of-the-order-of-the-crescent/?utm_source=rss&utm_medium=rss&utm_campaign=knights-of-the-order-of-the-crescent

[girlscarpia]

Compare with the chad baritone Titta Ruffo who was antifascist and refused to even sing in Italy after the assassination of Matteotti. And was a better singer also <3

They really let Aldo Protti build a career and all after he volunteered for the army of Repubblica Sociale Italiana and (allegedly) was part of brigate nere? He even was a member of Movimento Sociale Italiano lmao he wasn't even good

[opera-ghosts]

Celebrated buffo tenor Gaetano Pini-Corsi (1860-1935) came from a long line of singers, including his two uncles, baritone Giovanni Corsi (1822-1890) and tenor Achille Corsi (1840-1906), his cousin, soprano Emilia Corsi (1870-1928) and his older brother Antonio Pini-Corsi (1858-1918). There is a great deal of controversy regarding this artist’s lineage. While it is agreed that he was definitely from the same bloodline as the above-mentioned artists, there are various opinions as to exactly where he fits into the family tree. It has been suggested that he was the younger brother of Antonio and Gaetano and was born in 1879. Other references state that he was the cousin of the aforementioned Pini-Corsi brothers. It is most commonly accepted, however, that he was the son of Antonio Pini-Corsi and his wife Clorinda and was born in Bologna on Christmas Day, 1889.

The latter date, however, presents a few problems. Umberto’s only known recordings date from early 1904, which would make him 14 years old at the time. Even given that he was raised in a family of operatic singers, it is almost impossible to believe that a 14-year-old boy could possess such a developed voice, polished technique and accomplished artistry at such a tender age. In addition, the handful of surviving references to Pini-Corsi’s public appearances suggest a much earlier birthdate, making the year 1879 seem more plausible. One can only assume that the later year originated from a long forgotten typographical error that has been perpetuated over the decades.

Unfortunately, we know very little about this tenor’s life and career. Only a few press reports or mentions in reference works exist regarding Umberto Pini-Corsi. A Columbia Records catalogue from March 1906 mentions a certain “U. Pini-Corsi of La Scala” on the label’s list of operatic recordings. Although the tenor did make a handful of records for Columbia in 1904, it is quite possible that the catalogue is referring to Antonio Pini-Corsi, who also recorded for Columbia in 1904. The publication Ars e Labor Musica e Musicisti Rivista Mensile Illustrata reviewed his performance in Bach’s Ascension Oratorio in January of 1907, stating, “The Ascension Cantata by Bach, directed with great care by [Giuseppe] Gallignani himself and performed very well by Umberto Pini-Corsi, Antonietta Gennari, Egidia Pizzioli Bernardo Pozzoli, choirs and the orchestra. Mr. Giuseppe Cotrasi was at the organ and at the piano was Mr. Luigi Bianchi-Rosa.” Pini-Corsi is also mentioned in a January 13, 1909 edition of El Imparcial. The young tenor joined such luminaries as Rosina Storchio, Celestina Boninsegna, Graziella Pareto, Tadeuz Leliva and Titta Ruffo at Madrid’s Teatro Real for a concert benefitting the victims of the Messina earthquake. Two days later, La Correspondencia Militar reviewed the performance, commenting on the tremendous applause received by the tenor for his masterful performance of Tirindelli’s song “Portami via!”.

Apart from these few references, there is no information about this mysterious artist. It has been suggested that his promising career was cut short by the ravages of tuberculosis. While there is no corroborating evidence to support this, it is known that Umberto Pini-Corsi was pitifully young when he died in Nervi on April 3, 1911.

Umberto Pini-Corsi made only three recordings, all for the Columbia label in Milan in 1904. We hear a pleasing, well produced lyric tenor with an innate musicality and a very individual sense of artistry, seemingly dispelling the myth that these are the performances of a 14-year-old boy. Here, Pini-Corsi sings "Una furtiva lagrima" from Donizetti's L'Elisir d'Amore.

[nordleuchten]

I was reading about Laf's death, and it came to me the question I wish you to answer: how Lafayette's children died? 'Cause when I stopped to think about it, I only knew the fate of little Henriette, who died of a fever (?) before the age of 2. But what about Anastasie, Georges and Virginie?

