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The Hauser Report: Filmmaker Eric Drath and More

Eric Drath is a very good filmmaker. The release of Macho: The Hector Camacho Story on Showtime this month demonstrates that yet again.
Drath (pictured) was born and raised in New York and interned at ABC News while attending college at Columbia. He moved to Atlanta after graduation to work for CNN. Next came a stint at a start-up network called Fox News Channel. The irony of that pairing is not lost on him. Then the sweet science entered his life.
“I wasn’t a big boxing fan,” Drath says. “But in the late-nineties, a friend invited me to go with him to some fights at Yonkers Raceway in the Bronx. We got there. There was a boxing ring and, around it, a world I’d never known. I said to myself, ‘This is so cool. I want to know more about this.'”
The promoter that night was Joe DeGuardia. In due course, Drath left Fox News to do publicity work for DeGuardia’s promotional company.
“That,” Eric recalls, “was when I learned that doing PR for a boxing promoter was, ‘Go get the van, pick up some fighters at the airport, take them to the athletic commission to get licensed, make sure they have their physicals, and send out a press release.”
Eventually, Drath started a company called RingLink which got video clips from promoters and charged the promoters a fee to transmit the clips by satellite to TV stations. Then he got a manager’s license and represented a few fringe fighters. After that, he founded a company called Live Star Entertainment that created satellite media tours for the music industry and produced TV fights for various promoters. Most notably, Live Star produced close to fifty Broadway Boxing shows for DiBella Entertainment between 2008 and 2016.
Meanwhile, Drath had begun the process of carving out a niche for himself as a documentary filmmaker. Over the years, he has worked on subjects as diverse as Theodore Bikel and Pete Rose. But it began with boxing.
In 2006, Drath met Luis Resto at the Morris Park Boxing Gym in the Bronx. Resto (a former journeyman fighter) had been a key player in one of boxing’s ugliest scandals. On June 16, 1983, he fought Billy Collins (an undefeated 21-year-old prospect) at Madison Square Garden. Before the bout, Panama Lewis (Resto’s trainer) removed some of the padding from his fighter’s gloves. Collins suffered permanent eye damage during the bout, was unable to fight again, and died in a car crash nine months later. Resto and Lewis were imprisoned for their wrongdoing. Lewis was widely seen as the more culpable of the two.
“I liked Resto’s story,” Drath recounts. “Nobody else thought it was a good idea. But I scraped together some money, put together a rough cut, and gave it to a friend who gave it to a friend while they were standing together on the sideline during their daughters’ high school lacrosse game.”
The second parent standing on the sideline was Rick Bernstein (then the executive producer for HBO Sports).
“After that, I got a phone call,” Drath remembers. “HBO made its own sports documentaries back then. But they liked it; they bought it; and they made some changes.”
Assault in the Ring aired on HBO in 2008 and won an Emmy for Outstanding Sports Documentary. Drath was credited as its co-writer, director, and narrator. Then he pitched a documentary about Renee Richards to the network. But HBO passed on the project so he sold it to ESPN which televised the documentary after it premiered at the Tribecca Film Festival in 2011. Once again, Drath was the co-writer, director, and narrator.
Two more boxing projects for ESPN followed: No Mas (2013), which focused on the second fight between Sugar Ray Leonard and Roberto Duran, and Robbed (2014), which told the tale of Ali-Norton III against the backdrop of violence occasioned by a New York City police job action.
That brings us to Macho: The Hector Camacho Story.
Initially, Drath conceived of Macho as an investigative report about Camacho’s murder in Bayamon, Puerto Rico. Hector, who was involved with cocaine for most of his life, was shot four times on November 20, 2012, and removed from life support four days later. He was fifty years old when he died.
Then Macho evolved into a more complete biographical documentary with an emphasis on Camacho’s ring career. The film would have been stronger with more exposition of what it meant – and still means – to be part of the underclass in Spanish Harlem where Camacho was raised and remains an icon. But it’s put together well and has the advantage of a charismatic main character who lights up the screen when he’s on camera.
Eric directed and narrated Macho. The film’s most compelling moments deal with its subject’s post-boxing life and include poignant footage of an unrecognizably fat Camacho as he neared age fifty.
