‘Art is eternal, for it reveals the inner landscape, which is the soul of man’ – – Martha Graham, Dancer and Choreographer – –
The very first article I ever published appeared in Easyriders, the groundbreaking magazine which was at once the LIFE, Saturday Evening Post and Reader’s Digest of the outlaw biker set. I wrote about tattoo removal – a topic I thought some readers might find interesting – after an encounter with a dermatologist at a Veteran’s Administration hospital in Hastings, Nebraska, who told me about a then-new technique for obliterating unwanted tattoos via laser. I won’t bore you with the details – the information is all woefully outdated anyway – but I ended my piece with the words
‘These days, even art is not eternal.’
However, barring catastrophic circumstances like the 9/11 attacks on the World Trade Center, where – in addition to thousands of lives, including my cousin Eddie – an estimated $110 million worth of art was destroyed, or the Taliban’s deliberate destruction of The Buddhas of Bamiyan, art really is eternal….
….and even those pieces lost or destroyed live on in memory.
….and all this to say ‘Hey! I got some cool stuff to show ya!’
IN THE BEGINNING….
I don’t know who first attempted to paint or draw images of the biker life, but Dave Mann was certainly a pioneer. After selling some early paintings of biker life to Choppers magazine founder Ed ‘Big Daddy’ Roth (creator of the iconic ‘Rat Fink’ and a number of radically customized cars and motorcycles), Mann join the El Forastero Motorcycle Club (forastero is ‘stranger’ or ‘foreigner’ in Spanish) as a charter member of the club’s Kansas City MO chapter.
In 1971 Mann answered an advert for a ‘motorcycle artist’, discovered in the back pages of a new biker magazine called Easyriders, and spent the remainder of his working life as in-house artist for the publication. His first centerfold painting for Easyriders appeared in October, 1971, and Mann reportedly produced artwork – centerfold paintings, story illustrations and adverts – for every issue from that first to his retirement in 2003, shortly before he passed away. His final piece, Sunset, appeared in the May 2004 issue.
His earliest works were primitive – a cross between illustration and caricature – but as he gained experience Mann’s work took on a style reminiscent of the American painter Edward Hopper, who is best known for his iconic Nighthawks(1942). Look at the figures in Hopper’s work, and compare them to Mann’s. I certainly see the influence.
More than technique or style, however, Hopper and Mann shared the desire to illustrate and elevate the prosaic, the quotidian, the mundane everyday doings of regular people historically overlooked by representational artists. For Hopper it might be patrons seated in a late-night diner – an apparent oasis of light and warmth in an otherwise dreary cityscape – sharing space and yet isolated from one another, silent, bored. For Mann it could be the streetwalker ignoring her john to watch the more attractive, more enticing biker cruise by on his radical panhead chopper. Hopper might present a sweet moment between a young couple on a dark summer evening – you can almost hear the crickets singing – while Mann’s swain straddles a raked and stretched shovelhead as he chats up the object of his affections on a crisp autumn afternoon….
You get the point.
And by ‘centerfold’ I merely refer to the fact that Mann’s work appeared in the center pages of each issue, where it could be removed (as so many of us did) and turned into a poster. Although many of his paintings included idealized images of women, his purpose was to document our lives as bikers, not provide masturbation motivation for horny teenagers!
STRAIGHT ON FOR YOU!
One perspective Mann relied on was full frontal….
Here is another of my favorites, a classic piece by Dave Mann:
Mann returned to that theme many times in his career.
….as did Mann’s ‘Pacific Coast Highway Run’.
Another favorite was the reverse: the motorcycle moving in a straight line away from the viewer. He used both angles to great effect.
Mann’s follow-up to Coming at You appeared in a Jammers Handbook. Mann’s attention to detail extended even to the smallest things, like the oil spatter up this passenger’s left shoulder, excess lubricant slung off the rear drive chain at speed. You could always spot a biker chick by those chain tracks, and you could tell if she was packin’ on a Big Twin or Sporty by which shoulder was marked. I pissed off more than one woman passenger when their nicest tops ended up ruined that way! 🤷♀️
THE DAYS OF OUR LIVES
Mann’s technical abilities as an artist are undeniable but, as clearly demonstrated here, for those of us who ride it was Mann’s ability to illustrate the everyday aspects of our lives as bikers which so endeared him to us. He captured the emotional element – the ‘inner landscape’ Ms. Graham referenced in her quote – in painting after painting.. It might be two bikers blasting down an L.A. freeway, beards and club colors flapping in the wind, as one passes a joint to the other.
It might be a biker on his low, lean, radically stretched chopper, glaring balefully at the cop writing out a traffic ticket.
It might be a woman frustrated and angry because her old man, the insensitive prick, just passed a beer joint when she desperately needed a potty break….
….or another one of my favorites. showing a woman curled up against her man’s back, safe and secure and sleepy after a weekend of riding and camping out under the stars, while he steers his radical chopper back to the brightly-lit city in the distance.
