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Showing posts with label hunter thompson. Show all posts
Showing posts with label hunter thompson. Show all posts
This review was originally used to comment on Hunter
Thompson’s Songs of the Doomed. Since
most of the points I made in my review of that book apply here I will let that
review stand here. Obviously each book is formatted differently but whether
Thompson was skewering the Nixon era, the Reagan era or the Bush eras the song
is the same. And it aint pretty.
***********
Generally the most the trenchant social criticism,
commentary and analysis complete with a prescriptive social program ripe for
implementation has been done by thinkers and writers who work outside the realm
of bourgeois society, notably socialists and other progressive thinkers.
Bourgeois society rarely allows itself, in self defense, to be skewered by
trenchant criticism from within. This is particularly true when it comes from a
known dope fiend, gun freak and all-around lifestyle addict like the late,
lamented Dr. Hunter S. Thompson. Nevertheless, although he was far from any
thought of a socialist solution and would reject such a designation we could
travel part of the way with him. We saw him as a kindred spirit. He was not one
of us- but he was one of us. All honor to him for pushing the envelope of
journalism in new directions and for his pinpricks at the hypocrisy of
bourgeois society. Such men are dangerous.
I am not sure whether at the end of the day Hunter
Thompson saw himself or wanted to been seen as a voice, or the voice, of his
generation but in any case he would not be an unworthy candidate.In any case, his was not the voice of the
generation of 1968 being just enough older to have been formed by an earlier,
less forgiving milieu.His earlier
writings show that effect. Nevertheless, only a few, and with time it seems
fewer in each generation, allow themselves to search for some kind of truth
even if they cannot go the whole distance. This compilation under review is a
hodgepodge of articles over the best part of Thompson’s career. As with all
journalists, as indeed with all writers especially those who are writing under
the gun and for mass circulation media these works show an uneven quality.
However the total effect is to blast old bourgeois society almost to its
foundations. Others will have to push on further.
One should note that ‘gonzo’ journalism is quite
compatible with socialist materialism. That is, the writer is not precluded
from interpreting the events described within himself/herself as an actor in
the story. The worst swindle in journalism, fostered by the formal journalism
schools, as well as in other disciplines like history and political science is
that somehow one must be ‘objective’. Reality is better served if the writer
puts his/her analysis correctly and then gets out of the way. In his best work
that was Hunter’s way.
As a member of the generation of 1968 I would note
that this was a period of particular importance which won Hunter his spurs as a
journalist. Hunter, like many of us, cut his political teeth on one Richard
Milhous Nixon, at one time President of the United States and all- around
political chameleon. Thompson went way out of his way, and with pleasure,
skewering that man when he was riding high. He was moreover just as happy to
kick him when he was down, just for good measure. Nixon represented the ‘dark
side’ of the American spirit- the side that appears today as the bully boy of
the world and as craven brute. If for nothing else Brother Thompson deserves a
place in the pantheon of journalistic heroes for this exercise in elementary
hygiene. Anyone who wants to rehabilitate THAT man before history please
consult Thompson’s work. Hunter, I hope you find the Brown Buffalo wherever you
are. Read this book. Read all his books.
Make no mistake the late, lamented Hunter Thompson was always something of a muse for me going way back to the early 1970’s when I first read his seminal work on the outlaw bikers The Hell’s Angels. Since then I have devoured, and re-devoured virtually everything that he has written. However the present book leaves me cold. This is a case where ‘greed’ (on whose part I do not know although the proliferating pile of remembrances of Thompson may give a hint) got the better of literary wisdom. This compilation of articles started life as commentary on the ESPN.com, part of the cable sports network. And perhaps that is where the project should have ended. Hey, this stuff has a half-life in cyberspace so nothing would have been lost.
So what is the basis for my objection? Part of Hunter’s attraction always has been a fine sense of the hypocrisy of American politics. Although we marched to different drummers politically I have always appreciated his ability to skewer the latest political heavyweight- in- chief, friend or foe. That is missing here although he does get a few whacks in on the then current child-president Bush. But this is not enough. What this screed is really about is the whys and wherefores of his lifelong addiction to sports betting and particularly professional football, the NFL. A run through the ups and downs of previous seasons’(2000-2003) gambling wins and losses, however, does not date well. Hell, I can barely remember last week’s bets.
But the real problem is that like in politics we listen to different drummers. I am a long-time fan of‘pristine and pure’ big time college football and would not sully my hands to bet on the NFL so his whining about the San Francisco 49’ers or the Denver Broncos is so much hot air. However, I will take Notre Dame and 3 points against Alabama in the2012 major college national championship game. That’s the ticket. I miss Hunter and his wild and wooly writing that made me laugh many a time when I was down and needed a boost but not here. Enough said.
Make no mistake the late, lamented Hunter Thompson was always something of a muse for me going way back to the early 1970’s when I first read his seminal work on the outlaw bikers, Hell’s Angels. Since then I have devoured, and re-devoured virtually everything that he has written. I have reviewed many of those efforts elsewhere in this space. As I noted recently in reviewing his 2004 work Hey, Rube not all his efforts have been equally compelling. That was the case in panning Hey, Rube but here we are on much more solid tradition ‘gonzo’ style from the old days. Maybe it is because this work is in the form of a memoir and thus intentionally places the good Doc’s actions in the center of the writing that makes this more in the mold of his better compilations like the Great Shark Hunt and Songs of the Doomed.
