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16 Surprising Facts About Boyz N the Hood

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“One out of every 21 Black American males will be murdered in their lifetime. Most will die at the hands of another Black male.”

That’s the statistic that set the tone for audiences as they entered theaters 25 years ago today to see Boyz N the Hood, a film that took its title and one of its leads (Ice Cube) from the rap group N.W.A.

The film marked the feature directorial debut of John Singleton, who was just 23 years old at the time. With its raw story of life in South Central Los Angeles, the film shook the country and shocked the world with its unrelenting depictions of violence and poverty.

The cast of unknowns went on to become a who’s who of talented actors and actresses, and the film is now considered an undisputed classic that changed how stories were told on film, not just for “Black movies,” but for all of cinema.

1. THE STORY IS LARGELY AUTOBIOGRAPHICAL.

When writing the script, John Singleton (then 21 years old) pulled from his own life growing up in Los Angeles. The main character, Tre (played by Cuba Gooding Jr.), is sent to live with his father across town while his mother works and goes to school, which is the situation Singleton found himself in as a child. He has stated in interviews and in DVD commentary that several elements from his real life made it into the script and film, from the blocks where he used to live to the elementary school that he attended and even a few specific events, including the time his father shot at a fleeing burglar. “It was kind of cathartic," Singleton said. "This movie was my way of kind of getting out of the ghetto as a person.”

2. SINGLETON WAS OFFERED $100,000 TO WALK AWAY.

While pitching the script to different companies, Singleton refused to give out copies unless someone was willing to make a deal where he would get to direct the film, even though he had no prior feature film directing experience. Columbia Pictures expressed interest in buying the film, and during a meeting Singleton was offered $100,000 to let a more experienced director take over the project. “I said, ‘Well, we’ll have to end this meeting right now, because I’m doing this movie. This is the movie I was born to make,'" Singleton recalled in the documentary Friendly Fire: Making of an Urban Legend. Columbia’s response was to give Singleton the green light and $6 million to make the movie.

3. IT WAS TECHNICALLY A BIGGER HIT THAN TERMINATOR 2.

In the fight for box office dollars, there was no competition between Terminator 2: Judgment Day and Boyz N the Hood in 1991. The former raked in nearly $205 million domestically, while Singleton’s film only made around $58 million. But numbers can be deceiving: Terminator 2 cost $102 million to make, or just under half of what it pulled in, while Boyz N the Hood only cost $6 million to make. According to EbonyTerminator 2 had a much wider theatrical release, but Boyz N the Hood made more money per screen.

4. THE FILM OWES A LOT TO SPIKE LEE.

Singleton was inspired and motivated by Spike Lee, though not in an entirely positive way. He says that hiring Black people to work in front of and behind the camera was one thing he took from the director, but his motivation to make films like Boyz N the Hood came after Lee—who he looked up to—didn't hire him as a production assistant on Do the Right Thing. “When they didn’t I was like ‘F*ck Spike Lee, I’ma do my own sh*t. I’ma make a West Coast movie,'" Singleton said during a panel discussion at the 2011 LA Film Fest. It was after seeing Lee’s Oscar-nominated film in theaters that Singleton began writing his own script.

5. ICE CUBE AND LAURENCE FISHBURNE WERE SHOO-INS.

Many of the film's lead actors are respected actors today with impressive resumés but, like Singleton, many of them were unknown at the time, which was by design. In Friendly Fire, Singleton said that he told casting director Jaki Brown that he “didn’t want to see anybody that you’ve seen in any other movie before.” Laurence Fishburne had had several small roles in films like The Color Purple and A Nightmare on Elm Street 3: Dream Warriors, but his real break was playing a supporting character for nine episodes of Pee Wee’s Playhouse, where a 19-year-old Singleton worked as a security guard. He told Fishburne then that he would someday write a movie and have him in it.

Singleton also knew that he wanted Ice Cube to play the role of Doughboy, but he had to work for two years to convince the rapper to take the job. “I was really engulfed in my music,” Cube said in 2011, “but I had seen Ice-T do New Jack City and Kid ‘n Play do House Party, so I was like, ‘OK, it’s time for us rappers to make movies now’ ... but I hadn't read the script or memorized the lines, so I kept f*cking up. It was just terrible.”

