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  <id>63896</id>
  <title><![CDATA[Gonzo: The Art]]></title>
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  <description><![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]></description>
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        <name><![CDATA[Ralph Steadman]]></name>
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  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
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  <average_rating>4.54</average_rating>
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    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
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  <read_at>Wed Nov 04 00:00:00 -0800 2009</read_at>
  <date_added>Wed Nov 04 10:25:22 -0800 2009</date_added>
  <date_updated>Wed Nov 04 10:33:21 -0800 2009</date_updated>
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    <body><![CDATA[Excerpt: Steadman on Steadman interview (archives)<br/><br/><em>In February, writer Sally Vincent sat down in the home studio of artist Ralph Steadman, 70, in Kent, England for a cover story interview. Below is an excerpt of that conversation, available in full in <a rel="nofollow" target="_blank" href="http://www.stopsmilingonline.com/story_detail.php?id=621">Issue 26: The U.K. Issue</a><br/><br/>S...</em><a href="http://www.goodreads.com/review/show/76703005">more...</a>]]></body>
    
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      <review>
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    <name><![CDATA[MyFleshSingsOut]]></name>
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  <title>
    <![CDATA[Gonzo: The Art]]>
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  <average_rating>4.54</average_rating>
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  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
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  <date_added>Tue Mar 03 20:09:41 -0800 2009</date_added>
  <date_updated>Tue Mar 03 20:18:10 -0800 2009</date_updated>
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    <body><![CDATA[To my mind, Steadman's work is very reminiscent of Stephen Gammel's truly impressive, deeply effective illustrations, most notably found in a befitting black and white format in the <a rel="nofollow" target="_blank" href="http://www.goodreads.com/book/show/1325218.Scary_Stories_to_Tell_In_the_Dark"><strong>Scary Stories to Tell In the Dark</strong></a> trilogy.<a href="http://www.goodreads.com/review/show/48177518">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/48177518]]></url>
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</review>
      <review>
  <id>66310636</id>
    <user>
    <id>2590622</id>
    <name><![CDATA[John ]]></name>
    <location><![CDATA[Jackson, MS]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/2590622-john-ervin]]></link>
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  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
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  <average_rating>4.54</average_rating>
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  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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  <read_at></read_at>
  <date_added>Wed Aug 05 11:08:56 -0700 2009</date_added>
  <date_updated>Wed Aug 05 11:14:48 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Ralph Steadman, el cool of the squirting fountain pen. I Highly recommend this great artist. From the 'Grapes of Ralph', to his work on the 'Animal Farm', and all the wine bottles and beer bottle labels he has painted through the years.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/66310636]]></url>
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      <review>
  <id>4383472</id>
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    <id>177581</id>
    <name><![CDATA[Brenton]]></name>
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  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
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  <average_rating>4.54</average_rating>
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  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Wed Aug 01 00:00:00 -0700 2007</read_at>
  <date_added>Fri Aug 10 20:00:34 -0700 2007</date_added>
  <date_updated>Thu Dec 17 04:41:40 -0800 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Ralph Steadman is most well known for illustrating various writings by Hunter S. Thompson.  This large volume is a generous survey of his unique artwork from the 60s to the 90s.  Steadman's trademark is in creating work that forces you to look at it by way of shock, whether that be by sketching obsc...<a href="http://www.goodreads.com/review/show/4383472">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/4383472]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/4383472]]></link>
</review>
      <review>
  <id>56005547</id>
    <user>
    <id>1248986</id>
    <name><![CDATA[Evan]]></name>
    <location><![CDATA[Louisville, KY]]></location>
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  <title>
    <![CDATA[Gonzo: The Art]]>
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  <average_rating>4.54</average_rating>
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  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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  <date_added>Wed May 13 19:29:02 -0700 2009</date_added>
  <date_updated>Wed May 13 19:33:26 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[OK, so I've read HST's intro and reveled in the art throughout. Haven't quite read all the text, but there isn't much anyway. Leaving this as &quot;to read&quot; for the time being. Beautifully printed.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/56005547]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/56005547]]></link>
</review>
      <review>
  <id>57731418</id>
    <user>
    <id>2361114</id>
    <name><![CDATA[Amberae]]></name>
    <location><![CDATA[Red Bluff, CA]]></location>
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  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
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  <average_rating>4.54</average_rating>
