WHAT KENNETH ANGER WAS DOING INSIDE THE PENTAGON, OCTOBER 1967

Above: Kenneth Anger (not inside the Pentagon).


The following is a brief excerpt from “Out! Demons Out!: An Oral History of the 1967 Exorcism of the Pentagon and the Birth of Yippie!,” a 16,500-word piece in Arthur No. 13 (cover by John Coulthart above—that’s Ken’s face in red), available for $6 postpaid from the Arthur Store

PAUL KRASSNER: There were a lot of young people and old protesting vets. Viet Nam was much more in people’s minds by then. It was also at the end of the Summer of Love. So, the march was part of an intensification and expansion of what was already going on. It was one of the first, biggest, non-linear, non-traditional, non-Old Left demonstrations. I think in that sense it was seminal.

ROZ PAYNE: After all the speeches that went on in front of the Lincoln Memorial and the music, then the people went to march on the Pentagon. The kids were at the demonstration anyway and anything that looks more interesting than listening to speakers is gonna attract people, and so a large group of people followed the march. On one of the overpasses there was this young Black guy who has a sign that said No Vietcong Ever Called Me a Nigger. There was a river there, and there were people on boats there who had signs. It was almost like a new type of thing we had never encountered. Usually you went to a demonstration, you heard speeches and you left; this time, you followed the group. People went through this break through bushes, climbed up some rocks, cleared a pathway and you ended up at the Pentagon, which is really exciting. And here are all these…there were just thousands and thousands of people there, soldiers surrounding the Pentagon, people sitting on the ground OMMMing. The exorcism of the Pentagon was a sideshow. It was brought up that they were going to be doing this but that wasn’t the main thing.

KENNETH ANGER: There were a bunch of idiots there. I didn’t consider myself an idiot, but maybe other people would. [laughs] There were these hothead lefties, who, their idea was they would take over and kill the capitalists. Well, that’s not very practical. Then there were Hare Krishnas, peacenik idiots, saying peace peace, or something like that. I didn’t go for anything like that. It was so annoying.

ALLEN GINSBERG: Ed Sanders carried the levitation out. But not in a Buddhist way but in a Western magical way which was maybe not such a good idea. While Ed was trying to un-hex the Pentagon, Kenneth Anger was underneath his wagon trying to hex him.

ED SANDERS: Kenneth Anger was burning something down there and making snake sounds at whomever should try to come near. He told me that he had been inside the Pentagon weeks ago to bury something.

KENNETH ANGER: I just walked right in. I had studied how the Pentagon staff were dressed, and I was just like them. I wore a dark blue conservative suit. I even had a small American flag on my lapel.

I was attacking Mars, the god of War. He’s still our ruling god. If you think Mars is an extinct thing from the antique past that we can just laugh at now, forget it. Mars is still here. That is not my opinion, but my knowledge. Mars is a terrifying but sobering vision. I have had this vision of Mars—you have to do all the things at certain times of the year, and then he does come through. And he’s about 500 feet tall, he’s not very handsome, he’s very strong, he’s armored, he’s bearded in a scraggly way, he’s got the fiercest eyes of any of the gods. He makes Jupiter—Jove—look benign and effete in comparison. But Mars is kind of childish—that’s why it’s so hard to get to him. He just loves bloodbaths. This is his thing. He does it very well. And he’s always thinking up new ways to do hideous things to the human race. This is his FUN. He’s the god of War. And he’s been alive since there were humans in tribes. War is the most consistent activity of the human animal. For whatever reason, some good, and a lot bad, we’ve been doing it as a race since the cave days. Of course, some wars are justified, like World War II, fighting the Nazis, I can’t think of a better cause. But Mars has nothing to do with being fair. Mars loves bloodshed, and he is a force that’s still operating in the world—it’s a force that according to modern thinking is irrational, but nevertheless there. Freud would have called it the unconscious or something but I believe that these are actual living entities. Not ‘living’ in the way like humans living and breathing, [but] living in a way that are much beyond our capacity, because they’ll never die.

In a personal sense, men more than women have a big problem with Mars. Most soldiers from the beginning of time have been men, and still are. And the Pentagon is controlled by men. The Pentagon itself is sort of an occult shape—like a five-sided collapsed star. [In the Crowley tradition, Mars’ number is five and its color is red.—Ed.] I’m a pagan. Mars doesn’t terrify me because I’ve come to understand him as a living entity. But just because Mars is so powerful doesn’t mean you always have to give in to him. You have to [put him in his place]: ‘Alright buster, calm down. You’re not the only star in the firmament. Enough already.’ That sort of thing. And [so I attacked Mars] in an abstract way.

