Meet Harmon Kaslow: Producer of ‘Atlas Shrugged Part II’–a preview of the review.

Harmon Kaslow is one of the most passionate movie producers I have ever worked around. That was the only conclusion I could make after we parted ways in front of the Hyatt Regency in downtown Cincinnati where he finally went back to his room after a very long day. Kaslow was at the Duke Energy Center promoting Atlas Shrugged Part II speaking with Glenn Beck, Matt Kibbe and a long list of freedom fighters who spoke during FreePac to a very large crowd that packed the floor with thousands upon thousands of people hungry to see what they could do to make The United States a better country to live in. In the video below Kaslow personally greeted hundreds of attendees after his dramatic presentation on stage, as I along with a team of helpers worked the Atlas Shrugged booth passing out over 5000 t-shirts announcing the release date of Atlas Shrugged Part II.

I was there to help promote the next movie edition of Atlas Shrugged in a similar fashion that I did with Part I only there were not huge forums like FreePac two years ago when that first real film translation of Ayn Rand’s epic novel was released to theaters. CLICK HERE FOR A REVIEW. Things were harder then; John Aglialoro had the rights to the famous Ayn Rand masterpiece that happened to be the most influential novel in America and he wanted to make a film version of the massive book dividing it into three parts, just as they were presented by Ayn Rand. The material is extraordinarily difficult to put into a film version because much of the content is cerebral, so the difficulty in translating such heady material into a visual format proved elusive for the mainstream Hollywood community. The closest thing I have seen to Atlas Shrugged in a feature film is the recent Batman films by Christopher Nolan. But unlike Bruce Wayne from the Nolan trilogy, Atlas Shrugged does not have the benefit a superhuman powers, or cleaver gadgets to fight crime in the city of Gotham. The heroes of Atlas Shrugged are human beings who acknowledge their ability to be unique producers who support the entire world with their creative minds. The primary protagonist that was listed on the t-shirts we were handing out is John Galt, a man of such extraordinary brilliance that he is able to earn the respect of the worlds primary movers to go on strike against the looters of government who pretend to be at the center of everything—but are clearly lacking.

Atlas Shrugged does not have any literary problems. It is a standard unto itself. It may very well be the perfect novel. It is every bit as grand as any novel by Victor Hugo and is as stunning from a literary character development stand point as any novel ever written by any writer. But the deep social divide that comes out when the book or film is mentioned is that the villains of Atlas Shrugged are a bit too real. Members of modern governments and the general media recognize quickly that they cannot relate with John Galt, or Dagney Taggart, Henry Rearden, Hugh Akston, Francisco d’ Anconia, or my favorite character out of all of them Ragnar Danneskjöld—the pirate! Ragnar was a philosopher who became a privateer in the book. Alone he defied the might of the United States Navy and of all the People’s Navies of the world to be, as he famously said, “the friend of the friendless.” Atlas Shrugged does not dress it’s villains up in costumes like Darth Vader in Star Wars, or the Joker in Batman to allow the reader or movie viewer the courtesy of psychological distance. The villains are a too real for many guilty of similar real life acts to fathom, so they of course reject the material of Ayn Rand. Much of the negative criticism that comes from critics, beltway politicians and social looters emerges in defense of their own tendencies to be parasites upon society. These elements make Atlas Shrugged a divisive story that does not spare punches. Written over 50 years ago it features a president that is just like the modern version of Barack Obama. Atlas Shrugged came well before Barack Obama was even born, so the film can never be said to be taking shots at his presidency, or the kind of government he supports. But never-the-less, the policies of the Obama White House are remarkably similar to the policies of the villains in Atlas Shrugged, and the media who supports the President for all the wrong reasons.