Drath is one of the few directors who has made documentaries for HBO, Showtime, and ESPN. That leads to the question of how the experiences compared with one another.
“HBO was a tight organization that didn’t want outside interference,” Drath recalls. “They bought the film and in essense said, ‘Okay, kid; you can stand outside the edit room while we finish it, and we’ll show you what we’re doing from time to time.’ Showtime is the antithesis of that. They gave me notes but they also gave me the latitude to make the film I wanted to make. I loved the process. ESPN was somewhere in between. But it was an honor to work with all three of them.”
And which of his documentaries does Drath like the most?
“I don’t have a favorite,” he answers, “I love the human element in documentaries. Each one I’ve been fortunate to make so far marks a different period of my life. And each one has that human element.”
* * *
Adam Pollack is an Iowa attorney who has written biographies of the early gloved heavyweight champions from John L. Sullivan through Jack Johnson. Now he has chosen to skip Jess Willard and go straight to Jack Dempsey with Part One of a projected two-volume work published by Win by KO Publications.
Jack Dempsey: The Making of a Champion follows the familiar Pollack formula of relying heavily on contemporaneous newspaper accounts and other primary sources. It’s 559 pages long and chronicles Dempsey’s life through his 1919 conquest of Jess Willard to claim the heavyweight throne. In terms of content, it’s the most detailed of the Dempsey biographies to date.
Today’s interconnected digital world enables research to be conducted more thoroughly and more quickly than ever before. That’s particularly important for Pollack who relies heavily on documents that are a century old in reconstructing the lives of his subjects. He also benefits from a community of boxing historians and fans who forward information to him.
“Writing these books is a passion for me,” Adam says. “I spend some time on them every day. Right now, I’m having a lot of fun working on Part Two of Dempsey. Once he became champion, things really took off – for Dempsey and for boxing. There’s Dempsey-Firpo, Dempsey-Carpentier, the Dempsey-Tunney fights. But my real job is as a criminal defense attorney. That’s how I pay the bills.”
That leaves open the question of whether Pollack will ever go back and forge the missing link in his chain of books by writing a biography of Willard.
“I can’t say never,” Pollack answers. “But at this point, I don’t see myself doing Willard. These books take an enormous amount of time and effort, and I have to balance that against my personal interest in the fighter. Willard had two fights of historic importance – when he beat Jack Johnson and when he lost to Dempsey. I’ve written about these fights in depth in my Johnson and Dempsey books. And Arly Allen did a pretty good job in his biography of Willard. Maybe someday I’ll change my mind. But right now, I’m at peace with not writing a Willard book.”
* * *
A lot of players are losing a lot of money in boxing these days. FITE is one company that’s turning a profit.
FITE is a video-streaming and ordering platform with 2.6 million registered users. It has streamed more than 3,500 events during the past five years and was a key player in the financial success of the November 28 exhibition featuring Mike Tyson and Roy Jones. When FOX Pay-Per-View began having technological issues with the December 5 fight between Errol Spence and Danny Garcia, the promotion decided that sharing a larger pie would be preferable to keeping a small pie all for itself and turned to FITE.
FITE will work with any content provider as long as the content meets its standards. It knows who the fight fans are and how to reach them. It’s user friendly and has avoided many of the technological problems that plague similar services.
Many fans (including this one) look askance at an economic model that puts boxing’s biggest fights on pay-per-view. But where it’s available, FITE is a reliable way to order events – large and small – for those who want to.
* * *
WBC-IBF 147-pound champion Errol Spence raised his record to 27-0 (21 KOs) with a dominant 12-round performance against Danny Garcia on Saturday night. There were questions before the fight as to whether Spence had fully recovered from injuries sustained in an October 10, 2019, automobile accident. But one had to assume that a less formidable comeback opponent would have been chosen had there been doubts in Errol’s camp about his health or what a punch from Garcia might do to the bone and tissue structure beneath his face.
Garcia (now 36-3, 21 KOs) is a tough out. But at the highest levels of competition, he’s an out. Spence gave Danny next to nothing to work with and had enough hurt on his punches to keep Garcia from challenging his narrative for the flow of the fight. Errol’s jab was effective as an offensive weapon and defensive shield. Danny’s left hook – normally the most potent punch in his arsenal – seemed to have been packed in mothballs for the night.
