Star Wars: X-Wing Miniatures Game: Pizza, Coca Cola, and Strategy, the cornerstones of a happy life

At Mos Eisley Radio these guys not only talk news concerning the most recent Star Wars Game X-Wing Miniatures, which I am crazy about, but a lot more.  Have a listen to them for  in-depth looks at classes, guilds, lore, and everything else fans care about in the galaxy far, far away.  But related to this article, they go into great detail about the strength of ships and strategy of the game for those who are prompted to get more involved by the conclusion of this article.   Have a listen while reading the below text!


While it’s true that many of the people I know are locked into the very real and immediate danger of a real-life rebellion, which is covered at this site extensively, the way I endure the stress of such a thing is to fill my life with interesting hobbies, that also help build up my strategic ability.  I share some of those hobbies from time to time in hopes that others might become inspired and do the same for themselves, not by copying my suggestions so much as in finding something that works for them to give themselves a break so to endure the rigors of life just a bit more efficiently.  I have shared glowingly my love of the strategy game Pirates, the Constructible Strategy game by Wiz Kids.  My family has spent many hours buying, building, and playing that game till the very small hours of the morning.  I can remember one very fun Holiday week after Christmas where my kids and I with a small army of other kids bought every single pack of WizKids pirate ships on a cold December afternoon at Cincinnati Sci Fi in West Chester, Ohio.  The delighted store clerk even brought out a new shipment of those ships which had just arrived that was in the back while we were in the store, of which we bought every single one.  So needless to say, we love those types of role-playing games as a family, and as individuals.

Recently while on vacation in Florida my nephews along with my kids, my wife and I played a very cool Dungeons and Dragons type of role-playing game called Heroscape over pizza from the best place in Central Florida till the late hours of night with the condo door open to the ocean outside.  We had turned our large dinning room table into a war zone and found ourselves intensely engaged in mortal combat with dragons and warriors.  Like the referred to pirate game, I enjoy those types of games that allow you to play with several live players around a dinner table.  It is a great way to bond with other family members and actually speak to each other, while exercising the brain. 22_Top I find those types of games to be stimulating in a similar way to reading a novel, or playing a great video game.   The difference is that you have to work with other people in a way that is only possible with this type of strategic gaming.  For many years these role-playing strategy games have increased in popularity from a sub-culture of Dungeon and Dragon players, to what is now considered mainstream geekdom at major conventions all over the country.  The transition came officially from the popular game, Magic the Gathering.  The gaming industry in that market has never been the same, which is wonderful for the human race.  A short history of this type of gaming can be seen at the link below.

However, for me, I always loved that Pirate game from Wiz Kids the best of any that I have played in the last twenty years.  My entire family was deeply into it and our playing time together represent some of the most fun we’ve had together, which is quite a statement.  So I have missed it as Wiz Kids stopped making the game in the format we enjoyed, and time and distance has moved us away from the contents.  However, I recently received news from Lucasfilm about their latest version of a Star Wars Role Playing game by Fantasy Flight Games which I thought at first would be gimmicky, but upon investigation quickly found that it was a quite in-depth game that actually combined the type of game play that I enjoyed so much in  Pirates, the Constructible Strategy game by Wiz Kids and the Heroscape.  The new game is called Star Wars: X-Wing Miniatures Game.

Star Wars: X-Wing Miniatures Game is a tactical ship-to-ship combat game in which players take control of powerful Rebel X-wings and nimble Imperial TIE fighters, facing them against each other in fast-paced space combat. Featuring stunningly detailed and painted miniatures, the X-Wing Miniatures Game recreates exciting Star Wars space combat throughout its several included scenarios.

Whatever the chosen vessel, the rules of X-Wing facilitate fast and visceral gameplay that puts you in the middle of Star Wars fiercest firefights. Each ship type has its own unique piloting dial, which is used to secretly select a speed and maneuver each turn. After planning maneuvers, each ship’s dial is revealed and executed (starting with the lowest skilled pilot). So whether you rush headlong toward your enemy showering his forward deflectors in laser fire, or dance away from him as you attempt to acquire a targeting lock, you’ll be in total control throughout all the tense dogfighting action.

Star Wars: X-Wing features (three) unique missions and each has its own set of victory conditions and special rules; with such a broad selection of missions, only clever and versatile pilots employing a range of tactics will emerge victorious. What’s more, no mission will ever play the same way twice, thanks to a range of customization options, varied maneuvers, and possible combat outcomes. Damage, for example, is determined through dice and applied in the form of a shuffled Damage Deck.1XW For some hits your fighter sustains, you’ll draw a card that assigns a special handicap. Was your targeting computer damaged, affecting your ability to acquire a lock on the enemy? Perhaps an ill-timed weapon malfunction will limit your offensive capabilities. Or worse yet, your pilot could be injured, compromising his ability to focus on the life-and-death struggle in which he is engaged…

The Star Wars: X-Wing starter set includes everything you need to begin your battles, such as scenarios, cards, and fully assembled and painted ships. What’s more, Star Wars: X-Wing’s quick-to-learn ruleset establishes the foundation for a system that can be expanded with your favorite ships and characters from the Star Wars universe.

More can be learned at these links:

The hook for me was when I saw the game’s version of The Millennium Falcon which is for me one of my favorite fictional symbols in film history of rebellion.  CLICK HERE FOR MORE.  I remember vividly when I toured the Smithsonian Museum in Washington D.C. to see the actual model of the Falcon in a traveling display that was set up there.  I traveled to Washington that weekend just to see the Falcon.  I spent nearly two hours looking at it, photographing it and memorizing every pipe, dent, and burn mark on a ship I had watched so many times in the feature films.  It was for me one of the most beautiful things I have ever seen in my life.  When I saw the level of detail that Fantasy Flight Games had poured into the Millennium Falcon game piece for the X-Wing Miniatures role-playing game it called to my mind memory of that original model in sheer detail and I instantly fell in love.  I immediately bought a starter set of the X-Wing game and launched my family onto a new generation of game play that is sure to engulf for many years. In the game players can fly the legendary Millennium Falcon into fast-paced battles for the fate of the galaxy! The Millennium Falcon™ Expansion Pack for the X-Wing™ Miniatures Game allows players to blast through hyperspace with Han, Chewie, Lando, and more. The Millennium Falcon comes with four pilot cards, thirteen upgrades, and all requisite tokens. New rules expand the X-Wing galaxy to include large ships and modifications. With its pilots, upgrades, and lovingly detailed miniature, the Millennium Falcon Expansion Pack is a beautiful addition to the X-Wing game!  It may be the coolest thing I have seen in years regarding this kind of thing.  It is a marvel to look at and unbelievable to have as a game play option.  I consider it stunning.

If the Millennium Falcon didn’t close the deal for me on the new X-Wing game the promise of the next ship did.  It doesn’t come out until the end of August, but when it does, I will buy it immediately.  It is the HWK-290 designed by Corellian Engineering Corporation to resemble a bird in flight, the “hawk” series excels in its role as a personal transport. The HWK-290 Expansion Pack comes with one detailed miniature at 1/270 scale, a maneuver dial, all necessary tokens, six upgrades, and four pilots, including the renowned Kyle Katarn. Each HWK-290 provides a wide range of support options for your squad and can be outfitted with both a turret weapon and crew member.  The reason this ship is significant for me is because it was the featured spacecraft of the main character in the video game Dark Forces.  pic1394907_lgIt never appeared in a Star Wars film, but was the home craft of the video game character Kyle Katarn, who would later become a Jedi Master in the novels years later.  One of the very first video games that my oldest daughter ever played was Dark Forces.  It was a first person shooter that came out in 1995.  My daughter was only 6 years old at the time and helped me play it by pressing the space bar on the key board when I told her to which caused my character to jump.  She was too young for the complex shooting and strategy it took to win the game, but she knew how to hit the space bar when I told her to and it was that game that launched her into a lifelong love of video games.  She and I will always share that unique father/daughter experience, and I will always think of her when I think of the HWK-290.  I was dazzled to learn that Fantasy Flight Games was actually inserting that ship into the game mythology before other types of ships, which let me know that the game designers were very serious about expanding the Star Wars experience of role-playing gaming in a format that hasn’t seen such a level of attention since our beloved Pirate Constructible Strategy Game.

Now that I’m going to be playing, it won’t take long before other members of my family will also and soon we will be ordering LaRosas pizza late at night and lining up 2-liters of Coke along our kitchen counter playing Star Wars: X-Wing Miniatures Game well into the night.  It doesn’t matter that everyone playing will be well over 20 years old and in my case their 40s.  I still get a thrill about purchasing new strategic game pieces that can be used under battlefield conditions that have infinite possibilities.  I do not feel this kind of passion for other types of games.  The reason is that the role-playing games allow for complete independent freedom of strategy, unlike board games where the path is set and random chance puts players often into a position to win the game.  With games like X-Wing Miniatures all the conditions of battle are set and designed by the player, and that is why I love these experiences so intensely.  For me the game is only part of the fun.  I enjoy often reading the stats of the cards and infinitely considering various strategies before hand.  The game only proves a theory good or bad. 


I have played these games with people who are really good.  They are very quick with their mind and spend a lot more time playing the games than I ever will.  It is fun to watch these kinds of players at tournaments and conventions.  I will never put the kind of time into these games that they do, but I admire their efforts.  Too many adults in our modern age believe falsely that games are for kids and that such things should be put away as adulthood consumes our lives.  Games are not for kids, they are for minds.  Games like the Star Wars: X-Wing Miniatures Game feeds the mind with more than entertainment, it provides mental exercises that are invaluable to real life.  I can’t say how many times I have been locked in epic political struggles and other situations where I resorted on the practices used in these strategy games to apply some skill I tried and won with in theory, against real opponents in real scenarios. 


So as I sometimes take breaks from the rebellions of the real world to embark on these flights of fantasy, even in my leisure, strategy is an important part of my life.  It is far safer to make errors in judgment among friends and family over pizza and Coca Coke than when it really counts in real life. 

And with that said, I am ecstatic to see this new Star Wars: X-Wing Miniatures Game available at what might only be termed, an essentially important period in my life.  The timing couldn’t have been more perfect and I am so glad that the good people at Lucasfilm put the short playing clip of the example with Wil Wheaten and Seth Green up so I could see the Millennium Falcon playing piece for the first time and become enticed enough to investigate further.  That investigation will yield tremendous benefits that can only be found when adults play the games of young people and further develop their minds against the antagonists who have lost such abilities to their own detriment.  Sometimes being good at strategy isn’t about being better at the game itself, but is due to working against un-armed opponents.  Those who don’t play these kinds of games find their minds unable to think strategically enough to compete when it really matters, and every time a new game like Star Wars: X-Wing Miniatures Game comes out, I am deeply thankful for the opportunity to feed my mind with the contents that have benefits which extend beyond convention.  When a vacation is needed, it’s not just the body that needs rest, the mind does also.  But the mind enjoys stimulation, not stagnation, and often a game like this can provide the crucial ingredient that the mind seeks with abundance in all the best scenarios.


