Jack Dempsey > Quotes

“A champion is someone who gets up when he can't.”
― Jack Dempsey

“At any rate, I CAME TO THE CONCLUSION THAT SELF-DEFENSE IS BEING TAUGHT WRONG NEARLY EVERYWHERE, FOR THE FOLLOWING MAJOR REASONS:
1. Beginners are not grounded in the four principal methods of putting the body-weight into fast motion: (a) FALLING STEP, (b) LEG SPRING, (c) SHOULDER WHIRL, (d) UPWARD SURGE.
2. The extremely important POWER LINE in punching seems to have been forgotten.
3. The wholesale failure of instructors and trainers to appreciate the close cooperation necessary between the POWER LINE and WEIGHTMOTION results generally in impure punching-weak hitting.
4. Explosive straight punching has become almost a lost art because instructors place so much emphasis on shoulder whirl that beginners are taught wrongfully to punch straight 'without stepping whenever possible.
5. Failure to teach the FALLING STEP ("trigger step") for straight punching has resulted in the LEFT JAB being used generally as a light, auxiliary weapon for making openings and "setting up," instead of as a stunning blow.
6. Beginners are not shown the difference between SHOVEL HOOKS and UPPERCUTS.
7. Beginners are not warned that taking LONG STEPS with hooks may open up those hooks into SWINGS.
8. The BOB-WEAVE rarely is explained properly.
9. Necessity for the THREE-KNUCKLE LANDING is never pointed out. 10. It is my personal belief that BEGINNERS SHOULD BE TAUGHT ALL TYPES OF PUNCHES BEFORE BEING INSTRUCTED IN DEFENSIVE MOVES, for nearly every defensive move should be accompanied by a simultaneous or a delayed counterpunch. You must know how to punch and you must have punching confidence before you can learn aggressive defense.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“The best defense in fighting is an aggressive defense. Each defensive move must be accompanied by a counter-punch or be followed immediately by a counterpunch. And you cannot counter properly if you do not know how to punch. That does not mean that "a strong offense is the best defense." That overworked quotation may apply to other activities; but it does not apply to fighting. It does not apply when you're pitted against an experienced opponent. You may have the best attack in the world; but if you're an open target-if you're a "clay pigeon"-you'll likely get licked by the first experienced scrapper you tackle. YOU MUST HAVE A GOOD DEFENSE TO BE A WELL-ROUNDED FIGHTER. AND THE BEST DEFENSE IS AN AGGRESSIVE DEFENSE.
Another reason for teaching punch first was this: You learned how to throw every important punch without having an opponent attempt to strike you.
I'm convinced that it's wrong to try to teach beginners punching moves and defensive moves at the same time.
Most humans cannot have two attitudes toward one subject at one time. And a beginner can't have two attitudes toward fighting.
If you take any ten beginners and attempt to teach them punching and defense simultaneously, more than half of them will concentrate on defense instead of punching.
That's a natural inclination, for it's only human that a fellow doesn't like to get hit in the face-or in the body either, for that matter. It follows that more than half the beginners will consider it more important to protect their own noses than to concentrate on learning how to belt the other guy in the nose. They'll develop "defense complexes" that will stick with them. Fellows with defense complexes rarely develop into good punchers. Even when they are shown how to hit correctly, they sprout bad punching habits while concentrating on blocking, parrying, back-pedaling and the like. They "pull" their punches; they side-step while trying to throw straight smashes; they move in with "clutching" fists that seek to encircle their opponents for clinches; and they do much showy but purposeless footwork. The little thought-ditch that is dug in the beginning will become the big channel for later fistic reactions.
