The Forgotten Story Of Classic Hollywood’s First Asian-American Star

Chinese-American actress Anna May Wong was a trailblazer despite the openly racist industry in which she worked. Remembering her story and contemplating how much things have changed.

Justine Zwiebel / Hulton Archive / Getty Images

The following is a bonus chapter from Anne Helen Petersen’s Scandals of Classic Hollywood: Sex, Deviance, and Drama from the Golden Age of American Cinema. You can read previous installments — on everyone from Katharine Hepburn to Marlon Brandohere.

In a December 1933 issue of New Movie Magazine, society reporter Grace Kingsley described her visit to screenwriter Donald Ogden Stewart’s famed costume party, where the who’s who of Hollywood showed up dressed, as the year’s theme dictated, as other Hollywood stars. The actress Fay Wray described the scene to Kingsley, cooing over each of her friend’s excellent costumes (“There’s Jack Gilbert as Lionel Barrymore in Rasputin!”) but really losing it when she sees “a little Chinese lady dancing about.”

But that lady wasn’t Chinese: She was the (white) comedienne Polly Moran. “I’m Anna May Wong!” she said, running over and brandishing her hands. “And my fingernails cost me a dollar and a half!”

New Movie Magazine / Via lantern.mediahist.org

As the picture that accompanied the article shows, Moran was decked out in full yellowface — including makeup to darken her skin, a wig, Chinese-style dress, and approximations of Wong’s signature long, pointed nails. In the picture, she makes a face intended to simulate a “Chinese” expression, and if you look closely, you can see that her eyes are taped up in an exaggeration of the Asian facial structure.

Moran, and whoever dressed her, would be familiar with this makeup technique (often achieved by using fish skin as an adhesive) because so many non-Asian women had been made up to play the role of Asian women. These were leading roles that could’ve been (but were seldom) given to classic Hollywood’s first and only Chinese-American star.

Anna May Wong, like other Hollywood actors of color, was not allowed in society, and would not have been invited to Stewart’s party. She couldn’t hang out with the very stars who exoticized and imitated her. In classic Hollywood, not only was it OK to act Asian, it was celebrated. And even though Stewart’s soiree was just a party, the behaviors modeled there bespoke the dominant understandings of Hollywood and America at large: White people can play at other races, and other races can play at very little.

Anna May Wong never scandalized Hollywood with her string of fiancés, like Clara Bow, or an outré sex philosophy, like Mae West. Ultimately, the scandal of her career had little to do with her, or her actions — it’s the way that Hollywood, and the audience that powered it, remained so hideously stubborn about the roles a woman like her could play, both on and off the screen. Wong was a silent-film demi-star, a European phenomenon, a cultural ambassador, and a curiosity, the de facto embodiment of China, Asia, and the “Orient” at large for millions. She didn’t choose that role, but it became hers, and she labored, subtly, cleverly, persistently, to challenge what Americans thought an Asian or Asian-American should or could be — a challenge that persists today.

Wong was born in 1905 in Los Angeles, just off Flower Street on the outskirts of Chinatown. Fan-magazine renderings of Wong’s childhood didn’t shy from evoking the discrimination she faced, especially in her integrated elementary school. One boy would stick needles into her every day, to which she responded by simply wearing a thicker and thicker coat. A group of boys pulled her long braids, shoving her off the sidewalk and yelling, “Chink, Chink, Chinamen. Chink, Chink, Chinamen.” Sometimes the profile would admit that such children were of “lesser parents,” but the anecdotes were framed as a simple trial of childhood: no different than a white star getting teased as a child for an embarrassing name or pair of glasses.

Profiles also labored to reconcile an identity that was at once wholly Chinese yet also American. She worked in a Chinese laundry, but that laundry wasn’t in Chinatown. Her parents forced her to go to Chinese school after American school, but she skipped it to go to the movies. She had a Chinese name (Wong Liu Tsong) that meant “Frosted Yellow Willows,” but she opted for the Americanized Anna May Wong. Her parents were skeptical of the moving image — her mother purportedly believed that cameras could steal a bit of the soul — but Wong eschewed Old World superstition. She was, in many ways, a classic child of immigrants, incorporating the behaviors, beliefs, and vernacular of her homeland with the heritage of home.

As Wong grew, she became increasingly fascinated with the Hollywood pictures that would film in Chinatown, which, in the late ‘10s and early ‘20s, studios would regularly use as a visual substitute for China — a conflation that made it even more difficult for Americans to understand that Chinese-Americans were a distinct culture from the Chinese.

To make Chinatown seem like the bustling streets of China, directors needed Chinese faces — which is how Wong first appeared, as an extra in Alla Nazimova’s The Red Lantern at the age of 14. She had asked for her father’s permission, but he was reluctant: As one profile explained, “Of course, many Chinese girls had played extra, but there are many Chinese girls who are not nice.” It was only after her father made sure that other “honorable” Chinese extras, all male, would guard her that he agreed to let her participate.

Over the next two years, Wong appeared in bit parts in various films, still attending school, before quitting in 1921 to focus full-time on her career. She was immediately cast in her first leading role in The Toll of the Sea, a nonoperatic take on Madame Butterfly that blew up the screen for two very simple reasons: It had Technicolor (two-strip, which meant only tones of reds and greens, but no matter, COLOR, that was sick), and Wong was actually a decent actress.

Wong’s acting was subtle and unmannered; her eyebrow game was on point. She had a piercing stare that made you feel as if she saw the very best and very worst things about you, and her signature blunt-cut bangs made her face seem at once exquisitely, perfectly symmetrical. Given the quilt work of exotic roles she’d played on the silent screen, audiences expected her to speak with a broken, accented, or otherwise un-American English. But her tone was refined, cool, cultured, like a slap in the face to anyone who’d assumed otherwise.

