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detachmentprograms · 7 months

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DISTRO UPDATE MAY 2024

USA shipping: flat rate $5 for any amount of items! international: please write first for a quote!

email to order: [email protected]

NOW SHIPPING:

Program 40: HAND & KNEE (US/PA)– Seasonal Depression C40, $9

Program 39: E.N.F. (US/CA/WV) – Ecological Nullification Fulfillment C26, $9

Program 38: MALLARD THEORY (US/PA) – Bird/Bee C40, $9

Program 37: CHEAT DAY (US/PA) – Cheat Day C21 $9

Program 36: ARCHAIC RUINS / YOUTH MOUNTS THE BARRICADE (US / UK) – Split C20, $9

BATCH DEAL: ALL 5 NEW TAPES FOR $45 PPD! (USA ONLY)

BACK IN STOCK!:

Program 10: ONE DARK EYE (US/PA) – Someone Is Watching C60, 2019 $8

Program 5: UNKNOWN HIERARCHY (US/CA) – Let Everything Hit You All At Once C44, 2019 $8

STILL AVAILABLE:

Program 33: CYESS AFXZS (IRE) – Philip K. Dick Volume Two C20, 2024 $9

Program 32: ONE DARK EYE (US/PA) – Uneasy Gratitude C60, 2024 $9

Program 31: VIVIAN (US/ND) – Gutter Optics C25, 2024 $9

Program 27: PIERCING (US/AL) - Webs of Antiquity C30, 2023$9

Program 23: V/A – Waiting for the Command C60, 2023 $10

w/ Jute, Mo*Te, Audible XXY, Defective, Flayed Choirmaster, Hand & Knee and more

Program 16: VITAL CAUSE (US) - Zero Sum Game C60, 2021 $8

Program 15: DEFECTIVE (US) - Piecemeal Social Engineering C60, 2021 $8

DISTRO TITLES:

New in stock from SUMMER INTERLUDE RECORDS (US/PA):

DETERGE / MOONBEAM TERROR (US/US) – Split 7inch 2024 $10

SKULLFLOWER (UK) – Nightwalker Magus LP 2023 $20

BIZARRE UPROAR / BLACK LEATHER JESUS (FIN/US) – Split CD 2023 $10

HIDEOUS YOUTH (US) – Cavernous Boredom 7inch 2023 $8

THURSTON MOORE / BLACK LEATHER JESUS (US/US) – Split 7inch 2022 $10

BLACK LEATHER JESUS & XIU XIU (US/US) – Moira (collaboration) LP 2021 $12

New from ABHORRENT A.D. (US/AR):

JUTE (CAN) – Nothing Beats Reality CD 2024 $10

PARASITE NURSE (US/NY) – Caretaker CD 2022 $10

HAND & KNEE (US/PA) – Scopaesthesia pro-CDr 2024 $8

New from FRENCH MARKET PRESS (US/PA):

LAST DAY WITH MY GARBAGE (US/PA) – Tangled in Laughter tape 2024 $10

V/A – TO DELIVER THE MESSAGE tape 2023

(w/ CONFOUNDER, DEAD DOOR UNIT, SLACKING, FRICKER, FLESH SHUDDERING & more) $10

still available:

+DOG+ (US/MA) – Legacy of Love pro-CDr (2024, Love Earth Music) $7

ABSOLUTE KEY / HAARE (FIN/FIN) – Undercurrents (split) CD (2021, Disclosures) $10

AM NOT / ROPE SOCIETY (UK/AUS) – Diarxiya (split) 7inch (2021 , Novichok) $10

APOCALYPTIC CEREMONIAL ROLLERCOASTER (US/TX) – Lung C9 (2020, Jaded Into Obscurity) $5

BLOODYMINDED (US/IL) – True Crime CD 2002/2017 $10

CIRCUIT WOUND (US/CA) – Parasitic Replication C60 (2018, Uninvited Records) $6

CLOAMA (FIN) – Neuroscan Organization/Blood Illumination CD (2015, Industrial Recollections) $12

COIL (UK) – A Guide For Beginners: The Voice of Silver/A Guide For Finishers: A Hair of Gold 2CD (2020, Cold Spring) $20

CORRAL SHUT – Upsidedown Crossbreed CD (2024, Satatuhatta) $12

DAVE PHILLIPS (UK) – Don't Hurt Me For Your Pretty! CD (2020, Nefarious Activities) $10

DIE SONNE SATANS (ITA) – Fac Totum CD (1993/2023, Tribe Tapes) $10

EBOLA DISCO / ARMENIA (AUS/ECU) – Split 7inch (2021, Novichok) $10

END PROJEKT / BROWNING MUMMERY & EBOLA DISCO (AUS)– Split 7inch (2021, Novichok) $10

EVERYDAY LONELINESS (US) - "False Validations" LP(2015, Amethyst Sunset) $15

THE FLAYED CHOIRMASTER (US/WV) – Even Bar Brawls Make History pro-CDR (2023, Oxidation) $8

FLESH SHUDDERING (US/NY) – Scissors pro-CDr (2024, Love Earth Music) $7

GAS CHAMBER RENAISSANCE (FIN) – Craniotomy of Reign CD (2018, Freak Animal) $11

GERSTEIN (ITA) – The Death Ointment CD (2022, Tribe Tapes) $10

GG ALLIN (US) – Live at the Lismar Lounge NY Nov 4, 1987 bootleg tape $3

GOVERNMENT ALPHA (JAP) – Altar of Precogs 7inch (2012, Amethyst Sunset) $5

GRAIN BELT (US) – Midwestern Companion CD (2022 White Centipede Noise) $10

GRUNT (FIN) – World Draped in a Camoulfage CD (2012, Freak Animal) $12

HEAT SIGNATURE (US/OH) – Brain on War CD (2022, Dada Drumming) $12

HENRY MALLARD / SOLYPSIS (US) – Split tape (2015, Pennsylvanian Hypnocenter) $5

HNY (US) – Here You Can Touch the Sky LP (2011, Amethyst Sunset) $10

JARL (SWE) – Sealed Void CD (2003, Force of Nature / Annihivs) $10

JASON CRUMER (US) – Ruth CD (2021 White Centipede Noise) $10

JUNKYARD SHAMAN – The Unborn CD (2024, Satatuhatta) $12

JUNTA – Pathetic Frustration C21 (2024, Satatuhatta) $10

KK NULL / EBOLA DISCO (JAP/AUS) – Split 7inch (2021, Not Very Good Records) $8

KPG & INFRASUBCONTRA (US) – KPG Meets Infrasubcontra (collaboration) pro-CDr (2022 Love Earth Music) $7

KAZUMA KUBOTA (JAP) - "Utsuroi" LP (2017, Amethyst Sunset) $15

K.M. TOEPFER (CAN) – Retrace No Steps CD (2021 White Centipede Noise) $10

K.O.P. (JAP) - 1988-1991 C60 (2022, Tribe Tapes) $9

LACKTHROW (US/PA) – Difficult to Maintain pro-CDr (2023, Love Earth Music) $7

L'ECLIPSE NUE (US) – Degradation Bliss LP (2023, Love Earth Music) $15

MACRONYMPHA (US/PA) – Whorechestra 3xCD (1995/2023 Dada Drumming) $28

MACRONYMPHA / GOVERNMENT ALPHA / LASSE MARHAUG / CHANTS OF THE DILAPIDATED – 4 Way Split tape (Marbre Negre, 2023) $8

MACRONYMPHA – “Live In Pittsburgh June 16, 2022” CD (2023, Dada Drumming) $10

MACRONYMPHA – The Spectacle of Ravishing Our Maidens CD (Abhorrent AD, 1995/2023) $10

MACRONYMPHA – Transsexual Part 2 7inch (Fusty, 2023) $10

MACROSONIC – Spyke Team CD (Rural Isolation Project, 2023) $10

MAGGOT REPRESSION (US/PA/OR) – Behavioral Sink C60 (Fusty Cunt 2024) $8

MALLARD THEORY (US/PA) – Muscovy Supremacy C32 (2022, Fusty) $7

MARANATA (NOR) – Tarmac CD (2022, White Centipede Noise) $10

MASSEY FERGUSSON (BROWNING MUMMERY & EBOLA DISCO) (AUS) – The Mechanical Testament CD (2022, Old Europa Cafe) $12

MAX JULIAN EASTMAN (US/NC) – Model of Malehood CD (2022, Tribe Tapes) $10

MAX JULIAN EASTMAN (US/NC)- Zabriskie / Manor 3inch CD 2023 $8

MAX JULIAN EASTMAN (US/NC) – Jesus Love / PCP C12 (2023, Tribe Tapes) $8

MLEHST (UK) – Breathing In Dead Flies CD (2022, Oxidation) $10

MOGAO – Tri-Kaya C45 (2024, Satatuhatta) $10

THE NEW BOYFRIENDS (FIN) - 3 CD 2022 $11

NEW GRASPING MACHINA / MACRONYMPHA (US/NJ/PA) – Split pro-CDr (2023, Love Earth Music)$7

NUNSLAUGHTER (US) – Burning in Buffalo (live NY 2014) tape (2022, Eternal Darkness Creations) $7

OVMN (US/PA) – Throbbing Pulse CD (1996/2020, Troniks) $10

PAGANFIRE (PHI) – Play Loud and Fuck The Rest! Tape (2022, Eternal Darkness Creations) $7

PAIN APPENDIX (US) – Manuhypnoz CD (2024, Freak Animal) $12

PETER J. WOODS (US/WI) – A Waste Of Red Meat CD (2022, Flag Day) $10

PRIMITIVE WINGS (FIN) - Morphosis CD 2023 $11

PSYCHWARD / CONCENTRATION (AUS)– Morbid Paralysis / Deathmarch (split) 7inch (2021, Novichok) $10

THE RITA (CAN) – Dark Angled Eyebrow 7inch (2013, Amethyst Sunset) $5

SADIO (FIN) – Questionable Pleasures CD (2018, Freak Animal) $11

SCATHING / T.E.F. (US/TX) – Split CD (2023 Dada Drumming) $10

SLACKING (US/PA) - "Roundhouse a Bootlicker" 7inch (2023, Tribe Tapes) $12

SLIT THROATS (US/OH) – Undisputed 2xCDR (2022, Self Released) $15

SLOGUN / WERTHAM (US/ITA) – By Blood, In Blood CD (2015, Old Europa Cafe) $10

STALAGMITE REPRESSION (US/PA) – Odors of Existence C20 (2022, Fusty) $7

TAHMA – Self Titled C25 (2024, Satatuhatta) $10

TANTRIC DEATH (US/NC) – Twin Splitting: In Utero C20 (2023, Tribe Tapes) $10

TOANCHE DWELLING (CAN) – Wendake Ehen C51 (2024, Satatuhatta) $10

WITHERED ICON (US) – Opening the Hell Mouth tape (2022, Eternal Darkness Creations) $7

ZALHIETZLI / DRESSING (FRA/IRE) - Dreag split C31 2023 $8

ZENTA SUSTAINED (CAN) – Serpent Track Patterns LP 2022 $15

V/A – State of the Union CD (2023, Tribe Tapes) (w/Dead Door Unit, Cost, Pain Appendix & more) $12

V/A – Latex Days: A Tribute to Awkward Geisha 2xCDr (2020, Love Earth Music) (w/ Smell & Quim, Astro, Lezet & more) $12

SECOND HAND ITEMS (Near Mint condition unless noted):

+DOG+ (US) – The Ship of Dreams pro-CDr (2020, Love Earth Music) $5

AARON DILLOWAY (US) – The Beauty Bath picture disc LP (2014, Hanson) $14

ALLEGORY CHAPEL LTD – Modus Operandi CD (2020, Oxidation) $7

ALLEGORY CHAPEL LTD – Without Tears: Noise in Theory & Practice LP (2017, Throne Heap) $15

ANAL BUTT / DAYS OF HATE – Split 7inch (2019, SPHC) $5

ANDY ORTMANN (US) – Paranormal Panorama C38 (2018, Perfect Law) $7

APRAPAT (FIN) – Reef Crasher tape (2022, New Forces) $8

ARCANE DEVICE (US/NY) – Ruins CD (2021, No Rent) $7

AUGHRA / GALLOWS (US) – Untitled (Split) C26 (2006, No Horse Shit) $5

BASTARD NOISE / BRUTAL TRUTH – The Axiom of Post Inhumanity CD 2013 $6

BIMETAL COLLECTOR (US) – 052-281.1 tape (2015, Clandestine Compositions) $5

BRUTE (US) – Iron & Blood C18 (2022, Fusty Cunt) $7

BURZUM (NOR) – Fallen CD (2011, Candlelight) $8

CARNAL EXHIBITION (DEN) – A Trouble Shared is a Trouble Halved tape (2019, Sektion 1) $5

CLINICAL TRAILS (DEN) – Systema tape (2019, Sektion 1) $5

COTERIES & 10-56 – Collaboration C30 (2020, Disclosures) $6

CURSED MOORS - Self titled tape (2022, Putrescent Tapes) $5

DEATH FACTORY (US/IL) – Brooding Anxiety tape (2011,Car Wash Tapes) $5

DEMI URGES – Yhposolihp tape undated $5

DOMINIC COPPOLA (US) – Prisims in Dalliance C30 (2022, Monorail Trespassing) $7

DROPPED CALLS (US) – Demo I tape (2014, Starved Relations) $6

ELISHA MORNINGSTAR – Axioms C30 (2013, Second Sleep) $10

EMILIANO ZAPPACOSTA – Morte Su Marte (2022, Mostly Mayonnaise Musicalities) $5

FORCED PLEASURE – A Higher Degree of Torture C10 (2022, Reanimated Miscarriage) $7

GRANDPA LIES AGAIN + TIGRE MERDE – Wasted CDR (2015 Ram Horn) $3

HATE AUDITION (US) – Knights of Judgment C10 (2019, Modern Decadence) $7

HEART OF PALM (US) – Demo tape (2016, No Coast No Hope) $5

HOCHSTE – Dokumente von Unprovozierten Angriffen tape (2018, Black Ring Rituals) $5