You're lucky. You're starting with the mental accent on punch. And it's a 100-to-1 shot that your attitude will not change. It's true that you haven't punched yet at a live target-at another fellow. Don't worry; there's plenty of time for that. And when you do start tossing at a live target, you'll know exactly how to toss. That exact knowledge will help you to become accurate and precise, as well as explosive, against a moving target.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“1. Shoot your loose, half-opened left hand straight along the power line at a chin-high spot on the bag. 2. But, as the relaxed left hand speeds toward the bag, suddenly close the hand with a convulsive, grabbing snap. Close it with such a terrific grab that when the second knuckle of the upright fist smashes into the bag, the fist and the arm and the shoulder will be "frozen" steel-hard by the terrific grabbing tension. That convulsive, freezing grab is the explosion. Try that long left jolt three or four times. Make certain each time that (1) you are completely relaxed before you step; (2) that your relaxed LEFT hand, in normal guarding position, is only half-closed; (3) that you make no preliminary movement with either your feet or your left hand. Do not draw back-or "cock"-the relaxed left hand in a preparatory movement that you hope will give the punch more zing. Don't do that! You'll not only telegraph the blow, but you'll slow up and weaken the punch. Now that you've got the feel of the stepping jolt, let's examine it in slow motion to see exactly what you did.
First, the Falling Step launched your body-weight straight at the target at which your left toe was pointing.
Secondly, your relaxed left hand shot out to relay that moving body-weight along the power line to the target before that moving weight could be relayed to the floor by your descending left foot. Thirdly, the convulsive, desperate grab in your explosion accomplished the following: (a) caused the powerful muscles of your back to give your left shoulder a slight surging whirl toward your own right, (b) psychologically "pulled" the moving body-weight into your arm with P. sudden lurch, (c) gave a lightning boost to the speed of your fist, (d) froze your fist, wrist, arm and shoulder along the power line at the instant your fist smashed into the target, and (e) caused terrific "follow-through" after the explosion. When the long, straight jolt crashes into a fellow's chin, the fist doesn't bounce off harmlessly, as it might in a light, medium-range left jab. No sir! The frozen solidity behind the jolt causes the explosion to shoot forward as the solid breech of a rifle forces a cartridge explosion to shoot the bullet forward. The bullet in a punch is your fist, with the combined power from your fast-moving weight and your convulsing muscles behind it-solidly. Your fist, exploded forward by the solid power behind it, has such terrific "follow-through" that it can snap back an opponent's head like that of a shot duck. It can smash his nose, knock out his teeth, break his jaw, stun him, floor him, knock him out.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“The objects of the weave are (1) to make a moving target of your head (from side to side); (2) to make your opponent uncertain about which fist you will throw when you punch; and (3) to make your opponent uncertain about which way you will slip if he punches at you.
When you are using the weave by itself in your normal punching position, you must keep your shoulder movements slight. Otherwise, you'll open up your defenses.
However, the weave is rarely used by itself. Almost invariably the weave is used with the bob.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“Unfortunately, however, the hand-bone behind the little knuckle is the most fragile of the five backbones. It can be broken the most easily. You must not attempt to land first with the little knuckle. Instead you must try to land first with the knuckle next to your pinky (the ring finger). We'll call that the 2nd knuckle. Aiming with the 2nd knuckle usually brings about a three-knuckle landing. Those three-knuckles are: middle, second (ring) and pinky. If you aim with the second knuckle, those three knuckles usually will land together because the average fist slopes slightly from the middle knuckle to the pinky. Such a three-knuckle landing not only prevents the hand-bone behind any one knuckle from bearing all the punch-shock, but it also permits punching almost exactly along the power line. Rarely will one of those knuckles make a solo landing. But if you aim with the little knuckle, you risk a dangerous solo landing on forehead or blocking elbow. Always aim with the second knuckle-the one next to your pinky-and LET THE OTHER KNUCKLES TAKE CARE OF THEMSELVES. They'll take care of themselves all right; for the shape of the fist makes it impossible for them to do otherwise. Clench your right fist and inspect its knuckles. Your thumb knuckle is "out of the way"-completely separated from your row of four knuckles on the striking edge of your fist. More than that, your thumb knuckle is farthest away from your pinky knuckle-farthest away from the end of the power line. Nature took care of that. Never double-cross nature by trying to hit with that thumb knuckle, under any circumstance. It breaks easily. Keep it out of the way.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“Anger provides the No. 1 difference between a fist-fight and a boxing bout. Anger is an unwelcome guest in any department of boxing. From the first time a chap draws on gloves as a beginner, he is taught to "keep his temper"-never to "lose his head." When a boxer gives way to anger, he becomes a "natural" fighter who tosses science into the bucket. When that occurs in the amateur or professional ring, the lost-head fighter leaves himself open and becomes an easy target for a sharpshooting opponent. Because an angry fighter usually is a helpless fighter in the ring, many prominent professionals-like Abe Attell and the late Kid McCoy- tried to taunt fiery opponents into losing their heads and "opening up." Anger rarely flares in a boxing match. Different, indeed, is the mental condition governing a fist-fight. In that brand of combat, anger invariably is the fuel propelling one or both contestants. And when an angry, berserk chap is whaling away in a fist-fight, he usually forgets all about rules-if he ever knew any.