Despite a bad audition, Singleton was in Ice Cube’s corner because he believed in the rapper’s ability (and because it worked with his vision). He told him to go read the script and to come back the next day, but warned him that he had to be good or they would find someone else. Cube realized that the movie was really “about how we grew up,” and was able to successfully tap into the character.

6. STACEY DASH WAS ALMOST TRE’S LOVE INTEREST.


The role of Brandi launched Nia Long’s career as an actress, but she wasn’t the only person to read for the part. Brent Rollins—a college friend of Singleton’s and the designer of the film’s logo—wrote about how he was there when Stacey Dash auditioned. A few years later she became well known as Dionne in the very different LA-centric film, Clueless.

Cuba Gooding Jr. said that there were other familiar faces there at the time of his audition, including Shemar Moore and the Wayans Brothers, but he did not say which roles they were reading for.

7. THE FILM INCLUDES HOMAGES TO STAND BY ME.


In an interview with Jog Road Productions, producer Steve Nicolaides revealed that Singleton wanted him to produce the film because of his previous work on one of Singleton’s favorite films, Rob Reiner's Stand By Me. Reiner picked up on Singleton’s choice to mimic a fade out effect on one of the main characters at the end of the film. “It was an homage,” Nicolaides told Reiner during the making of A Few Good Men. “I mean, the fat kid wears a striped shirt in it, too.”

Another element that the films share is the invitation to “see a dead body.” Singleton says that he hadn’t actually seen a dead body growing up.

8. THERE’S A SLIGHT DISS AIMED AT N.W.A.

By the time he was cast in the film, Ice Cube had already left the rap group N.W.A because of issues with royalties and his interest in pursuing a solo career. There was some bad blood between Cube and his former bandmates, so Singleton decided to throw in an inside joke, which he revealed in the DVD commentary. He had the rapper bring old Eazy-E shirts to the set, and in one scene a crack addict wearing one of the shirts runs by and tries to steal the character Dooky’s gold chain, but he is caught and swiftly punished.

The real Eazy-E would later tell SPIN magazine that Boyz N the Hood reminded him of a “Monday after school special with cussin’,” adding that Ice Cube was only being used to sell the film.

9. SHOOTING ON LOCATION HAD SOME OF THE CREW ON EDGE.

All of Boyz N the Hood was shot in the houses and on the streets of South Central. Even though Singleton and others in the cast and crew called the neighborhood home, filming there was a bit more unpredictable than filming on closed sets. “The set was about 10 blocks from my house,” Nia Long said. “I could have walked, except that probably wouldn’t have been the safest thing to do.” Cuba Gooding Jr. said that there were fistfights and threats everyday, and Singleton said in his commentary that after an altercation, there was a threat of gun violence by local gang members. The film crew requested that a van be parked behind them while filming so that if a drive-by did happen, they would be safe.

Singleton used the dangers of the neighborhood to ramp up tensions. In one scene, the characters are supposed to react to rapid gunfire on a crowded Crenshaw Boulevard, but Singleton did not tell them when it was coming. The only direction he gave was for Ice Cube to drive off in his 1964 Chevy Impala when he heard the shots. In his commentary, the director said that genuine reactions to the noise are what created the perfect chaos on screen, with characters running, ducking, and falling over each other.

10. EVERYONE COULD FEEL THE EMOTION IN THE SCRIPT.

In his commentary, Singleton admitted that he cried while writing Doughboy’s monologue for the end of the film, which includes the iconic line “either they don’t know, don’t show, or don’t care about what’s going on in the ‘hood.” Cube has said that the scenes where he is supposed to cry were the hardest for him because he was used to burying his feelings. Gooding was not as composed. He once punched a hole in a wall during an emotional day and the crew had him sign it. In the DVD documentary, Fishburne said that he cried while reading the script, and Long said that after filming the scene where Tre punches at the air in frustration, she left the set to cry outside.

11. THE MOST ICONIC SCENE WAS THE MOST DIFFICULT FOR MORRIS CHESTNUT.

Morris Chestnut said that his first film role is the one that he is recognized most often for, and it’s all thanks to the alley scene. Dropping your milk and scratch-offs and trying to run from a shotgun blast (in slow motion) sounds difficult enough, but Chestnut said in an interview with The Huffington Post that the technical side of the scene required more focus than the acting. “The stunt coordinator was telling me ‘Listen, when you run, make sure you keep your head up.’ Because if you put you head down, those [squibs] could explode in your face ... so I was very nervous.”

