Even the lovely passages about his quest to visit sick kids, because he promised a dying, young Knight Rider fan that he would, are occasionally icky — he writes of a woman so emotionally overcome by a speech he gave about his charity work that "she walked up to me and said 'I want to touch the person who has been touched by God.'"
Even with all this self-promotion, there are some fun moments of self-awareness in Don't Hassel The Hoff. Hasselhoff explains how a lunch meeting with an Austrian fan was the roots of his appearance at the Berlin Wall singing, Looking For Freedom.
He also admits to having been a huge jerk at times, bolting from rehab, driving drunk (a scene that prophetically includes a hamburger run) and being such a fame junkie that he finds himself wandering around Kenya asking Masai warriors whether they've heard of him. (Most of them hadn't.)
In the foreword, Hasselhoff writes: "My image is someone else's perception of what my life is." If Don't Hassel The Hoff is the actor's own perception of his life, I don't think it varies from the image everyone else has — a basically likable guy. But a guy with real problems, a healthy ego and an insatiable drive to constantly reinvent himself as shinier and more lustrous.
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