That brings us to difference No. 2: THE REFEREE ENFORCES THE RULES IN A BOXING MATCH; BUT THERE ARE NO OFFICIALS AT A FIST-FIGHT. Since a fist-fight has no supervision, it can develop into a roughhouse affair in which anything goes. There's no one to prevent low blows, butting, kicking, eye-gouging, biting and strangling. When angry fighters fall into a clinch, there's no one to separate them. Wrestling often ensues. A fellow may be thrown to earth, floor, or pavement. He can be hammered when down, or even be "given the boots"- kicked in the faceunless some humane bystander interferes. And you can't count on bystanders. A third difference is this: A FIST-FIGHT IS NOT PRECEDED BY MATCHMAKING. In boxing, matches are made according to weights and comparative abilities. For example, if you're an amateur or professional lightweight boxer, you'll probably be paired off against a chap of approximately your poundage-one who weighs between 126 and 135 pounds. And you'll generally be matched with a fellow whose ability is rated about on a par with your own, to insure an interesting bout and to prevent injury to either. If you boast only nine professional fights, there's little danger of your being tossed in with a top-flighter or a champion.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“He turned to go, then stopped, turned around and said, “Listen, Jack, take it easy on Carpentier. Give the people out there a good run for their money, but be careful. Don’t kill him. Don’t kill everything.” Still the same Rickard. On his way out he almost collided with Gene Fowler, who was stopping in to wish me luck. They had barred him at the gates—he had misplaced his ticket—until he was recognized by a fellow member of the press and was allowed to pass. “Hello, Jack. How’s my pal?” “Fine, pal.” “Say, what’s the matter, Jack? There are 90,000 people out there waiting for you. It’s your big day. In fact, it’s your biggest ever!” “What do you think they’re waitin’ for? My head, pal, that’s what, my head. And if they can’t get that, then it’s my blood!” “Jack, what’re you saying? Say, you’re not scared of going out there, are you?” “Naw. I just want to get this over with!” “Sure, pal. I understand.” “Listen, do me a favor. Talk about anything but the fight.” And he did. He was a reassuring sight, with those light eyes twinkling under that cap of his. I knew he realized what I was going through. Doc rushed in, followed by the press and the usual crew. Gene backed out the door to avoid being crushed. By now I could hear and feel the impatience of the crowd. Jerry worked faster. I shut my eyes. A jittery Doc walked over to me and spat twice on the ground. “Listen, kid, don’t pay any attention to all them stiffs out there. We’ll kill him!”
― Jack Dempsey, Dempsey: By the Man Himself

“And so Andy Malloy became the first of many managers I was to have throughout my career. Up to the time I teamed up with Jack Kearns, the managers I had were mostly my friends or well-meaning acquaintances who tried to help me get fights, arranging the small details so that I could dedicate myself to my training. I never signed a contract with any of them, not even Kearns. It just didn’t seem necessary in those days; a handshake was stronger and more meaningful than any inked signature. The only ingredients necessary were respect and trust. There is no doubt in my mind that a fighter needs a manager. Ideally, a manager gets up good likely bouts, arranges suitable dates and times and living accommodations, hires and sometimes fires sparring partners, “sells” his fighter’s ability and skill to others by taking scouting trips and being a good press agent, and honestly handles all accounts as well. This gives the fighter more time to keep himself in shape, running miles, punching bags, jumping rope, sleeping. Together the fighter and the manager are a team, pulling and pushing toward the same goal. If either takes advantage of the other, underestimates or oversteps the given role, then that’s it; a loss of respect sets in and the whole relationship is shot to hell. If such a split does take place, it is usually the fighter who winds up with the short end of the stick. I learned many things from my manager Andy Malloy. I learned to make my body a complete unit, the muscles of my feet, legs, waist, back and shoulders all contributing to the power of my arm. He taught me, in short, that my entire body was at stake in the ring, not just my fists. He was a good teacher.”