All day long at FreePac as I personally handed out thousands of t-shirts people stood slack-jawed at the concept that we were giving them away for free. Many people wanted to give me money for them seeking to trade value for value in their minds with actual currency. If I wanted to I could have pocketed several thousand dollars because people wanted to give me twenty-dollar bills per shirt but I told each of them—“keep your money today, but spend it on an extra ticket for the movie, because the media who is currently functioning does not want you to see this movie. Barack Obama does not want you to see this movie. Mayor Bloomburg in New York does not want you to see this movie. No Democrat, many Republicans, and no head of any network want you to see this movie because they know they are the villains in it, and they don’t want that reality for themselves and they don’t want you to see them in the context presented in Atlas Shrugged, which is terribly realistic. They wish to continue to believe they are saving the world, when it is actually they who are destroying it. So take your twenty dollars and spend it at the box office on Atlas Shrugged Part II because it will need your support, because it won’t get it from the press.” I can think of seven times during my work in the Atlas Shrugged booth where tears streamed down the faces of people who gathered the impact of what I told them and they could only respond through broken gasps—“thank you.”

I warned everyone who took a t-shirt that the reviews for Atlas Shrugged Part II would not be favorable even though nobody has yet seen the movie. The reason for this trend was also covered by Ayn Rand not in Atlas Shrugged but by the juggernaut of novel which happens to be my favorite called The Fountainhead published in 1943. In that book it explains how members of the media align themselves with the politics of the day to help “shape” culture. I recently wrote an article about how this was attempted against the newest Batman film once the media realized that the Nolan brothers had written a story about anti-collectivism and not a troubling thriller featured around Heath Ledger’s Joker character. Dark Knight Rises in spite of the tragedy in Colorado upon its opening had gone on to do over $1 billion dollars in world-wide business so it has the support of the public in spite of how the press turned on it in midstream. The New Yorker led the way coming out against the film in an attempt to steer business away from the anti-collectivist message of Dark Knight Rises in the exact same way that characters from Ayn Rand’s The Fountainhead attempted to do the same in that fictional tale. CLICK HERE TO REVIEW. The same thing will without question happen to Atlas Shrugged Part II. I told the people I handed shirts to that we needed them to wear the shirts around to their grocery stores, to their shopping complexes, to work whenever possible, to act as a walking billboard because the media machine will not do the film justice. By taking a t-shirt and wearing it proudly they could help make Atlas Shrugged Part II a success without the help of any media, any politician, or mainstream acceptance. I know very well the material of Atlas Shrugged and can report that it is much more powerful than Dark Knight Rises on a cerebral level, which is not intended to take anything away from that fantastic movie. But if Atlas Shrugged II could afford the media backing that Dark Knight Rises had where Warner Brothers put the film on over 3000 screens domestically and on additional screens all over the world, Atlas Shrugged Part II would do similar business. The problem is there is not a major studio behind Atlas Shrugged. It’s John Aglialoro, a few other financial backers, and Harmon Kaslow. To make Atlas Shrugged Part II it required a great deal of personal passion on the scale of the heroes in the novel Atlas Shrugged knowing every part of the process would be an uphill battle. For people like John Aglialoro and Harmon Kaslow making this film is equivalent to the scene that takes place in the actual movie of Part II when Henry Reardon is taken to court by the government for being “too good.” Those types of things do happen in real life and they happen often. So it is a miracle that this film actually got made.

Once Harmon finished his speech talking about Atlas Shrugged II and Glenn Beck finished up his speech, Kaslow came back out to the booth and helped us pass out the rest of the shirts as seen in the video above. After a long hard day he was still full of energy and boundless enthusiasm for his movie. He and I talked about the questions people had been asking me all day, primarily why the cast from the original film was not in this update. Many people discovered Ayn Rand for the first time though Part One which is available right now on Netflix, so naturally they are in love with the characters they came to know in that first installment. As Harmon explained, they had the opportunity to beef up their production value so they had to take the leap. He explained that the decision was hard but that Spiderman, Batman and many other superhero films had relied on the strength of the material instead of the character of the actors playing the part, so as a production they made the decision to take steps forward as they learned what worked best from their first film and expand on it. In essence Atlas Shrugged is a superhero story, and is every bit as fun and powerful as The Avengers, not on a physical level, but cerebrally. That is why the Atlas Shrugged booth all day long resembled more of an active booth at Comic Con than a political convention. The geeks in this case are not the kind of fans of The Incredible Hulk arguing over the Edward Norton version from past films or the new Mark Ruffalo version in The Avengers. These Atlas Shrugged geeks are fans of capitalism and the minds that drive it. They do tend to be smarter because they work to make themselves that way, and to see the emotion on their faces just to shake the hand of someone associated with the Atlas Shrugged production was wonderfully encouraging. Most of the day at FreePac I represented the face of the Atlas Production, and it was refreshing to see so much joy at getting a t-shirt advertising the movie and answering questions about the book and Ayn Rand in particular. I enjoyed watching people line up to have their picture taken next to Kaslow—just to be near a man who helped make Atlas Shrugged into a movie.