Her early success, like that of Japanese star Sessue Hayakawa, can at least partially be attributed to the global market for silent films. Yet to truly understand Anna May Wong’s unique place in Hollywood — and the particular type of racist role available to her — you have to understand both the rampant fetishization of the “Orient” by the West and the place of Chinese-Americans in California in the early 20th century.

In very broad terms, “Orientalism” refers to the overarching tendency of the “Occident,” or the Western world, to fetishize and exoticize the “Orient” (“The East,” or civilizations and cultures spanning the Asian continent). Scholar Graham Huggan defines exoticism as an experience that “posits the lure of difference while protecting its practitioners from close involvement” — and that’s exactly what Westerners wanted: a taste of “difference,” usually in the form of an evocative song, poem, or painting, without the actual immersive and possibly challenging experience thereof.

Mediated through the lens of Orientalism, members of distinct Asian, Middle Eastern, and African cultures are grouped together into one vast sultry and quasi-backward “Orient,” replete with heathens, pungent spices, snake charmers, mysticism, and all sorts of other offensively stereotypical renderings. For the Occident to reify its position as potent, masculine, and dominant, it had to figure the Orient as diffuse, feminized, and passive. It’s bullshit, but it pervaded everything from political speeches to children’s bedtime stories. Think Madame Butterfly, think the entire oeuvre of Rudyard Kipling, think “Rikki Tikki Tavi,” think Aladdin.

When Anna May Wong rose to stardom in the 1920s, the “great” empires of the West were in decline — but that simply made it all the more important to shore up the ideas and attitudes that were under threat. Which explains why every. single. article. I found about Anna May Wong somehow manages to sexualize and exoticize her while also placing her — her upbringing, her family, her heritage — in diametric opposition to “American” and Western practices.

Motion Picture Magazine / Via lantern.mediahist.org

“Anna May Wong symbolizes the eternal paradox of her ancient race,” wrote one fan magazine. “She reminds us of cruel and intricate intrigues, and, at the same time, of crooned Chinese lullabies. She brings to the screen the rare comprehension and the mysterious colors of her ivory-skinned race.” That sort of rhetoric — directed to an almost entirely white audience — that’s Orientalism. That Wong was American, however, complicated the normal Orientalist discourses: She forced magazines to perform a lot of tricky rhetorical maneuvering where they acknowledged that she was somehow, magically, almost inconceivably, at once American and Chinese.

Wong was also opposite of what many had come to associate with Chinese-Americans, which, at least in the late 19th and early 20th century, comprised a subculture that was conceived of as being segregated, unknowable, and almost entirely male. The reasons for that reputation were complicated: When Chinese laborers first came to America in the mid-19th century, men traveled to make money, while women mostly stayed at home. With the passage of the Page Law in 1875, Chinese women with even a hint of “immoral character or suspect virtue” were banned from entering the United States, which resulted in even more gender imbalance.

Because Chinese lived in these nearly all-male configurations that didn’t match with American understandings of what community should look like, it was easy to further stigmatize and exclude them, both socially and legally. See, for example, the 1882 passage of the “Chinese Exclusion Act,” which prevented Chinese from entering the U.S. based on claims that as a people, the Chinese were immoral, unhealthy, and posed distinct threats to the American way of life and labor force (rhetoric that may sound familiar to anyone following contemporary immigration debates).

Photoplay Magazine / Via lantern.mediahist.org

That was the environment of systemic racism in which Wong was operating in the early ‘20s, when her turn in the Technicolor Turn of the Sea was such a novelty that all of Hollywood saw it — including Douglas Fairbanks, then-ruling King of Hollywood, like Tom Cruise meets Brad Pitt only with a swashbuckling mustache. Fairbanks needed a dastardly “Mongol slave” for his production of The Thief of Baghdad, and immediately wanted Wong for the part.

What do these two roles have in common? In one, Wong plays a Chinese “Lotus Flower” who falls for a white man who loves her but can’t possibly be with her; in the other she plays “the scheming handmaiden” who tries to prevent the love between the handsome, swashbuckling lead and his princess (the daughter of a caliph who is unaccountably white). So: a victim who can’t have love, or evil temptress who prevents a white woman from having love — these are the two roles that Wong would play again and again, with slight variations for ethnic specificity, time period, and plot, over the next two decades. A victim or a villain, with very little, in most cases, in terms of character development, ethnic specificity, or anything else to suggest that the depth, charisma, or worth of white counterparts.

Wong’s roles may have been shit, but the fan magazines loved her, unlike black actors, who were either relegated to even more demeaning bit parts and/or ghettoized in black films shown only in black theaters for black audiences. For various complicated reasons that have a lot to do with American racial history and the way that Orientalism actually weirdly celebrates the people and civilizations it fetishizes, it was OK for the fan mags to profile her, run pictures of her, and generally acquaint American audiences with her — but not put her on the cover.

In these profiles, you can see the press continuing, with extreme awkwardness, to reconcile the idea of a star who is at once American and Chinese:

To prove that she was Chinese:

From Crown to Sole, Anna May Wong is Chinese. Her black hair is of the texture that adorns the heads of the maidens who live beside the Yang-tse Kiang. Her deep brown eyes, while the slant is not pronounced, are typically Oriental.

But oh, wait, she’s totally American:

Improbable as this sounds, it is absolutely true. Anna May Wong, among Americans, is so thoroughly one of us that her Oriental background drops completely away.

No, seriously, guys, she’s Chinese:

She is as Chinese as kumquats and the lotus. … She is of centuries ago and yet of today. … Animation scarcely ever ruffles the tranquility of her round face.

NO, SERIOUSLY, SHE’S AMERICAN:

Anna May Wong has never even been to China, and you might just as well know it right now. Moreover, she has seen NY’s Chinatown only from a taxi-cab, and she doesn’t wear a mandarin coat … her English is faultless. Her conversation consists of scintillating chatter that any flapper might envy. Her sense of humor is thoroughly American. She didn’t eat rice when she and I lunched together, and she distinctly impressed it upon the waiter to bring her coffee, not tea.