HORRIBLE PORN – Carving Fresh Orifices tape (2019, Uninvited Records) $5

THE IDE OF EARTH – The Idea of Earth tape (2022, Putrescent Tapes) $5

INTERNAZIONALE (DEN) – One Shot One Life tape (2019, Janushoved) $20

JAY HOWARD (US/CA) – Amplitude Modulation Parasite (2023, Adjacent) $6

JOSEPH GATES (US/TX) – Human Rights Violation tape (2015, Human Ignorance) $6

JOSEPH GATES (US/TX) – Returning Serpent II tape (2015, Human Ignorance) $6

LORD WIND (POL) – Atlantean Monument tape (2006, Werewolf Promotion) $3

MADRELARVA – Una Cura Prodigiosa tape (2022, Mostly Mayonnaise Musicalities) $5

MANNEQUIN CELLAR (US) – Wires of Hatred tape 2016 Avant Gore $5

MARTIN BLADH (SWE) – Umbilical Cords CD (2005, Segerhuva) $7

MESALLIANCE (FRA) – Ere Rance tape (2016, Tour De Garde) $5

MONS VENERIS (POR) – A Floresta Maligna demo tape (2004/2016, Black Gangrene) $5

MOSLEM (US) – Demo I tape (2014, Tape Gun Records) $5

MOSS HARVEST (CAN) – Infra C20 (2021, Buried In Slag And Debris) $8

MOUNTAIN LANGUAGE (US/WI) – Caustic Surge of Weary Oceans tape (2015) $6

MUNITION (CAN) – Gaze/Gauze C30 (2019, Absurd Exposition) $6

NORTH CENTRAL (ITA) – The Grandpa's Diary 3inch CDR (2019, Beton Flashcut) $7

PAIN APPENDIX / VINCENT DALLAS (US/SWE) – Whipped By Noise (split) C48, 2023 $10

PETER J WOODS (US/WI) – Objects C16 (2018, Perfect Law) $6

PETIT SAC / THE ETHER CREEPS (US) - Split tape 2018 $5

PRIMITIVE ISOLATION TACTICS (CAN) – Dirty Prophecies (2020 Absurd Exposition) $7

SCALD HYMN / CAVITY (US) - Split tape (2016, Love is the Law) $6

SKULKING - The Strangulation of Consciousness C18 (2023, Fusty Cunt) $6

SLIT THROATS / RUPTURED – Split tape (2023, Angst) $10

SLOGUN (US/NY) – Sacrifice Unto Me CD (1996/2006 Bloodlust/Circle of Shit) $7

SOLOMONOFF & VON HOFFMANNSTAHL – The Element that Defies Description tape (2022, Tribe Tapes) $8

SPITEFUL WOMB (US/PA) – Grey Chambers C44 (2018, Disclosures) $10

SUDDEN INFANT (UK) – The Phone People tape 2010 Quasi Pop $6

TAPE DEKAY (SWE) – Decadimento Del Nastro / Decadenza Di Tutto CD (2019, Old Captain / Narcolepsia) $9

TERRITORIAL GOBBING – Hot Singles in Your Area tape (2020, FTAM) $6

TETHAUM (US/MO) – Hexagram C30 (2013, Sephirotic) $6

THEATHER OF ANGUISH (DEN) – Obedience is the Bridge from Bondage to Bliss tape

(2019, Sektion 1) $5

TINNITUSTIMULUS (US) – Scrinj Maas C40 (2022, Monorail Trespassing) $7

VERTONEN (US) – Cresting tape (2010, Bloodlust) $5

VIDNA OBMANA & PBK – Monument of Empty Colours / Depression and Ideal 2CD (2022, Zoharum) $14

VINLAND SPECIAL SERVICES (US) – A Coffin for Pyongyang Sally tape (2014, Winter Solace) $5

VMS ELIT (SWE) – Todesrennen C30 (2018, White Centipede Noise) $15

VIOLENT SHOGUN (FRA) – Disgrace to the Corpse of Yukio Mishima C35 (2023, Angst) $9

VOID OF EMPATHY (US) – Fractured Images C25 $7

WHITE WIDOW (PHI) – Void Infirmary tape (2022, Putrescent Tapes) $5

WINTERS IN OSAKA + CHRIS DODGE (US) – Collaboration tape (2010) $5

YUKO X CHINO (US/CA) – White Magick For Black People C43 (2009, Excite Bike) $5

ZUSAMMENBRUCH (US) – Heinous Actions LP+DVDR (2019, Breathing Problem Prod) $18

10564 + FAP (US) – Live (collaboration) tape (2017, Grandpa Spaceship Records) $3

V/A – Austin Noise 2012 2xCDR (2012, Instincto Records) $5

USA shipping: flat rate $5 for any amount of items! international: please write first for a quote!

email to order: [email protected]

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wrestlingisfake · 1 year

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AEW Fake Rankings, 12/17/2022

Men's singles division - babyfaces

Jon Moxley

Bryan Danielson

Claudio Castagnoli (ROH men's world champion)

Orange Cassidy (AEW all-Atlantic champion)

Wardlow

Ricky Starks

Jack Perry

Keith Lee

Wheeler YUTA (ROH pure champion)

HOOK (FTW champion)

Men's singles division - heels

MJF (AEW men's world champion)

Chris Jericho

Samoa Joe (AEW TNT champion, ROH television champion)

Sammy Guevara (AAA mixed tag team champion)

Daniel Garcia

Ethan Page

Swerve Strickland

Luchasaurus

Powerhouse Hobbs

Lance Archer

Unranked: Aaron Solo, Action Andretti*, Anthony Henry*, Ari Daivari, Clayton Bloodstone*, Cole Karter, Danhausen, Dralistico*, Dustin Rhodes, Exodus Prime*, Izzy James*, Jake Hager, Jeff Cobb*, JD Griffey*, Juice Robinson*, Jun Akiyama*, Kip Sabian, Konosuke Takeshita, Lee Johnson, Mascara Dorada*, Nick Comoroto, Preston Vance, QT Marshall, Rocky Romero*, Rush, Shane Taylor*, Shawn Dean, Trent Seven*, Tomohiro Ishii*

*Not listed on AEW's official roster webpage

The top programs right now look to be Moxley vs. Adam Page, MJF vs. Danielson, Wardlow vs. Joe, and Lee vs. Strickland. I don't know if Jericho will keep targetting Andretti after that shocking upset, but obviously Jericho will get something big to do. Hobbs seems to be getting a push but doesn't have a clear opponent for a feud yet. Cassidy is clearly headed for a title match with Sabian, but I don't expect that story to take up much time.

The babyface side is noticeably stronger than the heel side. That works out, though, since MJF needs a steady supply of good guy opponents who already have credibility, so they won't look so bad when he beats them. After Danielson you can easily get months of booking out of MJF vs. Wardlow, MJF vs. Perry, MJF vs. Castagnoli, MJF vs. Keith Lee, MJF vs. Hook, etc., etc. I assume a rematch with Moxley will happen but it might take a while to get around to it.

While MJF is on top, AEW would do well to figure out what they're doing with lesser heels like Ethan Page, Luchasaurus, Daniel Garcia, and Lance Archer. I'm not worried about Strickland, who will be moving on up now that he's a singles guy again, but the others have rarely felt like they have a clear direction.

Men's tag team division - babyfaces

The Acclaimed - Max Caster & Anthony Bowens (AEW tag team champions)

FTR - Dax Harwood & Cash Wheeler (IWGP tag team champions, AAA tag team champions)

Darby Allin & Sting

The Briscoes - Jay Briscoe* & Mark Briscoe* (ROH tag team champions)

Eddie Kingston & Ortiz

Top Flight - Dante Martin & Darius Martin

Best Friends - Chuck Taylor & Trent Beretta

John Silver & Alex Reynolds

Blake Christian & AR Fox

Shinobi Shadow Squad - Cheeseburger* & Eli Isom*

Men's tag team division - heels

The Butcher & The Blade

Jeff Jarrett & Jay Lethal

The Kingdom - Matt Taven & Mike Bennett

Matt Menard & Angelo Parker

Lee Moriarty & Big Bill

*Not listed on AEW's official roster webpage

The big feuds here are the Acclaimed vs. Lethal's dumb faction, FTR vs. Austin and Colten Gunn, Moriarty/Bill vs. Jack Perry & Hook, and the Best Friends vs. Butcher and Blade. Silver and Reynolds have business with Rush and Preston Vance, but that may end up being a trios deal or something. Kingston and Ortiz have a score to settle with the House of Black but they probably need a third guy.

The heel side is awfully thin right now. It wasn't a big deal when FTR was mostly fighting other face teams, but they need to balance things out somehow. It would help to get the Gunns and the Varsity Athletes (Josh Woods & Tony Nese) back on TV.

Men's trios division - babyfaces

The Elite - Kenny Omega & Nick Jackson & Matt Jackson

Dalton Castle* & Brandon Tate* & Brent Tate*

Hardy Party - Matt Hardy & Marq Quen & Isiah Kassidy

Men's trios division - heels

Death Triangle - PAC & Penta El 0M & Rey Fenix (AEW trios champions)

The Embassy - Brian Cage & Toa Liona* & Bishop Kaun* (ROH trios champions)

The House of Black - Malakai Black & Brody King & Buddy Matthews

*Not listed on AEW's official roster webpage

AEW managed to put together eight trios for the championship tournament this summer, and then by September virtually all eight teams were off the board. So it's good to see they've rebuilt the division somewhat. Personally I'd rather see 8-10 trios here, which should be doable without cannibalizing the singles and tag divisions.

The most notable absences here are QT Marshall's Factory, the Jericho Appreciation Society, and Ari Daivari's Trustbusters--all those groups could focus three of their guys on a trios run. I always assumed if AEW got a trios division going that the Dark Order would be a fixture in it; now that there's only three guys left in the group (Silver, Reynolds, and Evil Uno) it seems even more natural.

Women's singles division - babyfaces

Saraya

Toni Storm

Hikaru Shida (Regina di WAVE champion)

Ruby Soho

Mercedes Martinez

Willow Nightingale

Skye Blue*

Kiera Hogan

Madison Rayne

Women's singles division - heels

Jade Cargill (AEW TBS champion)

Britt Baker

Jamie Hayter (AEW women's world champion)

Athena (ROH women's world champion)

Nyla Rose

Tay Melo (AAA mixed tag team champion)

Anna Jay

The Bunny

Red Velvet

Leila Grey

Unranked: Dani Mo*, Queen Aminata*

*Not listed on AEW's official roster webpage

AEW has always struggled to present the women's division well, but I have to give them credit for actually getting 21 women on TV in the past 30 days. The storylines feel a little fuzzy right now, but maybe that'll clear up in a few weeks when we get closer to the next pay-per-view.

I feel like Charlie Brown trying to kick the football whenever I think this, but it seems like AEW is pairing the women off for a potential tag division. Of late we've seen Baker & Hayter, Cargill/Velvet/Grey, Anna & Tay, Bunny & Penelope Ford, Nyla & Marina Shafir, and a few makeshift babyface teams to oppose them. My dream scenario would be for this to build to Sasha Banks and Naomi coming in to finish what they started in WWE, but I shouldn't get ahead of myself.

No TV or PPV matches in 30 days: Angelico, Brandon Cutler, Emi Sakura, Evil Uno, Hagane Shinno*, Josh Woods, Leva Bates, Luther, Marina Shafir*, Peter Avalon, Satnam Singh, Serpentico, Sonny Kiss, Tony Nese, Zack Clayton*

*Not listed on AEW's official roster webpage

There are way too many wrestlers on Dark and Elevation for me to keep track of, so I'm only including the ones who wrestled in the last month and either a) won a match or b) are listed on the official roster. This rule is particularly tough on the Wingmen and the Trustbusters, but I had to draw the line somewhere.

No AEW/ROH matches in 30 days: Adam Page, Anthony Ogogo, AQA, Austin Gunn, Bandido, Brian Pillman Jr., Brock Anderson, Christopher Daniels, Colten Gunn, Frankie Kazarian, Fuego Del Sol, Matt Sydal, Michael Nakazawa, Miro, Parker Boudreaux, Penelope Ford, Riho, Scorpio Sky, Serena Deeb, Shawn Spears, Sonjay Dutt, Yuka Sakazaki

I'm not sure what's going on with these names. Adam Page is obviously medically cleared or they wouldn't even fly him in to do interviews about how he's not medically cleared. Miro and Scorp are reportedly ready to go and just don't have anything planned for them. Bandido literally just got signed a month ago and hasn't been seen since. Pillman is probably in limbo until they decide what to do with him while Griff Garrison is sidelined. I keep thinking Daniels, Nakazawa, and Dutt have retired or something, but as soon as I assume that they'll be in a match next week.

As for the rest, for all I know any of them could have an injury that didn't make the news, and we'll never know until they show up again. Four years ago it was WWE that always had a dozen or more wrestlers on ice, and I never expected AEW to end up being as bad (if not worse) with that same issue.

Part-time/semi-retired: Billy Gunn, Mark Henry, Mark Sterling, Paige VanZant, Paul Wight, Rebel, Stokely Hathaway

Inactive

Abadon (shoulder - collarbone fracture)

Adam Cole (unspecified injury - possible concussion)

Andrade El Idolo (right arm - pectoralis tear)

Christian Cage (right arm - triceps tear)

CM Punk (left arm - triceps tear; negotiating release)

Colt Cabana (unspecified injury)

Griff Garrison (unspecified injury)

Jeff Hardy (suspension; awaiting DUI trial)

Kris Statlander (right knee - ACL/meniscus tear)

Kyle O'Reilly (neck - fusion surgery)

Leyla Hirsch (right knee - ACL tear)

Santana (left knee - unspecified injury)

Thunder Rosa (back - unspecified injury)

Even if the backstage fight hadn't happened, Punk would be out with his triceps injury until at least March or April. It's been reported that Punk and AEW are negotiating a buyout of his contract, which suggests one or both sides don't want him to return. I suppose there's a slim possibility they could mend fences for a shocking comeback, but if it happened it would naturally be top super-duper maxi-extreme ultra secret.

#aew #fake rankings

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omegatheunknown · 3 years

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AEW Double or Nothing 2021

In which the spirit of WCW is alive in confusing and delightful ways and we are left to parse whether overbooking and extracurriculars are offset by having actually very good wrestling happening at the same time.

- Lessons learned from Revolution on the production side? Maybe just cool it on pyro, though the rappelling adventure in the Stadium Stampede showed some of that now-characteristic 'trust us it'll look better on TV' flair. Hot crowd tends to paper over most woes, and the crowd was pretty hot. My one gripe is that the casino theme is hanging around like yesterday's takeout containers. Nothing wrong with clinging to a theme, I just think it's time for season 2. My suggestion? Under the Sea.

*Pre-Card Serena Deeb (C) v Riho for the NWA Women's Championship (***1/2) - Serena Deeb's star has finally risen. She's a remarkably consistent technician and she can get a match out of anyone at this point. She's working at the level of Mercedes Martinez or Madison Eagles at this point, it's amazing that she was overlooked or considered fit only to be a coach for so long. With the NWA belt she has this new swagger, she's basically everything Tessa Blanchard might bring to the table with none of the downsides (Serena has a lot of friends and seems like a lovely person, even!) - Riho's back and here to stay. Her time in Stardom didn't do much for my evaluation of her, which is that there are many better wrestlers that would be better representatives of the joshi style and she's merely pretty good. - The match was very good. Serena showcased a champion's aggression against a sympathetic Riho, they really work well against each other, Deeb's technical prowess against Riho's flexibility led to a very dynamic finish.

