Literary Journalism Studies – Fear and Loathing in Las Vegas 40th Anniversary Issue

A special issue of Literary Journalism Studies is out, dedicated in its entirety to the 40th Anniversary of Fear and Loathing in Las Vegas. This issue is edited by William Mckeen, author of Outlaw Journalist and you can download a .pdf of the issue below:

To download the pdf – click here

The cover photo is a 1965 HST self portrait, courtesy of Margaret Ann Harrell, author of Keep This Quiet, which deals with her work with Hunter on Hell’s Angels.

It is great to see more focus on Hunter’s work in the academic community. More on this in the near future.

Stay tuned,

Rory

Review: The Kentucky Derby Is Decadent and Depraved (Various Artists/Spoken Word – Paris/429 Records)

Hey folks,

Well what a long road it has been for this project. We first reported on it here at Totally Gonzo back in October of 2009 and have been eagerly awaiting its release ever since. Last November we received a tantalising update on the record courtesy of Ethan Persoff, who also earlier contributed an intriguing profile of Paris Records and their projects to the Evergreen Review. For those of you interested in work by Burroughs, Terry Southern, Ginsberg et al his article is a must read.

As for the Kentucky Derby project well I am delighted to say the wait is finally over and the record is finally available via iTunes and Amazon. I have to say I wasn’t sure what to expect when I first heard about this record. I’m don’t ever really listen to audio books and I always get nervous about any adaptation or interpretation of Thompson’s writing. When it works it is great but when it doesn’t…well the less said the better.

Thankfully, this record has more than exceeded my expectations. Which is a huge relief as The Kentucky Derby article is one of my favourite pieces by Thompson and  is pretty much hallowed ground in the Gonzo cannon. Failure is not an option. I think it is fair to say that full credit must go to Michael Minzer for bringing Hal Willner on board as producer along with composer Bill Frisell, whose accompanying musical score is a delight and without which this project would have no doubt suffered greatly.

As for the cast, obviously the number one question concerns Tim Robbins role as Hunter. When he was first announced in the role I was intrigued. I never thought that he was an obvious choice for the part but I have always been a huge fan of his work ever since I saw The Shawshank Redemption (if you are one of the few mortals who haven’t seen this film then you need to rectify this immediately). I suppose having gotten used to Johnny Depp portraying Thompson onscreen it has become difficult to imagine anyone else playing that role. Comparisons are inevitable, even for such a different project as this. Thankfully however, Robbins is an inspired choice as the Good Doctor. At first it is a bit jarring to hear another actor take on the role, but what a take it is. Robbins brings a wealth of experience to the table here and it really shows. Some people might find Robbins increasingly frenetic delivery a little odd but I think it fits with the material well, particularly as a reflection of the manic energy that defines the Gonzo narrative.

I also took particular delight in the fact that Ralph Steadman came on board to play his part in the story, which lends that extra dimension of authentic Gonzo flavour to the album, not to mention his iconic Kentucky Derby artwork that decorates the sleeve of the album and CD itself. The rest of the cast put in solid performances but I have to single out Dr. John for his take on Jimbo which had me grinning like a fool. He absolutely nails the part.

So now that the 138th Kentucky Derby is less than a month away, what better way to mark the occasion than to make yourself a Mint Julep and listen to this fantastic release courtesy of Paris Records and 429 Records.

All the best,

Rory

COMPETITION: If you would like to win 1 0f 5 copies of the album courtesy of 429records than check the Official Totally Gonzo Facebook Page for details.

Review: Fear and Loathing at Rolling Stone

I have been eagerly looking forward to this book, as have a lot of people, ever since it first appeared on the horizon over three years ago. Originally slated for release in November 2008, it suddenly vanished off the radar as quickly as it had appeared, with no explanation whatsoever from the publisher. Having finally received a copy of this book before Christmas, all I can say is that it is a pity it didn’t remain in the wilderness for good. In short this book is an utter disgrace.

