BoxRec

Great Lighting in cinematography, my opinion . . .


"Road To Predition"

One of Paul Newman's last films.
The very last film of legendary cinematographer Conrad Hall.
Connie was awarded his fourth Oscar for "Best Cinematography" for this film, posthumously.
My cousin, Randy Woodside, was Conrad Hall's L.D. (but not on this one.)
This is one of the finest photographed films of the era, true art.

"The Natural"

We shot this in Buffalo, N.Y., and at the Culver Studios in L.A. for interiors sets.
We started filming in Buffalo in June, 1983. That's where the baseball stadium was located.
Lighting gaffer Gary Holt was one of my mentors, and he lit this one. Look at the beauty.
Caleb Deshanel is one of the greatest camermen of the era.
I worked with him on several films including The Right Stuff, and "Being There".

"Blade Runner"

I worked on the crew of this one for about half of it's 18 week shooting schedule, much of what we filmed was done at the Bradbury Building in downtown L.A.
We were also on the streets of L.A. and on stage at MGM
Another great cameraman in Jordan Cronenweth, and a great L.D. Richard Hart. It was nominated for Cinematography Oscar. Check the lighting & lighting effects.
Blade Runner was very early 80's. A state-of-the-art production behind a great film maker, Ridley Scott.
I'd work on many commercials directed by Ridley Scott. Arrogant bastid, but I've never known him to be wrong.


And if you want to go back to 1954, when color film was new, my grandfather's lighting can be seen in "Rebel Without A Cause".
Rebel was shot in three-strip Technicolor, a new complicated process but one that had great results.
And his last film, "Who's Afraid of Virginia Wolf?". That one was in B&W, and won another legendary cameraman, Haskell Wexler, the first of his three Oscars.
He credited the lighting. It's worth watching. My grandfather would come home after work, and tell my grandmother and I how Richard Burton and Elizabeth Taylor were drunk first thing in the morning, and work all day in that condition. But whatever they did worked.
This film won Oscars for Best Picture, Best Actor, Best Actress, Best Cinematography, Best Supporting Actress, and more.
If you want to see the last of truly great old school B&W photography & lighting, watch Virginia Wolf.

dagosd2000 wrote:

kikibalt wrote:
The Olympic Auditorium

I got to admit this thread got me going. Now who knows the name of the fighter on the wall of the Olympic?

Dempsey. Never saw this post before. Goes back before I was posting.

Is Dempsey the answer ? If, not -I'll go with Jim Jeffries.
Rick shoulds know though,having been there a million times.

Lighting is an art. It can be appreciated if you know how much work goes into it. I think the regular casual viewer doesn't give it a second thought about it, assuming that all movies are shot by camera only in natural sunlight or moonlight. Many people would crap themselves if they realized movies like " Wizard of Oz" was shot indoors in a big soundstage. surrounded by four walls. Kudos to Rick for enlightning us on his fine work and giving us some good details to appreciate what we see.

I wish I had a nickel for every 8mm or Super 8mm home movie that I took overexposed, too dark, or relatives squinting because a 9,000,000 watt light attachment was right in their face from 2 feet away at Thanksgiving over the years.LOL

Its the camera work that drives me bonkers today. My young nephews like monsters, aliens, superheroes and giant explosions in their movies that I watch with them. "Cloverleaf" drove me in fits when I watched it with them. It supposed to be like that "realism" thing like "Blair Witch Project", I went nuts after those two movies and now leave movies like them to my nephews only. Long live Bogart, Tracey (another good lawyer movie), Orsen Welles & the like.

Liston with Billy Walker. Liston grabbed Walker by the balls (before or after this shot) like the ultimate bully that he was. He grabbed Walker's balls and then looked at him, testing him.

Rick Farris wrote:Great Lighting in cinematography, my opinion . . .


"Road To Predition"

One of Paul Newman's last films.
The very last film of legendary cinematographer Conrad Hall.
Connie was awarded his fourth Oscar for "Best Cinematography" for this film, posthumously.
My cousin, Randy Woodside, was Conrad Hall's L.D. (but not on this one.)
This is one of the finest photographed films of the era, true art.