You know a man is authentic when the crowds are gone and the cameras are turned off, and they still espouse the same principles. As Harmon and I crossed Elm Street in Cincinnati he and I continued to talk without any pretense of selling the movie to a hungry public. We were just a couple of guys talking and I told him I admired him for taking such a shot with his movie. His efforts were tireless as he is about to go on a media rampage speaking on virtually every radio interview possible, TV spots also, and will shake tens of thousands of hands over the next two weeks. But like the characters from Atlas Shrugged I could see why John Aglialoro put so much of his own money on the production of the next Atlas film. It was the energy–the springy enthusiasm that Harmon Kaslow brought to the production that was making Atlas Shrugged possible. In a large part the thousands of new readers of Ayn Rand’s work were getting exposure to her novels because these movies Part One and now Part Two–because of the guy walking next to me along 5th Street about to leap into the Hyatt to rest from a hard day of marketing.

Two days prior to FreePac my wife and I spent 4 hours buying our stock of books for the week at Books-A-Million and Half Priced Books. I was happy to find a copy of Frazer’s The Golden Bough which I purchased along with a host of other choices and my wife had a stack up to her chin, as usual. But during our time in those two book stores I watched the staff set up a new display promoting all of Ayn Rand’s books in a special stand prominently featuring them with proud reverence—and people were buying them by the bucket. I personally watched that stand lose 50% of its stock in just a two-hour period and I knew it was because of the anticipation of Atlas Shrugged II about to hit more than 500 movie theaters. To find out if one is near you, or how to get one, CLICK HERE. The movie is a celebration of Ayn Rand’s work. If people want the full effect, they MUST read the book. But the movie will bring millions of new fans to the great and highly intelligent work of Atlas Shrugged. And to a large extent it is the tireless energy of Harmon Kaslow, the man shaking my hand for the 100th time in 2000 feet of walking that is the force able to take the movie from financing, to casting, to production, to wrap, and now to delivery standing up in front of thousands upon thousands of people to promote Atlas Shrugged. Like the character of John Galt, Dagney Taggart and Hank Reardon from Atlas Shrugged  I thought of all three of them as Harmon gave me one last wave before the sliding glass door to the Hyatt opened as if to move hastily out of his way so not to be crushed by his boundless energy.  Before he entered the doors to his hotel he proclaimed to me in a loud voice not caring who around us was listening, “I’m the luckiest guy in America, to be able to work on a picture like this!”  Seeing him standing in the doorway of the Hyatt with his arms stretched out fearlessly reminded me of the ending of Shawshank Redemption.  No question about it, completing Part II for him was redemption of a different nature, and most likely just as difficult.   I continued to walk through the streets of Cincinnati thinking about that wave as minds half asleep with social evasion gathered in front of a closed Macy’s looking for something to do. It takes people like Harmon Kaslow to move the mountains of the world so that the sleepy minds of the ordinary can even have the opportunity to touch greatness for brief moments in their lives. And when Atlas Shrugged Part II opens, it is because of real life people like Kaslow and Aglialoro who haven’t quite given up on the world and retreated to their own versions of Atlantis that make it happen. They are still out fighting in the city streets of Cincinnati and residing in the Hyatt with a cell phone to their ear and an iPod in their hands answering email, setting up interviews, and plotting the next day’s activities in an effort to save the world by getting the people in it………to think.