12. IT BOOSTED SALES FOR MALT LIQUOR BRANDS.

Hip hop has a long and complicated history with the alcohol and tobacco industries. Showing characters drinking 40-ounce bottles on screen, though a reflection of real life, caused sales to skyrocket. A Los Angeles-based distributor of St. Ides was forced to ration his stock following the film’s release because of increased demand.

Ice Cube was a spokesperson for the malt liquor until the brand came under pressure for controversial ad campaigns in late 1991. According to David J. Leonard in the book Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture, Volume 2, Cube had become “increasingly uncomfortable” with promoting the beverage, and having Doughboy pour it out at the end of the film was “not just about the character paying respect to the dead but reflects Cube’s own desire to wash his hands of his relationship with Ides and the advertising industry’s exploitation of hip hop.”

13. BOYZ N THE HOOD TOOK THE CANNES FILM FESTIVAL BY STORM.

Those involved in the making of the film knew how special it was, but they were not sure how it would translate culturally (and with subtitles) to the Cannes audience, which was far removed from the streets of South Central Los Angeles. According to Nicolaides, the response was overwhelming. “Lights go down, the movie plays out, the movie’s over, lights go up ... I look up and people are hanging off the balcony trying to get John’s attention to say how great it was. The whole Mount Rushmore of Black artists and filmmakers is on their feet ... Roger Ebert is crying his eyes out. It was one of those.”

The Los Angeles Times reported that the standing ovation lasted for 20 minutes.

14. LIFE IMITATED ART IMITATING LIFE WHEN THE FILM OPENED IN THEATERS.

As was the case with New Jack City four months prior, Boyz N the Hood was met with some backlash after some incidents of violence at theaters were reported as being related to the film. In the DVD documentary, Singleton said that he left one showing just before alleged gang violence erupted (he personally witnessed a potential conflict between Crips and Bloods and tried to have security intervene), but he maintained that neither he nor the film were to blame because it was a reflection of real life.

According to a Newsweek article published that summer, around 21 theaters pulled the film after “opening-night violence left two moviegoers dead and more than 30 injured.” A story in JET magazine cited film critic Roger Ebert as saying that actor Mickey Rourke blamed “malicious directors like Spike Lee and John Singleton” for instigating the Los Angeles riots. “It wasn't the film,” Singleton told Newsweek. “It was the fact that a whole generation [of black men] doesn't respect themselves, which makes it easier for them to shoot each other. This is a generation of kids who don't have father figures. They're looking for their manhood, and they get a gun. The more of those people that get together, the higher the potential for violence.”

The director went on to call the pulling of the film from theaters “artistic racism,” adding that fights happen all the time, but “because my film has a black cast, it gets pulled—just like that.”

15. THE PRESIDENT RESPECTED THE FILM’S REALISM.

In a 1993 interview with Rolling Stone, then-President Bill Clinton was asked about comments that the attorney general had made about violence on television, and whether or not the government was granted the power by the Constitution to restrict what viewers saw. In his response, Clinton referenced Boyz N the Hood and shared his thoughts on the film:

“I do believe that the people who are making the films and the shows are just reflecting what they think the consumers want and what they think is really going on in society. I understand that. But because that is what is in fact going on in society, there's a synergy that is destructive ... There is a synergy, and I don't think we can avoid that fact. The best thing is for us to ask ourselves what can be done to break the link without muzzling the creators. For example, I watched Boyz n the Hood very carefully. While it was very violent, it had no romance about the violence. That is a movie I would've wanted a lot of elementary-age kids in the inner city to see, because there was no romance. It was a mean, ugly, sad, heartbreaking tale of basically good kids who wanted to have a decent life who had it taken away from them.”

