Today, Monica and I passed by the old Hollywood Legion Stadium.
Today it is a Balley's Fitness Center.
I regret not having a camera with us. Of course, it's nothing like it once was.
I stopped by the Blue Palm, a place that was once the favorite watering hole of Hap Navarro and the Holllwood Legion fight crowd. The stories Hap shared about the Blue Palm are some of my favorite because they take us into the world of boxing that is never seen by the fans.
Today, the Blue Palm is a Micro-Brewery and small event venue. My intention was to get info for the WBHOF relating to booking it for a small event in the future. The place was closed, so I'll check it out inthe future and maybe take a few snap shots of the Legion and the Blue Palms.
Taped to the front door was an event calender which may give an idea what the Blue Palms is doing today. I removed it and now post it here. Looks like a punk band venue-micro brew at the moment.
-Rick Farris
"Hap Navarro . . . I can knock you out in 42 rounds"
-Speedy Dado
Memories, Rick, Rog, Kiki, Randy, you all.....You would have enjoyed being at the old Blue Palm on a Legion fight night. There's Jackie McCoy talking up one of his fighters; the LA Times John Hall, never at the bar, always at a booth or table;; fight managers dancing with their wives but only when the media guys would stop listening to their sales pitch. And behind the plank, serving up the drinks two distringuished barkeeps, ex-champ Ceferino Garcia and ex-Dead End Kid Bobby Jordan. If you wanted to drink with me, you did it at the Blue Palm, my office away from my office across the way
hap navarro
Hap, your heart was shining through when you wrote that. There is a saying called "Sweet Melancholy" when the memories produce both happiness and some sadness as well. I know the feeling well. I couldn't be there with you back then Hap, to share a drink but tonight when I get home from work, I'm going to crack open a cold one and raise a toast to you and the boys from "Classic American West Coast Boxing" and to "Sweet Melancholic Memories" of days gone by. Good days.
In early 1981, I received a call from a motion picture lighting gaffer asking if I were availableto replace one of his lighting technician's on a major film. I had just finished a TV movie at MGM and was available, so I jumped on the feature. I had heard rumors around town, that this feature was well over budget, behind schedule and fraught with problems.
The town was pretty busy at the time, so I could have found work elsewhere, on something less stressful, however, it was an opportunity to work with a great director, Francis Ford Coppola.
The cincematography on his first two "Godfather" films had won Oscars for Director of Photography, Gordon Willis. The same for "Apocolypse Now" cinematographer, Vittorio Storarro. Storarro is one of the film world's greatest artists. He paints with light. This film would have Storarro behind the lens, once again. I wanted to learn what he did, how he created the beauty, and his lighting gaffer, Jim Blair worked perfectly with the Italian cameraman.
The problems were at this stage when I arrived, eight weeks into the project. Francis could not make payroll. We are in the IATSE, a very powerful film union. Die hard film crews won't bend for producers who never bend for them, so a walk off that would shutdown production was in the wind. This is where Francis showed his heart, and where is loyal crew showed theirs. Francis called the crew together after wrapping late one wedensday. Film crews are paid every thursday.
Stepping up onto a camera dolley, to raise himself clear to everybody's view, the heavyset, quickly greying film genius of the 70's cleared his throat, and began to speak. "There was no money, I have an investor who has money on the way, if you must leave, please do so, but if you will believe in me, I assure you will be paid within three days, and all will receive a small interest in this film.
Francis had just bought a studio, the old Hollywood General studios, basically a rental loy off of Santa Monica Blvd, where "Ozzie & Harriet" had been shot on stage five. As well as "Petticoat Junction" and other early TV hits and features. Francis borrowed the money, banking on his idea of recreating the Hollywood Studio system of making movies. That system had just been overtaken by independent movie productions.
To make a long story shorter, Francis was loosing the studio. His ideas were creative, but grandios.
Only one person decided to walk, and that was the near-to-retirement lighting tech that I replaced. He was an old school hard nose and was tired of the long hours, disorganized shooting schedule and what he called, "the damn pot smoking hippie director". Francis made no secret of his smoking habits, and had been an innovator of what today we call a "video assist, where the director no longer stands next to the camera to watch the scene. With video assist, the film camera has a video hook-up that ffed thru the lens to a monitor back off the set. In Francis film, "One From The Heart", he had the video fed to his big, stainless steel Air Stream trailer. In the trailer Francis had a jacuzzi, and a microphone he used to communicate to the actors and other set techs inside the stage.
Never before did anybody see a film being directed from a trailor outside the stage. Today it is not uncommon. Francis could do whatever he wanted to do in the privacy of his trailer, and still be King of the Set.
We loved Coppola, we hated his chaotic film projects. Most made money and he was a hero, but "One From The Heart", the film I am speaking of, cost him the studio. Zoetrope Studios sucummned to one of the biggest box-office losers in history. Francis was suddenly not bankable, but in time, he would resurface on top.
We worked lots of hours and finished the film. I got to work with a future four-time Academy Award winner, I made some money and was paid well, and after the one incident, always on time. In the later 80's I'd travel to Arlington, Virginia with Coppola and Company when we shot an even more disorganized flop, "Garden's of Stone", starring James Caan. On that one, three weeks after we began principal photography at the Arlington National Cemetery, Gio Coppola, Francis's oldest son, was killed in a boating accident during one of our Sunday's off. He and star, Griffin O'Neal (Ryan's oldest son) were involved in a fatal boating accident.
Francis was devistated. The film closed production and sent us all home on paid "hold" for a month. O'Neal and Gio had been drinking, and Griffin took the loss as his fault. He quit the film. We returned with a new star, who would play to James Caan and James Earl Jones. Caan had a big problem himself, and the production was a disaster. Like "One From The Heart", it played in theatres for less than a week before going straight to video.