"The Natural"

We shot this in Buffalo, N.Y., and at the Culver Studios in L.A. for interiors sets.
We started filming in Buffalo in June, 1983. That's where the baseball stadium was located.
Lighting gaffer Gary Holt was one of my mentors, and he lit this one. Look at the beauty.
Caleb Deshanel is one of the greatest camermen of the era.
I worked with him on several films including The Right Stuff, and "Being There".

"Blade Runner"

I worked on the crew of this one for about half of it's 18 week shooting schedule, much of what we filmed was done at the Bradbury Building in downtown L.A.
We were also on the streets of L.A. and on stage at MGM
Another great cameraman in Jordan Cronenweth, and a great L.D. Richard Hart. It was nominated for Cinematography Oscar. Check the lighting & lighting effects.
Blade Runner was very early 80's. A state-of-the-art production behind a great film maker, Ridley Scott.
I'd work on many commercials directed by Ridley Scott. Arrogant bastid, but I've never known him to be wrong.


And if you want to go back to 1954, when color film was new, my grandfather's lighting can be seen in "Rebel Without A Cause".
Rebel was shot in three-strip Technicolor, a new complicated process but one that had great results.
And his last film, "Who's Afraid of Virginia Wolf?". That one was in B&W, and won another legendary cameraman, Haskell Wexler, the first of his three Oscars.
He credited the lighting. It's worth watching. My grandfather would come home after work, and tell my grandmother and I how Richard Burton and Elizabeth Taylor were drunk first thing in the morning, and work all day in that condition. But whatever they did worked.
This film won Oscars for Best Picture, Best Actor, Best Actress, Best Cinematography, Best Supporting Actress, and more.
If you want to see the last of truly great old school B&W photography & lighting, watch Virginia Wolf.

Rick, you just took me down memory lane with "Rebel Without A Cause". In 1955 when the movie came out Connie and I had been married less then a year. the movie was such a hit that when we went to see it we had to wait for an hour in line outside the Whittier Drive-In in Pico, now Pico-Rivera....Ah! memories!!

Like Amir Khan against Breidis Prescott, Marcos Maidana went down and went down hard when California's highly touted "Vicious" Victor Ortiz floored him three times in the opening two rounds of a slugfest last year at the Staples Center in Los Angeles. Unlike Khan, Maidana survived, dug deep, rallied and turned the fight his way. Ortiz was pulled out in the sixth round by the doctor, his face a mess. This is the calibre of man Khan faces in a 12-rounder in Las Vegas next month, a true fighter, a warrior, "El Chino" ("The Chinaman").
Ortiz is promoted by Oscar De La Hoya, who also promotes Khan, so Khan and his team know that they have their hands full. Nevertheless, Khan rebounded well from his one-round disaster at the hands of Colombia's Prescott in Manchester in September 2008. His career looked in jeopardy because he went down - twice - from mere swipes. It was all over in 54 seconds but within months Khan was up and running again, busting up Mexican legend Marco Antonio Barrera in five rounds in Manchester and outboxing Andreas Kotelnik for 12 rounds, also on home soil. Khan, still only 23, then made the decision to fight under De La Hoya in Los Angeles, where he is trained by Freddie Roach.
As for Maidana, 27, he continued to tread a dangerous path when he took on the hard-hitting and previously unbeaten Victor Cayo of the Dominican Republic in Las Vegas earlier this year, coming through in six rounds, but the rugged, heavy handed Argentine failed to sparkle in his last fight against faded American southpaw DeMarcus Corley, who took him the full 12 rounds before conceding a unanimous decision. In 30 fights Maidana has lost only to - Kotelnik. However, you cannot knock Khan for this fight. Maidana has stopped 27 of his 29 victims and represents a great test of Khan's chin and of his improvement since Prescott. It looks a natural - the Chinaman vs the chin.

MEMORIES....

