Justice Comes With The Crack of a Whip: Taking off the mask once again

l_cf11f2fa084e4701b57dd59b09cb8c40I know that especially lately, each new movie that comes out; I have had grand things to say about them which weaves back through my life to points of origin that are not only sentimental, but deliberately placed there by the important people in my life who raised me.  Part of being alive as opposed to half-dead or socially subdued is that you feel things.  And I feel things, lots of things—because I have never turned my mind off to the world. I love movies, I love music, I love visiting places, I love food, I love family, I love books, I love comic books, but probably more than anything in my life besides family, I love bullwhips, and I was elated to discover recently that one of the great whip makers with ties to Western Stage Props had made three bullwhips for the upcoming Disney film The Lone Ranger.  I was happy to hear that Joe Strain from his business The Northern Whip Company had supplied the whips for the grand revisit to the Old West by The Lone Ranger because it would not only help my friends in the bullwhip industry who make large parts of their livings off sharing their unique skills with the public, but that the modern makers of The Lone Ranger were going to pay tribute to the use of the whip in the classic stories that took place from the 1930s to the late 1950s.  Not only would the new Lone Ranger from Disney pay direct tribute to the classic silver bullet mythology, the tenacious horse named “Silver,” the “William Tell Overture,” a very ambitious rendition of Tonto played by Johnny Depp, but they were even going to put a few whip scenes in the film, which used to be a standard in westerns.

I watched every television episode of The Lone Ranger at some point of my life at least once.  I used to watch it with my grandfather when I was a very small child.  CLICK HERE FOR MORE.   When I was a kid it was a combination of The Lone Ranger, Disney’s Zorro, John Wayne westerns, and Clint Eastwood westerns that I watched with my family as entertainment before there was ever a Star Wars, or an Indiana Jones.  In most of those old westerns, a bullwhip was the secondary weapon of choice on many occasions.  So I grew up with a tremendous reverence for the bullwhip as have many of my friends from the bullwhip world who are seen scattered throughout this article in videos of their own displaying their love of a uniquely American art form.  In fact the only place in the world where the bullwhip holds even more reverence than in America is in Australia.  It is there that the whip maker who made the two whips seen hanging from my holsters in the picture above resides–Terry Jacka.

I know a lot of great whip makers in America, but I have a particular fondness for Terry Jacka’s whips.  In them he has put his 35 plus years of work into works of art that are extremely responsive, and very, very accurate.  They are among my two most valuable possessions in the entire world and are almost always with me no matter where I go.  When I travel, I travel with them.  When I stay at a hotel in some faraway land, the whips go with me, and I practice with them.  Without them, I feel incomplete.  And the most fulfilled that I feel each year is when I get to participate in the annual Annie Oakley Festival put on by my friend Gery Deer, because I get to wear my favorite Terry Jacka whips around everywhere I go for the day in public without it causing any kind of trouble.  CLICK HERE TO REVIEW.  You can learn more about Terry and his Australian Whip Company at the link below.


In the typical Lone Ranger stories, the hero Texas Ranger Reid is gunned down with a group of fellow Rangers and left for dead by a group of thugs who wish to inject crony capitalism into their local business operations.  (Do not confuse this with pure capitalism which I support adamantly)  To do so, they gun down the legitimate law so that they can make easy prey of the people they wish to exploit.  It’s a classic theme that can be seen in virtually every western made and no matter how many hundreds of westerns I have seen, I never tire of the message.  It is a theme I resurrected in my novel The Symposium of Justice in 2004 which essentially was a modern western set in the current time, and featured the marketing slogan “Justice Comes with the Crack of a Whip.”  I enjoyed tremendously the opportunities writing that novel gave me, the ability to do some stunt work for the World Stunt Association, make public appearances, and even do some consulting work in feature films, CLICK HERE TO REVIEW.  I understood why my bullwhip friends enjoyed traveling the country doing tricks for audiences and performing in large shows.  But from 2007 to 2009 I was getting the overwhelming feeling that something of a real Lone Ranger was needed in the actual world and I wasn’t quite sure how to go about it.  As I looked around at the diminishing crowds at some of the western events I attended and my friends with their commitment to traditional western arts were looking more antiquated each year by audiences who were rapidly losing an understanding of the typical values displayed in film westerns, I had noticed that a similar evil that was clear in the old Lone Ranger episodes was sucking the life out of the world around us, and I wasn’t content to just write about it in books, and show up on movie sets earning acclaim from top actors, directors, and producers just because I had a unique talent.  I felt an overwhelming desire to not just talk about it, or write about it, but to actually fight for the values of the Lone Ranger in real life.