To get the gist of what I’m talking about read this review from  It reveals why this game is so much better than most other games, and why it will become one of the most enduring games of its type in this generation. 



 Harrowing dogfights, family drama, shootouts, a tender moment, amazing monsters, humor.

There’s a tempo to Star Wars. We all remember Luke screaming NOOOOOOO at Vader. For different reasons, we remember Anakin turned Vader screaming NOOOOOO. But we also remember Leia offering a little cracker to an ewok. We remember first seeing Darth Maul’s double lightsaber. And we remember Han saying “I know.”

It is NOT all pew-pew-pew. It is NOT all Vrusssshhhhhhhzwwwmzwwwmmm. It’s a cycle of teasing action and drama.

Even though the X-Wing Minis game plays out some incredible dogfight sequences, the play of the game is NOT a straight forward flow.

I’ve got dozens of rounds under my belt now, and I’ve been wanting to write a review, and it finally came to me what it is that makes this game such rip roaring fun.

It’s not the astoundingly detailed minis. And anyone complaining about scale needs to take a close look at the movies, where the scale of the ships to each other changes from shot to shot due to the compositing techniques used at the time.

The minis are awesome. I’m somewhat surprised that different ships use different plastics, but I understand why. That denser stuff used on the X-Wing would collapse a Falcon into itself.

The prepaint jobs are incredible. The cards gorgeous, the components just off the scale. Even with the bit more they must pay in royalties to Uncle George, the massive appeal of this game allows them to make a ton of copies and the price, while at first glance seems daunting, isn’t a lot for what you get.

What makes the game work is the pendulum swing. The rhythm.

First, the setup. The agonizing squad building. Is it worth 2 points to raise this pilot’s skill, not knowing what the enemy force contains? It could easily be two points that have ZERO effect on the game. Terribly tough gambles. Now that wave 2 is out and you could just as easily face a hulking mothership like a decked out Slave I or a swarm of the world’s most annoying TIE fighters, you really have to prepare for a wide contingency of opponents.

This setup is tense. You want flexible. But strong. Synergistic support between squad members, but not so much that the loss of a key ship means defeat. And you ALWAYS want about 3 more points for that perfect build. No matter how many points you choose to fight, you will kill for another 3.

So it’s got that whole squad building aspect down great. Especially now that there’s a ton of options. Who knows what your opponent will bring?

But the flow of a turn is brilliant.

Everybody chooses their maneuvers. No downtime. But here in the game is where you are playing cat and mouse. Maybe psychologically toying with the opponent, making them think your plan is A when it is actually B.

Hidden agendas and secret moves. That’s the next game that plays out after the squad building math.

Then the wonderful move system. Everyone slowly reveals their moves, in what might be the games most questioned rule. The lowest skilled dudes go first, and eventually the better skilled dudes, which mean they have a fairly good chance of accidentally hitting and losing their action, where the lower skill guy might pull it off.

But it works in the long run, because it keeps higher skills in tailing positions.

Bit in this phase of the game, again, very, very little downtime, as the nefarious plans and maneuvers are revealed.

Squeals of glee and grunts of horror abound as unexpected collisions happen and skillful turns are executed.

But then comes the start of your devastating on the spot decision making. While plotting your squadrons moves, you had an overall plan. Now, each ship must choose it’s precious action.

Evade? How many guys might end up firing on you? Target? Are you clear to get the shot this or next turn? Focus – the all purpose “Egads, I need help” token. Or maybe that barrel roll or super freakin cool new Boost – move a bit maybe out of a firing arc or -surprise – snap someone into your arc. Maybe you execute some trick of your specific pilot.

Here is where you are tempering your odds. Things that will alter the upcoming luck sequence. carefully guiding the gods of luck to your favor.

The tokens build up on the board as actions get selected. At first, this is a pile of confusing cardboard. In a few games, the counters become invisible, simply reminding you of who plans what.

Whew. So, strategic planning in the squad build, then the secrecy of move plotting, then the agonizing action choices. What more does this game need?

Raw luck.

Bring out the dice. Or the iPad app, if you prefer.

Its Star WARS and the dice bring on the war. Now MORE decisions that hurt. Do I spend my focus token to get that extra damage possibly in, or hold on to it to help me avoid possible damage? What if I hold it and no one fires? What a waste… Two hits coming in… Do I evade? Or hold on to the evade since a crit might come next?

Hopefully, you’ve pile bonus upon bonus on your fighters. Distance, skill, weapon, focus… Or maybe all you’ve got is a shot in the dark.

Fire away.

Even defenders are active, choosing focus and evade moments.

Again, very little downtime. Lots of whining and cheering. Little downtime.

Start the cycle again. Hidden choices, movement reveals and actions, combat.

I think THIS is why X-Wing is such a stunningly successful design. It bobs and weaves each turn. No phase is long enough to overstay its welcome. And you must juggle and balance each phase to support the others.

An excellently designed system that overcomes any of it’s perceived problems due to the overall strength of play.

Listen to Star Wars gaming news at Mos Eisley Radio broadcasting straight from the Outer Rim!

Rich Hoffman

Give yourself the gift of ADVENTURE.  CLICK HERE!  

Yes, The Disney ‘Lone Ranger’ has the William Tell Overture: Past meets present with a glorious spectacle.

Many kids these days have no idea that the character of Woody from the popular Toy Story films was directly inspired by The Lone Ranger television show that was so extremely popular immediately after World War II.  The last time the Lone Ranger made any kind of legitimate appearance in either television or motion pictures it was in the 1981 film The Legend of the Lone Ranger which had mild success, but involved the tragic injury of Terry Leonard, the famous stuntman from Raiders of the Lost Ark.  In the 1981 film, a stagecoach accident ran over both of Terry’s legs which tarnished the film a bit to even my young eyes.  The scene made it into the movie, but was difficult to accept as I always related more with the stuntmen in films than I ever did the actual actors.  There was a time in my life where I wanted to be a stuntman more than anything else, but that idea subsided a bit after several violent car crashes, encounters with actual villains who shot real bullets, and a few years of marriage.  But deep in my heart is the love of the Lone Ranger and his code of moral conduct that helped shape America’s identity with his classic white hat, black mask, and silver bullets.

My primary exposure to the Lone Ranger came from Saturday morning serials. For me it was always a toss-up between the Lone Ranger, and Zorro who I loved more.  One of those classic Republic serials can be seen throughout this article.  I’m sharing it in the same way that I shared the Republic serial, Zorro’s Fighting Legion.  These types of programs made a point to teach children and adults values they could both share.  This is why I am so eager to see the new Lone Ranger film by the Disney Company.

The Lone Ranger is a fictional character: a masked ex-Texas Ranger who, with his Indian companion Tonto, fights injustice in the American Old West. The character has become an enduring icon of American culture.[7]

He first appeared in 1933 in a radio show conceived either by WXYZ radio station owner George W. Trendle[3][4][5] or by Fran Striker,[8] the show’s writer.[9][10] It has been suggested that Bass Reeves, a legendary Federal peace officer in the Indian Territory (1875 – 1907) was the inspiration for this character.[11][12] The show proved to be a hit, and spawned a series of books (largely written by Striker), an equally popular television show that ran from 1949 to 1957, and comic books and movies. The title character was played on radio by George Seaton, Earle Graser, and most memorably Brace Beemer.[8] To television viewers, Clayton Moore was the Lone Ranger. Tonto was played by, among others, John Todd, Roland Parker, and in the television series, Jay Silverheels.

Departing on his white stallion, Silver, the Lone Ranger would shout, “Hi-Ho, Silver! Away!” As they galloped off, someone would ask, “Who was that masked man, anyway?” Tonto usually referred to the Lone Ranger as “Ke-mo sah-bee“, meaning “trusty scout” or “trusted friend.”[13] These catchphrases, his trademark silver bullets, and the theme music from the William Tell overture have become tropes of popular culture.

In every incarnation of the character to date, the Lone Ranger conducts himself by a strict moral code put in place by Striker at the inception of the character. Actors Clayton Moore[6] and Jay Silverheels[citation needed] both took their positions as role models to children very seriously and tried their best to live by this creed. It reads as follows:

I believe…

  • That to have a friend, a man must be one.
  • That all men are created equal and that everyone has within himself the power to make this a better world.
  • That God put the firewood there, but that every man must gather and light it himself.
  • In being prepared physically, mentally, and morally to fight when necessary for that which is right.
  • That a man should make the most of what equipment he has.
  • That ‘this government of the people, by the people, and for the people’ shall live always.
  • That all things change but truth, and that truth alone, lives on forever.
  • In my Creator, my country, my fellow man.[14]

The most updated version of The Lone Ranger comes out on July 3rd, and I can’t think of a better film to see which celebrates the 4th of July.  The Lone Ranger is a special kind of film and I sincerely hope that Jerry Bruckheimer is able to do for the American western what he did for swashbuckling pirate films. If he does, then western values have a real chance at re-emerging in American culture.

It is about time that children learn clean speaking cowboys are not just playthings in a toy box like Woody was in Toy StoryThe Lone Ranger is the original Woody, and I relish that the film is coming out around such a patriotic holiday, because the Lone Ranger is a uniquely American creation for a uniquely American audience that is being exported to every corner of the world by one of the largest and most successful companies in the world.  It should go without saying that I will be seeing it at the earliest possible screening.

Now, one of the most heavily searched items on my site here at Overmanwarrior’s Wisdom for the last three months has been the question, “Is the William Tell Overture in the new Lone Ranger.”  Well, for the answer, you can hear it from Han’s Zimmer himself.

Don Steinberg from The Wall Street Journal — Ok, so over to “The Lone Ranger.”  And speaking of theme music: there’s probably never been any audible version of the Lone Ranger that didn’t use the William Tell Overture. Do you nod to that?

Hans Zimmer response – I was listening to a Billy Connolly quote, and he said the definition of an intellectual is if you can listen to the William tell Overture and not think of the Lone Ranger. Ok, we didn’t go the intellectual journey.  We fully embraced the William Tell. Needless to say, we couldn’t leave well enough alone, so it has a little tweak. Actually it’s tweaked quite bit.  I don’t know how long the Overture is — it depends on how fast you play it — but that Lone Ranger bit is two minutes long, at the most. And, as I found out, Mr. Rossini felt that was all he had to say. So there are some expansion opportunities. Plus, needless to say, they don’t hire me just to orchestrate Rossini. They want a bit of my dirty fingerprints all over it.

Read the whole interview here:

………………………………….YES!  I am damn happy to not call myself an intellectual by the way that Billy Connolly coins the term.  For me, the William Tell Overture is what the Lone Ranger is all about.  CLICK HERE FOR MORE.  Enjoy the movie!

Rich Hoffman

Justice Comes with the Crack of a Whip’!”