The judges favored Spence by a 117-111, 116-112, 116-112 margin (which was kind to Garcia, who is now 0-and-3 in fights against Spence, Keith Thurman, and Shawn Porter).
If there’s a criticism of Spence’s performance on Saturday night, it’s that (as was the case when he fought Mikey Garcia twenty months ago) he never put the pedal to the metal in an effort to finish with a knockout.
There are two prospective fights for Spence that matter now. The first would be a 147-pound title unification bout against WBO welterweight champion Terence Crawford. The second would be a move up to 154 pounds to challenge Jermell Charlo for supremacy in the junior-middleweight ranks. Ray Leonard sought out challenges like that.
Photo credit: Zoom / Doug Doyle
Thomas Hauser’s email address is thomashauserwriter@gmail.com. His most recent book – Staredown: Another Year in Boxing– was published by the University of Arkansas Press. In 2004, the Boxing Writers Association of America honored Hauser with the Nat Fleischer Award for career excellence in boxing journalism. In 2019, Hauser was selected for induction into the International Boxing Hall of Fame.
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Ebanie Bridges Poised to Defend Her Title and Boost Her Brand in SanFran This Weekend

Ebanie Bridges opposes late sub Miyo Yoshida on the undercard of Saturday’s Matchroom card in San Francisco featuring the WBC lightweight title fight between Regis Prograis and Devin Haney. It’s doubtful that Bridges vs. Yoshida will steal the show (Prograis vs Haney is a compelling match-up), but it’s a stone-cold lock that Bridges vs. Yoshida will steal the weigh-in. It goes at 1 pm Friday at the Chase Center and is open to the public.
This is all Bridges’ doing. She can fight more than a little, as Damon Runyon would have phrased it, but is best known for turning up at weigh-ins in lingerie so sexy that Matchroom honcho Eddie Hearn averts his eyes to keep from blushing. Others can’t keep their eyes off the 37-year-old, well-endowed Australian and on Friday the paparazzi will crash the scene to capture images that will be all over the internet within hours.
This doesn’t sit well with a lot of people. Former opponent Shannon Courtenay, who saddled Bridges (9-1, 4 KOs) with her only defeat, chastised her for selling their fight for the wrong reasons and disrespecting the sport. Her most recent opponent, Shannon O’Connell, called her a skank and other terms of derision unfit for a family newspaper.
Bridges stopped her in the eighth round in what is her most gratifying win to date. “She made it personal,” says Ebanie. “It felt good to make her eat her words.”
Bridges, who set a withering pace, was making the first defense of the IBF bantamweight title she won with a comprehensive 10-round decision over Argentina’s long-reigning Maria Cecilia Roman. Shannon O’Connell, a fellow Aussie, entered that bout on an 8-fight winning streak that included hard-earned decisions over Australian standouts Taylah Robertson and Cherneka Johnson.
So, although Bridges vs O’Connell was contested in Leeds, England, it was something of the culmination of an Australian round-robin tournament, and it would be Ebanie Bridges that emerged as the Queen Bee.
Bridges has a platform on Only Fans. Known for its “adult” content, the web site is also a place where B-list celebrities go to monetize their fan base by promising a closer look into their personal lives. For attractive female celebs, that usually means displaying more skin that can be found in generic publicity photos, but well short of hard-core. Current Only Fans performers include recording artist Cardi B, actress Denise Richards, the former spouse of Charlie Sheen, actress Drea de Matteo, best known for portraying Adriana on “The Sopranos,” former “Baywatch” sex symbol Carmen Electra, boxer Mikaela Mayer, and former Miss USA Shanna Moakler who shares a daughter with Oscar de la Hoya.
Women that profit from cheesecake, to use an old word for racy photos, aren’t known for having the brightest bulbs between their ears but Bridges, despite embracing her nickname, the Blonde Bomber, doesn’t fit the stereotype. She’s no bimbo.
Ms. Bridges has two college degrees, an undergraduate degree in math and a master’s in secondary education. In her spare time, she finds solace in playing the piano and in drawing, a skill that she inherited from her father, a painter and commercial artist.