*Main Card Hangman Adam Page v Brian Cage (***1/2) - Here the shenanigans start. Brian Cage is on Team Taz, Team Taz has nothing else much to do tonight, so why wouldn't Team Taz flex their muscles, bait us with HOOK, etc? (Because it would be nice to have some variety in the card in terms of a match where one competitor stands across from another competitor?) - Hangman is (checking notes) yeah, still over as fuck, as befits the Anxious Millennial Cowboy. Cage terrifies me, he's a child's drawing of a body builder. He do be very agile for a man of his immense musculature tho. They match up well, Page is biggish for a flyer, Cage loves to play catch. Nothing much to write home about, other than Hangman's beautiful moonsault to the floor and what was overall a very good curtain jerker. - Okay fine, I am curious about Cage's reluctance to lean on the goons, Starks can't come back soon enough.

The Young Bucks v Jon Moxley & Eddie Kingston (***) - I will not be referring to Mox & Eddie as (The) Wild Things because it gives me 'he calls it the wacky line' flashbacks for some reason. - The Bucks have to cheat and abuse Rick Knox's attention span constantly to be on even footing with Mox & Eddie, which is a clever sort of thing that gets washed out by the appearance of LG and Karl Anderson, which again, is cool in a vacuum but was the story of the evening. - Pace was weird - repetitive in eliminating Eddie, then Mox fights back, failed hope spot, Bucks team up, Eddie saves x2/3 in a row. - Mox, unlike Cody (in so many ways,) will probably actually be taking some time off with Renee, which is the kind of thing I would prefer not to know in terms of booking, but they really uh, put him down on the canvas here, and it felt pretty finale-esque.

Casino Battle Royale (n/r, but on the balance pro) - Any changes to the theme of the PPV would likely include changing up the nonsense suit format of these largely joyless slogs. - Obviously anticipating a NJPW talent, or... I dunno, actually -- Lio Rush was a surprise. Got in a quick demonstration of his otherworldly quickness, and you know what, there's probably a fun place for him in AEW. He'll need some friends, of course, feel like Team Taz might fit his temperament. I wonder if he was aware of the Mark Henry news... - Christian does not need to win this kind of match to get a title shot, obviously, but that said it was super lovely to use him to give Jungle Boy the shine. Jungle Boy would be a license to print money if he was even as big as Hangman. - Could register some continued griping about how Penta is not getting his due in AEW but he also literally was dressed as the Joker so I'm low on sympathy on this one particular night.

Anthony Ogogo v Cody Rhodes (*) - I did not like this. It's hard for me to read jingoism as a face move to begin with, and Cody's was egregiously tone deaf and kinda silly yet delivered without a trace of irony because Cody doesn't do irony on purpose, ridiculous neck tattoo aside. - Great argument to be made that Ogogo just isn't experienced enough to be winning matches against Cody. But like, what are we doing here? Cody needs to take some time off, maybe. I thought that's what was happening when he had his mini feud with Penta that really just ended in quick decisive Cody win. I though maybe Cody was being turned when QT and The Factory snapped-- sure, they're a group of impotent player 2s, but Cody is an out of touch elitist with a callous and manipulative streak. Alas, also no. America #1. - Cody is approximately 8 times as tough as Billy Gunn based on his weathering of the one punch man. Match ran a bit long given how little there was to go on. Cody gigged? Quelle surprise. - Cody had the best match on the card like, 3 out of the first 4 AEW events or something, and that was all booking and storytelling. I do hope Cody follows Moxley's lead into a little sabbatical.

Miro (C) v Lance Archer for the TNT Championship (**1/2) - Card's hossiest hoss match, a quick burst reminiscent of a car wreck. Absolutely hit on what it should've hit on but a little slow moving considering it went all of 10 minutes. - I will not complain about Jake the Snake, who I love. And also the gimmick spot, with Miro very astutely yeeting what was definitely a snake in a bag (surely.) back down the tunnel.

Dr Britt Baker, DMD v Hikaru Shida (C) for the AEW Women's Championship (***) - Picked up a lot of steam toward the end but seemed a little toothless (heh) until the last five. - Shida 'deserved' some more time as champion in front of crowds but also it's time to let heel Britt reach her peak, I can't even imagine how obnoxious she can be as the champ, it's going to be great.

Sting & Darby Allin v Ethan Page & Scorpio Sky (***1/2) - Such is the power of STING that I feel like I might be underrating this match... I mean it was an okay match about very simply getting some revenge and the sixty year old man did a very subdued Code Red and a slightly less subdued dive. He's also Sting. They missed an opportunity in calling it the 'Scorpio' Death Drop, but the main takeaway here is you see something like this where it's The Icon and you start to understand why WWE trots out their legends to come out of incredibly still kick ass without bending their knees. - The difference, I guess, is that Sting is absolutely being used to build up Darby Allin, whereas it's not like the fed brought back Goldberg and his attendant aura to pump up... anyone but Goldberg?

Kenny Omega (C) v PAC v Orange Cassidy for the AEW World Championship (****) - Off the top I have to say I'm very sad that the rest of the Galaxy's Greatest Friends were seen only very briefly, nice of them to bring OC's backpack. - Also have to point out that PAC's promo featured one of my favourite jokes, that Kenny must be short for Kenneth as a sort of legal/birth name belonging to a professional wrestler. (See also: Samoa Joseph) - And Mr Cassidy certainly did try in this match, ragdoll sells and all. Kenneth and PAC are absurd talents who bring aerial, power and technical maneuvers in equal measure and OC is not doing any of those on the same level, but he picked his spots, showed his genre savvy and hung in there to the point that he wasn't just the fall guy. - The extracurriculars continue in a match that was already a little overboard for silliness due to asymmetry... I think if you're the Invisible Hand it would've made sense to save up all your tricks for this match, but who am I to question the golden goose? - Sure, Kenny and Don ran the classic heel manager interference spot and taking out the ref in desperation spot but having to take out the ref because PAC wouldn't break the hold is fun, as is the stupid/inspired sense in running the 'smash opponent with the belt' spot four times so as none of your heavy gold prizes feel left out. (I love that AAA Mega Championship, they weren't on TV so we get to see it?) - "Fuck You, Don," indeed.

The Inner Circle v The Pinnacle in 'Stadium Stampede II' (***1/2) - This one had to grow on me for two reasons, first that it's usually pretty unforgivable to co-opt the main event spot from the championship match, and second to law of diminishing returns on dumb gimmick matches. - But grow it did. There's a full on meat locker? Commentary will refer to a cardboard cut-out of Shahid Khan as Tony Khan's father (that's canon now,) and Jericho will lovingly pat it? Konnan happened to be the DJ at whatever night club there is a Jaguar Stadium? Spears surrounds himself dramatically with chairs and his hoisted by his own petard? - Ultimately it comes down to letting Sammy shine. His involvement with the Inner Circle has sometimes come at the cost of being able to showcase that prior to AEW he was an ascendant talent in PWG, on his way to Ricochet level feats of acrobatic excess. Still feel like Sammy could've/should've been the one tossed off the cage a few weeks ago, but even better is being the guy getting the pin in the ring.

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ashley-slashley · 4 years

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Absolute Mad Lads

*As much of an insane person they are and how the internet can agree they are shit people, they still deserves the title of absolute madlad

Ones covered by Count Dankula

Terrare

Al Capone*

General Butt Naked

Bob Ross

Lorena Bobbit

Billy The Kid

Albert Dryden

John Smeaton

Uday Hussein*

Dragonlord

The Dogmeat General, Zhang Zongchang

GG Allin*

The Naked Rambler

Burke and Hare

Simon Mann

The Ice Cream War

Chopper*

Roof Koreans

White Death

Franz Schmidt

Sawney Bean

Shoko Asahara

KillDozer

The BumFights Krew

Alcibiades

The CatMan of Greenock

Mad Jack Churchill

Purple Aki*

Ones not covered by Count Dankula

Harlan Ellison

Syd Barrett

Keith Moon

Jim Morrison

Mary Queen of Scots

Otto von Bismarck

General George S. Patton

Theodore “Teddy” Roosevelt

Atilla the Hun

Rasputin

Genghis Khan

Vlad the Impaler

Stan Lee

Fred Rogers

Joan of Arc

Torquemada

Sigmund Freud*

William Wallace

Andrew Jackson

Pontiac (dude behind Pontiac’s rebellion)

Napoleon Bonaparte

Harry Houdini

Gary Ridgway*

Ed Gein*

Stonewall Jackson

John Wilkes Booth

King George III

King Henry VIII

Lyndon B. Johnson

Joseph McCarthy

Ozzy Osbourne

Charles Manson*

Ronald DeFeo Jr*

Typhoid Mary

Jim Jones*

Davy Crockett

Sam Houston

Johnny Rotten

Caligula*

Nero*

Roger Waters

#absolute mad lads

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bubblesandgutz · 6 years

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Every Record I Own - Day 287: Daughters Hell Songs

Very few “heavy” bands truly live up to the misanthropy they project through their music. But Daughters were different. Over the course of a U.S. tour together, I got to know the guys in the band pretty well, and they were a rare instance where their personalities were as fucked up as their music. Don’t get me wrong---they were all great people. But there was something inherently damaged in their chemistry. They were barely functional as a unit, but that made their music seem all the more dangerous.

A year or two after that tour, Continuum Books announced open submissions for their 33 1/3 book series, wherein authors analyze classic albums and assess their cultural impact. I knew I didn’t stand a chance, but I pitched a book on Hell Songs. My thesis was pretty basic: heavy music is typically just theater, but Daughters was real life drama, and that made their music that much more intense. As per their submission guidelines, I wrote an opening chapter. The pitch was rejected, but I wound up posting the chapter online, where it caught the attention of Robotic Empire, the label that put out Daughters’ debut LP. They offered to print the book. And so for the next year-and-a-half I dedicated all my spare time to questioning the individual band members, chasing down old tour mates, stitching together the chronology of their history, reading old interviews, and writing the damn thing. I submitted a first draft to the band and waited two weeks to hear back from them.

They eventually asked to cancel the project. There were disagreements within their camp as to how shit actually went down. And, understandably, there were a lot of grimy details that they weren’t too excited to share publicly. It was disappointing, but understandable. I figured a certain amount of rejection is inevitable as a writer, and this one at least had a valid excuse, so there wasn’t much of a sting.

Anyhow, I’ve posted the first chapter after the jump. The writing seems a little corny now, so maybe I ultimately dodged a bullet.

“Yeah, I’ve been called a sinner...”

And so begins Daughter’s 2006 sophomore album Hell Songs--with a declaration of degradation. Vocalist Alexis S.F. Marshall, or Lex for short, wears the insult proudly, announcing it with the kind of defiant pride of Hester Prynne and her scarlet letter. And then a cascade of noise descends upon the final syllable. The song, “Daughters Spelled Wrong”, is one minute and 42 seconds of Lex’s self-flagellations delivered in a slurred Southern Baptist preacher’s drawl. In that short parcel of time, Lex lists off every slanderous label he’s endured.

“…wrong-doer, evil-doer…”

As the front man for Daughters, Lex was the human element to the band. And while his performance on Hell Songsis unnerving enough in its own right, his tirades became exponentially more menacing live. With his stringy waist-long hair, his tall and gangly frame, his wiry handle-bar mustache, his hopelessly tattered black pants (apparently his only pair), and his ill-fitting stained white dress shirt, he gave off an aura of someone who didn’t give a fuck about the pageantry of rock music. He wasn’t even fashionably unfashionable. Grooming, hygiene, and composure were neglected. He looked disheveled, poverty-stricken, strung out. Most Daughters sets found Lex in less attire, usually just a pair of briefs. Far from the display of muscle and machismo seen in chiseled frontmen like Henry Rollins, Anthony Kiedis, and Chris Cornell, there was nothing erotic about near-nude Lex. Sexual? Certainly, but only in the most degrading, animalistic sense of the word. Lex’s stage presence only served to make the audience as uncomfortable as possible. He would claw red lines into his belly, cram his entire fist into his mouth, fellate the microphone, and drool on himself while fondling his genitals. In moments where audience members chose to interact with him on stage, the results were equally filthy. People vied for his spit. Women pulled at his briefs. Fans fondled and licked his exposed cock. A confessed “sex addict”, Lex would swap spit with both men and women mid-set and fuck fans in venue bathrooms. His tally of sexual conquests was startling, given his disturbing stage behavior and lack of sociability. Claiming a bad acid trip as the root of his social anxiety, Lex was nearly bipolar in his daily interactions. He was relatively friendly and talkative one moment, withdrawn and angry the next. A ninth-grade drop out and former homeless teenager, his bleak world-view was legitimate.

“…worker of iniquities…”

There’s no verse. No chorus. No rhyming scheme. No melody. It’s just one musical phrase repeating for the entire duration of the song. The instrumental accompaniment sounds like a broken machine filtered through the ears of someone simultaneously shuddering through a panic attack and immersed in vertigo. The sound underneath Lex’s litany is a study in all things wrong and counter-intuitive. The band—comprised of entirely capable and talented players—sounds like they’re deliberately unlearning their instruments. Cymbals crash without a kick drum to punctuate them. The bass guitar dives and climbs with little regard for actual notes. One guitar avoids the lower octaves completely and opts instead for atonal high-end screeching and skronky discord. The other guitar remains stuck on one warbled, seasick riff through the whole song, sounding off-balance and broken even when the whole band locks in around it. It’s confounding, ugly music.

“…transgressor, bad example, scoundrel, villain, knave…”

The annals of rock music have no shortage of bands showcasing the darker side of human nature. Ever since Robert Johnson sold his soul to the devil, ever since Jerry Lee Lewis set his piano on fire, ever since Iggy Pop rolled in broken glass, there has existed a certain sector of the rock community dedicated to exorcising its demons on stage. It’s the reason that concerned parents and church groups still argue that rock music is evil. This flagrant display of bad behavior, self-destruction, and reckless abandon is at the very root of rock music. And perpetuating rock’s legacy of danger requires raising the bar of rebellion. As rock music nears the age of retirement, its old tricks no longer impress young audiences. Chuck Berry and Little Richard carry none of the threat they did in their heyday. KISS terrified puritanical parents with the widespread rumors of their name serving as an acronym for Kids In Satan’s Service, but now they seem downright Christian in comparison to the blasphemous content of black metal bands like Gorgoroth. So prevalent is the anti-social contingent of music in today’s market that it’s hardly noteworthy for a band to parade its malice for an audience. The harder edged realms of rock music—metal and punk, for example—depend on that kind of antagonism. Daughters looked for one of those last few buttons to push, one of those last few taboos to break, one the last few ways to make people cringe. Perry Farrell noted well over two decades ago “nothing’s shocking.” Daughters challenged that statement.