Don Q Son of Zorro: A window into the past to see American history firsthand

I sometimes forget that a majority of the people in the world can only remember historical events ranging into the 1950s these days, so the history of how America arrived to where it is today is lost to them, except in history books and documentaries.  Of those it has only been during the last ten years that both took a hard look at the liberalism that seeped into American culture by the boat load during the 1930s to the 1950s.  For most people they have no concept of what America was like before The New Deal, or The Great Society–programs created by extremely progressive presidents.  People are completely unaware of what life was like when Woodrow Wilson attempted to crown himself king of America, riding on the coat tails of Teddy Roosevelt who tried with every fiber in his body to make America like Europe with his love or royalty and political hierarchy.

Equally baffling to people is the reason I think of the 1920s as the premier time for American ideals to come into fruition under the hands-off leadership of President Calvin Coolidge.  I forget that everyone does not practice with bullwhips and have a love for old movies that brought out the best of the Hollywood era, and paved the way for a future of mythmaking cinema that would deliver to the world ideals about freedom, honor, and tenacious respect.  After all, we live in the year 2013 and the days of Calvin Coolidge were a long time ago.  Society has “progressed” so much beyond those “primitive” times; at least that is the popular misconception of our day.

However, I would make the argument that American society has not advanced, as many believe, but is regressing toward the primitive mentality of mysticism, instead of away from it, and it is books, music, and movies that shape the politics of our age, which is why politicians have learned to control Hollywood with a short leash, and shared public relations resources.  I forget that I am probably the only human being within a thousand mile radius who has as one of the treasured literary classics called The Curse of Capistrano otherwise known as The Mark of Zorro by Johnston McCulley published in August of 1919.  That book is a window to a long forgotten time representing long forgotten and suppressed values that I cherish immensely.

I loved The Curse of Capistrano so much, as McCulley wrote the very first story of Zorro with such passion that I used his style as my template to The Symposium of Justice, which was my modern tribute to Zorro from The Curse of CapistranoThe Mark of Zorro is the classic adventure that not only launched a legend, but it built Hollywood with the very first brick.  Johnston’s Zorro took place in a bygone era of sprawling haciendas and haughty caballeros who suffer beneath the whip-lash of oppression.  Missions were pillaged, native peasants abused and innocent men and women were persecuted by the corrupt governor and his army.  But a champion of freedom riding the horse-trodden highways at night, his identity hidden behind a mask, the laughing outlaw Zorro who defied the tyrant’s might.  A deadly marksman and a demon swordsman, his flashing blade left behind the mark of the “Z” for all in authority to fear!  Reading the novel is like reading the thoughts of people from a different time, and compared to how things are today, they truly were.

As fate would have it Douglas Fairbanks bought up the rights to The Curse of Capistrano and turned the book into a silent movie in 1920 called The Mark of Zorro.  The movie was a smashing success as the Woodrow Wilson era of big progressive government came to an end, which without question found its way into plot of Johnston’s story.  The Warren G. Harding’s presidency was filled with scandal but good intentions leaving the man to die in office during 1923 leaving Calvin Coolidge to take over as President until 1929.  In 1925 Douglas Fairbanks made a sequel to The Mark of Zorro called Don Q Son of Zorro where he played not only the son of Zorro, but also the dad.  About 7 minutes into the film, Don Q states that his father, “Zorro was the greatest American there was.” The film was essentially about a class of progressive European ideals intersecting with American individualism.  It was a bench mark film for me and many of my whip friends because the stunts that Douglas Fairbanks did in the film served as the goal post for what all whip performers work off of to this very day.  The bullwhip was so important to Douglas Fairbanks in Don Q Son of Zorro that it is essentially the most memorable part of his character.

Going back and watching that film is a time machine into a different time and place when people thought a lot differently about things than they do today.  So to share that experience as I have been doing with other bullwhip related feature films lately, I have put the entire film Don Q Son of Zorro up here for your viewing pleasure.  The first impression many people have about a silent film is that they can’t get used to not having people speak.  A silent film relied exclusively on music and the action on a screen to make the performance come to life.  It’s kind of like reading a book that is in motion.  Douglas Fairbanks knew that the way to capture his audiences’ attention was to perform stunts that they could never think of doing.  The stunt work he performed in Don Q Son of Zorro is unparalleled then and since.  Since 1925 Zorro, has been associated with a bullwhip because of Douglas Fairbanks’ work in Don Q.  This would go on in film for the next 80 years.  I have watched Don Q Son of Zorro many times, and because of that, I have seen what the world was in the 1920s and studied hard what values built Hollywood before the incursion of communism that spread during the Red Decade as Ayn Rand warned about in the late 1940s along with Walt Disney.  CLICK HERE TO REVIEW.   So do yourself a favor and watch Don Q Son of Zorro parts one and two below, and compare the values shown in the film with the watered down valor of today.

Part II

It was on these kinds of films from Douglas Fairbanks that Hollywood would grow into what it is today a booming town of entertainment where left leaning politicians recognized more quickly the value of capturing a message and shaping it with influence so to achieve political gains.  But things were not always so watered down.    I know about these films and novels of this era because of my exposure to bullwhip art, and more specifically Western Arts.  Actors, and stuntmen like Douglas Fairbanks are the kind of people who built the foundations of Western Arts, so they are revered in a similar way that progressives think fondly of such as Woodrow Wilson.

We live in an age where we think that movies are old if they were done in the 1970s, but in essence movies have been copying off each other since the 1940s.  They are telling the same stories, but just telling them with a bit more polish then a silent film was able to capture.  In Don Q Son of Zorro Douglas Fairbanks puts out a candle in one take with a 10’ bullwhip using an overhead flick move, not easy to do.  For a project I did for a camera crew in Hollywood a few years ago, I was tasked with putting out a cigarette on the ground with a 12’ bullwhip and it took me 14 takes.  (I was doing it backwards so I don’t feel badly about it.)  But the whip stunts done in Don Q were simply light years ahead of their time and wouldn’t be even attempted again with such scope until The Mask of Zorro in 1998 starring Anthony Hopkins and Antonio Banderas.   It took Steven Spielberg to executive produce the project through his Amblin studio.  The film had been in the works as early as 1992 with Spielberg wanting to direct the film with Sean Connery playing the older version of Zorro.  Even so, it took 6 years to get the film done with Spielberg working hard to make it happen even with all the strings available for him to pull.  As good as the film was, it was essentially a dusted off version of Don Q Son of Zorro as both Spielberg and George Lucas are great lovers of classic cinema, and they worked damn hard to make The Mask of Zorro an honorable tribute to the late, great Douglas Fairbanks—particularly with the whip work.

Everything starts with an idea, and that idea started with Johnston McCulley writing the 1919 novel The Curse of Capistrano with so much passion against government statism that it practically built Hollywood with its effort.  And if it wasn’t for that novel there would have never been a movie called The Mark of Zorro and there would have never been a Don Q Son of Zorro.  There would have been no Republic serials, there would have been no Disney Zorro–there would have been no Lone Ranger.  Without Douglas Fairbanks and his great effort in Don Q Son of Zorro there would not be a bullwhip movement alive today where a handful of people scattered throughout the world are keeping alive an idea of America how it was before politics shifted heavily to the slide of the progressives, and made reality what many feared during the time that The Curse of Capistrano was written, where oppression from corrupt governors was feared, and a clash with European nobility was at war with rugged American individualism.  Don Q Son of Zorro is not just a film that has great whip stunts, but is a window into a time where America was on the brink of success, before the Red Decade, before World War II, before Vietnam, before most Americans even knew what the crazy concept of European socialism was.  In Don Q Son of Zorro there is a hope that there will always be a hero who resists the tyranny of oppression with the charisma and physical ability of the great Douglas Fairbanks.

It is up to those of us who can look through that open window and learn from history, and do in reality what was thought of on the pages of Johnston McCulley’s The Curse of Capistrano, and keep the ideas of freedom alive that characters like Zorro represented, a champion of freedom riding the horse-trodden highways at night under a full moon, his identity hidden behind a mask, as the laughing outlaw Zorro defies the tyrant’s might with the crack of a whip, and the mark of a “Z”!

Rich Hoffman

“Justice Comes with the Crack of a Whip!”

‘Zorro’s Fighting Legion’: Celebrating Disney’s ‘The Lone Ranger’ with a tribute to Yakima Canutt

Many industry professionals have cautioned me that due to my Tea Party like beliefs, I will have limited opportunities to work in film, either in front of the camera as a whip consultant, as I have done a time or two, or behind the camera as a writer.  My specific attitude toward collective oriented labor unions is the nail in the coffin as today’s Hollywood for the most part has become an arm of the federal government, and the policies of statism advocated there.  But there are rare exceptions, and of late Warner Brothers with Legendary Pictures have produced fantastic films like Man of Steel and Dark Knight Rises, while Disney Studios is putting out pictures like Iron Man, the Avengers and now the upcoming The Lone Ranger.  It is the Lone Ranger that has me extremely excited because that character as I have mentioned before goes deep into my past.  I love the old versions of the Lone Ranger, the old Saturday morning serials that were recaptured by George Lucas when he made Star Wars and Indiana Jones.  I love the old serials so much that I have seen many of them, even though they are way before my time.  While they lack the polish and sophistication of modern films, they are filled with heart and soul.  Many of the film techniques used today in all the popular blockbusters were developed during the period of the popular Republic serials.  And of those serials there was none I love more than the 1939 series called Zorro’s Fighting Legion.

For readers of my novel The Symposium of Justice, I pay tribute to that 12 chapter serial in three different ways.  The first is that the character conflict of Fletcher Finnegan is much like the fight that Don Diego had with Don Del Oro in Zorro’s Fighting Legion.  I even went to the trouble of naming the antics of my protagonist in the novel Cliffhanger’s Fighting Legion.  The third is that the restaurant that Fletcher Finnegan worked at as a grill cook so that he could learn the movements of the towns politics behind the scenes was named Republics, after of course the company that produced Zorro’s Fighting Legion.  It was Zorro’s Fighting Legion that inspired me to take up the bullwhip to the extent that I have, and make it part of my life, almost as important to me as an arm or a leg on my body.  There is a lot of whip work in Zorro’s Fighting Legion and I wanted to learn every single trick, which I did.  I came to learn about Zorro’s Fighting Legion because I learned at age 12 while watching a documentary about the making of Raiders of the Lost Ark that the great stunt performed by Terry Lenard during the famous “Desert Chase” scene was first done by the great stuntman Yakima Canutt who I feel virtually built Hollywood on his back.  Without the great work of stuntmen like Yakima Canutt and Republic Pictures there would never have been a modern-day Star Wars, an Indiana Jones, or even movie versions of Man of Steel, Iron Man, or Dark Knight Rises.

Hollywood was not always liberal.  Communism slowly seeped into the Hollywood movie machines in the late 1930s during The Red Decade, but studios resisted.  Hollywood Black Friday is the name given, in the history of organized labor in the United States, to October 5, 1945. On that date, a six-month strike by the set decorators represented by the Conference of Studio Unions (CSU) boiled over into a bloody riot at the gates of Warner Brothers‘ studios in Burbank, California. The strikes helped the passage of the Taft-Hartley Act in 1947 and led to the eventual break up of the CSU and reorganization of the then rival International Alliance of Theatrical Stage Employees (IATSE) leadership. The Conference of Studio Unions was, at the time, an International union belonging to the United Brotherhood of Carpenters and Joiners and represented the Carpenters, Painters, Cartoonists and several other crafts working for the Studios in Hollywood.

