A podcast about art, politics, culture, sport, and anything else worth discussing Also writes scripts and has written about boxing. Hosted by @EclecticChris42

Joined February 2023
Jerry Quarry (darker trunks) versus former titlist Floyd Patterson, on October 28, 1967, in WBA Heavyweight Title Elimination Tournament action in Los Angeles. Quarry, who came in 24-1-4, would win a 12-round majority decision over Patterson, who fell to 46-6-1. Boxing trivia: Quarry is the only fighter that Patterson lost to that did not hold a world title during his career (Maxim, Liston, Johannson, Ali, Ellis were the others).
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The legendary "Kid Pambele", Antonio Cervantes, wins the WBA Junior Welterweight Title on October 28, 1972 with a 10th round KO of Alfonso Frazer in Panama City. Frazer, trained by another legendary boxing figure, Ray Arcel, had represented Panama at the 1964 Summer Olympics in Tokyo, Japan, as a Featherweight losing a decision in his first bout. Frazer had dethroned yet another legend, Nicolino Locche, in March of 1972. ----------------------------------------------------------On January 31, 1964, Antonio Cervantes Reyes entered the boxing ring as a professional for the first time, beating Juan Martinez by decision in 6-rounds. His first 32 bouts as a professional were in Colombia, and he won 27, lost 4 and drew in one of them. Realizing his pupil needed publicity outside Colombia, trainer Carmelo Prada then moved with Cervantes to Venezuela, where, on November 25th of 1968, he knocked out Orlando Ruiz in the first round for his first fight abroad. He followed that win with a ten rounds decision over Nestor Rojas only three days later. On December 23rd of that year, he suffered his first knockout defeat when Cruz Marcano, a fringe contender of the time, beat him in 4-rounds in Caracas. He won five and lost two in 1969, splitting his fights between Colombia and Venezuela, and losing a ten-round decision to Antonio Gomez, a former world champion. He won two more in 1970, then he and Prada moved, this time to Los Angeles. In California, he began by beating Jose Rodriguez by a KO in the first round in San Jose, and on December 17, he beat Rodolfo "Gato" Gonzalez by KO in 8-rounds. After this and a 1971 win over Argentine Enrique Jana, Cervantes was ranked as a light welterweight by the WBA. On December 11th of that year, he had his first world title shot, against the great Nicolino Locche, in Buenos Aires. Cervantes would lose a 15-round decision. After winning three fights in 1972, Cervantes, who had by then returned to Colombia, had another world title try: Alfonso Frazer, who had dethroned Locche of the world title, gave Cervantes a chance on October 28th in Panama City. Cervantes knocked Frazer out in ten rounds and became the world light welterweight champion for the first time. Cervantes immediately became a national hero in Colombia, and many enterprises made him their spokesman in the coffee producing country, most notably Sanyo, whose name the popular champion advertised on his clothing and fight trunks. Cervantes made nine title defenses in his first reign, including a 10th round TKO of Locche in their rematch after his corner stopped the fight due to a cut over his left eye, a KO in five of Frazer, also in a rematch, a 15-round split decision win over Josue Marquez in Puerto Rico (in the first world title bout ever held at Roberto Clemente Coliseum) and a 15-round decision over future Lightweight champion Esteban De Jesus. But on March 6th of 1976, in San Juan, he lost a 15-round decision and his world title to 17-year-old Puerto Rican Wilfred Benitez, who with that became boxing's youngest champion ever. Cervantes won five more fights in a row, including a win over Saoul Mamby, before fighting for the world title again. After Benitez had left the light welterweight belt vacant, Cervantes regained it on June 25th of 1977, with a 5-round KO of Carlos Maria Gimenez, again in Venezuela. His second reign as world champion took him to such places as Thailand, Botswana and South Korea, among others. He retained the title six times, beating the likes of Adrian Marrero and Miguel Montilla (twice). By this time, there was much talk about a superfight with world Lightweight champion Roberto Duran, who was coming up in weight. Duran decided to challenge Sugar Ray Leonard instead, however, and Cervantes-Duran never materialized. Cervantes would drop Pryor in the 1st round of their title fight but the incredibly resilient "Hawk" would rebound to take the title via 4th round KO. Cervantes, who'd hung up the gloves after this loss, would come out of retirement due to financial problems and went on boxing until 1983, winning four fights and dropping his last one, a ten-round decision loss to Danny Sanchez on December 9th of 1983, in Miami. His final record would stand at 67-12-1 (37 KO's).