Circa 1993 I was at Laidlaw's Harley-Davidson store in Rosemead, Ca. on a Saturday morning. Laidlaw's was where my biker friends and I used to hang out on Saturday mornings. My friend Tony Barron who was about 65 years old at the time was telling me about his plans for the future.
"What future?, Tony, shit!, at our age all we have is fu*king memories!," I told him
After spending a few hours there I went home, no sooner did I get home when the phone rang, it was Tony's wife Yolanda, who has since passed.
"Frank!, what did you do to my Tony?" she was laughing her ass off.
"Nothing Yolanda, why?" I answer her.
"He came home all depressed, I asked him what was wrong, and he told me', "you know what Frank told me?, that all we have is fu*king memories"

After I told Connie the story, she told me, "You are an a-hole"...

kikibalt wrote:

Rick Farris wrote:Great Lighting in cinematography, my opinion . . .


"Road To Predition"

One of Paul Newman's last films.
The very last film of legendary cinematographer Conrad Hall.
Connie was awarded his fourth Oscar for "Best Cinematography" for this film, posthumously.
My cousin, Randy Woodside, was Conrad Hall's L.D. (but not on this one.)
This is one of the finest photographed films of the era, true art.

"The Natural"

We shot this in Buffalo, N.Y., and at the Culver Studios in L.A. for interiors sets.
We started filming in Buffalo in June, 1983. That's where the baseball stadium was located.
Lighting gaffer Gary Holt was one of my mentors, and he lit this one. Look at the beauty.
Caleb Deshanel is one of the greatest camermen of the era.
I worked with him on several films including The Right Stuff, and "Being There".

"Blade Runner"

I worked on the crew of this one for about half of it's 18 week shooting schedule, much of what we filmed was done at the Bradbury Building in downtown L.A.
We were also on the streets of L.A. and on stage at MGM
Another great cameraman in Jordan Cronenweth, and a great L.D. Richard Hart. It was nominated for Cinematography Oscar. Check the lighting & lighting effects.
Blade Runner was very early 80's. A state-of-the-art production behind a great film maker, Ridley Scott.
I'd work on many commercials directed by Ridley Scott. Arrogant bastid, but I've never known him to be wrong.


And if you want to go back to 1954, when color film was new, my grandfather's lighting can be seen in "Rebel Without A Cause".
Rebel was shot in three-strip Technicolor, a new complicated process but one that had great results.
And his last film, "Who's Afraid of Virginia Wolf?". That one was in B&W, and won another legendary cameraman, Haskell Wexler, the first of his three Oscars.
He credited the lighting. It's worth watching. My grandfather would come home after work, and tell my grandmother and I how Richard Burton and Elizabeth Taylor were drunk first thing in the morning, and work all day in that condition. But whatever they did worked.
This film won Oscars for Best Picture, Best Actor, Best Actress, Best Cinematography, Best Supporting Actress, and more.
If you want to see the last of truly great old school B&W photography & lighting, watch Virginia Wolf.

Rick, you just took me down memory lane with "Rebel Without A Cause". In 1955 when the movie came out Connie and I had been married less then a year. the movie was such a hit that when we went to see it we had to wait for an hour in line outside the Whittier Drive-In in Pico, now Pico-Rivera....Ah! memories!!

In the late 70's, I worked with Natlie Wood on a feature she did at Universal, "The Last Married Couple In America".
She had fond memories of Rebel, but also regrets, as in the tragic deaths of James Dean, Sal Mineo and others in the film. Shortly afterwards, she would also die a mysterious death off the coast of California. As if there was a curse on the cast of Rebel.