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    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
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  <read_at>Tue Jan 01 00:00:00 -0800 2008</read_at>
  <date_added>Fri May 29 07:30:21 -0700 2009</date_added>
  <date_updated>Fri May 29 07:31:00 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[my favorite tabletop reference. I am mystified by steadman's imagery. ]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/57731418]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/57731418]]></link>
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      <review>
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    <name><![CDATA[Emily]]></name>
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  <id type="integer">63896</id>
  <isbn>0151003874</isbn>
  <isbn13>9780151003877</isbn13>
  <text_reviews_count type="integer">17</text_reviews_count>
  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170619599m/63896.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170619599s/63896.jpg</small_image_url>
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  <average_rating>4.54</average_rating>
  <ratings_count>199</ratings_count>
  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
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  <date_added>Mon Nov 23 09:15:13 -0800 2009</date_added>
  <date_updated>Mon Nov 23 09:15:35 -0800 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Great images ]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/78741098]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/78741098]]></link>
</review>
      <review>
  <id>13846737</id>
    <user>
    <id>792033</id>
    <name><![CDATA[Roberto]]></name>
    <location><![CDATA[Houston, TX]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/792033-roberto-torres-torres]]></link>
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  <id type="integer">63896</id>
  <isbn>0151003874</isbn>
  <isbn13>9780151003877</isbn13>
  <text_reviews_count type="integer">17</text_reviews_count>
  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170619599m/63896.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170619599s/63896.jpg</small_image_url>
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  <average_rating>4.54</average_rating>
  <ratings_count>199</ratings_count>
  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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  <read_at>Sun Aug 29 00:00:00 -0700 1999</read_at>
  <date_added>Mon Jan 28 12:38:10 -0800 2008</date_added>
  <date_updated>Mon Jan 28 12:40:02 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[This book makes me so fucking jealous.  I cannot stand to read it any more.  I love Ralph Styeadman's work.  he is among my top 3 favorite artists of all time, but his work makes me so fucking jealous!!!!!!]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/13846737]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/13846737]]></link>
</review>
      <review>
  <id>34417685</id>
    <user>
    <id>262946</id>
    <name><![CDATA[Nick]]></name>
    <location><![CDATA[Charlotte, NC]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/262946-nick-holt]]></link>
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  <isbn>0151003874</isbn>
  <isbn13>9780151003877</isbn13>
  <text_reviews_count type="integer">17</text_reviews_count>
  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170619599m/63896.jpg</image_url>
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  <average_rating>4.54</average_rating>
  <ratings_count>199</ratings_count>
  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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  <date_added>Thu Oct 02 22:09:23 -0700 2008</date_added>
  <date_updated>Thu Oct 02 22:12:04 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[I showed this to Baby Carl while he was enjoying the calming vibrations of his vibrating chair. I think he liked the pictures. It's fun to plant weird seeds in one's baby's brand new subconscious.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/34417685]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/34417685]]></link>
</review>
      <review>
  <id>8348816</id>
    <user>
    <id>368259</id>
    <name><![CDATA[Julian]]></name>
    <location><![CDATA[Asheville, NC]]></location>
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  <isbn13>9780151003877</isbn13>
  <text_reviews_count type="integer">17</text_reviews_count>
  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170619599m/63896.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170619599s/63896.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/63896.Gonzo_The_Art</link>
  <average_rating>4.54</average_rating>
  <ratings_count>199</ratings_count>
  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Sat Jul 01 00:00:00 -0700 2000</read_at>
  <date_added>Sun Oct 28 10:06:18 -0700 2007</date_added>
  <date_updated>Sun Oct 28 10:08:05 -0700 2007</date_updated>
  <read_count></read_count>
    <body><![CDATA[I have looked at this book and other titles by Mr. Steadman over and over, each time I see something unexpected.  He is a brilliant and disturbing artist.  Big props.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/8348816]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/8348816]]></link>
</review>
      <review>
  <id>16423322</id>
    <user>
    <id>943387</id>
    <name><![CDATA[Sam]]></name>
    <location><![CDATA[The United States]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/943387-sam-the-record-man]]></link>
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  <isbn13>9780151003877</isbn13>
  <text_reviews_count type="integer">17</text_reviews_count>
  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170619599m/63896.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170619599s/63896.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/63896.Gonzo_The_Art</link>
  <average_rating>4.54</average_rating>
  <ratings_count>199</ratings_count>
  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Tue Oct 01 00:00:00 -0700 2002</read_at>
  <date_added>Tue Feb 26 10:50:55 -0800 2008</date_added>