In her drawings, she is partial to British soccer coaches and athletes, in particular boxers. Some of her photos are embedded in her smart phone. These, I can attest, are very good. There was no mistaking her drawing of Sugar Ray Robinson. It ranked right up there with Stanley Weston whose illustrations adorned the covers of 57 issues of The Ring magazine.
Bridges is her own best publicist. It’s an attribute she shares with UFC superstar Conor McGregor.
It comes as no surprise to learn that they are well-acquainted. Bridges and McGregor sat together at the first fight between Katie Taylor and Chantelle Cameron. She is a spokesperson for the latest product that McGregor is pushing, Forged Irish Stout, a brand of beer that debuted at the Black Forge Inn, the Dublin pub that McGregor owns.
“I love Conor,” she says, “he’s lovely,” a rather odd adjective to apply to a man who once attacked a bus with a metal barricade at a UFC media event in Brooklyn, injuring three people.
“He’s great for my brand,” says Bridges of McGregor, “and I’m great for his brand.”
Like it or not, this is the new world order. This reporter is old enough to remember when colleges and universities had football teams. Now they have football franchises, which isn’t quite the same. A franchise requires a well-oiled marketing department to enhance the value of the brand.
Bridges got her first crack at a world title (the WBA version held by Shannon Courtenay) after only five pro fights against opponents who were collectively 12-25-5. Her opponent on Saturday, Miyo Yoshida, sports a 16-4 record and is coming off a loss.
This is fodder for critics of female boxing but, make no mistake, Bridges would be a tough out for any female bantamweight in the world and she has paid her dues. She had 30 amateur fights after previously training in karate, kickboxing, and Muay Thai. (In fairness to Matchroom’s matchmaker, he salvaged Saturday’s date for her, securing Yoshida after three previous opponents fell out.)
Looking ahead to 2024, Bridges envisions fighting England’s Nina Hughes, the WBA belt-holder, and then Denmark’s Dina Thorslund who owns the other two meaningful pieces of the bantamweight title. A match with Thorslund (currently 20-0, 8 KOs) with all four belts on the line would be a blockbuster and, by then, should it transpire, the Blonde Bombshell would undoubtedly be one of the most well-known boxers in the world.
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A Paean to the Great Sportswriter Jimmy Cannon Who Passed Away 50 Years Ago This Week

“Of all his assignments,” said the renowned sportswriter Dave Anderson, “[Jimmy] Cannon appeared to enjoy boxing the most.”
Cannon would have sheepishly concurred. He dated his infatuation with boxing to 1919 when he stood outside a saloon listening to a man with a megaphone relay bulletins from the Dempsey-Willard fight in faraway Toledo. His father followed boxing as did all the Irishmen in his neighborhood. For him, an interest in the sport of boxing, he once wrote, was like a family heirloom. But it became a love-hate relationship. It was Jimmy Cannon, after all, who coined the phrase “boxing is the red light district of sports.”
This week marks the 50th anniversary of Jimmy Cannon’s death. He passed away at age 63 on Dec. 5, 1973, in his room at the residential hotel in mid-Manhattan where he made his home. In the realm of American sportswriters, there has never been a voice quite like him. He was “the hardest-boiled of the hard-drinking, hard-boiled school of sports writing,” wrote Darrell Simmons of the Atlanta Journal. One finds a glint of this in his summary of Sonny Liston’s first-round demolition of Albert Westphal in 1961: “Sonny Liston hit Albert Westphal like he was a cop.”
In his best columns, Jimmy Cannon was less a sportswriter than an urban poet. Here’s what he wrote about Archie Moore in 1955 after Moore trounced Bobo Olson to set up a match with Rocky Marciano: “Someone should write a song about Archie Moore who in the Polo Grounds knocked out Bobo Olson in three rounds…It should be a song that comes out of the backrooms of sloughed saloons on night-drowned streets in morning-worried parts of bad towns. The guy who writes this one must be a piano player who can be dignified when he picks a quarter out of the marsh of a sawdust floor.”
Prior to fighting in Madison Square Garden the previous year – his first appearance in that iconic boxing arena – Moore had roamed the globe in search of fights in a career that began in the Great Depression. Cannon was partial to boxers like Archie Moore, great ring artisans who toiled in obscurity, fighting for small purses –“moving-around money” in Cannon’s words — until the establishment could no longer ignore them.
