The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1897-12-22
KID MCCOY is A WONDER
HIS DEFEAT OF CREEDON THE TALK
OF THE FIsTIC WORLD.
Is n Queensberry Student, with an
Original style of BOxing-Peculi-
arity of His Steely Eye.
Washington Post.

Spi1gS from the forehead OF the Australian
and replaced the symbol of victory with
leaves culled from the weeping willow. By
virtue Of this triumph Mccoy stands as the
defender of the middle-weight champion
ship of the world and worthy successor
to Bob Fitzsimmons as king of the middle
weight class.
Mccoy, by his performance on Friday
last in the ring at Long Island City proved
himself a model Queensberry warrior, in
point of physique and a marvel OF box
er with a cool, alert brain, and tribute
of cold, calculating blood to back his Won
drous talents.
Mccoy" said Joe Choynsh after the
battle, lis the most original boxer | have
ever seen and the most interesting to look
at. He is ingenious, brainy, treacherous
and deceptive. Tonight was his first try
out of any account, and he kept his prom
Use by making Creedon look like a novice,
just as he said he would. He has courage
and brain, and a peculiar, awkward style
that is more dangerous than it looks.
Choynski, fair-minded, outspoken chap,
is one of McCoys most dangerous contem-
| oraries and probable foe in the ring of
the Kids, as they are bound to meet at
no remote day. So the song of praise by
which the Kid is serenaded by his rival is
perhaps the most eloquent tribute that can
be paid to the Hoosier phenom, the most
original and marvellous boxer and fighter
| ever reared in America, not even barring
Corbett or Dempsey. For Mccoy, with all
| his art as boxer pure and simple COM
bines the belligerent and heroic qualities
that make HIM dangerous foe, one of
| those deceptive, oily dssemblers who smiles
ana Ieers as he writes the death warrant on
| the Yisage and carcass OF ms victim, as
! ne dld in the pathetic case of Dan Creedon.
II ever there was an hypnOtiSt in the
| roped arena then Kid Mccoy is the name
| OF this apostle of Cagiostro and Mesmer.
Ills orb IS round, luminous, steely, cold.
| penetrating as q Searchnght that delVeS
| into the mind of the enemy and reads the
| foeman,s soul as though it were an open
| book AT leastythat is the impression left
| on the mnas Of those beholders of McCoys
| miraculous performance on Friday last. The
memory OF that interesting mill will be
| stamped indelibly on the minds of every
| witness to Creedons doom and the Kids
| triumph. Mccoy is first of all student ard
| an artist at his craft His fight with Cree
| don showed HIM as the artist and Creedon
| as the mechanic. For this science of pas
sage-at-arms, this combat with the weapons
| of nature between two humans is after all
| an art when reduced to the subtle fnesse
displayed by Mccoy.
MCOY'S SCIENCE
| McCoys science is interesting study.
| His abnormal reach is utilized to the fullest
| advantage, and stood him in noble stead
in the Slaughtered Creedon. His most de-
| ceptive feint is executed by the legs and
| feet rather than the hands. BY a stealthy
step, cunning, sinking, gliding, like the
tread of panther, he angles into his prey
with the ferocity of condor sweeping down
on it's victim. After smuggling his wirey
figure within hitting range of the enemy,
| McCoy's left shoots over, now plumb for
| the body in the shape OF a jab, and again
a M m hn for or lou nc
| blow being sort of half-hOok, not the full
| swing backward and forward, but a clip
| that seems to depend on the elbow for pow
| er of propulsion.
A diagonal line instead of a crescent is
described by McCoy's.. arm in this short
| of these straight jabs on the body or the
| short arm jolt on the jaw or full face, Nc
| Coy frequently draws himself to the tip of
his toes, as he retreats, reaches out, and
| shoots another short arm aggravating half
| hook, as he calls it, across on the head In
breaking ground from the enemy after this
advance charge, Mccoy retreats, or rather
| rebounds. with the speed of a rubber ball
| cast against wall. This rebound saves a
| return blow or counter from the enemy.
Many of the writers who did" the fight
| for their various papers gave Creedon credit
fol. repeated counter blows that the Aus,
to the. writer last night. This unearned
| credit bestowed on Creedon was due, per-
OUT what they call their stories of the
fray. Such stories are lies, and a dis
credit to these taking apostles of the classic
| chronicler of pugilisri, Pierce Egan.
| If the truth about the Kid McCoy-C Cree
don conflict were told it would show that
Creedon countered on the Kid no oftener
| than six timeS-that is, round, clean-cut
countering. McCoy's terrific speed in COM
| ing and going made a return blow impos-
| horse pitted against the selling platter,
| the artist against the artisan. But
| three blows of any consequence, one left
swing on the side of the head and the other
| two right swings on back and neck at close
quarters, were the only blows that should
| for the body were all glancing blows, and
| slid off McCoys framework as he was
| stepping away from his antagonist. Not
| a blow was struck during the first three
| rounds, these entire nine minutes being
consumed in fiddling, feinting and sparring.
McCoy's awkward-clever style of shifting
| and side-stepping in the opening three
rounds embarrassed, even dazed, the rath-
er fat wits of the foreigner, who deep down
| in his heart acknowledged unto himself as
| early as the fifth round that he had met
one who was more than his master.
marshaied his wits with the skill and
diplomacy of Caesar fostering his legions.
AS he stood in the center of the ring
screwing himself together for an advance
he was the picture of GOODNESS, serenity,
| cold-bloodedness, and a sarcastic ieer that
" lille the eye observed the enemy from a
corner. One of the most interesting points
that croD out in STUDYING. Mccoy is his
enemy sideways from an angle something
after the fashion OF the frowning glance
of the doer of dirt in the melodrama. But
McCoy's side glance has the advantage
over the frown of the melodramatic viii
lain in that it is strictly on the level. And
to follow out this Illusion let it be said
that Mccoy played the role of a thinker on
Friday night last while Creedon was seen
in a guessing part There is a reason-yes,
method-in McCoy's sde-sweep of the eye
as he beholds the enemy, as Creedon him.
self confessed.
/ THAT EVASIVE EYE.
"The most puzzling point about the Kid
is his eyes" said Creedon. During the
fight tried to get a full flash of his eye,
as 1 always do in sparring. The eye I'M
consciously tells one when the enemy is
going to lead. But l couldn't catch and
hold McCoys orb. He had the hang-dog
expression of a sneakthief in the act of
footing pocket or scuttling a second
story. OF course. the evasive habit of shift
ing his glance resulted in finding me off
my guard half the time"
Danger turks in McCoy's sneaking, pam
ther-like glide. in the angular pose of the
body, the chest aSlant the legs agape the
head tossed back, the face aglint with
an ugly leer One of the prettiest points
of his boxing is the sudden recovery from
his slanting position as he gathers him
self for charge. His scheme of pivOtng
is perhaps the most original trait of his
method. The large majority of boxers
pivot from the hips while in the act of
delivering a blow. But Mccoy finds a
pivot for his 1.-the sleek body. This odd
action adds to the force of his blow. At
least that is his claim and his marvellous
performance against Creedon halfway