Thompson uses a stream of consciousness trope going from the present (early 2000’s) and his then current doings and splices them together, in some segments randomly, to events as far back as his childhood in Louisville, Kentucky. Along the way we find out him at age nine in trouble with the FBI. Down and dirty in Rio with the crazies. Incessantly testing his beloved guns and various hot motorcycles at various and sundry appropriate and inappropriate times. Taking trips to places like Vietnam just before the fall, Cuba, Grenada after the invasion and elsewhere where the journalistic action might be and a story, in the Thompson style, might develop. Needless to say there is plenty of ink about sex, drug and rock and rock including his deeply affecting and traumatic tangle with the law in the early 1990’s. That, my friends, was a close call. And throughout, as usual, there are pithy political comments about the various idiots-in-chiefs and their henchman that he spent his life hammering. Maybe not your way, definitely not my way but his way. His fateful run for Sheriff of Aspen on the Freak Power ticket in 1970 probably set the tone of his politics accurately. For those who have read other works by Thompson some of the signature language may be old hat as he meanders along in this volume. For others it is a chance to learn the lingo. Enough said.
In The 1960s Time Of Fear And Loathing- The Movie-Hunter S. Thompson’s “Fear And Loathing In Las Vegas”
Fear And Loathing In Las
Vegas, starring Johnny Depp, based on the gonzo journalism of Doctor Hunter S.
Thompson.
Make no mistake I have read
everything of Hunter Thompson’s that I could get my hands on. I love Johnny
Depp as an actor. However, this film does a true disservice to both of their
talents. Johnny makes no sense as Hunter, although he was legitimate wild man Hunter’s
friend. More importantly, Fear and Loathing,
driven by stuff internally spinning in Thompson’s head, does not translate on
the screen as anything but a diffused and nonsensical homage to late
counter-cultural self-indulgence, drug division. Of the worse sort.
Thompson always claimed that
his literary attempt to use the tenets of ‘gonzo’ journalism in the book was a
failure. I disagree with that evaluation for the book but certainly not for the
film. Let us face it this is classic case of the film being very, very inferior
to the book, although the episodes and language hew fairly close to it. Please,
please read the book. And please, please read many times that little gem snippet
of his about his take on the high (and low) side of the 1960s experience, what
it meant to those who got caught up in the excitement and danger, and when he
could see the whole thing literally ebbing. Classic. You will also laugh and be
entertained by his drug-induced attempt to find the meaning of the American
experience in the post-World War II world. As for the film it will give you
nothing but fear and loathing.
Click on the headline to link to a Wikipedia entry for the late gonzo journalist Hunter S, Thompson
Book Review
Fear And Loathing In America; The Brutal Odyssey of an Outlaw Journalist, The Gonzo Letters, Volume Two, 1968-1976, Hunter S. Thompson, Simon &Schuster, New York, 2006
I have written a number of reviews about the book s of the late outlaw gonzo journalist “Doctor Gonzo” Hunter S. Thompson. Those reviews have centered on the impact of his journalistic work in the pantheon of American political and social criticism and the jail break way that he presented his material that was like a breath of fresh air coming from out in the jet stream somewhere after all the lame gibberish of most reportage in the1960s and 1970s (extending unfortunately to this day). His seemingly one man revolt (okay, okay Tom Wolfe and others too but he was the king hell king, alright) against paid by the word minute stuff of hack journalism told us the “skinny,” and told that straight, warts and all. The book under review however is more for aficionados like this writer who are interested in the minutiae about how this man created what he created, and the trials and tribulations, sometime bizarre, he went through to get the damn stuff published. And while one can rightly pass on the pre-Gonzo first volume of Thompson’s letters this one is worth reading for it provides the back drop to Doctor Gonzo’s most creative period, that period from about the publication of Hell’s Angels until his “discovery” of one Jimmy Carter. The period when Hunter S. Thompson was “riding with the king.”
In those earlier reviews (especially Hell’s Angels, Fear and Loathing in Las Vegas, Fear and Loathing On Campaign 1972, and Songs of The Doomed) I began with some generic comments applicable to all his work and they apply here as well so I will recycle them and intersperse additional comments about this book as well.
“Generally the most the trenchant social criticism, commentary and analysis complete with a prescriptive social program ripe for implementation has been done by thinkers and writers who work outside the realm of bourgeois society, notably socialists and other progressive thinkers. Bourgeois society rarely allows itself, in self-defense or hidebound fear, to be skewered by trenchant criticism from within. This is particularly true when it comes from a known dope fiend, gun freak and all-around lifestyle addict like the late, lamented Dr. Hunter S. Thompson. Nevertheless, although he was far from any thought of a socialist solution to what ails society, particularly American society, and would reject such a political designation we of the extra-parliamentary could travel part of the way with him. We saw him as a kindred spirit. He was not one of us- but he was one of us. All honor to him for pushing the envelope of journalism in new directions and for his pinpricks at the hypocrisy of bourgeois society. Such men are dangerous.
I am not sure whether at the end of the day Hunter Thompson saw himself or wanted to been seen as a voice, or the voice, of his generation but he would not be an unworthy candidate. In any case, his was not the voice of the generation of 1968 being just enough older than us to have been formed by an earlier, less forgiving milieu. The hellhole, red scare, cold war night in all its infamy that even singed my generation. His earliest writings show that shadow night blanket, the National Observer stuff, well-written but mainly “objective” stuff that a thousand other guys were writing (and were getting better paid for). Nevertheless, only a few, and with time it seems fewer in each generation, allow themselves to search for some kind of truth even if they cannot go the whole distance. This compilation under review is a hodgepodge of letters over the best part of Thompson’s career, 1968-76.