Jimmy Cannon was born in Lower Manhattan. He left high school after one year to become a copy boy for the New York Daily News. In 1936, at age 26, the News sent him to cover the biggest news story of the day, the Lindbergh Baby kidnapping trial. While there he met Damon Runyon who would become a lifelong friend. At Runyon’s suggestion, he applied for a job as a sportswriter at the New York American, a Hearst paper, and was hired.
During World War II, he was a war correspondent in Europe embedded in Gen. George S. Patton’s Third Army. When he returned from the war, he joined the New York Post and then, in 1959, the Journal-American which made him America’s highest-paid sportswriter at a purported salary of $1000 a week. His articles were syndicated and appeared in dozens of papers.
Cannon was very close to Joe Louis. He was the only reporter that Louis allowed in his hotel room on the morning of the Brown Bomber’s rematch with Max Schmeling. Louis, he wrote, “was a credit to his race, the human race.” It was his most-frequently-quoted line.
In an early story, Cannon named Sam Langford the best pound-for-pound fighter of all time. Later he joined with his colleagues on Press Row in naming Sugar Ray Robinson the greatest of the greats. As for the fellow who anointed himself “The Greatest,” Muhammad Ali, Cannon profoundly disliked him. He persisted in calling him Cassius Clay long after Ali had adopted his Muslim name.
It troubled Cannon that Ali was afforded an opportunity to fight for the title after only 19 pro fights. Ali’s poetry, he thought, was infantile. He abhorred Ali’s political views. And, truth be told, he didn’t like Ali because certain segments of society adored him. Cannon didn’t like non-conformists – hippies and anti-war protesters and such. When queried about his boyhood in Greenwich Village, he was quick to note that he lived there “when it was a decent neighborhood, before it became freaky.”
Cannon’s animus toward Ali spilled over into his opinion of Ali’s foil, the bombastic sportscaster Howard Cosell. “If Howard Cosell were a sport,” he wrote,” it would be roller derby.”
Cannon frequently filled his column with a series of one-liners published under the heading “Nobody Asked Me, But…” His wonderfully acerbic put-down of Cosell appeared in one of these columns. But one can’t read these columns today without cringing at some of his ruminations. He once wrote, “Any man is in trouble if he falls in love with a woman he can’t knock down with one punch.” If a newspaperman wrote those words today, he would be out of a job so fast it would make his head spin.
Similarly, his famous line about Joe Louis being a credit to the human race no longer resonates in the way that it once did. There is in its benevolence an air of racial prejudice.
Jimmy Cannon was a lifelong bachelor but in his younger days before he quit drinking cold turkey in 1948, he was quite the ladies man, often seen promenading showgirls around town. Like his pal Damon Runyon, he was a night owl. As the years passed, however, he became somewhat reclusive. The world passed him by when rock n’ roll came in, pushing aside the Tin Pan Alley crooners and torch singers that had kept him company at his favorite late-night haunts.
Cannon’s end days were tough. He suffered a stroke in 1971 as he was packing to go to the Kentucky Derby and spent most of his waking hours in his last two-plus years in a wheelchair. Fortunately, he could afford to hire a full-time attendant. In 2002, he was posthumously elected to the International Boxing Hall of Fame in the Observer category.
Jimmy Cannon once said that he resented it when someone told him that his stuff was too good to be in a newspaper. It was demeaning to newspapers and he never wanted to be anything but a newspaperman. He didn’t always bring his “A” game and some of his stuff wouldn’t hold up well, but the man could write like blazes and the sportswriting profession lost a giant when he drew his last breath.
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Arne K. Lang is a recognized authority on the history of prizefighting and the history of American sports gambling. His latest book, titled Clash of the Little Giants: George Dixon, Terry McGovern, and the Culture of Boxing in America, 1890-1910, was released by McFarland in September, 2022.
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Ryan “KingRy” Garcia Returns With a Bang; KOs Oscar Duarte

It was a different Ryan “KingRy” Garcia the world saw in defeating Mexico’s rugged Oscar Duarte, but it was that same deadly left hook counter that got the job done by knockout on Saturday.