CLICK HERE to see what Ayn Rand, Walt Disney and Ronald Reagan attempted to do to save Hollywood from the real life villains of Atlas Shrugged in the 1950’s. This is the real document as written by Ayn Rand to all the major studios in a fight that Harmon Kaslow and John Aglialoro are respectfully continuing to this very day with Atlas Shrugged Part II.

Rich Hoffman

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The Ohio Motion Picture Tax Credit: ‘Avengers’ save the day in Wilmington

Some of the hidden improvements in the Ohio economy are from sectors most often statistically ignored, but are actually quite important. Many wondered why Glenn Beck came to Wilmington, Ohio during Christmas of 2010 when the town was on the decline after the DHL facility left taking most of the town’s jobs with it. CLICK HERE FOR A REVIEW. When Glenn Beck put Wilmington on prime time television with his popular television show he knew what many didn’t, that was inadvertently people who were movers and shakers in the world would learn of the resources available in such a small town and would be tempted to make investments in the community. A few years ago, quietly Republican Senator Tom Patton and Mike Dovilla introduced the Ohio Motion Picture Tax Credit to the legislature hoping to lure more motion picture development to Ohio, and sure enough film scouts for The Avengers gave the DHL facility in Wilmington a look finding the location ideal for filming the upcoming blockbuster in August of 2011.

Now in hind sight The Avengers is one of the most successful movies of all time. It has generated over one and a half billion dollars in worldwide sales with a production budget of well over $200 million and an additional quarter million dollars in advertising. In total The Avengers as a film production cost a half a billion dollars to create, but it made more than double that in profits which is a wonderful business venture. It would seem unlikely that such a large production would come to little old Wilmington, Ohio, but when film scouts learned that the DHL facility had it’s own airport, a fenced in area great for security, huge buildings that could be converted over into film sets easily all set in a community where hotel rates were not through the roof, plenty of restaurants for the cast and crew to eat at, and the locals were polite and easy to work with, Wilmington, Ohio was suddenly a very attractive option. But even more attractive were the tax rates in Ohio which caused the production company of The Avengers to pull from their previous locations in Michigan and to replace them with sites in downtown Cleveland, the NASA facility in Sandusky, and of course Wilmington. The deal closer was tax rates, and because Ohio has one of the most attractive tax packages in the whole country currently thanks to the two Republican senators, Ohio is winning film development projects. The Avengers production alone poured over $2 million dollars into the local economy during their three-month lease of the largest DHL building and their stay in Wilmington.

Now, progressive leaning people will utter that The Avengers has made over a billion dollars in ticket sales and it hasn’t even been released to home video yet. The Disney Company who owns Marvel Comic Motion Picture division and the distributors in Paramount Pictures will make well over $2 billion dollars on just this one movie, so why was the production company of The Avengers worried about a few percentage points of tax shelter? Well, because you never know what will happen and when investors are required to spend over $200 million up front to produce a movie, it is important to keep the budget tight in case the film goes bust and nobody shows up to see the film. Not all movies make as much money as The Avengers which has decades of built up fan base to tap into in order to recover their investment.

When local Cincinnati native George Clooney brought his film Eyes of March to Ohio and filmed around Cincinnati and Miami University he did so not just because it was in his home town, but because he wanted to take advantage of the Ohio Tax Credit. Clooney politically is a progressive stuck to President Obama’s hip, but when it comes time to produce a film, he knows how to think like a businessman, so he brought his film to Ohio to keep the production costs down because films like that do not make billions of dollars. Most of the time production companies are happy if they break even on the initial investment. Just because a movie is made does not guarantee that it will be profitable.