“…miscreant, viper, wretch, the devil incarnate…”

It takes a certain brand of individuals to make nihilism translate into music, and it requires their contempt to be believable. Words like “genuine”, “sincerity”, and “honesty” get thrown around by critics and fans as signifiers of good music. How do those qualities apply to antagonistic musicians? Do the artists have to be genuinely miserable people to make convincingly ugly music? The artists who are typically the most successful at channeling this kind of dark art manage to convey that wrath and misery in both content and form. It’s not just a matter of singing about the pasty underbelly of the human psyche or throwing a few skulls on an album cover; it’s about the thoroughness of pessimism. It’s about creating a genuine sense of danger. And it requires a misanthropic honesty that carries itself both on and off-stage. It used to be that the entirety of the public’s perception of an artist stemmed from image they set forth on stage and on record. In the age of the internet, this is no longer the case. Even more so for a band of Daughter’s stature—a band that rarely had a backstage to slink off to, a band that still had to unload their own gear off stage, a band that still had to run back to the merch booth after their set to sling t-shirts for gas money, a band with no place to hide and sustain a fabricated mystique.

“…monster, demon, fallen angel, murderer, and thief…”

The Catch-22 is that being in a successful band—a band that can write music together, play shows, tour, record, maybe even make a little money—requires unity, solidarity, positivity, compromise, and sociability. In other words, a band that’s genuinely driven by angst and hostility is doomed for failure. Proof of the unsustainable nature of these kinds of acts is most evident in the dearth of popular nihilistic bands. Even the somewhat well-known misery peddlers tend to be tragically stunted. Notorious shock rock icon GG Allin made a career out of anti-social behavior and bilious lyrical themes. He was known to take the stage naked, ready to fight the audience and fling his feces at the crowd. He wrote songs with titles like “Last In Line For The Gang Bang” and “Fuckin’ The Dog”. He famously promised to kill himself on stage, which would have been the ultimate display of the self-destructive nature of negative music, but a heroin overdose beat him to it. Glen Benton, the vocalist and bassist for seminal death metal band Deicide similarly promised to off himself at the age of 33 as a mockery of Jesus Christ’s year of death. Benton failed to live up to his word. And while he will always be remembered for the controversy he created in his early career by branding an inverted cross into his forehead and advocating animal sacrifice, he tempered out in his later years when he became a family man with a wife and kids. Not surprisingly, the quality of Deicide’s albums declined, as did their album sales. Allin went too close to the edge and fell into the abyss. Benton mellowed out. Neither managed to sustain the malice of their classic records over a protracted career. Daughter’s brand of ugliness had none of Allin’s overt misogyny and violence, none of Deicide’s Christian-baiting Satanism. Instead, they specialized in a kind of implied depravity. Lex wouldn’t attack the venue patrons, but he’d do everything else in his power to make the audience take a squeamish step back. Even though their album title references Hell, there was no trumpeting of a contrarian religion in their lyrics, no acknowledgement of moral consequence. Instead, Lex sang about emotional voids. It somehow made Lex scarier than GG or Glen. He seemed smarter. Colder. Less confrontational, but also less vested in cheap stunts and outlandish behavior for the sake of winning over anyone’s approval. He wasn’t interested in violence. He was interested in degrading himself on stage, forcing the audience into an unnerving kind of voyeurism.

“…lost sheep, black sheep, black guard, loafer, and sneak…”

Even the millionaire “bad boys of rock”—artists like Alice Cooper, Guns N’ Roses, and Motley Crue—aren’t exempt from the imbalance of nihilism and authenticity. For one thing, these cultural giants never tread so far into the blackness that you feared them as people. Their worst crimes were their hedonistic appetites. They still came across as people that would be fun to party with. Marilyn Manson managed to up the ante of anti-social behavior in the ‘90s, but the controversy was calculated. Manson always knew how to articulate his more vitriolic statements in a calm, well-spoken, intellectual manner. It was obviously theater. Daughters didn’t come across as the life of the party. They didn’t come across as having any sort of deeper, thoughtful meaning to their art. They came across as genuinely bitter, crass, resentful individuals.

“…good-for-nothing ass-fucking son of a bitch.”

Daughters were a band that tried to find that balance between thorough, real ugliness and some kind of self-sustaining functionality. They wanted to be successful; they wanted to tour the world and make money. But they also wanted to make something truly hideous and uncomfortable. Their debut album, Canada Songs, was an 11-minute surge of hyper-paced noise-driven hardcore. Occupying the kind of punk/metal hybrid territory instigated by bands like The Locust and Dillinger Escape Plan, Daughters found an immediate audience among fans of frenzied, technical music. It was well-received, but not entirely unconventional for that particular style. But Hell Songs was different. The band ditched their lightning-speed tempos, metal-steeped instrumentation, and shrieking, indecipherable vocals for disjointed mid-tempo lurches and Lex’s drunken oratory. They weeded their old material out of their performances. The fans felt betrayed. They had gone from sounding like the arty descendents of the powerviolence and grindcore scenes into a tightly wound meth-fed version of The Birthday Party. There was a much stronger adversarial vibe to their new approach. Their sound was less tethered to any particular scene. It alienated a fan base that was already built on embracing disenfranchisement and being at odds with everything.

But deservedly, the record found an audience, albeit a small one. For as caustic and abrasive of an album as it is, there’s a surprising catchiness to the material. The low end groans; the high end piercingly buzzes like a swarm of insects; the drums flit from spasms of hyperkinetic pulverizations to deconstructed thuds and clatter; and Lex moans and howls over all of it. Yet somehow, Hell Songs is rife with hooks. There was a discipline to what they did. It could’ve easily devolved into white noise, but there was always a clarity and separation to the instruments. They were a tight band. And for the three years that followed the release of Hell Songs before the group imploded, Daughters came about as close as any band can get to being a total train wreck without rattling apart at the seams. There was fighting, a rotating cast of guitar players, drugs, infidelities, van accidents, hospital trips, lost money, rivalries with tourmates, promoters pulling guns on the band, and an never-ending list of lewd stage behavior. They were a fascinating, glorious mess, and they perfectly captured it over the course of ten songs.

“I’ve been called a sinner.”

#daughters #everyrecordiown

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jc-archer · 2 years

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"Failure is simply the opportunity to begin again, this time more intelligently." - Henry Ford. // Less Of The Same. I'm listening to Joe Dispenza drop some brain plasticity bombs around fear and how the body will respond to known stimuli versus unknown stimuli. Turns out, even though we have evolved three distinct parts of the brain we're still very much in touch with the lizard brain. That part of you that sees fear and death around every turn. It prevents most from reaching for greatness or even seeking anything above average... it does this to "protect" you. But failure in the modern world does not mean death as it once did... it means "get off your ass and try again". Failure today is almost never fatal, merely inconvenient or embarrassing. But still, your brain doesn't like to see you stumble and fall, risk ridicule, or even remotely put your body and ego in danger. We are all alike in that. But what you and I could benefit from having more of is a greater propensity for failure. In failure we learn resilience. And to try another strategy when the one we've chosen doesn't work. And that means doing less of the same old same old. Breaking the chains of that is to experience and experiment with more, more often. There, we will each experience a great deal of failure and distress... it is unavoidable. Yet on a long enough timeline, and with the lessons taken from failure, you can win. The only real question is how long will you persist when nothing seems to work. When it gets hard, you can quit or persist until you figure it out. You already know which of those is gives you the best chance at success. Go all in on you in 2022. Sight + Light. J . Remember: there is #norestfortheworthy Be. Do. Have... In that order. #hardwodder #hardwodderone #honorthework #fortunefavorsthebrave #fortesfortunajuvat #humanmovementfactory #unspecialized #100to0 #crossfit #saturdaystuff #mindset #mindsetiseverything #mindbodysoul #allin Sight + Light. J #norestfortheworthy Be. Do. Have... In that order. https://www.instagram.com/p/CYVKSJlJcdF/?utm_medium=tumblr

#norestfortheworthy #hardwodder #hardwodderone #honorthework #fortunefavorsthebrave #fortesfortunajuvat #humanmovementfactory #unspecialized #100to0 #crossfit #saturdaystuff #mindset #mindsetiseverything #mindbodysoul #allin

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officialyourdailyinspiration · 5 years

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Today in Christian History

Today is Saturday, February 2nd, the 33rd day of 2019. There are 332 days left in the year.

Today’s Highlight in History:

1594: Death in Italy of Roman Catholic composer Giovanni di Palestrina. He had sustained high quality and originality in writing one hundred and five masses and two hundred and fifty motets (settings of biblical texts).

1650: Beheading of Jordan of Trebizond in Constantinople by Muslims after he had mocked their prophet and refused to convert to Islam when brought to trial.

1738: Young George Whitefield departs for Georgia, intending to become a permanent missionary to the American colony.

1784: Death in New Hampshire of Henry Alline, an American Free Will Baptist evangelist who had fostered growth of the “New Light” movement Canadian and New England churches.

1829: York Minster burns all day, set on fire by Jonathan Martin, a Methodist who had escaped from a lunatic asylum and hidden in the Cathedral when it was closed the night before. York Minster has caught fire at least four times.

1864: Death of hymnwriter Adelaide Anne Procter in London, England. Charles Dickens had published many of her verses and she had been a favorite of Queen Victoria.

1900: Death in Pennsylvania of temperance leader Annie Wittenmeyer. She had been active in home missions, founded orphanages, edited Christian periodicals, written hymns, and authored several books. Among her significant roles was as the first president of the Women’s Christian Temperance Union which grew to 1,000 chapters under her leadership.

1902: Macedonian rebels release Ellen Stone, an American missionary to Turkey from the Congregational Church. They had held her and an associate for five months demanding a large ransom. Friends and the American public raised the money.

1911: College teacher Eliza George of Texas has a vision of Africans passing before the judgment seat of Christ, weeping and moaning, “But no one ever told us You died for us.” Two years later she will leave her teaching position and establish a mission in Liberia.

#Today in Christian History #February 2 #death of composer Giovanni di Palestrina #Beheading of Jordan of Trebizond #George Whitefield departs for Georgia #death of Henry Alline #York Minster Cathedral set on fire by Jonathan Martin #Death of hymnwriter Adelaide Anne Procter #death of temperance leader Annie Wittenmeyer #Macedonian rebels release Ellen Stone #Eliza George claims to have a vision

