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THIS POSTERPRINT IS REPRODUCED FROM A VINTAGE CHICAGOAN MAG COVER ART. SUPER COLOR AND GRAPHICS OF THE BOXING RING SPORTING EVENT OF THE CENTURY. PERHAPS IT IS GENE TUNNEY AND JACK DEMPSEY ? The Chicagoan was an American magazine modeled after the New Yorker published from June 1926 until April 1935. Focusing on the cultural life of the city of Chicago, each issue of the Chicagoan contained art, music, and drama reviews, profiles of personalities and institutions, commentaries on the local scene, and editorials, along with cartoons and original art. .....Wikipedia, the free encyclopedia

PLEASE SEE PHOTO FOR DETAILS AND CONDITION OF THIS NEW POSTER

SIZE OF POSTER PRINT - 12 X 18 INCHES

DATE OF ORIGINAL PRINT, POSTER OR ADVERT - 1927

At PosterPrint Shop we look for rare & unusual ITEMS OF commercial graphics from throughout the world.

The PosterPrints are printed on high quality 48 # acid free PREMIUM GLOSSY PHOTO PAPER (to insure high depth ink holding and wrinkle free product)

Most of the PosterPrints have APPROX 1/4" border MARGINS for framing, to use in framing without matting.

MOST POSTERPRINTS HAVE IMAGE SIZE OF 11.5 X 17.5.

As decorative art these PosterPrints give you - the buyer - an opportunity to purchase and enjoy fine graphics (which in most cases are rare in original form) in a size and price range to fit most all.

As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past.

Should you have any questions please feel free to email us and we will do our best to clarify.

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WE ship items DAILY.

We ship in custom made extra thick ROUND TUBES..... WE SHIP POSTERPRINTS ROLLED + PROTECTED BY PLASTIC BAG

For multiple purchases please wait for our invoice... THANKS.

We pride ourselves on quality product, service and shipping.

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DESCRIPTION OF ITEM: additional information:

PLEASE SEE PHOTO FOR DETAILS AND CONDITION OF THIS NEW POSTER

SIZE OF POSTER PRINT - 12 X 18 INCHES

DATE OF ORIGINAL PRINT, POSTER OR ADVERT -

At PosterPrint Shop we look for rare & unusual ITEMS OF commercial graphics from throughout the world.

The PosterPrints are printed on high quality 48 # acid free PREMIUM GLOSSY PHOTO PAPER (to insure high depth ink holding and wrinkle free product)

Most of the PosterPrints have APPROX 1/4" border MARGINS for framing, to use in framing without matting.

MOST POSTERPRINTS HAVE IMAGE SIZE OF 11.5 X 17.5.

As decorative art these PosterPrints give you - the buyer - an opportunity to purchase and enjoy fine graphics (which in most cases are rare in original form) in a size and price range to fit most all.

As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past.

Should you have any questions please feel free to email us and we will do our best to clarify.

We use USPS.

WE ship items DAILY.

We ship in custom made extra thick ROUND TUBES..... WE SHIP POSTERPRINTS ROLLED + PROTECTED BY PLASTIC BAG

For multiple purchases please wait for our invoice... THANKS.

We pride ourselves on quality product, service and shipping.

POSTERPRINTARTSHOP

DESCRIPTION OF ITEM: additional information:

The Long Count Fight, or the Battle of the Long Count, was a professional boxing 10-round rematch between world heavyweight champion Gene Tunney and former champion Jack Dempsey, which Tunney won in a unanimous decision. It took place on September 22, 1927, at Soldier Field in Chicago. "Long Count" is applied to the fight because when Tunney was knocked down in the seventh round the count was delayed due to Dempsey's failure to go to and remain in a neutral corner. Whether this "long count" actually affected the outcome remains a subject of debate.

Just 364 days before, on September 23, 1926, Tunney had beaten Dempsey by a ten round unanimous decision to lift the world heavyweight title, at Sesquicentennial Stadium in Philadelphia. The first fight between Tunney and Dempsey had been moved out of Chicago because Dempsey had learned that Al Capone was a big fan of his, and he did not want Capone to be involved in the fight. Capone reportedly bet $50,000 on Dempsey for the rematch, which fueled false rumors of a fix. Dempsey was favored by odds makers in both fights, largely because of public betting which heavily tilted towards Dempsey.

The rematch was held at Chicago's Soldier Field, and would draw a gate of $2,658,660 (equivalent to $41,474,000 in 2021). It was the first $2 million gate in entertainment history.

