Archives For wayne ewing

Animals, Whores & Dialogue

Wayne Ewing’s newest documentary is about to begin shipping on July 13th, just in time for Hunter S. Thompson’s birthday. Animals, Whores & Dialogue is the sequel – of sorts – to 2003’s classic Breakfast With Hunter. Continue Reading…

The Outsiders Review

Wayne Ewing became a personal hero of mine when he made a fantastic trilogy of documentaries about the late, great Dr. Hunter S Thompson. When I discovered he was putting together a documentary about the eccentric publishers of Beatniks and Bukowski, I jumped at the chance to take Beatdom from the cold climes of Scotland to the surprisingly warm weather of Denver, Colorado, where The Outsiders of New Orleans: The Loujon Press was premiering…

“Where are you from?” the disembodied head called from a window above the heavily gated security door at the front of the Melbourne Hostel in Denver.

“Scotland,” I called back.

“Where are you from?”





And thus ended my chase through the streets of angry negroes after dark, in a strange city and entering a strange world of respirator-clad old people with heading problems and a penchant for over-warm rooms… But I guess that’s a sidestory. I was staying in a dank little hostel on 22nd and Welton, not exactly the best of places, but far from being the worst. Nonetheless, it was a tough place to find after a forty-hour train ride across the American West, into a dark new city full of angry blacks and ‘whores with hearts of cheap gold.’

I decided there and then I was not going back out onto the streets that night to traverse the city and find the party that Wayne had suggested I attend. I settled down in my room full of snoring dudes and went to sleep for the night.

The next morning I took advantage of the daylight and explored the city a little, before heading to the university area and the Tivoli, where the 30th Annual Starz Denver Film Festival was being held, an event at which Wayne Ewing has become a regular guest director.

I’m no stranger to university campuses either side of the Atlantic, but I liked this one. The student union was not only home to beer and debauchery, but like so many buildings in Denver, it once was a brewery. Of course, now like so many buildings in any American city there were McDonalds and various other cheap ‘n’ nasty eateries inside.

The atmosphere was the healthy film fest blend of young and old, artists and critics, students and masters… A few hardcore types wandered about with grapefruits and Bloody Marys, a tribute to the late Doc, started during the premieres of Ewing’s documentaries in years gone by… Popcorn, beer and Coca-Cola sated the masses; the promise of photo exhibitions and movie debuts got the rest worked up…

I grabbed a second row seat in the theatre, next to a decent looking chap in Hunter get-up, kitted out with the apparently traditional drink-and-fruit combo. From the way the organisers and personnel spoke with the crowd, I could tell Ewing’s documentaries were a regular and popular festival feature, with a group of familiar fans. This hardly surprised me, having spent time perusing his websites and forums, and seeing the die-hards that hang out and discuss the scenes and ideas throughout Ewing’s work.

It’s not hard to see why. We know from (and I will continue to dwell on the Hunter S Thompson references for the simple reason that I try and crowbar his name into every aspect of my life…) Breakfast With Hunter et al that Ewing can perfectly present an intimate portrait of an eccentric character and a masterful telling of a fantastic literary legacy, and The Outsiders of New Orleans does the same for the Webbs and their Loujon Press.

Gypsy Lou is no normal woman. She’s wonderful and unique, and Ewing allows us to get up close and personal with her, letting her largely narrate the story of her life, that of the Loujon Press, and of the Old New Orleans, telling all in her inimitable style.

It is surely testament to both Ewing’s endearing personality and skill as a filmmaker that we come to see Lou on such a personal level, in a time where the documentary film genre is running rampant with contrasting propaganda and bullshit sensationalist facts.

It was a pleasure, too, watching the crowd watching the picture. Gypsy Lou drew laughs at every turn, telling even the tragic tales from her past with her deliciously warped sense of humour, bring her fearlessness, optimism and warmth into the hearts of a crowd that included her niece and a Beat Book seller with an impressive Loujon Collection.

The film ended with a Q&A for Ewing, Curtis Robinson and Edwin Blair. The crowd seemed unanimously to have been engrossed in the film, and while the documentary left little to question, Blair, who had become well acquainted with Lou, was peppered with questions about the wonderful woman, and about his personal generosity in helping her through elderly years made more difficult by Hurricane Katrina.

Upon leaving the Tivoli, I arranged with Wayne to attend the Late Night Lounge and tour the legendary Woody Creek. I took a walk up Larimar, digging Neal Cassady’s old stomping ground, and visiting the Capitol and the City and County Building, where Kerouac watched bats circle and Ginsberg contemplated madness…

A few stubborn staffers and some fruitless research resulted in my non-entry to the Late Night Lounge and the decision to ditch Woody Creek for a cross-country train ride.

So Denver was soon history. I’d caught a damn fine movie, continued my American Beatnik tour by walking vaguely in the footsteps of Cassady, Kerouac and Ginsberg, and met in person a great filmmaker of our times. I met some interesting people (an Iranian-US govt official who “fucking hate(s) the USA!”) and saw some great sights (breweries as far as the eye can see, friend…) I’d also come within a few hours drive of the home of Hunter S Thompson… But a few hours drive is only that when one has a car… Oh well, Farewell Denver, Farewell Colorado… And it’s off into the sunset on another fucking Amtrak…

Bohemian New Orleans

It was through my love of the work of Hunter S Thompson that I came to watch Wayne Ewing’s films, and through his films that I came to learn about Loujon Press and the Outsider.

The story of the Webbs and their press is a fascinating one, and certainly one of which Beatdom has lapped up any and all information. After all, it’s not easy starting up and running a small magazine.

So when the opportunity arose to review the beautifully presented Bohemian New Orleans: The Story of the Outsider and Loujon Press, I was as eager to read it as I was to travel to Denver and back for The Outsiders documentary.

Bohemian New Orleans is well researched and informative, yet intimate and charming. Before coming to the creation of the press and magazine that made the Webbs famous, we are taken through their lives separate and together, but always fascinating and romantic in the face of constant and almost comical hardship.

The introduction takes us through the history of the small press and of the underground literary magazines that began with the modernists, stumbled in forties, and flourished post-war with the Beats and the ‘mimeograph revolution.’

We’re then taken through the life of Jon Webb – his constant aspiration to be a great novelist, followed by his ingenious armed robbery.

And then there is the story of Jon and Lou, the two lovers who would sit and get drunk together every Thursday and tell the other exactly what they didn’t like about them. If either of them was not entirely honest, or got angry at the other’s complaint, then they weren’t allowed to drink.

Weddle presents these unique characters beautifully, using their story to weave the history of magazines, and then of New Orleans. When they move briefly to Hollywood, their lives again become the story against which an informative history is narrated.

When the Webbs return to New Orleans, we are given stories about Whitman, Faulkner and Williams’ escapades in the city, building a picture of the city’s artistic and literary heritage.

Then through Lou and Jon we are presented with the artistic output of the French Quarter as Lou begins painting, becomes Gypsy Lou, and Jon takes the role of editor and founds Loujon Press.

Against all this we are given a frightening and literary picture of the racism prevalent in even the most liberal parts of the city. Lou and Jon’s run-ins with the New Orleans police are stark departures from the usual comedy of their tragedy, as Lou’s comments and outlooks always lighten any situation.

The Outsider published the work of Charles Bukowski, Allen Ginsberg, Lawrence Ferlinghetti, Robert Creeley, Denise Levertov and Walter Lowenfals, and stories about the their relationships to the Webbs abound in the latter half of this excellent book.