11/12/23, 10:58 PM Fear and Loathing in Las Vegas - Wikipedia

Fear and Loathing in Las Vegas

Fear and Loathing in Las Vegas: A Savage Journey to
the Heart of the American Dream is a 1971 novel in the Fear and Loathing in Las
gonzo journalism style by Hunter S. Thompson. The book is a Vegas
roman à clef, rooted in autobiographical incidents. The story
follows its protagonist, Raoul Duke, and his attorney, Doctor
Gonzo, as they descend on Las Vegas to chase the American
Dream through a drug-induced haze, all the while ruminating on
the failure of the 1960s countercultural movement. The work is
Thompson's most famous book, and is noted for its lurid
descriptions of illicit drug use and its early retrospective on the
culture of the 1960s. Thompson's highly subjective blend of fact
and fiction, which it popularized, became known as gonzo
journalism. Illustrated by Ralph Steadman, the novel first
appeared as a two-part series in Rolling Stone magazine in 1971
before being published in book form in 1972. It was later adapted
into a film of the same title in 1998 by director Terry Gilliam,
starring Johnny Depp and Benicio del Toro, who portrayed Raoul
Duke and Dr. Gonzo, respectively.

Origins
First edition
The novel Fear and Loathing in Las Vegas is based on two trips
Author Hunter S. Thompson
to Las Vegas, Nevada, that Hunter S. Thompson took with
attorney and Chicano activist Oscar Zeta Acosta in March and Illustrator Ralph Steadman
April 1971. The first trip resulted from an exposé Thompson was Country United States
writing for Rolling Stone magazine about the Mexican–American
Language English
television journalist Rubén Salazar, whom officers of the Los
Angeles County Sheriff's Department had shot and killed with a Series Gonzo Series
tear gas grenade fired at close range during the National Chicano Genre Gonzo journalism
Moratorium March against the Vietnam War in 1970. Thompson
Publisher Random House
was using Acosta—a prominent Mexican-American political
activist and attorney—as a central source for the story, and the Publication November 11, 1971
two found it difficult for a brown-skinned Mexican to talk openly date (magazine)
with a white reporter in the racially tense atmosphere of Los July 7, 1972 (book)
Angeles, California. The two needed a more comfortable place to
Media type Print (Hardback &
discuss the story and decided to take advantage of an offer from
Sports Illustrated to write photograph captions for the annual Paperback)
Mint 400 desert race being held in Las Vegas from March 21–23, Pages 204 pp
1971. ISBN 0-679-78589-2

Thompson wrote that he concluded their March trip by spending OCLC 41049769 (https://ww
some 36 hours alone in a hotel room "feverishly writing in my w.worldcat.org/oclc/4
notebook" about his experiences.[1] These writings became the 1049769)

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genesis of Fear and Loathing in Las Vegas: A Savage Journey to Dewey 070/.92 B 21
the Heart of the American Dream. Decimal
LC Class PN4874.T444 A3
What originally was a 250-word photo caption assignment for
1998b
Sports Illustrated grew to a novel-length feature story for Rolling
Stone; Thompson said publisher Jann Wenner had "liked the first
20 or so jangled pages enough to take it seriously on its own terms and tentatively scheduled it for
publication—which gave me the push I needed to keep working on it." He had first submitted a 2,500-
word manuscript to Sports Illustrated that was "aggressively rejected."[2]

Weeks later Thompson and Acosta returned to Las Vegas to report for Rolling Stone on the National
District Attorneys Association's Conference on Narcotics and Dangerous Drugs being held from April
25–29, 1971, and to add material to the larger Fear and Loathing narrative. Besides attending the
attorneys' conference, Thompson and Acosta looked for ways in Vegas to explore the theme of the
American Dream, which was the basis for the novel's second half, to which Thompson referred at the
time as "Vegas II".[3]

On April 29, 1971, Thompson began writing the full manuscript in

a hotel room in Arcadia, California, in his spare time while
completing "Strange Rumblings in Aztlan," the article chronicling
the death of Salazar.[1] Thompson joined the array of Vegas
experiences within what he called "an essentially fictional
framework" that described a singular free-wheeling trip to Vegas
peppered with creative licenses.[1]
Thompson (left) and Oscar Zeta
In November 1971, Rolling Stone published the combined texts of
Acosta in Caesars Palace,
the trips as Fear and Loathing in Las Vegas: A Savage Journey to
c. March–April 1971
the Heart of the American Dream as a two-part story,[4][5]
illustrated by Ralph Steadman, who two years before had worked
with Thompson on an article titled "The Kentucky Derby Is Decadent and Depraved".[6] Random
House published the hardcover edition in July 1972, with additional illustrations by Steadman; The
New York Times said it is "by far the best book yet on the decade of dope,"[7] with Tom Wolfe
describing it as a "scorching epochal sensation."[8]

