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'Hurricane' Carter's Death Still Brings No Closure

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“Based on a true story.”

Hollywood packages many of its biographical movies in such a manner, but my experiences in covering the controversial aftermath of a 1999 flick, The Hurricane, about the life and times of incarcerated former middleweight contender Rubin “Hurricane” Carter, taught me that separating truth from fiction is frequently a matter of individual perception. For whatever reason, most people choose to believe what they want to believe. Maybe that’s because human beings are prone to react subjectively, on the basis of their own personal emotions and biases, rather than on a dispassionate review of factual matters.

As Norman Jewison, director of The Hurricane, said after a lawsuit brought by former middleweight champion Joey Giardello, whose winning defense of his title in a Dec. 14, 1964, bout against Carter in Philadelphia was severely distorted in the film (and on this point there can be no doubt), observed after Giardello’s suit was settled out of court, “The truth is a moving target, I found. When you make a film about real people, about something that really happened, you’ll never get it right because there’s always somebody who’s going to disagree with you.”

The announcement of Carter’s death on Easter Sunday, at age 76 and after a long bout with prostate cancer, brought back a flood of memories of how difficult it sometimes is to pronounce anything as the incontrovertible truth, because, as Mr. Jewison correctly noted, truth is almost always slippery to pin down to everyone’s satisfaction. And that’s especially the case when the movie people decide to take what is or what was real and twist it, like a pile of Silly Putty, into a story line that fits a particular director’s or screenwriter’s agenda.

All the news stories I’ve read about Carter’s death state, unequivocally, that he was a black man wrongfully convicted of the murder of three white patrons of a Paterson, N.J., bar in 1966. That verdict, arrived at by an all-white jury, resulted in Carter spending 22 years behind bars. But is “not guilty” the equivalent of “innocent”? There are still people familiar with the case who insist that a judge’s eventual overturning of Carter’s conviction was based on procedural matters –namely, prosecutorial errors – rather than on evidentiary ones. The only way anyone can say with any degree of certainty that Rubin Carter was or wasn’t a murderer was to have been in that bar the night those three people were killed, in which case the observer either would have wound up as another corpse or, had he or she survived, could have testified that it was or wasn’t someone other than the boxer who pulled the trigger.

It is not my intention to speculate about the larger and more prevalent theme of The Hurricane, which is the senseless killing of three people and one man’s possibly unjust two-decades-plus spent behind bars in retribution for those deaths. But there is a key three-minute sequence in Jewison’s otherwise well-made, well-received film that casts a dark shadow about the authenticity of the entire finished product, and how that depiction played fast and loose with something indisputably true. That sequence deals with Carter’s bout with Giardello (whose real name was Carmine Tilelli), an honest workman who was inducted into the International Boxing Hall of Fame in 1991.

In the movie, Giardello is shown taking a horrific beating from Carter in the 15th and final round. After a delay in the tabulation of the judges’ scorecards, the champion is proclaimed the winner by unanimous decision, an announcement greeted with boos and catcalls from the audience in the Philadelphia Civic Center. An unnamed blow-by-blow commentator for the telecast is also aghast at the injustice perpetrated against the challenger.

“I’ve seen a lot of things in my time, but it’s taken 35 minutes to tell us what this hometown crowd (Giardello, a native of Brooklyn, N.Y., trained in South Philly and was a longtime resident of the Philadelphia suburb of Cherry Hill, N.J.) already knows,” Jewison’s fictionalized broadcaster says in the film. “Joey Giardello is about to lose the crown to Rubin `Hurricane’ Carter.

“They (the judges) must have been watching a different fight, because the one we just saw, Hurricane Carter took the title,” the broadcaster says after the decision angers spectators whose allegiance had shifted over the course of the bout from Giardello to Carter.

Full disclosure: My wife and I took Giardello, who was 78 when he died on Sept. 4, 2008, and his wife, Rosalie, to see The Hurricane the week of its release for the purpose of me writing about their reaction to the fight sequence in question.

“I can’t believe what I’m seeing,” Rosalie Tilelli, who attended the actual fight, said to her husband as the fight scene played on the wide screen. “They made it seem like he beat the hell out of you. I never thought it would be like this. I thought they would make it, you know, a little bit controversial. But this is ridiculous. It’s so unfair.”

Said Giardello: “They got the crowd booing me. How could they do that? Nobody booed. Those were my people there, from South Philly. They were happy I won. And I did win. I won, he lost. End of story.