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thedsp-blog1 · 6 years

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Dr. Death’s victim list

Acton, Lily Adams, Lizzie Adkinson, Sarah Adshead, Norman Adshead, Rose Ann Aitken, Irene Andrew, Dorothy Mary Andrew, Joseph Andrew, Mary Emma Arrandale, Albert Arrowsmith, Winifred Ashcroft, Netta Ashton, Dora Elizabeth Ashton, Ellen Ashworth, Ada Ashworth, Brenda Ashworth, Elizabeth Ashworth, James Ashworth, Sarah Aveyard, Clara Ethel Baddeley, Elizabeth Mary Baddeley, John Bagshaw, Bertha Barber, Squire Bardsley, Joseph Bardsley, Lily Bardsley, Nellie Barker, Elsie Barlow, Charles Henry Barnes, James Edward Battersby, Elizabeth Baxter, William Beech, Joseph Bell, Norman John Bennett, Ethel Bennett, Frances Bennett, Nellie Bennison, Charlotte Bent, Arthur Berry, Irene Bill, Edith Annie Birchall, Mary Ivy Bird, Violet May Black, Alice Boardman, Kathleen May Boardman, Mary Louisa Bogle, Geoffrey Bolland, Alice Bowers, Mary Elizabeth Bradshaw, Miriam Brady, Edith Bramwell, Harold Bramwell, Vera Brassington, Charles Geoffrey Brassington, Nancy Anne Bridge, Doris Bridge, Jane Brierley, Albert Brierley, Edith Broadbent, Lily Brock, Edith Brocklehurst, Charles Edward Brocklehurst, Vera Brooder, Irene Brookes, Lily Brookes, May Brown, Alice Brown, Mary Alice Brown, William Henry Buckland, Edward Buckley, Ethel Burke, Elizabeth Mary Butcher, Lydia Edith Cains, Ida Callaghan, Sean Stuart Calverley, Edith Campbell, Annie Carradice, Marion Carrington, Alice Carroll, Josephine May Cartwright, Hannah Chadwick, Wilfred Challinor, Ivy Elizabeth Challoner, Genevieve Chapman, Irene Chappell, Alice Chappell, Wilfred Charlton, John Charnock, George Cheetham, Albert Cheetham, Alfred Cheetham, Elsie Cheetham, Hena Cheetham, Norah Cheetham, Thomas Chidlow, Amy Clarke, Fanny Clayton, Elsie Clayton, Frances Clee, Beatrice Helen Clough, James Condon, Thomas Connaughton, Alice Hilda Connors, Michael Conway, Margaret Ann Coomber, Frederick Cooper, Ann Copeland, Erla Copeland, Sydney Hoskins Couldwell, Constance Anne Coulthard, Ann Coutts, Mary Couzens, Hilda Mary Cox, Eileen Theresa Crompton, Eileen Daphne Crompton, Frank Crompton, John Crossley, Lily Cullen, Lilian Cuthbert, Valerie Davies, Cissie Davies, Eric Davies, Fred Davies, Miriam Dawson, Fanny Dean, Elsie Lorna Dean, Joan Edwina Delaney, Bessie Denham, Christopher Dentith, Frederick Devenport, Ronnie Dixon, Alice Dobb, Edgar Dolan, Ethel Drinkwater, Alice Drummond, Joseph Dudley, Mary Rose Dutton, Elaine Earls, Doris Earnshaw, William Eddleston, Harold Eddleston, Monica Edge, Agnes Evans, Bethel Anne Everall, Hannah Everall, Joseph Vincent Farrell, Phyllis Fernley, Marie Antoinette Firman, Mary Elizabeth Fish, Hilda Fitton, Hilda Fletcher, Dorothy Fletcher, Elizabeth Floyd, Arthur Fogg, Leah Foulkes, Edwin Fowden, Thomas Fox, Moira Ashton France, John Freeman, Harold Freeman, Winifred Frith, Hannah Galpin, Minnie Doris Irene Garlick, Rose Garlick, Violet Garratt, Mary Alice Garside, Millicent Gaskell, Marion Gaunt, Mary Gee, Nellie Gess, Clifford Givens, William Goddard, Edith Godfrey, Elsie Golds, Annie Elizabeth Gorton, Alice Maude Graham, Edith Gray, Rebecca Greenhalgh, John Sheard Grimshaw, Annie Grimshaw, Muriel Grundy, Donald Anthony Grundy, Kathleen Grundy, Nora Hackney, Clara Hackney, Clara Hadfield, Violet Hague, William Hall, Josephine Halliday, Frank Hallsworth, Janet Hamblett, Leonora Hamer, Mary Emma Hammond, Caroline Veronica Hampson, Jesse Hancock, Christine Hannible, Elsie Harding, Joan Milray Harris, Charles Harris, Harriet Harrison, Christina Harrison, David Alan Harrison, Marion Harrison, Muriel Eveline Harrison, Samuel Harrop, Elsie Haslam, Mary Elizabeth Hawkins, Sarah Healey, Winifred Heapey, Clifford Barnes Heapey, Gladys Heathcote, Irene Heginbotham, Olive Hennefer, Ellen Hett, Mary Jane Heywood, Ada Heywood, Florence Hibbert, Hilda Mary Hickson, Robert Higginbottom, George Eric Higginbottom, Peter Higgins, Barry Higgins, Lily Higham, Marion Elizabeth Highley, Ruth Higson, Ellen Hill, Sarah Ann Hillier, Pamela Marguerite Hilton, Ada Matley Hilton, John Hirst, Emma Holgate, Ethel Doris Holland, Alline Devolle Holt, Alice Hopkins, Dorothy Doretta Howcroft, John Hulme, Hilda Hurd, May Iwanina, Jozef Jackman, Harold Edward Jackson, Maureen Lamonnier Jackson, Nancy Jameson, Ronald Jeffries, Beatrice Johnson, Norah Johnson, Richard Johnston, Leah Jones, Alice Mary Jones, David Jones, Hannah Jones, Ivy Jones, Jane Jones, Robert Edward Jordan, Mary Ellen Keating, Mary Kellett, Ethel May Kellett, Fred Kelly, Ellen Kelly, Moira Kennedy, Alice Killan, Charles Henry King, Elsie King, James Joseph Kingsley, Mary Kitchen, Alice Christine Lacey, Renee Leach, Florence Leech, Edith Leech, William Henry Lees, Olive Leigh, Carrie Leigh, Joseph Leigh, Wilfred Lewis, Elsie Lewis, Florence Lewis, Peter Lilley, Jean Lingard, Robert Henry Linn, Laura Frances Livesey, John Louden Llewellyn, Edna May Lomas, Harry Lomas, Ivy Long, Dorothy Longmate, Thomas Alfred Lord, Jane Ellen Lowe, Beatrice Lowe, Esther Lowe, May Lyons, Eva MacConnell, Charles Mackenzie, Selina Mackie, Christina McCulloch Mansfield, Mary Ann Mansfield, Walter Marley, Martha Marsland, Sarah Hannah Matley, Maud McDonald, Kathleen McLaren, William James McLoughlin, Gertrude Melia, Joan May Mellor, Elizabeth Ellen Mellor, Samuel Mellor, Winifred Meredith, Oscar Metcalfe, Margaret Middleton, Deborah Middleton, Mary Mills, Samuel Mitchell, Cyril Mitchell, Wilbert Molesdale, John Bennett Morgan, Emily Moss, Bertha Moss, Hannah Mottram, George Henry Mottram, Hannah Helena Mottram, Pamela Grace Moult, Thomas Mullen, Nellie Mycock, Miriam Rose Emily Needham, Nora Nicholls, Violet Nichols, Fanny Nichols, Lily Nuttall, Hervey Nuttall, Norah O'Sullivan, Thomas Ogden, Mary Oldham, Agnes Oldham, Samuel Oswald, Frances Elaine Otter, Enid Ousey, Margaret Ovcar-Robinson, Konrad Peter Overton, Renate Eldtraude Oxley, Phyllis Parker, Marjorie Parkes, Annie Parkin, Laura Victoria Parr, Bertha Pearce, Elizabeth Pedley, Rosetta Penney, Vara Pickering, Leah Pickup, Kenneth Pickup, Mavis Mary Pitman, Edith Platt, Elsie Platt, Marion Pomfret, Bianka Potts, Frances Potts, Reginald Powers, Annie Alexandra Preston, Ada Marjorie Prestwich, Alice Proud, Ethel May Quinn, Marie Ralphs, Anne Lilian Ralphs, Ernest Colin Rawling, Alice Reade, Audrey Redfern, Tom Renwick, Dorothea Hill Richards, Jose Kathleen Diana Richardson, Alice Riley, Stanley Roberts, Edith Roberts, Esther Hannah Roberts, Gladys Robinson, Eileen Robinson, Eveline Robinson, Lavinia Robinson, Mildred Rogers, Elizabeth Ann Rostron, Jane Frances Rowarth, Dorothy Rowbottom, Annie Rowland, Jane Isabella Royles, Elsie Royston, Betty Rudol, Ernest Russell, Tom Balfour Sankey, Margaret Saunders, Albert Edward Saunders, Gladys Scott, Edith Scott, Elsie Sellors, Kate Maud Sharples, Cicely Shaw, Joseph Shaw, Leonard Shaw, Lilian Shaw, Neville Shaw, Susan Eveline Shawcross, Edna Shawcross, Ernest Shawcross, Mabel Shelmerdine, Jack Leslie Shelmerdine, Jane Elizabeth Shore, Lily Sidebotham, Florence Sigley, Elizabeth Teresa Simpson, Kenneth Harry Slater, Albert Slater, Florence Slater, Lena Norah Slater, May Smith, Alice Smith, Dora Elizabeth Smith, Emma Smith, Kenneth Ernest Smith, Margaret Smith, Mary Alice Smith, Sidney Arthur Smith, Winifred Isabel Sparkes, Monica Rene Squirrell, Alice Stafford, Harry Stafford, Kate Elizabeth Stansfield, Joe Ainscow Stocks, Louisa Stone, John Stopford, Arthur Henderson Stopford, Harriet Strickland, Ruth Sumner, Grace Swann, Bessie Swann, Robert Swindells, Emmeline Taylor, Caroline Mary Taylor, Edna Mary Taylor, Florence Taylor, Lily Newby Taylor, Mary Tempest, Mary Ann Thomas, Alice Thomas, Sarah Ann Thornton, Maria Tideswell, Sarah Tierney, Angela Philomena Tingle, Walter Toft, Beatrice Tomlin, Mary Townsend, Margaret Tucker, Dorothy Tuff, Mary Tuffin, Winifred Amy Turner, Frances Elizabeth Turner, Irene Uttley, Stanley Vickers, Frederick Vickers, Margaret Mary Virgin, Lucy Vizor, George Edgar Vizor, May Wagstaff, George Lawton Wagstaff, Jessie Irene Wagstaff, Laura Kathleen Waldron, Margaret Anne Walker, Edward Walker, Ellen Walker, Henrietta Walker, Winifred Mary Waller, Harry Waller, Marjorie Hope Walls, Mary Walton, Sydney Warburton, Ada Ward, Maureen Alice Ward, Minnie Ward, Muriel Margaret Ward, Percy Wardle, Eric Wareing, William Hill Warren, May Wass, Kathleen May Watkins, Annie West, Maria Wharam, Ellen Frances Wharmby, Lavinia White, Mona Ashton Whitehead, Amy Whitham, Colin Whittaker, Maureen Whittaker, Violet Mary Whittingslow, Vera Whittle, Edith Wibberley, Edith Wilcockson, Joseph Frank Wilkinson, Annie Wilkinson, Maud Williams, Albert Redvers Williams, Emily Williamson, Sarah Jane Wills, Jack Wilmore, Margaret Wilson, Muriel Elsie Wimpeney, Mark Winston, George Winston, Olive Winterbottom, Mary Wood, Annie Wood, Charles Henry Wood, Fanny Wood, James Woodhead, Joyce Woodhead, Kenneth Wharmby

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tinymixtapes · 7 years

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Music Review: Alan Vega - IT

Alan Vega IT [FADER; 2017] Rating: 4.5/5 The infamous early performances of Suicide are understood to be foundational events that set the bar for shock-punk extremity. As Henry Rollins stated a year ago in the official public announcement of Alan Vega’s death, “[Suicide’s] confrontational live performances, light-years before Punk Rock, are the stuff of legend.” These performances (along with the preceding efforts of The Stooges) ushered in a lineage of shock-rock egos purporting hypotheses for experimentation with violent confrontation, social sculpture, hierarchical relations, and rock & roll as their interests. These now tired and problematized theses have had their moments: Suicide’s eventual colleague James Chance physically confronted apathetic audiences just before harsh noise pioneers Hanatarash and Hijokaidan brought threat levels to a peak with explosives, projectiles, bulldozers, and urination. These theses may have met maximum attention in the mid-80s when artists like GG Allin and The Mentors regularly appeared on daytime talkshows to gleefully debate their violence with angry and bewildered parents. At their worst, these experiments in shock rock were backed by a familiar argument: an artist inflicting violence for the sake of truth. “Twentieth century art movements were veritably obsessed with diagnosing injustice and alienation, and prescribing various ‘shock and awe’ treatments to cure us of them — a method Austrian filmmaker Michael Haneke usefully, if revoltingly described in a 2007 interview as ‘raping the viewer into independence,’” notes writer Maggie Nelson in The Art of Cruelty. Nelson argues that performative cruelty is generally only more irritating when its actors propose it is for their viewer’s good. When such a harbinger appears, he implies that he not only knows what is wrong with his audience, but also what will cure them. It is with this attitude that GG Allin appropriated the punk ethos of anti-consumerism and anti-puritanism and proposed that his concoction of irreverence and violence was the pill to solve it all. A similar attitude carries Sun Kil Moon’s Mark Kozelek through his own verbal abuse. He once advised to Guardian journalist Laura Snapes, “Listen to your elders. I’m 48 and I have wisdom. I’ve seen girls laid out on the street with an ambulance picking them up because they are crossing the street with those stupid headphones on.” This already demeaning piece of advice came before he publicly called out its recipient by name in front of an audience of 1,900 (of which she was not a part). Kozelek finds himself consistently bemoaning journalists, reporters, and commentators for the simple reportage and speculation upon his own speech. The irony of his (as well as many others’) grumblings about the truth is that he won’t have it fed back to him. Of course, such an attitude is nothing new; Nelson quotes painter Francis Bacon stating in 1966, “people tend to be offended by facts, or what used to be called truth.” Here tells the 79-year-old Vega — in anticipation of his own death, writing, recording, and performing in spite of it — “the truth is dead… the saint is dead… the motorcycle explodes.” Vega doesn’t beat around the bush. Within the dark cityscape of IT, there are eight different proclamations of death spoken with the same structure: “the [creature/man/brotherhood/skull/ghost/truth/saint/blaze] is dead.” This is not to mention the provocation that introduces the album, delivered with the nonchalance of Drake letting loose an acronym (e.g. “YOLO,” “HYFR”), Vega snickers, “DTM. Dead To Me.” It is this very nonchalance that carries Vega through the drama of IT without the faintest pretension. Listening to the album, I never had the feeling that a promise of horror went undelivered. Instead, the album’s mild horror lurched from a presence, as if to say, “it is what it is.” Vega’s stake on truth is an effect of his adherence to simple sentences and present tense. The album’s title track, for example, screams, “It has a gun/ It is ready/ To kill somebody/ The killer is close/ You can smell it/ The weapon is loaded.” These disaffected proclamations meet some of the harshest yet most vibrant instrumentals to support Vega’s voice to date (production is credited to Vega and his wife/frequent collaborator Elizabeth Lamere). Exempting a few moments of punctuation — the sudden drop and spattering that occurs five minutes into album-opener “DTM;” the butchering edits that close “IT” before Vega’s voice is lost to a vacuum — the music enables Vega’s voice as his best accompanists have: providing the expository setting and minimalistic bedding necessary for Vega to project his scene upon and float above. His delivery will sound strange to those unfamiliar, but it will be oddly cozy to those who have known it all along. Vega is at his most animated and affected on “Motorcycle Explodes,” a song that represents, if not Vega’s own death, the death of his image. It begins with a dry howl that effectively carries the horror of his trademark “Frankie Teardrop” shrieks. The song’s subject can be none other than Ghost Rider, the figure that opened Suicide’s discography four decades ago and provided the band its name. “[T]he ghost is dead, the truth is dead/ At rocket speed, subhuman,” Vega shouts, imagining the rider killed by his ride, his only point of relation to his surroundings. This represents Vega’s point of simultaneous reflection and collapse, a marker at which the relationship between his art and his life can maintain conversation no longer (Rollins: “Alan’s life is a lesson of what it is to truly live for art. The work, the incredible amount of time required, the courage to keep seeing it and the strength to bring it forth — this was Alan Vega.”) The album’s coda — “Prayer,” “Prophecy,” and “Stars” — is both cruel and forgiving. More or less a kick in the ass. “Prophecy” begins as a direct reflection, “Been kicked hard/ Friggin punched out/ Pushed into cement walls/ Got a bloody head/ Blood is dripping down my face.” Then he hands off his experience, “I’m bruised everywhere/ It’s happened before/ In the street/ On the stage/ And it will/ Happen again/ Yeah tremendous over/ And over and over and over/ Again/ It’s my prophecy.” Vega universalizes his defiance. “Over and over and over and over again” cannot be contained within one life. The care with which he delivers these lines, the lack of audacity, allows their recipient inclusion. “I will get up/ I will survive,” he continues, “I will go on and on and on/ So fuck you killers/ Fuck you/ I stand/ It’s my prophecy.” With that, Vega hands off his spirit and his legacy. The next words we are gracefully given, “It’s yours, It’s your life/ It’s your given hand.” --- G.G. Allin once threatened to the audience of The Jane Whitney daytime talk show, “your kids are my kids.” When he said this, he was suggesting a battle over ideology. He felt the very real power an artist may have to stake a claim over another’s subject formation. IT, in all of its auditory abuse and bleak imagery, shows no such ambition. The burden Vega bestows is the act of engaging with the world as he has: experimental in art as in life, such that the two converge. Vega’s interest in cruelty arose from an interest in how a social space could be transformed by a single action that none before had thought possible. In Please Kill Me: The Uncensored Oral History of Punk, he recalls seeing The Stooges: “[Iggy] went to sing and he just pukes all over, man. He’s running through the audience and shit … staring at the crowd and going ‘Fuck you! Fuck you!’… It was one of the greatest shows I ever saw in my life. It changed my life, because it made me realize everything I was doing was bullshit.” Of course, venue violence is no longer interesting. Beyond that, it is increasingly a very real threat. Perhaps it is no coincidence that IT’s cover appears to be an EXIT sign severed by the camera, marking Vega’s exit with a material affirmation. This simple transformation echoes the legend that Vega, at Suicide’s early performances, used to cause himself to bleed amidst Martin Rev’s cacophony, only to block the rear exits so audiences could not flee. Amidst the fires, shootings, and bombings that have unfortunately become a familiar part of our musical landscape, such a stunt is no longer respectable. On the other side of four decade’s growth sits IT with its intentions intensified and redirected. The sign half-visible on the cover does not obfuscate the way out. Transformed, it encourages consciousness, directness, and presence — nothing more. http://j.mp/2h1JvFw

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wrestlingwiththoughts · 7 years

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Evolve 79, February 25, 2016 (Queens, NY)

I thought something was afoot when I saw a group of five paramedics huddled together in the general attendance section in the crowd, but it turns out that these paramedics simply enjoyed their independent professional grappling. There also were noticeably more women in the crowd than in past Evolve shows, and it warmed my heart to hear one woman get very invested in the show. At one point, she yelled, “Wait, this is fake?” Despite that realization, she stayed and cheered Tracy Williams and Darby Allin, chanted “Bro” with the crowd at Matt Riddle, catcalled Timothy Thatcher, and applauded when Zack Sabre Jr. won the Evolve championship from Thatcher. After the show, at the nearby Taco Bell, I overheard a group of young women discuss how they were going to an upcoming WWE show with signs. It was really encouraging to see so many women at this Evolve show, and I hope that they all come back and bring friends. As Zack Sabre Jr. stated later, “Professional wrestling is for everyone; this Earth is for everyone.”