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Wilfredo Gomez, in the 6th defense of his WBA Super Bantamweight Championship, scores perhaps the most impressive win of his fine career, TKOing the legendary Carlos Zarate in the 5th round in San Juan, Puerto Rico on October 28, 1978. Boxing writer Christian Guidice would write of this fight (in 2014): It was one of those fights where the rabid Mexican and Puerto Rican fans expected all hell to break loose. Fixated on the middle of the ring, fans in the Roberto Clemente Coliseum in San Juan, Puerto Rico appeared ready to explode. A wave of excitement spread through the venue; that same passion would only intensify as the fight took hold. Many boxing experts would look back to this bout as the precursor to the popular Mexican-Puerto Rican boxing rivalry. The enmity was fueled by WBC super bantamweight champion Wilfredo Gomez, who had earned a reputation for dousing the fire of Mexican challengers, the most recent a seventh-round stoppage of Mexico’s Juan Antonio Lopez in April 1978. Now, nearly five months later, Gomez was making his sixth title defense and successfully chartering a path to greatness. An opponent inextricably linked with Mexican’s past boxing giants, Carlos Zarate entered with a record of 52 victories, no losses, with 51 knockouts. To add to the fervor surrounding the bout, Gomez and Zarate had a combined record of 73-0-1, with an astonishing 72 KOs. Similarly, when Roberto Duran and Sugar Ray Leonard met in 1980, they combined for a record of 98-1, but lacked the same impressive knockout ratio. Physically, Zarate stood two inches taller than Gomez, but lacked the same fluid movement and speed. Zarate relied on power in both hands, and would be in hot pursuit of the knockout punch; comparatively, Gomez had confidence that his pressure and ability to adapt to any challenge would be the key. For Gomez, there was no hurry: the knockout would eventually come. Neither fighter made the 122-pound limit on the first attempt as both weighed over 124 pounds. In fact, Zarate needed four trips to the scale to make 122. When the bell rang on October 28, 1978, neither fighter looked to set a blistering pace. Zarate and Gomez took turns as the aggressor. Instead of coming forward, Gomez appeared comfortable in the counterpuncher role. As Zarate stalked, Gomez flitted in and out of punching range. Eventually, Gomez’s confidence grew when he landed the first significant punch of the fight. It occurred when Gomez countered Zarate with a straight right and then eased him into a lunging left hook. Both fighters spent a good portion of the first round devising a clear strategy to get inside. Patiently, each fighter embraced this more passive approach over the first three rounds. Although Gomez was more effective landing an overhand right, Zarate opted for a left uppercut thrown from below his waist. Toward the end of the third round, Gomez beautifully set Zarate up with a lazy left, and then immediately closed the gap with a jolting right hand that landed directly above Zarate’s guard. Amid a torrent of fans itching for the typical Gomez attack, the champion had still not yet unleashed his blend of speed and power. Early in the fourth, Gomez was content to fight going backwards and let Zarate come to him. Mixing in a check left hook and an occasional jab, Gomez disrupted Zarate’s gameplan. Susceptible to left hooks and an occasional straight right, Gomez hadn’t completely deciphered the Mexican legend’s style. Still, Gomez recovered to land a lead hook that sent Zarate to the canvas toward the end of the round. Zarate took a standing eight-count and immediately began to take more punishment. Gomez followed him to the other ring post and cautiously looked for an opening; seconds later he found one, a clean right hand that staggered Zarate. Not finished, Gomez followed him to the middle of the ring where he sent him down for the second time with a glancing right hand after the bell. The referee, Harry Gibbs, stepped in to start the count, but Zarate had risen and Gomez ran over to him to land one more left hook. Gomez’s intensity reached its peak as he refused to sit in his corner, anxiously awaiting the chance to end the fight. Continuing the onslaught in the fifth and final round, Gomez landed three hooks, the last one a glancing blow off of Zarate’s head. Then, Gomez moved Zarate to the ropes – with a right hand to his ear – where he landed the same uncontested vicious left hook that sent him down a round earlier. Seconds later, Gomez sent Zarate through the ropes as Gibbs made a half-hearted attempt to step in. “When Wilfredo fought Zarate, Zarate was not at his best,” said Paul Ruiz, who managed Alfredo Escalera at the time. “Gomez did get ready. He had to be at his best. But I didn’t expect that type of performance. “I did expect a better fight from Zarate. Everybody was going crazy in Puerto Rico. Gomez had just beaten the best Mexican since Ruben Olivares. Zarate could punch like a mule, but he didn’t show anything that night.” The fight was stopped at :44 of the fifth when Gomez knocked Zarate down again and then viciously stepped in to land a straight right as Zarate crawled on his knees. Zarate’s corner threw in the towel even before Gibbs began the count. In the end, Zarate, a courageous warrior, wilted under the extreme pressure that Gomez applied. As soon as the towel was thrown, the celebration began! ----------------------------------------------------------This was the first loss of the great Zarate's career, he'd fall to 52-1, and he would return to bantamweight making two more defenses (losing it controversially to Lupe Pintor in the second one) in 1979 and retire at 54-2. Gomez remained undefeated to this point (22-0-1). By the time he was done with the Junior Featherweights, Gómez had established a division record of 17 defenses, and a world record of most defenses in a row won by knockout, all of his title defenses finishing before the established distance limit. But....this being boxing, Carlos Zarate would return in 1986, winning twelve stright fights before losing back-to-back fights to Jeff Fenech (Technical Dec 4) and Daniel Zaragoza (TKO by 10 for the vacant title) in attempts at the WBC Super Bantamweight title.
