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At Shea Stadium in Flushing, New York, 32,897 spectators gathered to watch Ali meet Inoki after a World Wide Wrestling Federation extravaganza, “Showdown at Shea,” a precursor to modern-day WrestleMania events. For the sake of business that night, a gimpy Bruno Sammartino returned to the squared circle two months after fracturing his neck in a match at Madison Square Garden against Stan Hansen. Anchoring the event before Shea Stadium went dark for the Ali–Inoki contest, Andre the Giant faced Chuck Wepner— Sylvester Stallone’s inspiration for Rocky Balboa. (Decades later, most people believe the action at Shea and Tokyo also prompted Stallone to include a boxer-versus-wrestler scene in Rocky III. Through his publicist, Stallone denied any truth to that.) Cards like these took place across North America that night, and at the behest of Vince McMahon Sr., were billed as a sort of “Martial Arts Olympics” to support the so-called World Martial Arts Championship.

Whatever trepidation Ali felt ahead of the Inoki bout, it was at least rooted in combat sports reality. Unlike earlier generations of American audiences, fight watchers in the mid-1970s weren’t clued into matches that allowed for more than trading punches. Boxing was the combat sport, in large part because of Ali, who ably served as its king and jester. Martial arts in the age of Bruce Lee were repurposed as flash for film and television, further eroding the prominence of American grappling arts that had been influenced by Japanese martial arts missionaries and European immigrants during the Industrial Revolution. By the summer of America’s 200th birthday, when fans gathered in arenas across the globe to watch Ali fight Inoki, a sense of excitement brewed on all sides. Ali was the best boxer on the planet, The Greatest of All Time, and anything he did received huge attention. But this? This was unique. Something mysterious. And that made it potentially something bigger.

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