On Seeing Red, by Roy Traband

Red Dawn is not a particularly good flick, as we used to call motion pic­tures in my day. But your reviewer misses some of the underlying reasons for its immense success. 

To resist Afghanistani style is also unfathomable to the New Elite Red Guard in Media. Eric Hoffer, the late SF forklift philosopher, and Herman Kahn, the late futurist, saw the inher­ent weakness of the intellectual fascisti; and, therefore, they were not given the adulation afforded the shallow TV anchorperson Frank Reynolds when all three died at about the same time.

An audience of West Coast critics, it is reported, applauded the film’s be­ginning a la the announcement of a Mexico ruled by Marxists; the jeering went on when the firearms registration lists were utilized in Colorado to round up weapons (European style circa World War II); and there was snickering when it was uttered that America would always be free. So, the entire thing from beginning to end was a litmus test on varying cultural atti­tudes to fighting tyranny.

The film is a classic case of why all media in the U.S. now are on such parlous times. With the worst yet to come.        cc

Roy Traband describes himself as a subscriber and armed citizen.

Mr. Dragash Replies:

Mr. Traband makes a valuable point about Red Dawn, one which I might have addressed but did not largely for reasons of unity: there is only so much that can be discussed in a brief review. I share much of Traband’s sentiment on the right of self-defense, so much so that I am tempted to apply it to assaults on my mind as well as my person. As Voltaire might have writ­ten, I agree with everything you say, but I will oppose to the death your right to say it.                                                              cc

C. P. Dragash maintains an armed vigil from his ivory tower in New Rome.