Coppola was fun, too. On "One From The Heart", Francis would cut filming at 7pm and throw a party. His father, Conductor Carmine Coppola, would join us and the music would start, Francis would send us all home with big gallon bottles of his vinyard's "Dago Red". The fun of those little parties surprisingly took the edge of a tough shoot.
I'm glad I had the opportunity to watch Francis Ford Coppola in action. It was quite an experience, to say the least.
In early 1981, I received a call from a motion picture lighting gaffer asking if I were availableto replace one of his lighting technician's on a major film. I had just finished a TV movie at MGM and was available, so I jumped on the feature. I had heard rumors around town, that this feature was well over budget, behind schedule and fraught with problems.
The town was pretty busy at the time, so I could have found work elsewhere, on something less stressful, however, it was an opportunity to work with a great director, Francis Ford Coppola.
The cincematography on his first two "Godfather" films had won Oscars for Director of Photography, Gordon Willis. The same for "Apocolypse Now" cinematographer, Vittorio Storarro. Storarro is one of the film world's greatest artists. He paints with light. This film would have Storarro behind the lens, once again. I wanted to learn what he did, how he created the beauty, and his lighting gaffer, Jim Blair worked perfectly with the Italian cameraman.
The problems were at this stage when I arrived, eight weeks into the project. Francis could not make payroll. We are in the IATSE, a very powerful film union. Die hard film crews won't bend for producers who never bend for them, so a walk off that would shutdown production was in the wind. This is where Francis showed his heart, and where is loyal crew showed theirs. Francis called the crew together after wrapping late one wedensday. Film crews are paid every thursday.
Stepping up onto a camera dolley, to raise himself clear to everybody's view, the heavyset, quickly greying film genius of the 70's cleared his throat, and began to speak. "There was no money, I have an investor who has money on the way, if you must leave, please do so, but if you will believe in me, I assure you will be paid within three days, and all will receive a small interest in this film.
Francis had just bought a studio, the old Hollywood General studios, basically a rental loy off of Santa Monica Blvd, where "Ozzie & Harriet" had been shot on stage five. As well as "Petticoat Junction" and other early TV hits and features. Francis borrowed the money, banking on his idea of recreating the Hollywood Studio system of making movies. That system had just been overtaken by independent movie productions.
To make a long story shorter, Francis was loosing the studio. His ideas were creative, but grandios.
Only one person decided to walk, and that was the near-to-retirement lighting tech that I replaced. He was an old school hard nose and was tired of the long hours, disorganized shooting schedule and what he called, "the damn pot smoking hippie director". Francis made no secret of his smoking habits, and had been an innovator of what today we call a "video assist, where the director no longer stands next to the camera to watch the scene. With video assist, the film camera has a video hook-up that ffed thru the lens to a monitor back off the set. In Francis film, "One From The Heart", he had the visoe fed to his big, stainless steel AirStream trailer. In the trailer Francis had a jacuzzi, and a microphone he used to communicate to the actors and other set techs inside the stage.
Never before did anybody see a film being directed from a trailor outside the stage. Today it is not uncommon. Francis could do whatever he wanted to do in the privacy of his trailer, and still be King of the Set.
We loved Coppola, we hated his chaotic film projects. Most made money and he was a hero, but "One From The Heart", the film I am speaking of, cost him the studio. Zoetrope Studios sucummned to one of the biggest box-office losers in history. Francis was suddenly not bankable, but in time, he would resurface on top.
We worked lots of hours and finished the film. I got to work with a future four-time Academy Award winner, I made some money and was paid well, and after the one incident, always on time. In the later 80's I'd travel to Arlington Virginia with Coppola and Company when we shot an even more disorganized flop, "Garden's of Stone", starring James Caan. On that one, three weeks after we began principal photography at the Arlington ational Cemetery, Gio Coppola, Francis's oldest son and pride 'n joy, was killed in a boating accident on one of our Sunday's off. He and star, Griffin O'Neal (Ryan's oldest son) were involved in a fatal boating accident.
Francis was devistated. The film closed production and sent us all home on paid "hold" for a month. O'Neal and Gio had been drinking, and Griffin took the loss as his fault. He quit the film. We returned with a new star, who would play to James Caan and James Earl Jones. Caan had a big problem himself, and the production was a disaster. Like "One From The Heart", it played in theatres for less than a week before going straight to video.
Coppola was fun, too. On "One From The Heart", Francis would cut filming at 7pm and throw a party. His father, Conductor Carmine Coppola, would join us and the music would start, Francis would send us all home with big gallon bottles of his vinyard's "Dago Red". The fun of those little parties surprisingly took the edge of a tough shoot.
I'm glad I had the opportunity to watch Francis Ford Coppola in action. It was quite an experience, to say the least.
-Rick Farris
Great stuff Rick.
It must have been great working with Coppola.
Hes a legend .
I remember hearing about James Caan when he was here filming "Thief" .
A friend of mine was an extra on that shoot. He mentioned that James would get a little ..."Sidetracked".
Randyman wrote:I wanted to share this with you guys here on this thread. My son wrote this about me a couple of years ago when he was overseas. I hope you don't mind me posting it here. He wrote it on a website that he knew I visited from time to time. He never said a word. I ran across it not too long after he wrote it. As I was reading it I didn't realize it was my son who wrote it, until I saw his name. His words mean a lot to me. He stayed in Seattle after getting out of the service and I miss him more than I can say but I know I raised a man and I am content with that.