The gigantic epic John Carter made by the Disney Company just a few months before the release of The Avengers cost well over $250 million to make but American audiences completely rejected it. The film only made $73 million domestically. Many people lost their jobs over that production, you can bet on that. Disney was not happy, and they had every right to be. Lucky for them foreign audiences liked the film giving it an additional world-wide take of $200 million, which just barely put Disney over the top on their front end investment. Disney needed desperately for The Avengers to do well, to make up for their profit forecasts in 2012 and John Carter did not get them anywhere close. Just because a film makes nearly half a billion dollars, that does not mean much. When you watch a movie, look at the credits that usually go on for over six minutes and contain tens of thousands of names. All those people were employed by the film and they all get paid from the money generated at the box office. When a studio like Disney makes a profit, it allows them to take chances on movies that are risky on their investment, and that really helps producers create films that benefit the unique tapestry of American culture that we broadcast to the rest of the world.

When The Avengers came to Ohio they spent $25 million dollars and employed 3,800 residents on the economy. If during the filming of the movie a stunt man died, or a law suit came up over intellectual rights, the production would be put on hold and the investment money spent would end up in limbo. In many cases the money for a film is financed two years before a film ever ends up on the big screen, so the invested money is tied up for a long time leaving investors on pins and needles until the box office receipts begin to roll in. So tax rates are a big deal in film production.

California has priced themselves right out of the film business. Production companies used to love to leave their homes in the morning work all day then go home at night. But due to the tax rates around Hollywood, it’s cheaper to leave town to make a film in a place like Ohio than to make it at the traditional sound stages in California. Dark Knight Rises is another 1 billion dollar world-wide moneymaker and was filmed in Pittsburg. In fact, Heinz Field was the football stadium that was blown up in that movie. The Midwest is learning that by lowering their tax rates, they are able to lure Hollywood to the Midwest which is great for the economy of the fly over states. Not good for California that has one of the largest economies in the world, due in part to the movie business.

But it is taxes that drive the economy, or rather the lack of them. As much as advocates on the political left beat on their chest for tax increases, businessmen who run the movie business are not willing to toss money into a black hole that will cost thousands of people their jobs. So they take the path of least resistance just like every businessman with any sense. The higher the taxes the lower the business activity, it’s a very simple formula.

The formula has worked so well in Ohio that legislators have now DOUBLED their tax incentive in the wake of the overwhelming success of The Avengers. Click the article below to read more.

http://taxfoundation.org/blog/ohio-doubles-film-tax-credit-program-wake-hype-over-%E2%80%9Cavengers%E2%80%9D

Because of this movie The Avengers filmed in Ohio, there will be more high-profile films that will come and spend hundreds of millions of dollars they won’t be spending in high tax states and cities. That is a wonderful thing for places like the DHL facility in Wilmington who is likely to see a major increase in activity at their small, sleepy town. The DHL facility could easily become the new Elstree Studios in England where the remote location, tax rates and facility usage are heads and shoulders above other locations. Not many film studios have their own airport, and the DHL facility does, which is unprecedented. Wilmington, Ohio could easily become the new Hollywood because of the Ohio Motion Picture Tax Credit, which would be far more valuable than the type of business that left the DHL facility in the first place and would restore to that town a greatness it has never known.

It was for reasons like that which drew Glenn Beck to Wilmington over two years ago, hoping that people who move money would take notice of the great attributes the small town in Ohio offered. What the production company making The Avengers was able to do within a week of filming at the DHL facility word will get out and many more films will follow. And that is the name of the game, where competition drives down the costs while productivity increases. Ohio is the example of how it’s done right, and the task for the rest of the world is to follow to the benefit of everyone else. And it all started with two Republican Senators who thought forward enough to offer the Ohio Motion Picture Tax Credit to an industry in Hollywood that is desperate to reform its costs for a changing marketplace.

____________________________________________

This is what people are saying about my new book–Tail of the Dragon

With Tale of the Dragon, Rich Hoffman combines NASCAR, Rebel Without a Cause, and Smokey and the Bandit. If you like fast cars, and hate speed traps, this is the book for you. And just every once in a while, any real American wishes he had a Firebird like the one in Tale of the Dragon.