I cannot fathom what Jann Wenner was thinking when he decided to publish this book. You might of course be wondering why on earth I would have this opinion? This is of course perfectly reasonable, given Hunter’s long and illustrious history with Rolling Stone, the publication in which his greatest work appeared. Yet reason had little to do with this latest offering.

In what can only be described as a decision of breathtaking arrogance, Jann Wenner, with the help of Paul Scanlon, decided to severely edit Hunter’s original prose. I am not just talking about taking excerpts from the original articles – that might actually have been a sensible move considering the length of some of his work. Instead however, what is contained in the pages of this collection can only be described as a kind of horrific experiment gone wrong, FrankenGonzo if you like, starring Jann Wenner as the crazed creator holed away in a workshop of filthy creation. The result of his efforts of course is a creature of monstrous ugliness.

It is hard not to form this impression when you see the heavy handed dissection of Hunter’s work. The original flow of his writing is all but destroyed, with paragraph after paragraph hacked away in favour of this new re-imagined beast. Take Strange Rumblings in Aztlan for example, the entire first page or so has vanished in favour of an opening line that comes from the middle of a paragraph on the second page of the original article. Actually, what Wenner does here is to combine two of Hunter’s sentences into a shorter opening statement. So basically the first sentence you read never even really existed in that form. Of course, Wenner might point to a letter from Hunter, dated February 10th 1971, in which Hunter questions the editing of the piece and admits that the chronology is scrambled. However, there is nothing that justifies the crazed butchery that takes place with the remainder of the material in this book.

Apart from The Battle of Aspen and a section from Fear and Loathing in Las Vegas, what is presented as “The Essential Hunter S. Thompson”, is in fact quite the opposite. There is absolutely no point to this collection at all. Why would anyone want an edited version of Hunter’s original prose? It is like taking Hamlet and deciding to edit out the soliloquies, or releasing a new version of Gonzo: The Art by Ralph Steadman with a new colour scheme selected by Jann Wenner. I also find it amusing that Wenner decided to include Mistah Leary, He Dead, Hunter’s obituary for Timothy Leary, which he describes as “a proper RS send-off”. The original article was published in issue 740, August 8th 1996. If you have trouble finding it in that issue that is because it was buried away in the letters section, as if submitted by a reader. Funny how time changes a person’s perspective. (Personally I always liked the piece and was baffled at its original location in issue 740)

As for Fear and Loathing at the Super Bowl it is so heavily edited the only explanation I can think of is that Wenner turned the article over to a bunch of giddy interns who had just discovered the delete button. It is utterly unrecognizable.

To make matters worse, Jann Wenner’s feeble attempt to explain away this thoroughly misguided quackery is nothing short of an insult to Hunter’s loyal readers.

I’ve always thought that Hunter had, in a sense, written his own autobiography in the pages of Rolling Stone, and that if there was a way to take his collected work and edit it properly, there would emerge a narrative of Hunter’s great and wild life, a story about himself, who was, after all, his own greatest character.

Let is all take a moment to bow down to this genius revelation courtesy of Jann Wenner. Where would we be without the blessing of his visionary insight into Hunter’s life and work? I for one am thankful that he could spare a minute to take Hunter’s work and “edit it properly”, and yes I mean a minute. There is no other way that you could explain this drivel.

Ok in closing all I will say is this. Don’t waste your hard earned money on this book, if you want to read the essential Hunter S. Thompson, then pick up The Gonzo Papers Anthology or The Great Shark Hunt. At least you will have Hunter’s original work, unblemished as he intended.

Reconsidering the Legend of Raoul Duke on the 40th Anniversary of Fear and Loathing in Las Vegas

Hi folks,

 

Today marks the 40th anniversary of the publication of Fear and Loathing in Las Vegas (part 1) in the pages of Rolling Stone magazine, with part 2 being published on the 25th of November 1971.