Plot
In 1971, journalist Raoul Duke and his attorney, Dr. Gonzo, are driving from LA to Las Vegas to cover
the Mint 400 Motorcycle race. Along the way, they pick up a hitchhiker, and Duke explains the
preparation for the trip, including gathering several drugs and renting the "Great Red Shark". Shortly
after explaining, the two scare off the hitchhiker, and then take a large dose of LSD and finish the
drive to Vegas.

The two arrive in the lobby of the Mint Hotel, while still under the influence of LSD. Duke has bizarre
hallucinations and acts strangely, culminating in him perceiving everyone in the bar to be giant
lizards. Gonzo, who is able to keep a level head throughout all of this, signs the two in with press
credentials, and brings Duke up to their hotel room. They later leave to get an early look at the Mint
Gun Club, where the race will be held. While there, Duke meets Lacerda, a photographer assigned to
work with them.

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The next day, Duke and Gonzo go to the bar at the gun club, and wait for the race to start. Once it
starts, Duke is unable to tell what is going on, and goes on a side by side ride with Lacerda, to capture
photos. Eventually, Duke gives up and leaves.

Later that night, Duke and Gonzo are driving around Vegas intoxicated. After struggling to find
parking, they go to the Desert Inn to see a Debbie Reynolds performance. The pair get kicked out of
the show for smoking marijuana. They then huff some ether and wander around the Circus Circus, in
a drunken stupor. While in the Circus Circus, Gonzo starts to feel the effects of the mescaline pills that
he took earlier, and the two leave. Back in the hotel room, Gonzo keeps getting worse. When Duke
eventually calms him down, he reminisces about the 1960s, and goes to sleep.

He wakes up the next morning, and finds that Gonzo is gone and there is a pile of room service
receipts. Unable to pay, he flees, hoping to make a quick drive back to Los Angeles. While driving
along in an extremely paranoid state, Duke eventually calls Gonzo, and finds that he was supposed to
check into the Flamingo Hotel, and cover a national police meeting on drug use.

After Duke finishes checking into the hotel, he is attacked by a teenage girl named Lucy. He then
learns that Gonzo gave her LSD to "help her out" only to find that she is a devout Christian, and has
never even used alcohol. The two give her more LSD, and then drop her off at a different hotel, hoping
she won't remember them. However, when they get back to the hotel room, they find that Lucy has left
them a message, and is asking Gonzo for help. Gonzo manages to trick her into thinking that Duke
drugged both of them, and that Gonzo is now being arrested, advising her to hide. Afterwards, Gonzo
advises Duke to take adrenochrome. When Duke takes it, he experiences nightmarish hallucinations,
before eventually falling asleep.

The next day, they attend the drug convention, where they observe a comically out of touch
presentation by a police "drug expert".

After this, the two continue their drug binge across Vegas, before eventually waking up in a destroyed
hotel room. Duke drives Gonzo to the airport, and then boards a plane to Denver.[9]

The "wave speech"

The "wave speech" is an important passage at the end of the eighth chapter that captures the hippie
zeitgeist and its end. Thompson often cited this passage during interviews, choosing it when asked to
read aloud from the novel.[6]

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.

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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 toll-gate, 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.

In High White Notes: The Rise and Fall of Gonzo Journalism, David S. Wills explains how the "wave
speech" was influenced by Thompson's use of The Great Gatsby as a literary template.[10] He argues
that the entire wave passage replicated the rhythm, not to mention the theme, of the final page and a
half of F. Scott Fitzgerald's novel. Thompson himself frequently compared his book to The Great
Gatsby.[11]

Title
Fear and Loathing in Las Vegas is Thompson's most famous work, and is known as Fear and
Loathing for short; however, he later used the phrase "Fear and Loathing" in the titles of other books,
essays, and magazine articles.