Best Selling Co-author Larry Schweikart, A Patriot’s History of the United States  (CLICK ON THE LINK TO VISIT US ON FACEBOOK)

Visit the NEW Tail of the Dragon WEBSITE!  CLICK HERE and help spread the word! TELL SEVEN PEOPLE TO TELL SEVEN PEOPLE!

Rich Hoffman
https://overmanwarrior.wordpress.com/2010/12/04/ten-rules-to-live-by/
http://twitter.com/#!/overmanwarrior
www.overmanwarrior.com

The Meaning of Maturity: Comic books and the nudity of ‘Equus’ “HULK SMASH!”

Maturity is a word that was invented to keep the adult population dormant from the dreams of their youth. Maturity is designed to be a concession to mediocrity. When someone says that a person is mature, they mean it as an insult. They intend it to mean that one knows their place, takes orders well and won’t rock the boat. In essence, maturity is the bolts that hold machine politics together. When young people put away the things of childhood to embrace the realism of adulthood, we call them “mature,” or say that they have “grown up.”

Well, more than once, I have been referred to as “immature” by my peers because as a man in my 40’s I still love video games and comic books, just as I did when I was younger. I also still hold to an idealistic state of justice that only exists in the world of comic books. Contemporaries insist that my youthful views have no place in the political arena, and it is for that reason that I write books instead of hold any public office. The characters in my novels are often reflections of events I’ve personally witnessed in actual confrontations with members of the established political arena, and my reluctance to play ball the way they learned to play the game makes them very, very angry. That’s typically when the word “immature” is used.

I grew up with comic books, and I have never left them. Comic book stores were some of the first places I took my children and they learned to read by getting comic books and looking at the pictures and trying to figure out what the words meant. I see comic books as works of art that emit modern mythology that is very much needed. The definitions of right and wrong are very apparent in the comic book universe of youth, which the adult likes to call unrealistic. To the “mature” adult compromises must be made, and the world is shades of gray. That is in essence an incorrect view of life that opens the world to evil.

I can say such things about comic books because I have the context of advanced literature behind me. I have read and enjoyed many of the most complicated literary classics there are, particularly Shakespeare, and can report that the comic book wins over the characters of advanced literature in most every case. For instance, Bruce Wayne as a character is superior to Titus Andronicus because he does not collapse into madness finding himself a victim to a corrupt regime of Roman superiority as Titus did. Wayne took the fight to the corrupt instead of letting the corrupt bring the fight to him, leaving the only measure of redemption available in making a pie out of the dead bodies of the Empresses’ two sons who raped and maimed Titus’s daughter. Batman is better, by far than not only Titus, but Henry the Fifth, Hamlet, and Othello. That’s not to take anything away from Shakespeare but if he were alive today, he would probably write comic books.

I have been to live stage plays of Equus where the characters act with fully nudity on the stage and had sex in front of thousands of people, and I can say that the message of Captain America has more meaning, Superman is more profound, Iron Man is more realistic, and The Hulk much more sophisticated. In fact I thought of The Hulk while watching the nude woman on stage in Equus attempting to seduce the naked Alan Strang. Alan in his confused obsession with horses had nothing on Bruce Banner in fighting off the rage that dwells within him. The Hulk is far better theater than Equus, yet it is Equus that gets all the praise in our “mature” society. In fact when Daniel Radcliffe made famous by the Harry Potter films decided to play the part of Alan Strang in a London, and a Broadway rendition of Equus he received a lot of positive media attention because the hero of the Harry Potter films appeared nude, and vulnerable on stage, which was highly commended in the high brow society of maturity. Such performances say to the world that Radcliffe does not plan to be a superhuman hero in all his future acting roles, but is mature enough to play a “vulnerable” parasite who murders horses because he loves them. Natilie Portman received the same kind of praise for her role in The Black Swan for much the same reason.  Anne Hathaway was very naked in Love and Other Drugs, which was designed to show she could be a sophisticated actress and not just a fairy princess.  See Anne Hathaway very nude at the link below for context.