“End of the fight, Carter congratulated me in the ring. He wasn’t complaining because he didn’t have anything to complain about. I was better than him. I know it, he knows it, everybody who was at the fight knows it. It’s just too bad all the people who see this movie won’t know it.”

Two people who knew what Giardello and his wife knew were Les Keiter, who called the fight for TV, and Ron Lipton, a New York-based referee who was a personal friend of Carter’s and had been asked by the moviemakers to do the choreography for the boxing sequences, a job he didn’t get because, he said, he refused to go along with Jewison’s instruction to portray the fight as a racially-motivated robbery.

It took me less than 10 minutes of calling around to track down Keiter, who was then living in Hawaii, for his take on how he – or the guy pretending to be him on-screen – was portrayed.

“The scene was absolutely, totally fictitious,” Keiter told me. “I never said any of that. Not even close.

“I have my call of the fight on tape. I played it for several of the sports writers here in Hawaii. Giardello, in my scoring, was the clear-cut winner. Now, it was a reasonably close fight. But the 15th round was just the reverse of what was shown. It was all Giardello, with his boxing and his counterpunching.”

Lipton has photos of himself with Muhammad Ali when they went to post bail for Carter in 1976. In an email he posted on the Cyber Boxing Zone message board after Carter’s death, he said “the photos of me standing with Carter with Ali speak for themselves.” It was Carter, in fact, who proposed to Jewison that his friend, Lipton, serve as the choreographer for the fight scenes for the movie.

So why didn’t Lipton get that gig, which would have paid him a nice chunk of money he admits he could have used? It was, he said, because he resisted the movie people’s suggestion to take liberties with what really happened that night.

“But Joey Giardello is still alive. It would hurt him to have the fight presented that way,” Lipton said he told the Hollywood people.

“No big deal. He’s just some old pug nobody cares about,” he said of the response he received.

When Giardello settled out of court – for a reported $350,000 – Lipton admitted to being happy that justice, to an extent, was served because, well, Lipton was a fan of all the good things Giardello represented as a fighter.

“I can never remember crying, except once,” he recalled when he read about the settlement. “That was when Joey Giardello left the ring after his second fight with Dick Tiger, the one in which he lost his title. Joey took a beating, but he refused to quit. There was no one I had ever seen in the ring who could be braver than Joey was that night.

“I’d rather be dead than to do anything to embarrass a great warrior like that.”

Interestingly, a big-time lawyer with a Washington, D.C., firm contacted my executive sports editor at the Philadelphia Daily News, demanding that the newspaper fire me or face a lawsuit because my stories had resulted in adverse publicity for the movie, possibly causing it to lose out on several potential Academy Awards. Denzel Washington, who did receive a Golden Globe Award for his portrayal of Carter, lost the Best Actor Oscar to Kevin Spacey for American Beauty. That picture also beat out The Hurricane for Best Picture.

“The controversy surrounding (The Hurricane) stems from the fact that some people think I shouldn’t be around. They think I should be dead,” Carter said at the time.

Thankfully, my boss told the attorney representing Beacon Communications Corp., which financed the movie, that the paper didn’t fire its reporters for writing what was true. The lawsuit against the Daily News and me was never filed, and as part of the settlement there were some tweaks of the DVD version of The Hurricane before it went on sale. The standard disclaimer – which states that certain events and characters “have been composited or invented, and a number of incidents fictionalized” – was moved from the closing credits to the beginning of the movie. And the epilogue, which shows the real-life Carter receiving a championship belt from the World Boxing Council in 1993, noted that the awarding of that belt was “in recognition of his 20-year fight for freedom.” The additional explanation is important, because it refutes any implication that the WBC was attempting to rectify an injustice tied to the decision for Giardello.

Armyan Bernstein, head of Beacon Communications, stopped short of an apology in his letter to Giardello, but he wrote that “we had no intention of taking away from your legacy as world middleweight champion, or of besmirching the other boxing accomplishments in which you, your friends and family take pride. Rubin Carter, who worked with us on The Hurricane, told me that you never ducked a fight.”

I didn’t buy that explanation then, and I don’t buy it now. It’s one thing for a screenwriter to script lines of dialogue for movies about, oh, Alexander the Great or some real person from hundreds of years ago. It’s another to do the same thing about a person and events that took place in the mid-20th century, with conversations and other materials that could have been easily documented.

