While I was in Greeneville, Ohio participating in the annual Annie Oakley Western Showcase events a FedEx package arrived at my home two counties to the south. The Lone Ranger soundtrack featuring Hans Zimmer’s new music for the 2013 Disney film came out on July 23rd prompting me to run all over town trying to find it. I went to Best Buy, Barnes and Nobel, Target, any store that carried actual CD’s. The soundtrack was actually released on July 2nd as MP3 downloads but I wanted an actual disk to call my own, and Disney had timed the release of the soundtrack to come out between the American and London release of the film. I was hoping to have the music to listen to on the long drive up to the Darke County Fairgrounds so I went to Amazon.com and ordered The Lone Ranger soundtrack hoping it would be delivered by Friday. Unfortunately when I checked on the shipping information before leaving for the bullwhip competitions, my treasured music was at the Hamilton hub and wouldn’t be delivered until later that day while I was gone. But I had been listening to clips of the soundtrack all month online, and was thinking of them as I participated in the yearly Ohio Bullwhip Fast Draw Championships which can be seen below.
The Bullwhip Fast Draw was invented by Gery Deer and Paul Nolan at Gerry’s studio in Jamestown, Ohio near Ceaser’s Creek. There is nothing like it anywhere in the world. The competition was literally born in Ohio out of a desire to display how fast bullwhips can be drawn from a coiled position and thrust out to hit a target. At our annual Annie Oakley Western Showcase competitions the SASS (Single Action Shooting Society) is set up in the next building performing their pistol quick draw events so it only made sense for the benefit of the crowd and fun for participants to do something similar with bullwhips.
At the Annie Oakley Western Showcase expert whip handlers from all over the continental United States have come to participate over the last decade and try their hand at Ohio’s very challenging competition. When the Bullwhip Fast Draw was first conceived by Gery the Wild West Arts Club had their big yearly meeting in Las Vegas led by Mark Allen and Alex Green so the smaller gathering in Ohio needed something to solidify its uniqueness. That is how and why Gery invented The Bullwhip Fast Draw. Over the years as older Western Arts acts with their aging participants left the field Ohio became the center of attention under Gery’s diligent work and enterprise. Every year when the Annie Oakley Days hit Greenville, Ohio in Darke County the Bullwhip Fast Draw has become increasingly a crowd favorite. It’s a very fast event that has plenty of drama and is the perfect kind of bullwhip activity to perform in front of an audience.
I won the event this year and several times in the past, but there have been many winners. My son-in-law is particularly good at it as he and I used to practice in the back yard against each other when he lived at our house during the early days of his marriage to my daughter. One year Richard Best’s 10-year-old granddaughter won the whole event beating everyone. Kirk Bass has done very well at it over the years which is why our stand-offs against each other are always exciting. As a knife thrower he has the proper movement ingrained in his head so he gets to the target quickly. Sometimes, like the instance in the video above the quick draw is so fast that the eye cannot see the result in real-time. Only slow motion can reveal the winner. The camera in that footage captures images at 30 frames per second, which is faster than a motion picture camera producing 24 frames per second. By watching the Bull Whip Fast Draw in slow motion it is clearly seen that only a few images of the whips in motion can be seen from the coiled position. As the entire Bull Whip Fast Draw takes place in a fraction of a second there are only a few images that are captured of the actual whip in flight. When the end of the whip strikes the cup it is traveling at well over 750 MPH because the crack is a sonic boom. The whip handler must calculate in their mind within a fraction of a moment the exact location in space and time where the end of their whip will strike the target.
