From the New York Magazine archives, here’s a piece Pete Hamill once in 1969 about a Great White Hope:

Jerry Quarry was dressed in natty gray sharkskin trousers, a cobalt-blue shirt and white shoes, and he looked like all those young men in Southern California who don’t take drugs or wear their hair long or go off to Berkeley. The dark blond hair was combed straight back, with long sideburns, and you were sure that a few years ago he wore a ducktail. The face itself had that rugged blockiness you see a lot in California: straight short nose, good jaw, neat ears; only Quarry’s eyes had that peculiar maturity that comes with the acceptance of pain. He nodded and disappeared into the dressing room.

After awhile, Quarry returned and hopped into the ring. He was wearing green trunks and white boxing shoes, and he started to move briskly around the ring, flicking his bandaged hands at the air. The hard body was tanned and trim, and he twisted it and stretched it, the hands always moving, describing patterns of punches, the jab whipping straight out, the right hand jamming behind it, the short flat hook whipping horizontally across Quarry’s own chin-line. The audience seemed hypnotized.

Then Quarry went over to the side of the ring, where his trainer Teddy Bentham smeared Vaseline on his face and laced on a pair of 10-ounce red boxing gloves. Boursse came into the ring, his face masked by headgear. Quarry did not wear headgear, and you could see the blanched look on the face of John Condon, the Garden public relations man. Quarry’s fight with Frazier is the hottest prizefight of the year; the Garden might be sold out, and if it is, the live gate alone could be $750,000, with another million coming from closed-circuit television. If Quarry were cut in training it would cost someone a lot of money. But Quarry is a fighter, and the real fighters don’t really care much for headgear.

This could be a good one. From the New York Times:

[George Bernard] Shaw also formed an enduring friendship with, of all people, Gene Tunney, the world heavyweight champ, some 40 years younger. The two men regularly corresponded and exchanged visits and, together with their wives, even spent a monthlong holiday together in 1929, when Tunney, newly married to Polly Lauder, a Connecticut heiress, was hiding from the press in Brioni, the Adriatic resort.

This friendship, the subject of a new book, “The Prizefighter and the Playwright: Gene Tunney and Bernard Shaw,” by Tunney’s 74-year-old son, Jay, is not a secret, exactly. Shaw and Tunney were proud of their connection and took no pains to hide it. Contemporary sportswriters, who disapproved of Tunney’s bookishness, sometimes made fun of him for associating with such a pointy-head.

This one isn’t in the new book of boxing poetry and song lyrics but still, Uncle L’s crossover hit is still worth dropping here:

Another boxing beat:

…For the Brown Bomber:

Boxing Week continues…

In celebration of the recent publication of The Fighter Still Remains: A Celebration of Boxing in Poetry and Song from Zevon to Ali (edited by George Kimbal and John Schulian), let’s do a week of boxing tunes.

First up, a classic:

“Sometimes you only get to win one championship.” –Leonard Gardner

Did you ever rent a movie and then return it without watching it?

I’ve rented John Huston’s Fat City at least twice in my life but never watched it. I can’t explain why. Chalk it up to my mood at the time. After all, Huston is one of my favorite directors and Jeff Bridges one of my favorite actors.

Fat City is based on Leonard Gardner’s novel of the same name. The book is less than 200 pages long, and the story is almost unbearably grim. It is about boxing and drinking in Stockton, California. It is about losers losing. And although the prose is lean and clear, it is also dense–you can almost feel how much effort went into making it so direct and spare.

It was a tough book for me to get through, even though it wasn’t long. I read it because I thought it would be good for me not because I enjoyed it. I admired the artistry–the writing was superb, but I found the story bleak and depressing. When I finished it, I thought, Now, there is a world I don’t need to visit again. No wonder I never watched the movie.

I felt compelled to read the book because Huston’s movie started a two-week run at the Film Forum last night. George Kimball and Pete Hamill introduced the movie and then stuck around to answer questions when it was over. Hamill said that Gardner’s novel is one of the three best boxing novels ever written, along with The Professional by W.C. Heinz, and The Harder they Fall by Budd Schulberg. Kimball who is a walking encyclopedia of boxing knowledge talked about how Huston cast boxers and non-actors in the movie, how he insisted that it be shot in Stockton to preserve the book’s authenticity, how the producer Ray Stark wanted to fire the DP, the great Conrad Hall, because the scenes inside the bars were so dark.