16. IT HAS BEEN RECOGNIZED BY THE LIBRARY OF CONGRESS.

In 2002, Boyz N the Hood was entered into the National Film Registry of the Library of Congress, a program established in 1989 as a way to preserve films deemed important enough to be kept for future generations. Only 25 films are chosen each year. “I was honored ... that means that it’s one of those things that goes far beyond my life,” Singleton told BlackTree TV. Stephanie Allain, who was an executive at Columbia Pictures at the time, added that they had the opportunity to present the film to the Congressional Black Caucus. “That was very special ... to have lawmakers watching the movie, that’s the stuff of dreams. That means you’re doing something really, really well.”

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11 Secrets of Bodyguards
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When CEOs, celebrities, and the extremely wealthy need personal protection, they call in men and women with a particular set of skills. Bodyguards provide a physical barrier against anyone wishing their clients harm, but there’s a lot more to the job—and a lot that people misunderstand about the profession. To get a better idea of what it takes to protect others, Mental Floss spoke with several veteran security experts. Here’s what they told us about being in the business of guaranteeing safety.

1. BIGGER ISN’T ALWAYS BETTER.

When working crowd control or trying to corral legions of screaming teenagers, having a massive physical presence comes in handy. But not all "close protection specialists" need to be the size of a professional wrestler. “It really depends on the client,” says Anton Kalaydjian, the founder of Guardian Professional Security in Florida and former head of security for 50 Cent. “It’s kind of like shopping for a car. Sometimes they want a big SUV and sometimes they want something that doesn’t stick out at all. There’s a need for a regular-looking guy in clothes without an earpiece, not a monster.”

2. GUNS (AND FISTS) ARE PRETTY MUCH USELESS.

An armed bodyguard pulls a gun out of a holster
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Depending on the environment—protecting a musician at a concert is different from transporting the reviled CEO of a pharmaceutical company—bodyguards may or may not come armed. According to Kent Moyer, president and CEO of World Protection Group and a former bodyguard for Playboy founder Hugh Hefner, resorting to gunplay means the security expert has pretty much already failed. “People don’t understand this is not a business where we fight or draw guns,” Moyer says. “We’re trained to cover and evacuate and get out of harm’s way. The goal is no use of force.” If a guard needs to draw a gun to respond to a gun, Moyer says he’s already behind. “If I fight, I failed. If I draw a gun, I failed.”

3. SOMETIMES THEY’RE HIRED TO PROTECT EMPLOYERS FROM EMPLOYEES.

A security guard stands by a door
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Workplace violence has raised red flags for companies who fear retribution during layoffs. Alan Schissel, a former New York City police sergeant and founder of Integrated Security, says he dispatches guards for what he calls “hostile work termination” appointments. “We get a lot of requests to provide armed security in a discreet manner while somebody is being fired,” he says. “They want to be sure the individual doesn’t come back and retaliate.”

4. SOME OF THEM LOVE TMZ.

For protection specialists who take on celebrity clients, news and gossip site TMZ.com can prove to be a valuable resource. “I love TMZ,” Moyer says. “It’s a treasure trove for me to see who has problems with bodyguards or who got arrested.” Such news is great for client leads. Moyer also thinks the site’s highly organized squad of photographers can be a good training scenario for protection drills. “You can look at paparazzi as a threat, even though they’re not, and think about how you’d navigate it.” Plus, having cameras at a location before a celebrity shows up can sometimes highlight information leaks in their operation: If photographers have advance notice, Moyer says, then security needs to be tightened up.

5. THEY DON’T LIVE THE LIFE YOU THINK THEY DO.

A bodyguard stands next to a client
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Because guards are often seen within arm’s reach of a celebrity, some think they must be having the same experiences. Not so. “A big misconception is that we’re living the same life as celebrities do,” Kalaydjian says. “Yes, we’re on a private jet sometimes, but we’re not enjoying the amenities. We might live in their house, but we’re not enjoying their pool. You stay to yourself, make your rounds.” Guards that get wrapped up in a fast-paced lifestyle don’t tend to last long, he says.

6. SOMETIMES THEY’RE JUST THERE FOR SHOW.

For some, being surrounded by a squad of serious-looking people isn’t a matter of necessity. It’s a measure of status on the level of an expensive watch or a fast car. Firms will sometimes get calls from people looking for a way to get noticed by hiring a fleet of guards when there's no threat involved. “It’s a luxury amenity,” Schissel says. “It’s more of a ‘Look at me, look at them’ thing,” agrees Moyer. “There’s no actual threat. It’s about the show. I turn those down. We do real protection.”