Within the entire world there are only handfuls of people who are very good at the finesse aspects of whip handling. This means performing some of the complicated cracks using two-handed maneuvers. But when it comes to focusing those efforts on a directed point in space and applying the timing necessary to hit that point of space with all the calculations it takes to make a bullwhip arrive there is a whole different set of circumstances that has an even narrower range of experts. This is why even very technical bullwhip performers can have difficulty when they are put up against a clock or worse yet, another human being standing across from them. In the early days of the Bullwhip Fast Draw I always had the speed to hit targets quickly, but often found that if I tried to push out too much speed I would tend to crack the target off to the right—often missing. A bullwhip to work right is a matter of timing, the end of the whip has to be known within fractions of a second and projected to a directed spot in three-dimensional space. To win the Bull Whip Fast Draw a piece of the cup must be cut off, so the end of the whip needs to crack precisely on the target. It is not enough to just run the whip through the target using downward momentum to knock the target from the holder. To win the 750 MPH needed to obtain a crack of the whip needs to be focused in order to hit the target before the other opponent as fast as possible and that speed must be directed at the target. Kirk Bass is so good at the Bullwhip Fast Draw because he’s not only strong, but is accustomed to directing focused energy complete with timing because he is a professional knife thrower. Whip artists who are good at the Bullwhip Fast Draw are able to make all those calculations in fractions of a second using power, finesse, and impeccable timing to hit their target under the pressure of time. Not at all easy, but really fun to watch and try.
Unlike traditional firearm quick draw, such as what the SASS Society engages in, the calculation is in the hand/eye coordination but with the added pressure of creating the force needed to generate a sonic boom to destroy the target. The gun does most of the physical force work in traditional quick draw. With the whip the force is done by the same hands that make all the calculations in time and space which is why it is such a unique event.
Like all games of skill the benefits often carry over into other aspects of life. I find that the skills that allow me to be good at the Bullwhip Fast Draw help me in all aspects of my existence and that is the real reason for working hard to accomplish the needed skills. Every year I enjoy the opportunity to re-calibrate myself with the wonderful people who meet me at the Annie Oakley Festival and compete against me in Ohio’s very own Bullwhip Fast Draw. The crowd watching has a great time, but the competition for me is even better as a useful tool in measuring what works and what doesn’t. The ability to discover how fast is too fast, and how fast is just right is useful in making virtually all decisions about all things and this is what I like most about The Bullwhip Fast Draw.
After a good day of working with some of the best whip artists there are anywhere it felt good to return home at the end of a long weekend to find The Lone Ranger soundtrack waiting for me on my front porch. I had been humming the music in my head all during the whip competitions, especially the Bullwhip Fast Draw and my mind was in a good mood from the experience. It is one thing to enjoy music like Hans Zimmer’s latest soundtrack to a western film which is highly unusual, especially the song, “Red’s Theater of the Absurd.” Listen to it at the clip below.
But it’s quite another to be able to actually participate in events that celebrate western arts, which are the foundations of American culture while listening to it. It was late at night but I opened the soundtrack anyway and quickly downloaded it onto my iPod. As I drifted off to sleep thinking of my day participating in Ohio’s very own Bullwhip Fast Draw I listened to the music of The Lone Ranger. Because Gery and Paul invented the Bullwhip Fast Draw, a unique event that has brought to my life a way of thinking that is highly unusual, and much appreciated, my life has been improved. The musical notes of The Lone Ranger are just a little bit sweeter when it is known that all the work done in the Bullwhip Fast Draw were invented in Ohio, and seen only at the Annie Oakley Festival every year at the end of July. It puts you in the kind of company that can be counted on only two hands as far as skill level. It’s all about speed, calculation, and force, skills that are often needed when life deals hard problems which are not quite as literal as the relationship between a target and a bullwhip.
Rich Hoffman
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When people ask what kind of America I want, and what am I fighting for, my conversation always comes back around to one person who delivered to me an ideal of America that I have always worked to achieve, Walt Disney. Disney is one of the characters in real life who did just as the heroes of Ayn Rand’s Atlas Shrugged novel did, he brought to humanity wonderful gifts that have lived on for nearly 50 years after his death, and he did not do it as a collective effort, he did it with his solely driven mind. Roy Disney, Walt’s older brother could not have done what Walt was able to do. Roy brought a stabilizing factor to Walt’s life financially, but the collaboration did not work the other way around.
