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Thompson suicide ends ‘gonzo’ journalism era By JOHN ROGERS ASSOCIATED PRESS LOS ANGELES — In a rare moment of nostalgia, Hunter S. Thompson once reflected on the 1960s, the era that had formed him as a writer, as a time when “we were riding the crest of a high and beautiful wave.” Looking back at the era’s passing, he added with no small measure of disappointment: “You can almost see the high-water mark — the place where the wave finally broke and rolled back.” Thompson’s suicide Sunday at age 67 now gives those words from his 1971 classic, “Fear and Loathing in Las Vegas,” a special poignancy. Because the styld of writing he invented — “gonzo journalism” — surely reached its peak with its creator and isn’t likely to be duplicated in quite that way ever again. Thompson was often linked with fellow writers Gay Talese and Tom Wolfe as part of a troika of literary titans who invented a reporting style in the 1960s that came to be known as the New Journalism. But Talese, for his part, never saw it that way, saying Monday that Thompson was an original. While all three writers took an eye for description and detail to new heights, only Thompson immersed* himself so thoroughly — and often so outrageously - into his stories, Talese told The Associated Press. “I will miss him as a man who was amusing while he was also insightful, the author of “Honor Thy Father said by phone from his New York City apartment. “He was amusing and also maybe wretchedly out of step with the current morality. At this time of political correctness, he was never politically correct, and that is what I’ll miss the most about him.” Indeed, Thompson never seemed to care whom he offended, especially if they were politicians. He once suggested former President Bush should be brutally stomped by voters. He called former I PHOTO COURTESY OF THE ASSOCIATED PRESS Author and journalist Hunter S. Thompson gives a speech during a peace rally against the Iraqi War in Aspen, Colo., Feb. 2, 2003. Vice President Hubert Humphrey “a hopelessly dishonest old hack,” compared the late Sen. Edmund Muskie of Maine to a “vicious 200 pound river rat” and ffequendy dismissed former President Clinton as a white-trash hillbilly. In one of his more recent books, “Kingdom of Fear,” he described the members of the current Bush administration: “They are the racists and hate mongers among us — they are the Ku Klux Man.” And those were his more polite terms for them. “He had more to say about what was wrong with America than George W. Bush can ever tell us about what is right,” an admiring fellow writer, Norman Mailer, said in a statement released Monday. Thompson also had a penchant for taking a story assignment and turning it on its head, outraging editors in the process, although they would often forgive him later when he responded with something much better than what they had originally envisioned. “Every editor that I know, myself included, was willing to accept a certain prima donna journalism in the demands he would make to cover a particular story,” recalled Paul Krassner, editor of the leftist magazine The Realist. “They were willing to risk all of his irresponsible behavior in order to share his talent with their readers.” Thompson’s purported fights with Rolling Stone editor Jann Wenner were rumored to hinge on expense accounts for stories that never materialized. “Today is a very sad day for Rolling Stone. Hunter is a part of our DNA,” Wenner said Monday in a statement. “I feel I’ve lost a brother in arms. He lived longer than any of us expected already. He gave us so much, his was a great life, full of energy and magic and righteousness.” Dispatched to Las Vegas to cover a desert off-road race, for example, Thompson decided instead to seek out the American dream in that gambler’s paradise. The result was the book “Fear and Loathing in Las Vegas.” San Francisco Chronicle Editor Phil Bronstein, who visited Thompson and his wife in Colorado last summer, told the Chronicle that Thompson was recovering from spinal surgery and a broken leg but didn’t seem depressed. “He was excited about what was going on in the world as he always was,” Bronstein said. “He seemed, as always, bizarre and interesting and fascinating and was a remarkably charming and friendly host” -1 ■ I NINE Continued from page 10 group, and I accepted because I am a Facebook addict,” she said. “I looked at some of their groupies and knew who they were, so I joined. It’s all about getting as many groups as possible.” Some students weren’t so eager to be a part of this unknown group. “I was asked to and didn’t join because I didn’t know what the hell it was,” said Katie Coughlin, a first-year undecided student. Whitman said I Nine wants to find as many ways as possible to reach its audience. Members pass out promotional CDs and have a Web site with information about upcoming events and samples of their music. As its popularity grows, Whitman said the band has been re-evaluating its goals. “Over the past couple of weeks, our mentality for the music is to inspire people — I mean, if we are chosen to be able to inspire,” he said. “We want to, like, add to the circle of music.” I Nine was scheduled to play at Jammin’ Java tonight, but canceled because of previous travel plans. I Nine’s next Columbia performance will be in early to mid-March. Comments on this story? E-mail gamecockfeatures@gwm.sc.edu ■ BEEP BEEP Continued from page 10 and “The Florescent Lights,” which feature rhythmic guitars and Hughes at his best — stretching his voice in ways that would make any singer’s throat hurt. Instead of simply sticking to the punk guitar convention, Beep Beep mixes in organ and electronic distortion that keeps the music from ever becoming strictly derivative. While Beep Beep clearly isn’t for mainstream pop afficinados, fans of good music who turn out to their show Sunday night at New Brookland Tavern will certainly be treated to a music spectacle - the likes of which Columbia rarely sees. Doors open at 8 p.m. for the $7 all-ages show. Local favorite Baumer opens. Comments on this story? E-mail gamecockfeatures@gwm.sc.edu ■ CONSTANTINE Continued from page 10 mankind. Indie-king Pruitt Taylor Vince brings a sense of legitimacy to the production, as a tortured ex-priest and Constantine’s friend, and Shia LaBeouf (“Holes”) doesn’t let the obligatory sidekick role get the best of him (note: be sure to stay after the credits). The supernatural forces are top notch as well, namely Tilda Swinton as the cocky and androgynous Gabriel. “Constantine” is a slick, clever, fun and horrifying adventure through the madness of the strategically placed end of the world. The soundtrack is intense and the story is solid. The film lives and dies by its own intricate and sometimes convoluted mythology, and though there are slow moments when the filmmakers must pull over to let the audience in, all in all “Constantine” is one hell of a ride. Comments on this story? E-mail gamecockfeatures@gwm.sc. edu "-- ' ■ ■■ ? 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