Seventy-seven set decorators broke away from IATSE to form the Society of Motion Picture Interior Decorators (SMPID) and negotiated an independent contract with the producers in 1937. The SMPID joined the CSU in 1943 and the CSU represented the SMPID in their contract negotiations. After the producers stalled the negotiations for nine months, IATSE questioned CSU jurisdiction over the Set Decorators which led to a further five-month delay as the CSU and IATSE fought over jurisdiction. When the Producers refused to acknowledge an independent arbitrator appointed by the War Labor Board‘s assessment that the CSU had jurisdiction over the Set Decorators in February 1945, it set the stage for the strike

By October, money and patience were running low as some 300 strikers gathered at Warner Brothers’ main gate on October 5, 1945. Temperatures were abnormally warm for the already hot LA autumn. When non-strikers attempted to report for work at 6:00 in the morning, the barricades went up and tensions flared. As replacement workers attempted to drive through the crowd, their cars were stopped and overturned.  Hollywood would never again be the same as a gradual erosion of value began to leave Hollywood projects as the labor unions were backed by communist sympathizers with eyes favoring the Soviet Union during the Cold War.

Reinforcements arrived on both sides as the picket increased to some 1,000 people and Glendale and Los Angeles Police came to aid the Burbank Police and Warner Security attempting to maintain the peace. When more replacement workers attempted to break through to the gate, a general melee ensued as strikers mobbed them and strikebreakers responded by attacking the strikers with chains, hammers, pipes, tear gas, and night sticks. Warner security rained more tear gas down from the roofs of the buildings adjoining the entrance. Warner firefighters sprayed the strikers with fire hoses. By the end of the day, some 300 police and deputy sheriffs had been called to the scene and over 40 injuries were reported.

The picketers returned the following Monday with an injunction barring the police from interfering with the strike while Warner retaliated with its own injunction limiting the number of pickets at the gate. Although the violence would continue through the week, national exposure forced the parties back to the bargaining table and resulted in an end to the strike one month later but the CSU victory was a Pyrrhic one, where contentions over wording dictated by an AFL arbitration team would lead to further questioning as to CSU and IATSE jurisdiction on the set.


Zorro’s Fighting Legion was created during this turbulent period but was still free of unionized influence.  That makes it much more special to me for the sheer fact that the foundations of American story telling were built upon these Republic serials.  It was film projects like this one that helped slow the erosion of communism in America with the western that so proudly articulated American values of justice, and Zorro’s Fighting Legion is certainly that type of film collection.  I see the Republic serials as Hollywood’s response to the growing tension forming ahead of the Cold War between the communism of the Soviet Union and the capitalism of America.  The struggle of this philosophical debate is all over the story of Zorro’s Fighting Legion, and has resonated with me for decades.  One of the greatest days in my life was when the emergence of DVD technology allowed me to purchase the entire series to own for myself to watch over and over again, which has only been possible in recent years.  But even better than that, Zorro’s Fighting Legion is now available on YouTube, so to share this unique treasure with my readers here, and to share my vision of what Hollywood is all about in celebration of the upcoming Lone Ranger by Disney, please do enjoy all twelve episodes shown below.  They are kind of slow and boring compared to today’s entertainment, but try to watch them the way I do, for their purity of purpose, simplicity in design, and sheer bold stunt work by the great Yakima Canutt.  Mixed through the rest of the article between the episodes is information that is needed to compliment the films.


Zorro’s Fighting Legion is a 1939 Republic Pictures film serial consisting of twelve chapters. It features Reed Hadley as Zorro. The plot revolves around his alter-ego Don Diego’s fight against the evil Don Del Oro.

A trademark of this serial is the sudden demise of at least one native informant in each episode. The direction was identical for each informant’s death, creating a source of unintentional humor: each informant, upon uttering the phrase, “Don Del Oro is…”, is shot by a golden arrow and dies before being able to name the villain’s alter ego. The serial is also unusual in featuring a real historical personage, Mexican President Benito Juárez, as a minor character.

The mysterious Don Del Oro (“Lord of Gold”), an idol of the Yaqui Indians, has emerged and attacks the gold trade of the Republic of Mexico, planning to take over the land and become Emperor. A man named Francisco is put in charge of a fighting legion to combat the Yaqui tribe and protect the gold, but he is attacked by men working for Don Del Oro. Zorro comes to his rescue, but it is too late for him. Francisco’s partner recognizes Zorro as the hidalgo Don Diego Vega. Francisco asks Diego, as Zorro, to take over the fighting legion and defeat Don Del Oro.


Republic Pictures was an American independent film production-distribution corporation with studio facilities, operating from 1935 through 1959, and was best known for specializing in westerns, movie serials and B films emphasizing mystery and action.

The studio was also responsible for financing and distributing one Shakespeare film, Orson Welles‘ Macbeth (1948), and several of the films of John Ford during the 1940s and early 1950s. It was also notable for developing the careers of John WayneGene Autry and Roy Rogers.

Yakima Canutt (November 29, 1895 – May 24, 1986), also known as Yak Canutt, was an American rodeo rideractorstuntman and action director.

Born Enos Edward Canutt in the Snake River Hills, near Colfax, Washington; he was one of five children of John Lemuel Canutt, a rancher, and Nettie Ellen Stevens. He grew up in eastern Washington on a ranch near Penawawa Creek, founded by his grandfather and operated by his father, who also served a term in the state legislature. His formal education was limited to elementary school in Green Lake, Washington, then a suburb of Seattle. He gained the education for his life’s work on the family ranch, where he learned to hunt, trap, shoot, and ride.[1]


He broke a wild bronco when 11. As a 6-foot-tall (1.8 m) sixteen-year-old he started bronc riding at the Whitman County Fair in Colfax in 1912 and at 17 he won the title of World’s Best Bronco Buster. Canutt started rodeo riding professionally and gained a reputation as a bronc rider, bulldogger and all-around cowboy. It was at the 1914 Pendleton Round-UpPendleton, Oregon he got his nickname “Yakima” when a newspaper caption misidentified him.[2] “Yakima Canutt may be the most famous person NOT from Yakima, Washington” says Elizabeth Gibson, author of Yakima, Washington.[3] Winning second place at the 1915 Pendleton Round-Up brought attention from show promoters, who invited him to compete around the country.[2]

“I started in major rodeos in 1914, and went through to 1923. There was quite a crop of us traveling together, and we would have special railroad cars and cars for the horses. We’d play anywhere from three, six, eight ten-day shows. Bronc riding and bulldogging were my specialties, but I did some roping,” said Canutt.[4]

During the 1916 season, he became interested in divorcee Kitty Wilks, who had won the Lady’s Bronc-Riding Championship a couple of times. They married on July 20, 1917 while at a show in Kalispell, Montana; he was 21 and she 23. The couple divorced about 1922.[2] While bulldogging in Idaho, Canutt’s mouth and upper lip were torn by a bull’s horn; but after stitches, Canutt returned to the competition. It wasn’t until a year later that a plastic surgeon could correct the injury.[2]


World’s champion

Canutt won his first world championship at the Olympics of the West in 1917 and won more championships in the next few years. In between rodeos he broke horses for the French government in World War I.[5] In 1918, he went to Spokane to enlist in the Navy and was stationed in Bremerton. In the fall he was given a 30-day furlough to defend his rodeo title. Having enlisted for the war, he was discharged in spring 1919. At the 1919 Calgary Stampede he competed in the bucking event and met Pete Knight.[2]

He traveled to Los Angeles for a rodeo, and decided to winter in Hollywood, where he met screen personalities.[4] It was here that Tom Mix, who had also started in rodeos, invited him to be in two of his pictures.[2] Mix added to his flashy wardrobe by borrowing two of Canutt’s two-tone shirts and having his tailor make 40 copies.[4] Canutt got his first taste of stunting with a fight scene on a serial called Lightning Bryce [6]; he didn’t stay, and left Hollywood to play the 1920 rodeo circuit.

The Fort Worth rodeo was nicknamed “Yak’s show” after he won the saddle-bronc competition three years in 1921, 1922 and 1923. He had won the saddle-bronc competition in Pendleton in 1917, 1919, and 1923 and came second in 1915, and 1929. Canutt won the steer bulldogging in 1920, and 1921 and won the All-Around Police Gazette belt in 1917, 1919, 1920 and 1923.[2] While in Hollywood in 1923 for an awards ceremony, he was offered eight western action pictures for producer Ben Wilson at Burwillow Studios; the first was to be Riding Mad.



Canutt had been perfecting tricks such as the Crupper Mount, a leap-frog over the horse’s rump into the saddle. Douglas Fairbanks used some in his film The Gaucho. Fairbanks and Canutt became friends and competed regularly at Fairbanks’ gym. Canutt took small parts in pictures of others to get experience.[2] It was in Branded a Bandit (1924) that his nose was broken in a 12-foot fall from a cliff. The picture was delayed several weeks, and when it resumed Canutt’s close shots were from the side. A plastic surgeon reset the nose, which healed, inspiring Canutt to remark that he thought it looked better.[2]



When his contract with Wilson expired in 1927, Canutt was making appearances at rodeos across the country. By 1928 the talkies were coming out and though he had been in 48 silent pictures, Canutt knew his career was in trouble.[5] His voice had been damaged from flu in the Navy. He started taking on bit parts and stunts, and realized more could be done with action in pictures.[2]

In 1930 between pictures and rodeoing, Canutt met Minnie Audrea Yeager Rice at a party at her parents’ home. She was 12 years his junior. They kept company during the next year while he picked up work on the serials for Mascot Pictures Corporation. They married on November 12, 1931.[2]

When rodeo riders invaded Hollywood, they brought a battery of rodeo techniques that Canutt would expand and improve, including horse falls and wagon wrecks, along with the harnesses and cable rigs to make the stunts foolproof and safe.[4] Among the new safety devices was the ‘L’ stirrup, which allowed a man to fall off a horse without getting hung in the stirrup. Canutt also developed cabling and equipment to cause spectacular wagon crashes, while releasing the team, all on the same spot every time.[4] Safety methods such as these saved film-makers time and money and prevented accidents and injury to performers. One of Yakima’s inventions was the ‘Running W’ stunt, bringing down a horse at the gallop by attaching a wire, anchored to the ground, to its fetlocks and launching the rider forwards spectacularly. This either killed the horse, or rendered it badly shaken and unusable for the rest of the day.[4] The ‘Running W’ is now banned and has been replaced with the falling-horse technique. It is believed that the last time it was used was on the 1983 Iraqi film al-Mas’ Ala Al-Kubra when the British actor and friend of Yak Marc Sinden and stuntman Ken Buckle (who had been trained by Yak) performed the stunt three times during a cavalry charge sequence.[7][8]