If not for the solitary, driven mind of Walt Disney, I am entirely convinced that an entire era of Americana would have been successfully destroyed by external American enemies who planted seeds of deception into our culture that were met by only a handful of creative minds who stood as pillars against moral collapse. The audacity to invoke into society the world over the unique human attribute of a personal dream was Walt Disney’s greatest weapon against tyranny, and most treasured gift to humankind. My friend Matt Clark on WAAM radio in Ann Arbor, Michigan feels the same way about Uncle Walt as I do, and we spent an hour of radio time on Matt’s show during July 21st, 2013 from 2 to 3 PM talking about the importance that Walt Disney has had in preserving American culture not only in his time but in the present, long after he departed from this world. The below conversation is unique, and Matt did a wonderful job of collecting video of the discussion complete with video examples. I would suggest that you gather up a snack dear reader and make time to watch and listen to these two broadcasts shown below—each representing a segment of radio time between the top and bottom of the hour. For old timers, it will be a walk down memory lane, and for the young, you will learn what all the fuss is about Disney as a company, and why they are so successful. Disney was not an accident, but a direct product of the kind of people only America can produce.
No other country on the face of planet earth, no education institution, no political system, no financial altruism, no welfare system, no friendship, no collaboration, no wish upon a star has produced another man like Walt Disney. Disney was the very unique type of person that shared in a fictional context Ayn Rand’s Atlas Shrugged characters. Rand’s fictional characters and Disney’s real life character were products of a time in America where they were born at the end of a laissez-faire capitalism period before communist ideas contaminated the next generation filling up the empty minds of youth with the type of progressive tripe that is so common today. Disney literally stood against a very tough world, through competitive studios who wanted to sink him for being too good, labor union disputes, communist infiltration, and many personal set-backs to build a company that is one of the most powerful in the entire world. If not for Disney, there would be no ESPN, no sustainable ABC television. And the film business may not have survived through the 1970s.
They assassinate his character while still trying to pander to modern Disney executives to fund their creative ideas. Secretly there is a lot of resentment in the entertainment industry even within the Disney Company about why Walt Disney’s beliefs are so closely adhered to, when there are so many college trained CEO’s who should be able to do a superior job of management in the modern landscape politically, and economically. The answer is of course that they can’t.
Nobody can nowhere on earth, because what makes people like Walt Disney is laissez-faire capitalism and that doesn’t exist anywhere anymore. Laissez-faire capitalism allowed Walt to be everything he dreamed of, and allowed him to take tremendous risks and receive eventually, not until much later in his life, great rewards. It was only by the time the novel Atlas Shrugged was published in 1957 that Walt started to become personally wealthy from all his wonderful work—where he didn’t have to worry about going bankrupt. But Walt wasn’t happy to be just another rich man from his efforts; he wanted to build his ultimate dream—Disney World, which he never lived to see.
The Tea Party wants the kind of America talked about in the Davy Crockett television show, and on the famous Zorro series where crime and punishment were clear, and bad guys in politics did not win. Walt loved freedom which is most pronounced in his Pirates of the Caribbean exhibit where he understood that it was the pirates of that period which led the way to the American Revolution which Walt was very dedicated to preserving. He has an entire section of Disney World committed to preserving this memory that is more committed to America’s roots than the actual city of Boston which is extremely progressive. If not for Walt Disney, there would not be a Tea Party fighting for fiscal responsibility, limited government, or free markets—the kind of themes that were uncompromisingly explored on the old shows of Davey Crockett. Because of Disney, the world cannot forget what made America, and ultimately what made Disney– laissez-faire capitalism. Hollywood Studios is a shrine to laissez-faire capitalism, to the free flow of ideas before the labor unions infested the industry during World War II with a dirty bomb of the kind of ideals that were destroying the world—collectivism. 