NEVER MIND, HERE’S A POEM, SHE’S TOTALLY CHINESE:

Motion Picture Magazine / Via lantern.mediahist.org

You can see how Wong would grow weary, both of this treatment in her publicity and the relative dearth of roles, especially complex ones, available to her. She was also understandably pissed that when an Asian role did come along, directors found an actor of basically any other ethnicity — Latino, Eastern European, Irish — to cast as the Asian character.

In 1928, when an opportunity came along to go to Europe, she jumped at it. There she could make films that might exoticize her slightly less. She’d be able to do things like hang out with her white co-stars. She’d maybe even be able to have a romance, which, to that point, had been wholly unavailable to her, at least publicly.

Making her home in Berlin, she not only got to star in all of her own films, but was celebrated as a great beauty. She hung out with Leni Riefenstahl; she palled around with Marlene Dietrich; she sparked a few vague sapphic whispers. She appeared in five British films, and while she didn’t get to kiss the white co-star, she did get a chance to shine, especially in Piccadilly (1929), her last silent film and widely believed to be her best performance.

Across Europe, Wong inspired very explicit adulation: Composer Constant Lambert wrote Eight Poems of Li Po and dedicated it to her; Eric Maschwitz wrote “These Foolish Things (Remind Me of You)” to commemorate the end of a rumored romance. “They were all so wonderful to me,” Wong said upon her return to America. “You are admired abroad for your accomplishments and loved for yourself. That made me an individual, instead of a symbol of my race.” The extent to which Wong’s European films refused to make her a “symbol of her race” is questionable, but it’s certainly true that Wong, like Josephine Baker, Nella Larsen, and Langston Hughes, was celebrated in a way she had never experienced in America.

According to an American gossip columnist visiting Europe during Wong’s tenure, she was “acclaimed by nobility,” “the toast of the continent,” with “attendant stories of princes and even kings being madly in love with her.” This veneration was, at least in part, self-congratulatory: cultured Europeans’ way of showing just how much more sophisticated they were than those silly, racist Americans, even as they reproduced much of the same fetishizing rhetoric and narratives, just while letting the stars sit with them at dinner and waltzing cheek to cheek afterward.

Motion Picture Herald / Via lantern.mediahist.org

In 1931, Wong returned to Hollywood, lured by a contract from Paramount, which was busy scooping up European talent, and the promise of more substantial roles. She agreed to appear as a classic evil vamp in Daughter of the Dragon, but only because it meant that she’d then get a meaty part alongside Shanghai Express with Marlene Dietrich. To promote the film, Wong submitted to the studio’s attempt to further define her image by its exoticism. A January 1932 Picture Play profile titled “A Lone Lotus,” for example, slathered the Orientalism on thick.

The cultured Oriental woman makes an ideal companion … Her meditative presence is restful to a man worn ragged by the American girl’s zest for parties and sports. Then she listens with flattering respect to her superior. The unfolding of her own intellectual development usually fascinates him with its surprises.

AND THEN (quoting Wong, supposedly):

“Usually, I am accorded greater chivalry than the American girls — because I let men serve me. They have told me, ‘Modern women are too efficient; they will not permit us to do things for them.’ I have an inborn dependence upon man.”

BUT WAIT:

Her religion, embracing love and patience and service, is one that she has evolved from the mating of the old and the new. The rhythm of life, she calls it. “All good things work together for our benefit,” she often says, “if we grant our ‘Yeah, in holy meditation, shaped in a perfect syllable.’”

Here’s when, as readers more than 80 years after the fact, we have to ask ourselves: What the hell is going on? Who is coming up with this stuff? Would Wong actually say that? Can we attribute it, like so much of what was published in fan magazines, to her studio’s publicity department, trying to shape her star image into the Panda Express of Hollywood stars, right before the release of Shanghai Express?

Probably. Wong’s role in Express was, in many ways, a classic person-of-color best-friend role — only this best friend had an amazing resting bitchface and a gaze that could shut a man up with a single glance. Her true feat, of course, was getting people to look at something, anything, that wasn’t Dietrich’s intoxicating face for more than a minute. Plus, under the direction of Josef Sternberg, she got the most awesome German expressionist lighting of her life. Just look at her and Marlene. This is majesty.

New Movie Magazine / Via lantern.mediahist.org

A friendship with Dietrich, however, wasn’t the same as Dietrich-sized roles. Even though Shanghai Express was a success, meriting Best Picture and Best Director, that didn’t mean that there were necessarily parts for Wong. When MGM cast the leading female role of Lian Wha “Star Blossom,” in The Son-Daughter, they claimed that Wong was “too Chinese” for the part, instead opting for LILY-WHITE WHITE AS THE DRIVEN SNOW WHITE LIKE DAD SOCKS WHITE Helen Hayes.

Movie Classic / Photoplay Magazine / Via lantern.mediahist.org

Hayes’ casting was but one of hundreds of instances of yellowface that, like blackface and redface, were wholly normalized in Hollywood at the time. Yellowface was everywhere: in movies, at costume parties, in the pages of fan magazines — for example, in the feature “Loretta [Young] Goes Oriental.”

Wong thus retreated to Europe, where she toured Britain and Scotland, made a few small film appearances (including one in which she got to kiss her white male lead), and generally resigned herself to living a more awesome life without the frustrations of Hollywood. In 1935, however, MGM began casting for its adaptation of Pearl Buck’s The Good Earth: a monster of a best-seller — we’re talking Dan Brown meets Harry Potter — and the winner of the 1932 Pulitzer Prize.