7. THEY CAN MAKE THEIR CLIENT'S DAY MORE EFFICIENT.

A bodyguard escorts a client through a group of photographers
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Because guards will scope out destinations in advance, they often know exactly how to enter and exit locations without fumbling for directions or dealing with site security. That’s why, according to Moyer, CEOs and celebrities can actually get more done during a work day. “If I’m taking you to Warner Bros., I know which gate to go in, I’ve got credentials ahead of time, and I know where the bathrooms are.” Doing more in a day means more money—which means a return on the security investment.

8. “BUDDYGUARDS” ARE A PROBLEM.

When evaluating whether or not to take on a new employee, Kalaydjian weeds out anyone looking to share in a client’s fame. “I’ve seen guys doing things they shouldn’t,” he says. “They’re doing it to be seen.” Bodyguards posting pictures of themselves with clients on social media is a career-killer: No one in the industry will take a “buddyguard” seriously. Kalaydjian recalls the one time he smirked during a 12-year-stint guarding the same client, something so rare his employer commented on it. “It’s just not the side you portray on duty.”

9. SOCIAL MEDIA MAKES THEIR JOB HARDER.

A bodyguard stands next to a client
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High-profile celebrities maintain their visibility by engaging their social media users, which often means posting about their travels and events. For fans, it can provide an interesting perspective into their routine. For someone wishing them harm, it’s a road map. “Sometimes they won’t even tell me, and I’ll see on Snapchat they’ll be at a mall at 2 p.m.,” Kalaydjian says. “I wouldn’t have known otherwise.”

10. NOT EVERY CELEBRITY IS PAYING FOR THEIR OWN PROTECTION.

The next time you see a performer surrounded by looming personal protection staff, don’t assume he or she is footing the bill. “A lot of celebrities can’t afford full-time protection,” Moyer says, referring to the around-the-clock supervision his agency and others provide. “Sometimes, it’s the movie or TV show they’re doing that’s paying for it. Once the show is over, they no longer have it, or start getting the minimum.”

11. THEY DON’T LIKE BEING CALLED “BODYGUARDS.”

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Few bodyguards will actually refer to themselves as bodyguards. Moyer prefers executive protection agents, because, he says, bodyguard tends to carry a negative connotation of big, unskilled men. “There is a big group of dysfunctional people with no formal training who should not be in the industry,” he says. Sometimes, a former childhood friend can become “security,” a role they’re not likely to be qualified for. Moyer and other firms have specialized training courses, with Moyer's taking cues from Secret Service protocols. But Moyer also cautions that agencies enlisting hyper-driven combat specialists like Navy SEALs or SWAT team members aren't the answer, either. “SEALs like to engage and fight, destroying the bad guy. Our goal is, we don’t want to be in the same room as the bad guy.”

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9 Wild Moments from Winter Olympics History
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With the Pyeongchang Olympics nearing their final weekend in South Korea, we thought we'd take a look back at some of the wildest and most unpredictable moments of Winter Games past.

1. AUSTRALIA WINS ITS FIRST WINTER GOLD MEDAL WHEN SPEED SKATER WAITS FOR HIS COMPETITORS TO FALL DOWN

Knowing he was overmatched by his fellow athletes during the 1000 Meter Short Track Speed Skating competition at the 2002 Salt Lake City Olympics, Australian Steven Bradbury devised a strategy of waiting in the back of the pack on the off chance that his competitors might trip up. Amazingly, the strategy worked when a disqualification in the quarterfinals got him through to the semis and a crash sent him to the finals.

In the final, favorite Apollo Anton Ohno and the three other competing skaters collided in an epic crash; the trailing Bradbury was close enough to the pack to cross the finish line before any of the fallen skaters, becoming Australia's first gold medalist in the Winter Olympics.

2. ALPINE SKIER HERMANN MAIER FLIES OFF THE COURSE AT 70 MPH, GETS UP AND WALKS AWAY

In downhill alpine skiing, skiers travel at extremely high velocities (typically 60 to 85 miles per hour) down courses that closely follow the mountain's fall line.