I had a map of the Pentagon. I went into every single men’s room and left—in a place where it was bound to be discovered, usually on the seat where anyone using that stall would have to see it, not on the floor, of course! —a talisman which was written on parchment paper, drawn in india ink. Each one was drawn individually using one of Crowley’s talismans as my guide. I’m sure no one in the Pentagon could figure out what this thing meant. There was nothing like “War is bad” on it. There weren’t even English words. They probably could figure out it was something occult. They know about those things, and they have a reference library.

I went from one men’s room to the next. I didn’t stop until I had scattered all 93 of my talismans—because 93 is a sacred number for Crowley. Then I walked out, it was all very inconspicuous. The security guard looked at me and gave me a nice look, like we’re all looking after each other. If I’d been stopped and put in handcuffs that would’ve been unpleasant. That isn’t the way I want to spend my time in Washington—I had a ticket to the opera for later that week.

ED SANDERS: I remember after we’d done “Out, Demons, Out,” I went down under the truck and there was this guy from Newsweek trying to hold a microphone close to Anger. It looked like Anger was burning a pentagon with a Tarot card or a picture of the devil or something in the middle of it. In other words the thing we were doing above him, he viewed that as the exoteric thing and he was doing the esoteric, serious, zero-bullshit exorcism. So I went along with that.

KENNETH ANGER: I don’t burn Tarot cards, I respect them too much. [What I was doing] was saying Ed Sanders and the Fugs are a bunch of crap, this isn’t the way to fight a war. After all, I was there to protest the war. I knew what I was doing. It was a Crowley-type ritual. They’d brought in a truck, decorated in flowers, making it like a float in the Rose Parade. They were just showoffs, they were putting their own agenda on this other thing. I found that offensive too because it wasn’t the point. Naturally flowers are nice and peace is nice and all that, but that’s not quite the point of what’s happening. And they were doing their omni hare krishna chant chant, peace peace, whatever, the kind of crap that Lennon and Yoko used to chant. People could say they were harmless and meant well. Well I’m sorry, they may have meant well [but] it didn’t do any good. In my view, there’s ways to [demonstrate] that are correct and there are ways to do it that are not correct. All the singing and flowers and chanting and all that crap was not the right way. The focus should on the objective of the march, not on Hey! Me! I’m here! Since it was close to Halloween, some people came dressed in costume, or carrying inappropriate signs, and I found that totally inappropriate, because it’s saying Look at me, don’t think about what we’re here for. The kind of energy that can be generated by a march can be dissipated by just turning it into a sideshow. And I see this happen over and over with American marches. Like people who try to protest in the nude: this is not appropriate for anything. Because public nudity happens to be against the law—and it probably should be, because most people are ugly! [laughs] The few Adonises and Venuses around, I’d love if they would parade in the nude. But most people could use a little concealment.


Special thanks to Byron Coley

TONGUE TOP TEN by Byron Coley and Thurston Moore

The last year has been rough, but we’ll try to face the new dawn more regularly. See how it goes, and we’ll deal with some older stuff amidst the newer stuff. Can’t be helped. Thanks.

ashleypaul

1. I guess it’s beyond the point of convincing anyone that some of the best music/sounds is happening on small cassette labels, but once in a while something gets slapped in the tape deck that just utterly, completely nails you to the underpinnings of heavens dripping maw. Such an experience is to be had by anyone lucky enough to grab hold of if only goodnight, the first cassette on the Wagtail label by Eastern Massachusetts improv/noise/strange-string shaman-femme Ashley Paul. Ms. Paul has been on the hot tongues of local noise lovers for a few years now and has gotten some recognition through her collaborations with the amazing Rel Records imprint. This cassette is really, really stirring and odd and affecting with high-frequency vox (which may or may not be ACTUAL vocals, but the mystic air conjured by reed-tongue) that call to mind early Connie Berg (Mars) interacting with bowed percussion and dislocated guitar sex. Cool as it gets. Get it.

2. Recent times appear to have been busy for Ed Sanders (above), one of the heroes of this century and the last. Amidst rumblings of a vast archival reissue series of material recorded by Ed’s band the Fugs, there is also a new Fugs album due sometime soon, and a slew of printed material already in hand. Poems for New Orleans (North Atlantic Books) came out in ’08, but only recently came to our attention. The book is full of Sanders’ beautiful verse, inspired by a trip to the city, which lead to intense reading about its history, and imaginings of chance encounters that might have been. Thus, the book’s a mix of investigative poetry (a school of thought Sanders founded), pure conjecture, and his own special lyricism. Great stuff, tying together near-ancient history with the catastrophes of Katrina and much else. Here’s a brief sample of the poem, “Echoes of Heraclitus”:

A helicopter flew me away
I wound up in Utah
where I am waiting for Jesus
or anybody
to help me home.