"I don't know where to begin, my father has influenced almost every aspect of my life, not because he overshadows me but because of the lessons he has taught me. Not a day goes by when I don't come across a problem and realize that I have already been taught the answer. All the values that I now hold dear to me honor, respect, loyalty, integrity and hard work stem from simply watching him be himself. I have been all over the world and have broken bread with many different people and I have never met someone with the same character, humbleness and heart as my father. And while he would have you believe he is simply an everyman he is anything but. There was never a time in my life when I didn't have his support or advice at my ready. And like my father and my grandfather I learned a lot of life's lessons the hard way, still I was never judged only advised. Always encouraged with a hand on my back helping to steady me on my rocky path. My father promised early on that he would always be in my corner and he has never faltered. As I write this I am across the world and I can still hear his words ringing in my ear "Son you can do anything you put your mind to, I believe in you with all my heart." I know I never could have become the man I am today if it were not for the man who showed me the way. I love you pop-que paso ese?"
Andrew James De La O
4/26/2005
What a great tribute from your son Randy.
After all is said and done, at the end of the day, all that matters if you are a Father is what your children say about you.
You are a success my friend.
In early 1981, I received a call from a motion picture lighting gaffer asking if I were availableto replace one of his lighting technician's on a major film. I had just finished a TV movie at MGM and was available, so I jumped on the feature. I had heard rumors around town, that this feature was well over budget, behind schedule and fraught with problems.
The town was pretty busy at the time, so I could have found work elsewhere, on something less stressful, however, it was an opportunity to work with a great director, Francis Ford Coppola.
The cincematography on his first two "Godfather" films had won Oscars for Director of Photography, Gordon Willis. The same for "Apocolypse Now" cinematographer, Vittorio Storarro. Storarro is one of the film world's greatest artists. He paints with light. This film would have Storarro behind the lens, once again. I wanted to learn what he did, how he created the beauty, and his lighting gaffer, Jim Blair worked perfectly with the Italian cameraman.
The problems were at this stage when I arrived, eight weeks into the project. Francis could not make payroll. We are in the IATSE, a very powerful film union. Die hard film crews won't bend for producers who never bend for them, so a walk off that would shutdown production was in the wind. This is where Francis showed his heart, and where is loyal crew showed theirs. Francis called the crew together after wrapping late one wedensday. Film crews are paid every thursday.
Stepping up onto a camera dolley, to raise himself clear to everybody's view, the heavyset, quickly greying film genius of the 70's cleared his throat, and began to speak. "There was no money, I have an investor who has money on the way, if you must leave, please do so, but if you will believe in me, I assure you will be paid within three days, and all will receive a small interest in this film.
Francis had just bought a studio, the old Hollywood General studios, basically a rental loy off of Santa Monica Blvd, where "Ozzie & Harriet" had been shot on stage five. As well as "Petticoat Junction" and other early TV hits and features. Francis borrowed the money, banking on his idea of recreating the Hollywood Studio system of making movies. That system had just been overtaken by independent movie productions.
To make a long story shorter, Francis was loosing the studio. His ideas were creative, but grandios.
Only one person decided to walk, and that was the near-to-retirement lighting tech that I replaced. He was an old school hard nose and was tired of the long hours, disorganized shooting schedule and what he called, "the damn pot smoking hippie director". Francis made no secret of his smoking habits, and had been an innovator of what today we call a "video assist, where the director no longer stands next to the camera to watch the scene. With video assist, the film camera has a video hook-up that ffed thru the lens to a monitor back off the set. In Francis film, "One From The Heart", he had the visoe fed to his big, stainless steel AirStream trailer. In the trailer Francis had a jacuzzi, and a microphone he used to communicate to the actors and other set techs inside the stage.
Never before did anybody see a film being directed from a trailor outside the stage. Today it is not uncommon. Francis could do whatever he wanted to do in the privacy of his trailer, and still be King of the Set.
We loved Coppola, we hated his chaotic film projects. Most made money and he was a hero, but "One From The Heart", the film I am speaking of, cost him the studio. Zoetrope Studios sucummned to one of the biggest box-office losers in history. Francis was suddenly not bankable, but in time, he would resurface on top.
We worked lots of hours and finished the film. I got to work with a future four-time Academy Award winner, I made some money and was paid well, and after the one incident, always on time. In the later 80's I'd travel to Arlington Virginia with Coppola and Company when we shot an even more disorganized flop, "Garden's of Stone", starring James Caan. On that one, three weeks after we began principal photography at the Arlington ational Cemetery, Gio Coppola, Francis's oldest son and pride 'n joy, was killed in a boating accident on one of our Sunday's off. He and star, Griffin O'Neal (Ryan's oldest son) were involved in a fatal boating accident.
Francis was devistated. The film closed production and sent us all home on paid "hold" for a month. O'Neal and Gio had been drinking, and Griffin took the loss as his fault. He quit the film. We returned with a new star, who would play to James Caan and James Earl Jones. Caan had a big problem himself, and the production was a disaster. Like "One From The Heart", it played in theatres for less than a week before going straight to video.
Coppola was fun, too. On "One From The Heart", Francis would cut filming at 7pm and throw a party. His father, Conductor Carmine Coppola, would join us and the music would start, Francis would send us all home with big gallon bottles of his vinyard's "Dago Red". The fun of those little parties surprisingly took the edge of a tough shoot.
I'm glad I had the opportunity to watch Francis Ford Coppola in action. It was quite an experience, to say the least.
-Rick Farris
Great stuff Rick.
It must have been great working with Coppola.
Hes a legend .
I remember hearing about James Caan when he was here filming "Thief" .
A friend of mine was an extra on that shoot. He mentioned that James would get a little ..."Sidetracked".
I would see Caan storm out of his Motor home bleeding from the nose, kicking over chairs, once he punched out a little producer in his dressing room. He was totally out of control. I saw him a couple years ago on the set of his TV show "Las Vegas". He looks about 100 years old, but in make-up he looks like a corpse perserved in wax. That's how some of these worn out actors look in make-up and wardrobe, like figures in a wax museum.
Rick, Ive done alot of back stage security stuff for alot of " big name" Musicians.As you know,
There are a number of them who look a WHOLE lot different without makeup. Or even in person close up.