Thank you so much!! <3

p.s. I really love reading your posts here! they're very informative and I love the amount of information on this little stuff you've got!!

First of all dear Anon, thank you very much for your kind words!. It really means a lot for me to hear that other people find what I post on here useful.

As much as I love researching La Fayette’s children, that can always be a bit different because there is not too much about them out there. Most historians and authors are only interested in their father and the children are largely overshadowed by their father - something I would say they never really minded. Georges Washington for example always seemed quite aware that he one day would be a Marquis de La Fayette but that his father would forever be the Marquis de La Fayette.

The death of Adrienne Henriette Catherine Charlotte de La Fayette is by far the best covered, partly because her death was the most tragic and partly because she was the only one of the siblings that died during La Fayette’s lifetime and is therefore covered by his biographers.

Henriette was born on December 15, 1775 and died on October 3, 1777 of a fever. Most secondary sources do not mention a specific date of death and there are also misdated versions of this date out there. In the book Lafayette in the age of the American Revolution: Selected Papers, 1776-1790, Volume I it is stated in a chronological outline of La Fayette’s life, that his daughter died at one point during December of 1777. The following volumes (Volumes II-IV) feature an updated outline that puts Henriette’s death on October 13. I am not quite sure if the editors of La Fayette’s papers found Henriette’s certificate of death between the publishing of Volume I and Volume II - I myself could not find such a document and it furthermore seems as if the original papers concerning Henriette’s death burned at some point. There is however a copy in the book Notes prises aux archives de l’état-civil de Paris, avenue Victoria, 4, brûlées le 24 mai 1871 by the comte de Chastellux:

comte de Chastellux, Notes prises aux archives de l’état-civil de Paris, avenue Victoria, 4, brûlées le 24 mai 1871, J.-B. Dumoulin, Paris, 1875, p. 447.

Anastasie Louise Pauline de La Fayette was the next oldest and lived the longest out of all the siblings. She died early in 1863 at the age of 85 with her youngest widowed daughter by her side. There are some controversies about the exact date of her death, different sources range between late February and early March but February 23 seems to be most likely. Something very noteworthy about her death is that she had moved with her family to Turin in Italy prior to her death. Her descendants remained in Italy until one of her several great-grand-daughters, Paola Ruffo di Calabari, married the Crown Prince of Belgium, later Albert III. The reigning King of Belgium, Philippe, is Paola’s son therefore a direct descendent of La Fayette’s. (Almost a bit ironic given his ... tumultuous relationship with European kings and monarchs.)

There is actually an obituary of Anastasie’s in a British gentleman’s magazine. This particular magazine was published twice a year and mainly reported about historical and archaeological news. There was also a section that reported the deaths of notable people. The interesting part about this is, that the magazine did not publish these obituaries on their own account - relatives and close friends of the deceased person had to write and send in the obituary for the magazine to publish. In other words, somebody close to Anastasie wrote the following obituary and send it to this gentleman’s magazine.

Edward Cave, editors, The Gentelman’s Magazine and Historical Review, Vol. 214/14, Messrs. Parker, Oxford, London, 1863, p. 530.

After the death of his father, Georges Washington Louis Gilbert de La Fayette became the Marquis de La Fayette. He had previously lived with his family at the Chateau La Grange (when not in Paris) and he also died there with his wife and probably at least one of his sons by his side. He died in 1849 and just like it is the case with his sisters, his exact date of death is hard to pin down. I have read accounts varying from late November to late December with November 27 being the most likely. Georges had stayed active in politics and his sons had ventured into politics as well, taking up positions very similar to their fathers (and with that also their grand-fathers.)

Last but certainly not least is Marie Antoinette Virginie, the baby of the family. She died in 1849 as well, just like her brother. I have to repeat myself, but again; most sources do not state a specific date of death - but July 23 seems like a promising date. Her life was by far the most difficult to research - what is especially ironic given that Virginie left a great deal of writing, that tells us about her mother and other family members as well as gives insight into the family as a whole. Although Virginie inherited La Grange (it was somewhat of a tradition to pass La Grange through the female line) she did not die there but at an estate in the Auvergne.