As with all journalists, as indeed with all writers especially those who are writing under the gun and for mass circulation media, these letters reveal the tremendous time pressures put on writers under contractual publishing deadlines, the ridiculous amount of time spent trying to “hustle” one’s work around the industry even by a fairly well-known writer , the creative processes behind specific works (particularly the Fear and Loathing books) as outlined in several letters, including some amusing “cut and paste” efforts to use one article to serve about six purposes , and horror of horrors, damn writer’s block (or ennui). Some of these letters are minor works of art; others seem to have been thrown in as filler. However the total effect is to show the back story of a guy who blasted old bourgeois society almost to its foundations. Others will have to push on further.
“Gonzo” journalism as it emerges in the crucible of these letters, by the way, is quite compatible, with historical materialism. That is, the writer is not precluded from interpreting the events described within himself/herself as an actor in the story. The worst swindle in journalism, fostered by the formal journalism schools, as well as in other disciplines like history and political science is that somehow one must be ‘objective.’ Reality is better served if the writer puts his/her analysis correctly and then gets out of the way. In his best work that was Hunter’s way. And that premise shines through some of these letters.
As a member of the generation of 1968 I would note that this was a period of particular importance which won Hunter his spurs as a journalist. Hunter, like many of us, cut his political teeth on raging deep into the night against one Richard Milhous Nixon, at one time President of the United States, common criminal (unindicted, of course), and all- around political chameleon. Thompson went way out of his way, and with pleasure, skewering that man when Nixon was riding high. He was moreover just as happy to kick Nixon when he was down, just for good measure. Nixon represented the “dark side” of the American spirit- the side that appeared then, and today, as the bully boy of the world and as craven brute. If for nothing else Brother Thompson deserves a place in the pantheon of journalistic heroes for this exercise in elementary hygiene. Anyone who wants to rehabilitate THAT man before history please consult Thompson’s work first. Hunter, I hope you find the Brown Buffalo wherever you are. Read this book. Read all his books to know what it was like when men and women plied the journalist trade for keeps.
Click on the headline to link to a Wikipedia entry for the film adaptation of Hunter S. Thompson’s The Rum Diary.
DVD Review
The Rum Diary, starring Johnny Depp, GK Films, 2011
Okay, here is the plot line of the film under review, the adaptation of the late Hunter S. Thompson’s legendary (more later on that) The Rum Diary, straight out of the gate. A young aspiring American writer, of the male persuasion, Paul Kemp, played by Thompson pal Johnny Depp, seeks employment in the newspaper business down in then backwater colonial Puerto Rico in the late cold war red scare early 1960s. Said writer, working to win his spurs and to make a name for himself tries six ways to Sunday to upgrade himself as a professional and the newspaper as well (based on a real the San Juan Star of the time). Oh, and chase a few windmills to right some of the egregious wrongs of this world as the young are prone to do (the major wrong confronting him being double-triple rip-out of the place by hungry, very hungry real estate developers). Problems encountered in chasing those windmills: said budding journalist is a bit of a drunk, a bit too close to some ex-pat fellow journalists who gravitated to PR just to be flaky in peace, and a bit too close (but one cannot blame him on this one) to one very hot blonde who happens to be slumming in Puerto Rico just then. But, trust me, one Paul Kemp will straighten that whole thing out, or have us go mad trying.
Sound familiar? Well, for any Hunter Thompson aficionado, and count me as one, hell, any half- aficionado, this plot line is very, very much like the life, the early life of one Hunter S. Thompson. And how would we know?
Well we have read the letters, we have read the Rolling Stone articles, hell we have read Songs of the Doomed and got a taste for snippets of The Rum Diary there. So when viewing this film there was a certain disappointment (just a little) that this did not turn out to be the great film adaptation of Hunter Thompson’s stab at the great American novel.
And here is where the “more later” mentioned above on The Rum Diary comes in. Hunter Thompson, seemingly, spend endless hours as far back as the early 1970s (maybe earlier )trying get this novel published (and in publishable form), and into film form. But here is a case where life (his, his later life anyway) outdid fiction. The ambience of the film seems very dated, very dated indeed in the post-Doctor Gonzo age. For what it is worth this is my “skinny” on Thompson’s career. He was one of the premier journalists of the last half of the twentieth century but as a novelist he was well behind his heroes Fitzgerald and Hemingway. As for Johnny Depp’s performance, well, Johnny Depp knows, knows deep in his bones, how to play off-the wall characters and does a better job, a much better job, here than in his attempt at channeling Hunter Thompson in the film adaptation of Fear And Loathing In Las Vegas. Selah.
Click on the headline to link to a Boston Sunday Globe article, dated July 10, 2011 concerning the passing of legendary sports/life journalist George Kimball.
Markin comment:
There was a time that I would read everything that journalist George Kimball wrote just like I did with the late "Doctor Gonzo," Hunter S. Thompson. Not because I agreed with their political perspectives, or their cultural critiques but because, as Kevin Cullen, points out they represented that little space in the bourgeois press reserved for those who could thumb their noses at the bosses, and walk away still standing. And of course, as well, for their love of language, language that curled around an idea. Yes, those mad-hatter days are gone in the 24/7/365 minute news world. A world I miss, and am not afraid to say so.