In some cases, it is the Miles not the years.
Im at the 26 second mark right behind Patrick Kane.
Im doing security at The Chicago Autoshow for two Chicago Blackhawk players who were signing autographs.Patrick Kane and John Toews.These guys are outstanding kids. Really great .They are stars allready and wherever they go they are like rock stars.
Neither of them has let it get to their heads though. They are both real humble.
Both come from great families also.
In early 1981, I received a call from a motion picture lighting gaffer asking if I were availableto replace one of his lighting technician's on a major film. I had just finished a TV movie at MGM and was available, so I jumped on the feature. I had heard rumors around town, that this feature was well over budget, behind schedule and fraught with problems.
The town was pretty busy at the time, so I could have found work elsewhere, on something less stressful, however, it was an opportunity to work with a great director, Francis Ford Coppola.
The cincematography on his first two "Godfather" films had won Oscars for Director of Photography, Gordon Willis. The same for "Apocolypse Now" cinematographer, Vittorio Storarro. Storarro is one of the film world's greatest artists. He paints with light. This film would have Storarro behind the lens, once again. I wanted to learn what he did, how he created the beauty, and his lighting gaffer, Jim Blair worked perfectly with the Italian cameraman.
The problems were at this stage when I arrived, eight weeks into the project. Francis could not make payroll. We are in the IATSE, a very powerful film union. Die hard film crews won't bend for producers who never bend for them, so a walk off that would shutdown production was in the wind. This is where Francis showed his heart, and where is loyal crew showed theirs. Francis called the crew together after wrapping late one wedensday. Film crews are paid every thursday.
Stepping up onto a camera dolley, to raise himself clear to everybody's view, the heavyset, quickly greying film genius of the 70's cleared his throat, and began to speak. "There was no money, I have an investor who has money on the way, if you must leave, please do so, but if you will believe in me, I assure you will be paid within three days, and all will receive a small interest in this film.
Francis had just bought a studio, the old Hollywood General studios, basically a rental loy off of Santa Monica Blvd, where "Ozzie & Harriet" had been shot on stage five. As well as "Petticoat Junction" and other early TV hits and features. Francis borrowed the money, banking on his idea of recreating the Hollywood Studio system of making movies. That system had just been overtaken by independent movie productions.
To make a long story shorter, Francis was loosing the studio. His ideas were creative, but grandios.
Only one person decided to walk, and that was the near-to-retirement lighting tech that I replaced. He was an old school hard nose and was tired of the long hours, disorganized shooting schedule and what he called, "the damn pot smoking hippie director". Francis made no secret of his smoking habits, and had been an innovator of what today we call a "video assist, where the director no longer stands next to the camera to watch the scene. With video assist, the film camera has a video hook-up that ffed thru the lens to a monitor back off the set. In Francis film, "One From The Heart", he had the visoe fed to his big, stainless steel AirStream trailer. In the trailer Francis had a jacuzzi, and a microphone he used to communicate to the actors and other set techs inside the stage.
Never before did anybody see a film being directed from a trailor outside the stage. Today it is not uncommon. Francis could do whatever he wanted to do in the privacy of his trailer, and still be King of the Set.
We loved Coppola, we hated his chaotic film projects. Most made money and he was a hero, but "One From The Heart", the film I am speaking of, cost him the studio. Zoetrope Studios sucummned to one of the biggest box-office losers in history. Francis was suddenly not bankable, but in time, he would resurface on top.
We worked lots of hours and finished the film. I got to work with a future four-time Academy Award winner, I made some money and was paid well, and after the one incident, always on time. In the later 80's I'd travel to Arlington Virginia with Coppola and Company when we shot an even more disorganized flop, "Garden's of Stone", starring James Caan. On that one, three weeks after we began principal photography at the Arlington ational Cemetery, Gio Coppola, Francis's oldest son and pride 'n joy, was killed in a boating accident on one of our Sunday's off. He and star, Griffin O'Neal (Ryan's oldest son) were involved in a fatal boating accident.
Francis was devistated. The film closed production and sent us all home on paid "hold" for a month. O'Neal and Gio had been drinking, and Griffin took the loss as his fault. He quit the film. We returned with a new star, who would play to James Caan and James Earl Jones. Caan had a big problem himself, and the production was a disaster. Like "One From The Heart", it played in theatres for less than a week before going straight to video.
Coppola was fun, too. On "One From The Heart", Francis would cut filming at 7pm and throw a party. His father, Conductor Carmine Coppola, would join us and the music would start, Francis would send us all home with big gallon bottles of his vinyard's "Dago Red". The fun of those little parties surprisingly took the edge of a tough shoot.
I'm glad I had the opportunity to watch Francis Ford Coppola in action. It was quite an experience, to say the least.
-Rick Farris
Great stuff Rick.
It must have been great working with Coppola.
Hes a legend .
I remember hearing about James Caan when he was here filming "Thief" .
A friend of mine was an extra on that shoot. He mentioned that James would get a little ..."Sidetracked".
Randyman wrote:I wanted to share this with you guys here on this thread. My son wrote this about me a couple of years ago when he was overseas. I hope you don't mind me posting it here. He wrote it on a website that he knew I visited from time to time. He never said a word. I ran across it not too long after he wrote it. As I was reading it I didn't realize it was my son who wrote it, until I saw his name. His words mean a lot to me. He stayed in Seattle after getting out of the service and I miss him more than I can say but I know I raised a man and I am content with that.