Moreover, "Fear and Loathing", as a phrase, has been used by many writers, the first (possibly) being
Friedrich Nietzsche in The Antichrist. In a Rolling Stone magazine interview, Thompson said: "It
came out of my own sense of fear, and [is] a perfect description of that situation to me, however, I
have been accused of stealing it from Nietzsche or Kafka or something. It seemed like a natural
thing."[12]

He first used the phrase in a letter to a friend written after the Kennedy assassination, describing how
he felt about whoever had shot President John F. Kennedy.[13] In "The Kentucky Derby is Decadent
and Depraved", he used the phrase to describe how people regarded Ralph Steadman upon seeing his
caricatures of them.

Jann Wenner claims that the title came from Thomas Wolfe's The Web and the Rock.[14][15]

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Another possible influence is Fear and Trembling, a philosophical work by existentialist Søren
Kierkegaard published in 1843. The title is a reference to a line from a Bible verse, Philippians 2:12.

Reactions to the novel

When it was published in fall of 1971 many critics did not like the novel's loose plot and the scenes of
drug use; however, some reviewers predicted that Fear and Loathing in Las Vegas would become an
important piece of American literature.

In The New York Times, Christopher Lehmann-Haupt told readers to not "even bother" trying to
understand the novel, and that "what goes on in these pages make[s] Lenny Bruce seem angelic";
instead, he acknowledged that the novel's true importance is in Thompson's literary method: "The
whole book boils down to a kind of mad, corrosive prose poetry that picks up where Norman Mailer's
An American Dream left off and explores what Tom Wolfe left out".[16]

As the novel became popular the reviews became positive; Crawford Woods, also in The New York
Times, wrote a positive review countering Lehmann-Haupt's negative review: the novel is "a custom-
crafted study of paranoia, a spew from the 1960s and—in all its hysteria, insolence, insult and rot—a
desperate and important book, a wired nightmare, the funniest piece of American prose"; and "this
book is such a mind storm that we may need a little time to know that it is also literature... it unfolds a
parable of the nineteen-sixties to those of us who lived in them in a mood—perhaps more
melodramatic than astute—of social strife, surreal politics and the chemical feast." About Thompson,
Woods said he "trusts the authority of his senses, and the clarity of a brain poised between brilliance
and burnout".[17]

In any event, Fear and Loathing in Las Vegas became a benchmark in American literature about U.S.
society in the early 1970s. In Billboard magazine, Chris Morris said, "Through Duke and Gonzo's
drug-addled shenanigans amid the seediness of the desert pleasure palaces, it perfectly captured the
zeitgeist of the post–'60s era".[18] In Rolling Stone magazine, Mikal Gilmore wrote that the novel
"peers into the best and worst mysteries of the American heart" and that Thompson "sought to
understand how the American dream had turned a gun on itself". Gilmore believes that "the fear and
loathing Thompson was writing about—a dread of both interior demons and the psychic landscape of
the nation around him—wasn't merely his own; he was also giving voice to the mind-set of a
generation that had held high ideals and was now crashing hard against the walls of American
reality".[19]

Cormac McCarthy has called the book "a classic of our time" and one of the few great modern
novels.[20]

As a work of gonzo journalism

In the book The Great Shark Hunt, Thompson refers to Fear and Loathing in Las Vegas as "a failed
experiment in the gonzo journalism" he practiced, which was based on William Faulkner's idea that
"the best fiction is far more true than any kind of journalism—and the best journalists have always
known this".[1] Thompson's style blended the techniques of fictional story-telling and journalism.

He called it a failed experiment because he originally intended to record every detail of the Las Vegas
trip as it happened, and then publish the raw, unedited notes; however, he revised it during the spring
and summer of 1971. For example, the novel describes Duke attending the motorcycle race and the

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narcotics convention in a few days' time; the actual events occurred a month apart.[21] Later, he wrote,
"I found myself imposing an essentially fictional framework on what began as a piece of straight/crazy
journalism".[1]

Nevertheless, critics call Fear and Loathing Thompson's crowning achievement in gonzo journalism.
For example, journalist and author Mikal Gilmore said the novel "feels free wheeling when you read it
[but] it doesn't feel accidental. The writing is right there, on the page—startling, unprecedented and
brilliantly crafted".[19]

Changes in the book version

The novel was first published serially in Rolling Stone magazine, under the byline "Raoul Duke". The
book version was published with Thompson's name as the author.