 

However the chances are, more people in society could name off their favorite comic book characters in their favorite Marvel Comics, Dark Horse Comics, or DC Comics than even know that their icon of fantasy in Harry Potter took off his cloths for a Broadway play at 17 years old. That is because it is more important to strive for perfection in the human heart than to yield to human weakness as Alan Strang did in Equus when he cut out the eyes of the horses that witnessed him having sex with a woman seeking to blind them so they couldn’t see his sins.

This comic book morality of mine is frowned down upon by those who give Equus favorable reviews. To me, Equus is just an excuse to get people naked on stage and call it art, when it’s simple pornography. The theme is one of human weakness and I instead find comic books much more honest emotionally. Over the years comic books have kept my moral compass pointed in the right direction. I have had many offers from machine politics in the realm of the “mature” to take bags of looted gold placed at my feet which I rejected many times over in favor of honesty which is the theme of many comic books. If I had taken the gold I may never have had to worry about money, I probably wouldn’t have had the fire to write novels and participate in political reforms. Instead I might be on a golf course patting myself on the back talking about the hot chick that was naked on stage in the Equus stage play and discouraging my children from buying comic books as symbols of childhood.

When I practice with whips in the yard and work to keep myself in shape I am working to give to the youth in my own family something to look up to, because young people need that. It is a sad situation when all they have to idolize are drawn characters on a printed page and stories told out of deep human desire not rooted in sexual tension, but in a sense of justice. The whips shown in the pictures here are the new whips that David Crain is making for me. At the heart of a lot of people who want lessons on how to crack a whip is a person enchanted by Zorro, Indiana Jones, or even the Jedi Knights of Star Wars. In fact David specializes in making very special whips that mimic the light sabers from Star Wars which allows handlers of those weapons to get the feel of using a weapon that is very similar to the sophisticated management of an art form of the Jedi against the Sith in a fight for philosophic control over an entire galaxy.

Comic books and the heroes that come from them are about big ideas, and for that they are called immature by the adult population that has already given up. Most people when gold is laid at their feet take it without question, even if the intention was to purchase their silence and cooperation. They yield to the hero that dwells within them nurtured by the fantasies of youth and justify their weakness by sophisticated stage plays like Equus, which confirms in their weakened state that they are not as corrupt as the poor, deranged Alan Strang. Those poor souls pulled into the depths of maturity would have seen the folly of their actions if they had only read more comic books and seen the intentions behind the bags of money contextually written by artists who still look forward to the greatness of man.

As for my favorite comic book character of all time, it is The Incredible Hulk. I have always identified most with The Hulk since my temper is legendary and has always been something I have had to work on to keep under control. Every now and then it is fun to let my inner Hulk go, but it always seems to get me into a lot of trouble.  When they can’t beat you mentally, or physically, they simply call you “immature.”    The cry for maturity comes from those who are too lazy to match the lofty minds that reach for the stars and have the muscle to get there.  Rather, they hope to keep their enemies at stage plays kneeling before their nudity, their delusion, and their apathy. 


Puny gods of theater and guardians of maturity. HULK SMASH!!!!!!

 ____________________________________________

This is what people are saying about my new book–Tail of the Dragon

With Tale of the Dragon, Rich Hoffman combines NASCAR, Rebel Without a Cause, and Smokey and the Bandit. If you like fast cars, and hate speed traps, this is the book for you. And just every once in a while, any real American wishes he had a Firebird like the one in Tale of the Dragon.

Best Selling Co-author Larry Schweikart, A Patriot’s History of the United States  (CLICK ON THE LINK TO VISIT US ON FACEBOOK)

Visit the NEW Tail of the Dragon WEBSITE!  CLICK HERE and help spread the word! TELL SEVEN PEOPLE TO TELL SEVEN PEOPLE!

Rich Hoffman
https://overmanwarrior.wordpress.com/2010/12/04/ten-rules-to-live-by/
http://twitter.com/#!/overmanwarrior
www.overmanwarrior.com