Kimball also tried to explain the biggest question about Gardner (one that Gardner is probably asked daily)–why was Fat City the only book he ever wrote? Gardner continued to write short stories and journalism–I remember reading a piece he did for Inside Sports on the first Leonard-Duran fight–and eventually went to Hollywood to write for television. David Milch taught Fat City when he was at Yale and got Gardner work on NYPD Blue, which proves that Milch isn’t all bad (although he famously ripped-off Pete Dexter’s novel Deadwood for his TV series).

Kimball didn’t know the exact reason why Gardner has never written another book. He said Gardner’s never offered a reason and he’s never  pressed him for one. Kimball’s guess is that Gardner wrote such a perfectly realized book in Fat City that he figured could never reach that height again. So why bother trying?  Kimball said that Fat City was 400 pages long and Gardner kept honing it, pairing it down, like a master chef making a reduction.

Whatever the reason, it is easy to see why Huston was attracted to the story.  Hamill said that Huston spent his life making one movie for the studio and then one for himself. And this was one of his personal movies. He has great affection for the characters and the place and while he captures the unhappiness of Gardner’s book, I think the movie is has far more humor. There was some funny banter in the book but it didn’t come across as amusing to me. But the moment we see Nicholas Colasanto (better known to my generation as Coach from Cheers), the sound of his voice is warming, and cuts into the despair. So does the soundtrack.

Huston’s directorial style is also an ideal fit for Gardner’s prose. I remember once reading an article about Huston in American Film when he was making his final film, The Dead (another personal project). His son Tony was surprised at how skilled his father’s camera technique was.  And the old man said, “It’s what I do best, yet no critic has ever remarked on it. That’s exactly as it should be. If they noticed it, it wouldn’t be any good.”

In Huston’s movies–The Maltese Falcon, The Treasure of the Sierra Madre, Prizzi’s Honor–you don’t notice the style, you follow the story. Gardner, who wrote the screenplay with Huston, was blessed to have this man in his corner. The boxing scenes are strong. You feel close to the action, but nothing is forced or stylistic–it’s not like the Rocky movies or Raging Bull. In fact, you can see the ropes in the frame often, putting us just outside of the ring. The boxers sometimes look clunky but since they aren’t supposed to be great fighters, it works. And in Keach’s big fight scene you can feel the fighter’s exhaustion, their bodies getting heavy, by the second round.

Stacey Keach and Jeff Bridges are terrific (so when is Bridges not terrific?). There is a dignity to the characters, no matter how laid-out they are.  There is a tremendous shot, a long take, when Keach and his trainers and their wives leave the arena after a fight, followed by a broken-down Mexican fighter that illustrates this beautifully.

Keach wears a silver braclet in the movie that was exactly like the kind my father wore during that period, when I was a young kid. But my old man was a middle-class drunk, so the comparisons end there. However, the bar scenes, the life of drunks, rang true and reminded me of my father’s alcoholism.  There is a lot of drinking during the day, and Kimball remarked on the blinding light that greets you once you stumble out into the daylight. Like when you come out of a movie theater in the middle of the day–but more woozy and disorienting.

It is that kind of touch that makes Huston’s movie effective. Nothing much happens in the story. But it feels authentic, taking the essence of Gardner’s book and making it into a story for the screen.

Boxing metaphors are easy to come by when the Yanks play the Sox and I had boxing on the brain today for a couple of reasons: the writer Budd Schulberg died, and Muhammad Ali was honored before the game at Yankee Stadium.

My grandfather the head of public relations at the Anti-Defamantion League from 1946-71 (the year I was born), and helped prepare Schulberg’s statement before HUAC during the communist witch hunt after World War II–he also helped the actor John Garfield with his statement.

I remember seeing a worn copy of Schulberg’s The Disenchanted on my grandfather’s bookshelf; I think my aunt has his signed copy of Waterfront, the book that was the basis of On The Waterfront. Schulberg’s most enduring work is What Makes Sammy Run? a cynical novel about show biz.

Over at  The Sweet Science, George Kimball remembers Schulberg:

He straddled the worlds of literature and pugilism throughout his life, but unlike some of his more boastful contemporaries he was not a dilettante when it came to either. He sparred regularly with Mushy Callahan well beyond middle age. The night of the Frazier-Ali fight of the century Budd started to the arena in Muhammad Ali’s limousine, and then when the traffic got heavy, got out and walked to Madison Square Garden with Ali. A year before Jose Torres died, Budd and Betsy flew to Puerto Rico and spent several days with Jose and Ramona at their home in Ponce. Art Aragon was the best man at his wedding. And when push came to shove, he put on the gloves with both Ernest Hemingway and Norman Mailer and kicked both of their asses, though not, as some would now claim, on the same night.