Talking Pictures Magazine / Via lantern.mediahist.org

Buck had grown up in China as the child of missionaries, and her rendering of the Chinese experience, however imperfect, was nonetheless miles ahead in terms of complexity, sympathetic characters, and generalized rejection of the tropes that usually characterized white narratives of China. In short: It was the perfect Wong project.

Which is why she obviously didn’t get it.

Let’s recite the basics: MGM was making a high-profile movie set in China, depicting a Chinese family. A Chinese family in which both main leads are Chinese. There was one major Chinese actress in Hollywood — one who could also act. Which is why it makes TOTAL AND COMPLETE SENSE that MGM cast Paul Muni (Austrian) as the lead male and (the very German) Luise Rainer as the female lead.

MGM offered Wong the consolation prize of the role of Lotus, the slinky teahouse dancer who seduces the main moral character and becomes his second wife. But Wong refused. As she said, “You’re asking me — with Chinese blood — to do the only unsympathetic role in a picture featuring an all-American cast portraying Chinese characters.” She took MGM’s offer as an insult — which it unequivocally was.

Instead of returning to Europe, Wong decided that if she was “too Chinese,” she was going to own it by actually visiting China for the first time. At first, the Chinese press was antagonistic — rightfully angry at Hollywood’s depictions of China and the Chinese — and blamed Wong, who had appeared in so many of those texts, for enabling those depictions. But Wong acquitted herself well, acknowledging that a) China had every right to be mad about its depiction, b) she never had control of her roles, and was forced to play her characters in a certain way, and c) she was super tired of playing “sinister” types.

Wong’s passport application for travel to China United States Department of Labor

Touring the cities and countryside of China, Wong was a HUGE hit. As recollected in daily dispatches from The China Press, she came off as charming, beautiful, and the closest the Chinese, who lacked anything approximating a film industry, had to depictions of themselves on the screen, however warped.

By the time she returned to Hollywood in the late ‘30s, Wong’s disillusionment was increasingly difficult to mask. In interviews, she refused to hedge her criticisms of the industry, speaking frankly about her circumscribed American life: “I can’t treat a love affair lightly enough to discuss it,” she told one critic. “When I felt myself becoming fascinated, I put a stop to it before it became love.”

That is BRUTAL. But it was also the story of Wong’s life: At least, as she confessed years before, she could go in public with a man and no one would start placing them as a couple. “Life has special difficulties for the Oriental woman in the Western world,” she explained. “I sacrificed many fine friendships through fear that either the man or I might be hurt.”

Wong couldn’t be associated with a white man, and even if a man did risk falling in love with her, she knew that it would doom both her career and his…unless, of course, he was also Chinese. People wanted to talk to her about her love life constantly, but her rarefied position in Hollywood made it so the answer always had to be a lack, an absence, a solitude, a sadness. It’s no wonder that when asked about her idea of happiness, she claimed that it was “an island of solitude with books. Not material things — but wisdom.”

As Wong’s career faded over the course of the ‘40s and ‘50s, she was granted a semblance of that solitude. Like so many relics of the silent and classic era, she made appearances on early television, exploiting the most basic and exoticized components of her image. The only way to make audiences want to see an aging star, it seemed, was to evoke the facile characteristics of her image that had always irked her most.

In truth, Wong was never a star of the magnitude of the others previously featured in this series. Her story is worth telling, however, not because of the magnitude of her stardom, but for its smallness — studying the inability of Hollywood to make use of a star of her potential says just as much about Hollywood and the fan base that fueled it as examining the stars that dominated it.

And yet, how much has changed over the last 80 years? It’s only been in the last decade, give or take, that Asian characters have begun regularly showing up in mainstream television and film, whether in “blindcasted” shows like Grey’s Anatomy (Sandra Oh as Cristina Wang), characters involved in actual romance (Daniel Dae Kim as Jin-So Kwan and Yunjin Kim as Sun-Hwa Kwon in Lost), and even those permitted to make out with/love characters who aren’t also Asian: Cho Chang (Katie Leung) in Harry Potter, Lane Kim (Keiko Agena) in Gilmore Girls, Han (Sun King) in the Fast and Furious franchise, Emily Fields (Shay Mitchell) in Pretty Little Liars. Today there’s more work for Asian actors — notably, on channels like The CW, which is cultivating and catering to mostly teens and other niche audiences. This season’s crop of new shows also includes plume roles for John Cho (Selfie) and an almost entirely Asian cast in Fresh Off the Boat; time will tell how they fare.

But even with China posed to become the primary source of film revenue over the next 10 years, it’s startling to realize just how persistent and pernicious the stereotyping remains. In action cinema, the Asian male protagonist only gets to hug where his white counterpart would get a fuck; in films as various as The Hangover and Pitch Perfect, Asian characters become cutout punch lines, incredibly offensive clichés played for cheap laughs. Lucy Liu is arguably the only mainstream Asian star in Hollywood, and her roles have been relegated to voicing animated characters in Kung Fu Panda and playing the female version of Watson in CBS’s Sherlock Holmes adaptation, Elementary.

Wong, along with Dorothy Dandridge, Dolores Del Rio, Lupe Velez, Sessue Hayakawa, Paul Robeson, and Bo Jangles, are celebrated as trailblazers: the ones who did all the hard, often demeaning labor so that those who came after them would be able to walk the path to stardom free and clear. The scandal of contemporary Hollywood, then, is that every would-be star of color must seemingly blaze that path again, fighting a seemingly endless battle against the generalized racial logic that continues to guide so much of the industry.

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UPDATED: Myrealitytelevision.com Told You China Cheats, Now There is Proof!! American Women’s Gymnastics Team May Yet Get Olympic Gold!

We have reported for days that China is cheating in these Olympics.  Our articles have challenged the International Olympics Committee for their apparent inability to enforce their own rules.  We have also alleged the Chinese Gymnastics team and the Chinese government are cheating in these Olympics.   We do not stop there.  We feel this is not just cheating; there have been criminal acts perpetrated to execute this fraud on the world and our Olympic athletes.