I can not give you one single cause of death but I can tell you that the deaths of the La Fayette siblings were not associated with something “overly exciting” like a freak accident/assassination/murder/war/childbed/etc.

I am sorry that I can not tell you more. I feel a little bit like my answer falls short on several points but this all that I could find. I hope it helps nonetheless and I hope you have/had a beautiful day!

[johnny-dynamo]

Happy birthday, Christopher Lee!

1.- Leonora Ruffo pushing a cart with Reg Park and Christopher Lee while filming “HERCULES IN THE HAUNTED WOLD”

2.- Having quality time with his family,  his wife Birgit Kroencke and daughter Christina Erika.

3.- In the makeup chair for “THE CURSE OF FRANKENSTEIN”

4.- On the set of “THE MAN WITH THE GOLDEN GUN” with co-star Maude Adams.

5.- Having a laugh with best friend Peter Cushing on the set of “THE GORGON”

6.- Christopher Lee and David Bowie

7.- Taking a break on the set of “DARK SHADOWS” along with Johnny Depp and Tim BUrton

[wweallresultspage]

NWA 75, Night 1 PPV Results - August 26, 2023

Pre-show: Robert Anthony def. Magic Jake Dumas in 5:47

Pre-show: Daisy Kill & Talos def. Jay Bradley & Wrecking Ball Legursky in an NWA United States Tag Team Championship #1 Contender's Match in 7:14

Pre-show: Zyon def. Jordan Clearwater in 6:49

Pre-show: Jack Cartwheel def. Alex Taylor, Eric Jackson, Koa Laxamana, and Matt Vine in an NWA World Junior Heavyweight Championship #1 Contender's 5-Way Match in 6:27

1. Max the Impaler def. Kenzie Paige in 6:41 to win the NWA World Women's Television Championship

2. Thrillbilly Silas def. Kratos and Odinson in a 3-Way Match in 9:15 to win the NWA National Heavyweight Championship

3. Joe Alonzo def. Homicide in a No Disqualification Match in 10:03

4. Ruffo the Clown & Yabo the Clown def. Dak Draper & Mims in 6:13

5. Colby Corino def. Kerry Morton in 12:09 to win the NWA World Junior Heavyweight Championship

6. Jax Dane def. Tim Storm in a No Disqualification Match in 3:09

7. Kenzie Paige def. Allysin Kay, CJ, Heather Monroe, Labrava Escobar, Max the Impaler, MJ Jenkins, Ruthie Jay, Samantha Starr, Sierra, Taylor Rising, and The WOAD in an NWA World Women's Championship #1 Contender's Gauntlet Elimination Match in 14:48

8. Matt Cardona def. Ricky Morton in 5:26

9. Carnage & Damage def. Bestia 666 & Mecha Wolf in 9:16 to win the NWA World Tag Team Championships

10. Kamille def. Natalia Markova in a Falls Count Anywhere Match in 15:36 to retain the NWA World Women's Championship

[princesscatherinemiddleton]

Niche question but which are your favorite royal princess bridal veils?

I don't like veils at all because they remind me of net curtains so I've spent a long time looking a photos of royal brides to find some! The ones I've chosen work both with the wedding dress itself and with the wearer.

Crown Princess Victoria - a traditional lace veil worn by her mother, and initially worn by Queen Sofia of Nassau (an heirloom veil)

2. Grace Kelly - a simple with appliqued love birds, held in place by a Juliet cap

3. Charlene Wittstock - a two-tier tulle veil with a simple beaded edge

4. Paola Ruffo di Calabria - a lace veil from Paola's Italian grandmother, made with Brussels lace (an heirloom veil)

5. Ekaterina Malysheva - a delicate beaded veil

6. Meghan Markle - a silk tulle veil with embroidered Commonwealth flowers, as well as Wintersweet and the Californian Poppy

[josefavomjaaga]

Helfert, Joachim Murat, Chapter 5, Part 3

Siege of Gaeta. More non-Murat stuff.