Click on the headline to link to a Wikipedia entry for background on the anti-Vietnam War actions of May Day 1971.
The late Hunter Thompson's take on the headline question:
HIGH-WATER MARK
STRANGE MEMORIES ON this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a Main Era—the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run . . . but no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant. . . .
History is hard to know, because of all the hired bullshit, but even without being sure of "history" it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time—and which never explain, in retrospect, what actually happened.
My central memory of that time seems to hang on one or five or maybe forty nights—or very early mornings—when I left the Fillmore half crazy and, instead of going home, aimed the big 650 Lightning across the Bay Bridge at a hundred miles an hour wearing L. L. Bean shorts and a Butte sheepherder's jacket . . . booming through the Treasure Island tunnel at the lights of Oakland and Berkeley and Richmond, not quite sure which turn-off to take when I got to the other end (always stalling at the tollgate, too twisted to find neutral while I fumbled for change) . . . but being absolutely certain that no matter which way I went I would come to a place where people were just as high and wild as I was: no doubt at all about that. . . .
There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda. . . . You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning. . . .
And that, I think, was the handle—that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn't need that. Our energy would simply prevail. There was no point in fighting—on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave. . . .
So now, less than five years later, you can go up on a steep hill in Las Vegas and look west, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.
The whole concept of decades is wrong. That is why people have trouble with it. A decade is ten years, which some people will tell you is about as long as a dime. The only people who still talk in terms of decades are Australians and possibly some New Zealanders, but the Aussies will tell you that the New Zealanders think more in terms of twenty years, like us. In politics, a "generation" is twenty years: ten is not enough. Time flies when you do most of your real work after midnight—five months can go by and it feels like one sleepless night.
Las Vegas, 1976
********* ...and Markin's
Wednesday, July 04, 2007, American Left History:
*WHEN DID THE 1960'S END?-The Anti-Vietnam War Events Of May Day 1971 Markin comment:
I have recently been reviewing books and documentaries about radical developments in the 1960’s. They included reviews of the Weather Underground, Students for a Democratic Society (SDS) and the memoirs of Bill Ayers, a central figure in that movement. Throughout this work one thing that I noticed was that the various interviewees had different takes on when that period ended. Although in the end the periodization of history is a convenient journalistic or academic convention in the case of the 1960’s it may produce a useful political guide line.
It is almost universally the case that there is agreement on when the 1960’s started. That is with the inauguration of Democratic President John F. Kennedy and his call to social activism. While there is no agreement on what that course of action might entail political figures as diverse as liberals Bill Clinton and John Kerry on to radicals like Mark Rudd, Bill Ayers and this writer agree that this event and its immediate aftermath figured in their politicization.
What is not clear is when it ended. For those committed to parliamentary action it seems to have been the assassination of Robert Kennedy and the events around the Democratic Convention in 1968 that led to the election of one Richard Milhous Nixon as President of the United States. For mainstream black activists its seems to have been the assassination of Martin Luther King that same year ending the dream that pacifist resistance could eradicate racial injustice. For mainstream SDSers apparently it was the split up of that student organization in 1969. For the Black Panthers, the deaths of Fred Hampton and Mark Clark proving for all to see who wanted to see that the American government was really out to get militant blacks off the streets. For those who thought that the counterculture might be the revolution the bloody Rolling Stone’s concert at Altamont in California in 1969 seems to have signaled the end. For the Weather Underground the 1970 New York townhouse explosion and death of their comrades was the signpost. Since everyone can play this game here is my take.
I can name the day and event exactly when my 1960’s ended. The day- May Day 1971 in Washington D.C. The event- a massive attempt by thousands, including myself, to shut down the government over the Vietnam War. We proceeded under the slogan- IF THE GOVERNMENT WILL NOT SHUT DOWN THE WAR-WE WILL SHUT DOWN THE GOVERNMENT. At that time I was a radical but hardly a communist. However, the endless mass marches and small local individual acts of resistance seemed to me to be leading to a dead end. But the war nevertheless continued on its savagely endless way. In any case, that day we formed up in collectives with appropriate gear to take over the streets of Washington and try to get to various government buildings. While none of us believed that this would be an easy task we definitely believed that it was doable. Needless to say the Nixon government and its agents were infinitely better prepared and determined to sweep us from the streets-by any means necessary. The long and short of it was that we were swept off the streets in fairly short order, taking many, many arrests.
I walked away from that event with my eyes finally opened about what it would take to made fundamental societal changes. On reflection, on that day we were somewhat like those naïve marchers in St. Petersburg, Russia that were bloodily suppressed by the Czarist forces at the start of the revolution there in January 1905. Nevertheless, in my case, from that point on I vowed that a lot more than a few thousand convinced radicals and revolutionaries working in an ad hoc manner were going to have to come together if we were to succeed against a determined and ruthless enemy. Not a pretty thought but hard reality nevertheless. Enough said.