― Jack Dempsey, Dempsey: By the Man Himself

“THE STRAIGHT RIGHT JOLT IS THROWN FROM THE SAME POSITION AS THE STRAIGHT LEFT. Stand in your normal punching position. Your relaxed right hand is half-opened, and the upper knuckle of the thumb is about four inches in front of your lips.
Without any preliminary movement of the right hand, shoot it at the chin-high spot on the bag as you do the falling step. Neither pull back nor cock the right before throwing it.
As you step in to explode the second knuckle of your upright fist against the bag, your chin should be partially protected by your left shoulder, left arm and left hand. Remember that your left hand opens to make a "knife blade," with the palm turned slightly toward your opponent. While the right fist is being thrown, the left hand and arm should stiffen for an instant in order to present a rigid barrier before the face in case an opponent attempts to strike with a countering right. The index knuckle of your opened left hand should remain about ten inches in front of your left eye as you step in. But the instant your right fist lands, your left hand should relax into its normal half-opened condition so that it will be ready to punch immediately, if necessary (Figure 13B). Straight punches for the body, with either hand, are begun and executed in the same manner as head punches. (Any change in position before the start would be a telltale.) When in motion, however, your fist turns so that the palm is down when the second knuckle explodes against the bag. Also, as you begin the body punch, you bend forward to slide under guarding arms and to make your own chin a less open target. As you practice those punches, keep your eyes wide open. Don't close your eyes as you step in. Focus your eyes on your target, YOU MUST KEEP YOUR EYES WIDE OPEN AT ALL TIMES WHEN YOU ARE FIGHTING OR BOXING.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“Learn now and remember always that in fighting you cannot afford to give your body the luxury of a useless preliminary or preparatory movement before shooting a punch. In the first place, your target may be open for only a split-second, and you must take advantage of that opening like a bolt of lightning. Secondly, preliminary movements are give-aways-"tell-tales"-"telegraphs"-that treacherously betray to your opponent your own next action.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“Nearly all fighters use the bob-weave to some degree as they shuffle toward their opponents. Most of them use it mildly. However, the genuine bobber-weaver uses it fully. He uses a deep bob and a wide sway (Figure 75A, B, C, D, E). He uses it to slide under his opponent's attack. He uses it to get to close quarters; the real bobber-weaver always is a hooking specialist. If he slips in under a straight punch, he hits on the slip and continues with a terrific barrage to body and head. If he bobs in, he begins his barrage with a delayed counter to the body. Experienced bob-weavers often use the "apple bob" with great effectiveness. It is done like this: As a left jab starts toward you, you make a quick, low, combined slip-bob to the outside; and, in the same motion come up on the outside (Figure 76A, B, C). The entire movement-slip, bob, rise-is circular. Your head appears to go down inside your opponent's arm and to bob up like an apple or a cork outside the arm. In the apple bob you do not counter on the slip. Instead, you counter as you rise. You counter with a left shovel to the chin. The shovel is delivered while your opponent's left arm is over your left shoulder.
And, the instant your shovel lands on his chin, you follow with an overhanded "right sneaker" hook to the jaw.