Audley Harrison's dream of a world heavyweight title came and went with the pathetic WBF title he won in 2004 with a four-round dismissal of a pathetic Dutchman dubbed "The new Sonny Liston", presumably the Liston who rolled around the canvas against Muhammad Ali, made his way to one knee, collapsed back down to the canvas, and somehow still beat the count, at least Jersey Joe Walcott's count.
Harrison would soon be exposed in world class by messrs Dominick Guinn, Danny Williams, Michael Sprott and Martin Rogan, but he won rematches with two of them, two of them who took the rematch at very late notice and were not in great shape, and this is the criteria upon which Harrison has 'earned' - oh yes, and let's not forget Prizefighter - a shot at the WBA heavyweight title held by David Haye tomorrow night in Manchester.
Frankly, it is a bloody miracle that he gets the shot but Harrison thinks he is Jesus Christ anyway so a miracle is quite fitting. Yeah, they both have bad hands. Harrison's fists are tiny, in fact, and his heart... This giant of a man fights 'scared' and took almost 12 rounds to pluck up the courage to throw a shot against the weary Sprott earlier this year in London, and that one shot won him the fight. His hands are quick when he gulps and lets a few go, and defensively, he is quite adept, but at the age of 39 he never 'grew' as a fighter, never matured, unlike that man Haye, who has shown in recent years that a battle he lost with Carl Thompson in 2004 is a war that he won.
Haye, 30, is a 'rounded' fighter today, a man not afraid to sling punches for 12 rounds, a man not afraid to take a knee, a man not afraid to fight the giants like Nikolai Valuev and Harrison. Valuev had a record of 50-1 going into their 12-rounder last year in Germany but Haye outpunched the Russian to win the WBA title and came close to knocking him out in the last round. Once upon a time we wondered if Haye could even do 12 rounds.
The scene is set. Haye gets stuck in and pulls the trigger quickly and repeatedly; Harrison runs, thinks too much and thinks some more. He is simply not busy enough to beat an aggressive animal like Haye. Sadly, he is not brave enough either.

''I never did pull punches with sparmates. Fighting was my business, and a man shouldn't play games in business hours''.-Joe Louis

Pacquiao vs. Margarito: Pacquiao weighs in at 144.6 pounds
November 12, 2010

Manny Pacquiao weighed in at a surprisingly low 144.6 pounds Friday, making it possible he could weigh 15 pounds less than Antonio Margarito by Saturday night's fight.
"I'm not worried," Pacquiao said, walking off the stage at Cowboys Stadium. "That's what we did for training, train hard. My weight came down from what it was to make me faster.
"For the last week and a half, [trainer] Freddie Roach let me do what I wanted to do, get to where I'm as fast as I can be."
Roach, standing behind Pacquiao, nodded, and said that was "100%" accurate.
Margarito, poised to make his return to fighting in the U.S. after a nearly two-year-long banishment, weighed in at the junior-middleweight catch-weight limit of 150.
He scoffed at suggestions by Pacquiao's conditioning coach and manager that he looked "dehydrated" and "shot."
"It's very good, I'm very strong," he said. "They can say what they want. I feel very strong."
There'll be more news to come from today's weigh-in at latimes.com/sports, and Twitter.com/latimespugmire.
--Lance Pugmire
latimes

kikibalt wrote:

Rick Farris wrote:Great Lighting in cinematography, my opinion . . .


"Road To Predition"

One of Paul Newman's last films.
The very last film of legendary cinematographer Conrad Hall.
Connie was awarded his fourth Oscar for "Best Cinematography" for this film, posthumously.
My cousin, Randy Woodside, was Conrad Hall's L.D. (but not on this one.)
This is one of the finest photographed films of the era, true art.

"The Natural"

We shot this in Buffalo, N.Y., and at the Culver Studios in L.A. for interiors sets.
We started filming in Buffalo in June, 1983. That's where the baseball stadium was located.
Lighting gaffer Gary Holt was one of my mentors, and he lit this one. Look at the beauty.
Caleb Deshanel is one of the greatest camermen of the era.
I worked with him on several films including The Right Stuff, and "Being There".

"Blade Runner"

I worked on the crew of this one for about half of it's 18 week shooting schedule, much of what we filmed was done at the Bradbury Building in downtown L.A.
We were also on the streets of L.A. and on stage at MGM
Another great cameraman in Jordan Cronenweth, and a great L.D. Richard Hart. It was nominated for Cinematography Oscar. Check the lighting & lighting effects.
Blade Runner was very early 80's. A state-of-the-art production behind a great film maker, Ridley Scott.
I'd work on many commercials directed by Ridley Scott. Arrogant bastid, but I've never known him to be wrong.