In chapter 8 of part I, Thompson tells a story about his neighbor, "a former acid guru who later
claimed to have made that long jump from chemical frenzy to preternatural consciousness". In the
Rolling Stone article the neighbor was identified as "Dr. Robert De Ropp on Sonoma Mountain Road".
In the book version, the name and the street were redacted, as a footnote says, "at insistence of
publisher's lawyer".

In chapter 12 of part II, Thompson tells of a belligerent drunk confronting Bruce Innes, of Canadian
folk band The Original Caste, at a club in Aspen. The heckler was identified in the Rolling Stone
version as "Wally Schirra, the Astronaut". In the book version he is only identified as "a former
Astronaut" and his name is, again, redacted "at insistence of publisher's lawyer".

Illustrations
British artist Ralph Steadman added his unique and grotesque illustrations to the Rolling Stone issues
and to the novel. Steadman had first met Thompson when Scanlan's Monthly hired Steadman to do
the illustrations for Thompson's first venture into gonzo journalism called "The Kentucky Derby Is
Decadent and Depraved."

Many critics have hailed Steadman's illustrations as another main character of the novel and
companion to Thompson's disjointed narrative. The New York Times noted that "Steadman's
drawings were stark and crazed and captured Thompson's sensibility, his notion that below the plastic
American surface lurked something chaotic and violent. The drawings are the plastic torn away and
the people seen as monsters."[22]

Steadman has expressed regret at selling the illustrations, at the advice of his agent, to Rolling Stone
founder Jann Wenner for the sum of $75, which remained in Wenner's possession until he sold them
in 2016. As a result of that transaction Steadman has largely refused to sell any of his original artwork

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and has been quoted as saying "If anyone owns a Steadman original, it's stolen." While there are
original pieces held outside his archive, they are exceedingly rare. The artist has kept possession of the
vast bulk of his artwork.

Adaptations

Audiobook

An audiobook version was released by Margaritaville Records and Island Records in 1996, on the 25th
anniversary of the book's original publication. It features the voice talents of Harry Dean Stanton as
the narrator/an older Hunter S. Thompson, Jim Jarmusch as Raoul Duke, and Maury Chaykin as Dr.
Gonzo, with Jimmy Buffett, Joan Cusack, Buck Henry and Harry Shearer in minor roles. Sound
effects, period-appropriate music and album-like sound mixing are used extensively to give it the
surreal feeling characteristic of the book. Quotes from Thompson himself bookend the album.

The album is presumably out-of-print, due to its relative rarity, but is sought after by fans for its high
production values and faithfulness to the book's tone. Excerpts of it were included in the Criterion
Collection release of the movie.

Film adaptation

The novel's popularity gave rise to attempted cinematic adaptations; directors Martin Scorsese and
Oliver Stone each unsuccessfully attempted to film a version of the novel. In the course of these
attempts, Jack Nicholson and Marlon Brando were considered for the roles of Duke and Dr. Gonzo
but the production stalled and the actors aged beyond the characters. Afterwards, Dan Aykroyd and
John Belushi were considered, but Belushi's death ended that plan.[23] Art Linson's 1980 film Where
the Buffalo Roam starring Bill Murray and Peter Boyle is based on a number of Thompson's stories,
including Fear and Loathing in Las Vegas.

In 1989, Fear and Loathing in Las Vegas was almost made by director Terry Gilliam when he was
given a script by illustrator Ralph Steadman. Gilliam, however, felt that the script "didn't capture the
story properly". In 1995, Gilliam received a different script he felt worth realising; his 1998 film
features Johnny Depp and Benicio del Toro as Raoul Duke and Dr. Gonzo respectively. However,
criticism was mixed and the film was a box office failure.[24]

Graphic novel

A graphic novel adaptation of Fear and Loathing in Las Vegas, adapted by Canadian artist Troy
Little, was released in October 2015.[25] In interviews, Little said "We decided right off the bat not to
go the Steadman route, or be too influenced by the movie either, and draw Johnny Depp and Benicio
Del Toro. So we wanted to make it its own unique thing... For me, capturing the manic energy and
spirit of the book, and staying true to the feel of Fear and Loathing was my big goal."[26]

Other references

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"Fear and Loathing on the Planet of Kitson," an episode of the ABC/Marvel Studios superhero series
Agents of S.H.I.E.L.D., first broadcast on May 24, 2019, not only takes its title from the novel, it also
incorporates plot elements from the novel and 1998 film, particularly around characters having to
navigate a casino (in this case a casino on an alien planet) while under the influence of a psychedelic
drug.[27]

The 2013 album Too Weird to Live, Too Rare to Die! by Panic! at the Disco (originally from Las
Vegas) was named after a line from the book.