It was while working on Mascot serials that Canutt practiced and perfected his most famous stunts, including the drop from a stagecoach that he would employ in John Ford‘s 1939Stagecoach. He first did it in Riders of the Dawn in 1937 while doubling for Jack Randall.[2] In his 1981 film Raiders of the Lost ArkSteven Speilberg paid homage to Canutt, recreating the stunt when a stuntman, Terry Leonard, (doubling for Harrison Ford) ‘dropped’ from the front of a German Army transport truck, was dragged underneath (along a prepared trench) and then climbed up the back and round to the front again.[9]

John Wayne

While at Mascot, Canutt met John Wayne while doubling for him in a motorcycle stunt for The Shadow of the Eagle in 1932. Wayne admired Canutt’s agility and fearlessness, and Canutt respected Wayne’s willingness to learn and attempt his own stunts.[10] Canutt taught Wayne how to fall off a horse.[11]

“The two worked together to create a technique that made on-screen fight scenes more realistic. Wayne and Canutt found if they stood at a certain angle in front of the camera, they could throw a punch at an actor’s face and make it look as if actual contact had been made.”[10]

Canutt and Wayne pioneered stunt and screen fighting techniques still in use. Much of Wayne’s on-screen persona was from Canutt. The characterizations associated with Wayne – the drawling, hesitant speech and the hip-rolling walk – were pure Canutt.[12] Said Wayne, “I spent weeks studying the way Yakima Canutt walked and talked. He was a real cowhand.”[13]


In 1932, Canutt’s first son Edward Clay was born and nicknamed ‘Tap’, short for Tapadero, a Spanish word for a stirrup covering. It was in 1932 that Canutt broke his shoulder in four places while trying to transfer from horse to wagon team.[2] Though work was scarce, he got by combining stunting and rodeo work.

In 1934, Herbert J. Yates of Consolidated Film Industries combined MonogramMascot, Liberty, Majestic, Chesterfield, and Invincible Pictures to form Republic Pictures, and Canutt became Republic’s top stuntman. He handled all the action on many pictures, including Gene Autry films; and several series and serials, such as The Lone Ranger andZorro. For Zorro Rides Again, Canutt did almost all the scenes in which Zorro wore a mask, and he was on the screen as much as the star John Carroll.[14] When the action was indicated in a Republic script, it said “see Yakima Canutt for action sequences.”[4]


William Witney, one of Republic’s film directors, said:

“There will probably never be another stuntman who can compare to Yakima Canutt. He had been a world champion cowboy several times and where horses were concerned he could do it all. He invented all the gadgets that made stunt work easier. One of his clever devices was a step that attached to the saddle so that he had leverage to transfer to another moving object, like a wagon or a train. Another was the “shotgun,” a spring-loaded device used to separate the tongue of a running wagon from the horses, thus cutting the horses loose. It also included a shock cord attached to the wagon bed, which caused wheels to cramp and turn the wagon over on the precise spot that was most advantageous for the camera.”[15]

In the 1936 film San Francisco Canutt replaced Clark Gable in a scene in which a wall was to fall on the star. Canutt said: “We had a heavy table situated so that I could dive under it at the last moment. Just as the wall started down, a girl in the scene became hysterical and panicked. I grabbed her, leaped for the table, but didn’t quite make it.” The girl was unhurt but he broke six ribs.[5]



Canutt tried to get into directing; he was growing older and knew his stunting days were numbered. Harry Joe, Canutt’s second son, was born in January 1937. Joe and Tap would become important stuntmen, working with their father.

In 1938, Republic Pictures started expanding into bigger pictures and budgets. Canutt’s mentor and action director for the 1925 Ben-HurBreezy Eason was hired as second unit director, and Canutt to coordinate and ramrod the stunts. For Canutt this meant hiring stuntmen and doing some stunts himself, but laying out the action for the director and writing additional stunts.[4]

“In the five years between 1925 and 1930, fifty-five people were killed making movies, and more than ten thousand injured. By the late 1930s, the maverick stuntman willing to do anything for a buck was disappearing. Now under scrutiny, experienced stunt men began to separate themselves from amateurs by building special equipment, rehearsing stunts, and developing new techniques.” – fromFalling: How Our Greatest Fear Became Our Greatest Thrill by Garrett Soden.[16]


John Ford hired Canutt on John Wayne‘s recommendation for Stagecoach, where Canutt supervised the river-crossing scene as well as the Indian chase scene, did the stagecoach drop, and doubled for Wayne in the coach stunts. For safety during the stagecoach drop stunt, Canutt devised modified yokes and tongues, to give extra handholds and extra room between the teams.[4] Ford told him that whenever Ford made an action picture and Canutt wasn’t working elsewhere, he was on Ford’s payroll.[2] Also in 1939, Canutt doubled Clark Gable in the burning of Atlanta in Gone With the Wind; he also appeared as a renegade accosting Scarlett O’Hara (Vivien Leigh) as she crosses a bridge in a carriage driving through a shantytown.


Second Unit Director

In 1940, Canutt sustained serious internal injuries when a horse fell on him while doubling for Clark Gable in Boom Town (1940). Though in discomfort for months after an operation to repair his bifurcated intestines, he continued to work.[2] Republic’s Sol Siegel offered him the chance to direct the action sequences of Dark Command, starring Wayne and directed by Raoul Walsh. On Dark Command, Canutt fashioned an elaborate cable system to yank back the plummeting coach before it fell on the stuntman and horses; he also created a breakaway harness from which they were released before hitting the water.[17]

It was in 1943 while doing a low-budget Roy Rogers called Idaho that Canutt broke both his legs at the ankles in a fall off a wagon.[2] He recovered to write the stunts and supervise the action for another Wayne film In Old Oklahoma. In the next decade Canutt became one of the best second unit and action directors. MGM brought Canutt to England in 1952 to direct the action and jousting sequences in Ivanhoe with Robert Taylor. This would set a precedent by filming action abroad instead of on the studio lot, and Canutt introduced many British stuntmen to Hollywood-style stunt training.[2] Ivanhoe was followed by Knights of the Round Table, again with director Richard Thorpe and starring Robert Taylor. Canutt was again brought in for lavish action scenes in King Richard and the Crusaders.[18]

Canutt directed the close-action scenes for Stanley Kubrick‘s Spartacus, spending five days directing retakes that included the slave army rolling its flaming logs into the Romans, and other fight scenes featuring Kirk DouglasTony Curtis and John Ireland.[19]


Ben Hur

For Ben-Hur, Canutt staged the chariot race with nine teams of four horses. He trained Charlton Heston, (Judah Ben-Hur) and Stephen Boyd, (Messala) to do their own charioteering. He and his crew spent five months on the race sequence.[20] In contrast to the 1925 film, not one horse was hurt, and no humans were seriously injured; though Joe Canutt, while doubling for Charlton Heston, did cut his chin because he did not follow his father’s advice to hook himself to the chariot when Judah Ben-Hur’s chariot bounced over the wreck of another chariot.[21]

Walt Disney brought Canutt in to do Second Unit for Westward Ho, the Wagons! in 1956; the first live action Western Disney feature film followed by Old Yeller the next year, and culminating in 1960’s Swiss Family Robinson which involved transporting many exotic animals to a remote island in the West Indies.

Anthony Mann specifically requested Canutt for Second Unit for his 1961 El Cid, where Canutt directed sons Joe and Tap doubling forCharlton Heston and Christopher Rhodes in a stunning tournament joust. “Canutt was surely the most active stager of tournaments since the Middle Ages” – from Swordsmen of the Screen.[18] He was determined to make the combat scenes in El Cid the best that had ever been filmed.[21] Mann again requested him for 1964’s The Fall of the Roman Empire. Over the next ten years, Canutt would continue to work, bringing his talents to Cat BallouKhartoumWhere Eagles Dare and 1970’s A Man Called Horse.

For his contribution to the motion picture industry, Yakima Canutt has a star on the Hollywood Walk of Fame at 1500 Vine Street. In 1967, he was given an Honorary Academy Award for achievements as a stunt man and for developing safety devices to protect stunt men everywhere. He was inducted into the National Cowboy & Western Heritage Museum (Hall of Fame).

1985 – Yakima appeared as himself in “Yak’s Best Ride” directed by John Crawford. Produced by Clyde Lucas and Ed Penny

Yakima Canutt died of natural causes at the age of 90 in North Hollywood, California.[22]

He is buried at Valhalla Memorial Park Cemetery there.


Now you might understand why dear reader that I feel the way I do.  The kind of Hollywood, and adversely the kind of America I want is the one that made movies like Zorro’s Fighting Legion which were populated by men like Yakima Canutt.  My admiration for George Lucas is that he kept this type of America alive for the world by paying direct tribute to the old Republic serials, particularly Zorro’s Fighting Legion with his creation of Indiana Jones.  Like Republic Studios, George Lucas’ Lucasfilm made movies with the same level of independence which fashioned the Republic serials to be so important in American storytelling.  Raiders of the Lost Ark, not to take anything away from the visionary story of placing a globetrotting archeologist in a high adventure setting which has advanced science in so many wonderful ways, borrowed heavily from the old Republic serials and because it did, made me aware of their existence across time and space.   And now you too dear reader have seen one, the best one in my opinion.  One of the big fears that many current day Star Wars fans has is that Disney will ruin the Saturday morning serial feel to the films that mean more to people than even modern religions can duplicate.  The reason is that the stories have values that are not provided in modern society, and movie fans are hungry for films with value.  But Disney, even though it is a large company has not forgotten where it came from.  It knows what Uncle Walt told them from beyond the grave and Star Wars is in good hands.  The evidence is in The Lone Ranger which Disney is producing to re-invent the western the way they re-invented the pirate stories.  But it cannot be forgotten that what came first, was the great Republic serials like Zorro’s Fighting Legion where truth, justice, and the American way were plot points of value not avoided by a growing consensus toward world-wide communist domination.

The Don Del Oro of our time is all those statist lovers who would destroy all who attempt to stand for goodness.  They reside among us in reality with masks hiding their true intentions from behind the desks of union leadership, political office, even movie studio heads.  But not everyone is playing by the rules, and like Don Diego from Zorro’s Fighting Legion there are film producers like George Lucas who kept the old serials alive for a new generation, and Jerry Bruckheimer who is making the modern version of The Lone Ranger possible.  But more importantly, it is the work of men like Yakima Canutt, and Terry Lenard who gave wings to the ideas of freedom, which motion pictures have traditionally stood for, and still do in isolated cases like Disney’s The Lone Ranger, and Warner Brother’s Man of Steel.

It is worth taking a day or two to watch all these clips.  So make up some snacks in the kitchen and take some time to enjoy the foundations of American film and the heroic ideals that accompany them.

Rich Hoffman

“Justice Comes with the Crack of a Whip!”

The Lone Ranger Bullwhip: By Joseph Strain

I mentioned in a recent article that Joe Strain would soon announce he was going to provide to the public an official Lone Ranger bullwhip.  CLICK HERE FOR REVIEW.  Well here it is!