One of Dave Mann’s most iconic images has been stolen and reproduced on everything from t-shirts and coffee mugs to wall tapestries, area rugs and more. In ‘Ghost Rider’ Mann equates the hard-riding biker at the foreground to the hard-riding ghostly cowboy keeping pace with him. Some of the later reproductions went the politically correct route of erasing the SS lightning bolts Mann’s biker has on his fuel tank….
….and that’s a topic for a whole ‘nother post! 😎
Mann covered breakdowns and break-ups, club life and solo riders, sleek choppers and road-warrior rat bikes, and brought to each painting the same skill and dedication to detail. He was our Frederic Remington, and we loved him for it.
Another favorite. Anyone who rides very long at all has been in a similar situation….
….but try to make the best of it! 😆
BREAKING DOWN AND CRACKING UP!
Paul Simon once sang ‘Everything put together sooner or later falls apart,’ and that’s as true of motorcycles as anything else. In numerous paintings, Dave Mann captured the frustration and helplessness of that instant when your machine fails, and you realize there’s nothing you can do about it except sit and wait, or go for help.
In the early ’80s, on a ride through the Central Texas Hill Country southwest of Austin, I stripped the teeth off my primary drive belt while pulling up a steep hill. Thankfully, I wasn’t alone. It grieved me to interrupt my friends’ ride that way, but I was stuck.
BTW, that was one of the very few times my shovelhead rode home in the back of a truck.
One of the reasons I have always been psychotic about building my bikes to be bulletproof, and making sure I can fix all but the worst breakdowns with tools and spare parts in my road kit is because I cannot stand to be that helpless, hapless rider stranded beside the road. I’d rather have people depend on me than have to impose on friends or, worse still, depend on the kindness of strangers.
In this instance, when I got the bike home and went to replace the wasted primary belt, I learned that I couldn’t have replaced the belt by the side of the road even if I’d had a spare belt with me; that the inner primary cover (which can’t be removed without an impact wrench and clutch-hub puller) wouldn’t let me take the belt off the engine pulley! Since I had the inner primary cover off anyway, I took the opportunity to grind down the bosses on the inner primary so that I couldtake the belt off without removing the inner primary. That’s just how I roll! 😁
As an aside: I will never understand why some riders get angrywhen I mention tool kits and roadside repairs in that context. Seems to me everyone is better off if I can fix the problem by the side of the road and get on with the ride, rather than be forced to wait for a wrecker or a buddy with a trailer to come fetch me. Still, I’ve had riders – every one of them the sort I call ‘Born Again Bikers’ – get absolutely incensed at the notion that I am capable in that regard, as if my competence was – dare I say it? – a challenge to their manhood…. 🙄
And that’s a whole ‘nother post, too! 😏
Of course, it could be worse. You could be well and truly fucked, like this poor couple….
However, if you’re lucky enough to break down while riding with others, the Biker’s Code says ‘No biker left behind.’ By hook or crook or boot or rope, you’re both getting home.
And if all else fails….
Another scene most riders will recognize (or cringe from): the bike that just…. Will. Not. Start! I’ve never owned a Sportster, but I started my share during my years of working at Bud’s. I’ve also been that pissed at my shovel, when it’s been particularly coldblooded and cantankerous. Fortunately for me, those instances have been few and far between….
….and the next sound you hear will be me knockin’ on wood! 😱
Sadly, our machines aren’t the only things that betray us.
Bikers are all too familiar with the cager who seems to have it in for us. Popular wisdom advises riders Don’t ride as if they can’t see you; ride as if they’re aiming for you! Unfortunately, I know from bitter experience that sometimes they actually are aiming for us!
But if one of the bastards gets you, what can you do but heal as best you can, and dream of getting back in the wind where you belong.
If you’ve ever built a motorcycle, you’ll recognize the anguished look on this fellow’s face, as he watches his freshly painted fuel tank head for a collision with the garage floor.
Mayhaps he needs a helper. Maybe a curvaceous blonde? Someone half-naked, perhaps? Yeah, that’ll do the trick! 😆
In Mann’s art, women are primarily placed in secondary roles as backrests, bike washers, beer fetchers and sexual conquests. In Mann’s world, women rarely ride their own. In fact, of the hundreds of paintings Mann produced, I’ve only found a baker’s dozen thus far depicting women riders. However, to his credit, man or woman, when he painted them he brought the same skills, artistic integrity and vision to bear.
Finally, what could be finer than doing something you love, like riding, and looking over to see the person you most love in this world enjoying the same thing?
I FOUGHT THE LAW AND THE LAW WON!
One of the downsides of biker life is the occasional brush with the law.
I’ve gotten a couple of these over the years. One was right after I’d installed brand new mufflers on my bike! Turns out I was riding my motorcycle in that trooper’s personal ‘No Biker Zone’. I’ve learned there are a lot of those in this state. 🙄 I’ve come to see ‘too loud’ tickets as a sort of ‘road-use tax’; nothing to do but pay the piper.
