Hunter S. Thompson, 1937-2005
Sasha Frere-Jones, writing in the New Yorker a few weeks back, made an interesting remark concerning the oft-repeated platitude that songwriter Conor Oberst is the new Bob Dylan. If there is a new Dylan, wrote Frere-Jones, he won't be a songwriter.
I mulled that over for a while, wondering what he meant, and what the new Dylan might be. And I pondered a similar question reading this week's coverage of Dr. Hunter S. Thompson's suicide, in particular this piece by Mary Schmich in the Chicago Tribune, which asks in its first line: "Who's the Hunter Thompson for this college generation?"
I wonder if the new HST, if there is one, wouldn't be a journalist.
I first encountered Hunter Thompson as a college freshman when some upper classmen in my fraternity would joke about, and quote from, Fear and Loathing in Las Vegas. I confess, after reading it I didn't really get why it was a classic and why its author was such an icon. It was shocking to read such frank confessions of drug use. And the style was certainly original. But I couldn't fathom what significance HST had beyond being the producer of some marginal drug culture literature.
Fortunately, my education didn't end there. I've since recognized gonzo journalism - the style of first-person reporting HST is widely credited with originating - is far deeper than it might appear. Beyond its veneer of careless abandon, lies a profound postmodern insight - that the act of observing something changes the thing itself.
HST diagnosed this paradox of contemporary journalism in the introduction to his groundbreaking book on the 1972 presidential campaign (thanks to HairofBlog, whose copy I still have):
The most consistent and ultimately damaging failure of political journalism in America has its roots in the clubby/cocktail personal relationships that inevitably develop between politicians and journalists ... When professional antagonists become after-hours drinking buddies, they are not likely to turn each other in ... especially not for 'minor infractions' of rules that neither side takes seriously.
Hunter, as he often did, nailed it.
Before and after HST's heyday, journalists had the audacity to think politicians were being their normal lying selves in their presence. But HST pulled the tarp right off that one. Rather than hide behind the fiction that journalism is some cold, dispassionate craft, he embraced it as an antidote, hurling himself to the center of the action. I'd like to say nothing has been the same since, but we humans have short memories. Like September 11th - another event after which supposedly nothing was the same but which just a few years after we awake to find precious little that isn't - reading political coverage today seems like we're right back where we were, only now the politicians are in on the scam. Perhaps they've learned something from Hunter too. Their current skill in spinning journalists and controlling the news cycle is testament to how quickly they adapted.
All this runs headlong into another inescapable feature of the modern age - nothing happens until it's written about. This rule has a rather unfortunate corollary: whatever is written about, happened. And so the administration can pretend like all is rosy in Iraq, that social security is headed for an imminent crisis, that No Child Left Behind has been a rousing success - so long as the newspapers and pundits and talking heads say it is. And if you need to pay them off to say it, so be it.
Schmich quotes a journalism student who nominates Lewis Black, from the Daily Show, as the HST of his generation. Black is a weak candidate, but the student might be on the right track. Jon Stewart might be a better one. He speaks fearlessly, is irreverent as a rule, and wildly funny. And, as he loves to remind us, he's no journalist.
That's the sad fact of it - journalism, like music, is no longer a platform for exposing the untruths of government, of rallying the masses, or of inspiring much of anything. That job, it seems, has fallen to comedians.