And from an interview with Schulberg earlier this year in The Independent:

No writer has ever been closer to Muhammad Ali. Schulberg travelled in Ali’s car on the way to fights, sat in his dressing-room even after defeats, and was at the epicentre of some of the bizarre social situations the Louisville fighter liked to engineer. He was at the Hotel Concord in upstate New York when Ali was training for his third fight against Ken Norton. Schulberg was with his third wife, the actress Geraldine Brooks. “Ali,” Schulberg recalls, “asked Geraldine for an acting lesson. She improvised a scene in which he’d be provoked into anger.” After two unconvincing attempts, “She whispered in his ear, with utter conviction: ‘I hate to tell you this, but everybody here except you appears to know that your wife is having an affair with one of your sparring partners.’ I watched Ali’s eyes. Rage.”

Then, he recalls, Ali had another idea. “‘Let’s go to the middle of the hotel lobby. You turn on me and, in a loud voice, call me ‘nigger’.” Once in the foyer, crowded with Ali’s entourage, “Gerry dropped it on him. ‘You know what you are? You’re just a goddamn lying nigger.’ Schulberg recalls how Ali waited, restraining his advancing minders at the very last minute; a characteristic sense of timing that allowed his white guests, if only for a moment, to experience the emotions generated by the prospect of imminent lynching, yet live to tell the story.

The stars were out at the Stadium to see Ali and the Yanks: Bruce Willis, Paul Simon, Kate Hudson, and Hall of Famer, Eddie Murray. Ali was wearing a powder blue shirt and dark sunglasses; he slumped forward, a hulking man, surrounded by young, fit athletes and middle-aged executives. The moon was yellow and almost full. The stands were packed (49,005, the biggest crowd all year) as this was the most talked-about game to date in the new park.

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Last Friday night, I had the pleasure of listening to George Kimball read from his new book at Gelf Magazine’s Varsity Letters reading series.  (Here are two video links: One and Two.) The book,Four Kings: Leonard, Hagler, Hearns, Duran and the Last Great Era of Boxing is a must for anyone interested in the fight game.  

Kimball was there for it all and conveys the excitement these four champions brought to the game in this expertly reported book that is written in pleasing, straight-forward prose.

For a sampling of Kimball’s work, check out his archive at The Sweet Science.  For example, here is his story on the Hagler-Hearns brawl: 

Nearly a quarter century later it remains a high point of boxing in the latter half of the twentieth century. Some knowledgeable experts have described it as the greatest fight in boxing history – which it probably wasn’t, if only due to its brevity. But its ferocious first round, which to this day remains the standard against which all others are measured, was undoubtedly the most exciting in middleweight annals, and one of the two or three best opening stanzas of all time.

What did Bob Arum know that the rest of us did not? Already in the midst of an age in which it had already become obligatory to sell every big fight – and many smaller ones – with a catchy slogan, the promoter who had already staged (with Don King) the Thrilla in Manila, as well as served as the impresario for Evel Knievel’s ill-fated attempt to jump the Snake River Canyon, christened the 1985 matchup between Marvelous Marvin Hagler and Thomas Hearns simply “The Fight.”

This Friday, Kimball will be interviewed by none other than Pete Hamill (who wrote the foreword for the book) at the  Barnes and Noble in Tribeca (97 Warren street).  7 pm, ya heard? 

Again, anyone with a remote interest in boxing should brave the cold and check out what promises to be a riveting chat.

There used to be a spot in the Times Square subway station where dance crews used to set up and perform for the tourists.  It’s right as you get off the Shuttle train to Grand Central.  Now, an electronics store is there instead, but they still draw a crowd because a famous fight is always playing on the flat screen TV in their display window.  The first couple of times I noticed a crowd huddled around, the Ali-Forman fight* was playing. 

Nothing brings men together like a fight.

Last weekend, I saw them playing the great Hagler-Hearns bout.  One guy watching served as the commentator.

I remember seeing the fight when I was a kid, and being electrified by the fury of violence.  Here it is, brief, savage, and bloody:

Round One:

Round Two:

Round Three:

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I tried to represent as many different sports as possible when I put together The Best Sports Writing of Pat Jordan. Funny thing is, while there may be more great writing about boxing than any other sport, including baseball, no boxing stories made the cut, though Pat’s done some decent ones, like this one about Amir Khan, the Great British-Pakistani-Muslim Hope:

At 10 p.m., Amir Khan walked into the arena amid the flash of cameras and TV lights and the Asian girls aiming their cellphone cameras at him. He was wearing his trademark silver trunks, but with a slight alteration: tartan trim had been sewn in. Steve Gethin stood in his corner, his blue eyes wide.