"I don't know where to begin, my father has influenced almost every aspect of my life, not because he overshadows me but because of the lessons he has taught me. Not a day goes by when I don't come across a problem and realize that I have already been taught the answer. All the values that I now hold dear to me honor, respect, loyalty, integrity and hard work stem from simply watching him be himself. I have been all over the world and have broken bread with many different people and I have never met someone with the same character, humbleness and heart as my father. And while he would have you believe he is simply an everyman he is anything but. There was never a time in my life when I didn't have his support or advice at my ready. And like my father and my grandfather I learned a lot of life's lessons the hard way, still I was never judged only advised. Always encouraged with a hand on my back helping to steady me on my rocky path. My father promised early on that he would always be in my corner and he has never faltered. As I write this I am across the world and I can still hear his words ringing in my ear "Son you can do anything you put your mind to, I believe in you with all my heart." I know I never could have become the man I am today if it were not for the man who showed me the way. I love you pop-que paso ese?"
Andrew James De La O
4/26/2005
What a great tribute from your son Randy.
After all is said and done, at the end of the day, all that matters if you are a Father is what your children say about you.
You are a success my friend.
I spent the first year of my eight seasons with the Legion Stadium listening to and marveling at the colorful languae, the emphatic gestures and the overly pugnacious attitudes of some of our local fight mob. Damon Runyon would have loved them all, methinks. I was lucky
Expug wrote: Rick, Ive done alot of back stage security stuff for alot of " big name" Musicians.As you know,
There are a number of them who look a WHOLE lot different without makeup. Or even in person close up.
In some cases, it is the Miles not the years.
Im at the 26 second mark right behind Patrick Kane.
Im doing security at The Chicago Autoshow for two Chicago Blackhawk players who were signing autographs.Patrick Kane and John Toews.These guys are outstanding kids. Really great .They are stars allready and wherever they go they are like rock stars.
Neither of them has let it get to their heads though. They are both real humble.
Both come from great families also.
Lookin' good, Pug! Kane & Toews will not be bothered.
Randyman wrote:I wanted to share this with you guys here on this thread. My son wrote this about me a couple of years ago when he was overseas. I hope you don't mind me posting it here. He wrote it on a website that he knew I visited from time to time. He never said a word. I ran across it not too long after he wrote it. As I was reading it I didn't realize it was my son who wrote it, until I saw his name. His words mean a lot to me. He stayed in Seattle after getting out of the service and I miss him more than I can say but I know I raised a man and I am content with that.
"I don't know where to begin, my father has influenced almost every aspect of my life, not because he overshadows me but because of the lessons he has taught me. Not a day goes by when I don't come across a problem and realize that I have already been taught the answer. All the values that I now hold dear to me honor, respect, loyalty, integrity and hard work stem from simply watching him be himself. I have been all over the world and have broken bread with many different people and I have never met someone with the same character, humbleness and heart as my father. And while he would have you believe he is simply an everyman he is anything but. There was never a time in my life when I didn't have his support or advice at my ready. And like my father and my grandfather I learned a lot of life's lessons the hard way, still I was never judged only advised. Always encouraged with a hand on my back helping to steady me on my rocky path. My father promised early on that he would always be in my corner and he has never faltered. As I write this I am across the world and I can still hear his words ringing in my ear "Son you can do anything you put your mind to, I believe in you with all my heart." I know I never could have become the man I am today if it were not for the man who showed me the way. I love you pop-que paso ese?"
Andrew James De La O
4/26/2005
What a great tribute from your son Randy.
After all is said and done, at the end of the day, all that matters if you are a Father is what your children say about you.
You are a success my friend.
Randy
It doesn't get better thanthat. Rog
Randy, that is one of the most touching stories I've ever read. You are an incredible father, and I'm proud that you are my friend.
-Rick
Last edited by Rick Farris on 10 Mar 2009, 19:28, edited 2 times in total.
Its odd the stuff that winds up on youtube isnt it?
For a person who grew up in the sixties and seventies, I sometimes find it a little strange how small the world has become.
Randyman wrote:I wanted to share this with you guys here on this thread. My son wrote this about me a couple of years ago when he was overseas. I hope you don't mind me posting it here. He wrote it on a website that he knew I visited from time to time. He never said a word. I ran across it not too long after he wrote it. As I was reading it I didn't realize it was my son who wrote it, until I saw his name. His words mean a lot to me. He stayed in Seattle after getting out of the service and I miss him more than I can say but I know I raised a man and I am content with that.
"I don't know where to begin, my father has influenced almost every aspect of my life, not because he overshadows me but because of the lessons he has taught me. Not a day goes by when I don't come across a problem and realize that I have already been taught the answer. All the values that I now hold dear to me honor, respect, loyalty, integrity and hard work stem from simply watching him be himself. I have been all over the world and have broken bread with many different people and I have never met someone with the same character, humbleness and heart as my father. And while he would have you believe he is simply an everyman he is anything but. There was never a time in my life when I didn't have his support or advice at my ready. And like my father and my grandfather I learned a lot of life's lessons the hard way, still I was never judged only advised. Always encouraged with a hand on my back helping to steady me on my rocky path. My father promised early on that he would always be in my corner and he has never faltered. As I write this I am across the world and I can still hear his words ringing in my ear "Son you can do anything you put your mind to, I believe in you with all my heart." I know I never could have become the man I am today if it were not for the man who showed me the way. I love you pop-que paso ese?"
Andrew James De La O
4/26/2005
Wow! Beautifully put. Seems that things do go full circle because from what you have told us about your dad you felt the same about him. I certainly hope Andrew has children becasue the world needs more good people like the De La Os.
Bruce
As a director & writer, the name Billy Wilder is one of the most respected in the film industry.
He directed "Some Like It Hot", Staalag 17, The Apartment, Sunset Blvd, Irma La Duece. The last film he would direct would be "Buddy, Buddy" which starred Jack Lemmon & Walter Mathau. It was 1981, and I worked on that film at MGM, and on a short location at the Riverside County Courthouse.
We had a great cameraman, Harry Stradling Jr. and a cast that never needed more than one take to make a scene perfect. Great writer, great director, legendary actors. Our cast & crew had won more Oscar's than any movie in production that year. Sounds like all the ingredienst for a hit, right? WRONG!