“The movie was such a lie, such a contrived piece of (bleep),” Lipton wrote after Carter had passed away. “Not one thing in the movie is true.” He concluded that what lies ahead for the deceased fighter is now “between Carter and God.”

It could be 100 percent correct that Carter was railroaded. I’ve been around long enough to have personally witnessed many instances of racially-tinged injustices, an unfortunate byproduct of those turbulent times and one that has yet to be completely eradicated. Certainly, Carter was adamant in his steadfast refusal to conduct himself, even in prison, as someone who needed to pay for the heinous crime for which he was convicted.

“I wouldn’t give up,” he said in an interview on PBS in 2011. “No matter that they sentenced me to three life terms in prison. I wouldn’t give up. Just because a jury of 12 misinformed people … found me guilty does not make me guilty. And because I was not guilty, I refused to act like a guilty person.

“When I walked into prison, I refused to wear their stripes. I refused to eat their food. I refused to work their jobs, and I would have refused to breathe the prison’s air if I could have done so.”

I’m not as quick to give Jewison the benefit of the doubt, no matter how well-intentioned he might be or how skillful in the presentation of his art. More than a few of the acclaimed director’s films have dealt with societal themes and injustice, and before The Hurricane he examined racial tensions in In the Heat of the Night (1967), which won five Academy Awards, including Best Picture, and A Soldier’s Story (1984). In 2010 he received a lifetime achievement award from the Directors Guild of America. But The Hurricane, in striving to make a point, bent history to fit the director’s narrative, and that is where any movie “based on a true story” can go terribly wrong.

It fit Jewison’s vision to demean Joey Giardello, and it fit that vision to build up Rubin Carter as a fighter of near-mythical ability whose destiny to become one of the all-time great middleweight champions was diverted by a judge and jury that couldn’t see past the color of his skin. No one can deny that Carter was a devastating puncher with some career exclamation points, the most notable of which was his one-round stoppage of the great Emile Griffith, but his final professional record of 27-12-1, with 19 knockout victories, was hardly Hall of Fame-worthy. The movie suggests that Carter was still a top contender, only recently removed from his presumably unjust points loss to Giardello, when he was sent to prison. Not so; he was just 7-7-1 in his post-Giardello bouts and was no longer world-ranked.

After the settlement, Giardello and his attorney, George Bochetto, expressed satisfaction that their primary goal had been the preservation of Giardello’s deserved reputation as a tough fighter who never ducked anyone, which they felt was tarnished by the movie.

“For 19 years, I fought the greatest fighters around and I beat Carter fair and square,” Giardello said. “I just wanted to set the record straight, and I think it has been.”

Said Bochetto: “Joey’s reputation always was his primary concern. He wanted it restored. He put it on the line to make sure that it was.”

But The Hurricane has been televised multiple times since its release 14-plus years ago, and I caught bits and pieces of it on the tube only a few weeks ago, including the disputed fight sequence. It is still as blatantly false as ever, and the disclaimers which appear on the DVD version aren’t anywhere to be found unless you have that DVD as part of your video library.

In other words, the truth might have set Carter free, but, to those who aren’t aware of the real story of the fight in question, Joey Giardello’s legacy is still besmirched.

Like Norman Jewison said, the truth is a moving target and Hollywood, the ultimate land of make-believe, often misses the bulls-eye that it seldom aims at in any case.

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Bygone Days: The Largest Crowd Ever at Madison Square Garden Sees Zivic TKO Armstrong

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Bygone Days: The Largest Crowd Ever at Madison Square Garden Sees Zivic TKO Armstrong

There’s not much happening on the boxing front this month. That’s consistent with the historical pattern.

Fight promoters of yesteryear tended to pull back after the Christmas and New Year holidays on the assumption that fight fans had less discretionary income at their disposal. Weather was a contributing factor. In olden days, more boxing cards were staged outdoors and the most attractive match-ups tended to be summertime events.

There were exceptions, of course. On Jan. 17, 1941, an SRO crowd of 23,180 filled Madison Square Garden to the rafters to witness the welterweight title fight between Fritzie Zivic and Henry Armstrong. (This was the third Madison Square Garden, situated at 50th Street and Eighth Avenue, roughly 17 blocks north of the current Garden which sits atop Pennsylvania Station. The first two arenas to take this name were situated farther south adjacent to Madison Square Park).