China sent vastly underage girls to the games.  As we have stated in our prior articles, the minimum age for qualification in Olympics gymnastics competition is 16.   Records found by Sports Illustrated and the New York Times have already clearly demonstrated the Chinese government committed numerous crimes including forgery.  These are crimes for which we in the US would go to prison, but the Chinese authorities violate them with aplomb.

The International Olympic Committee has finally put on their glasses, but it took pressure from the media and a computer expert before they finally decided to formally investigate the age of Chinese gymnast He Kexin.

International Olympic Committee (IOC)  president Jacques Rogge had irresponsibly deferred authority for enforcing the age limit to China’s Gymnastics Federation, ignorantly leaving the fox to police the henhouse.  Evidence was staring the IOC in the face, but now the evidence is so strong that China’s Gymnastics Federation are complicit criminals, the IOC has no choice.

Michael Walker, a United States computer security expert, was able to track down two documents deleted by the Chinese. The documents clearly show that He Kexin was born in 1994, making her 14.  The Chinese had attempted to delete these documents when first confronted with their fraud.

If this evidence bears out, and it now looks irrefutable, this also means that China coached the young girls on the Chinese gymnastics team to lie.  He Kexin, in interviews with the media, continually claimed to be 16 years of age.  Only training by coaches and other adults could have led this beautiful young innocent girl to lie on the global stage.  What unimaginable child abuse!

This has enormous medal ramifications.  It could mean the American Gymnasts will get the Gold medal for the all around when China finally gets embarrassed for their disgrace and the medals are stripped from the Chinese team.

This didn’t serve the girls on the Chinese gymnastics team, it did not serve the Chinese people, and it clearly demonstrates a Chinese government that is out of touch and operating as criminals in an international forum.  It also brings into doubt the results of all events that favored the Chinese throughout these Olympics.

One has to wonder, if this cockroach has now risen from the kitchen cupboard, how many others are hiding in the crevices?   How many other ways is China cheating in these Olympics and in the world?

How many other subtle manipulations in these Olympics could have allowed China to outperform?  A criminal doesn’t stop at one opportunity to deceive and rob others. Could there have been sabotage of other Olympic teams in these games?  Our guess is that many deceitful and criminal activities will come to light proving that the Chinese government is more criminal than we can imagine.

The IOC ostriches have finally been forced to take their heads out of the sand.  Let’s hope they expose the Chinese government for the miscreants they are and embarrass them in front of the world as the Chinese medals are stripped from their teams one by one.

NBC Confirms Myrealitytelevision.com’s accusations of China Cheats!!

Long after we posted our article showing evidence had confirmed our accusation of China for cheating, the following video was released by NBC.

We have continually been criticized for our call that the Chinese cheated. But it is now out in the open. The US will likely get the overall gymnastics Gold as China walks away in shame.

Now, as it turns out, as we have continually stated, as many as 3 of the gymnasts may be under age.

Where else are the Chinese cheating? Own any Chinese stocks? May be time to sell!!

Update: 22 August 2008

IOC Complicit With Chinese Authorities in Olympic Fraud

The IOC just hours after opening an investigation into under age Chinese gymnasts, dismissed clear evidence demonstrating that as many as three of the Chinese gymnasts were under age.

In an article released last night, Yahoo said the parents were “indignant”.  To whom?  China does not have free borders.  Certainly this indignance has to be towards other Chinese that know these girls are under age and are facing down the parents that have been rewarded or forced to lie by the Chinese government.

The IOC is attempting to brush this under the rug quickly, despite absolute proof China cheated in prior Olympics.  And in so doing, they are complicit with the criminal acts of the Chinese government.  Does this involve bribes or threats by the Chinese?

It has been obvious that the judges in these Olympics have favored the Chinese athletes, consistently delivering scores that marginally guaranteed Chinese medals.  If the judges are so easily manipulated, it is not hard to imagine that same manipulation of a spineless and useless body such as the IOC.

We believe the evidence, not the farcical characters in the IOC.  China cheated.  The IOC will come under intense pressure going forward to address the issue.  And if they don’t, others will bring the evidence that they themselves are criminals and should be removed.

One example of obvious fraud was reported by the Associated Press.  The birth date of Yang Yilin was listed from 2004 to 2006 on official national registration lists posted by the General Administration of Sport of China to be Aug. 26, 1993.  Now it is suddenly 1991?    Please!!   Don’t question the world’s intelligence.

The IOC is criminal if they do not act.  And China is criminal in their forgeries and deception.  We do not bite on the “Chinese just look younger” argument.  Maybe they do slightly, but 16 year olds do NOT look 11-13.  The Chinese government tried to brush it under the rug using this same argument that Koreans and Japanese girls looked just as young.  No, they didn’t.  No other team looked an average age of 13.

This is a sad day because it is obvious the IOC could not possibly have conducted any investigation whatsoever in the few hours they took to respond, but we beleive this is far from over.  We believe after the Olympics have passed, the pressure will rise to a boiling point and the IOC will once again have to raise their heads out of the sand.  Hopefully this time it will be have them cut off.

Update: 28 August 2008

Another Reason China Cheated In the 2008 Olympics

This article sums it up quite well, so we won’t repeat it. There were financial gains to be made by the Chinese by manipulating the medal outcome.

By paying off judges, entering underage girls in the gymnastics and pressuring the world to get a basement game, ping pong, into the Olympics, the Chinese guaranteed more medals, all to line their pockets at the world’s expense.

They had to pay for those elaborate game shows somehow right?

CHINESE TRADERS BET ON 40-42 Golds

TOP 10 REASONS WHY THE CHINESE CHEAT IN OLYMPIC WOMEN’S GYMNASTICS

Kangaroos Can’t Jump. US Olympic BasketBall Team Hops Over Australia.