Obviously I didn’t put on a mask and grab a horse and run around in the middle of the night ripping the heads off bad guys with my whip.  The evil of our modern age—the social villain that is destroying the American western is not a direct enemy that required a direct fight.  It was a subtle one that was killing America with a thousand cuts, and I had to find a way to identify it, and fight it on terms I controlled.  In the middle of getting constant invitations to appear in very lucrative job assignments using my bullwhip to make a good living, I changed direction and did what all my friends would agree was a terrible move for anyone who wanted to work in the entertainment field—I became politically involved.   I picked the biggest bully on my personal block that was as close to the evil Cavendish gang from The Lone Ranger that I could see and pushed back against their tyranny.   I took my skills from years of working with bullwhips and applied it directly to a political fight that was desperately needed, because I wanted to defend my love of America from forces that wanted to eradicate it.  Sure it would harm my work in entertainment, and it would bring me personal anxiety, but then that is why the Lone Ranger had to wear a mask.  Ironically the villain in my neighborhood which was the greatest threat to my love of westerns and the values they articulate was my local school district of Lakota, a government school committed to draining the community of taxes, and programming children into progressive thought—the anti-western concept.  So I dialed up the media I had made with my contacts nurtured in entertainment and filmed the video below called   A Whip Trick to Save America.

The whip trick video was featured on The Blaze by Glenn Beck’s new enterprise during its opening weekend.  CLICK FOR REVIEW.  Just a few days later I did a personal interview with The Cincinnati Enquirer where I spoke out openly against the tax increases proposed by the school and I did whip tricks for the reporters knowing full well what would follow.  I knew that the established order of things would attempt to paint me as a radical traditionalist who was so in love with the “old days” that I couldn’t see the wonderful benefits of “progress” as it has been brought to America by intelligentsia, CLICK TO REVIEW.  At the time, I had been involved in many personal fights with others, one on one, or otherwise, and had no problem with direct conflict.  But as I was writing The Symposium of Justice and telling the story of Fletcher Finnegan, who was a modern masked outlaw named “Cliffhanger,” I had a persistent nagging desire to prove a theory that I had constructed in the book which had to be proven for the follow-up novel, which is how one man can take on a giant statist organization and survive.  In my novel, it was the heroics of Cliffhanger that inspired good people in the town of Fort Seven-Mile to join together and form Cliffhanger’s Fighting Legion, to fight tyranny all the way to the powers that pulled the strings of political puppets beyond the reach of Washington D.C.  Fletcher Finnegan was my modern version of The Lone Ranger, a masked man who instead of a silver bullet, used bullwhips to bring justice to the world.  But for me, that wasn’t enough.  I wanted to strike at the heart of the evil, not just the reaction to it, which had always bothered me about every western I had ever seen.  It was one thing to fight evil and stand for the good, but what was the cause of the evil?  To answer that I had to go on a dark quest of my own.

The bull whip video had started me down a road for justice and soon after I was doing many radio broadcasts, granting interviews to the AP, and speaking on television.  As I had been working with several local Tea Party groups, I had grown concerned that my work with the whips might draw bad publicity for them so I backed off some of my public bull whip presentations relying instead on my speaking ability to perform the pursuit of justice.   At this point I was already deep into my experimental theory which I am about to reveal the result.  Over the next couple of years I found that like the Lone Ranger, I had put on a kind of social mask to protect the people I cared about in the Tea Party movement, and traded business attire as my mask, keeping the whip hidden from a media that was looking for every opportunity to paint me as an extremist radical that wanted to destroy the lives of children—instead of saving them.