Finally, after twenty-eight days of arduous work and exposure to the greatest dangers, three batteries were completed, 32 guns mounted; in addition, 51 were mounted on the gunboats, which resulted in a total of 83 rounds of fire. On July 17, 4 o'clock in the morning, one mortar battery on the land side gave the signal, and the general shelling began; after more than an hour, the fortress opened fire from 125 guns, and in such an effective manner that Lauer had to stop his own at 9 o'clock in the morning in order to have the damage quickly repaired. On July 18, at 2 o'clock after midnight, the shelling on land and at sea was resumed. The crosshatching of the fireballs through the night sky and their reflection in the sea had an indescribable effect on the eye, but unfortunately not on the fortress, which once again retaliated powerfully and amply. The besiegers did succeed in blowing up one of the enemy's powder magazines, which produced a shock that made the whole of the cape tremble; but soon afterwards a powder magazine of the Imperial troops was also blown up, and again at 9 o'clock in the morning the fire from their side ceased, while the defenders continued theirs until the evening. The third bombardment, which began on the night of the 19th, ended early in the morning because the besiegers were in danger of running out of powder and projectiles.

On July 21., Louis XVIII's re-entry into Paris became known in the allies' camp, and again they did not fail to inform the commander of the fortress, who, however, because his request to send an officer had again been refused, declared flatly that he considered all news coming to him by other means to be mere trickery to elicit the surrender of the fortress; Indeed, he insulted FML Lauer in the grossest terms when he would not even accept his "word of honour" that there was no deception involved. The activity of his guns became almost greater than before, while the besiegers, who had to take up their battery work anew, merely held their ground defensively. But in his heart Begani knew very well that it was high time to put an end to the cruel game. There was no longer any doubt about the complete collapse of the second French empire; the fortress still had an abundance of supplies, but the garrison's position was becoming more difficult with each passing day; the inhabitants remaining in Gaëta were loudly demanding an end to their hardships. Lauer and the naval commanders were already making preparations to open a new, stronger bombardment on August 5, when Begani declared his compliance, whereupon, after repeated negotiations on the conditions of the surrender, the white flag was hoisted in the fortress on the 8th and the agreement reached was signed and sealed that same evening.

On August 12, Baron Lauer solemnly entered Gaëta at the head of his troops. Soon afterwards, Lord Ermouth and the British fleet left the Gulf of Naples, from where, as from Sicilian waters, one transport after another arrived in the port of Genoa with troops and war supplies of all kinds on board, and now the whole territory on this side and the other of the Faro was in the undisputed sole possession of the Bourbons.

Ferdinand's ministry consisted of the people as follows: Circello Exterior, Medici Finance and ad interim Police, Saint-Clair War and Navy, Tommasi Justice and Grace.

The greatest influence, though not a very salutary one, was exercised by Circello, or rather, as the malignant world said, by his wife, who meddled in all her husband's business. So zealously did she wish him to play the first part that he sometimes interfered with the most expedient measures of his colleagues in office, merely to make them feel his power, his greater prestige with the king. He soon had everything against him, not only the other ministers, but also other outstanding personalities who saw themselves overshadowed by him, Ruffo, Campochiaro, Gallo, Ascoli. But nothing could be done against him because the king supported him, not so much out of inclination, for he too became annoyed with time, but out of old habit, out of respect for his many years of service and perhaps also with the ulterior motive that with Circello's advanced years it could not last long anyway. Circello's influence was also disadvantageous in that he was too attached to the old, to what had existed before, while Medici was more inclined towards new ideas.

Most of the great European powers had already sent their envoys to the legitimate throne of Naples: Russia Count Mocenigo, England A'Court, France Count Narbonne. On July 12, Prince Ludwig Jablonovski, as the Austrian envoy, had his solemn audience with the King, from whom Mier took leave at the same time. The Prince soon assumed a position at Ferdinand's court similar to that of his predecessor at that of Joachim. Just as Caroline Murat had taken Count Mier into her confidence in her affairs, so now the Princess of Partanna did with Jablonovski. In accordance with the promise she had made before her marriage, she was not allowed to interfere in affairs of state and therefore, when she had something on her mind, she hid behind the Austrian envoy, whom she knew to be highly esteemed by her husband. This was already the case now that the princess was looking to Jablonovski for protection against the sinister influences of which she accused the Marchese Circello.