Also new to us is America, A History in Verse: The 20th Century Volumes 1-5 (Blake Route Press). The first three volumes of this massive, detailed ride through the American consciousness were published by Black Sparrow Books, but following the retirement of the legendary publisher, John Martin, there was no one around to actualize the words. Thus, the full set is available as pdf files on CD. And hideous as this format feels (we spend way too much time on screen already), the work is fantastic. Here’s a short piece from Volume 5:

The Oklahoma City Bombing
April 19
Timothy McVeigh
looked like someone who could have been a NASCAR driver
or a retired quarterback
Close cut hair
White eyes of blue a Gulf War vet
and bursting from a sliver of the small town ethos
that allowed grumbling gun nuts
& gummint-haters
to exist without much hassle

It would be delightful if someone would turn these last two volumes into actual books as well, but for now, this will have to do. Ed was also the main subject of a recent show hosted by an amazing gallery/printing shop in Brooklyn called The Arm. They hosted a brief show of his many glyph-based artworks from the last half a century, and while the show has ceased to exist, The Arm’s Dan Morris is working on a portfolio reprinting several of Ed’s most eye-commandeering efforts. There are also a few loose sheets of this work available. And they are guaranteed to make yr brain very hot.

Anyway, we await finding a copy of Ed’s new poetry collection from Coffee House Press, and the soon-due Fugs CD as well. ‘Til then—keep grope alive.

Rayonjune09001

3. One dude who has been on the UK underground noise cassette scene as long as Ashtray Navigations’ Phil Todd is Joincey. Haven’t really heard to much from Joincey in a while but he has this new thing now called My Carapace Is Leaking and the first thing we’ve heard by “them” is a split cassette with Swiss-Swedish double bass improvisor Nina De Heney on the Rayon Records label from Lyon, France. Joincey, or My Carapace Is Leaking, also employs bass action, though unlike De Heney’s more raw, organic scrape and touch (which is ruling), it is more of a skin-melting lather. And it is completely great. A wonderful split by these two, and anyone who has followed Joincey through the years with Wagstaff, Inca Eyeball, Coits, Stuckometer, and his amazing Face Like A Smacked Arse label will desperately want this.

4. Another great set of releases has appeared from Mondo Macabro, who seem to have a truly insane grasp of international exploitation films. The third volume of their Bollywood Horror series pairs two films from the Ramsay Brothers studio, Mahakaa and Tahkana, which combine tons of bad vibes, dance numbers and surreal juxtapositions of elements – I mean, who knew Nightmare on Elm Street was lacking a gay Michael Jackson character? Not us. But now we do.

We also understand, from seeing Akio Jissoji’s Marquis De Sade’s Prosperities of Vice, that it would have been a bad idea to create a criminal theater based on the works of De Sade in Japan during the 1920s. As to whether it’d be a good idea now, we can only guess. But watching how the bad idea actually was is a great visual treat. Weird to think this same director did the Ultra Man movies!

greatdividing

5. Great Dividing, the Australian label that kicked in the front door of our o-brain with the posthumous 3 Toed Sloth LP (which for better and/or worse is as close as we can get to contempo Feedtime action as it features almighty Feedtime drum-jesus, Tom), has issued a cassette comp, A Range of Greatdividing, which has some primo Sloth as well as other Oz dementia like the top-notch Shoptoprockers. Primal, guitar scrawl with dirty-hair free-chug moves that proves Oz still the sexiest dirtbarge ‘neath the meridian.

Continue reading

Friday, Jan 22, Brooklyn: A BENEFIT FOR TULI KUPFERBERG OF THE FUGS

A Benefit for Tuli Kupferberg
Produced by Hal Willner
Friday, January 22 at 7:30PM

at St. Ann’s Warehouse
38 Water St
DUMBO, Bklyn, NY 11201

Tuli Kupferberg, the influential songwriter who co-founded the Fugs, suffered two strokes, in April and September 2009, which left him blind, confined to his apartment and in need of 24-hour care. He is recovering well—he is able to speak clearly—but has overwhelming medical expenses not covered by Medicare or the very modest publishing/royalties income he earns at the age of 86. A number of his friends and admirers are coming to his aid by performing in a benefit concert produced by Hal Willner, including his fellow Fugs [Ed Sanders, more], John Kruth and an all-star band, Lou Reed, Sonic Youth, Peter Stampfel, John Zorn and others who will be announced soon.

Venue: http://stannswarehouse.org/

Tickets: https://www.ovationtix.com/trs/pe/7900805

The Fugs: http://www.thefugs.com/