***When “Doctor Gonzo” Was 'King Of The Hill'-The Master Journalism Of Hunter S. Thompson-"Songs Of The Doomed"
Book Review
Songs Of The Doomed; Gonzo Papers Volume Three, Hunter S. Thompson, 1978
In a review of Hunter Thompson's early journalistic work compiled under the title , The Great Shark Hunt, a retrospective sampling of his works through the early 1970s, many which appeared in the pages of Rolling Stone magazine during its more radical, hipper phase, I noted the following points that are useful to repost here in reviewing Songs Of The Doomed, another later , similar compilation of his journalistic pieces:
“Generally the most the trenchant social criticism, commentary and analysis complete with a prescriptive social program ripe for implementation has been done by thinkers and writers who work outside the realm of bourgeois society, notably socialists, like Karl Marx. Vladimir Lenin, and Leon Trotsky and other less radical progressive thinkers. Bourgeois society rarely allows itself, in self-defense if nothing else, to be skewered by trenchant criticism from within. This is particularly true when it comes from a man of big, high life appetites, a known dope fiend, a furious wild man gun freak, and all-around edge city lifestyle addict like the late, massively lamented, massively lamented in this quarter in any case, Dr. Hunter S. Thompson. Nevertheless, although he was far, very far, from any thought of a socialist solution to society's current problems and would reject such a designation, I think out of hand, we could travel part of the way with him. We saw him as a kindred spirit. He was not one of us-but he was one of us. All honor to him for pushing the envelope of mad truth-seeking journalism in new directions and for his pinpricks at the hypocrisy of bourgeois society. Such men are dangerous.
I am not sure whether at the end of the day Hunter Thompson saw himself, or wanted to been seen, as a voice, or the voice, of his generation but he would not be an unworthy candidate. In any case, his was not the voice of the generation of 1968, my generation, being just enough older to have been formed by an earlier, less forgiving milieu, coming of adult age in the drab Cold War, red scare, conformist 1950s that not even the wildly popular Mad Men can resurrect as a time which honored fruitful and edgy work, except on the coastal margins of society. His earlier writings show that effect. Nevertheless, only a few, and with time it seems fewer in each generation, allow themselves to search for some kind of truth even if they cannot go the whole distance. This compilation under review is a hodgepodge of articles over the best part of Thompson’s career, the part culminating with the demise of the arch-fiend, arch-political fiend, Richard Nixon. As with all journalists, as indeed with all writers especially those who are writing under the pressure of time-lines and for mass circulation media, these pieces show an uneven quality. Hunter's manic work habits, driven by high dope infusions and high-wire physical stress, only added to the frenzied corners of his work which inevitably was produced under some duress, a duress that drove his hard-boiled inner demons onward. However the total effect is to blast old bourgeois society almost to its foundations. Others, hopefully, will push on further.
One should note that "gonzo" journalism is quite compatible with socialist materialism. That is, the writer is not precluded from interpreting the events described within a story by interposing himself/herself as an actor in that story. The worst swindle in journalism, fostered by the formal journalism schools, as well as in the formal schools of other disciplines like history and political science, is that somehow one must be ‘objective’. Reality is better served if the writer puts his/her analysis correctly and then gets out of the way. In his best work that was Hunter’s way.
As a member of the generation of 1968 I would note that the period covered by this compilation was a period of particular importance in American history, the covering of which won Hunter his spurs as a journalist. Hunter, like many of us, cut his political teeth on wrestling with the phenomena of one Richard Milhous Nixon, at one time President of the United States, all-around political chameleon and off-hand common criminal. His articles beginning in 1968 when Nixon was on the rising curve of his never ending “comeback” trail to his fated (yes, fated) demise in the aftermath of the Watergate are required reading (and funny to boot). Thompson went out of his way, way out of his way, and with pleasure, skewering that man when he was riding high. He was moreover just as happy to kick Nixon when he was down, just for good measure. Nixon, as Robert Kennedy in one of his more lucid comments noted, represented the "dark side" of the American spirit- the side that appears today as the bully boy of the world and as craven brute. If for nothing else Brother Thompson deserves a place in the pantheon of journalistic heroes for this exercise in elementary political hygiene. Anyone who wants to rehabilitate THAT man before history please consult Thompson’s work.
Beyond the Nixon-related articles that form the core of the book there are some early pieces that are definitely not Gonzo-like. They are more straightforward journalism to earn a buck, although they show the trademark insightfulness that served Thompson well over the early part of his career. Read his pieces on Ernest Hemingway-searching in Idaho, the non-student left in the 1960’s, especially the earnest early 1960s before the other shoe dropped and we were all confronted with the madness of the beast, unchained , the impact of the ‘beats’ on the later counter cultural movements and about the ‘hippie’ invasion of San Francisco. The seminal piece on the Kentucky Derby in 1970 which is his ‘failed’ (according to him, not others) initial stab at “gonzo” journalism is a must read. And finally, if nothing else read the zany adventures of the articles that give us the title of the book, “The Great Shark Hunt”, and his ‘tribute’ to his friend the “Brown Buffalo” of future legend, Oscar Acosta. Those are high water marks in the great swirl of Hunter S. Thompson’s career. Hunter, I hope you find the Brown Buffalo wherever you are. Read this book. Read all his books.”
As for the pieces here, mainly the journalistic pieces that form the core of this compilation, the format of the book is divided up into decades starting from the pre-gonzo days of the1950s (although you can detect a certain flare for putting himself inside the story even then, note Prince Jellyfish) to the woe-begone mad efforts (on local law enforcement’s part) to legally destroy Brother Thompson in the early 1990s. In between, Thompson runs through side commentaries on the whys and wherefore of his famous “fear and loathing” works that were the bedrock of his version of gonzo journalism. Additionally, in the 1980s he makes, to my mind, something of a comeback with his reportage on the Pulitzer divorce proceedings in Palm Beach and some of his work (published more extensively elsewhere in another compilation as well) for the San Francisco Examiner. One piece, one short piece that may sum up what Hunter Thompson was trying to do, and what make be his best individual piece of flat-out king hell king good Hemingway/Fitzgerald writing is High Water Mark from Fear and Loathing In Las Vegas. That is “high” Thompson as well as very good exposition of where and when the tide ebbed for those of us seeking a “newer world” in the 1960s. Buy the ticket; take the ride as he would say.
