In 1969, John and I were so naïve to think that doing the Bed-In would help change the world.
Well, it might have. But at the time, we didn’t know.
It was good that we filmed it, though.
The film is powerful now.
What we said then could have been said now.
In fact, there are things that we said then in the film, which may give some encouragement and inspiration to the activists of today. Good luck to us all.
Let’s remember WAR IS OVER if we want it.
It’s up to us, and nobody else.
John would have wanted to say that.
Yoko Ono Lennon
Of course nostalgia isn’t a progressive place. When looking back to the past, it’s possible to know the outcome of every action. Progressive actions happen when consequences are yet to be determined. They are insecure, idealistic and defiant. Their success is compounded by, and most likely contingent on, other idealists.
I often take the 60s for granted as a kind of failed parent to our present — I remember for instance, my disdain when America declared The War on Terror. There were protests on Market Street in San Francisco where I lived; since I worked at a gallery downtown, a number of the dissidents came through our doors. Most of them old timers, they seemed enthused and exhilarated, wearing old ponchos with old buttons — costumes from a former life. It brought back the old days, they said, enjoying a renewal of purpose to which I was highly critical. The protests that year felt more like block parties, sequestered as they were to specific streets with police lining the borders between outcry and everyday life; there was no real disruption.
Neither was an alternative supplied: while half of the country (at least) cried out for war, the other dug its heels in, adamantly opposed. The protest parties celebrated opposition without solutions. I wanted someone to come up with another way, a non-violent action — that would mark a good leader, I thought. Even in my financially challenged state, I still had a roof and a car and two jobs. I had a sister who fed me when I couldn’t buy groceries. I had access to a world our supposed enemies did not. My parents’ hippy friends gave me a bumper sticker that said, “Bomb them with butter.” At least that seemed like one new idea. I know I had none.
When soldiers brought the statue of Saddam Hussein down with a crane, we’d been in Iraq for 20 days. There was a sudden euphoria of success and achievement. It became its own short-lived propaganda. “A few minutes after the toppling, Secretary of Defense Donald Rumsfeld told reporters,’The scenes of free Iraqis celebrating in the streets, riding American tanks, tearing down the statues of Saddam Hussein in the center of Baghdad are breathtaking. Watching them, one cannot help but think of the fall of the Berlin Wall and the collapse of the Iron Curtain’ (The New Yorker). We watched it on the news. I remember feeling both impotent and relieved.
“War became the evil pimp and illegitimate master, while society became a terrorized subaltern. War was not just about political domination through physical violence leading to death, but about the exploitation of bodies and minds for financial gain, sexual power, and the censure of our unique capacity as human beings to engage in abstract thought. As a performer, I understand you to be saying that what makes war terrible is not just that it can kill us, but that it forces us to perform against ourselves — against our will, against our interests, against our values” ( A Field Guide for Female Interrogators, Coco Fusco, Seven Stories Press, 2008). Years later, I pulled into a Pier One parking lot to listen to Cheney’s trial being broadcast on the radio. There had been headlines all week about what a creep he was. The rapid cries of infamy as we the people denounced his behavior. He admitted his sanction of torture. All the photos came out with dark men, naked, faces in black hoods, sometimes in piles. The bright burn of a camera flash in a corner as soldiers–men and women both–smiled. We know those pictures. They come from a time when popular ideas about Muslim taboos were bandied around public space like beach balls; every room I was in discussed the terror of war, the stress of soldiers. “How could this thing have happened?” The day was bright and sunny outside. The highway banal and complacent. But I’d thought everyone knew, like it was in the collective unconscious–I’d known and I didn’t even read that much back then. Guantanamo and Abu Ghraib were dark places, beyond citizenship, as though human rights were contingent on state. Of course that torture still exists now — because we are not innocent — and Cheney’s presently on a book tour as an advocate of his practice. ”If we give up all efforts to identify and set limits to uses of force and violence, unwarranted, and unmerited,” Fusco writes, “we essentially relinquish any agency with regard to politics, and aquiesce to authoritarian control of our lives or those of others” (p. 25).
Yes. It’s good Bin Laden is no longer a threat, but I don’t think anyone — especially a leader — should ever be proud of murder. It’s a terrible thing to have to take someone’s life, regardless of the circumstances. Circumstances that lead to such a necessity are all the more heartbreaking, stemming from a desperate responsibility. And here again, I think leaders give us examples of behavior, demonstrating through their address the weight of such a choice, thereby acknowledging the unequivocal meaning of life. Ten years later we are still at war, still shadow boxing. September 11th is still impossible to comprehend. Its tragedies will always remain irrevocable regardless of all subsequent acts, many of which have perpetuated violence: the shadows cast by our way of life. Embedded in my disappointment in the 60s is a tremendous disappointment in the present. The notion of peace seems all the more impossible, just as the emotive potency of war becomes more remote. There is so much to think about and learn from in those old performative gestures of peace–the way in which the media, still naive itself, could not get enough of those crazy kids.
..my favorite images of the aforementioned film take place at breakfast.