Ciudad de México
Padre: Tony Salazar
Madre: Patricia López
Hijos: Magnus y Ulises Jr
Antonio Salazar Gómez is internationally known as Tony Salazar, made his debut at the Plaza de Toros la Aurora in Ciudad Nezahualcoyotl in 1965 and is the founder of a gladiatorial dynasty that, like others, goes in the second generation but already has a great contribution to the school. imaginary of the Mexican wrestling, the Salazar Dynasty also composed by his sons Ulysses Jr. and Magnus, who followed his father's footsteps on the ring canvas in a natural way, everyone in the middle of the fight knows about the wisdom of the Master Tony, in charge of the gymnasium and the main trainings at the Arena Mexico for several decades, there, Salazar has taken part of the responsibility of training as well as his own children, mainly the most outstanding stars of that arena, his most outstanding students have shone in the international arena: his nephew Carístico (First wrestler who played Mystic, Sin Cara and also belonging to another dynasty: Karonte-Carístico) and Sarah Stock, Dark Angel, both with labor leagues given their moment with the giant of the world fight, WWE. In the Salazar Dynasty we could mention that part of the whole tradition, history, and renovation that I have mentioned here about Mexican wrestling also comes together, since in the film Tony Salazar also participated in some classic movies of wrestlers: Huracán Ramírez against the Black Monjita (Director: Joselito Rodríguez, México, 1973), Los Vampiros de Coyoacán (Director: Arturo Martínez, México, 1974) and Santo and Butter Naples in the Revenge of the Llorona (Director: Miguel M. Delgado, México, 1973).
The achievements of his sons Magnus and Ulysses, his history and development or not as professionals of this spectacle sport is to be verified in the years to come, they have not started badly and they have already stepped on the most outstanding scenarios of the Mexican pancracio and in the case of Magnus, quadrilaterals of other countries. wrestling norteamericano y hasta el pororesu japonés, han sido los principales repositorios y virulentas fuentes que han retroalimentado al imaginario colectivo continental con el también llamado arte del pancracio.
The wrestling dynasties can be analyzed from what has been said so far in this text from the perspective of the studies of the show, but speaking from the point of view of anthropology, the wrestling dynasty complies with the Lamarckian paradox when when fighting, he takes out the caste as analyzed by Dr. Patricia Celis Banegas: when the individual belongs to a group of origin that redefines it to the point of re signifying it, a dilemma that anthropologists like George Balander insist on since the last century, is within the human logic and therefore also part of the practice of wrestling in Mexico.