Despite the fact that Tunney had won the first fight by a wide margin on the scorecards, the prospect of a second bout created tremendous public interest. Dempsey was one of the so-called "big five" sports legends of the 1920s, and it was widely rumored that he had refused to participate in the military during World War I. He actually had attempted to enlist in the Army, but had been turned down; a jury later exonerated Dempsey of draft evasion. Tunney, who enjoyed literature and the arts, was a former member of the United States Marine Corps. His nickname was The Fighting Marine.

The fight took place under new rules regarding knockdowns: the fallen fighter would have 10 seconds to rise to his feet under his own power, after his opponent moved to a neutral corner (i.e., one with no trainers). The new rule, which was not yet universal, was asked to be put into use during the fight by the Dempsey camp, who had requested it during negotiations Dempsey, in the final days of training prior to the rematch, apparently ignored the setting of these new rules. Also, the fight was staged inside a 20-foot ring which favored the boxer with superior footwork, in this case Tunney. Dempsey liked to crowd his opponents, and normally fought in a 16-foot ring that offered less space to maneuver.

The fight

Tunney was, by most accounts, dominating the fight from rounds one to six, using his familiar style of boxing from a distance while looking for openings and, at the same time, building a points lead. Up until the end of round six, nothing indicated this fight would be far different from their original meeting.

In round seven, however, the 104,943 in attendance witnessed a moment that would live on in boxing history. With Tunney trapped against the ropes and near a corner, Dempsey unleashed a combination of punches that floored the champion. Two rights and two lefts landed on Tunney's chin and staggered him, and four more punches deposited him on the canvas. It was the first time in Tunney's career that he had been knocked down.

Apparently dizzy and disoriented, Tunney grabbed on to the ring's top rope with his left hand. Dempsey, who often stood over downed opponents and rushed back at them after they got up, looked down on Tunney. Referee Dave Barry ordered Dempsey into a neutral corner to no avail; Dempsey remained standing near Tunney, observing his opponent. This gave Tunney precious seconds to recuperate. By the time Dempsey finally walked to a neutral corner, Tunney had been down for around 3 to 8 seconds. Barry could not start to count on Tunney until Dempsey reached the neutral corner, but he was still able to count to nine before Tunney got up. Some believe that if Dempsey had responded to the referee's orders in time, he would have likely regained the world heavyweight crown with a seventh round knockout. The validity of this argument has been debated to this day. In the fight film, a clock was superimposed that recorded Tunney's time on the floor as 13 seconds, from the moment he fell until he got up. Because of this delay, it became known as The Long Count Fight.

By the eighth round, Tunney had resumed boxing from a distance, and he floored Dempsey with a punch. This time, however, the referee started counting right away, before Tunney had moved to a neutral corner. Tunney was then dominant in the final two rounds, and went on to retain the world title by a unanimous decision. After the fight, Dempsey lifted Tunney's arm and said, "You were best. You fought a smart fight, kid." It was Dempsey's last career fight, and Tunney's next-to-last.

In March 2011, the family of Gene Tunney donated the gloves he wore in the fight to The Smithsonian's National Museum of American History.

Controversy

Controversy over the match promptly erupted. A significant factor in prolonging the controversy was that, at the time, U.S. law prohibited the transportation of boxing match movies across state lines (the law had been passed in 1912 in reaction to riots that broke out after Jack Johnson's 1910 victory over James J. Jeffries, the fight had been filmed, though was banned in areas of the US.) As a result, almost nobody was able to see the counts for themselves. Once the law was repealed, and it became possible for many to watch the footage and judge the fallen fighters' alertness (particularly Tunney's), the controversy dwindled.

To this day, however, boxing fans argue over whether Dempsey could or should have won the fight. What is not in dispute is that the public's affection for Dempsey grew in the wake of his two losses to Tunney. "In defeat, he gained more stature," wrote the Washington Post's Shirley Povich. "He was the loser in the battle of the long count, yet the hero."

Tunney said that he had picked up the referee's count at "two," and could have gotten up at any point after that, preferring to wait until "nine" for obvious tactical reasons. Dempsey said, "I have no reason not to believe him. Gene's a great guy."

Dempsey later joined the United States Coast Guard, and he and Tunney became good friends who visited each other frequently. Tunney and Dempsey are both members of the International Boxing Hall of Fame.

The Chicagoan was an American magazine modeled after The New Yorker published from June 1926 until April 1935. Focusing on the cultural life of the city of Chicago, each issue of The Chicagoan contained art, music, and drama reviews, profiles of personalities and institutions, commentaries on the local scene, and editorials, along with cartoons and original art.

