Ted Arcidi - Powerlifting/Bench Press World Record

Powerlifting/Bench Press World Record

Ted Arcidi bench pressed 705.5 pounds (320 kg) on March 3, 1985 at Gus Rethwisch's Budweiser World Record Breakers in Honolulu, Hawaii for an APF & USPF world record, to become the first man to bench 700 pounds in an officially recognized powerlifting competition. Then, after being 5 1/2 years away from competition due to his wrestling career, he made the comeback of the decade. Weighing 291 pounds, Arcidi set another world record with an amazing 718.1 lbs bench presss at the APF Bench Press Invitational on September 30, 1990, in Keene, New Hampshire. On September 14, 1991, at a Mr. Olympia contest, he squared off face to face with his greatest rival Anthony Clark to determine who the greatest bench presser of the world was. Arcidi defeated the much bigger Clark (5'8", 375 lbs) by pressing 725 pounds off his chest to establish yet a new, but controversial, world record. That attempt was later disqualified after it was revealed that Arcidi had failed to lock out his arms due to bone spurs in his elbows which he had corrected with surgery.

Arcidi's 705 pound all-time world record bench press was performed in one of the earliest bench shirts - an original prototype supportive bench press shirt, which was 50% polyester and 50% cotton and only one layer thick. It was thus later categorized as "equipped", although it didn't improve his bench by much, if anything. In 1984 Arcidi had benched an official 666.9 pounds (302.5kg) at 286.0 pounds bodyweight completely raw, without a bench shirt in Honolulu, Hawaii as well. He can be considered as arguably one of the greatest bench pressers of all time.

Read more about this topic:  Ted Arcidi

Famous quotes containing the words press, world and/or record:

    An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.
    George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)

    When you live on cash, you understand the limits of the world around which you navigate each day. Credit leads into a desert with invisible boundaries.
    Anton Pavlovich Chekhov (1860–1904)

    The lowest and vilest alleys of London do not present a more dreadful record of sin than does the smiling and beautiful countryside.
    Sir Arthur Conan Doyle (1859–1930)