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Marvelous Marvin Hagler during a training session, on October 28, 1982, as he prepares to make the 5th defense of his undisputed World Middleweight Championship on the 30th, against Fulgencio Obelmejias, in San Remo, Italy.
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The 286 Project retweeted
Please read, bookmark, and share.
I you've been wondering why Mogg and his mates have been baying for the blood of young English men, I think I've found $7m reasons why...
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The 286 Project retweeted
48 years ago today Wilfredo Gomez knocked out Carlos Zarate to defend the WBC Super Bantamweight Title Bazooka inherits Zarate's P4P #1 ranking by Ring Magazine
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Street Law (1974) is a classic of the Italian poliziotteschi crime genre. It was one of the first breakout vigilante films of its kind, and its success helped spawn an entire wave of vigilante cinema in Italy. The film stars Franco Nero, best known for the original Django, as a mild-mannered engineer who is taken hostage and savagely beaten during a robbery. When he fails to find justice through the legal system, he decides to hunt down the gang himself. It’s a straightforward premise, but what’s interesting is how often the film deliberately undercuts audience expectations. Viewers familiar with Nero from his spaghetti westerns might expect him to deliver ruthless vengeance, but instead, he plays sharply against type, spending most of the film incompetent, physically outmatched and frightened out of his mind. He isn’t driven by an altruistic sense of justice; he’s driven by male ego, the wounded pride of a man victimised at the hands of brutes. He pushes forward on adrenaline like a man still in shock, who never got a chance to process what happened to him. And the film’s breakneck pacing (so typical of poliziotteschi) locks us inside that panicked headspace from start to finish. The action set pieces match this emotion perfectly, with frantic close-quarters gunfights and incredibly dangerous car chases that would be impossible to pull off under today’s safety standards. The highlight is a junkyard chase featuring a spectacular long-lens, slow-motion shot of Nero running towards the camera with a Mustang in deadly pursuit behind him (see below). How Nero emerged without serious injury remains remarkable, especially considering he performed many of his own stunts. If you’re new to the world of 1970s Italian poliziotteschi crime films, this is a great place to start. It’s available on Tubi, and I highly recommend it.
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Heat Wave (1991) is one of the great hidden gems of Japanese cinema. It was one of the final films by legendary director Hideo Gosha, a filmmaker who made his reputation directing violent samurai classics like Goyokin and yakuza films like The Wolves. During the 1980s, Gosha increasingly turned his attention to female protagonists navigating the patriarchal world of the Japanese underworld, beginning with Onimasa (1982) and most famously with Yakuza Wives (1986). Heat Wave, his penultimate film, represents the culmination of this period. Set in Kumamoto in 1928, the film follows Orin (Kanako Higuchi), a professional gambler whose father was murdered by a yakuza enforcer when she was a child. Years later, she returns to her hometown to reclaim her adoptive family’s restaurant, which has fallen into the hands of a ruthless criminal syndicate. Complicating matters is the presence of Tsunejiro (Tatsuya Nakadai), the very man responsible for her father’s death. The film belongs to the tradition of ninkyo eiga, the chivalric yakuza movies that flourished throughout the 1960s. These films typically followed honourable outlaws attempting to uphold traditional codes of loyalty while confronting corrupt criminal organisations. Heat Wave is heavily influenced by one of the most popular series of that era, the Red Peony Gambler films, starring Junko Fuji as a wandering female gambler. Gosha takes this familiar premise in a much darker, more cynical direction, presenting a criminal underworld where honour has been all but abandoned. Visually, the film is extraordinary, as you can see from the video collage I put together below. The beautiful period architecture, smoky gambling dens and elaborate gambling rituals create an intoxicating atmosphere, with Gosha building extraordinary tension through these scenes before unleashing eruptions of grand, over-the-top violence. It’s an incredible late-career achievement from one of the genre’s greatest directors.