Only the quick survive.
Garcia (24-1, 20 KOs) used a variety of stances before luring knockout artist Duarte (26-1-1, 21 KOs) into his favorite punch before a sold-out crowd at Toyota Arena in Houston, Texas. That punch should be patented in gold.
It was somewhat advertised as knockout artist versus matinee idol, but those who know the sport knew that Garcia was a real puncher. But could he rebound from his loss earlier this year?
The answer was yes.
Garcia used a variety of styles beginning with a jab at a prescribed distance via his new trainer Derrick James. It allowed both Garcia and Duarte to gain footing and knock the cobwebs out of their reflexes. Garcia’s jab scored most of the early points during the first three rounds. He also snapped off some left hooks and rights.
“He was a strong fighter, took a strong punch,” said Garcia. “I hit him with some hard punches and he kept coming.”
Duarte, an ultra-pale Mexican from Durango, was cautious, knowing full well how many Garcia foes had underestimated the power behind his blows.
Slowly the muscular Mexican fighter began closing in with body shots and soon both fighters were locked in an inside battle. Garcia used a tucked-in shoulder style while Duarte pounded the body, back of the head and in the back causing the referee to warn for the illegal punches twice.
Still, Duarte had finally managed to punch Garcia with multiple shots for several rounds.
Around the sixth round Garcia was advised by his new trainer to begin jabbing and moving. It forced Duarte out of his rhythm as he was unable to punch without planting his feet. Suddenly, the momentum had reversed again and Duarte looked less dangerous.
“I had to slow his momentum down. That softened him up,” said Garcia about using that change in style to change Duarte’s pressure attack. “Shout out to Derrick James.”
Boos began cascading from the crowd but Garcia was on a roll and had definitely regained the advantage. A quick five-punch combination rocked Duarte though not all landed. The danger made the Mexican pause.
In the eighth round Duarte knew he had to take back the momentum and charged even harder. In one lickety-split second a near invisible counter left hook connected on Duarte’s temple and he stumbled like a drunken soldier on liberty in Honolulu. Garcia quickly followed up with rights and uppercuts as Duarte had a look of terror as his legs failed to maintain stability. Down he went for the count.
Duarte was counted out by referee James Green at 2:51 of the eighth round as Garcia watched from the other side of the ring.
“I started opening up my legs a little bit to open up the shot,” explained Garcia. “When I hurt somebody that hard, I just keep cracking them. I hurt him with a counter left hook.”
The weapon of champions.
Garcia’s victory returns him back to the forefront as one of boxing’s biggest gate attractions. A list of potential foes is his to dissect and choose.
“I’m just ready to continue to my ascent to be a champion at 140,” Garcia said.
It was a tranquil end after such a tumultuous last three days.
Other Bouts
Floyd Schofield (16-0, 12 KOs) blitzed Mexico’s Ricardo “Not Finito” Lopez (17-8-3) with a four knockdown blowout that left fans mesmerized and pleased with the fighter from Austin, Texas.
Schofield immediately shot out quick jabs and then a lightning four-punch combination that delivered Lopez to the canvas wondering what had happened. He got up. Then Scholfield moved in with a jab and crisp left hook and down went Lopez like a dunked basketball bouncing.
At this point it seemed the fight might stop. But it proceeded and Schofield unleashed another quick combo that sent Lopez down though he did try to punch back. It was getting monotonous. Lopez got up and then was met with another rapid fire five- or six-punch combination. Lopez was down for the fourth time and the referee stopped the devastation.
“I appreciate him risking his life,” said Schofield of his victim.
In a middleweight clash Shane Mosley Jr. (21-4, 12 KOs) out-worked Joshua Conley (17-6-1, 11 KOs) for five rounds before stopping the San Bernardino fighter at 1:51 of the sixth round. It was Mosley’s second consecutive knockout and fourth straight win.
Mosley continues to improve in every fight and again moves up the middleweight rankings.
Super middleweight prospect Darius Fulghum (9-0, 9 KOs) of Houston remained undefeated and kept his knockout string intact with a second round pounding and stoppage over Pachino Hill (8-5-1) in 56 seconds of that round.
Photo credit: Golden Boy Promotions
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