The Australians played close for a while, but the Redeem Team would prove to just be too much for the Aussies.

Despite a run that brought the Aussies back to 25-24 by the end of the first quarter, and that run reminded us of an exhibition game in which the US had a tough time with Australia. Much of the media, especially ESPN, were quick to dump on Team USA after that exhibition Game despite a US team 9 point victory.  Not this time.  ESPN and company kept their mouths shut.

The US strategy throughout these Olympics is to keep up the speed and momentum with fast substitutions.  The opposing team barely gets used to playing one set of Americans just to turn around and face another.  Because every player is stellar, it just keeps everyone fresh and beats down any opposition.

We won’t bore you with detailed coverage of this game.  It was not close.  Another US blow-out 116-85.  And it could have been much worse for the Aussies.  A 31 point whooping was merciful.

There will now be a semi-final between Team USA and Argentina (the defending Olympic Gold Champions).  Argentina barely nipped the Greek team the US destroyed by two points 80-78.

This team has Gold written all over it.  They are playing incredible basketball and could easily contend in the NBA.  The biggest surprise is the coaching and team play.  The US is looking like a true team, not a group of disparate selfish players.  And the coaches are driving team play with frequent substitutions and clever offensive and defensive strategies.

Lithuania is still undefeated after wiping the floor with China.  That will likely be the team the US faces for the Gold.

China Boos As Horton Takes Gymnastics Silver Medal, China Takes Gold

Even the Chinese booed as the score for Jonathan Horton of the US Men’s Gymnastic team came up just behind Zou Kai of China.  Horton had put in the performance of his life.  Flawless execution throughout, and the audience knew it.  And Doctor Suess would be proud!

Jonathan would have easily taken Gold if not for a single step forward on the toughest dismount in the competition.  Had he stuck that landing, it would have easily been Gold.

But even with that small step, the judges could have been vastly more generous and it seems like every time the judging is close, the judges ensure the Chinese have that small fraction of a point they need to win.

Jonathan scored a 16.175 to Zou Kai’s 16.200.  That is right, once again, a Chinese Olympic Athlete wins by hundredths of a point.  So coincidental that it always seems to be the Chinese that benefit from the crucially close calls.  The last amazing coincidence being Nastia Liukin, taking Silver in a tie when she clearly won the event.

Seems an insult to the study of statistics.

Congratulations Jonathan.  It was Gold in our book!!

USA Misty May-Treanor/Kerri Walsh Olympic Beach Volleyball, Gold Over #1 Chinese

UPDATED: 21 August 2008

The US has not lost a match, or a set, in 107 straight matches.  No one can even fathom that number.  It is like trying to understand the Universe.  Billions of Stars, Hundreds of Billions of planets in our own Galaxy, hundreds of millions of life years away.  And we drive 70 miles an hour on the freeway and get speeding tickets.  Now add to that that these ladies are 460-18 since 2004.  We are talking astronomical numbers.

These women have accomplished something nearly as difficult to realize.  All the best teams in the world, from every country, out of 6 billion people, every combination of 2 women that are above average to excellent in beach volleyball in the world have tried to beat these beautiful ladies.   And you know what?  They can’t.

Misty says, “I am good, Kerri is good, but together we are GOLDEN!!”  Misty understands the primary definition of the word “team”.  It has a selfishness and pride in each other that is required to win.  It is like a successful marriage where the partners understand that they are a team and it is them against the world.  When you cannot take pride in your partner’s victories, when you start thinking of yourself above the team, you lose!

This article will be long.  The reason?  This match deserves strong coverage.  It deserves nearly a point-by-point call of each event.  We will also provide a video, but please, read the emotion this game sparked.  Our hearts were in our throats through every point.  Our effort went into every word.  And these spectacular champions are as much in every emotion we express in our words as can possibly be reflected from watching this game.

The first set, in the monsoon rains, was difficult.  Blocking was the most difficult aspect, because blocking a slippery ball is much harder than blocking a dry ball.  The wet ball does not stick to the arms, it slides through.  And that made Kerri’s job that much more difficult.  Misty will block on occasion, but blocking is Kerri’s specialty, so this had to be Misty’s match.

Misty’s mother died recently and she has spread her mother’s ashes throughout the world into the sands of her games.  She has also added a tattoo to her shoulder in honor of her mother.  Misty has undying love and commitment.  The reason she cannot be beaten is because there is no one and nothing that can beat her.  Sounds like the same thing, but it isn’t.  Think about it.

Kerri/Walsh were scary in the first set.

In the second set, they took an early lead 3-0.  But this Chinese team was tough. There was never any doubt that anything less than a 20-0 lead was over with Tian/Wang.

Sure enough, bit by bit, the Chinese tenacious play had come back to even.  How could it be?  Could Kerri and Misty be wearing down.  Certainly, it could happen.  These Chinese are butch and strong.  And they are mutants.  The tallest player is only ½ inch shorter than Kerri.  So this isn’t a matter of height.  It is a matter of talent.

It seemed like May-Treanor-Walsh had a chance to win easily by spreading the lead to 6-3.  But we already told you, these Chinese Girls have beaten the US team before.  And they have the sense of searching for blood.  They also have some tricks, but we will point that out later.

One thing you constantly notice about Kerri and Misty is how much they appreciate each other in the matches.  They can get completely outmatched and embarrassed on a point, and still, they stand up, brush themselves off, and greet each other, even on the lost point for their incredible effort.  They recognize that every point is difficult, and as a team, they earn everything, even the misses.

It is hard to understand congratulating someone for a point lost.  But it is all in the knowledge that both you and your partner did your very best to not let it be a point for the other side.  Neither of you let the other down.  It was just a point.  It happens.  That makes a team, and in this case the best Olympic Beach Volleyball team in history.