A reverse combination of counters can be used when you apple-bob outside an opponent's straight right. Because of my varied fighting experience before I reached Toledo, I was -or should have been-a well-rounded fighter when I faced Willard. Nevertheless, I specialized in the bob-weave attack. It was only natural that I should, for it is the perfect attack for one to use against taller opponents. I was comparatively small for a heavyweight, and I found the bob-weave very effective against larger men.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“Straight right leads to the head are blocked by either (1) the extended left hand, or (2) by the hunched left shoulder. The extended left hand does the blocking if the lead is thrown at you when you are in normal punching position. Let your mate throw a right lead at you in slow motion. You step in and block or "smother" his right fist with the heel of your opened left hand before his right lead is well under way (Figure 51); and, at the same time, shoot your own straight right at his chin (Figure 52). If, however, his right lead is thrown at you when you are out of normal position-when, for example, you have permitted your left hand to drop down in an overzealous feint to the body-you must block with your left shoulder. You give your left shoulder a frantic, whirling hunch to protect your already snuggled chin. Thus, the blow thuds into your shoulder instead of into your face (Figure 53). You'll be tempted to use your right hand to help your left shoulder in that block. You'll be tempted to make a "shell defense" with shoulder and hand. But don't do it. You've got to keep that right hand in its normal position, ready to (1) guard against the possibility of a following left hook, and (2) smash a straight right counter to your opponent's solar plexus or chin.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“He was enormous. I got into my fighting crouch and delivered about half a dozen blows. He went down. The round wasn’t nearly over! The referee had begun the count when the Boston Bearcat raised his hand and interrupted him by saying, “The Bearcat is through.” I couldn’t believe it. The fight with the Bearcat really spurred me on. Now I fought more and more and trained harder than ever, running six or seven miles every morning before sunrise to strengthen my legs and my stamina. I adopted different methods to suit my size and talents. If a man fought down low, then I’d have to get down low too. If he was a puncher, I couldn’t box him; I had to fight him. Above all, I really got to know myself, to know my ability to take a blow and to know the extent of my endurance under different conditions. Missing a target only weakened my strength; it was better to duck, feint and weave. I practised ducking my head from side to side when charging in, making me harder to hit. When I was in the ring, if it was going well, very little went on in my head. I didn’t have time to think because I had to concentrate on what I was doing. If I got hurt and pain seared through my body, I’d hope that the fight would soon end. I was always aware of the lust for blood of a portion of the fight crowd. There was that unconscious wish to see something dramatic happen. Often those who seemed the most timid would be the ones who screamed their lungs out at ringside, hoping their voices would mingle with the others. But the fight crowd was an essential part of the fight game. Without the people, there would have been no color, no stimulation and of course no gate.”
― Jack Dempsey, Dempsey: By the Man Himself

“You do the double shift like this (Figure 81 A, B, C, D, E): Telegraph that you are about to shoot a straight left at your opponent's head. Shoot the left, which he'll evade by stepping back. Then, immediately stride forward with your right foot, and (as you stride) shoot a straight right at the head. If he's fast, he'll avoid that one too, but narrowly. Then, immediately stride forward with your left foot and (as you } stride) shoot a straight left at his head. Put everything you've got into that left, for it's almost sure to nail him. The double shift is designed to force a retreating opponent to (1) step back from the first left, and (2) immediately spring away frantically to avoid the unorthodox right that should (3) leave him flustered and unprepared to avoid the final unorthodox left.
It is called the "double shift" because your body is shifting to the southpaw stance as you throw the right and shifting back to the normal stance as you shoot the last left.
The combination of movements should be made with utmost speed and savagery-with your fists going whoosh! -whoosh!-BOOM!
Even if you miss him with the last left, you'll be back in normal punching position, ready to work on an opponent who should be extremely flustered.
Some fighters use the double shift with hooks instead of straight punches. The late Stanley Ketchel, a "wild man" slugger, used the shift with overhand swings, landing on the side of an opponent's jaw and neck with thumb-knuckle and wrist. Stanley must have had cast-iron hands.
I would advise you not to attempt the double shift with hooks, for your long strides will open the hooks into swings or semi-swings. Moreover, use of the hooks will leave you dangerously open as your body turns at the beginning of each shift.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“Stand in the middle of a room with your feet even (on sideways line) and comfortably separated. Place your relaxed hands in easy guarding positions before each breast (Figure 18A).
Turn your shoulders easily to your own left and, at the same time, extend your right fist to the chin of an imaginary opponent. As your right fist moves toward the opponent's chin, turn the fist so that it will land palm-down.
Meanwhile, your left shoulder is well back, and your relaxed left hand is still in front of your left breast. Aim at left hand at the spot occupied by your extended right fist.