The Lone Ranger Bullwhip


Joseph Strain supplied 3 whips for the 2013 production of The Lone Ranger, one black 10 foot, one black 12 foot and one brandy 12 foot.


The whip pictured below is the black 10 foot prototype. The whips were all made from kangaroo, had 10 inch handles, were a finely cut 12 plait with 2 plaited kangaroo bellies. The 32″ falls were alum tanned burgundy latigo and the poppers were black nylon. The whips also had a narrower 4 plait wrist loop measuring 7 inches long. Lone%20Rnager%2010'%20Bullwhip%202



For a limited time, you can order one of these whips exactly as made for the movie by Joseph Strain. Production will take from 4 to 6 weeks from the time of order.


If you love the Lone Ranger, this is a must have item.  You can order one at the link below!

Rich Hoffman

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

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

The Lone Ranger’s Nominate a Hero Award: Nominate a local hero who rides for “Justice” in your community

Ahead of Disney’s new Lone Ranger film they are running a promotion for all fighters for justice to receive an advance screening of their new film prior to its July 3rd release.  Given the kind of readers who frequent Overmanwarrior’s Wisdom, there are more than a few such people in Southern Ohio who deserve a ticket.

Nominate a local hero or agency who rides for Justice in your community to receive the Lone Ranger Ride for Justice Award and an advance screening of Disney’s The Lone Ranger.  Post your nominations to @LoneRanger on Twitter with the #LRRideforJustice and your city of residence, to honor your local heroes.

Pick a local hero and honor them with a nomination!  And be sure to see The Lone Ranger for the 4th of July!   Click here to read my thoughts and tradition with The Lone Ranger!


Rich Hoffman


We Should Have Called Guinness: Tales from 2012’s Annie Oakley Western Showcase

I haven’t made a secret of it, every year when we have dinner at the Fairlawn Steak House with my friends at the annual Annie Oakley Festival it’s a kind of calibration for me to get my roots firmly back in the ground. To see last year’s article (CLICK HERE). It was refreshing to see some of the old faces again, and it was wonderful to see new ones. There were some who had paying jobs who couldn’t come this year which happen to fall on this particular weekend which was unfortunate, but does happen. For the most part, the Wild West is alive and well with the group I feel privileged to know and call friends.

I’ve known Gery Deer for around a decade now as he has put on the Western Showcase at Annie Oakley for about that long. It’s a thankless job that encompasses a lot of love for the Western Arts which ranges from music to period weapons. I was asked by many people who know me in other places besides my outback hat and bullwhips if I was going to the Restoring Love event down in Dallas, Texas over the same weekend. Even though there were many reasons for not going, most of them due to time constraints, my primary restraint was not to miss this wonderful event on the last weekend of July at the Darke County Fairgrounds.

It was nice to see Lash Luke back from Birmingham, Alabama. Luke came to his first Annie Oakley event last year as a 16 year old. His mom had brought him and he attended his first dinner with us at the Fairlawn. This year he was back, this time his dad brought him. He was much faster and sharper as a 17 year old, and had improved a lot in just one year of very hard work. He was so good that he won the heart of the young lady who was Miss Annie Oakley this year at the event that completely takes over Greenville, Ohio. She was so impressed with him that every free moment she had where she didn’t have to do “official” Annie Oakley business she was in the Coliseum at our Wild West exhibit to see him as we were cracking whips and throwing knives to a captive audience.

An impressive new whip maker named David Crain brought his act up from Middletown and set up a booth that had a lot of interest as he displayed his hand made nylon whips which were very, very good. I worked with them all day and they had wonderful balance and a lot of snap. His whips are also extremely creative as he custom turns all the handles on his own lathe. By trade he is an instrument maker—specifically drums and his whips look very much like instruments and for an extremely reasonable cost. I could easily have done two handed routines with my normal 6’ Terry Jacka 12 plait whip that costs nearly $600 in one hand and one of David Crain’s nylon whips in the other of the same length and not known much of a difference for around $130. His whips are perfect for people just trying to get into the sport as his whips are wonderful for beginners and professionals alike. In fact Richard Best who travels the country every year with his wife Donna Daring performing traditional western acts commissioned David to make a special nylon whip just for him. Richard has several nylon whips none of them he likes a whole lot, until he saw David’s.

During the whip competitions this year David Crain on behalf of his company Heartbeat Artistry donated the prizes for the Speed and Accuracy competition, the Speed Switch, and the Bull Whip Fastdraw. The prizes were 3’, 4’ and a 5’ custom made Crain whips. I was very happy with my performance this year even without as much time to practice as I normally do; I came away with my fastest time ever on the Speed and Accuracy competition of 11 seconds flat. The world record is 9 seconds hitting 10 targets. I hit 12 in 11 seconds which comes out to around .9 per crack. That was pretty good. If we had called Guinness for that attempt I might have had a world record, but I didn’t expect to come that close. Usually the winning time is 12.5 seconds to 14 seconds. I’ve won before with 12.6. I also did well on the speed switch this year with a time of 18.6 seconds which is more difficult because you have to use both hands going down the target stands one way with your right hand then back the other with your left. Times on that one are normally in the high 20’s because it’s hard to be accurate with both hands and time deductions for misses are very common. I also did well in the bull whip quick drawl, which I’ve had a problem with in the past. If you go too fast, you tend to pull the whip off to the right depending on how it’s coiled. So I backed off my speed a bit this year and hit the target squarely each time, something my son-in-law Paul is very, very good at. He has won the bullwhip quick draw more than any of us because he has the perfect combination of aggression, patience, precision and of course speed. That’s the trick of the fast draw which was invented by Gery Deer and Kirk Bass of Bass Blades.

Because of my good day with the whip competitions my grandson will be the recipient of the whips won from these competitions when he’s born. He doesn’t know it yet because he’s still kicking around inside my daughter, but the moment he’s born, he gets the 3’ whip. When he gets older, like age three and then four, I’ll give him the longer ones on his birthdays. The whip maker David had his daughter with him and she was 5 years old and cracking a leaf out of his hands. So my unborn grandson will be expected to do at least that much. Those whips will be the perfect size to learn on for a small child and they will all match and will take him well into his teenage years.

Kirk and Melodie Bass routinely energize the crowds with their knife throwing shows that are very unique. Kirk has been throwing knives for about 8 years now, and he is one of the best there is. The Bass family concentrates on knife throwing, but they do a little bit of everything, including whips. Melodie has always participated in the bullwhip competitions having fun as she goes. While we were eating at the Fairlawn her 5 year old curly haired son gazed at me over chicken sticks. I remember vividly 5 years ago when Melodie put up a respectable time on the speed and accuracy competition while pregnant with that child. They are an amazing family.

Gery Deer and his wife were as busy as ever. They are regularly booked for whip shows, and musical acts with Gery’s band titled The Brothers and Company who are most recently known for their controversial appearance at the Murphy Theater in Wilmington, Ohio. There they performed a song called “Big Butter Jesus Burned to the Ground” in homage to the famous statue in Monroe, Ohio that caught fire during a lightning storm. Gery currently does regular news segments for Channel 2 WTDN in Dayton as well as other television work in and around Dayton. Gery occasionally does convention and costume work for Indiana Jones because of his whip studio. Gery has most of the official costume items of Indiana Jones except for an authentic hat as it was designed for Raiders of the Lost Ark, which is a very unusual Fedora design. At Annie Oakley this year a custom hat maker from Cleveland drove down and met Gery to give him the most authentic Indiana Jones hat I’ve ever seen worth somewhere in the neighborhood of $500. It looks exactly like the Raiders hat that is in the Smithsonian, to every detail. It even has the varied brim widths around the hat to hang down over the face more than a typical Fedora. Gery was excessively happy about receiving this new hat as he wore it to dinner after their music performance.

Like all good things, they don’t last forever. The night had to come to a conclusion at some point in time. Most of us reluctantly sat around the dining table at the Fairlawn drawing out the evening even longer, but once we started paying checks, the indication that the marathon race to the next Annie Oakley event was about to begin for 2013 became clear.

A lot happens in a year and annually at the Annie Oakley Western Showcase I calibrate myself to the true values that hold everything up, the values that support family, friendships, and nations, and all those elements are present at the dinner table at the Fairlawn Steak House. The truth is easy to see for those who venture outside of their comfort zone just a little bit. For those who don’t, one can only feel pity as their lives are like compass needless spinning in perpetual search for true north. For me, north is in Greenville, Ohio and the friends I meet there every year. It’s in the whip cracks, the gun fire, and the sound of the knives sticking hard into a wooden backdrop. It’s the smell of fried streak fries and wood smoke from an open campfire. It’s the bright eyes of little children clapping at the magic tricks of Professor Karns, or the whip routines of Lash Luke, the roping of Richard Best and the bravery of Melodie Bass. But more than anybody it is Gery Deer who keeps it all together one year at a time performing western acts that are nearly extinct. In him it lives with perpetual hope, that tomorrow it will be alive for a new generation. And when my grandson is born, it will begin with a 3 foot whip from David Crain. Because if I need to do anything different in this upcoming year as opposed to years past, it’s more of what has worked and less of what didn’t. For me what works best are lots of bull whips and cut targets, with memories, friends and 8 X 10’s.


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

Just finished the book and am sweating profusely. Wow, what a ride !!!  Fasten your seat belts for one of the most thrilling rides ever in print.

Visit the NEW Tail of the Dragon WEBSITE!  CLICK HERE!

Rich Hoffman!/overmanwarrior

Indiana Jones and the Fate of Mankind: Live Snakes at COMIC CON!

It was reported to me that the Indiana Jones booth at COMIC CON in San Diago July 11th through July 15th will have a recreation of the famous Well of Souls scene from Raiders of the Lost Ark complete with live snakes to celebrate the release of all four Indiana Jones films to Blu-Ray. For those who need a map and want to know where to go, the Indiana Jones booth is 2913 at the Lucasfilm pavilion on the show floor. In the spirit of this exciting push to keep the name of Indiana Jones alive I am going to spend a moment to defend the last film, Kingdom of the Crystal Skull from the scrutiny it has received, which I have been thinking about for 4 years now.

To me all the Indiana Jones films are innovative fun escapades into the deepest questions of our times. Few people know it but George Lucas originally wanted to be an anthropologist but since he settled into a job as a “filmmaker,” the character of Indiana Jones allowed him to explore aspects of archeology that he could have only dreamed of as a field scientist. However, I will say this; George Lucas should go down in history as one of the greatest archeologists who ever have lived for the simple fact that many of today’s current world explorers, scientists, physics geeks, treasure hunters, mercenaries, and authors have been profoundly inspired by George Lucas’ creation of the character Indiana Jones. Because of Indiana Jones hundreds of millions, if not billions of dollars have been invested in archeological research that would have never happened in the field of that scientific endeavor if not for the first Indiana Jones movie, the greatest movie in the history of the world in my opinion, Raiders of the Lost Ark.