With all the lead up to the movie being so intense here at Overmanwarrior’s Wisdom my lack of a review for The Lone Ranger was simply due to the fact that I was on vacation with my family when the film was released and there wasn’t time to physically go see the movie. On two occasions while I was vacationing in Florida I intended to take my family to see The Lone Ranger, once at Downtown Disney, but had to withdrawal because the day was already overbooked, and then again at Merritt Square Mall which was down the road from our Atlantic Coast condo
With The Lone Ranger I expected to see even after the extremely negative reviews, a movie from Disney that was just good ol’ fashion fun—I did not expect yet another film with very heavy opinions against the government position of collectivism over the traditional rugged individualism that built America from the start. Coming from the Disney Studios I expected a more disguised effort, especially with Johnny Depp staring as Tonto, and sharing a producing credit. But if the nation is divided equally down the middle with Tea Party type Americans on one side, and welfare collecting altruists on the other, Disney usually makes films that all types of people will enjoy. This is good for their box office numbers, but runs counter to the type of messages that Walt Disney himself believed who actually testified before a congressional committee against communism during the height of the McCarthy Hearings. But this Lone Ranger was made by Disney to show favor toward the former of those demographic groups and not the later.
The Second Treatise of Government was one of the foundation books which people like Thomas Jefferson used to help shape the argument about the kind of country that America would be. Modern Americans who regularly attend Tea Party events know that John Locke is one of the philosophers who opened the door to the way of thinking that distinctly became freedom loving. To altruists, this is a major social danger as any message that exhibits freedom as one of the highest human endeavors also seeks to be free from social stupidity, the self-determined poor (lazy people), and the malcontents of civilization. Social progressives have desired for years to shape American thought into reflecting European sentiment of sacrifice, shared suffering, and a focus on the “greater good” while steering the educated masses away from a personal love of individual freedom.
Opening the film with a direct node to John Locke was a bold declaration that I was surprised made it past the Disney executives screening the film. It’s possible that some of them did not know what the book meant to American foundation, but it is unlikely to have slipped by so many eyes without anybody knowing, especially Johnny Depp, who has been known to show up to film screenings showing his open support of Che Guevara. I thought the John Locke reference was quite extraordinary but the references did not end there so I know that it was not an accident.
It was an unapologetic western that might have been an early episode of the TV show Davy Crockett, only with Industrial Light and Magic doing some spectacular visual effects. The stunts were ambitious, and the scope of the project was mammoth. It was the largest scale western I think has ever been attempted. But The Lone Ranger himself does not drink, does not curse, does not use tobacco (he refused when offered), he does not want to kill people, and is a naively good guy from the beginning to the end of the film. The only character arch that John Reid embarked on evolving from the beginning to the end was in hardening up from a naive lawyer to a man who isn’t afraid to pull the trigger on a bad guy by the end of the film. Reid never had a moment of weakness in the film where he got drunk, caved into the seductions of a woman, or lost his moral compass. He was firmly focused on justice from the beginning of the film till the very end.

It will be lucky to recover its $215 million dollar budget, which is unheard of for a western. Only a company like Disney could have made a film like this, which was risky, so it is unlikely that Armie Hammer will have the chance to reprise his Lone Ranger role in the way that Robert Downey Jr has for Iron Man, and make future films. The film by
Everyone involved with The Lone Ranger is among the best in their fields of endeavor, and it is a shame that the magic will probably never be seen again, because the box office will prevent it. The Lone Ranger is one of those films that will percolate in America culture for a long time. It will not have a big pop at the box office, but will be watched and loved for many years in a quiet way as viewers find it wonderfully good, but unsure why they like it so much while critics and industry professionals declare that it is such a bad film. It is not the film that is bad for progressive types, but the message.
Most people seeing The Lone Ranger cannot identify with the hero. But they will identify with the villain, and that tends to make people angry. Angry people do not throw down nearly a hundred dollars to see The Lone Ranger, which is what it cost me by the time we bought tickets and snacks, a rarity for us as a family. I spent extra money at the theater knowing that a majority of the movie goers were not spending money on The Lone Ranger, so we broke our rule and bought the overpriced popcorn and drinks anyway, to support the film, and theater showing it.