The Great Shark Hunt; Gonzo Papers Volume One, Hunter S. Thompson, 1978
In a review of Hunter Thompson's later journalistic work compiled under the title , Song Of The Doomed, a retrospective sampling of his works through the early 1990s, many of the early pieces which appeared in the pages of Rolling Stone magazine during its more radical, hipper phase, I noted the following points that are useful to repost here in reviewing The Great Shark Hunt, an earlier, similar compilation of his journalistic pieces:
“Generally the most the trenchant social criticism, commentary and analysis complete with a prescriptive social program ripe for implementation has been done by thinkers and writers who work outside the realm of bourgeois society, notably socialists, like Karl Marx. Vladimir Lenin, and Leon Trotsky and other less radical progressive thinkers. Bourgeois society rarely allows itself, in self-defense if nothing else, to be skewered by trenchant criticism from within. This is particularly true when it comes from a man of big, high life appetites, a known dope fiend, a furious wild man gun freak, and all-around edge city lifestyle addict like the late, massively lamented, massively lamented in this quarter in any case, Dr. Hunter S. Thompson. Nevertheless, although he was far, very far, from any thought of a socialist solution to society's current problems and would reject such a designation, I think out of hand, we could travel part of the way with him. We saw him as a kindred spirit. He was not one of us-but he was one of us. All honor to him for pushing the envelope of mad truth-seeking journalism in new directions and for his pinpricks at the hypocrisy of bourgeois society. Such men are dangerous.
I am not sure whether at the end of the day Hunter Thompson saw himself, or wanted to been seen, as a voice, or the voice, of his generation but he would not be an unworthy candidate. In any case, his was not the voice of the generation of 1968, my generation, being just enough older to have been formed by an earlier, less forgiving milieu, coming of adult age in the drab Cold War, red scare, conformist 1950s that not even the wildly popular Mad Men can resurrect as a time which honored fruitful and edgy work, except on the coastal margins of society. His earlier writings show that effect. Nevertheless, only a few, and with time it seems fewer in each generation, allow themselves to search for some kind of truth even if they cannot go the whole distance. This compilation under review is a hodgepodge of articles over the best part of Thompson’s career, the part culminating with the demise of the arch-fiend, arch-political fiend, Richard Nixon. As with all journalists, as indeed with all writers especially those who are writing under the pressure of time-lines and for mass circulation media, these pieces show an uneven quality. Hunter's manic work habits, driven by high dope infusions and high-wire physical stress, only added to the frenzied corners of his work which inevitably was produced under some duress, a duress that drove his hard-boiled inner demons onward. However the total effect is to blast old bourgeois society almost to its foundations. Others, hopefully, will push on further.
One should note that "gonzo" journalism is quite compatible with socialist materialism. That is, the writer is not precluded from interpreting the events described within a story by interposing himself/herself as an actor in that story. The worst swindle in journalism, fostered by the formal journalism schools, as well as in the formal schools of other disciplines like history and political science, is that somehow one must be ‘objective’. Reality is better served if the writer puts his/her analysis correctly and then gets out of the way. In his best work that was Hunter’s way.
As a member of the generation of 1968 I would note that the period covered by this compilation was a period of particular importance in American history, the covering of which won Hunter his spurs as a journalist. Hunter, like many of us, cut his political teeth on wrestling with the phenomena of one Richard Milhous Nixon, at one time President of the United States, all-around political chameleon and off-hand common criminal. His articles beginning in 1968 when Nixon was on the rising curve of his never ending “comeback” trail to his fated (yes, fated) demise in the aftermath of the Watergate are required reading (and funny to boot). Thompson went out of his way, way out of his way, and with pleasure, skewering that man when he was riding high. He was moreover just as happy to kick Nixon when he was down, just for good measure. Nixon, as Robert Kennedy in one of his more lucid comments noted, represented the "dark side" of the American spirit- the side that appears today as the bully boy of the world and as craven brute. If for nothing else Brother Thompson deserves a place in the pantheon of journalistic heroes for this exercise in elementary political hygiene. Anyone who wants to rehabilitate THAT man before history please consult Thompson’s work.
Beyond the Nixon-related articles that form the core of the book there are some early pieces that are definitely not Gonzo-like. They are more straightforward journalism to earn a buck, although they show the trademark insightfulness that served Thompson well over the early part of his career. Read his pieces on Ernest Hemingway-searching in Idaho, the non-student left in the 1960’s, especially the earnest early 1960s before the other shoe dropped and we were all confronted with the madness of the beast, unchained , the impact of the ‘beats’ on the later counter- cultural movements and about the ‘hippie’ invasion of San Francisco. The seminal piece on the Kentucky Derby in 1970 which is his ‘failed’ (according to him, not others) initial stab at “gonzo” journalism is a must read. And finally, if nothing else read the zany adventures of the articles that give us the title of the book, “The Great Shark Hunt”, and his ‘tribute’ to his friend the “Brown Buffalo” of future legend, Oscar Acosta. Those are high water marks in the great swirl of Hunter S. Thompson’s career. Hunter, I hope you find the Brown Buffalo wherever you are. Read this book. Read all his books.”