I would have come to use a bullwhip anyway, since my grandfather passed on to me the love of it which predated Raiders. He and his father were deeply inspired by old Zorro films like Don Q Son of Zorro from the silent era, so he was going to teach me whether I liked it or not. But when Raiders of the Lost Ark came out, which was a tribute to those old Saturday Matinees it allowed my generation to understand what my grandfather’s generation had loved so much. From the early film era of the 1940’s it was Zorro’s Fighting Legion that I love the most, and Indiana Jones was the modern mythic tale of those old adventures. So I took to the study of the bullwhip which has personally led me on many unique adventures and has given me a view of the world few get to see through that martial art weapon.

Some die hard film critics will say that Temple of Doom was the worst Indiana Jones film. Even Steven Spielberg has said he isn’t proud of that movie. Yet, the film is one of the most beloved movies in the history of film. It invented the PG13 rating because the film was too violent to be simply rated PG and was too family oriented to be rated R. Temple of Doom is the ultimate adventure film and studios have been trying unsuccessfully to tap into the magic of that particular movie for many, many years. I’ve seen it at the movie theater over 15 times that I can remember, the most exciting time was when I was on a high adventure camp excursion deep in the hills of Kentucky within one week of Temple of Doom’s release. I was only 15 at the time so I was under the care of adult supervisors. After a day of intense backwoods hiking and spelunking the members of our camp went to bed around 9 PM. Two of my friends in the same tent waited patiently with me for everyone to go to sleep since everyone was exhausted and covered in dirt and sweat. When we no longer heard voices speaking from the many tents, we quietly escaped and ran 5 miles into a nearby college town to catch the last showing of Temple of Doom for the day at 11:15 PM. With sweat pouring down our faces and backs we bought our tickets and sat down in the wonderfully air-conditioned theater just as Indiana Jones came into the Club Obi Wan with his white tuxedo. I have raised my children to the movie Temple of Doom. It played on our television every day for about 8 years. I raised my niece and nephews on the movie since my wife and I helped raise them as children. To this day, Indiana Jones and the Temple of Doom brings them found memories that they cherish from their childhoods. It is the story of good and evil and even though Indiana Jones gets stabbed, burnt, tortured, poisoned, possessed, and beat up in countless ways he somehow comes out heroically in the end facing all the dangers by stating, “It’s a long way to Deli,” meaning anything can happen, and we’ll deal with it as it comes. To this day my wife and I say that to each other whenever a series of bad things happen, and it brings comic relief.

(This is a personal friend of mine, Gery Deer in Jamestown, Ohio performing at the Murphey Theater in Wilmington.)

When Indiana Jones and the Last Crusade came out, I took my oldest nephew who was 5 at the time out of school to the premier. We saw the movie on opening day for the very first screening. I figured he would learn a lot more at that movie than he would in school, which I was of course right. In Last Crusade the archeology follows along the lines of the typically Christian pursuit of archeological relics. Made just 8 years after the first film in Raiders, Last Crusade had not yet experienced the changes in archeology that would come as a result of the massive amount of money that was flowing into the science because of Indiana Jones. Last Crusade was about the legend of the Holy Grail which is an item that runs deep into Christian religions. This film took Indiana Jones back to his childhood so audiences could see what kind of events helped shape the kind of person that Indiana Jones would become as a man. The concept was so successful that George Lucas started a television show called The Young Indiana Jones Chronicles that would be geared to teaching people about the events of world history taking place from 1900 to around 1919. (Yes, I have every one of them on DVD and my kids have watched them all with me many, many, many times.)

For many fans, The Last Crusade would be their last impression of Indiana Jones. Archeology to them would be biblical in scope, and the adventures of Indiana Jones would end. Life would move on. To the rest of society, people get old, and they put away the items of childhood, which Indiana Jones was. The television show was enjoyed by people like me who naturally loved history, but was not geared to the swashbuckling action of the movies. Instead it centered on the character development of Indiana Jones as a young man.

Over the years many things happened in popular culture. Thousands of archeologists who went to college and pursued their dream of working in that business because of Indiana Jones were doing investigations of their own. Private investors who loved the Indiana Jones movies poured millions of dollars into college research projects giving archeology a lot of money that it didn’t have prior to 1981 when Raiders of the Lost Ark hit theaters. In the 1990’s archeology were doing some big things—but the revelations being discovered with all this new money was not more of the Christian based study that many would have thought it to be. The evidence being discovered was that human existence on planet earth was much more complex than we previously thought and it appears that mankind had help getting started. So when Indiana Jones and the Kingdom of the Crystal Skull came out, audiences who did not know of these developments were a bit mystified to see what had happened.

My oldest daughter asked me how I managed years ahead of the film’s release to make many of the statements about human society that Crystal Skull was making. I explained to her that George Lucas was following the Robert Pirsig “quality rule” as he was in front of the train yet again while the rest of society was well in the back. Crystal Skull offered an explanation to the advanced societies all over the planet that were obviously connected in some way. This science was revealed in part by Indiana Jones films, so it was up to Indiana Jones to offer the difficult reality that other beings played a part in human evolution, and not just beings from outer space, but “interdimensional” creatures. I had come to this same conclusion years ago after my own studies, which is why my daughter was amazed that Crystal Skull was right on target with what I had been saying for nearly 10 years, that earth was seeded from another civilization that did not originate on earth and that the idea of God had suddenly become much larger.

After 20 years of not seeing Indiana Jones on the big screen audiences were suddenly confronted with an Indiana Jones who was 70 years old who was still in fist fights, romancing women, and performing unbelievable stunts. This is a difficult reality to a society of people who cast senior citizens into disregard past age 65. Seeing a film icon like Harrison Ford looking quite good as a 70 year old man shattered perceptions of what the elderly could do, and opened up the possibility that aging didn’t have to be a degrading process. The second thing that audiences had trouble with was that Indiana Jones survived a nuclear explosion by climbing into a lead lined refrigerator. Many fans did not know that the only objects to survive nuclear explosions in the many tests done were lead lined refrigerators, so Indiana Jones true to his past exploits of always finding a way to survive climbed into the only thing that would have saved him from a nuclear blast, a lead lined refrigerator.

Fans were mixed on Indiana Jones and the Kingdom of the Crystal Skull. It wasn’t what they thought it should have been. Indiana Jones as a character had evolved over the years through the television show, which was incorporated into the new film and it served as a kind of bridge to merge the films and the television show together. The abandonment of typically Christian relics also caused some anxiety as the plot of Crystal Skull centered on the ancient alien oriented plot complete with flying saucers and little green men. And of course people had a hard time accepting Indiana Jones as an older person with a society that thinks age 30 is the end of life as they know it. But, society will catch up to the vision of George Lucas. They are doing it already. The current show on the History Channel Ancient Aliens would have never become possible if not for the mass audience exposure to the kind of information that has been coming in from archeological research. The mainstream audience was confronting for the first time in Kingdom of the Crystal Skull the possibility that mankind’s Gods were in fact beings from another world, and possibility from another dimensional reality which really messed with the stereotypes many had formed over the years through their religious studies.

Before seeing Crystal Skull I had already read several books by Zecharia Sitchin and of course the great Forbidden Archeology by Cremo and Thompson so I could almost see George Lucas smiling from behind the movie screen as I watched the events of the latest Indiana Jones movie play out. I knew exactly what he was doing, and slowly, four years after the release of that very innovative movie, people are beginning to catch up to Lucas’ vision. In the years to come, it will be Indiana Jones and the Kingdom of the Crystal Skull that will be known for changing the way human beings see themselves as science is only now starting to admit that the discoveries of Indiana Jones in The Kingdom of the Crystal Skull film are turning out to be more of a reality than they ever dared to admit.

I personally loved Kingdom of the Crystal Skull and I place it somewhere in quality to being between Last Crusade and Temple of Doom. To this very day it is Raiders of the Lost Ark that is my favorite movie of all time. So much so that the CD soundtrack has been played in my home and to my family well over a thousand times—my oldest daughter actually used to sleep to it. When she was married, it took her about 6 months to finally learn to sleep without listening to the Raiders of the Lost Ark soundtrack. My favorite song on that soundtrack is called “Desert Chase” which I listen to almost every day at least once. In fact yesterday as I cleaned my motorcycle, I listened to that part of the soundtrack on my iPOD.

For my birthday several years back, my family bought me a leather flight jacket from U.S.Wings that was made from the same roll of leather that created the leather jacket for Harrison Ford in Indiana Jones and the Kingdom of the Crystal Skull. I have put that jacket through absolute hell. It’s been drug in the dirt, pelted with rain, snow, ice, and had just about every kind of living creature crawling on it. It has been to the top of mountains and touched the breath of foreign countries. It has seen 30,000 miles of torture from a motorcycle. I said to my family just the other day that the jacket was just now starting to get the look of “character” that I like. In another 15 years, it should look just about right. Indiana Jones is known for his period style hat, his beat up leather jacket and his whip. Many of those things are part of my personal attire as they are of many science lovers coming out of the 1980’s who found magic and hope in Indiana Jones. Indiana Jones for millions has set the bar high for not only what we expect in our movies, but also in what we expect out of ourselves.

People often wonder how I have done and survived many of the things I have, and why I am not content to just drift off into the sunset on a sail boat. Well, I spent a lot of time watching Indiana Jones and raising my family on those films, and it just wouldn’t be right if I didn’t give them the closest thing in reality to that dynamic character. The magic of Indiana Jones is in saying “yes” to life, to not allowing convention to rule the day. If Indiana Jones is anything, he is probably the most tenacious character ever to appear in film, and he is a survivor to such an extent that not even a nuclear blast can stop him. He’s not a superhero from some other planet, or a multi millionaire who can afford to build the machines of his dreams to combat crime. Indiana Jones is just an ordinary man with an extraordinary sense of wonder and hope, which has never learned the word can’t, and that is why fans will flock to the Indiana Jones booth at COMIC CON and take pictures of themselves next to the live snake exhibit. They’ll do it because there’s a little bit of Indiana Jones in each of them, thanks to George Lucas who decided to make his kind of movie from the front of the social train while the rest of society watched from the back.

Yes, I will buy the new Blu-Ray set of the Indiana Jones films. I have a grandchild coming and I can promise that his first images, his first sounds, his very first impressions will be of Indiana Jones punching a bunch of maniacal Thuggee in the face from Indiana Jones and the Temple of Doom. My grandchild has a lot to learn from me, and to prepare his mind for what his life will be like, he had better start thinking the way Indiana Jones does—that nothing is impossible, that life is a never-ending adventure, and even when the worst that can possibly happen happens—there is always a way out so long as your mind can dream and adapt.


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

Just finished the book and am sweating profusely. Wow, what a ride !!!  Fasten your seat belts for one of the most thrilling rides ever in print.

Visit the NEW Tail of the Dragon WEBSITE!  CLICK HERE!