1. ACH vs. Jason Kincaid

I’ve been watching wrestling for long enough now that I have to value, possibly even over-value, when someone doesn’t move like everyone else. To me, that’s the appeal of someone like Jason Kincaid. ACH is a fine junior heavyweight wrestler, and Ring of Honor missed its chance to capitalize on ACH when he worked for the company. ACH was charismatic, sharing his confusion at Kincaid’s moves with stares at the crowd. When a wrestler interacts with the crowd by directing their reaction to their opponent, is it still breaking the fourth wall? ACH also displayed his athleticism with skillful dives, powerful dropkicks, and enziguri kicks. However, my eyes were drawn to Kincaid, whose movements remind me of Ophidian’s serpentine style, bending in ways that demand great flexibility and moving at angles that are different from other wrestlers. Kincaid slithers over ropes and around the ring to play into his Eastern meditation gimmick (which seems ripe for an eventual heel turn to team with someone like Stokely Hathaway, by the way), and his charismatic really shines through his movements. This was entertaining, and it set the crowd up to stay excited for the rest of the show.

2. Chris Dickinson vs. Fred Yehi vs. Austin Theory vs. Anthony Henry

Speaking of wrestlers who move at unique angles and have unique attacks, my attention during this match was on Fred Yehi, though Chris Dickinson was the actual focus of the match. Yehi plays into his small stature by attacking his opponent’s joints or areas where everyone, no matter how strong or fast, will be vulnerable, such as fingers and toes. His height also creates a different angle and look for the German suplex, which is ubiquitous in professional wrestling in 2017. The way Yehi bounces off the middle rope instead of the top rope is another way Yehi plays into his small stature to make himself a more compelling figure in the ring, and his work does not go unrecognized with me.

Dickinson, on the other hand, is a beefy fellow who has never impressed me in the ring. He has great looking power moves for a wrestler his size, and he has some blue collar charisma. His nickname, “Dirty Daddy,” is almost repugnant when chanted by the crowd, and he still bears the shame of his reckless chairshot on Kimber Lee and how he tried to defend himself. He reminds me of wrestlers like BJ Whitmer or Brent Albright who can hit some impressive looking offense without ever forming a connection with the crowd.

Austin Theory is tall and lanky, and he looked lost in some parts of this match, like he was desperately trying to remember when his spots took place during the match so he could impress the crowd. Also, I know that he’s playing with his name, but he really should reconsider wearing tights emblazoned with “Unproven” because it just makes him sound not tried and tested, which is what the word actually means.

As they say, Anthony Henry should be a crowd pleaser because he has two first names, but he was only slightly more memorable than Austin Theory. He exhibited a frantic sense of energy, and at least he didn’t seem like he was lost in the ring. The spot where he kicked both Dickinson and Yehi was almost believable

Dickinson won to continue the story of Catchpoint’s implosion by powerbombing Theory to score the pin while Yehi had Henry trapped in a submission hold. It was a creative ending, and it teases his upcoming tag team title challenge with Jaka against fellow Catchpoint members Yehi and Tracy Williams.

3. Jeff Cobb vs. Jaka

Part of me wonders if Gabe Sapolsky is tempted to use the same strategy to promote Jeff Cobb the same ways he was able to successfully promote Samoa Joe back in the early 2000s in Ring of Honor. While Cobb is similar to Joe in size and athleticism, the former Olympian Cobb has a grappling legitimacy that Joe could never claim. Unlike Samoa Joe, Cobb does not project a monstrous ferocity or confidence in his striking; though he is a large man, his chops don’t seem to carry the force that they should even though he has incredible physical strength, as he demonstrated with the delayed vertical superplex and the way he caught Jaka for the Tour of the Islands in the finish. I have felt that trying to package Cobb like he is the next Samoa Joe is a mistake because he can dominate opponents with his grappling, and Samoa Joe never excelled at ground-based grappling. Cobb also has incredible strength and surprising athleticism; his standing moonsault and shooting star press look physically impossible given his size.

Jaka, on the other hand, has great looking strikes, and I wish that they had leaned into this contrast more by making this a grappler vs. striker style match instead of the hoss fight template that they used. The match started violently and was paced to escalate, and it held the crowd’s attention. Nonetheless, I wonder if it could have been better, which seems to be the case with a lot of Jeff Cobb matches.

4. Keith Lee vs. Tracy Williams

With his bulky knee braces and kinesio tapes on his right shoulder, Tracy Williams looks like he is breaking down under the physical stress of his intense schedule and hard-hitting style. It would be a shame to see Williams sidelined because of his injuries, but it almost seems inevitable given his physical deterioration. His passion in the ring is almost unparalleled on the roster; only Fred Yehi projects intensity like Williams during matches.

Keith Lee is a large man who feels comfortable throwing his weight around the ring. Because he faced Williams, he was able to deny Williams simple things like Irish whips or suplexes due to the size difference, which set this in the classic “big man vs. little man” match template.

Williams jump Lee at the start of the match and overwhelm Lee, but Lee’s size advantage allowed him to weather the flurry of offense and grind Williams down with violent offense like belly to belly suplexes and a sitout powerbomb that bounced Williams and Lee off the mat and stunned even Lee with the force of the powerbomb. When Williams’s flurry failed to stun Lee to let Williams score a quick victory, he changed tactics and targeted Lee’s arm, including a hanging armbar in the ropes. However, Williams wasn’t able to stun Lee long enough to really wear out the arm, while every move Lee hit devastated Williams. Because Williams couldn’t grind Lee down to force a submission victory, he had to change tactics again and stand toe to toe with Lee. This was Williams’s undoing because Lee could easily cut Williams’s offense off with his power advantage, and Lee won the match with his Ground Zero move. The match was entertaining, and I appreciated the story they told about how Williams had to change his tactics several times to try to find a way to take Lee out. Williams’s intensity usually gives his matches a sense of purpose, and he works well with larger men, as his matches with Chris Hero and now Keith Lee demonstrate. I think he could have a great match with Jeff Cobb in the future.

5. Ethan Page w/The Gatekeepers vs. Darby Allin

I have not been a fan of Ethan Page, and this was maybe the first time that I can see him as a viable antagonist in Evolve. Most of the credit goes to Darby Allin, who once again sacrificed greatly in order to make himself a compelling figure in the ring. Allin came to the ring wearing a paper cutout of Page’s face as a mask, which gave him a creepy energy. Page attacked right away to start the match, but Allin was able to escape Page’s package piledriver attempt and send Page to the floor. He then hit the coffin drop trust fall on Page and the Gatekeepers to spark an already hot crowd. Page held the Gatekeepers back and brawled with Allin on the floor. As the larger man, Page gained the advantage and nearly killed Allin by throwing him from the La Boom stage to the ring post, which resulted in a sickening fall. I thought that would be the spot where Darby Allin almost dies, as he usually does during a match, but instead he dies multiple deaths after Page handcuffs Allin after a two count. Page practically begs Allin to give up, but Allin insists to the referee that he wants to continue the match, so Page destroys Allin with slams. Allin forces a comeback with a headbutt and an incredible hands-free hurricanrana on Page and dropkicks to the Gatekeepers. Page stops Allin on the top turnbuckle and hits him with a powerslam from the top rope, but Allin refuses to quit and spits at Page. Page is enraged and hits the RKEgo and a powerbomb to finally pin Allin in this match.

After the match, Page berated Allin for being a loser who is pitied by the crowd. The Gatekeepers then put Allin in a body bag, and Page declared that Allin should consider his career to be dead. Allin was then taken away, and Page stated his intentions to become the Evolve champion.

There is an annoying logic hole in the middle of the match where the referee should have disqualified Page for handcuffing Allin, but you could dismiss it by countering that Allin wanted the match to continue. The match served its multiple purposes well, using Allin’s never say die attitude to make Page look vicious and petty while allowing Allin to show resilience and bravery in a unique way. I dread the idea of Ethan Page as Evolve champion, which taps into a metanarrative heel heat as he builds his case to challenge for the Evolve championship.

6. Matt Riddle vs. Drew Galloway

Because Timothy Thatcher missed months of Evolve shows in 2016, Matt Riddle became the unofficial face of Evolve. His development took place most prominently in Evolve. Galloway, a former Evolve champion, was himself once the face of Evolve, but his crusade to save Evolve from itself seemed to fizzle out due to his injuries. Riddle hits a charging knee strike to start the match with a near fall, and he followed up with an exploder suplex and a running senton. Galloway recovered, and they brawled on the floor. Galloway slammed Riddle on the metal guard rail and targeted Riddle’s ankles and feet. Galloway then countered Riddle’s strikes with a short piledriver for a near fall. Riddle arose to continue to hit Galloway with strikes, but Galloway cut Riddle off with a running kick. This only stunned Riddle, who then hit Galloway with the fisherman brainbuster to lay both men out. They rose together and continued their battle, and Galloway got a near fall with the inverted Alabama Slam. Riddle countered the Future Shock with the Bro to Sleep. Galloway countered Riddle’s senton with double knees, set Riddle up on the top rope, and hit the air raid crash from the top. Riddle kicked out and frustrated Galloway. Galloway tried to hit the Future Shock, but Riddle escaped and hit a tombstone piledriver. Riddle then pounced and locked Galloway in the Bro-mission, forcing the referee to stop the match when Galloway appeared like he could not defend himself from Riddle’s hammer fists.

This was very entertaining, though it felt like Riddle and Galloway could have an even better match in the future. Galloway can claim that he never gave up and was cost the match by the referee stoppage. The finish also plays into Riddle’s MMA background, keeping that aspect of his work firmly in the crowd’s mind.

Galloway tried to tombstone piledriver Riddle on to a chair and Riddle’s championship belt, but Williams and Yehi drove Galloway away. Larry Dallas and Earl Cooter appeared for a momentum killing segment. Yehi then accused Riddle of being selfish and challenged him to a match.

7. Evolve championship match: Timothy Thatcher (c) vs. Zack Sabre Jr.

By this point, Timothy Thatcher had become the most hated wrestler employed by Evolve and WWNLive. The string of listless title defenses in 2016 and his disappearance for months in 2016 didn’t help the perception that Thatcher had been exposed as a poor professional wrestler. I have said previously that Thatcher’s skill had been in his attention to detail during his matches; his struggles feel titanic and his matches demanded attention to detail. However, even that skill slipped, and the crowd was frustrated with Thatcher because he seemed unemotional in the ring. This coincided with Matt Riddle’s rise in Evolve, which included unsuccessful title challenges for Thatcher’s championship.

Zack Sabre Jr. only became more famous in 2016 after his participation in WWE’s Cruiserweight Classic. After the recent announcement that he would face Katsuyori Shibata for the Revolution Pro British Heavyweight Championship at New Japan Pro Wrestling’s 45th Anniversary show, Sabre’s chances of winning the Evolve championship seemed to plummet. After all, how could Evolve change from one champion who missed months of shows to another champion who could be similarly limited because he would have commitments to fill with New Japan.

Sabre and Thatcher charged each other at the opening bell and sought to trap the other in an arm bar. Sabre locks Thatcher in the guillotine, but Thatcher escapes with ground and pound strikes. The crowd began to chant “Ooh, Zack Sabre Jr.” but quickly changed to chanting “Thatcher’s garbage” and “Ooh, Thatcher is garbage.” This finally got Thatcher to react to the crowd; later in the match, Thatcher shouted, “I’m fucking winning” and smirked when Sabre was laid out in the corner. Thatcher used his size advantage to force his way out of Sabre’s holds and change the pace of the match by suplexing Sabre with a belly to back suplex. This match had a more urgent pace than their previous matches, which matched the crowd’s energy. Sabre eventually gains the advantage and locks in the octopus hold, but Thatcher escapes. They trade submission attempts as they enter the nearfall sequence. Sabre traps Thatcher in the double arm bar, but Thatcher counters into a cradle for a two count. Sabre follows up with a bridging German suplex that gets a two count. Sabre tries to press with the penalty kick, but Thatcher counters it with a dragon screw leg whip and follows it up with a gutwrench suplex and an arm bar. Sabre escapes by touching the ropes, Thatcher counters the PK, hits a dragon screw leg whip and follows with the gut wrench suplex into the arm bar. Sabre makes the ropes. Thatcher shouts at the crowd, giving Sabre some much needed breathing space and recovery time. Sabre attempts the O’Connor roll, but Thatcher escapes and locks the sleeper hold. He then transitions to the prawn hold for a near fall. Sabre kicks out and hits the penalty kick. He locks in the triangle choke, but Thatcher escapes. Thatcher hits the knee strike and locks Sabre in the sleeper. Sabre escapes and traps Thatcher in the octopus hold and beats Thatcher with elbows and kicks. Sabre traps Thatcher’s free arm and forces him to submit to win the championship, causing the crowd to erupt in celebration with one of the loudest cheers I’ve ever heard.

There was a sense of urgency in this match that was missing from other title defenses, and Thatcher actually showed some personality by smirking at the crowd and interacting with the audience, which is an advantage that professional wrestling has over other forms of performance.

Sabre jumped into the crowd to celebrate, and Thatcher pried the championship belt from Stokely Hathaway’s grip. Before Thatcher could hand Sabre the championship belt, Ethan Page attacked Sabre. Thatcher dropped the belt and walked away; ACH, the next challenger, forced Page to retreat. Sabre then cut his short promo about how wrestling and this planet is for everyone, shook hands with the roster, and left. Keith Lee was the last person to shake hands with Sabre, and they shared an intense staredown before Sabre went behind the curtain.

Sabre went to his merchandise table as I was on my way out of La Boom, and I wanted to tell him how entertaining his match was. More importantly, I wanted to tell him how proud I was that he believes that professional wrestling is an inclusive art form despite its dubious history of inclusiveness and sensitivity. I felt energized after the show; as much as Timothy Thatcher was key to my entry into Evolve, I feel that Sabre and Evolve’s burgeoning roster can continue to entertain me in some new ways. This was another Evolve show that is easy to recommend.