This was a rematch. They had fought here in October of the previous year. In a shocker, Zivic won a 15-round decision. The fight was close on the scorecards. Referee Arthur Donovan and one of the judges had it even after 14 rounds, but Zivic had won his rounds more decisively and he punctuated his well-earned triumph by knocking Armstrong face-first to the canvas as the final bell sounded.

This was a huge upset.

Armstrong had a rocky beginning to his pro career, but he came on like gangbusters after trainer/manager Eddie Mead acquired his contract with backing from Broadway and Hollywood star Al Jolson. Heading into his first match with Zivic – the nineteenth defense of the title he won from Barney Ross – Hammerin’ Henry had suffered only one defeat in his previous 60 fights, that coming in his second meeting with Lou Ambers, a controversial decision.

Shirley Povich, the nationally-known sports columnist for the Washington Post, conducted an informal survey of boxing insiders and found only person who gave Zivic a chance. The dissident was Chris Dundee (then far more well-known than his younger brother Angelo). “Zivic knows all the tricks,” said Dundee. “He’ll butt Armstrong with his head, gouge him with his thumbs and hit him just as low as Armstrong [who had five points deducted for low blows in his bout with Ambers].”

Indeed, Pittsburgh’s Ferdinand “Fritzie” Zivic, the youngest and best of five fighting sons of a Croatian immigrant steelworker (Fritzie’s two oldest brothers represented the U.S. at the 1920 Antwerp Olympics) would attract a cult following because of his facility for bending the rules. It would be said that no one was more adept at using his thumbs to blind an opponent or using the laces of his gloves as an anti-coagulant, undoing the work of a fighter’s cut man.

Although it was generally understood that at age 28 his best days were behind him, Henry Armstrong was chalked the favorite in the rematch (albeit a very short favorite) a tribute to his body of work. Although he had mastered Armstrong in their first encounter, most boxing insiders considered Fritzie little more than a high-class journeyman and he hadn’t looked sharp in his most recent fight, a 10-round non-title affair with lightweight champion Lew Jenkins who had the best of it in the eyes of most observers although the match was declared a draw.

The Jan. 17 rematch was a one-sided affair. Veteran New York Times scribe James P. Dawson gave Armstrong only two rounds before referee Donovan pulled the plug at the 52-second mark of the twelfth round. Armstrong, boxing’s great perpetual motion machine, a world title-holder in three weight classes, repaired to his dressing room bleeding from his nose and his mouth and with both eyes swollen nearly shut. But his effort could not have been more courageous.

At the conclusion of the 10th frame, Donovan went to Armstrong’s corner and said something to the effect, “you will have to show me something, Henry, or I will have to stop it.” What followed was Armstrong’s best round.

“[Armstrong] pulled the crowd to its feet in as glorious a rally as this observer has seen in twenty-five years of attendance at these ring battles,” wrote Dawson. But Armstrong, who had been stopped only once previously, that coming in his pro debut, had punched himself out and had nothing left.

Armstrong retired after this fight, siting his worsening eyesight, but he returned in the summer of the following year, soldiering on for 46 more fights, winning 37 to finish 149-21-10. During this run, he was reacquainted with Fritzie Zivic. Their third encounter was fought in San Francisco before a near-capacity crowd of 8,000 at the Civic Auditorium and Armstrong got his revenge, setting the pace and working the body effectively to win a 10-round decision. By then the welterweight title had passed into the hands of Freddie Cochran.

Hammerin’ Henry (aka Homicide Hank) Armstrong was named to the International Boxing Hall of Fame with the inaugural class of 1990. Fritzie Zivic followed him into the Hall three years later.

Active from 1931 to 1949, Zivic lost 65 of his 231 fights – the most of anyone in the Hall of Fame, a dubious distinction – but there was yet little controversy when he was named to the Canastota shrine because one would be hard-pressed to find anyone who had fought a tougher schedule. Aside from Armstrong and Jenkins, he had four fights with Jake LaMotta, four with Kid Azteca, three with Charley Burley, two with Sugar Ray Robinson, two with Beau Jack, and singles with the likes of Billy Conn, Lou Ambers, and Bob Montgomery. Of the aforementioned, only Azteca, in their final meeting in Mexico City, and Sugar Ray, in their second encounter, were able to win inside the distance.

By the way, it has been written that no event of any kind at any of the four Madison Square Gardens ever drew a larger crowd than the crowd that turned out on Jan. 17, 1941, to see the rematch between Fritzie Zivic and Henry Armstrong. Needless to say, prizefighting was big in those days.