And if you want to go back to 1954, when color film was new, my grandfather's lighting can be seen in "Rebel Without A Cause".
Rebel was shot in three-strip Technicolor, a new complicated process but one that had great results.
And his last film, "Who's Afraid of Virginia Wolf?". That one was in B&W, and won another legendary cameraman, Haskell Wexler, the first of his three Oscars.
He credited the lighting. It's worth watching. My grandfather would come home after work, and tell my grandmother and I how Richard Burton and Elizabeth Taylor were drunk first thing in the morning, and work all day in that condition. But whatever they did worked.
This film won Oscars for Best Picture, Best Actor, Best Actress, Best Cinematography, Best Supporting Actress, and more.
If you want to see the last of truly great old school B&W photography & lighting, watch Virginia Wolf.

Rick, you just took me down memory lane with "Rebel Without A Cause". In 1955 when the movie came out Connie and I had been married less then a year. the movie was such a hit that when we went to see it we had to wait for an hour in line outside the Whittier Drive-In in Pico, now Pico-Rivera....Ah! memories!!

Drive-Ins? Talk about memories

Are there any drive-ins left in Southern California? I mean functioning ones, not ones that are used for swap meets, etc.

CrunchTime wrote:

kikibalt wrote:

Rick Farris wrote:Great Lighting in cinematography, my opinion . . .


"Road To Predition"

One of Paul Newman's last films.
The very last film of legendary cinematographer Conrad Hall.
Connie was awarded his fourth Oscar for "Best Cinematography" for this film, posthumously.
My cousin, Randy Woodside, was Conrad Hall's L.D. (but not on this one.)
This is one of the finest photographed films of the era, true art.

"The Natural"

We shot this in Buffalo, N.Y., and at the Culver Studios in L.A. for interiors sets.
We started filming in Buffalo in June, 1983. That's where the baseball stadium was located.
Lighting gaffer Gary Holt was one of my mentors, and he lit this one. Look at the beauty.
Caleb Deshanel is one of the greatest camermen of the era.
I worked with him on several films including The Right Stuff, and "Being There".

"Blade Runner"

I worked on the crew of this one for about half of it's 18 week shooting schedule, much of what we filmed was done at the Bradbury Building in downtown L.A.
We were also on the streets of L.A. and on stage at MGM
Another great cameraman in Jordan Cronenweth, and a great L.D. Richard Hart. It was nominated for Cinematography Oscar. Check the lighting & lighting effects.
Blade Runner was very early 80's. A state-of-the-art production behind a great film maker, Ridley Scott.
I'd work on many commercials directed by Ridley Scott. Arrogant bastid, but I've never known him to be wrong.


And if you want to go back to 1954, when color film was new, my grandfather's lighting can be seen in "Rebel Without A Cause".
Rebel was shot in three-strip Technicolor, a new complicated process but one that had great results.
And his last film, "Who's Afraid of Virginia Wolf?". That one was in B&W, and won another legendary cameraman, Haskell Wexler, the first of his three Oscars.
He credited the lighting. It's worth watching. My grandfather would come home after work, and tell my grandmother and I how Richard Burton and Elizabeth Taylor were drunk first thing in the morning, and work all day in that condition. But whatever they did worked.
This film won Oscars for Best Picture, Best Actor, Best Actress, Best Cinematography, Best Supporting Actress, and more.
If you want to see the last of truly great old school B&W photography & lighting, watch Virginia Wolf.

Rick, you just took me down memory lane with "Rebel Without A Cause". In 1955 when the movie came out Connie and I had been married less then a year. the movie was such a hit that when we went to see it we had to wait for an hour in line outside the Whittier Drive-In in Pico, now Pico-Rivera....Ah! memories!!

Drive-Ins? Talk about memories

Are there any drive-ins left in Southern California? I mean functioning ones, not ones that are used for swap meets, etc.

