Rico's World
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Rico's World
In Puerto Rico, boxing is considered a major sport, having produced more amateur and professional world champions than any other sport in its history.[1] Puerto Rico ranks 5th worldwide between countries with most boxing world champions in history (only behind USA, Mexico, UK and Japan). [2] Also, in year 2004, became the first country to have had, at least, one world champion in every single one of the 17 current boxing weight divisions throughout the history (Provided that John Ruiz is considered as Puerto Rican and not counting Bridgerweight division).[3][4] Puerto Rico ranks first in champions per capita with an astonishing 16 in every one million people. [3] February 9, 2008 was the first time that boxers from Puerto Rico had held three of the four major welterweights titles (World Boxing Association, International Boxing Federation and World Boxing Organization) when Carlos Quintana defeated Paul Williams to join Miguel Cotto, and Kermit Cintron as champions in the division.[5]
Individually, Puerto Rican world champions have earned numerous achievements. These include, Wilfredo Gómez's record for most defenses in the super bantamweight division and for most successive knockouts by a titleholder. On March 6, 1976, at age 17, Wilfred BenÃtez became the youngest world champion in the history of the sport. On September 3, 1994, Daniel Jiménez established a world record for the quickest knockout in a championship fight, defeating Harald Geier in 17 seconds (currently the second fastest).[6] Juan Manuel López is sixth in this category, having defeated César Figueroa in 47 seconds during his first defense.[6] Ossie Ocasio was the first World Boxing Association (WBA) cruiserweight champion, winning it on February 13, 1982. This accomplishment was mimicked in other organizations: José de Jesús, José RuÃz Matos, John John Molina and Héctor Camacho did it in their respective divisions in the World Boxing Organization (WBO). On June 7, 2014, Miguel Cotto made history by becoming Puerto Rico's first four-division world champion.[7] In women's boxing, Amanda Serrano was the first IBF super featherweight champion and the first Puerto Rican boxer (male or female) to win major world titles in seven different weight classes (Camacho made it first, but four of his titles were considered minor world titles). Also, in 2023, Serrano was the first Puerto Rican to be Undisputed world champion in a single division (featherweight), having won the four belts on each of the major boxing organizations (WBO,WBC,IBF and later WBA).[8]
Outside of the island, legendary opera tenor Antonio Paoli, fell on economic hardship due to the closing of european opera houses during the first world war. He decided to change careers and entered a period of training making his boxing debut in London in 1916. Paoli won his first 5 fights but injured his wrist in his 6th bout, deciding to retire.The fact that a celebrity of his stature, who had been bestowed honors for his musical prowess by the pope, the spanish monarchs and the russian czar, would so quickly choose boxing as an alternate career shows how popular and deeply embedded in the culture of the island boxing was, even during its clandestine era. _Paoli
By 1924, several young men were being taught to box by Gregario Rosa, a boxer who had won the featherweight championship of the Atlantic Fleet while serving in the Navy.[9] Rosa established "Jack Dempsey Physical Culture and Boxing Club", a gym where he continued instructing more pugilists; however, the local police department would go in and arrest any boxer that participated in a card (organized boxing match). At times they were surprised to discover that several members of the law enforcement agencies and government were involved. In one case they discovered a group of police officers, including a colonel, two members of the governor's cabinet, numerous legislators and a judge at an event.[9] The charges were archived; the decision was justified with a statement that said: "How will we have a boxing world champion if we don't let the boys learn how to box"[9]
In 1926, a boxing venue was opened in a military facility known as Cuartel de Ballajá; a fight card was organized weekly. Legislator Lorenzo Coballes GandÃa redacted a proposal to legalize boxing, which was signed by governor Horace Mann Towner in May 1927.[10] Consequently, the Primera Comisión Atlética de Boxeo (The First Athletic Boxing Commission) was created; this became the first organization dedicated to sanctioned boxing in Puerto Rico.[10] Estadio Universal (Universal Stadium) became the first venue to organize legal boxing cards. The first event featured a fight between Enrique Chaffardet and Al Clemens as the main event, which was declared a draw by the judges.[10] New stadiums were built in Bayamón, Caguas, Mayagüez, Ponce, Aguadilla and San Juan.[10] The first Puerto Rican to win a world championship was Sixto Escobar, who won it on June 26, 1934. During the 1960s and 1970s, there was an increase in the number of pugilists who achieved this recognition.[11] Including Wilfred BenÃtez who on March 6, 1976, became the youngest world champion in history at 17 years old. This tendency continued during the following two decades, reaching its peak between the 1980s and 1990s. There was a slight decline in the 1990s. Félix Trinidad was Puerto Rico's most notable champion during this period.[12] The 2000s brought another increase, as over a dozen boxers won world championships.
Global Rank: Position held by Puerto Rico in the list of all countries worldwide ranked by population (from the highest population to the lowest population) as of July 1 of the year indicated.
"While Lawrence's literary criticism has received almost universal praise, its principles have all too rarely been turned upon his own work. Lawrence the artist and Lawrence the critic have been kept separate, and this has created a crucial problem in interpreting St. Mawr. If one accepts the received critical opinion, this short novel violates all of Lawrence's own aesthetic principles. Eliseo Vivas, for example, maintains that "the most glaring defect of St. Mawr is the obtrusive manner in which its author wags his didactic finger at the reader to make certain the reader does not miss the point of the lesson." For him the novel is a "sermon," while for Keith Sagar it is a "campaign to reinstate Pan-Lucifer in his original potency and brightness." Such remarks grow out of an assumption about the novel that is almost universally accepted, namely that it is organized around a simple series of contrasts: critics see the novel as a rather obvious tract in which the heroine, and by extension the reader, are urged to choose the vital world over the dead--that is, St. Mawr, Phoenix, and America over Rico and England. (1) But this is precisely the kind of reading that Lawrence deliberately, and often with surprising success, set out to discredit in Studies in Classic American Literature. Lawrence's description there of the battle between the artist and the tale is only the most well-known version of the kind of tension he sees operating in all art. If there is a single consistent attitude in all of Lawrence's criticism it is a deep mistrust of the simple choices a work of art seems to be forcing upon the reader. He must meet a work of art with a certain wariness, even a kind of suspicion, for "Truly art is a sort of subterfuge." In fact, art often takes the form of lies: "out of a pattern of lies art weaves the truth." (2) According to Lawrence, too many readers stop short at the lies, and even some artists are mesmerized by the guile of their own art. The popularly accepted myth of the happy fulfillment Lou finds through St. Mawr and the ranch is such a lie. 153554b96e