Another box-office flop. We had lots of laughs on the set. The material seemd to work and the actors were right on the mark. But on screen, the film came across as dull and didn't last long in theatres before going right to video.
I'd been in the business a few years, was learning lighting from the best, and Stradling's L.D. was an 81-year-old master named Cliff Hutchinson, who had broken into the business at Warner Bros. with my grandfather more than fifty-years previous. Cliff was a good looking, sharp and kind man, who would take me by the arm and pull me to a seat on the floor right under the camera lens.
"This is where you watch your rehersal from, right at the lens. You watch the rehersal, you watch where the actors walk, when they stop, how they turn. If a shot is set up right, the lighting will remain consistant with only minor variation from master to close-up shots." I would sit under the lens right next to Cliff, and he would point out little things that I have never seen other Lighting designers do. Things that are no longer known, or taught. Things that make a set look better, and easier to do. As the legendary boxing trainers have all departed life, so have the master filmakers. Today, we have great technology that gives film artists a big boost when they are at a loss for an answer. However, the best way is still the "right way".
I watched Billy Wilder confer with the movie's screen writer, an old friend who had worked with Wilder on all his big films. There was such mutual respect between the two. Both are long gone.
Watching these guys work, as I learned my lessons, reminded me of sitting at the Main Street Gym, watching a retired Sugar Ray Robinson go thru his drills at the gym. There is no mistaking the best. A champion is a champion, and in the movie world, Billy Wilder is an all-timer.
I've said it before, I will write it now.......you do a terrific job of putting us all there when you go through your paces, step by step, to inform us of the complexities of your life's work. You should gather all of that information, add a title and a few line drawings or actual photographs and have it all come to fruition as an enlightening, highly interesting odyssey. You've got the talent, the experience, and the courage to tell it like it is.
I've said it before, I will write it now.......you do a terrific job of putting us all there when you go through your paces, step by step, to inform us of the complexities of your life's work. You should gather all of that information, add a title and a few line drawings or actual photographs and have it all come to fruition as an enlightening, highly interesting odyssey. You've got the talent, the experience, and the courage to tell it like it is.
sincerely
hap
Hap,
You're so right about Rick, you know, it never cease to amaze me about his keen memory and talent for minutiae.
I've said it before, I will write it now.......you do a terrific job of putting us all there when you go through your paces, step by step, to inform us of the complexities of your life's work. You should gather all of that information, add a title and a few line drawings or actual photographs and have it all come to fruition as an enlightening, highly interesting odyssey. You've got the talent, the experience, and the courage to tell it like it is.
sincerely
hap
Hap,
You're so right about Rick, you know, it never cease to amaze me about his keen memory and talent for minutiae.
Danny “Little Red” Lopez: The IBHOF’s Forgotten Man
By Pete “The Heat” Parry
“I only knew how to fight one way… I’d just keep punching until I knocked my opponent out.”--Danny “Little Red” Lopez
Induction into the International Boxing Hall of Fame in Canastota, New York, is the “championship belt” every fighter seeks. It is representative of having left one’s mark on the sport; being recognized as one of the greats in the annals of boxing. There a plaque is placed and the fighter can stand tall and proud knowing his name is enshrined alongside that of Henry Armstrong, Joe Louis, Rocky Marciano, Willie Pep, and Sugar Ray Robinson, the legends of the sport.
More contemporary names that now appear in that hallowed hall are those of Bobby Chacon, Ruben Olivares, Eusebio Pedroza, and Salvador Sanchez. But missing from among those names, among those legends of the sport, is Danny “Little Red” Lopez. In reviewing the life, career, and accomplishments of Lopez the question arises as to why this immensely popular and legendary former Featherweight Champion has yet to be asked to take his place among boxing’s elite.
Of Irish, Mexican, and Native American ancestry, Danny Lopez grew up on a Ute Indian Reservation in Fort Duquesne, Utah, one of seven brothers and sisters. After a troubled childhood, he took an interest in boxing and followed in the footsteps of older brother, welterweight Ernie “Indian Red” Lopez, and turned pro at age 18. Danny began his professional boxing career on May 27, 1971, with a first round knockout of Steve Flajole. Lopez would reel off 21 straight wins by knockout, still recognized as one of the longest in boxing history, and go 23-0 overall before suffering his first defeat. During that time, Lopez would become a staple at the famed Olympic Auditorium in Los Angeles, regularly selling out the old fight club’s 10,000 seats. For three years Danny established himself as a warrior. In nearly every fight he would wade in, fists flying, get knocked down only to rise and knock out his opponent. Lopez hadn’t yet learned defense and it would show in his first defeat.
Danny’s first loss would come on May 24, 1974 at age 21 at the hands of Bobby Chacon. After 8 rounds of what was described as a war, Chacon, who would go on to become a legendary Featherweight and Super Featherweight Champion, stopped Lopez 48 seconds into the ninth stanza. A little more than 2 years later, and with knockout victories under his belt over former or future world champions Chucho Castillo (TKO 2), Ruben Olivares (KO 7), and Sean O’Grady (TKO 4), Lopez became a world champion. Traveling to Accra, Ghana, Little Red faced WBC Featherweight Champion David Kotey on November 6, 1976. In front of more than 100,000 African fans cheering for their native champion Lopez captured the title with a unanimous decision over 15 rounds in 100 degree heat. Unfortunately he did so in near obscurity. With no television or radio
broadcasts of the fight, and Lopez’ 72 year old manager Howie Steindler having been forbidden by his doctor to make the trip, it was not until Danny returned to the United States two days later that many would learn their man had won the world title. It wouldn’t take long before the world knew the newly crowned champion.