Is Frankie a 'swinger'?

bennie wrote:

CrunchTime wrote:

kikibalt wrote: Rick, you just took me down memory lane with "Rebel Without A Cause". In 1955 when the movie came out Connie and I had been married less then a year. the movie was such a hit that when we went to see it we had to wait for an hour in line outside the Whittier Drive-In in Pico, now Pico-Rivera....Ah! memories!!

Drive-Ins? Talk about memories

Are there any drive-ins left in Southern California? I mean functioning ones, not ones that are used for swap meets, etc.

Is Frankie a 'swinger'?

Huh??

CrunchTime wrote:

kikibalt wrote:

Rick Farris wrote:Great Lighting in cinematography, my opinion . . .


"Road To Predition"

One of Paul Newman's last films.
The very last film of legendary cinematographer Conrad Hall.
Connie was awarded his fourth Oscar for "Best Cinematography" for this film, posthumously.
My cousin, Randy Woodside, was Conrad Hall's L.D. (but not on this one.)
This is one of the finest photographed films of the era, true art.

"The Natural"

We shot this in Buffalo, N.Y., and at the Culver Studios in L.A. for interiors sets.
We started filming in Buffalo in June, 1983. That's where the baseball stadium was located.
Lighting gaffer Gary Holt was one of my mentors, and he lit this one. Look at the beauty.
Caleb Deshanel is one of the greatest camermen of the era.
I worked with him on several films including The Right Stuff, and "Being There".

"Blade Runner"

I worked on the crew of this one for about half of it's 18 week shooting schedule, much of what we filmed was done at the Bradbury Building in downtown L.A.
We were also on the streets of L.A. and on stage at MGM
Another great cameraman in Jordan Cronenweth, and a great L.D. Richard Hart. It was nominated for Cinematography Oscar. Check the lighting & lighting effects.
Blade Runner was very early 80's. A state-of-the-art production behind a great film maker, Ridley Scott.
I'd work on many commercials directed by Ridley Scott. Arrogant bastid, but I've never known him to be wrong.


And if you want to go back to 1954, when color film was new, my grandfather's lighting can be seen in "Rebel Without A Cause".
Rebel was shot in three-strip Technicolor, a new complicated process but one that had great results.
And his last film, "Who's Afraid of Virginia Wolf?". That one was in B&W, and won another legendary cameraman, Haskell Wexler, the first of his three Oscars.
He credited the lighting. It's worth watching. My grandfather would come home after work, and tell my grandmother and I how Richard Burton and Elizabeth Taylor were drunk first thing in the morning, and work all day in that condition. But whatever they did worked.
This film won Oscars for Best Picture, Best Actor, Best Actress, Best Cinematography, Best Supporting Actress, and more.
If you want to see the last of truly great old school B&W photography & lighting, watch Virginia Wolf.

Rick, you just took me down memory lane with "Rebel Without A Cause". In 1955 when the movie came out Connie and I had been married less then a year. the movie was such a hit that when we went to see it we had to wait for an hour in line outside the Whittier Drive-In in Pico, now Pico-Rivera....Ah! memories!!

Drive-Ins? Talk about memories

Are there any drive-ins left in Southern California? I mean functioning ones, not ones that are used for swap meets, etc.

Charlie, there is one about two miles from my house, the "Vineland Drive-In", swap-meet during the day, movies at night. Last time I was there for the movies was in 1973 went to see "The Godfather" an I fell asleep....

kikibalt wrote:

bennie wrote:

CrunchTime wrote: Drive-Ins? Talk about memories

Are there any drive-ins left in Southern California? I mean functioning ones, not ones that are used for swap meets, etc.

Is Frankie a 'swinger'?

Huh??

Let me follow that "Huh?? With one of my own... "Huh??

Swingers meet up for sex in this country. No offence, Frankie. 8)

bennie wrote:Swingers meet up for sex in this country. No offence, Frankie. 8)

Than I'm not a swinger..... no offense taken...

I want Audley Harrison put on his arse tonight - not permanently, just temporarily.

kikibalt wrote:

bennie wrote:Swingers meet up for sex in this country. No offence, Frankie. 8)

Than I'm not a swinger..... no offense taken...