The music videos for Lil Wayne's "No Worries" and The Weeknd's song "Heartless" draw heavy
inspiration from the 1998 film.[28][29]

Japanese electronicore band Fear, and Loathing in Las Vegas is named after the book and film.

"Bat Country", from the album City of Evil of the band Avenged Sevenfold, is based on the novel, with
the title coming from what Raoul Duke says to Dr. Gonzo after seeing huge bats and flying manta rays
in his hallucinations, "We can't stop here. This is bat country." The song’s music video exemplifies
that, referencing numerous scenes from the film.

An achievement in Halo: The Master Chief Collection called "Can't Stop Here, This is Brute Country"
is a reference to the line "We can't stop here, this is bat country" from the book and the 1998 film.

A set of cosmetic items in the class-based first-person shooter video game Team Fortress 2 are
directly based on one of the outfits that Raoul Duke wears in the book and the 1998 film, both
cosmetic items belonging to the Sniper class. The items are named the Hawaiian Hunter and Tropical
Camo in-game, respectively.

"Lost" by Frank Ocean references this book according to Genius.

References
1. Thompson, Hunter S. Jacket Copy For Fear and Loathing in Las Vegas: A Savage Journey to the
Heart of the American Dream (http://www.criterion.com/current/posts/252-jacket-copy-for-fear-and
-loathing-in-las-vegas-a-savage-journey-to-the-heart-of-the-american-dream)
2. Thompson, Hunter (1979). The Great Shark Hunt: Strange Tales from a Strange Time (1st ed.).
Summit Books. pp. 105–109. ISBN 0-671-40046-0.
3. Thompson, Hunter S. Fear and Loathing In America Simon & Schuster 2000 p.379–385
4. Duke, Raoul (November 11, 1973). "Fear and Loathing in Las Vegas: A Savage Journey to the
Heart of the American Dream. Part I". Rolling Stone. Vol. 95. pp. 37–48.
5. Duke, Raoul (November 25, 1973). "Fear and Loathing in Las Vegas: A Savage Journey to the
Heart of the American Dream. Part II". Rolling Stone. Vol. 96. pp. 38–50.
6. Gilmore, Mikal. (March 24, 2005). "The Last Outlaw." Rolling Stone, 970, 44–47
7. Woods, Crawford (July 23, 1972). Fear and Loathing in Las Vegas: A Savage Journey to the Heart
of the American Dream. By Hunter S. Thompson. Illustrations by Ralph Steadman. 206 pp. New
York: Random House. $5.95. The New York Times Book Review, pp.17.
8. Back cover (https://www.amazon.com/dp/product-description/0679724192), [1] (https://www.amaz
on.com/dp/product-description/0679724192) Fear and Loathing in Las Vegas 1972.
9. Thompson, Hunter S. (1989). Fear and loathing in Las Vegas : a savage journey to the heart of
the American dream (http://archive.org/details/fearloathinginla0000thom_y8w5). Internet Archive.
New York : Vintage Books. ISBN 978-0-679-72419-3.

