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It was a mythological night in 1973 when Brando and the woman threw the godfather
back in their faces, at the exact same time we were fighting them at Wounded Knee like
unearthly martians invading our planet. We stood up and cheered when he sent Sacheen
to reject the damn prize. Six carloads of us had taken the night off, in a remote Nebraska
town on our way to South Dakota with warriors, weapons, ammo, food, and medical
supplies, and spent it in rare luxury in a cheap motel watching the Oscars on TV. I was
the scout of the group of mostly denver chicanos because I was the only one who'd
already been to Pine Ridge and knew the back roads to get in. All the main roads were
heavily blocked by military and vigilante freaks who were watching for any off-color
"outside agitators".
Then Clint Eastwood came out immediately for the next award presentation, after
Sacheen Little Feather did not leave with Brando's golden statuette, and asked the
stunned audience, "What about the cowboys?" Most of them clapped deliriously and gave
the cowboy movie star and second-rate actor a standing ovation, while he beamed
smugly, anti-heroically, just like he did in his hit, spaghetti westerns killing off many
many celluloid villains: a real life Hit Man. His cheering fans were the same ones in
diamonds and furs who'd just booed the only American woman there; but we were still
cheering her all over the real West, in Boise Idaho and Miles City Montana and Fort
Duchesne Utah, and giving the great leap forward in the revolution our own standing
ovation that went back to a lot of other incomprehensible indigenous tribesmen in Libya
and Egypt, with their god Osiris like our own Quetzalcoatl and Deganawidah and Sweet
Medicine, Isis like White Buffalo Woman up there in her white doeskin dress, all our
Mitakaye Oyasin relatives who landed from other worlds at Roswell New Mexico and
Flagstaff Arizona and Syracuse Kansas. The juxtaposition of California with Egypt and
the ultraterrestrial Roswellians swept over my own play I wrote that night in the motel
room, like a sexual torque that H.G. Well's time machine travelled on the hollywood
stage, in the blink of a clause inside a phrase, inside a single sentence we diagrammed
back in school, in clint eastwood's silly cowboy hat imitated on the open rangeland by
even sillier fools acting out their own movie fantasies. Eastwood and his ilk went on to
win their own anti-OSCRO Oscars for mediocre movies, in the 90s, in revenge killings.
The slaughter and firefights that were going on every day and night at Wounded Knee
during that time, that spring solstice season from February to May 1973, in which 2
Indian warriors were killed and a dozen wounded by a full-fledged paramilitary assault
that included the veterans of the 82nd Airborne and many SWAT teams, Black-ops
Special Ops snipers and assassins, hundreds of drunken cowboys and good-old-boys
taking potshots at children from behind the safety of US Army tanks, continued in the
dark after the TV cameras of Dan Rather and Huntley-Brinkley were turned off, and the
chic los angeles crowd went home.
Many of the AIM warriors were US veterans themselves, just home from Vietnam.