Now, SUDDENLY WHIRL YOUR SHOULDERS TO YOUR RIGHT, AND LET THE SHOULDER-WHIRL SHOOT YOUR LEFT FIST STRAIGHT AT THE SPOT JUST OCCUPIED BY YOUR RIGHT FIST. Be sure you let the whirl shoot your fist instead of letting your projecting left arm pull your left shoulder around. As your left fist shoots at the imaginary target, turn your hand so that the fist lands palm-down. Meanwhile, your right hand returns to its relaxed guarding position before your right breast. Practice that shoulder whirl on the bag. Shoot one fist, then the other-bang!-bang!-bang!-bang!-until you are striking out with a rhythmic motion of the shoulders. Your shoulders should be swinging back and forth like the handle bars of a bicycle. Do not move the feet. Be sure that you explode each punch, MAKE CERTAIN THAT YOUR SHOULDERS ARE DRIVING THE PUNCHES; THAT THE PUNCHES ARE NOT PULLING THE SHOULDERS. That position-with the feet on an even line-is ideal for throwing straight punches from the whirl.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“lacked”
― Jack Dempsey, Michigan and the Civil War: A Great and Bloody Sacrifice

“BLOCKING HOOKS AND SWINGS: Left hooks and swings to the head are blocked with either the right forearm or the rigid, opened right hand. Blocking contact is made with the outside edge of the arm or hand. The longer and wider the blow, the more easy the block. If the punch is a left swing or left hook used as a lead, you block with the right forearm or hand, and counter simultaneously with a left jab to the chin (Figure 58). If the punch is a tight left hook at close quarters, you block with right hand or arm, and counter simultaneously with a left shovel to the chin (Figure 59). Right hooks and swings to the head are blocked with the left forearm, hand or shoulder. At long range, you counter with a straight right to the jaw; at close range, with a right shovel or uppercut.
Hooks to the body are blocked with elbows-keeping the hands in punching position. You can counter with shovels or uppercuts to the chin.
Uppercuts to head or body are blocked by dropping your forearm or hand onto the opponent's upshooting fist or forearm. You may be able to counter with either a regular outside hook, or an overhanded hook thrown like the "sneaker" (Figure 60). 21. Deflection Deflection is achieved by (1) "the parry," and (2) "the glance-off." The PARRY is used against straight punches for head or body. Let your mate throw a left jab at your head. Your opened right hand whisks in and gives him a brisk slap on the wrist, forcing his left jab to pass over your left shoulder (Figure 61). The parry or "brush-away" is done without great effort, without interfering with your balance. However, the deflection spins your opponent off balance and leaves him open for your countering left shovel to solar plexus or heart. Next, have your mate lead at your head with a straight right. Whisk his wrist with your opened left hand, so that his right goes over your right shoulder-or to the right of the shoulder (Figure 62). Counter simultaneously with a straight right smash to the body or with an outside right hook to the body. Parries for head blows are used only in that manner. Do not attempt to "cross-parry" head blows. Do not try to reach across and whisk a right lead with your right hand, or a left jab with your left hand. The instant you attempt to cross-parry, you leave yourself open on the side of your cross-parrying hand.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“The sneaker is a slightly overhanded right hook to the head, delivered at the instant you force a break-away from a clinch. In boxing, it is illegal for you to use this blow, or any other, after the referee has told you to break. But you can use it before he orders a break-when you make your own break. In fist-fighting you can use it whenever you get the chance. Here's what you do in a clinch when you haven't room to punch with either hand: (1) Keep your head in close to the left side of your opponent's head, with your chin slightly over his shoulder; (2) maneuver with your left hand until you can grab the inside crook of his right elbow, and thus hold his right arm so firmly that he can't punch with it; (3) get his left arm under your right arm, and clamp your right hand under his arm-just above the elbow-just below the biceps (Figure 36). When you hold him in that fashion, he can't hit you; but you are in perfect position to break away sharply and deliver a stunning overhanded "sneaker" hook. Suddenly, yank him tighter to you with your right hand; then, shove him violently away with both hands; and-- almost in the same movementwhip an outside right hook up over his left shoulder-and down-so that your striking knuckles smash into his left jawbone or left temple (Figure 37). If the "sneaker" is delivered properly, your opponent will drop like a poleaxed steer. If he doesn't drop, he'll be so groggy that one or two shovels to the chin will finish him.