Click on the headline to link to a Wikipedia entry for the classic Marlon Brando film, The Wild One.
DVD Review
The Wild One, Marlon Brando, Lee Marvin, produced by Stanley Kramer,1954
Okay here is the book of genesis, the motorcycle book of genesis, or at least my motorcycle book of genesis. But, before I get to that let me make about seventy–six disclaimers. First, the whys and wherefores of the motorcycle culture, except on those occasions when they become subject to governmental investigation or impact some cultural phenomena, is outside the purview of the leftist politics that dominate the commentary in this space. There is no Marxoid political line, as a rule, on such activity, nor should there be. Those exceptions include when motorcyclists, usually under the rubric of “bad actor” motorcycle clubs, like the famous (or infamous) Oakland, California-based Hell’s Angels are generally harassed by the cops and we have to defend their right to be left alone (you know, those "helmet laws", and the never-failing pull-over for "driving while biker") or, like when the Angels were used by the Rolling Stones at Altamont and that ill-advised decision represented a watershed in the 1960s counter-cultural movement. Or, more ominously, from another angle when such lumpen formations form the core hell-raisers of anti-immigrant, anti-communist, anti-gay, anti-women, anti-black liberation fascistic demonstrations and we are compelled, and rightly so, to go toe to toe with them. Scary yes, necessary yes, bikes or no bikes.
Second, in the interest of full disclosure I own no stock, or have any other interest, in Harley-Davidson, or any other motorcycle company. Third, I do not now, or have I ever belonged to a motorcycle club or owned a motorcycle, although I have driven them, or, more often, on back of them on occasion. Fourth, I do not now, knowingly or unknowingly, although I grew up in working class neighborhoods where bikes and bikers were plentiful, hang with such types. Fifth, the damn things and their riders are too noisy, despite the glamour and “freedom” of the road associated with them. Sixth, and here is the “kicker”, I have been, endlessly, fascinated by bikes and bike culture as least since early high school, if not before, and had several friends who “rode”. Well that is not seventy-six but that is enough for disclaimers.
Okay, as to genesis, motorcycle genesis. Let’s connect the dots. A couple of years ago, and maybe more, as part of a trip down memory lane, the details of which do not need detain us here, I did a series of articles on various world-shaking, earth-shattering subjects like high school romances, high school hi-jinks, high school dances, high school Saturday nights, and most importantly of all, high school how to impress the girls( or boys, for girls, or whatever sexual combinations fit these days, but you can speak for yourselves, I am standing on this ground). In short, high school sub-culture, American-style, early 1960s branch, although the emphasis there, as it will be here, is on that social phenomena as filtered through the lenses of a working class town, a seen better days town at that, my growing up wild-like-the-weeds town.
One of the subjects worked over in that series was the search, the eternal search I might add, for the great working class love song. Not the Teen Angel, Earth Angel, Johnny Angel generic mush that could play in Levittown, Shaker Heights or La Jolla as well as Youngstown or Moline. No, a song that, without blushing, one could call our own, our working class own, one that the middle and upper classes might like but would not put on their dance cards. As my offering to this high-brow debate I offered a song by written by Englishman Richard Thompson (who folkies, and folk rockers, might know from his Fairport Convention days, very good days, by the way), Vincent Black Lightning, 1952. (See lyrics below.) Without belaboring the point the gist of this song is the biker romance, British version, between outlaw biker James and black-leathered, red-headed Molly. Needless to say such a tenuous lumpen existence as James leads to keep himself “biked" cuts short any long term “little white house with picket fence” ending for the pair. And we do not need such a boring finish. For James, after losing the inevitable running battle with the police, on his death bed bequeaths his bike, his precious “Vincent Black Lightning”, to said Molly. His bike, man. His bike. Is there any greater love story, working class love story, around? No, this makes West Side Story lyrics and a whole bunch of other such songs seem like so much cornball nonsense. His bike, man. Wow! Kudos, Brother Thompson.
Needless to say that exploration was not the end, but rather the beginning of thinking through the great American night bike experience. And, of course, for this writer that means going to the books, the films and the memory bank to find every seemingly relevant “biker” experience. Thus, readers of this space were treated to reviews of such classic motorcycle sagas as “gonzo” journalist, Doctor Hunter S. Thompson’s Hell’s Angels and other, later Rolling Stone magazine printed “biker” stories and Tom Wolfe’ Hell Angel’s-sketched Electric Kool-Aid Acid Test (and other articles about California subset youth culture that drove Wolfe’s work in the old days). And to the hellish Rolling Stones (band) Hell’s Angels “policed” Altamont concert in 1969. And, as fate would have it, with the passing of actor/director Dennis Hooper, the 1960s classic biker/freedom/ seeking the great American night film, Easy Rider. And from Easy Rider to the “max daddy” of them all, tight-jeaned, thick leather-belted, tee-shirted, engineer-booted, leather-jacketed, taxi-driver-capped (hey, that’s what it reminds me of), side-burned, chain-linked wielding, hard-living, alienated, but in the end really just misunderstood, Johnny, aka, Marlon Brando, in The Wild One.
