Danny Lyon: The Bikeriders

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Because even if you’re looking at a biker who’s all greasy and crazy looking, it’s like, ‘Yeah, but they sewed those patches on. They’re actually thinking about who they are.’ And they’ve put love into those bikes and it’s all an outward expression of some identity for themselves. But they’re also on the fringe. But because then it starts to become a social thing, a group thing, people start to have to put rules to it and kind of this structure to it. And as soon as you start that, it starts to die.” The Bikeriders, The Destruction of Lower Manhattan, Conversations With The Dead, I Like To Eat Right On The Dirt, Like A Thief's Dream, The Seventh Dog, Deep Sea Diver, Indian Nations Memories of the Southern Civil Rights Movement. The Lyndhurst Series on the South. Center for Documentary Studies at Duke University; University of North Carolina, 1992. ISBN 9780807820544. Edited by Alex Harris. All of Lyon's publications work in the style of photographic New Journalism, [4] meaning that the photographer has become immersed, and is a participant, of the documented subject. After being accepted as the photographer for Student Nonviolent Coordinating Committee (SNCC), Lyon was present at almost all of the major historical events during the Civil Rights Movement. [5]

Conversations With The Dead: Photographs of Prison Life with the Letters and Drawings of Billy McCune #122054. ISBN 9780714870519. Digitally remastered facsimile edition with a new afterword by Lyon. Nichols left that meeting “kind of punch drunk,” to catch Comer in Prima Facieat the Harold Pinter Theatre in the West End. The Bikeriders is an iconic work of modern photojournalism that gives a raw and lively insight into the biker culture of the 1960’s, captured between 1963 and 1967 when the young Danny Lyon immersed himself completely into the lives and culture of the Chicago Outlaws Motorcycle Club. a b "Photographing the Civil Rights Movement: Danny Lyon and Julian Bond". Proof. 20 January 2014. Archived from the original on January 24, 2014 . Retrieved 2015-11-16.Benny (a captivating Austin Butler) is the young rogue of the gang, a favourite of leader Tommy (Tom Hardy) despite his brash ‘punch first, ask questions later’ approach. What begins as a group of outsiders finding community in motorcycles and low-level crime mutates into something beyond their control, arriving at something of an empire that is seemingly above the law. Director Jeff Nichols posits that gangs such as these essentially created a new Wild West; feared by the police, feuds settled in traditional duels and horses traded for uniquely ‘chopped’ (self-built/modified) motorcycles. a b Feinberg, Scott (August 31, 2023). "Telluride Awards Analysis: 'The Bikeriders' Opens Fest, Puts Jodie Comer in Hunt for First Oscar Nom". The Hollywood Reporter . Retrieved September 1, 2023. a b "Missouri Honor Medal Winners: Individuals". Missouri School of Journalism . Retrieved 16 November 2015. Nichols told me his dad was raised by a single mom. “And so they came out of a very working-class place. That’s where our grandparents lived. That’s where we grew up.” Characteristic of his documentary approach, Lyon’s films are, like his photography, the product of living with people and observing them closely. Lyon has always been tangled up in the lives of his subjects, and his works are both literal and metaphoric portraits, often focusing on storytellers and letting individuals narrate their own lives for the camera. There is, in all his work, a palpable affection for people that breathes new warmth into the cold blood of postwar humanism. These are his friends, buddies, comrades in arms, kids, and lovers, and his images are full of tenderness and compassion. “You put a camera in my hand, I want to get close to people,” he told Randy Kennedy of the New York Times. “Not just physically close, emotionally close, all of it. It’s part of the process.”

This unconventional monograph of the work of photographer, writer, and filmmaker Lyon is a revealing hybrid memoir in text and images... Reproductions of his striking photographs are interspersed with collages of documents and images, as well as evocative writing about the personal, political, and professional moments that defines his career."— Publishers Weekly I didn't see "The Bikeriders" until years after it was published, when I ran across it in a college library. Often compared to Robert Franks' "The Americans" or Larry Clark's "Tulsa" for its' grit and immersion in the subject, Danny Lyon’s book of photography was sort of a companion piece to Hunter Thompson's "Hell's Angels: A Strange and Terrible Saga" - firsthand New Journalism reporting about life on "The Edge", seemingly casual but with a whiff of latent violence in every breath, ready to catch a spark and ignite. Thompson rode a BSA Lightning 650, Lyon rode a Triumph TR6 and the bikers rode Harley Davidsons, but what really separated the reporters from their subjects was violence and the fear of violence. The confidence they enjoyed from the outsiders who allowed them access to an insular tribe was provisional. The threat of violence was an existential fact for the initiated, and the reporters’ option to step away to safety put them at an arm's length. They would never have as much skin in the game, but their provisional status membership in that tribe was highly valued by them.Austin Butler as “Benny” in 20th Century Studios’ THE BIKERIDERS. Photo credit: Kyle Kaplan. All Rights Reserved. Kroll, Justin (September 1, 2022). " 'The Bikeriders': Emory Cohen, Toby Wallace & Others Join Ensemble Of Jeff Nichols Pic". Deadline Hollywood . Retrieved September 1, 2022.