My best road dog learned that the hard way. We were jamming through West Texas enroute to the Four Corners region when we were tagged by a state trooper near Sweetwater, Texas. On a busy Interstate Highway packed full of noisy highballing tractor-trailers and speeding cagers, he spotted us coming the opposite direction, doubled back and pulled us over. He actually claimed he could hear our exhausts over the noise of the semis and pickup trucks, despite the fact that my exhaust system was in excellent condition, and my partner’s was almost new. The trooper ignored the modified pickup that blasted past us as we stood there (leaving us all with tinnitus) and wrote us both tickets for ‘exhaust too loud.’
The first time I received a ‘too loud’ ticket, over a decade earlier, I was incensed because, as it happened, my mufflers were brand-new at the time. How could this asshole write me a ticket? I went so far as to call the Attorney General’s office, to see if this was even legal, and was told the law leaves ‘too loud’ to the discretion of the officer making the traffic stop. How can you argue against that in a court of law? You can’t, so I paid up, and gained the ‘road-use tax’ perspective.
In the Sweetwater incident, I paid my fine before we left the jurisdiction. I am scrupulous about such things, because I never want to give a cop an excuse, like an unpaid traffic ticket, to pull me off my bike. If they want me they’re gonna have to make something up!
However, my partner, who had never been through this, was overcome with righteous indignation, and swore he’d fight this outrage. Sure enough, when we got back from our week on the road, he had his motorcycle inspected, gathered all pertinent documentation, closed his clinic for two days and hied himself out to Sweetwater to wage war against injustice.
The upshot? He lost two days out of his practice, the cost of travel to Sweetwater and overnight accommodations, and had to pay a fine and ‘court costs’ amounting to more than three times what I’d paid the day I got the ticket. I refrained from saying ‘I told you so,‘ but I did tell him so! 😆 As I said: nothing to do but pay the piper and get on down the road.
A final note: I mentioned the Sweetwater stop to my attorney at the time, who specialized in motorcycle-related law, and he said ‘Oh, that was Trooper _______.’ Apparently, the fellow who stopped us was renowned statewide for his hatred of bikers. 🤷♀️ Whatcha gonna do?
We’ve all had close calls like this one, too.
But sometimes the heat is more than just an inconvenient traffic stop or speeding ticket. Too many bikers have wasted years inside prison walls, and Mann showed their lives, as well.
On a brighter note, here Mann captures the joy on a rider’s face as he clears those gates. The first things he sees are his girl, a bottle of Jack, and his prized shovelhead chop. As an added bonus: Dave Mann and Jacquie stand at far right, ready to welcome him back to the world.
Mann knew the history of our tribe, too, from the streets of Hollister, where it all began….
….through the early days of the custom bike scene.
A RABBIT HOLE:
If you’ll excuse me, I’m going to go down a rabbit hole for just a moment, to show you another painstaking replica: the late tattoo artist Richiepan’s reproduction of Dave Mann’s own red rigid-framed shovelhead, as pictured below.
So many incredible paintings, but one of the images that most touches me is this, depicting a rider on his rigid shovelhead; the rider and bike from Ghost Rider, sans SS lightning bolts and cowboy. This time, the biker is alone in the desert hills, but the shadow behind him tells us he’s missing his woman, wishing she were still packing behind him for the long ride, tucked in behind him where she belongs. The tattoo on his arm and the title – In Memory Of… – suggest that she’s not just out of his life, but altogether gone from this world. So much emotion and history packed into one small frame!
Thankfully, I’ve never lost a lover to death, but I do know the ache of yearning for something you once possessed, and will never have again.
Finally, another appearance by the artist himself.
DAVID WILLIAM MANN, September 10th, 1940 to September 11th, 2004. R.I.P.
Sonny Barger joined the Hells Angels Motorcycle Club the same year I was born, and was still a member in good standing when he passed away on June 29th, 2022. That’s one long career!
Myself, I never met the man – to the best of my knowledge I never met any member of his club – but Barger was still a big influence in my life. He features prominently in Hunter S. Thompson’s Hell’s Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs (Random House, 1967) and parts of Tom Wolfe’s The Electric Kool-Aid Acid Test (Farrar Straus Giroux, 1968), and my nascent view of what it meant to be a motorcyclist – the life path I’d already chosen for myself – was informed by Barger’s and his brothers’ exploits. Not for me the ‘nicest people on a Honda’ as the infamous mid-’60s advert suggested. I would be a biker….
….and that’s what I did.