Below is an article that was originally published in the excellent literary magazine Beatdom in which I examine the legend of Raoul Duke. Click on the more link to read the full article.

Sympathy for the Devil?

Reconsidering the Legend of Raoul Duke on the 40th Anniversary of Fear and Loathing in Las Vegas

by

Rory Feehan

“He who makes a beast of

himself gets rid of the pain of

being a man”

– Dr. Johnson (epigraph to Fear and Loathing in Las Vegas)

Early spring 1971 and the first rays of the rising sun creep into a room at the Ramada Inn just outside Pasadena California, where one Hunter S. Thompson is holed up, crouched over his IBM Selectric, hands flashing back and forth over the keys, as though directing a kind of demented orchestra. The words flow faster and faster, a chaotic hell broth of paranoia and insanity that would culminate in one of the most original, hilarious and celebrated statements on the sixties drug culture – Fear and Loathing in Las Vegas. Thompson’s dissection of the dark side of the American Dream would catapult him to rock star status overnight and confirm his status as the infant terrible of the literary world. Through the pages of Rolling Stone he unleashed upon an unsuspecting American public what is undoubtedly his greatest artistic creation, not Gonzo Journalism as many would have you believe, but rather his compelling and brilliantly subversive literary persona – the Hunterfigure – as best exemplified through the guise of Raoul Duke.

What followed for Thompson was an almost Jekyll and Hyde relationship with his literary alter ego, a continuous symbiotic state of co-existence with the monstrous and unruly Duke, for good or ill. Such was the enduring power of the character, heightened by Ralph Steadman’s darkly captivating illustrations, that the public perception of Thompson became truly distorted, unable to distinguish between the serious author and the myth of the drug crazed Gonzo Journalist. Of course, Thompson deliberately contributed to this confusion, blurring the boundary between author and character to such an extent that the ensuing confusion was inevitable. Such was his method actor-like approach to the persona, spanning almost his entire literary oeuvre, that one can be forgiven for being unable to identify the thin line of differentiation between his public image and private self.

In many ways it is this aspect of the Raoul Duke phenomena that has come to define Thompson’s career – with a distinct marker separating the period prior to Fear and Loathing in Las Vegas, from that which subsequently followed, wherein the myth superseded the man. Of course Thompson was acutely aware of the dilemma that the Duke persona presented for him following the success of Fear and Loathing in Las Vegas and its immediate follow-up, Fear and Loathing: On the Campaign Trail ’72. As his output as a writer slowed, his critics accused him of becoming enslaved by the Duke persona, not to mention being creatively burnt out. Thompson himself broached the issue in the author’s note of The Great Shark Hunt, in which he confessed that the anthology marked a milestone in his career:

 

I feel like I might as well be sitting here carving the words to my own tombstone…and when I finish, the only fitting exit will be right straight off this fucking terrace and into the fountain, 28 stories below and at least 200 yards out in the air and across Fifth Avenue. Nobody could follow that act. Not even me…H.S.T. #1, R.I.P. 12/23/77

Thompson’s frustration as a writer was also evident during this same period in the hour long BBC documentary Fear and Loathing in Gonzovision, as part of which he returned to Las Vegas, accompanied by Ralph Steadman. Though Thompson wilfully participated in the film, he was not entirely comfortable with the idea, aware that there was an underlying presumption that he was somehow going to deliver a sequel to the events described in his classic work, once more running amok in a drug-crazed frenzy on the Las Vegas strip, only this time in front of a film crew. Yet again the misconception surrounding his literary persona had come to dominate proceedings, an issue that Thompson attempted to clarify somewhat when asked as to whether there was any pressure on him to live up to the image he had created:

 

Well there certainly has, I mean you have been putting it on me all week…I’m not sure at all what you think you are shooting…I have no idea whether you think you are making a film about Duke or Thompson. That’s a serious point, I’m never sure which one people expect me to be and very often they conflict, most often as a matter of fact with people I don’t know, I’m expected to be Duke more than Thompson…I’ve been using Duke for 10 years, maybe more, I began to use him originally as a vehicle for quotations that nobody else would say, that was me really talking, those were my quotes…I’m really in the way as a person, the myth has taken over…I’m no longer necessary, I’m in the way. It would be much better if I die. Then people could take the myth and make films.