Practice the "sneaker" until you can do it automatically. It's called a sneak punch because it's delivered on the break, when an opponent is not expecting it, and when he's off balance. Because of its surprise and explosiveness, the sneaker is one of the deadliest of punches.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“Next, you'll block that left jab and you'll counter at the same time. Watch your mate closely. When he starts a left jab at you, step into him with your own left jab to his face, and at the same time block his jab with your right hand (Figure 50). Shoot your left so fast and hard you'll beat him to the punch. Your left fist should land and knock him off balance as you block the blow. The objective is to hit him just a split-second before his fist smacks into your hand. By so doing, you'll bring into violent collision on his chin: (1) your forward-moving body-weight, and (2) his forward-moving body-weight. That's the aim of most counter-punches: catch him coming in; hit him not only with your weight, but also with his own. Practice that fundamental block and counter until you do it automatically, with power and accuracy. Be sure are using the falling step and that your left fist is landing in an upright position.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“When you reach striking range of the bag, step in with a straight jolt with either fist-without preliminary movement. I mean: YOUR LAST SHUFFLING STEP TAKES YOU WITHIN RANGE, AND YOUR NEXT STEP IS THE PUNCHING STEP.
Under no circumstances take any little half-step or hippity-hop when you decide to punch. And don't draw back the punching hand. Practice the shuffling approach a few times, hitting with one fist and then the other.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“THE GLANCE-OFF is even more important than the parry in causing deflection. The guarding positions of your hands and arms, and the hunched left shoulder in your normal punching stance were designed to give the upper portion of your body a wedgelike effect. That wedging of hands, arms, shoulder and forehead should enable you to (1) keep inside an opponent's attack as you step in to lead or to counter, and (2) cause most blows to glance off to the sides or up into the air. The glance-off is more dependable than the parry because there's more solidity, if necessary, in the glance-off 1 than in the parry. The reserve solidity is there only in case your glance-off has to be turned into a block. However, the less solid the glance-off, the less your own balance is disturbed. Your glance-off movements are not the solid, chopping movements of hand or arm blocks; they are lightning, knifing or sliding movements. They interfere little with your balance, but they spin your opponent slightly out of punching position. If you watch a professional fighter punch the light bag, you'll note that more than half his bag-work comprises a rhythmic tattoo achieved like this: straight left - backhand left - straight right - backhand right -straight left - etc. You may ask, "Why this backhand striking, when the backhand blow is illegal in boxing?" The answer to that is: He's sharpening his backhand for glance-offs and blocking. If you get a chance to use the light bag, spend half your time on that tattoo. A power-backhand for glancing and blocking is almost as useful for a fighter as is a good backhand for a tennis player.”
― Jack Dempsey, Toledo arts: championship fighting and agressive defence

“Sometimes we’d go into the local saloons and challenge the house. When that didn’t work, we’d challenge each other. Those saloons were friendly places, as long as we stayed away from guys who were on a bender and those involved in poker games. The men, while drinking, sang, and Johnny and I joined in whenever we could. I still remember the words from a song we were all fond of singing—in our flat, off-key voices. Judging from the words, I’d say it was composed before its time. “If I was a millionaire and had a lot of coin, I would plant a row of coke plantations, and grow Heroyn, I would have Camel cigarettes growin’ on my trees, I’d build a castle of morphine and live there at my ease. I would have forty thousand hop layouts, each one inlaid with pearls. I’d invite each old time fighter to bring along his girl. And everyone who had a habit, I’d have them leaping like a rabbit, Down at the fighters’ jubilee! Down at the fighters’ jubilee! Down on the Isle of H. M. and C. H. stands for heroyn, M. stands for morph, C. for cokoloro—to blow your head off. Autos and airships and big sirloin steaks, Each old time fighter would own his own lake. We’ll build castles in the air, And all feel like millionaires, Down at the fighters’ jubilee!” We had laughs singing that song in unison. In later years, however, just thinking about it filled me with a tremendous sadness, since the tragedy of hard drugs eventually destroyed my younger brother Johnny.”
― Jack Dempsey, Dempsey: By the Man Himself