Aside from Evel Knievel, who was much more masochist than motorcyclist, Sonny Barger is assuredly the most famous biker in the world, and was in the news numerous times throughout his tenure. For example, after members of the Oakland chapter of the Hells Angels, which Sonny served as President, broke up an antiwar demonstration in October, 1965, Sonny held a press conference in which he foreswore violence against future protests because ‘Any physical encounter would only produce sympathy for this mob of traitors.’ He also read a telegram he’d sent then-President Lyndon Johnson, volunteering his club brothers for ‘behind the line duty in Vietnam’ as ‘a crack group of trained gorillas [sic]’ who would ‘demoralize the Vietcong and advance the cause of freedom.’
Sonny was also the voice of the Hells Angels after the disastrous Altamont Speedway concert in December, 1969, which resulted in the stabbing death of a eighteen-year-old African American named Meredith Hunter. Although accounts differ as to why they were present, the Angels had been sitting on the front edge of the low-slung stage, acting as a human barrier between the crowd and the performers. Hunter, who had been tossed off the stage by Hells Angels during a previous altercation, returned with a handgun and began waving it around, firing at least one shot into the crowd. Hells Angel member Alan Passaro stabbed and disarmed Hunter, who later died of his wounds.
The next morning, as the talking heads on local radio station KSAN attempted to unravel the chaotic stream of events, Sonny Barger called in and gave his club’s side of the story – the only official statement the club ever offered about the concert or the killing. Barger defended his patch holders, telling radio host Stefan Ponek ‘You can say anything you want and you can call them people flower children and this and that, and there was three hundred thousand people there approximately or whatever they say, and I guarantee you that the largest majority of them were there to have a good time, but there was a couple thousand of them that was there looking for trouble.’
Brushing aside the host’s attempt to cut in, Barger went on to say ‘Some of them people out there ain’t a bit better than what some of the people think of the worst of us, man, and it’s about time they realized it….’
The incident at Altamont and Barger’s telephone call to the radio station were captured on film by documentarians Albert and David Maysles and Charlotte Zwerin, and the resulting movie, Gimme Shelter, was released in 1970. One week after its premiere Hells Angel Alan Passaro went on trial, charged with murdering Meredith Hunter. However, when the film was played in court, it clearly showed Passaro acting in defense of self and third parties, and he was acquitted of all charges.
Given the Hells Angels’ hard-won reputation as thuggish brutes prone to violence and lawlessness, Barger was preternaturally media savvy – an excellent spokesman for his club and a wily self-promoter. He finagled parts for himself and other Angels in a couple of biker films – Hells Angels on Wheels with Adam Roarke and future Easy Rider star Jack Nicholson, and Hells Angels ’69, starring ’60s heartthrob Jeremy Slate, who later played the biker gang leader in The Born Losers.
He was also in the headlines for his numerous arrests, on charges ranging from drugs and weapons charges to conspiracy and murder and, while acquitted of the more serious charges, still spent several years in prison. During this time he gave several interviews to motorcycle magazines, including two for Supercycle, published in February and December, 1979.
During these years, and despite his numerous legal woes, Sonny discovered that he was a marketable commodity. The ‘Free Sonny’ t-shirts his wife sold during his incarceration were wildly popular, and other merchandise soon followed, but he really hit the jackpot when he teamed up with writers Keith and Kent Zimmerman and penned his memoir, Hell’s Angel: The Life and Times of Sonny Barger and the Hell’s Angels Motorcycle Club (William Morrow, 2000).
The book quickly became a best-seller, so he followed up with two biker-themed crime novels also co-authored by the Zimmerman Brothers – Dead in 5 Heartbeats and 6 Chambers, 1 Bullet (William Morrow, 2004 and 2006). He released a collection of road tales titled Ridin’ High, Livin’ Free: Hell-Raising Motorcycle Stories (William Morrow, 2003) and Freedom: Credos from the Road (William Morrow, 2005). Finally, with Darwin Holstrom, he co-authored Let’s Ride: Sonny Barger’s Guide to Motorcycling (William Morrow, 2010) in which he dissed American motorcycle manufacturer Harley-Davidson, for decades the only motorcycle Hells Angels were permitted to ride. In what can only be seen as heresy by those loyal to the brand, Barger wrote:
Sonny’s final contribution to the literature of motorcycling seems to be his massive scrapbook-styled tome, Sonny: 60 Years Hells Angels, published by the French imprint Serious Publishing in 2017. Copies are currently listed on Amazon at $357 USD! 😳 I swear, I did not pay even a fifth of that for my copy! 😎
Anyway, here is the first of the two 1979 interviews:
If enough folks are interested, I’ll post the second interview soon, along with some other articles about this and other clubs.
Why I Ride a Slow, Uncomfortable, Unreliable, Noisy Motorcycle
Why I ride a Harley-Davidson with 17-inch ape hanger handlebars, a massive sissy bar that has the technical sophistication of a very large lawn mower?
May 28, 2013 at 1:29pm ET by: Tim Watson
If you ever saw my motorcycle you’d think I was a complete idiot. You would ask yourself why on earth would someone ride something with 17-inch ape hanger handlebars, a massive sissy bar that looks like a throwback from an early 1970s biker film bolted to a motorcycle that has the technical sophistication of a very large lawn mower?