What I learned during this endeavor is exactly what I set out to understand.  Government statists spread their evil by creating anti-concepts.  If the American western was about creating in the mind of viewers a “concept” about tradition, and value, then the anti-concept was about destroying that value.  This was the cause of the declining popularity of the American western and why my bull whip friends were finding declining interest in their art form over the years.  This anti-concept theory is being taught in public schools to metaphorically deliver the souls of millions of young people to the slavery of a giant Cavendish gang represented in reality by statist governments all over the world.  Before I started all this activity the biggest fear that small government activists had was retaliation, particularly from labor unions set up like parasites in government institutions such as public schools, and IRS agencies.  These unions got what they wanted by acting identically to the gangs of the Old West who robbed trains, stole cattle, and harassed settlers.  They used force, or the threat of it, to take what they wanted and imposed fear on their victims so they could maintain their regional power.  These statists functioned from misleading facts through the formation of the “anti-concept”—by stripping away values from society.  The way to destroy a concept is with open attack, using the threat of force, or by subversion, by undercutting the value of an argument.  For instance with the public school mentioned, they failed to recognize the need for their tax increase was caused by their mismanaged finances.  They associated the value of education to money equaling goodness for children even though the facts had nothing to do with that reality.  If someone challenged that premise, the union would show up in collective force to protest the school board sending a message to the community that if anyone stood in their way, they’d be vandalized, personally harassed, their children would be tortured in various degrees, and they’d be turned into social outcasts.  Because of this threat, nobody challenged them, even the so-called wealthy elite who understood clearly what was happening but were unable to do anything about it for fear that their businesses would come under attack by union thugs and social radicals.  What the unions were doing was no different from what the Cavendish gang did in The Lone Ranger.  They used fear to impose their statist will on the innocent.

It is one thing to think such a thing, but quite another to speak out against it.  After all, nobody wants to be called a mean, selfish, or a diabolical menace to the fibers of an interconnected society which is how the villains in this case had destroyed the concept of goodness.  They had subverted entire communities into sitting on their hands and not speaking out in fear of being considered socially as an outcast—or even an outlaw.  I theorized in The Symposium of Justice that the way to beat these types of villains was to challenge their premise with the question “why.”  When the statist enemy cannot answer, which they never can, they then turn to force.  This is where my hero Fletcher Finnegan/Cliffhanger used his bullwhips to impose justice on those who tried to use force to remove the concept of goodness from society.  My problem was that I knew such an idea worked in small combat situations with fewer than ten combatants at a time from personal experience.  But I wasn’t sure if the same could be applied to statist government all the way to the top of the food chain which is what my next novel in the series is all about.

When I did the Enquirer interview Mike Clark asked me if I knew what I was doing in bringing my whips to the front page of Cincinnati’s largest paper.  I knew as he asked the question that I was looking at a future Judas, a betrayer who would pretend to be a friend just like the villain in The Lone Ranger who led the Texas Rangers to their deaths in the canyon trap set by the Cavendish gang.  But this time, I would use the bait to my advantage—and I did.  I knew that if the threat of personal harm was removed from the unions’ arsenal of weapons that they’d be defenseless against me because they certainly couldn’t answer any questions regarding “why.”  When I have my Terry Jacka whips, nobody is going to bring personal harm to me with any melee weapon.  For those hired thugs who don’t care to use a firearm, the decision of that kind falls into a level of thuggery that our current statist society still recognizes as bad, so it doesn’t happen often and that is when firearms are needed for defense.  But for all other circumstances, no gang of thugs can bring harm to a person who can use bullwhips in the fashion that I do.  By presenting my whips to the unions all across the State of Ohio through popular media, I had taken away the weapon that all statist organizations use to impose their will, the threat of force.  This allowed me to give many dozens of interviews to the media against unarmed opposition because the statist representatives of public schools could not answer the “why” and they could not stop me with force.  So they were unable to stop me and this remains the case to this day.  Without thuggish force, without bringing harm to others, they have no ground to stand on.  The way to beat them time and time again is to ask them “why” which they can never answer, and then to let it be known that physical force, social intimidation, and extortion will not serve them.  When they learn that, their game is over.  They cannot win with facts of any kind.

When I say, “Justice Comes with the Crack of a Whip” this is what is meant; that statist villains have had their most important weapon removed from them—the ability to apply force.  This is why whips were so popular in the early westerns like The Lone Ranger and Zorro, because they represented the “concept” of justice in a way that does not involve killing your opponent.  The whip allows the wielder an ability to disarm those who wish to use force against others.  The bull whip cuts like a knife, is far faster than a pair of nunchucks, and much more versatile than a sword, staff, or baseball bat.    In short, a person who learns to use the bull whip anywhere close to the kind of people shown in the videos on this article know in their mind that nobody can harm them in one-on-one or group combat.  That self-assurance is a measure of freedom that allows goodness to be seen clearly, and solutions to statism are then solved.