The Asians needed a timeout.   So Tian tends to fake injury.  At this juncture, down 2, the Chinese needed to slow the momentum.   This has been played before.  It is cheap, and has never been played by the greats, but it does get played by the losers.  It sometimes works to deflect the true winners momentum, but in reality, it is a cheap tactic.  The Chinese had used a similar tactic in …

In the last set, May-Treanor leads 18-17.  Tian has this forward spin to take serves. Misty bounces it up.  Kerri spike, but the Chinese do not go down easy.  And in the next volley, Misty cannot get the spike off and Tian gets off a mean block feeding it back in Misty’s face.

At Set Point 20-18, Misty Served.  The Chinese team makes a weak return and Misty returns it for an easy placement shot in the middle of the sand.

Kerri was the most valuable player in 2004.  This year it was Misty.  An that shows something that all teams should take notice of.  That is what a team is.  Both are great.  108 matches without a defeat!!

Gold America.

FIRST POST, 21 August 2008, 2:00am

Misty May-Treanor and Kerri Walsh beat the #1 ranked Chinese team for Gold!!!  Not just Gold, their second consecutive Olympic Gold!!! The first women’s team to ever get back-to-back Golds in the Olympics.

These ladies had to play in a torrential downpour against a very strong Chinese team and won their 108th match in a row.  Think about that number.  Olympic Gold is difficult, downright near impossible, but winning 108 matches in a row in World and Olympic competition?  That is insane!!!!!!

We will be back with a video and a complete play by play.  We will not let you, our readers down, on this.  Please come back.  You WILL get the absolute best coverage of this historical and super human event!!!

Misty, we love you!!  Kerri, we adore you!!  Just being on the same sand is an honor to any team.
GO USA!!!  GO USA!!!  GO USA!!!

FIRST SET



Second Set: First part

For the WIN!! Second Set, Last Part

Communism Does Not Upset Us, Chinese Cheats do! How NASDAQ Assists China As They Cheat the US in Olympics and In Business.

China not only cheated when they sent under-aged contestants into the 2008 Olympic Women’s Gymnastics competition, they repeatedly cheat against the US in many other ways.   Our politicians are afraid to turn away cheap Chinese imports, so they continually look the other way.  Some call it free trade. Certainly it is “FREE” for China, but it is very expensive for the US.

They destroy US companies and are solely responsible for their criminal activity. Other Asian countries may have somewhat similar problems, but it is primarily the Chinese that continue to tap our economy for their criminal gains.

China repeatedly allows the resale of bootlegged US Software, brand name purses and other products throughout the world. This practice devastates many US and International companies. Recently, in a trip to our local mall, a vendor was selling $10 knock-offs of sunglasses, Revo, Oakley and Ray-Ban, claiming them all to be genuine.  All made in, you guessed it, China.

Fake crocs or frocs 1Also recently, the companies CROCS and HLYS were devastated by Chinese knock-offs and the International Trade Commission did nothing as knock-offs of patented shoes were exported from China throughout the world.

When CROCS was sued because soft shoes were found to be dangerous on escalators, the Chinese companies that had robbed them of hundreds of millions in sales were nowhere to be found. They take the profits of their criminal activity, but they disappear when it comes to financial and social responsibility.

China Energy Savings Technology, Inc.

(CESV when they were traded on the NASDAQ) is another example of a Chinese disgrace. The company was marketed on the US Stock exchange. The company claimed that it had over $3.00 in cash on hand. The NASDAQ and Yahoo trusted them and published these statistics as fact showing their strong cash position and cash flow.

It was all a lie, and the NASDAQ was complicit. CESV dissolved in days as the CEO disappeared and all that cash was nowhere to be found.  The rest of the board then walked away, leaving American investors to lose hundreds of millions. What was China’s action on the matter? To market more fraudulent companies on the NASDAQ and continue to apparently endorse the fraud.  They took no specific action against the criminals that committed the fraud, nor did they make any effort to make foreign investors whole.  Lawsuits were filed, but suing a company within Communist boarders is like trying to teach a pig to talk, you waste your time and you annoy the pig.

The Chinese gymnastics team is only one small example of where China defrauds the US and the World, in some cases stealing retirement savings from legitimate investors. They have no remorse and take no remedial action to prevent the fraud as they consume our resources.

And so we trust them with the Olympics as they abuse children too.

Chinese Government Cheats At Olympics, Chinese Women’s Gymnasts Deserve Our Respect

In our Polls we have seen most people believe that China not only cheated, but that the Chinese team should be stripped of their Olympics medal. This is by a huge 5-1 margin so we have to respect our readers’ opinion.

We would like to add, however, that we humbly disagree with the people in our polls. We feel that the team members of the Chinese Women’s Gymnastics team are victims of a totalitarian government that has placed pressure on them to lie and win at all costs.

We feel that the media and the world will know the truth within months and China will be disgraced. But these girls deserve our respect for surviving in an environment in which a government rules by intimidation and lies.

Our hearts go out to them, and we wish them our best and hope they are back again to show us their best in the next Olympics. We hope China does not get excluded from the next Olympics for their illegal acts, because these girls deserved better.

US Men’s Olympic Basketball Team Makes Short Work of China…

The US basketball team started off their competition against China.  The Chinese established themselves early, letting the Americans know they should not get too complacent.  The teams in the Olympics are prepared and they are well coached.  When a team is selected from well over a billion people, you have to respect their ability.

The US led 20-16 after the first, but the Chinese nailed a three pointer at the start of the second period.  The challengers in red were serious contenders here.   And they were keeping it close.  As you know, the US lost in 2004 despite bringing power-house players and only managed the bronze.  That loss was bitter, but it demonstrates that individual talent does not make a basketball team.  One can observe this in the All-Star games.  You get to see your favorite star, but typically not much of a ball game.

It looked like the energy on the Chinese team was about to wane, but then they nailed another three pointer and kept it within reach.  Henry Kissinger was in attendance in body, but not in spirit; the man was clearly snoozing, not cheering.  Even the elder Bush looked challenged to stay awake.