It’s also noisy. Very noisy. Under hard acceleration it sounds like a moose bellowing as if someone had just slammed its testicles in a car door.
I honestly didn’t want it to be like that. But when my bike left the Harley-Davidson factory its stock engine set-up meant it ran so lean that the heat from the air-cooled motor made it almost impossible to ride here in California when temperatures climb into the 80s.
So I changed out the stock pipes. But then I was told I needed a new air filter and a re-map of the engine. All of that didn’t make my motorcycle much faster but it did suddenly come alive. And it sort of cooled down.
Its exhaust can be truly obnoxious which is why I ride with a light hand on the throttle in built-up areas. When there’s nobody about and just me and an open road I revert to the moose bellowing. But after a while it can make even my head hurt and then I wonder about my sanity and why I ride this damned bike.
I have read and re-read the countless things I could do to make its V-twin 96-ci engine faster and perform better. But I’m not convinced. I look at my bike and I am not sure that it is either.
At idle it shakes like a carnival ride and if I look down for too long the vibrations make my vision go blurry and then my hands go numb.
I hate the fact every single bolt and fastening has to be glued in place to stop them falling out. Before each ride I always have to check it over so it doesn’t leave me standing at an intersection with nothing more than the handlebars, a seat and a pile of parts.
The ape hanger bars were an after thought. I’d seen some of the Mexican low rider motorcycles in my neighborhood with mean looking dudes using them on their bikes.
I’ll admit they look preposterous (not the Mexican dudes) and I have lost count of the number of people who ask me precisely why I have them. I can’t give them a satisfactory answer. I just like ape hangers.
I did have an idea once of how I wanted my bike to look. I thought a sort of 1950s bobber style with some classic retro parts. But it’s become a bit of a mish-mash and not quite how I envisaged it would turn out.
I paid good money for a special order 32-inch sissy bar for the back of my bike. Some people have said looks like I am riding a remote control motorcycle or others have asked if I ever receive radio wave interference through it. It serves absolutely no purpose, rattles like hell all the time and makes getting on or off the bike a contortionist’s act. But I like the way it looks.
In a moment of madness I once took the front fender off. But this resulted in the bike and my face being sand blasted from road grit. Even an artfully tied bandana between the forks when it rained meant all that happened was a jet of water was thrown off the tire and straight up my nose. In a matter of hours the fender went back on.
I also kept the stock solo seat too. But if I were honest it would be more comfortable sitting on a piece of cardboard. There’s no back support and I feel I can ride over cigarette butts and tell you if they’re filtered or unfiltered. But I like the feedback from the road that it gives me even if on long rides it kills my back.
There’s an ugly gash on my bike’s left peg where I thought I could easily squeeze between a parked car and a wall to ride down a back alley. And there’s a dent the size of a dime on the front of the gas tank, caused by a rock flung out of a truck tire on the freeway. I’ve left it as a reminder of what that would have done to my face if the rock had hit me.
The factory fit rear brake light, which some say looks like a limp chrome dick, works intermittently. The rudimentary fuel gauge that may well have come off a 1960’s child’s pedal car some times pops out of the tank when I least expect it.
And I constantly have to check the primary plug for leaks as I over torqued it once during an oil change and stripped the thread. The chopper-style headlight I bought for it and which replaced the perfectly serviceable original light, is about as useful as a candle in the wind. But in daylight and probably only to my eyes it looks good.
Of course there are far better bikes out there I could have bought. There are many that are faster and nicer looking that probably have more engineering sophistication in their front brake lever than my entire motorcycle.
But herein lies the problem. For everything that irritates me about my bike it always without fail makes me smile every single time I get on it.
I have ridden it through empty deserts, up mountains and across, around and through nine states covering more than 8,000 miles in the process. I have nearly been taken out by an 18-wheeler on a downhill mountain pass and I once ran over a rattlesnake with it in the Mojave Desert.
My bike has taken me though some astonishing U.S. backwater towns in 100 plus degree heat and then a few hours later up into the mountains and over snow covered roads.
And, just like legendary Western lawman Wyatt Earp, I too once rode into Tombstone, Arizona, on it.
It’s my motorcycle. It drives me nuts at times but it’s been through a lot with me and has now become a part of my life. And for that reason alone I will never, ever sell it.
And my response? Well, it’s like this….
Why I Ride a Slow, Uncomfortable, Unreliable, Noisy Motorcycle
I too ride a motorcycle that is slower than the latest whiz-bang showroom models, but then, its powerplant is a forty-eight-year-old shovelhead which was tractor-engineered at birth and is still virtually box stock. It is smaller than the smallest late-model engine, still fitted with its factory carburetor and cam, rudimentary exhaust and (gasp!) a points-and condenser ignition system! That’s downright barbaric, isn’t it? and especially when you realize that my motorcycle has never had an electric starter. That’s right; kick-start only, kids, just the way Grandpa did!