The bell rang for Round 1. Khan loped into the center of the ring and began to stalk Gethin. He moved gracefully, bent over at the waist, bobbing and weaving left and right, his hands dangling low to the canvas. Khan did not look so young now, nor so slight. He looked huge next to Gethin and dangerous in a primitive way. Suddenly he attacked Gethin, hitting him with three quick punches before Gethin could react. Khan did resemble Muhammad Ali in the ring. It’s almost sinuous, the way he moves. He’s a trained fighter, but an instinctive one too.

Khan pursued Gethin, who backpedaled, Khan weaving hypnotically, and then he sprang again, pummeling Gethin with so many quick punches it seemed as if they were all one long, continuous punch. Gethin wrapped his arms around Khan and waited for the referee to separate them.

The fight didn’t last very long. The referee stopped it in the third round, after Khan again battered Gethin’s head with so many quick blows in succession that Gethin could only cover his face with his gloves and forsake any thought of throwing a counterpunch.

Khan raised his arms in victory. Some cheered; others were upset the fight had been stopped early. The members of “Khan’s Barmy Army” poured out of their seats. They began to leave the arena, waving their Union Jack-Pakistani flag at the seated fans. The Scottish fans began to throw things at them. Bottles. Sharpened coins. Cups of beer. “Khan’s Barmy Army” covered their heads. Security appeared from the runways, surrounded Khan’s “army” and hustled them out of the arena. In the ring, Amir Khan, oblivious, was being interviewed on ITV with his father.

Pat did a handful of hockey pieces for Sports Illustraed in the ’70s including a good one on Derek Sanderson. We included a hockey story in our collection, one of his earliest pieces for Sport magazine, about the Bruins at the old Boston Garden. Here is a good little profile Jordan did on Mike Keenan for The Sporting News in 1994, just after coach Keenan left the Rangers for St. Louis.

Italian waiters at Gian-Peppe’s Restaurant in “The Hill” section of St. Louis are wearing tuxedos with frilly shirts. They hover around Keenan at his table as if he were the Mafia Don out of “A Bronx Tale.”

“I used to hang around with seven Italian brothers when I was a kid,” he says. “I was the only Irish kid. If they got a beating from their mother, I got a beating from her, too.” He laughs, and drains his beer. Keenan asks a waiter to bring him a phone. He has to call his daughter, who will visit him tomorrow, and he’s worried that she might not have gotten the airplane ticket he sent her.

“It causes me great pain to be away from her,” he says, as the waiter returns with the phone. “I’m proud of my accomplishments, but maybe my ambition was selfish. You pay a personal price. Loneliness. It’s the only thing that scares me.” He makes the call, but his daughter is not home. The other waiter returns with a beer. For a tough-guy hockey coach, Keenan talks a lot about pain and lone-liness and even fear. He had a fear of failure when he took over at Philadelphia.

“I was confident,” he says. “I felt ready. But there’s always that fear in hockey if you’re not successful you’ll never coach again. I felt I had to be firm with my players and then I’d back off after a while, you know, the way a teacher does. But the players didn’t think I let up as much as I should have. I like to think my relationship with players has improved. I’ve improved. After the separation, I learned to reflect on life. To be introspective, tolerant and understanding. It was an awakening.” He picks up the phone and dials his daughter again.

I’m not a hockey fan and I never have been. I don’t follow boxing but I liked it as a kid. Hagler, Hearns, Sugar Ray. The tail end of Ali. The Rocky movies (seeing Rocky III in the balcony of Loews 83rd street–a theater no longer with us–with the place literally shaking during the big fight at the end, was one of the more memorable movie experiences of my childhood). Larry Holmes v. Tim Witherspoon, vs. R. Tex Cobb, all the way through Iron Mike’s early days.

I want to read more boxing writing at some point–there’s so much good stuff out there. I’d at least like to give it a shot. It’s such an appealing sport for writers because, as Len Shapiro of the Washington Post says, “It’s the greatest sport in the world until they get in the ring.”

Lot of good boxing movies too, come to think of it: Body and Soul, Somebody Up There Likes Me, Fat City, Rocky, Raging Bull, When We Were Kings. And Slap Shot is arguably the greatest sports movie of them all.