The US team started getting aggressive, but they could not sink baskets, and gave China the opportunity to catch up.   China was shooting 7/11 from the perimeter.  The US tried a three pointer, and missed again,  netting them a catastrophic 1/10 from behind the 3 point line.  You can’t do that in international basketball and not get challenged…or beaten.

They tell us that the referees can be horrendous in these games.  The reason, they come from different countries and this often presents language barriers.   In addition, there are subtle differentiations in the rules from nation to nation, which can lead to confusion on the court.  But so far, their calls were looking as good as most US officiating, and this Chinese team was still within 2.

Kobe then reminded us what greatness is about.  The US stole the ball and fed it up to Kobe against two Chinese defenders.  Kobe stuffed it between the two as they looked totally helpless to stop him.

The US kept on letting the three point shooters from China nail basket after basket.  While the US could only muster one 3 point shot, China had delivered 9!!  That added up to 27 points of China’s 32 points.

As the US tried to come back, Kobe missed another 3, putting the Americans in a sad position.  The US was 1 out of 11 outside the three-point line.  They have to learn, blocking a 3 pointer by the opposing team is just as good as getting one.  If you are going to depend on going to the basket to win, you cannot allow teams that focus on the 3-pointer to get shot after shot uncontested.

Yao Ming is a freak of nature.  At 7’6″ he towers above the US players.  One has to wonder how the Chinese, that average between 5’5″ and 5’7″ in height could deliver such a monster to the games!  But there are well over a billion Chinese, so anything becomes statistically possible.

The US continued to do what they do best.  Driving to the basket and drawing the foul.  Lebron James nailed the basket, but missed the chance to make it a three.

Now the rebounds and drives to the basket started to pay off.  The US generated a 16-3 run taking a commanding 13-point lead as the Chinese looked totally dismayed.  3 pointers aren’t going to win all by their lonesome, so perhaps the coaches for the US were right after all.  Just let the Chinese have all the 3s they want, but control the rebounds and the inside and let the game come to you.

The rest of the half was rather mundane, with the US ending up by 12 at 49-37.

The Chinese love basketball, and are great fans of the US teams.  The popularity of the game could result in as many as 800,000 basketball courts in the China by the end of this year, and there are still players waiting an hour or more to get into a pickup game.  They aren’t our equal in basketball yet, but their numbers are scary.

The US drew first blood in the second period as Kobe faked a 3 and drove to the basket.  He had China flatfooted on that move and the US went up by 14.

The US domination was on the 2.  They were only one for thirteen outside the 3 point line.  In reality though, if you control the inside, you control the game.  That was apparently the US strategy, and heaven forbid they start hitting a few of those 3s.

The US started getting lazy in the 3rd letting the Chinese get multiple offensive rebounds, but the Chinese started missing their shots.  Missed shot after missed shot by the Chinese led to a 16 point lead for the US, a cushion that was not going to be overcome.

The US was demonstrating they were unselfish here.  They looked like a team playing tenacious defense, wearing China down.  Fast line changes and US speed were starting to make the Chinese team look a bit foolish.  And then, James hit a 3 to take the US up 18.

It appeared that, as the game went on, China was getting more and more tired as the US team was just warming up.  Maybe the US should play a pick-up game to warm up before the actual game!!  They weren’t even looking slightly fatigued after almost three periods, so their strength is in their stamina and heart.

The Chinese started fouling ugly and the US started hitting free throw after free throw.  Chris Bosh was fouled, but only put down one out of two.  Even with that the US led by 21.  And the Chinese started to get humiliated.  Steals, easy baskets, and the US started to show that the Chinese were dramatically over-matched.  US by 24.

Another steal by Wade that leads to an easy stuff and the US margin expands to 26!  The Chinese could not find the basket anymore.  This game belonged to the US the rest of the way.

The 4th was no different, calling it play by play would just take up unnecessary space.  The Chinese were humiliated 101-68.  Over a 40 point margin!!  The US all-star squad demonstrated that the criticism of their ability to play as a team is vastly overdone.  They are a team and hopefully US Champions on their way to the GOLD!



Americans Silver In 4x100M Free Relay for the Women! Men’s Water Polo Team Douses China

Dara Torres of the US team debuts in this Olympics!! Team China was the top qualifier!!

Torres is now 24 years in the Olympics!! A repeating champion and a hero of everyone in the US.

Current world record holders are the Netherlands, and believe it or not, despite holding the record they are NOT the favorites!

The US took the lead early, but this race was tight. Germany took the lead on the 2nd lap. Lacey Nymyer takes the second leg behind, and cannot come back. The US is falling behind. If it stays like this, they will not medal.

Germany is still in the lead as they enter the next to last leg. But the Netherlands break to first place. The US is coming on strong, so now the they are starting to shine!

The Netherlands were in the lead in the last race and they are there now. This was now down to the US and the Netherlands. But the Netherlands swimmer for the final leg had a strong lead. Torres could not take back the lead on the final leg from the Netherlands, the US takes the silver and it is a new Olympic record for the Dutch.

US Medals again!

A Great Kick off

The Men’s USA Water polo team, almost all from the state of California, except for Brandon Brooks from Honolulu, easily disposed of China.  The game started off with the USA taking a 3 goal lead and looking unstoppable, but China had a sudden rally and within a period tied the score.

The remainder of the game easily favored the USA team as they spread their lead to 7-4.  To punctuate the game, Jesse Smith of Coronado CA put the final nail in the coffin with 30 seconds left in the 4th quarter and the USA took the game 8-4.

The USA is only ranked 9th in the world, but won a silver medal in the 2008 FINA World League Super Final in Genoa, Italy and, on May 31, beat number one ranked Croatia.

In this game, they showed their dominance, but there are much tougher teams down the road.