Okay, we will cut to the chase on the plot. Old Johnny and his fellow “outlaw” motorcycle club members are out for some weekend “kicks” after a hard week’s non-work (as far as we can figure out, work was marginal for many reasons, as Hunter Thompson in Hell’s Angels noted, to biker existence, the pursue of jack-rolling, armed robbery or grand theft auto careers probably running a little ahead) out in the sunny California small town hinterlands.(They are still heading out there today, the last time I noticed, in the Southern California high desert, places like Twenty-Nine Palms and Joshua Tree.)
The development of that young hope, although hopeless, boy meets girl romance relationship, hither and yon, drives the plot. Natch. Oh, and along the way the boys, after a few thousand beers, as boys, especially girl-starved biker boys, will, at the drop of a hat start to systematically tear down the town, off-handedly, for fun. Needless to say, staid local burghers (aka “squares”) seeing what amount to them is their worst 1950s “communist” invasion nightmare, complete with murder, mayhem and rapine, (although that “C” word was not used in the film, nor should it have been) are determined to “take back” their little town. A few fights, forages, casualities, fatalities, and forgivenesses later though, still smitten but unquenched and chaste Johnny (and his rowdy crowd) and said waitress part, wistfully. The lesson here, for the kids in the theater audience, is that biker love outside bikerdom is doomed. For the adults, the real audience, the lesson: nip the “terrorists” in the bud (call in the state cops, the national guard, the militia, the 82nd Airborne, The Strategic Air Command, NATO, hell, even the weren't we buddies in the war Red Army , but nip it, fast when they come roaming through Amityville, Archer City, or your small town).
After that summary you can see what we are up against. This is pure fantasy Hollywood cautionary tale on a very real 1950s phenomena, “outlaw” biker clubs, mainly in California, but elsewhere as well. Hunter Thompson did yeoman’s work in his Hell’s Angels to “discover” who these guys were and what drove them, beyond drugs, sex, rock and roll (and, ya, murder and mayhem, the California prison system was a “home away from home”). In a sense the “bikers” were the obverse of the boys (again, mainly) whom Tom Wolfe, in many of his early essays, was writing about and who were (a) forming the core of the surfers on the beaches from Malibu to La Jolla and, (b) driving the custom car/hot rod/drive-in centered (later mall-centered) cool, teenage girl–impressing, car craze night in the immediate post-World War II great American Western sunny skies and pleasant dream drift (physically and culturally). Except those Wolfe guys were the “winners”. The “bikers” were Nelson Algren’s “losers”, the dead-enders who didn’t hit the gold rush, the Dove Linkhorns (aka the Arkies and Okies who in the 1930s populated John Steinbeck’s Joad saga, The Grapes Of Wrath). Not cool, iconic Marlin-Johnny but hellbend then-Hell Angels leader, Sonny Barger.
And that is why in the end, as beautifully sullen and misunderstood the alienated Johnny was, and as wholesomely rowdy as his gang was before demon rum took over, this was not the real “biker: scene, West or East. Now I lived, as a teenager in a working class, really marginally working poor, neighborhood that I have previously mentioned was the leavings of those who were moving up in post-war society. That neighborhood was no more than a mile from the central headquarters of Boston's local Hell’s Angels (although they were not called that, I think it was Deathheads, or something like that). I got to see these guys up close as they rallied at various spots on our local beach or “ran” through our neighborhood on their way to some crazed action. The leader had all of the charisma of Marlon Brando’s thick leather belt. His face, as did most of the faces, spoke of small-minded cruelties (and old prison pallors) not of misunderstood youth. And their collective prison records (as Hunter Thompson also noted about the Angels) spoke of “high” lumpenism. And that takes us back to the beginning about who, and what, forms one of the core cohorts for a fascist movement in this country, the sons of Sonny Barger. Then we will need to rely on our Marxist politics, and other such weapons.
*************
ARTIST: Richard Thompson
TITLE: 1952 Vincent Black Lightning
Lyrics and Chords
Said Red Molly to James that's a fine motorbike
A girl could feel special on any such like
Said James to Red Molly, well my hat's off to you
It's a Vincent Black Lightning, 1952
And I've seen you at the corners and cafes it seems
Red hair and black leather, my favorite color scheme
And he pulled her on behind
And down to Box Hill they did ride
/ A - - - D - / - - - - A - / : / E - D A /
/ E - D A - / Bm - D - / - - - - A - - - /
Said James to Red Molly, here's a ring for your right hand
But I'll tell you in earnest I'm a dangerous man
I've fought with the law since I was seventeen
I robbed many a man to get my Vincent machine
Now I'm 21 years, I might make 22
And I don't mind dying, but for the love of you
And if fate should break my stride
Then I'll give you my Vincent to ride
Come down, come down, Red Molly, called Sergeant McRae
For they've taken young James Adie for armed robbery
Shotgun blast hit his chest, left nothing inside
Oh, come down, Red Molly to his dying bedside
When she came to the hospital, there wasn't much left
He was running out of road, he was running out of breath
But he smiled to see her cry
And said I'll give you my Vincent to ride
Says James, in my opinion, there's nothing in this world
Beats a 52 Vincent and a red headed girl
Now Nortons and Indians and Greeveses won't do
They don't have a soul like a Vincent 52
He reached for her hand and he slipped her the keys
He said I've got no further use for these
I see angels on Ariels in leather and chrome
Swooping down from heaven to carry me home
And he gave her one last kiss and died
And he gave her his Vincent to ride