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10. Wills, David S. (2021). High White Notes: The Rise and Fall of Gonzo Journalism. Scotland:
Beatdom Books. pp. 271–280. ISBN 978-0993409981.
11. Thompson, Anita (2009). Ancient Gonzo Wisdom. Da Capo. p. 205.
12. O' Rourke, P.J. Fear and Loathing at 25 : Rolling Stone (http://plagiarismbeginsathome.wordpress.
com/2008/06/24/fear-and-loathing-at-25-thompson-reflects-on-the-addictive-properties-of-professi
onal-journalism-by-pj-orourke-nov-28-1996/). Rolling Stone. November 28, 1996.
13. Thompson, Hunter (1998). Proud Highway. New York: Ballantine Books. ISBN 0-345-37796-6.
14. Wenner, Jann (2007). Gonzo: The Life of Hunter S. Thompson (https://archive.org/details/gonzolif
eofhunte00wenn/page/112). Little, Brown and Company. p. 112 (https://archive.org/details/gonzolif
eofhunte00wenn/page/112). ISBN 978-0-316-00527-2.
15. Wolfe, Thomas (1 January 1973). The Web and the Rock (https://books.google.com/books?id=YM
7ZAAAAMAAJ&q=%22fear%20and%20loathing%22). Perennial Library. ISBN 9780060803131 –
via Google Books.
16. Lehmann-Haupt, Christopher. (June 22, 1972). Heinous Chemicals at Work. The New York Times,
p. 37
17. Woods, Crawford (July 23, 1972). Fear and Loathing in Las Vegas: A Savage Journey to the Heart
of the American Dream. By Hunter S. Thompson. Illustrations by Ralph Steadman. 206 pp. New
York: Random House. $5.95. The New York Times Book Review, pp.17
18. Morris, Chris. (October 26, 1996). Hunter S. Thompson Brings 'Fear and Loathing' to Island.
Billboard magazine, 43, 10
19. Gilmore, Mikal. (March 24, 2005). The Last Outlaw. Rolling Stone, 970, 44-47
20. "Cormac McCarthy's Apocalypse" (https://web.archive.org/web/20140629023902/http://74.220.21
5.94/~davidkus/index.php?option=com_content&view=article&id=61:cormac-mccarthys-apocalyps
e-&catid=35:articles&Itemid=54). 74.220.215.94. Archived from the original (http://74.220.215.94/~
davidkus/index.php?option=com_content&view=article&id=61:cormac-mccarthys-apocalypse-&cat
id=35:articles&Itemid=54) on 2014-06-29. Retrieved 2015-09-11.
21. Taylor, Andrew F. 1997 The City: In search of Thompson's Vegas (http://www.lasvegassun.com/su
n/dossier/misc/loathing/mescaline.html) Archived (https://web.archive.org/web/20060512205042/h
ttp://www.lasvegassun.com/sun/dossier/misc/loathing/mescaline.html) 2006-05-12 at the Wayback
Machine Las Vegas Sun
22. Cohen, Rich. April 17, 2005. Gonzo Nights. The New York Times Book Review, p. 12.
23. IMDb article on Fear and Loathing in Las Vegas (https://imdb.com/title/tt0120669/trivia), trivia
section
24. "Fear and Loathing in Las Vegas Reviews - Metacritic" (https://www.metacritic.com/movie/fear-and
-loathing-in-las-vegas). metacritic.com. Retrieved 2015-09-11.
25. "Hunter S. Thompson's FEAR AND LOATHING IN LAS VEGAS (The Graphic Novel), Adapted by
Troy Little!" (http://www.topshelfcomix.com/news/1009). Top Shelf Productions. May 27, 2015.
Retrieved 2015-11-12.
26. Rivera, Joshua (November 8, 2015). "How Do You Channel the Fear and Loathing of Hunter S.
Thompson's Craziest Road Trip Into a Comic?". GQ.
27. "Fear and Loathing on the Planet of Kitson". Agents of S.H.I.E.L.D.. Season 6. Episode 3. May 24,
2019. ABC.
28. Minsker, Evan. "Watch: Lil Wayne Pays Homage to Fear and Loathing in Las Vegas for "No
Worries" Video" (https://pitchfork.com/news/48668-watch-lil-wayne-pays-homage-to-fear-and-loat
hing-in-las-vegas-for-no-worries-video/?verso=true). Pitchfork.
29. The Weeknd - Heartless (Official Video) (https://www.youtube.com/watch?v=1DpH-icPpl0).
December 4, 2019. Archived (https://ghostarchive.org/varchive/youtube/20211221/1DpH-icPpl0)
from the original on 2021-12-21.
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11/12/23, 10:58 PM Fear and Loathing in Las Vegas - Wikipedia

External links
Excerpt from original Rolling Stone article (https://www.rollingstone.com/politics/news/fear-and-loa
thing-in-las-vegas-19711111)
Fear and Loathing in Las Vegas (https://www.imdb.com/title/tt0120669/) at IMDb
Book Review by Nick Christenson (http://www.readybetgo.com/book-reviews/loathing-las-vegas-1
730.html)
Las Vegas Sun investigation into the actual historical events surrounding the book. Includes many
other FLLV-related articles. (https://web.archive.org/web/20060512205042/http://www.lasvegassu
n.com/sun/dossier/misc/loathing/mescaline.html)
The American Dream & Hunter Thompson's 'Fear & Loathing' (http://blogs.villagevoice.com/runnin
scared/2011/03/the_american_dr.php#more) Essay and Review by Lucian K. Truscott IV for the
Village Voice originally published July 13, 1972

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