In 1998, Nagano Olympics race officials were worried about the downhill course—specifically, a steep angle between the 6th and 7th gates. They altered this portion but the section still posed a danger.

Austrian Hermann Maier finished first in the World Cup standings before the Olympics but had a reputation for recklessness within the skiing circuit—in fact, according to Olympic historian David Wallechinsky, “caution was not a word in Maier's vocabulary." Maier didn't slow down before the aforementioned dangerous turn in Nagano and went flying off the course at 70 miles per hour, tumbling to a halt some 50 meters away. In a sport where injuries—and even deaths—aren't unheard of, Maier shocked TV audiences by getting up and walking away with nothing more than a bruised shoulder.

Benefiting from a 24-hour weather delay on his next event, the Super-G, Maier used the extra rest to get back in full form and took home the gold. He also came in first in the Giant Slalom three days later.

3. WOMEN CHEAT BY HEATING UP THEIR SLEDS


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There have been a limited number of cases of cheating in the Winter Olympics (far fewer than in the Summer Olympics), but that doesn't mean it’s an impossibility. Just ask Ortrun Enderlein.

Enderlein, the defending luge champion, and her two East German teammates aroused suspicion by showing up just before their runs and leaving the scene hastily after. Enderlein won gold and her teammates placed 3rd and 4th, but upon closer inspection, it was discovered that their sleds had been heated immediately before the races, which reduced friction with the ice and resulted in faster times. The three were disqualified and the East German Olympic Committee blamed the affair on a "capitalist revanchist plot.”

4. SKI JUMPER RALLIES NATIONAL PRIDE BY FINISHING LAST

English plasterer Michael Edwards traveled to Lake Placid, New York two years before the 1988 Calgary Olympics to fulfill his dream of making the event as a downhill skier. When money ran short, he decided to switch to ski jumping because it was significantly cheaper and there would be no competition at the national trials. Edwards became the first Olympic ski jumper in British history, but was far below the standards of the rest of the field.

Edwards crashed at the World Championships the year before the '88 Games and was ridiculed by the international press, who dubbed him “Mr. Magoo” due to his thick-rimmed glasses and heavy frame.

To the British, however, Edwards became a great source of fascination, which turned into a full-fledged national craze as he became the first Olympic ski jumper in the country's history and successfully landed his attempt at the Calgary Games. Although he didn't even score half the total points of any other competitor, he earned admiration worldwide and was given the nickname "Eddie the Eagle" by the President of the International Olympic Committee during the closing ceremony.

Sadly, many others in the Olympic community did not take him seriously, and they raised the qualifying standards to prevent Edwards from participating in the future. This didn't stop him from trying, but he failed to qualify on three successive occasions. Today, Edwards still plasters for a living and estimates that 70 percent of his income comes from speaking engagements.

In 2016, Eddie the Eagle, a biopic about Edwards’s life featuring Hugh Jackman (not playing Edwards), was released in theaters.

5. GOLD MEDALIST IN OLYMPICS' INAUGURAL SNOWBOARDING COMPETITION GETS BUSTED FOR MARIJUANA

At the 1998 Nagano Games, snowboarding was introduced in an effort to make the Olympics more appealing to a younger audience. Still, there was some trepidation about the perceived rambunctious lifestyle of the snowboarding community and how it would fit in with the formality of the Olympics.

Nothing better illustrated this clash of values than when Canadian Ross Rebagliati became the inaugural winner in the Parallel Giant Slalom and was promptly stripped of his medal three days after the event for testing positive for marijuana.

Rebagliati claimed to have ingested it second-hand at a party and the Canadian Olympic delegation successfully appealed the IOC's decision on the basis that marijuana isn't a performance-enhancing drug. He got his medal back before the Games ended.

Today, 20 years after the controversy, Rebagliati has moved on from his snowboarding past and is trying his hand at entrepreneurism: he’s the founder of Ross’ Gold, a cannabis business.

6. NANCY KERRIGAN VS. TONYA HARDING


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Tonya Harding was an ice skating prodigy from a broken home who ascended to the world stage in the early '90s. As her financial security and world ranking started to decline in the months leading up to the Olympics, Harding became frustrated and directed her anger at fellow American Nancy Kerrigan, who was ascending in the world standings and landing lucrative commercial endorsements.