After taking some time off to celebrate his victory, Danny fought 2 non-title fights less than one month apart; a knockout in 2 rounds over Jose Olivares on July 29, 1977 and a KO in 6 over Jorge Altamirano on August 28. Lopez’ first title defense came just 16 days later on September 13, 1977. In a nationally televised bout Lopez came off the canvas to brutally stop Jose Torres in the 7th round. Next, Little Red would meet David Kotey in a rematch on February 15, 1978 on the undercard of Ali-Spinks I and this time Lopez stopped Kotey in 6 rounds. With his first two defenses having been nationally televised Danny’s popularity, already well established among California fans where Lopez had fought almost exclusively before becoming champion, grew exponentially.
After a TKO win in 6 rounds over Jose Francisco De Paula in April, 1978, Danny fought Juan Malvarez on September 15 on the undercard of Muhammad Ali-Leon Spinks II. Again defending on a televised fight card Danny was floored in the opening round. Dusting himself off coolly after the knockdown, Lopez doggedly pursued his challenger as Malvarez landed lead rights and left hooks. A stunned crowd looked on as the round ended, becoming convinced this might be the end of the road for the title reign of their hero Little Red. With just 44 seconds gone in the second round Lopez countered over an attempted lead right uppercut by Malvarez with an explosive right hand of his own. The punch separated Malvarez from his senses and he crumpled to the floor. After the referee completed his 10 count the challenger remained on the floor for a full two minutes. Lopez had retained his title in stirring come-from-behind fashion. This was of course not the first time Lopez had been down in his career and he was gaining notoriety as the kind of fighter who might get knocked down but would come back to knock out his opponents, sometimes, as with Malvarez, in the very next round.
On June 17, 1979, in what would later be named by Ring Magazine as 1979’s Fight of the Year, Lopez faced top contender Mike “Little Cyclone” Ayala. In a battle Sports Illustrated would tag “a mini Ali-Frazier” Lopez broke Ayala’s nose early in the fight, floored the challenger in the seventh and eleventh rounds, and stopped Ayala in the 15th and final round. Lopez had proven his mettle as a champion this night and cemented his legacy in this, his seventh title defense. Walking through punishment to deliver some his own brand of mayhem upon the body of an opponent Lopez had succeeded in bringing attention to the Featherweight division and garnering a level of popularity that perhaps no Featherweight Champion in history had enjoyed.
After one more successful title defense, a 3rd round TKO over Jose Caba on September 25, 1979, Lopez defended his WBC title on February 2, 1980 against young up-and-coming featherweight Salvador Sanchez. The legend that would become Salvador Sanchez was born that night in Phoenix, Arizona as Sanchez stopped the popular Champion in the 13th round to claim the title. The two would fight again a little more than four months later on June 21, and Lopez would last one round longer, succumbing to the young phenom in the 14th round. After the fight Lopez would hand Sanchez the Indian headdress he wore into the ring, a symbolic gesture of the passing of the torch, and a display of the kind of champion Danny Lopez had been.
Little Red retired after the rematch with Sanchez. Nearly 12 years later, after witnessing the success of George Foreman’s comeback, Danny made an ill-advised comeback attempt of his own on February 27, 1992, losing by knockout to Jorge Rodriguez in 3 rounds. Danny hung up the gloves for good following the loss.
Lopez’ final career mark was 42-6, 39 KO’s, an incredible 81.25 knockout percentage. Looking inside the numbers is the best argument for why Danny Lopez belongs in the International Boxing Hall of Fame. Lopez made eight successful defenses of the WBC Featherweight Championship, holding the title from November 1976 until February, 1980. Little Red fought six former, current, or future champions during his career. Two of his six losses were to the legendary Sanchez, one to another legend Bobby Chacon, both Hall of Fame inductees. Still another, a 10 round points loss to Octavio Gomez in 1975, was later avenged with a knockout of Gomez in three rounds a year later. He is currently a member of the World Boxing Hall Of Fame, was inducted in 2005 to the California Boxing Hall Of Fame, and was inducted in 2008 to the WBC Legends of Boxing Museum along with such luminaries as Lennox Lewis, Ken Norton, and Diego Corrales.
With a career filled with excitement, a record as respectable as any current members, and with all the various Halls Of Fame that have already inducted Danny “Little Red” Lopez, the question still remains: When will Lopez be included on the ballot for the International Boxing Hall Of Fame in Canastota, New York? When will his plaque be hung on those hallowed halls among his fellow legends? In a sport plagued with legitimacy issues over everything from loaded hand wraps to steroid use, the enshrinement of a man who reached the pinnacle of his profession through hard work, dedication, and determination would go a long way in restoring a measure of respectability and legitimacy. Danny Lopez has appeared several times at the IBHOF through the years, giving freely of himself and spending countless hours greeting and signing autographs for the many thousands of boxing fans in attendance. Always the bridesmaid, and never the bride, still Danny comes. It is the measure of the man and the champion.
I am one of the many thousands of boxing fans who had both the pleasure and the honor of watching Little Red fight and defend his title those many years ago. I am also among those who have had the distinct honor of meeting him at the Hall of Fame. He is a warm and genuine human being, one who deserves to be on the podium giving his acceptance speech instead of in the gymnasium of a high school working like a greeter at a Wal-Mart.
Danny “Little Red” Lopez will turn 57 years old this year. It is this writer’s opinion as a fan and supporter of the International Boxing Hall of Fame that Danny should not turn 58 before he gets that call that says “Danny, you have been inducted.” He earned it, he deserves it…..it is past due!
Randyman wrote:I wanted to share this with you guys here on this thread. My son wrote this about me a couple of years ago when he was overseas. I hope you don't mind me posting it here. He wrote it on a website that he knew I visited from time to time. He never said a word. I ran across it not too long after he wrote it. As I was reading it I didn't realize it was my son who wrote it, until I saw his name. His words mean a lot to me. He stayed in Seattle after getting out of the service and I miss him more than I can say but I know I raised a man and I am content with that.