  <date_updated>Tue Feb 26 10:51:59 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[A collection of work by Hunter S. Thompson's artist and cohort, Ralph Steadman.  Beautiful and compelling images abound in this beautiful collection.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/16423322]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/16423322]]></link>
</review>
      <review>
  <id>13438771</id>
    <user>
    <id>806171</id>
    <name><![CDATA[Johnnywow]]></name>
    <location><![CDATA[Fox Island, WA]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/806171-johnnywow]]></link>
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  <isbn13>9780151003877</isbn13>
  <text_reviews_count type="integer">17</text_reviews_count>
  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170619599m/63896.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170619599s/63896.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/63896.Gonzo_The_Art</link>
  <average_rating>4.54</average_rating>
  <ratings_count>199</ratings_count>
  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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          </shelves>
  <recommended_for><![CDATA[artists]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Mon Jan 01 00:00:00 -0800 2007</read_at>
  <date_added>Thu Jan 24 15:34:32 -0800 2008</date_added>
  <date_updated>Thu Jan 24 15:35:56 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[A great illustrator. Got this and other Steadman books used, and refer to them frequently for ideas, attitude, inspiration.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/13438771]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/13438771]]></link>
</review>
      <review>
  <id>20164781</id>
    <user>
    <id>128734</id>
    <name><![CDATA[Xina]]></name>
    <location><![CDATA[Providence, RI]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/128734-xina]]></link>
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  <isbn>0151003874</isbn>
  <isbn13>9780151003877</isbn13>
  <text_reviews_count type="integer">17</text_reviews_count>
  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170619599m/63896.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170619599s/63896.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/63896.Gonzo_The_Art</link>
  <average_rating>4.54</average_rating>
  <ratings_count>199</ratings_count>
  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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          </shelves>
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  <read_at></read_at>
  <date_added>Mon Apr 14 16:00:08 -0700 2008</date_added>
  <date_updated>Mon Apr 14 16:00:33 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[i bought this used, it is signed on the inside cover by someone,,, not hst or steadman tho]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/20164781]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/20164781]]></link>
</review>
      <review>
  <id>13468366</id>
    <user>
    <id>825890</id>
    <name><![CDATA[Amanda]]></name>
    <location><![CDATA[Kansas City, MO]]></location>
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  <title>
    <![CDATA[Gonzo: The Art]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170619599m/63896.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170619599s/63896.jpg</small_image_url>
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  <average_rating>4.54</average_rating>
  <ratings_count>199</ratings_count>
  <description>
    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
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    <body><![CDATA[Suicide-mad art book that I love. Think Pink Floyd on crack.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/13468366]]></url>
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      <review>
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    <![CDATA[Gonzo: The Art]]>
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    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
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    <body><![CDATA[just received this for xmas, and i can't wait to give it a go. ]]></body>
    
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      <review>
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    <![CDATA[Gonzo: The Art]]>
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    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
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    <body><![CDATA[I love owning this book - it's primarily art, but it's great.]]></body>
    
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    <![CDATA[Gonzo: The Art]]>
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    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
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    <body><![CDATA[own it... it's art... can't really read it, though...]]></body>
    
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    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
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    <![CDATA[Hunter S. Thompson, in his drunken, rambling introduction to this volume of paintings and illustrations, calls Ralph Steadman &quot;the Albert Gore of twentieth century art.&quot; It's hard to imagine a less apt appellation: Steadman's drawings and paintings are the wild antithesis of the notoriously stiff V.P. His pop art is also the opposite of Warhol's clean lines and soulless imagery; it screams with pain and nightmare power. While Steadman is best known for his illustrations to Thompson's <em>Fear and Loathing in Las Vegas</em> and other works, here his art is given free rein, and works with titles like &quot;Earliest man, full of the sense of his own worth, screaming into the blackness, needing no god but himself...&quot; and &quot;Good time crucifix&quot; combine Steadman's trademark splattered ink and unfolded figures with collage and sloppy airbrush. Although the text may offend those with no sense of irony (Thompson compares Steadman to artist manqué Adolf Hitler; Steadman relates the story of his first bowel movement), the hyperactive visuals are sure to delight even those who've never snorted ether while tripping on pure human adrenochrome. <em>--James DiGiovanna</em>]]>
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