Okay, I think I know where that came from. Was it the "swap meet" reference? I'm guessing it was, lol . A "Swap meet" here in the States is a designated place, a stadium, fairgrounds or drive in movie lot, usually on the weekend, where people get together and sell stuff, junk, antiques, tools, clothes, whatever to make a few extra bucks..

Although both Frankie and Tony could swing pretty good in the ring, that is a whole different thing, DD

Randy

At last, a fight of interest . . .

I used to love the excitment that proceeded a big fight.
We used to experience this quite often, but today there is little be excited over.
Tonight is different. I know these guys can both fight and they will.
The result, despite the odds, is not a given. Anything can happen in the ring and does.
I hope everybody here has a chance to enjoy it tonight.

Juan Martin Elorde . . .

This is the grandson of the great Gabriel "Flash" Elorde, and he'll be fighting on the undercard of tonights Pac-Margo fight.
He's unbeaten in 14 fights, weighs about 114 lbs.

Rick Farris wrote:At last, a fight of interest . . .

I used to love the excitment that proceeded a big fight.
We used to experience this quite often, but today there is little be excited over.
Tonight is different. I know these guys can both fight and they will.
The result, despite the odds, is not a given. Anything can happen in the ring and does.
I hope everybody here has a chance to enjoy it tonight.

I'm with you Rick, more excited than I have been for a while, I'll go into the city, (San Francisco) and watch with my father who took me to sooooo many fights when I was a kid and talk about excitement, most of those fights were on weeknights and thats all I could think about during the school day. But today I feel some of that some excitement and will enjoy watching the fight with my now 80 year old father and for a while I'll be a kid again sitting there with him doing what we both love...watching a fight.
Enjoy everyone :!:
Bruce

THEHAMMER321 wrote:

THEHAMMER321 wrote:

Randyman wrote:Rick and Frank, you might remember trainer Pat Ruggiero from the Main Street Gym. He sent me these photos. I thought they might stir some old memories.


Mike Nixon, Pat Ruggerio, Sugar Ray Robinson and Ralph Gambina


Pat Ruggerio and Bobby Chacon


Pat Ruggerio working the David Sotelo vs Art Hafey fight
Olympic Auditorium, Los Angeles, California-April 15, 1976


AL SILVANI, FRANK SINATRA, HANK SANICOLA, RALPH Gambina and CISCO ANDRADE, 1950's


Pat Ruggierio and Ralph Gambina


Ralph Gambina and heavyweight John Baca at the Main Street Gym 1970's- Baca was trained by Ruggiero


Patrick Ruggiero and Sylvester Stallone at the main Street Gym during the filming of Rocky-1976


This last photo of Sylvester Stallone and me has been posted before but this is a much clearer photo and shows more background detail. That's Pat Ruggiero to my right.

I used to see John Baca train in the golden gloves gym here in Vegas about 1982 he was a lot heavier when I saw him than he was in this picture, I also saw him fight once at Caesars Palace, he was on the undercard of Mike Dokes vs Mike Weaver ''The infamous stop the fight'' where Mike Weaver got shafted by ref Joey Curtis.

Paulie, I remember Baca well. We started out about the same time, more or less, at the Main Street Gym. He was a big, strong guy with great personality and a big punch. He won all of his early fights by KO then had a few scattered losses and wins, and then I never heard anything more about him. I hope he's doing well.

I spoke with Pat Ruggiero last night, he's the one that sent me the photos. The first thing he says to me is "Randy, I don't really follow boxing anymore like I used to. It's not the same sport anymore. We were lucky to be around to see the last great era in boxing"

Where have I heard that before?

Randy

Rick Farris wrote:Juan Martin Elorde . . .

This is the grandson of the great Gabriel "Flash" Elorde, and he'll be fighting on the undercard of tonights Pac-Margo fight.
He's unbeaten in 14 fights, weighs about 114 lbs.

Thanks for the info Rick, I'll be watching for him!