In an early issue, The Chicagoan's editors claimed to represent "a cultural, civilized and vibrant" city "which needs make no obeisance to Park Avenue, Mayfair, or the Champs Elysees." Despite its lofty aims, the stalwart assertions of publisher Martin J. Quigley (who once wrote that "Whatever Chicago was and was to be, The Chicagoan must be and become"), and a circulation that sometimes rose above 20,000, the magazine was largely forgotten after its last issue.

Only two substantial collections remain, one at the University of Chicago's Regenstein Library and the other at the New York Public Library. Cultural historian Neil Harris has written a book on the subject, The Chicagoan: A Lost Magazine of the Jazz Age (the University of Chicago Press).

Authors

Marie Armstrong Hecht (1892–?). First editor of The Chicagoan, a writer and literary critic. Married to journalist-author Ben Hecht from 1915 to 1925. Marie Hecht published several volumes of poetry in the 1920s and created or adapted some Broadway plays in the 1920s and 1930s. Under a later married name, Marie Essipoff, she produced a number of books in the 1950s emphasizing economical cooking with new techniques, including Making the Most of Your Food Freezer.

Richard Atwater, "Riq" (1892–1948). Born in Chicago as Frederick Mund Atwater, he attended the University of Chicago, where he wrote for the student newspaper and later taught Classical Greek. He went on to work for various local newspapers, including the Chicago Daily News, the Chicago Tribune, and the Herald-Examiner. With his wife, Florence Atwater, in 1938 he coauthored Mr. Popper's Penguins, which won the Newbery Medal.

Artists

E. Simms Campbell (1908–71). The first African American cartoonist with a national reputation, Campbell was born in St. Louis and graduated from Englewood High School in Chicago. He attended the School of the Art Institute of Chicago between 1924 and 1926 and later he moved to New York, where he was employed as a cartoonist at the Daily Mirror. He did important illustrations for some African American publications, including Crisis and Opportunity, but was better known for his color cartoons in Esquire. He would later work for a string of national advertisers and for Playboy.

Albert Carreno (1905–64). This Mexican-born caricaturist and cartoonist portrayed stage and sports personalities for The Chicagoan in the late 1920s while working for the Chicago Daily News. He then moved to New York and was employed by a series of publishers and comic-book producers including Fawcett, National, and Marvel.

Nat Karson (1908–54). Born in Switzerland, he attended Chicago public schools and the School of the Art Institute of Chicago and increasingly concentrated his efforts on theatrical caricature. After he moved to New York, his theatrical designs and productions attracted wide attention; he created both sets and costumes with the Federal Theater Project and with Orson Welles.

A. Raymond Katz (1895–1974), aka Sandor. Born in Hungary, Katz attended both the School of the Art Institute of Chicago and the Chicago Academy of Fine Arts. He created car cards, posters, and other commercial art before becoming the featured artist of The Chicagoan.

Isadore Klein (1897–1986). Magazine cartoonist, animator, sketcher, painter, and story writer, Klein worked for The New Yorker as well as for The Chicagoan and was involved with a series of famous studios and celebrated cartoons, from Krazy Kat and Betty Boop to Popeye. He was widely credited with originating the idea for Mighty Mouse.

Boris Riedel (no dates available). Creator of The Chicagoan's first cover, Riedel served for a while as the magazine's art editor. He illustrated a book of poetry by Marie Hecht, a novel by J. V. Nicholson, and a children's book, The Timid Giant, written by advertising executive Earle Ludgin. Riedel also created movie posters for films starring Clara Bow, Lon Chaney Sr., and Adolphe Menjou, and contributed to The Linebook, a publication put out for WGN Radio, a Tribune Company outlet in Chicago.

Resurrection

J. C. Gabel, former publisher of Stop Smiling, acquired the rights to the magazine and planned to launch the restored magazine in September, 2011 as a biannual publication with weekly Website updates. Jessa Crispin has signed on as a contributor and fiction editor. It launched in 2012. However, Gabel discontinued publishing it after just one, 194-page issue. Gabel told Crain's Chicago Business in 2015 that "We only did one issue of our incarnation of the Chicagoan, and after a very valiant effort, we couldn't raise the necessary capital to do it properly without it being run like a sweat shop."

Yet another resurrection of a magazine called The Chicagoan was proposed in 2015, by former U.S. Senate candidate Jack Ryan. However, before he began publishing the magazine, he changed its name to Chicagoly. That magazine published nine issues before discontinuing publication with the issue published in December 2017.