My shovelhead does have solid lifters – more for reliability and convenience than performance – and a belt-drive primary. However, the belt is for convenience, as well, and whatever low-end performance boost it might have provided has been offset by the 25-tooth countershaft sprocket I installed to regain my highway top-end. My bike is built to go places, but I don’t have to break any land speed records making the trip.
And when I say ‘built to go places’ I mean that in every sense.
My motorcycle is not uncomfortable. It began its life as a 1974 FX 1200 Superglide, with the heavy OEM swingarm frame and lightweight narrow-glide forks. I played with different saddles and handlebars, added highway pegs and a set of wide-glide forks off a 1966 Police Special, but my motorcycle never became truly comfortable on long rides until I switched from the stock swingarm frame to an OEM 1954 rigid wishbone.
I can hear the Greek chorus now, shouting ‘Impossible! Absurd!’ but it’s true, nonetheless. With the rigid frame and a frame-mounted LaPera butt-bucket saddle, I have ridden all over the Central Plains and Rocky Mountain States, from Texas to South Dakota, from Louisiana to Arizona – numerous 500- and 600-mile days, at least one 1000-mile day, a lot of back roads and goat paths and well over a half-million miles all told – and never once regretted converting to a rigid frame.
And if you’re interested, my comfort depended on the way I set the bike up at the start, the way I pack for road trips and the way I learned to ride a rigid-framed motorcycle. It’s different than a swingarm
My motorcycle is not unreliable, either. Despite its origin as a ‘bowling ball bike’ manufactured during the worst of the AMF years at the Motor Company, when factory workers were allegedly sabotaging bikes in order to get back at miscreant management, my shovelhead was never an unreliable machine. In addition, I’ve had my fingers in every subassembly on my motorcycle, from handlebar wiring to wheel hubs, and did my damnedest to rebuild them right. That means plenty of Nylock, Loctite, lock-washers and safety wire, and the systematic removal of anything the bike does not need to function the way I need it to. No chrome covers or extra gewgaws; no colored lights or (shudder) a stereo; not even turn signals.
As a result of stripping my bike down and securing every part on it the best I possibly can, parts rarely vibrate loose. As a result of simplifying every system on the motorcycle the best I possibly can – seven wires for the entire wiring harness, for instance, rather than the seemingly endless coils of brightly-colored 16-gauge snaking hither and yon – I can usually troubleshoot problems with little fuss. As a result of knowing my motorcycle’s innermost workings, I am able to repair all but the most serious breakdowns parked under the nearest shade tree.
Finally, as a result of my efforts, I can count on one hand the number of times in the past 43 years my shovelhead has been forced to ride home in the back of a truck, with fingers left over.
And my motorcycle is not particularly loud, either. Louder than a Prius, yes, but so is a hummingbird fart, and my shovelhead is far quieter than a good many late-model Harleys. It is also a damned sight less irritating to adult ears than the wind-tunnel shriek of many metric sportbikes, whose riders are, ironically, so quick to whine about Harley riders giving them a bad name. Let’s not forget that’s a two-way street, kids.
And you will never find me parked outside some chic café with a lovely open-air patio, rapping on my open exhaust pipes as hapless diners cover their ears, or racing into my neighborhood in the wee hours, setting off car alarms and rattling window glass as I screech to a halt in my driveway. I have this funny thing about treating people as I’d want to be treated, see, and I wouldn’t want some overgrown man-child on his midlife-crisis-mobile destroying my peace and quiet.
See how easy that is?
But what is so compelling about a motorcycle with few creature comforts and only the bare minimum of safety equipment? Why would I choose it over a newer, faster, sleeker model with all the latest whistles and bells, and stick with it for almost four and a half decades?
Well, for me it’s like this:
Recent years have proven that anyone with a large enough credit limit can own a Harley-Davidson, a Victory or ersatz Indian, a Triumph, Moto Guzzi or Ducati, or any of the Pacific Rim brands. A swipe of the gold card, a push of a button, the snick of a gearshift and voila! Instant motorcyclist!
But how many of those men and women can climb aboard a motorcycle with a forty-eight-year-old engine cradled in a sixty-eight-year-old frame and pushing fifty-six-year-old front forks, and do the things I’ve done with it? How many can ride that motorcycle from Denver to Austin in a day after a week of 500-mile days, kickstart that engine on an icy-cold morning in the South Dakota Badlands or a hurricane-drenched night in Houston, or navigate the Black Canyon of the Gunnison with nothing but mechanical brakes and a four-speed transmission between them and the canyon rim? How many can tear down the better part of their bike at the roadside and put it back together again, and actually make it run? How many would even be willing to try?