A recognized authority on the history of prizefighting and the history of American sports gambling, TSS editor-in-chief Arne K. Lang is the author of five books including “Prizefighting: An American History,” released by McFarland in 2008 and re-released in a paperback edition in 2020.

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Jai Opetaia Brutally KOs David Nyika, Cementing his Status as the World’s Top Cruiserweight

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In his fifth title defense, lineal cruiserweight champion Jai Opetaia (27-0, 21 KOs) successfully defended his belt with a brutal fourth-round stoppage of former sparring partner David Nyika. The bout was contested in Broadbeach, Queensland, Australia where Opetaia won the IBF title in 2022 with a hard-earned decision over Maris Briedis with Nyika on the undercard. Both fighters reside in the general area although Nyika, a former Olympic bronze medalist, hails from New Zealand.

The six-foot-six Nyika, who was undefeated in 10 pro fights with nine KOs, wasn’t afraid to mix it up with Opetaia although had never fought beyond five rounds and took the fight on three weeks’ notice when obscure German campaigner Huseyin Cinkara suffered an ankle injury in training and had to pull out. He wobbled Opetaia in the second round in a fight that was an entertaining slugfest for as long as it lasted.

In round four, the champion but Nyika on the canvas with his patented right uppercut and then finished matters moments later with a combination climaxed with an explosive left hand. Nyika was unconscious before he hit the mat.

Opetaia’s promoter Eddie Hearn wants Opetaia to unify the title and then pursue a match with Oleksandr Usyk. Gilberto “Zurdo” Ramirez, a Golden Boy Promotions fighter, holds the WBA and WBO versions of the title and is expected to be Opetaia’s next opponent. The WBC diadem is in the hands of grizzled Badou Jack.

Other Fights of Note

Brisbane heavyweight Justis Huni (12-0, 7 KOs) wacked out overmatched South African import Shaun Potgieter (10-2), ending the contest at the 33-second mark of the second round. The 25-year-old, six-foot-four Huni turned pro in 2020 after losing a 3-round decision to two-time Olympic gold medalist Bakhodir Jalolov. There’s talk of matching him with England’s 20-year-old sensation Moses Itauma which would be a delicious pairing.

Eddie Hearn’s newest signee Teremoana Junior won his match even quicker, needing less than a minute to dismiss Osasu Otobo, a German heavyweight of Nigerian descent.

The six-foot-six Teremoana, who akin to Huni hails from Brisbane and turned pro after losing to the formidable Jalolov, has won all six of his pro fights by knockout while answering the bell for only eight rounds. He has an interesting lineage; his father is from the Cook Islands.

Rising 20-year-old Max “Money” McIntyre, a six-foot-three super middleweight, scored three knockdowns en route to a sixth-round stoppage of Abdulselam Saman, advancing his record to 7-0 (6 KOs). As one can surmise, McIntyre is a big fan of Floyd Mayweather.

The Opetaia-Nyika fight card aired on DAZN pay-per-view (39.99) in the Antipodes and just plain DAZN elsewhere.

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R.I.P. Paul Bamba (1989-2024): The Story Behind the Story

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Paul Bamba, a cruiserweight, passed away at age 35 on Dec. 27 six days after defeating Rogelio Medina before a few hundred fans on a boxing card at a performing arts center in Carteret, New Jersey. No cause of death has been forthcoming, leading to rampant speculation. Was it suicide, or perhaps a brain injury, and if the latter was it triggered by a pre-existing condition?

Fuel for the latter comes in the form of a letter that surfaced after his death. Dated July 25, 2023, it was written by Dr. Alina Sharinn, a board-certified neurologist licensed in New York and Florida.

“Mr. Bamba has suffered a concussion and an episode of traumatic diplopia within the past year and now presents with increasing headaches. His MRI of the brain revealed white matter changes in both frontal lobes,” wrote Bamba’s doctor.

Her recommendation was that he stop boxing temporarily while also avoiding any other activity at which he was at risk of head trauma.

Dr. Sherinn’s letter was written three months after Bamba was defeated by Chris Avila in a 4-round contest in New Orleans. He lost all four rounds on all three scorecards, reducing his record to 5-3.

Bamba took a break from boxing after fighting Avila. Eight months would elapse before he returned to the ring. His next four fights were in Santa Marta, Colombia, against opponents who were collectively 4-23 at the time that he fought them. The most experienced of the quartet, Victor Coronado, was 38 years old.

