In 1892, while training for his historic fight with Gentleman Jim Corbett, undefeated heavyweight boxing champion John L. Sullivan wrote "Reminiscences of a 19th Century Gladiator," a summation of his extraordinary life and career. In the book, the "Boston Strong Boy" shares with the reader the story of his humble origins and the obstacles, both legal and personal, that he had to overcome to become the most famous boxer of the 19th century. This deluxe edition of the book contains additional material including never-before-included photographs, newspaper accounts, and interviews.
A knockout biography of John L. Sullivan that puts the fabled boxing champ squarely in the context of his rough-and-tumble times. Drawing on a wealth of contemporary sources, including the scandalous National Police Gazette, Isenberg (History/Annapolis) recounts how Sullivan brawled his way from a working-class background in Boston's Irish ghetto to the top of the prizefighting world.
Essentially the last of the bare-knuckle heavyweight champions, John L. Sullivan was instrumental in the acceptance of gloved fighting. His charisma and popular appeal during this transitional period contributed greatly to making boxing a nationally popular, "legitimate" sport. Sullivan became boxing's first superstar and arguably the first of any sport. From his first match in the late 1870s through his final championship fight in 1892, this biography contains a thoroughly researched, detailed accounting of John L. Sullivan's boxing career. With special attention to the 1880s, the decade during which Sullivan came to prominence, it follows Sullivan's skill development and discusses his opponents and fights in detail, providing various viewpoints of a single event. Beginning with a discussion of early boxing practices, the sport itself is placed within sociological, legal and historical contexts including anti-prize fighting laws and the so-called "color line." A complete record of Sullivan's career is also included.
The First Superstar tells how John L. Sullivan forged the link between media and sports by being such good copy that the papers of the 1880s couldn't help but report his every move. What Babe Ruth's homeruns were to baseball, Sullivan's knock-outs were to boxing, and Sullivan came first. The heavyweight title was created for him. He toured the country at the then-fabulous total of $500 per night, routinely offering a thousand dollars to anyone who could last just four rounds. His country loved gentlemen, so he always insisted on gloves, which was protection against the law. Toasted, first in America, then around the world, he called Teddy Roosevelt and Prince Albert "friend." The greatest fighting man ever, he tried to be the greatest drinker and profigate, too. After binging all day, he'd revive on his way to a fight, knock his opponent out as if he were a distraction, then head for the nearest bar. He'd slam down C-notes, buy drinks for the house, and leave the change. Between bars he'd scatter coins to the kids. Lines formed on his trains, because everyone knew he gave to anyone who asked. But it caught up to him. Sick and broke, he agreed to an illegal bareknuckle fight to be held in New Orleans in July of 1889 against Jake Kilrain. It was got up by an editor who wanted to cook the drunk to death. He promptly went on a four month bender that left him totally unfit, with less than two months to go. Only William Muldoon, a wrestling champion and the founder of the physical culture movement, could rescue him. Together they dominated America's front pages with its greatest story. The outlawed 72 round fight became legend, its popularity leading to the legalization of boxing. Muldoon became America's first fitness guru. Sullivan returned to drinking, and infamously drew the color line against Peter Jackson, who might have become the first Black champ. Then, after touring for three years, he lost to Jim Corbett. Sullivan drank away a fortune, actually going bankrupt, but in the end became a temperance lecturer.
This lively survey of the ever-changing Irish-American experience contains “many perceptive, and sometimes surprising, observations” (The Irish Times). Irish-American Autobiography explores the evolution of Irishness in America through memoirs that describe, define, and redefine what it means to be Irish. From athletes and entertainers to saloon keepers, community activists, and Catholic priests, Irish-Americans of all stripes share their thoughts and perceptions on their ever-evolving ethnic identity. Poet and Irish studies specialist James Silas Rogers begins his evocative analysis with celebrity memoirs by athletes like boxer John L. Sullivan and ballplayer Connie Mack―written when the Irish were eager to put their raffish origins behind them. Later, he traces the many tensions registered by lesser-known Irish-Americans who’ve told their life stories. South Boston step dancers set themselves against the larger culture, framing their identity as outsiders looking in. Even the classic 1950s sitcom The Honeymooners speaks to the poignant sense of exclusion felt by its creator Jackie Gleason. Rogers also examines the changing role of Catholicism as a cultural touchstone for Irish Americans, and examines the painful diffidence of priest autobiographers. Irish-American Autobiography becomes, in the end, a story of a continued search for connection—documenting an “ethnic fade” that never quite happened.
"Whether consciously molding the city through the construction of public spaces or developing social ties through organizations such as athletic clubs, Bostonians of all classes participated in recreation-based community building, often at cross-purposes. Elite Bostonians, for instance, promoted the establishment of parks as a healthy alternative to unsavory activities, such as drinking and gambling, that they associated with the city's vast new pool of immigrants. They were soon forced to compromise, however, with citizens who were less interested in the rhetoric of moral uplift than in using the parks for competitive athletics and commercial amusements."--BOOK JACKET.
A remarkable new work from one of our premier historians In his exciting new book, John F. Kasson examines the signs of crisis in American life a century ago, signs that new forces of modernity were affecting men's sense of who and what they really were. When the Prussian-born Eugene Sandow, an international vaudeville star and bodybuilder, toured the United States in the 1890s, Florenz Ziegfeld cannily presented him as the "Perfect Man," representing both an ancient ideal of manhood and a modern commodity extolling self-development and self-fulfillment. Then, when Edgar Rice Burroughs's Tarzan swung down a vine into the public eye in 1912, the fantasy of a perfect white Anglo-Saxon male was taken further, escaping the confines of civilization but reasserting its values, beating his chest and bellowing his triumph to the world. With Harry Houdini, the dream of escape was literally embodied in spectacular performances in which he triumphed over every kind of threat to masculine integrity -- bondage, imprisonment, insanity, and death. Kasson's liberally illustrated and persuasively argued study analyzes the themes linking these figures and places them in their rich historical and cultural context. Concern with the white male body -- with exhibiting it and with the perils to it --reached a climax in World War I, he suggests, and continues with us today.
Elliott J. Gorn's The Manly Art tells the story of boxing's origins and the sport's place in American culture. When first published in 1986, the book helped shape the ways historians write about American sport and culture, expanding scholarly boundaries by exploring masculinity as an historical subject and by suggesting that social categories like gender, class, and ethnicity can be understood only in relation to each other. This updated edition of Gorn's highly influential history of the early prize rings features a new afterword, the author's meditation on the ways in which studies of sport, gender, and popular culture have changed in the quarter century since the book was first published. An up-to-date bibliography ensures that The Manly Art will remain a vital resource for a new generation.