As The Lone Ranger puts on his mask in the new Disney film, I’m taking mine off.  I am no longer concerned about what anybody thinks about my use of the bullwhip as I have made my point.  For me, the bull whip is a symbol of justice because it prevents those who wish to steal away righteousness from the innocent eliminating the ability to invoke any fear to do so.  It forces statist opponents to take the next step which involves more lethal force and in this way the “ground” to combat is controlled by the whip holder, because they know what their opponent is going to do since their options are so limited.  Before that next step, which obviously the Clinton’s have no problem utilizing, CLICK HERE FOR REVIEW; decisions have to be made on how the public perception of such an action can be justified.   Most statist enemies lack this type of arrogance, or network to pull off such a feat, so they are paralyzed when threat of force is removed from their social holsters, and that is invoked by the bull whip.

There are many great whip makers in the world for my money; Terry Jacka is the absolute best.  Right up there with him is Joe Strain and my old friend Paul Nolan who was seen in the video on the pillars at sunset with his wife and friend T-Rex.  A lot of whip masters don’t talk about it, but when they put a whip in their hand the power they feel is not one to inflict pain and suffering on other people the way some statist slave master might think.  What they feel is the power to defend themselves from any melee force that might attempt to enter their barrier of protection.  Speaking personally, when you see a whip artist standing at the center of a two-handed Queensland Crossover, or other two-handed routine, they know they are standing in the middle of spinning knives that can cut to shreds anyone who tries to penetrate that parameter.  When I wear my Jacka whips with the long 12” handles pointing out like Samurai swords on both sides of my hip I do so to have quick access to them off my quick release holsters, which were specially designed for me by Gery Deer.  I know when I walk around with them that I have complete control over my life because the whip keeps anybody who might wish me harm from entering my parameter of individuality, and that is a wonderful feeling.

It is in this spirit that the bull whip was used in the Old West mythology as a symbol of justice instead of pain.  The greatest of them all was Lash LaRue who was known as The King of the Bullwhip.  He was another of my favorite western protagonists.  So it brought me great delight to see that Disney had purchased three whips from The Northern Whip Company to be featured in the new Lone Ranger film.  I would love to see a film where whips are used in them to the level that Lash LaRue or Zorro did, but I’ll be very happy to see a scene or two with the Lone Ranger bringing about a bullwhip to implement justice in a way that only bullwhip masters understand.

As for me, the bullwhip is an important part of my life, and I am taking the social mask I put on for a brief time off.  The justice I seek doesn’t require a mask, because in the hands of a bull whip master, there is nothing to fear.  It would be my hope that I could share this self-assurance with as many people possible so that they too could learn such a skill that would free them from the tyranny of fear that so cripples such vast majorities with the constant threat of personal harm while in pursuit of honor.

Check out Joe Strain’s bull whips for yourself.  I’m sure he will have replicas of the ones he made for The Lone Ranger available soon.


Also, check out my friend Paul Nolan who also makes great whips.


Another great champion of the bull whip sport is Adam Winrich.  He is a wonderful whip maker, but spends most of his time these days doing professional gigs.  He also has dozens and dozens of instructional videos on technique some seen here on this article.


Then of course there’s Chris Camp who laid the foundation for many world record endeavors and stays busy as a whip professional traveling the world with his family for many corporate clients.


And if you want to take some classes on how to get started in a nice comfortable bull whip training studio that is just a short drive north of Cincinnati, contact my friend Gery Deer.  It’s the only one of its kind in the world.  Most of the names mentioned have attended Gery’s Annie Oakley Western Showcase event each year in Ohio during the last weekend of July.


But the first step is in deciding not to live in fear, then learning what can be done about it.  Justice Comes with the Crack of a Whip, and for each of us, there is nothing more important.

Rich Hoffman

“Justice Comes With The Crack of a Whip’!”Bullwhip, Red and Black 24 Plait 2-tone


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