This year marks the 40th anniversary of the publication of Fear and Loathing in Las Vegas and yet the discourse surrounding Thompson’s seminal work has changed little – largely still centred upon Raoul Duke and Dr. Gonzo’s astronomical drug consumption and withered analysis of the American Dream. Duke, of course, looms larger than ever, aided in no small part by the tour de force that is Johnny Depp’s portrayal of the character in Terry Gilliam’s cinematic adaptation, which in itself has attracted a sizeable cult of worship. Just as in Thompson’s own lifetime, the drug crazed Raoul Duke persona overshadows the brilliance behind its very creation. In retrospect, Thompson’s remarks to the BBC now appear to be particularly salient.

That Thompson is still largely misunderstood as a writer is unsurprising though, as there is a long standing pattern of ignoring the thought process behind his greatest work. More often than not, the trajectory of critical analysis has focused on the cult of personality surrounding Thompson and that of his legendary drug consumption, coupled with the subsequent effect of these influences on his writing. Rarely does it pause to reflect on just how and why Thompson came to that point in the first place. There is a wealth of material that pinpoints The Kentucky Derby is Decadent and Depraved as marking the birth of Gonzo Journalism, but there is a dearth of analysis on the seeds that were planted along the way. The same goes for Duke, with little discussion of the various incarnations of the Hunterfigure prior to his most infamous outing in the pages of Rolling Stone. Yet it is an essential task and one that does not lead to an undermining of Thompson’s as a writer. In particular by investigating the narrative genealogy of the Hunterfigure we can discover new layers of meaning to every facet of his writing and thus extend the discourse far beyond the current narrow parameters.

Ironically it is the very topic that has overshadowed the genius in Fear and Loathing in Las Vegas that offers the first clue as to why Thompson felt compelled to create the Hunterfigure and make him a paragon of gross excess. The infamous epigraph at the start of this article returns us to familiar territory – that of the role of drugs in the Gonzo narrative. The quote from Dr. Johnson has now become synonymous with Fear and Loathing in Las Vegas and the rampant consumption of drugs by Raoul Duke and Dr. Gonzo as they travel across the desert to the very bowels of Las Vegas in search of the American Dream. To date, the significance of the quote has largely been confined to the relationship with the central thematic message of the story. However its deeper meaning in relation to Thompson’s life and work has been all but ignored, which is surprising given that the sentiment behind it, particularly in relation to the latter half of the quote, is tied so closely to understanding his need to create a fictive persona. In order to illustrate this, it is necessary to first take a step backwards and examine Thompson’s early life in Louisville, Kentucky, before subsequently discussing key aspects in the evolution of the Hunterfigure.  Read more

UPDATE on the Kentucky Derby Is Decadent & Depraved from Paris Records

Hi folks,

 

Received a much appreciated heads-up recently on this project from Ethan Persoff who was lucky enough to get a pre-release listen courtesy of Michael Minzer, owner of Paris Records. Ethan wrote a great piece a while back about the company and their work (material by Burroughs, Ginsberg etc) which you can read here.

As for the Kentucky Derby record, here is what Ethan has to say:

” The album (a seven year effort) is a line-by-line rendition of the original article that Thompson wrote for Scanlan’s. Cast is Hunter S. Thompson played by Tim Robbins, Ralph Steadman performing as himself, and additional voice acting that includes Dr John and Annie Ross.

The music by Bill Frisell is quite strong, and perfect for the text (and not what one would expect). The entire atmosphere adds up to something very memorable – both surprising and a little haunting. I loved it.”

You can read the entire article, including details of the albums release here.

 

Ok for now,

Rory