I know I’m not the only greybeard out here on a rigid-framed dinosaur of a motorcycle. There are plenty of panheads and knuckleheads in daily use here and around the world, ridden by bikers who do every one of the things I’ve mentioned here. However, a lot more peoplecan’t do those things than can, and I really enjoy being part of that smaller circle.
You may have noticed that I used to write for some of the magazines, back in the day. In the course of that pursuit I interviewed a woman whose husband ran a chopper shop in Killeen, Texas, in the late ’60s and early ’70s.
Louis Schange was killed in a freak bike accident in ’72, and when I met his widow, Nelda, in 1994, she still had all the photo albums and memorabilia from those days. She had a 1934 VLD in the shed (!) which she’d just sold to an American living in South America. She also had plenty of tales to tell about jumping on the bike to go touring several states, or hopping aboard and riding to Ohio just to take part in a hill climb… She had all sorts of adventures like that.
As we leafed through the photo albums I said ‘These photos should be in a book, or a museum! There are several motorcycle museums that would love to have this stuff!’
Nelda shrugged and said ‘Oh, my children will probably just throw them out when I die.’ 😳 That broke my heart. The only one of her kids who liked motorcycles died a young woman, and the others didn’t give a shit about her, her life, their own father… 😡 I tried to get her to let me take the albums and copy them, at least but she wouldn’t cut for that. She let me take some pics of the VLD, gave me two photos for the article, and gifted me a vintage dealership sticker her husband picked up in Hawaii. She would not budge on the rest.
I published my interview, and tried to keep tabs on her through the friend who introduced us, but she died before I could even make another run at her, and I heard from her brother-in-law, who I met many years later, that her prediction came true. All that history lost!
It still breaks my heart. 😢
A last note: take a moment to look at the photo above, and really think about what it represents. Twenty-two years after her husband died on a motorcycle, this woman – who looks like your average housewife – was still dedicated enough to his passion (and hers) to keep the VLD cleaned, properly lubricated, et cetera. She was dedicated enough to the love of her life to keep his memory alive, and retain all those souvenirs of their life on two wheels.
A reader asked about the sidecar I attached to my Shovelhead back in the mid-’80s, which sent me off on a daylong squirrel hunt. As I didn’t have access to the interwebs way back then, I had a hard time learning anything about the sidecar. I knew it was a ‘Zephyr’ brand unit, but after that my search for info hit a brick wall.
However, in the course of researching the sidecar’s provenance and history I did come upon the United Sidecar Association, and founding member Hal Kendall. I joined USCA and purchased a couple of sidecar manuals Dr. Kendall had published. Looking back, I know I could not have gotten the sidecar safely and properly mounted on my Shovelhead’s OEM Harley-Davidson wishbone frame had it not been for the good doctor’s manuals, which are still available, as downloads, at the USCA’s Sidecar Tech page.
Another essential to my task was the assistance of a motorcycle-savvy welder named Bill Mading, who owned BG&T Welding in Austin, just down the street from the cop shop. Bill was a dirtbike racer, which meant he understood the stresses and strains motorcycle frames must endure, and how to compensate for them. However, he was also a skilled enough artisan that he could weld aluminum and aluminum-alloy engine and transmission cases – not an easy trick, as those metals tend to warp from the heat of the welding process. Warped cases means uneven gasket surfaces, less-than-perfect seals between case halves, et cetera. Bud (Bud’s Motorcycle Shop) used Bill for all his delicate welding needs, and we never had a problem with a part Bill repaired.
Between the manuals I’d received from Hal Kendall, and Bill Mading’s dedicated assistance, we were able to devise a bastard set of mounts for the sidecar. They weren’t pretty, but they by god worked! See the photo below for more information.
I didn’t have the interwebs back in the Dark Ages of the 1980s, so finding out what I needed to know involved scouring magazines for any mention of sidecars, writing letters that were often ignored, calling long-distance (remember those days?) and running up my telephone bill, et cetera. Today? Ten minutes with a mouse and I had already gleaned scads of information! In fact, the first site I visited told me where the Zephyr was manufactured, and by whom, and even had a photo of a pretty snazzy brilliant yellow Zephyr sidecar!
After years of lusting after a motorcycle (but drinking and drugging away any motorcycle money I might have saved) I finally got sober, got my finances together, and toddled down to the Harley shop to pick out my bike. The sales manager must have decided I wasn’t a serious prospect, because when I announced I was there to buy a bike he flapped a hand at the door to the parking lot, said ‘The used bikes are outside,’ turned on his heel and walked away.
I left, naturally – damn if I was going to spend my money with an asshole like that! – but as I was driving away I noticed a Harley parked at a used car lot two doors up the street from the dealership. I called a friend of mine named Wayne Agee – an experienced chopper builder, attorney and motorcyclists’ rights activist – and he very kindly went with me to scope it out.
