La viuda de Martin Karadajian y su hija Paulina Karadajian, en el colmo del caradurismo, con tal de no pagar lo que deben por carga sociales y provisionales a todos los luchadores de troupe, riéndose da la Justicia, argumentan ahora que "Titanes en el Ring" nunca existiò.
Aprovechandose de trabajadores humildes, hoy algunos yà retirados de la actividad y otros que no encuentran trabajo, la viuda de Karadajian vive muy bien luego de habernos explotado. Se niega a pagar y entregar las certificaciones de trabajo que les adeuda a sus ex empleados. En realidad buscan cualquier argumento para no cumplir con las obligaciones y se rien da la Ley y la Justicia.
Pero en esta lucha que tomé como propia en nombre de El Ancho Peuchelle, Ulises el Griego, René Tenembaum, Ararat, José Luis el Español, Carloto, Benito Durante, Salvatore Juliano, Carlos Màrquez, Gengis Kan, El Ejecutivo, el fallecido Joe Galera y muchos otros la vamos a continuar hasta que paguen el ùltimo peso que nos deben por evasiòn al fisco y con nosotros van a perder por knock out técnico.
En esta pelea vamos hasta a dejar la sangre para que se castigue a los explotadores y evasores. Peleamos contra la impunidad y el poder del dinero. Deberàn saber que en el ring La Momia jamàs perdiò y, pese a la impunidad reinante, el poder del dinero y de los que compran conciencia, esta pelea la vamos a ganar y entonces sì habrà justicia para los trabajadores de "Titanes en el Ring".
Oscar Demelli (La Momia)
Luchador profesional y empresario artistico

The free-style Wrestling and the Tango-Show two worlds are not too far from each other as a superficial observer may think. In both cases, either to wrestle in the rings and to tango in the Buenos Aires Tango Houses, it takes a minimum of two; the steps and the figures are prearranged and almost identical; the costumes are insane alike; the yelling and the heeling on stage are exactly the same. The Tango-Show's workers and the Wrestlers, as well as physique, age and maquillage, share also a tasteful audience (la gilada), which they try to impress with a similar repertoire of special effects. A post-performance examination to the performes' limbs would find the same tumefactions - tiene màs golpes que rodilla de zapatero - they use to say in both fields. Also perspiration, fatigue and, why not, social reputation, go together in the two categories.
The Tangueros and the Wrestlers borrow their stage names from a common etymology: Dead Man Dancing is a well-known terpsichorean in the Tango scene; on the other hand not one milonguera in town would like to dance in the same block with Terminator, who goes on practising undeterred every friday night at La Estrella. La Mafia Gaucha, like the Titans in their Ring, has succeded in imposing the folk rules to the milonga and now everybody has to watch the tanda de chacarera and its silly hanky-waving. Not to mention El Golem, El Dios de Ebano, El Petardo, El Malevo, La Tumba Etrusca, Cames Bondi, El Showcero, Mono Conavaja, El Pulpo Marianela, El Magnanimo.
Today La Momia directly confirms that even the wrestling entrepreneurs ain't different from their Tango-Show's equals. We have no reason for doubting it: it's quite a long time since a pianist who played in the Sexteto Canyengue under the assumed name of Wim Warman and who fighted in the adjacent world of wrestling under his real name of Arena Torpedo, had foreseen the merging of the two parties.
We kindly ask our readers to support the Titans struggle for their rights. Be sure about that: La Momia will never give up. You remember him beating El Ejecutivo even under his tongue? Or La Momia versus Siamese Twins Cohen? He was knocked down so many times that his manager started to rent out his shoes soles as advertising space.
La Momia will take the Karadajian Widow till the last round and this time- i give you my personal garantee - it will be her lawyer to whisper: if you kill him, you are level.

© TQR Jean Fajean

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