Harding's on-again-off-again husband Jeff Gillooly conspired with two other men to attack and injure Kerrigan before the 1994 Olympics. They carried out the hit after Kerrigan's practice skate before the U.S. Figure Skating Championships in Detroit. Shane Stant, Gillooly's hired man, hit Kerrigan on the knee with a police baton as she was talking to a reporter in a stadium hallway. He escaped by diving through a plexiglass door before running to a getaway car.

The attack resulted in a bruise, but because there was no bone or ligament damage, Kerrigan was able to perform and was selected (along with Harding, who was under investigation for the attack) for the U.S. Olympic team. At the Lillehammer Games, Kerrigan famously skated to a silver medal after terrific back-to-back performances while Harding, disgraced, finished in eighth place. Harding's life, and the scandal surrounding her competition with Kerrigan, has been turned into the Oscar-nominated film, I, Tonya.

According to Olympic Historian David Wallechinsky, when CBS executives thanked their staff in Norway for the great ratings (the figure skating finals were the one of the most watched events in television history at the time), a CBS employee wrote back: "Don't thank us. Thank Tonya."

7. TWO AMERICAN HOCKEY TEAMS ARE SENT TO THE OLYMPICS, BOTH ARE DISQUALIFIED


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Controversy erupted before the 1948 Olympic Games in St. Moritz over whether the American Hockey Association or the Amateur Athletic Union was the chief governing authority for hockey in the United States. American Olympic Committee President Avery Brundage refused to sanction the AHA because of their commercial sponsorships, but the International Ice Hockey Federation officially ruled that the AAU was to be replaced by the AHA.

Amid the confusion, both teams made their way to St. Moritz to compete. Before they were set to march in the Opening Ceremony, the Swiss Olympic Organizing Committee banned the AAU. Because they were favored by Brundage, though, the AAU team got the honor of representing the U.S. in the opening ceremony, while the AHA team—which was actually allowed to compete by the organizing committee—had to sit in the stands.

8. LUGE TRACK WITH A HISTORY OF FATAL ACCIDENTS SELECTED AS SITE OF INAUGURAL LUGE COMPETITION


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Luge racers regularly hit speeds of over 95 miles per hour, meaning that even the smallest shift in body position can easily result in catastrophe. This was evident before the 2010 Vancouver Games, when Georgian luger Nodar Kumaritashvili careened off the track during a training run and died of his injuries.

It was an eerie replay of the luge's first-ever appearance at the Olympic Games. Two weeks before the Innsbruck Games in 1964, Kazimierz Kay-Skrzypecki, a British RAF pilot who was inexperienced in the sport, flew off the track and died during a training run. Additionally, a German doubles luge team was injured on the track in a separate accident. The track had had several fatal accidents when it opened decades before, and although it was modified thereafter, Olympic participants had to lobby for further safety precautions to reduce some of the danger.

9. FRENCH JUDGE CONFESSES TO THROWING THE COMPETITION


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The pairs figure skating competition at the 2002 Salt Lake City Olympics resulted in a massive scandal that gave wind to the long-standing notion that figure skating judges can be swayed. Russian competitors Yelena Berezhnaya and Anton Sikharulidze made noticeable errors in their long program, while Canadians Jamie Salé and David Pelletier performed a flawless routine that had the crowd chanting "Six! Six! Six!"

When the judges ruled 5-4 in favor of the Russians and loud boos rang from the arena, the Canadian Olympic officials filed a protest. Protests filed by the losing party have become relatively common in the Olympics and the exercise is often a symbolic and ultimately fruitless gesture. But in this case, some dirt actually turned up.

In the subsequent investigation, it was revealed that the swing vote, French judge Marie-Rene Le Gougne, was up for a seat on the International Skating Union's powerful technical committee, and reports surfaced that she confided to a British referee a few days earlier that she had been pressured by her own national committee to throw her vote for the Russian pairs.

Le Gougne changed her story a few days later in an effort to save face, but her contradictory statements only exacerbated the coverage into a full-blown media frenzy dubbed “skate-gate.” In the end, Le Gougne was suspended for three years, the Canadians were awarded a second pair of gold medals, and the sport underwent reform with judges' scores being kept secret and chosen at random.

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