There were enough occasions when the Austrian envoy and the imperial generals, who after the preceding events and with the continuing imperial occupation played the first role at the Court of Naples, were drawn into the interest of one side or the other, although their influence did not always have the desired success. This was immediately apparent in the reorganisation of the Neapolitan army, for which a Supreme War College was set up under the chairmanship of Prince Leopold; its vice-president was Saint-Clair; of its four members, two were from Sicily, two were Muratists, namely d'Ambrosio and Filangieri. The peacetime number of the army was to be raised to 60,000 men, far beyond the needs of the state and its financial resources, "solely out of fear," as Jablonovski wrote to Vienna, "of hurting some generals who want to make themselves important and accommodate their protégés"; a measure that was very badly received by the public and harmed the government in more than one way.

[alimentoseguro]

(Imagem divulgação)

Giovanna Albuquerque Ruffo José Maria - Analista Pleno de Medical Affairs EDP da Danone Brasil 

Analista da Danone aponta que o potencial de crescimento do mercado de Health Through Gut será de 8,2% até 2025

Softdrinks Tech vai destacar mercado de bebidas funcionais

“O crescimento do mercado das bebidas funcionais" será tema de palestra a ser proferida no dia 4 de novembro às 10h40 pela Analista Pleno de Medical Affairs EDP da Danone Brasil, Giovanna Albuquerque Ruffo José Maria, durante a programação da Softdrinks Tech - Salão de Tecnologia e Bebidas não alcoólicas, promovida pela Trioxp  Eventos nos próximos dias 3 e 4 de novembro, no Holiday Inn Anhembi, em São Paulo.

Entre as novidades que a convidada pretende apresentar destaca-se o panorama geral de bebidas funcionais, considerando os principais comportamentos do consumidor atrelados a prioridades quando se trata do mercado de saudáveis, entendimento de quais são os principais benefícios funcionais procuradas nesse tipo de produto, assim como projeções de crescimento dos principais benefícios funcionais; trazer um pouco mais os números de lançamentos desse mercado, assim como alguns exemplos interessantes de produtos e formatos diferentes que exploram muito bem esses benefícios. E por último, mas não menos importante, um deep dive (aprofundamento) no portfólio de funcionais da Danone Brasil.

A palestrante justifica a importância desse mercado em franca expansão: “As bebidas não alcóolicas com demandas de funcionais são com certeza a maior tendência no mercado de bebidas para a próxima década. Um destaque importante para os ingredientes funcionais de maior interesse por meio dos consumidores são os probióticos. Eles aparecem como um potencial ingrediente que chama a atenção, ganhando popularidade ao lado da crescente atenção dada à saúde intestinal nos últimos anos. O famoso território de ��Health Through gut” é um mercado de 34 bilhões com um potencial de crescimento de 8,2% até 2025”.

__Bebidas funcionais são aquelas que possuem algum ingrediente não tradicional, como minerais, vitaminas, fibras, aminoácidos, probióticos, etc e possuem propriedades que vão beneficiar a população.A ideia de se ter uma bebida funcional é justamente entregar um benefício extra ao consumidor, através desses ingredientes não convencionais. O benefício esperado dessas bebidas funcionais vai variar de acordo com os ingredientes que estão sendo utilizados. Por exemplo, se ele busca uma melhora da saúde digestiva, potencialmente se beneficiaria de uma bebida funcional com fibras e probióticos.“Hoje a Danone tem em seu portfólio diversos produtos funcionais, como o YoPRO, sendo uma bebida com alto teor de proteína, Activia, iogurte com probióticos vivos que auxiliam na saúde digestiva, Actimel, com vitaminas e minerais que ajudam na imunidade, entre outros”, destaca Giovanna.

__Simultaneamente à Softdrinks Tech será realizado o CONAKOM BRASIL - Conferência Nacional de Produtores de Kombucha, com palestras, exposição de produtos e espaço de Networking. Além disso, os inscritos poderão degustar mais de 30 marcas diferentes de Kombuchas.

Programação completa da SOFTDRINKS TECH:

Programação completa da CONAKOM:

nov/22, com copy a.seg. via ascom Tierno -- luciana@tiernopress.com.br 

[awesome-shygardencollection-blog]

Titta Ruffo - Torna a Surriento (De Curtis) 20 - 3 -1929