Rich Hoffman!/overmanwarrior

The Sex Trade: Puppets, Pawns, and Punks

The incorrect assumption about the so-called 1% is that they all think alike and have the same motives which would be naive. But like most groups among the human population the very rich have different ideas and approaches to the art of living. Some of the very wealthy, like those in the estate of Walt Disney, I hold in extremely high regard and believe that the Walt Disney Company is very important to the positive myth building of our young people and provides great joy for millions of people they wouldn’t otherwise have. But in the opposite direction there are those like George Soros who are behaving in a sinister fashion with his wealth to collapse anything resembling capitalism and replacing those governments with global socialism. This makes it very difficult to figure out who the bad guys are in our society. To simply point at the “rich” and proclaim them to be the bad guys isn’t accurate. This confusion is by design from the true enemies of human existence who reside in the shadows like snipers attacking aspects of our culture from a safe distance. They don’t engage in open warfare, but stay far away and use their pawns to do their biding.

The puppet masters of tyranny are very elusive, and people are beginning to be aware of their work and even though the actual face of that enemy is under dispute, the enabler of the enemies’ power is the person who you see in the mirror, because ignorance by the population fuels their power. I have said as much here at this site many times, and the character ANONYMOUS from the video below has also correctly identified the fuel of tyranny in this very cryptic warning.

So who are the enemies of our existence? Is it so simple to say its Wall Street bankers, corporations, socialism, communism, China—is it anything at all? No, it’s not necessarily an enemy you can see on stage, but sometimes an enemy can reside in an idea and hide there undetected. So the first step in locating them is to study the puppets on the stage for the show they present to you.

Here is a puppet, her name is Hillary Clinton giving a speech in front of the UN in Geneva over the rights of lesbian, gay, bi-sexual and transvestite people, otherwise known as LGBT people according to this particular puppet. Anyone with half a brain will wonder why with all the trouble there is in the world why Secretary of the State, Hillary Clinton would be so concerned about the rights of LGBT people. Hasn’t she been to Key West, Florida? I have, more than once, and all those people live very openly with all types of other people without any violence or prejudice. In fact, everyone seems to enjoy that environment very well. Key West is one of the least regulated places on earth and people get along better there than just about anyplace, so what is Hillary talking about?

There is no doubt that Hillary believes every word that she is speaking. But you have to understand that she is only a puppet. Her ideas were formed at a radical university where she was taught that rights for women, rights for the homosexual community, and racism were the paramount concerns of our day. She was formed by a globalism ideology to play a role in progressive politics. In short, her focus was intentionally created to drive society in a particular direction. Obviously her mind is broken. She has a husband who was a serious drug abuser and was and probably is still a serial womanizer, but those values are not important to her so long as her husband joins her on a quest to end prejudice for the homosexual community. Her values were created by the puppet masters who built the curriculum at her college.

The same agenda was set for Barack Obama who has also taken up the torch of progressive politics and is uttering the same type of speech. When listening to Obama, with all the problems there are in the world, one must wonder why he believes the issue of where a man plants his seed in sexual release is so important. Well, he thinks it’s important because he was trained to believe so, at his university.

Those are just a few of the puppets of our time. They are created to tell a story to an audience, of which we all are a part of. The secret to the show is that all the foundations of which progressive politics is built is not for human rights, it is not for fairness, it is not for socialism and equality for all, as the show leads us to believe it is. It’s something else, an aspect to our culture that is much more elusive.

To understand what is going on behind the scenes of the puppet show I would refer you dear reader to the great film by Stanley Kubrick called Eyes Wide Shut, starring Tom Cruise and Nichole Kidman. You can see a previous article I wrote about this very important film by clicking on this link:

The reason why the very sinister elite political classes of our world encourage a focus on sexual persuasion is to direct the mind of the masses onto sexual fulfillment. The focus on gay rights is not to bring peace to the gay population, but to fascinate the sexual interest of those who are not gay, so that they may experiment and turn their minds away from high thoughts into the very low thoughts of sexual fulfillment.

I have witnessed the wasted lives of many people who spent much of their time looking for a sex partner. I know people who have built entire careers around the notion of gaining sexual access to those whom they desire. Sex is like a drug; it can consume a mind and weaken it. And this is the goal, to weaken the mind of the masses so their thoughts are not focused on the rulers of their society, but on the outlets for their sexual release.

If Hillary Clinton and President Obama were really interested in human rights they would be appalled to learn the magnitude of the most evil practice of modern slavery happening right out in the open. In fact just a few blocks from where Hillary gave her speech in Geneva the same men and women attending that illuminating political body can and visit a place to order up a 12-year-old girl to have sex with, or a small boy, taken from various places all over the world and sold into the sex trade to fulfill the hunger of a public consumed with sex propelled along by the men and women who truly wish to be kings of all humanity using sex and human addiction to it as the shackles for global slavery. If you have a squeamish, simple mind I suggest you stop reading and watching videos right now because you will not like what you discover from here on, because the grand mechanism that is propelling virtually all evil on the face of the earth and the politics of mankind is sex trafficking.

To feed the sex trade, drugs are openly poured into all cultures to weaken the minds of the users. Many of the drug users will participate and not become addicted to them. But a certain percentage will, and of those, they will often turn to the sex industry to fuel their addiction. That is how recruits for the industry are groomed and used. Most everything in progressive politics is geared to this strategy, open drug use, a focus on alternative sexual relationships, the aim at the masses to not set their standards too high, the entire progressive platform is designed to dumb down the population so they are easy to control, sex is used to maintain that level of ignorance.

To drive the point home I must take you dear reader down the rabbit hole. I am going to ask you to watch the following videos completely and not to cheat by simply skimming through them. I placed them here for your benefit. I showed these videos to my kid’s years ago so they would know how the game is stacked against them, especially being young women, so they could not become seduced by the progressive machine designed by pure evil that is described in the film Eyes Wide Shut. Each film below is about 40 minutes and there are 4 of them. So it will take a while, but it is extremely important to watch them and gain an understanding of what the puppet show is really about.

In the film Eyes Wide Shut Nichole Kidman reveals to her husband that she has sexual fantasies about a man she met years ago. This is a normal thing that occupies many minds of middle-class couples. All one has to do to see evidence of this is to study the Jerry Sandusky situation at Penn State or the scandal at Syracuse University. There are many married couples who have dysfunctional relationships because of pornography, or Facebook friends who want more than just status updates. So the situation between Tom Cruise and Nichole Kidman in that film catapults Cruise into the darkness of the Sex Trade out of jealousy.

Many men don’t end up at the top of that industry where Tom Cruise goes, which is the origin behind the sex trade. Many men and some women become the people in this next video who seek out sex slaves in the massive sex trade industry to fulfill their fantasies. Those fantasies are the type of thoughts that progressive politics endorses so that the guilt of those feelings is removed and the person might act on those temptations.

This is also why progressive politics has embraced the removal of Christian oriented religions, because the guilt inspired by an act of Christian sin must be taken away so that the population will partake in the evil of illicit sex. Once a man or woman has engaged in such sex, they have lost a piece of themselves. They have lost their ability to cast opinions about the practice and become a member of the silent army which supports the evil, by default.

It was only 20 years ago when Pee Wee Herman was caught masturbating in an adult movie theater. For that act he lost his TV show and never recovered. Since that time the porn industry has went to video, and now is abundant online. Porn is now mainstream and easy to get at. People no longer look down on their neighbors for visiting a pornographic outlet; instead porn participants are commended for their actions. It’s joked about as “natural,” and is now accepted. This creates the need for a massive amount of content to fuel this industry so there is a voracious fervor to find people to film for these movies, people willing to allow millions of people to watch them have sex. To lower the barriers so men and women will allow themselves to be filmed in this fashion sex education has started earlier and earlier in public school, and premarital sex has been encouraged. The family unit has been attacked so that fewer parents are available to steer their children away from sexual predators, because the practice of the sex trade is viewed by the perpetrators as throwing wood on a fire. They do not care at all about the lives they consume. They only care to supply fuel to that never-ending fire of passion which comes from sexual desire. And from that addiction to sexual desire, the rulers of our world can easily control the masses. This is the reason pornography has been brought into the mainstream.

At this point many of you will disagree with me, you’ll be tempted to say, the girls who work at the local gentleman’s club do so by their own decision. The Vegas stripper who you saw at a bachelor party was just having fun. The girls in that porn you watched on your computer were getting paid to do something they’d be giving away for free anyway. Well…………..if you think those things you are kidding yourself. Yes, those girls are being well paid for their work, but they are simply puppets on the stage and are no different from Barack Obama and Hilary Clinton. They are all “built” to sell the system of progressive politics which continues to create logs for their perpetual fire through public education, entertainment, and politics.

The intent behind the speeches by Hillary and Barack are to create in your mind dear reader, “I’d like to try that. I’d like to know what that feels like. I’d like to see that, to smell that, to taste that.” The next step is to seek out a pornographic reference for your curiosity and perhaps some drugs to help ease your mind from the guilt. Then once the visual images have stimulated your curiosity enough to seek out a real person in the flesh then the transformation into a sex addict is complete.

This is why the government is currently using “Fast and Furious” to steal away our gun rights. This is why the senate passed NDAA to detain American’s at will and throw them in jail without trail of jury, this is why Obama, a completely failed president has over $1 billion dollars in a bank account to run for a second term as president by the same powers who own the sex trade, because all those who might resist such grabs for power are occupied with thoughts of sex. While they pursue their fantasies and think about their next organism, their rights, liberties and family futures are being dismantled rapidly right before their eyes and they do not see it because they only want to see naked bodies and sexual fulfillment.

As Anonymous said in the video you can only blame the person who looks back in the mirror for all that is happening. And it’s happening because the progressive platform created by those who crave to rule the world, literally, have created puppets to sell their radical agenda with legitimacy while everyone who might resist their efforts are preoccupied with the distraction of sex and the lengthy pursuits involved in that type of fulfillment. Our world and freedom are being stolen from us while our thoughts are only on the very simple and temporary focus of sex, and it’s happening right out in front of us, unable to do anything about it, because the masses are addicted, corrupted, and distorted beyond the ability to reason.

You might think that what I have said here is radical. But ask yourself why progressives like Hillary and Barack are so interested in human rights but avoid the topic of sex trafficking and modern human slavery. Their silence reveals the true strategy and the path we are currently on that lead to not only slavery for those in the sex trade, but also those who have participated in it as customers. Because what is being discovered too late is that we are being herded into a pen and led to our own slaughter by men and women who are as intent to rule the earth as any dictator or emperor of history ever hungered for. 

The puppets are those who sell progressive politics, the pawns are those who are blinded by progressive politics, and the PUNKs are those who created progressive politics and drive it to this very day from a very high level.  And they will continue on this path until people stop watching the puppet show and follow the strings to where the hands controlling the show really hide.  When that happens, then problems can begin to be solved.  But not until then. 

The world has gone mad.  The proof is in all the people who spoke in that video that have lost the ability to tell right from wrong.  All their concern is whether or not Jerry Sandusky should have spoken to the media.  Not on the actions he committed.  How much proof do you need after all this?


Rich Hoffman!/overmanwarrior