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allineednow · 6 years

Text

<p>Sermon on the Mat: Survival!</p>

Welcome back to the Sermon on the Mat, your weekly one-stop store for news from the wider world of wrestling beyond the big cable TV monoliths that get all of the coverage.

Coming soon...

AIW The Wet Bandits (December 15, 8PM Eastern)

Big Moe vs. "Large" Twan Tucker

Brian Carson vs. Eddy Only

Jock Samson vs. Joshua Singh vs. Kurt Hurtz vs. the Duke

Malcolm Monroe III vs. Tre Lamar

Colin Delaney vs. Parker Pierce

AJ Gray vs. Dr. Daniel C. Rockingham

Curt Stallion vs. Joshua Bishop

Philly-Marino Expertise (Marino Tenaglia & Philly Collins) & Weird World (Alex "Worldwide" Kellar & "Unusual Body" Evan Adams") vs. the Production (Colby Redd, Derek Director, Frankie Flynn, & Magnum CK)

Dominic Garrini vs. Mance Warner

Kikutaro vs. Tracy Smothers

AIW are back in Mentor-on-the-Lake, Ohio and as always these shows are student-heavy and full of trademark AIW experimentation. Where else might you see Kikutaro wrestle Tracy Smothers, I ask?! Curt Stallion makes his introduction, SmackDown superstar (he totally counts now) Colin Delaney is in action, there's a lot going on here, folks.

Get your tickets here or check it out when it hits Smart Mark Video.

CMLL Super Viernes (December 15, 9:30PM)

Hijo del Signo & Templario vs. Star, Jr. & Starman

Mercurio vs. Shockercito (c) (CMLL World Minis Championship)

Amapola, Dalys, & Reyna Isis vs. Lady Maravilla, Marcela, & Princesa Sugehit

Angel de Oro, Niebla Roja, & Rey Cometa vs. Cuatrero, Forastero, & Sanson

La Peste Negra (Barbaro Cavernario, Mr. Niebla, & Negro Casas) vs. Los Hijos del Infierno (Ephesto & Mephisto) & Sam Adonis

Caristico, Soberano, Jr., & Ultimo Guerrero vs. El Terrible, Mistico, & Volador, Jr..

CMLL are back along with your normal weekly Friday night dose of lucha libre action from Arena Mexico and by god we have a minis championship match! Outside of that it's a solid looking show with all the trios matches looking like they could range from solid to great depending on how the night goes. Not a bad Friday night!

Check it out, as always, free for nothin' on ClaroSports or CMLL's Facebook page, folks.

GCW Ready to Die (December 16, 7:15PM Eastern)

Alex Colon vs. G-Raver

Eric Ryan vs. Markus Crane

B-Boy vs. KTB

Homicide vs. Matt Riddle

Rejects (John Wayne Murdoch & Reed "By God" Bentley) (c) vs. Viking War Party (Alexander Rudolph & Jake Parnell) (GCW Tag Team Championship)

Eli Everfly vs. Tony Deppen (c) (GCW Extreme Championship)

Jimmy Lloyd vs. SHLAK (c) (DTU World Ultraviolent Championship)

Matt Tremont (c) vs. Nick Gage (GCW Championship)

This is it. GCW yields to Howell, New Jersey for their next anniversary show, and Nick Gage and Matt Tremont will do battle for the third and last time. Their last match saw the ring wrapped in concrete as they put their bodies on the line in unprecedented fashion, and with two deathmatch legends of their stature I'm sure they've wonders undreamed of in mind for us.

Get your tickets here or check it out when it hits Smart Mark Video, folks.

PCW UK PowerBombShells / Festive Fury (December 16)

--PowerBombShells (9AM Eastern / 2PM GMT)--

Martina vs. Nadia Saphire

Rhio vs. Sierra Loxton

Nightshade vs. Viper

--Festive Fury (1PM Eastern / 6PM GMT)--

Ricky Knight, Jr. vs. Sheik El Sham

Arcadian vs. Big T Justice vs. Dave Birch vs. Joe Coffey vs. Martin Kirby vs. Philip Michael

Ashton Smith vs. BT Gunn

Lucy Cole (c) vs. Rhio (PCW Women's Championship)

Chris Ridgeway vs. Dean Allmark (c) (PCW Cruiserweight Championship No Rope Breaks Submission Match)

Bubblegum vs. T-Bone (c) (PCW Heavyweight Championship)

PCW UK are back in Preston, England using a double dose of action and only speaking for myself I'm really stoked to see that Ridgeway/Allmark submission match. Should be real high caliber stuff!

Get your tickets here or test 'em out live on Powerbomb.tv, folks.

Shine 47: Survival (December 16, 6PM Eastern)

ACR vs. Priscilla Kelly (c) (Shine Nova Championship)

Aerial Monroe vs. Aja Perera vs. Aria Blake vs. Brandi Lauren vs. Candy Cartwright vs. Dementia D'Rose vs. Dynamite DiDi vs. Ivelisse vs. Kamilla Kaine vs. Kiera Hogan vs. Mercedes Martinez vs. Natalia Markova vs. Rain vs. Robyn Reid vs. Shotzi Blackheart vs. Stormie Lee vs. ??? vs. ??? vs. ??? vs. ??? (Shine Championship #1 Contender's Survival Rumble)

Shine are back in Ybor City, Florida and... is that the whole card? Nope! The deal here is the winner of this Survival Rumble will go on to wrestle Shine Champion LuFisto at Shine 48 and matches will be made based on eliminations in the Rumble to fill out the remainder of this show. It's innovative, if nothing else, I suppose. Along with the first Shine Champion, Rain, is back out of retirement, which is great news! (Do note that the number of ??? Entrants I've added there is arbitrary; WWN have said more will be added, not that it will always be a 20-woman Rumble.)

Get your tickets here or check it out on iPPV at .

Free matches!

Candice LeRae vs. Kimber Lee

From the fine folks over at Women's Wrestling Revolution Pro, we have action with shades of the Mae Young Classic! Abbey Laith takes on Candice Wrestling in a past life, check it out!

Darby Allin vs. Josh Briggs

From the good people over at Limitless Wrestling we have a clash of up-and-comers. Darby Allin burst onto the scene from out of nowhere in Evolve over a year ago as a daredevil who has not yet fulfilled the thing he is not willing to jump off of and Briggs has just erupted onto my radar as a hugely athletic big man so hey, check it out and get yourself a new favorite, right?

CWF Mid-Atlantic Worldwide Ep. #135

I reckon it's time we checked in on our pals over at CWF again because they have a doozy of a hoot lined up for us tonight as national treasure White Mike takes on CWF Heavyweight Champion Trevor Lee in a non-title match! When you haven't seen Mike in action, you are in for a treat, folks.

Results

MLW Never Say Never (December 7)

"Whoa hey, Rev, what's this? No results again? What are you tryin' to pull here?!"

Well, I'm trying to pull the same thing that I did the last time I did so, which is to say that MLW have published this whole show free for nothin' on YouTube! Don't let me spoil you, check it out here--

RPW Uprising 2018 (December 8)

Kurtis Chapman over David Starr, El Phantasmo, "Flash" Morgan Webster (c), and Ryan Smile to acquire the RPW British Cruiserweight Championship

Jinny over Martina

Moustache Mountain (Trent Seven & Tyler Bate) (c) over Josh Bodom & Zack Gibson to keep the RPW British Tag Team Championship

Cody Rhodes (c) over Jay Lethal to retain the ROH World Championship

Pete Dunne over Eddie Dennis

Martin Stone over Dave Mastiff

Zack Sabre, Jr. (c) over Matt Riddle to keep the RPW British Heavyweight Championship

Bullet Club (Marty Scurll, Matt Jackson, & Nick Jackson) over #CCK (Chris Brookes & Travis Banks) & Flip Gordon

RevPro closed out their year with a bang as up-and-comer Chapman rose above the fray to become Cruiserweight Champion. Plus Cody retained the ROH title and left programs for Final Battle intact thanks to (or perhaps despite) some interference from Scurll, and while Eddie Dennis' losing streak continues he may not be carried out in RevPro just yet, as Rob Lias attacked him after his match.

Plus, we've already got a big match made for High Stakes next year, as Zack Sabre, Jr. cut a promo after his match saying he's defended against everyone and wants to challenge, together with Minoru Suzuki, for the tag names.

Check it out on RPW On Demand, folks.

CZW Cage of Death 19 (December 9)

Storm of Entrails (Dan O'Hare & SHLAK) over Blackwater, G-Raver, John Silver, Kody Rice, & Shane Sabre to win the Ultimate Opportunity Coin

Matt Tremont over Jimmy Lloyd (Thumbtack Massacre Deathmatch)

Mr. Claxton over Alex Colon

David Starr over "All Ego" Ethan Page

The REP (Dave McCall & Nate Carter) over Alex Reynolds & Dan Barry, OI4K (Dave & Jake Crist), and Scarlet and Graves (Dezmond Xavier & Zachary Wentz) (c) to win the CZW World Tag Team Championship

Nick "Magnus" Aldis over Tim Storm (c) to win the NWA World's Heavyweight Championship

Jimmy Jacobs over Jimmy Havoc

Chrissy Rivera & Greg Excellent over Ace Romero

Maxwell Jacob Friedman over Joey Janela (c) to win the CZW Wired Championship

Rickey Shane Page (c) over "Chainsaw" Joe Gacy and Shane Strickland to retain the CZW World Heavyweight Championship (Cage of Death)

Well, we covered one bit of big news in the show elsewhere on the website, so I will skip over that and break down the rest of what's interesting here. Danny Havoc returned to the Combat Zone to beat on Conor Claxton after his match, DJ Hyde declared Will Ospreay for their WrestleMania weekend show, MJF's victory means that Joey Janela's Wired Championship reign never happened, but he paid dearly for it as Penelope Ford at long last rejoined forces with Joey.

And in the main event, Gacy's followers got involved, leading to a cavalcade of interference from the likes of Kit Osbourne, Dan Barry, and Anthony Gangone! At the same time, after the match, Nick Gage strolled through the crowd and into the cage for a confrontation which CZW do their best to scrub from the net. Work? Shoot? Together with the King, you never know!

Check it out on CZW Studios, folks.

Evolve 96 / 97 (December 9-10)

--Evolve 96 (December 9)--

Dominic Garrini over Joey Lynch

Kyle the Beast & Shane Mercer over Matt Knicks & Stevie Fierce

Jarek 1:20 over Stephen Wolf

Zack Sabre, Jr.. Over DJZ

AR Fox over Jason Kincaid

Darby Allin over Austin Theory

Grab Point (Jaka & "Hot Sauce" Tracy Williams) (c) vs. WorkHorsemen (Anthony Henry & James Drake) goes to a no competition (Evolve Tag Team Championship)

Matt Riddle over Fred Yehi (No Rope Breaks Match)

Keith Lee (c) over WALTER to keep the WWN Championship

--Evolve 97 (December 10)--

Dominic Garrini over Craig Mitchell

Matt Knicks & Stevie Fierce over Brandon Watts & Stephen Wolf

Jarek 1:20 vs. Jason Kincaid goes to a ten-minute time limit draw

WorkHorsemen (Anthony Henry & James Drake) over Kyle the Beast & Shane Mercer

AR Fox over DJZ

Darby Allin over Keith Lee and "Hot Sauce" Tracy Williams, earning the right to any match of his choosing in 2018

Austin Theory over Fred Yehi (c) to win the FIP World Heavyweight Championship

Matt Riddle over WALTER (No Rope Breaks Match)

Zack Sabre, Jr. (c) over Jaka to keep the Evolve World Championship

As always when I can point you to my recaps (Evolve 96, 97), I will do so and keep it short and sweet here, but suffice it to say, I believe the new format is a success. I could do without intermissions, but the preliminary matches are a cool way get some new talent in. In addition to the push for no rope rests is pretty sweet and is leading to some innovative stuff.

Check 'em out on , folks.

Beyond Cold Brew (December 10)

WALTER over David Starr

Brian Milonas & Cam Zagami over Anthony Greene & Brick Mastone by disqualification

Wheeler YUTA over Mike Verna (Tournament For Tomorrow 2017 Semifinal Match)

Amityville Project (Rex Lawless & Ryan Galeone) over American Gaijin (Jay Freddie & Rory Gulak)

AR Fox & Austin Theory over Brandon Watts & Zenshi

Ace Romero over Josh Briggs (Tournament For Tomorrow 2017 Semifinal Match)

Matt Riddle over Martin Stone

Darby Allin over John Silver

Keith Lee over Joey Janela

A couple injuries shuffled the card, but the show must go on and the Tournament For Tomorrow Finals are set with Ace Romero and Wheeler YUTA prepared to go head to head! And, as it turns out, Evolve is not the only place AR Fox has a posse, because the Watts/Zenshi team is finally done to get good, with Brandon turning on the erstwhile Shynron to hook up with Fox and Theory.

Check it out on Powerbomb.tv, folks.

Progress Chapter 59: Whatever People Say We Are, That's What We're Not (December 10)

Rampage Brown over Doug Williams

Chris Ridgeway over Adam Chase

Jack Sexsmith over Amir Jordan, Chief Deputy Dunne, Gabriel Kidd, Pastor William Eaver, Primate, Saxon Huxley, and Spike Trivet

Joseph Conners over Chuck Mambo

Chris Brookes over Matt Cross

Grizzled Young Veterans (James Drake & Zack Gibson) (c) over Aussie Open (Kyle Fletcher & Mark Davis) to keep the Progress Tag Team Championship

Travis Banks (c) over Eddie Dennis to keep the Progress Championship

As always when I recap a show I will keep it short and sweet here in Sermon and mother of god, traveling issues from the weather really did a number on this one, didn't they? The show must go on, obviously, and while the lack of British Strong Mode, "Flash" Morgan Webster, and Mark Andrews is keenly felt a whole lot of new faces made to show their stuff and former champion Rampage Brown made his return!

Check it out when it hits Demand Progress, folks.

As always...

Remember folks, no matter which sort of wrestling you like, no matter how down you feel about the state of WWE, Impact, ROH, or any other "big-time" pro wrestling, there's something out there for you. There's a pro wrestling product that can hit you in the ideal spot and make you love wrestling as you thought you'd never have the ability to love it again. It's there, I promise. You just gotta reach out and find it, and that, my friends, is what the Sermon on the Mat is all about.

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neoraven · 4 years

Text

some partial movie and wrestling reviews

I don’t want to finish these, but I don’t want to just delete them either! It’s a few short sentence/reviews of movie, and half a wrestling show review/start from January of this year. I should go back and watch/review fully all the wrestling from January to Quarantine at some point.

Here are a bunch of movies I've watched in the last while. I was going to rank them or rate them, but I'll just write a few words about each. They're roughly in chronological order, spanning the last few weeks (months?) or so.