"I don't know where to begin, my father has influenced almost every aspect of my life, not because he overshadows me but because of the lessons he has taught me. Not a day goes by when I don't come across a problem and realize that I have already been taught the answer. All the values that I now hold dear to me honor, respect, loyalty, integrity and hard work stem from simply watching him be himself. I have been all over the world and have broken bread with many different people and I have never met someone with the same character, humbleness and heart as my father. And while he would have you believe he is simply an everyman he is anything but. There was never a time in my life when I didn't have his support or advice at my ready. And like my father and my grandfather I learned a lot of life's lessons the hard way, still I was never judged only advised. Always encouraged with a hand on my back helping to steady me on my rocky path. My father promised early on that he would always be in my corner and he has never faltered. As I write this I am across the world and I can still hear his words ringing in my ear "Son you can do anything you put your mind to, I believe in you with all my heart." I know I never could have become the man I am today if it were not for the man who showed me the way. I love you pop-que paso ese?"
Andrew James De La O
4/26/2005
Wow! Beautifully put. Seems that things do go full circle because from what you have told us about your dad you felt the same about him. I certainly hope Andrew has children becasue the world needs more good people like the De La Os.
Bruce
Randy:
Bruce is spot on. It would seem to me that the letter connected the three generations for all enternity. You are blessed to have given life to young J.A.
Randyman wrote:I wanted to share this with you guys here on this thread. My son wrote this about me a couple of years ago when he was overseas. I hope you don't mind me posting it here. He wrote it on a website that he knew I visited from time to time. He never said a word. I ran across it not too long after he wrote it. As I was reading it I didn't realize it was my son who wrote it, until I saw his name. His words mean a lot to me. He stayed in Seattle after getting out of the service and I miss him more than I can say but I know I raised a man and I am content with that.
"I don't know where to begin, my father has influenced almost every aspect of my life, not because he overshadows me but because of the lessons he has taught me. Not a day goes by when I don't come across a problem and realize that I have already been taught the answer. All the values that I now hold dear to me honor, respect, loyalty, integrity and hard work stem from simply watching him be himself. I have been all over the world and have broken bread with many different people and I have never met someone with the same character, humbleness and heart as my father. And while he would have you believe he is simply an everyman he is anything but. There was never a time in my life when I didn't have his support or advice at my ready. And like my father and my grandfather I learned a lot of life's lessons the hard way, still I was never judged only advised. Always encouraged with a hand on my back helping to steady me on my rocky path. My father promised early on that he would always be in my corner and he has never faltered. As I write this I am across the world and I can still hear his words ringing in my ear "Son you can do anything you put your mind to, I believe in you with all my heart." I know I never could have become the man I am today if it were not for the man who showed me the way. I love you pop-que paso ese?"
Andrew James De La O
4/26/2005
Wow! Beautifully put. Seems that things do go full circle because from what you have told us about your dad you felt the same about him. I certainly hope Andrew has children becasue the world needs more good people like the De La Os.
Bruce
Randy:
Bruce is spot on. It would seem to me that the letter connected the three generations for all enternity. You are blessed to have given life to young J.A.
hap navarro
Thanks Guys for all the kind words. I appreciate it.
Hap, One of my biggest regrets is that my son Andrew never met his Grandfather Andrew. The same with the girls. Meranda was about two weeks short of 3 when my father passed. She has no real memory of him. You're right about that letter connecting them. thanks for bringing that to my attention.
The above photo was taken in February of 2007 when Andrew (in the white tee shirt) returned from Iraq.
I wrote the following a couple of years ago. This is his "Record".
Much of Andrew's time in the Coast Guard was served aboard the USCGC Mellon, a 378-foot High Endurance Cutter, stationed in Seattle, Washington. Last year (2006) when Andrew heard that the USCGC Midgett, a similar ship, was being assigned to Iraq and the Persian Gulf he requested a transfer and volunteered to go with the Midgett during it's Middle East tour of duty. Andrew was involved in several large drug busts involving heroin and cocaine. The rescue of Ecuadorean immigrants, whose ship was sinking, and several military training missions overseas. He was personally responsible for saving three lives.
Some of the other places Andrew has been to are; both the North and South Pacific, the Bering Sea, the Sea of Japan, the South China Sea, Straits of Gibraltar, the Indian Ocean, Gulf of Aden, Gulf of Oman, Arabian Sea, the Red Sea, Suez Canal, Straits of Homuez, Mediterranean Sea, Atlantic Ocean, Caribbean Sea and the Panama Canal. On his tour last year he literally circled the globe.
The countries include:; (the numbers in parenthesis are the number of times visited)
Alaska- 12 Dutch Harbor 7, Kodiak 5
Japan- 3 times, Tokyo, Okinawa and Sasebo
Singapore- 2 times
Thailand- 1
Brunei- 1
Malaysia- 2
Philippines- 1
Guam- 1
Hawaii- 2
Ecuador- 8
Panama- 2, including the canal crossing
Guatemala- 1
Costa Rica- 2
Cabo San Lucas, Mexico- 1
Kamchatka, Russia- 1
Goa, India- 1
Seychelles Islands- 1
United Arab Emirates (U.A.E)- 2
Djibouti (formerly French Somalia)- 1
Salalah, Oman- 1
Jordan- 1
Crete, Greece- 1
Italy- 1 Gaeta, Rome
Rota, Spain- 1
Aruba- 1
Needless to say, but I will anyways, Jeri and I are proud of our son. We are proud that our son felt a need to serve his country. When I look at my son, his friend Julian Duran, and all the men and women that serve in every branch of the service all across the world, I know that all the criticism about the younger generation not pulling their weight or not being responsible, or having no love or respect for their country is completely false. They have proven themselves.
Rick, Ive done alot of back stage security stuff for alot of " big name" Musicians.As you know,