He won all four inside the distance and ten more knockouts would follow, the last against Medina in a bout sanctioned by the World Boxing Association for the WBA Gold title. As widely reported, the stoppage, his 14th, broke Mike Tyson’s record for the most consecutive knockouts within a calendar year. That would have been a nice feather in his cap if only it were true.

Born in Puerto Rico, Paul Bamba was a former U.S. Marine who spent time in Iraq as an infantry machine gunner. In interviews on social media platforms, he is well-spoken and introspective without a trace of the boastfulness that many prizefighters exhibit when talking to an outsider. Interviewed in a corridor of the arena after stopping Medina, he was almost apologetic, acknowledging that he still had a lot to learn.

His life story is inspirational.

His early years were spent in foster homes. He was homeless for a time after returning to civilian life. Speaking with Boxing Scene’s Lucas Ketelle, Bamba said, “I didn’t have any direction after leaving the Marine corps. I hit rock bottom, couldn’t afford a place to stay…I was renting a mattress that was shoved behind someone’s sofa.”

He turned his life around when he ventured into the Morris Park Boxing Gym in the Bronx where he learned the rudiments of boxing under the tutelage of former WBA welterweight champion Aaron “Superman” Davis. “I love boxing,” he would say. “The confidence it gives you permeates into other aspects of your life.”

Bamba’s newfound confidence allowed him to carve out a successful career as a personal trainer. His most famous client was the Grammy Award winning R&B singer-songwriter Ne-Yo who signed Bamba to his new sports management company late in the boxer’s Knockout skein. Bamba was with Ne-Yo in Atlanta when he passed away. Ne-Yo broke the news on his Instagram platform.

Paul Bamba had been pursuing a fight with Jake Paul. Winning the WBA Gold belt opened up other potentially lucrative options. In theory, the holder of the belt is one step removed from a world title fight. Next comes an eliminator and, if he wins that one, a true title fight attached to a hefty purse will follow…in theory.

Rogelio “Porky” Medina, who brought a 42-10 record, had competed against some top-shelf guys, e.g., Zurdo Ramirez, Badou Jack, James DeGale, David Benavidez, Caleb Plant; going the distance with DeGale and Plant. However, only two of his 42 wins had come in fights outside Mexico, at age 36 he was over the hill, and his best work had come as a super middleweight.

Thirteen months ago, Medina carried 168 ½ pounds for a match in New Zealand in which he was knocked out in the first round. He came in more than 30 pounds heavier, specifically 202 ¼, for his match with Paul Bamba. In between, he knocked out a 54-year-old man in Guadalajara to infuse his ledger with a little brighter sheen.

Why did the WBA see fit to sanction the Bamba-Medina match as a title fight? That’s a rhetorical question. And for the record, the record for the most consecutive knockouts within a calendar year wasn’t previously held by Mike Tyson. LaMar Clark, a heavyweight from Cedar City, Utah, scored 29 consecutive knockouts in 1958 after opening the year by winning a 6-round decision. (If you are inclined to believe that all or most of those knockouts were legitimate, then perhaps I can interest you in buying the Brooklyn Bridge.)

Clark was being primped for a fight with a good purse which came when he was dispatched to Louisville to fight a fellow who was fairly new to the professional boxing scene, a former U.S. Olympian then known as Cassius Clay who knocked him out in the second round in what proved to be Clark’s final fight.

Paul Bamba was a much better fighter than LaMar Clark, of that I am quite certain. However, if Paul Bamba had gone on to meet one of the world’s elite cruiserweights, a similar outcome would have undoubtedly ensued.

One can summon up the Bamba-Medina fight on the internet although the video isn’t great – it was obviously filmed on a smart phone – and pieces of it are missing. Bamba was winning with his higher workrate when Medina took his unexpected leave, but one doesn’t have to be a boxing savant to see that Paul’s hand and foot speed were slow and that there were big holes in his defense.

This isn’t meant to be a knock on the decedent. Being able to box even four rounds at a fast clip and still be fresh is one of the most underrated achievements in all of human endurance sports. Bamba’s life story is indeed inspirational. When he talked about the importance of “giving back,” he was sincere. In an early interview, he mentioned having helped out at a Harlem food pantry.

Paul Bamba had to die to become well-known within the fight fraternity, let alone in the larger society. One hopes that his death will inspire the sport’s regulators to be more vigilant in assaying a boxer’s medical history and, if somehow his untimely death leads to the dissolution of the fetid World Boxing Association, his legacy would be even greater.

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