MacGruber - I love this stupid, stupid movie. From every wrestler cameo to Val Kilmer's performance.

Geostorm - Speaking of stupid movies. Granted, this was a while ago, but I barely remember anything about this one. But I am certain I watched it. And Gerard Butler saved the world or something somehow.

Austin Powers 3 - I started this to just enjoy the opening credits thing, but ended up watching the whole thing. It's kinda bad, and ages the worst out of the trilogy, but Goldmember is way funnier than Fat Bastard.

The Other Guys - Michael Keaton gives such a bizarre and hilarious performance in this one, especially the TLC monologue. Also I'm always caught off guard by the ending credits / climax being an overt anti wall street / capitalism message.

Reno 911 Miami - Another one that I started only for the opening joke / cameo (I wanted more of The Rock after Other Guys, obviously), but watched the rest. I was never a huge fan of Reno 911, but I generally liked everything I saw, including this movie!

Scary Movie 2 -This was real bad

Wet Hot American Summer - Really funny and great background watching for anything. I think I was watching this after Oscars season for Bradley Cooper.

The Fate of The Furious (8) - Charlize Theron is such a badass in this. Also, more The Rock.

Avengers Infinity War- All these movies suck, I'm a moron and watch them anyways so I can be part of the ~discourse~.

Ghost Ship - I started this just for the opening part, and managed to actually turn it off. I'm not proud of not watching the whole movie, but it is what it is. It is really one hell of a wild first 8 minutes or so of this movie.

Ant Man & The Wasp - Okay, I take it back about the all of them sucking, I like Paul Rudd and this was mostly fun and enjoyable and the MCU would be better if most of the movies were more fun.

Triple Frontier - This is a kinda surprisingly deep and slow-burning shooty heist war thriller. Those are a lot of buzzwords, but it's pretty wild. I liked Ben Affleck in this! Everyone else is fine, too.

Avengers Endgame - Now we're back at all these movies suck. The opening is pretty interesting, to be honest, but then everything just slides back into a slog with all the barrage of characters and time heist, and versions of characters until your mind is leaking out of your ears. And that's before everyone materializes on the non-descript brown battlefield to show off their powers. Despite all the financial success, the best thing I can say is that I don't think they're ever going to pull off something like this again. But I shouldn't be so optimistic.

The Matrix - A classic. I love this movie, and it's super timeless. Even with some of the computer/tech stuff getting lapped in the 20 years since 1999.

Matrix Reloaded - I think it's a little unfairly maligned. The freeway stuff, the twins, most of the "Burly Brawl", were all great. However, the Merovingian and the Architect absolutely deserve all the jokes and SNL sketches and such at their expense.

Equilibrium - Didn't finish this once it got to the part with dogs and I remembered the rest of the plot. And remembered I didn't really like it. Some of the "gun-fu" stuff is cool, and Sean Bean's early contribution to the movie is hilarious.

Mission Impossible Fallout - Love these movies. Henry Cavill is pretty great in this one. This franchise has really been doing an amazing job running alongside Fast and Furious and being able to up the ante again and again. I'm really excited for where they end up going with the next two simultaneous sequels. Also it's probably a little too fan fiction-y for me to say, but it'd probably be cool if this franchise somehow crossed over with Hobbs & Shaw. (Never too much The Rock)

Halloween (2018) - Really surprised it took me so long to watch this. It's really up my alley, with me loving remakes, horror movies, this horror movie in particular, and also the work of the Danny McBride brain trust behind the camera/script. Jamie Lee Curtis is tremendous, and Judy Greer proves a great addition to the franchise. I really enjoyed it, it's definitely set the bar pretty high to be honest for these types of sequels (remakes or reboots or whatever you want to call them).

<><><><><><><><><><><><>

January has been a stacked month for wrestling. I'm just going to try to sum up all the great stuff I've seen so far. As I write this, the World's Collide and Royal Rumble events are yet to come. The NJPW USA tour is in full swing as well, with their huge events going down over the next two weekends back in Japan. Also, a brief note about stuff missing - I saw a few NXT, NXT UK, RAW, and Smackdown matches mixed in, but very few of the full shows. Random thoughts from those - Keith Lee's title win was amazing. Lacey Evans legitimately is looking better. WALTER is still the best. My star ratings are on the 5 scale with fractions (1-20 essentially), just like Meltzer if you care about that. Anyways, let's start on New Year's Day.

January 1st - AEW Dynamite

Cody d. Darby Allin ***1/2 -This was a really solid match, calling back to their previous draw, but without anything really great to push it over the top. Cody might be the most popular person in all of AEW, so maybe it's too soon to cool him off. I was still hoping for Darby to win and shoot into that next level. The victory with Arn's (completely legal) help was good to put him over, but kinda predictable.

Riho [c] d. Nyla Rose, Britt Baker, & Hikaru Shida *** -The champ retains in a match with the good type of chaos. The Baker frustration continued, as well as Nyla Rose lashing out and continuing her run as the enemy of tables everywhere.

Jon Moxley d. Trent **3/4 -Every match doesn't have to be a nailbiter, but there was never any doubt that Mox was in trouble here. They're both great, but this didn't really rise above the level of "just a match".

Sammy Guevara d. Dustin Rhodes **1/2 -This was a little messy and unmemorable, with some sloppy interference. But good to see Sammy get over on the veteran and continue some more of the Inner Circle vs Elite stuff.

The Elite d. Lucha Bros/PAC ***1/2 -I'm not the biggest fan of the Young Bucks, but they absolutely delivered in this main event. It was a fun, wild spotfest by some of the most talented people in the company. Omega looked pretty great too.

January 4th - NJPW Wrestle Kingdom 14 Day One I skipped all the early big tag matches that didn't have Liger. The Trios thing was pretty disappointing. Liger's farewell was great even if I didn't know half of the people involved until commentary explained their role and relationship and all.

FinJuice d. G.o.D [c] ***1/2 -NJPW's tag division always gets the short end of the stick, but this was still a really good back and forth match. GOD made the good guys look especially great, and it was laid out to see them overcome the Bullet Club nonsense in the most satisfying way. Here's hoping this title change can reboot the tag division and get some fresh matches and great stuff going in 2020.

Jon Moxley d. Lance Archer [c] ****3/4 -Moxley seized the US Title in a wild, bloody hurricane of a wrestling match. Lance Archer more than held his own in the "Texas Death Match" with NJPW's unique rule set. The match managed to overcome that slight awkwardness and still be great. I can't say enough good things about this one.

Hiromu Takahashi d. Will Ospreay [c] ***** -Perfect match. The story was laid out with Hiromu being slightly rusty coming back, to Will being a little bit arrogant, ending with the crazy new finisher finally coming out to put the champion away. This was my first live major Hiromu match, and he definitely lived up to expectations. Ospreay continues to build on his great 2019 with yet another match of the year candidate right out of the gate.

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londontheatre · 7 years

Link

Joining the previously announced Adrienne Warren, who plays the title role, are Kobna Holdbrook-Smith as Ike Turner, Madeline Appiah as Tina’s mother Zelma Bullock, Jenny Fitzpatrick as the alternate Tina, Lorna Gayle as Tina’s Grandmother GG, Tom Godwin as Record Producer Phil Spector and Lyricist Terry Britten, Francesca Jackson as Ike and Tina’s manager Rhonda Graam, Aisha Jawando as Tina’s sister Alline Bullock, Natey Jones as Tina’s father Richard Bullock and Tina’s first love Raymond Hill, Gerard McCarthy as record company Marketing Manager Erwin Bach and Ryan O’Donnell as Tina’s Manager Roger Davies. They are joined by ensemble members Tsemaye Bob-Egbe, Keisher Downie, Kit Esuruoso who also plays Tina’s son Craig Hill, Jammy Kasongo, Sia Kiwa, Jason Langley, Kayleigh McKnight, Baker Mukasa and Tanisha Spring and swings Derek Aidoo, Gavin Alex, Edward Bourne, Candace Furbert, Hannah Jay-Allan and Rodney Vubya.

Directed by Phyllida Lloyd and written by Katori Hall with Frank Ketelaar and Kees Prins, the world premiere of the new musical TINA will open at the Aldwych Theatre in April 2018. Performances will begin on 21 March 2018 with press night on 17 April 2018. Produced by Stage Entertainment, TINA is currently booking to 16 June 2018.

Choreography is by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet, sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations by Ethan Popp. Children’s casting will be announced in due course.

[See image gallery at http://ift.tt/1FpwFUw]

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race.

Adrienne Warren will make her West End stage debut as Tina. Her most recent theatre credit was in Shuffle Along at the Music Box Theatre on Broadway, for which she received a Tony nomination. Her other US theatre credits include Bring It On The Musical at St. James Theater, Dreamgirls at the Apollo Theater, which was followed by a National Tour, and The Wiz at Encores City Center. She has toured and recorded with the multi-platinum selling Trans Siberian Orchestra for which she received her first Platinum and Gold records. Her television credits include the Amazon Pilot Point of Honor, Orange is the New Black, Blue Bloods, Royal Pains, People in New Jersey, Irreversible and Black Box. In March this year, she made her Carnegie Hall debut with the New York Pops.

Kobna Holdbrook-Smith was last on stage playing Laertes in Hamlet at the Barbican alongside Benedict Cumberbatch. His previous theatre credits include Rosencrantz and Guildenstern are Dead, Edward II, Antigone and Death and the King’s Horseman for the National Theatre, The Low Road for the Royal Court, Feast, Joe Turner’s Come and Gone and The Changeling for the Young Vic, Love’s Labour’s Lost for Shakespeare’s Globe and Detaining Justice, Seize the Day and Fabulation for the Tricycle Theatre. His television credits include The Split, Wagstaffe, Class, Capital, Crackanory, Worricker Trilogy, The Last Panthers and Midsomer Murders. Holdbrook-Smith’s film work includes Paddington 2, The Commuter, Justice League, Doctor Strange, The Double and Roadkill and the forthcoming Mary Poppins Returns and Ghost Stories.

Madeline Appiah’s most recent theatre credits include Hamlet for the Almeida and in the West End, Macbeth, Romeo and Juliet, Here We Go and Welcome to Thebes for the National Theatre, Hotel Cerise for Theatre Royal Stratford East, Macbeth, Merchant of Venice and Taming of the Shrew for the Royal Shakespeare Company, Off The Endz for the Royal Court and The Duchess of Malfi for the Old Vic Theatre. Her television credits include In The Long Run, King For a Term, Partners in Crime, Gavin and Stacy, Doctors, The Bill and Holby City.

Jenny Fitzpatrick was last on stage in Boudica at the Globe Theatre. She has also appeared on stage in Oliver! at the Theatre Royal Drury Lane, Peter Pan at the Manchester Opera House, A Midsummer Night’s Dream, Henry IV Part I and Camelot at Regents Park Open Air Theatre and Little Shop of Horrors at the Duke of York’s and Menier Chocolate Factory. She has also toured the UK in The Blues Brothers, Soul Sister, Thoroughly Modern Millie and Our House. Her television credits include Eastenders, Silent Witness and MI High.

Lorna Gayle has appeared on stage in A Tale of Two Cities for Regent’s Park Open Air Theatre, Guys and Dolls at the Savoy Theatre, Nation for the National Theatre, Rudy’s Rare Records at the Hackney Empire and Almost Nothing for the Royal Court. Her television credits include The Rebel, Doctors, Cuckoo, Fried, Holby City, Utopia and Eastenders. Her film credits include Carmilla, Caribbean Dream, Having You, One Day, The Dark Knight and Run Fat Boy Run.

Tom Godwin’s more recent theatre credits include City of Glass at the Lyric Hammersmith, The Woman in Black at the Fortune Theatre, The Little Mermaid at Bristol Old Vic, To Kill a Mockingbird at Regents Park Open Air Theatre, Bingo at the Young Vic and Taming of the Shrew at Shakespeare’s Globe. His television credits include Coronation Street, Holby City, Knightfall, Doctors, Eastenders, and Waking the Dead. On film he has been seen in Alice Through The Looking Glass, The Danish Girl and About Time.

Francesca Jackson’s stage credits include Kiss Me Kate, Into the Woods, Sunday in the Park with George and A Little Night Music at the Theatre Du Chatelet, Million Dollar Quartet at the Noel Coward Theatre, Dusty at the Charing Cross Theatre, Dreamboats and Petticoats at the Playhouse Theatre, Rent at the Duke of York’s Theatre and All the Fun of the Fair at the Garrick Theatre. Her television credits include Boyfriend Material and Refresh. Jackson was a finalist in the BBC 1 show I’d Do Anything with Andrew Lloyd Webber. Her film credits include Hiding in the Shadows and Evita.

Aisha Jawando is currently playing the lead role in the Hackney Empire Pantomime Cinderella. Her other theatre credits include Martha Reeves in Motown the Musical, as well as roles in Beautiful The Carole King Musical, The Book of Mormon, The Lion King, Fela, Legally Blonde and Soul Sister.

Natey Jones’ theatre credits include One Love: The Bob Marley Musical at Birmingham Rep, Doctor Faustus, Don Quixote and The Alchemist for the Royal Shakespeare Company, Tomorrow for the White Bear Theatre, A Midsummer Night’s Dream at the Courtyard Theatre and Once Upon a Time in the 90’s at the Albany Theatre. His television credits include Doctors and Shakespeare Live! From the Royal Shakespeare Company.

Gerard McCarthy’s stage credits include Cat for the Courtyard Theatre, It’s a Wonderful Life at the Bridgehouse Theatre, The Merry Wives of Windsor at Shakespeare’s Globe, Mamma Mia at the Prince Edward Theatre, Saturday Night Fever at the Apollo Theatre and the UK tours of Blue/Orange and Beautiful Thing. His television credits include Call The Midwife, Puppy Love, The Fall and Hollyoaks. On film he has been seen in A Nightingale Falling.

Ryan O’Donnell was last seen playing the lead role in the touring production of Sunny Afternoon after appearing in the West End production. His other stage credits include Quadrophenia at Plymouth Theatre Royal, Romeo and Juliet the Royal Shakespeare Company, Victor Frankenstein at the Royal & Derngate Theatre, Tracy Beaker Gets Real! at Nottingham Playhouse, Shadow Mouth for Sheffield Theatres and Stand Tall at the Landor Theatre. His film and television credits include MI High and Jesus: The Beginning.

TINA is produced by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.

Adrienne Warren is appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity.

LISTINGS INFORMATION Theatre: Aldwych Theatre, Aldwych, London WC2B 4DF Dates: initial booking period 21 March – 16 June 2018 Press Night: 17 April 2018 at 7pm Performances: Monday – Saturday at 7.30pm, Thursdays and Saturdays at 2.30pm Nb first midweek matinee 12 April 2018

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