Heat Wave (1991) Dir. Hideo Gosha
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Kinji Fukasaku’s five Battles Without Honour and Humanity films (1973–74) are some of the greatest crime movies ever made. They’re among the few gangster films I would rank alongside classics like The Godfather, Scarface and Heat. Each film is a masterclass in visual storytelling. Legendary director William Friedkin described these films best when he said: "Battles Without Honor and Humanity is just about the best series of films of its kind. It embodies so much of world cinema that has dealt with this subject matter. It's like saying, why would you tell a writer, for example, to read James Joyce's Ulysses? Because it's a quarry for writers. In that book, you can find techniques, attitudes, approaches, language, everything you need to be a writer. For a filmmaker, you can look at Battles Without Honor and you can be immediately influenced to make films yourself. And want to go out and not imitate that, but do something else that's of the same value or quality about the world that's around you. And for an audience, they're just very entertaining. They're unpredictable, they're highly original in their approach to subject matter, even though the subject matter is not original - originality is in short shrift. And in Fukusaku's films, they're completely original to this day. And that's why they inspire. You know, works like that are as valuable as written histories."
Japanese Yakuza films were really a masterclass in blocking in this regard. I've lost count of how many scenes in the Battles Without Honour and Humanity series look like this, often involving even more people. (Battles Without Honour and Humanity: Proxy War)
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ON THIS DAY The Terminator was released in 1984. Rocky Marciano knocked out Joe Louis in Madison Square Garden. It was Louis' final fight.
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To any boxing fans. Please read. Unfiltered, which is rare.
🚨 CFFT: Dalton desperation? DAZN: Dreadful analysis, zero nouse, NEW Sunny Edwards game and the return of some boxing media charlatans 😮‍💨 These broadcasts have to change - quickly. Have a read, click, share of this week's #CFFT, I implore you. #boxing craigscott209.substack.com/p…
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Vanishing Point (1971), directed by Richard C. Sarafian and starring Barry Newman, is the greatest car chase film ever made. It follows Kowalski, a former racing driver who attempts to deliver a white 1970 Dodge Challenger from Denver to San Francisco in just 15 hours. What begins as a reckless race against time escalates into a massive interstate police pursuit. As the chase unfolds, a blind radio DJ named Super Soul begins broadcasting Kowalski’s exploits, transforming him into a countercultural folk hero. The film belongs to a subgenre of exploitation cinema known as carsploitation, which flourished during the 1970s. Often low-budget independent productions, these films were built around high-speed pursuits and spectacular crashes, featuring incredibly dangerous stunt driving, much of which would never be permitted under today’s safety standards. These were films brimming with attitude, with the automobile central to their appeal, representing freedom and rebellion against authority. Vanishing Point is the pinnacle of the genre. It was shot by legendary cinematographer John A. Alonzo, who also photographed crime classics like Chinatown and Scarface. There are shots in this film taken from the side of the road, where cars come skidding past the camera at such terrifying speeds and in such close proximity that you wonder how nobody was killed. Vanishing Point is so revered by Quentin Tarantino that he paid homage to it in Death Proof (2007), making the same model of car the centrepiece of the film’s spectacular final chase sequence. Stuntwoman Zoë Bell, playing herself, explains that it’s the same white Dodge Challenger driven by Kowalski in Vanishing Point, describing the original film as “just one of the best American movies ever made.” (Because it absolutely is.)
In Vanishing Point (1971), the prototypical speed vector manifests through Kowalski's Dodge Challenger. Stripped of a dyadic pursuer dynamic, the car becomes a high-velocity projectile on an urgent A-to-B highway trajectory driven solely by a tight deadline and pure speed.
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The 286 Project retweeted
The Terminator released 42 years ago today. 26 October 1984 🤖
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THE TERMINATOR was released 42 years ago today. Acclaimed as one of the great science fiction/action films of the 1980s, and the film that launched the career of writer-director James Cameron, the story of how it was made absolutely will not stop. Ever. Until it is read… 1/65
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