What we found was a 1974 Harley-Davidson FX (kickstart-only) Superglide shovelhead with 8,000 miles on the clock, box stock except for 6″ overstock fork tubes. The salesman swore it was his personal bike – a story I dismissed as sales-speak at the time, but later learned was the absolutely truth. No matter. It was a Harley-Davidson Big Twin, and the prettiest thing I’d ever seen.
I didn’t have my motorcycle license yet, so Wayne test-rode the bike for me. The price was right and he gave it an enthusiastic thumbs-up, and I was sold! I went straight to my credit union to arrange financing, and the next day, April 11th, 1979, I went to take possession of my very first motorcycle. A five-minute tutorial on the machine – clutch up there, brakes here and here, shifter over there, one up and three down – and I was on my way.
I passed a motorcycle safety course when I was in the service – a requirement if I was going to ride a motorcycle on base – and took rides on other people’s machines whenever they were dumb enough to hand me the keys, but I was basically ignorant of riding technique. Of needs, I taught myself to ride by spending every possible moment on that bike, cruising the Farm-to-Market roads that snake across the Texas Hill Country west and south of Austin. I quickly realized I was born to this life; to be in the saddle, in the wind. Nothing before or since has brought me such pleasure and peace of mind, or felt so right.
I began calling my shovel ‘The Bitch’ long before The Grateful Dead released their In The Dark album in 1987, but a couplet from the song ‘Tons of Steel’ describes her to a T:
“It’s one hell of an understatement to say she can get mean She’s temperamental; more of a bitch than a machine!”
However, the name was given tongue-in-cheek because, even though any machine will act up one way or another, if you own it long enough, The Bitch has been a stout, faithful steed with plenty of heart and class.
The Bitch has been through a lot of changes over the years. I began by turning her into stripped-down cruiser, above. Then I converted her into a fat bob, below.
Next, I built her into a version of the FL Sport – a dresser sans saddlebags and windshield – using the wide-glide forks Wayne sold me, and pieces sourced through his ‘chopper shop’ (which, as it happened, bore a striking resemblance to his law office). The photo below shows the project about halfway to completion.
Just about the time I finished that project, with a full aluminum headlight nacelle off an old Electra-Glide, a friend let me throw a leg over his rigid panhead, and I was in love. The rigid was so much lighter (and cleaner looking) than the stock swingarm frame, and I just had to have one.
By then I was working at Bud’s Motorcycle Shop, and Bud helped me find a 1954 wishbone frame. I swapped the engine and transmission into the wishbone and slapped on some get-by fenders and fuel tank, above. Meanwhile, I sourced fresh tins for the bodyman, so I could keep riding while I got everything painted and ready to go. After some dithering around I settled on a bright blue the same color the Austin Police Department used on their cars – a close match to an original 1954 factory color Harley-Davidson named ‘Glacier Blue’.
I took the shovel apart, rebuilt the engine, polished every bit of smooth aluminum I could get a buffing wheel or elbow grease to, and put it all back together.
I caught a lot of flak for that paint color the whole while the tins were hanging on the wall in my shop area, but once I put it all together I received nothing but compliments. As an added plus, I never had a car pull out in front of me the entire time I ran that color. They might not have been aware of motorcycles in traffic, but they by God noticedthat cop-car blue !
I made other changes as the years passed. I went back to black, changed fenders and tanks, ran a pogo-stick saddle and windshield for a while, added a sidecar so my stepdaughter could ride in safety and comfort, and put on mile after mile after mile…
In July, 2004, at the age of 48, I fell 35′ from a billboard structure, when a piece of the board came loose. I rode the ladder I was standing on all the way to the hard rocky Hill Country earth, and ended up with an open compound fracture of my right leg, numerous fractures in my left mid-foot, and a burst fracture of my L-4 vertebra, which caused catastrophic nerve damage to the cauda equina that controls everything south of the waist, and I mean everything!
After fourteen days in hospital, numerous surgeries and a near-fatal hospital-borne infection, I went home to a wheelchair and a rented hospital bed, with lots more to come. Still, at the end of October I limped out to the driveway, kickstarted The Bitch and took it for a ride around the neighborhood.
I’ve probably made smarter choices in life, but it seemed important at the time, and sure felt good!
A lot has happened since then, including another makeover of The Bitch and a return to A) another blue paint job, B) another set of fatbob tanks, C) another pogo-stick and D) another windshield, all to accommodate my back and leg injuries.
The pogo-stick and windshield arrangement was good for a while, but remember the nerve damage I mentioned? Yeah, that nasty nerve damage has come back to haunt me.
One of the nastier tricks it plays on me (and the nasty tricks are legion, believe me!) is that my right knee gives out with no warning. It’s been doing it since I first got out of the hospital, but that particular trick has become more frequent as the years since my accident go by, to the point where I can no longer feel safe riding a two-wheeler, so…
Four years ago today we lost one of the best men I’ve ever had the privilege of knowing.
ABOVE: Bud Reveile on 7 January 2015, a couple of months before he passed away.
Bud Reveile was a Vietnam veteran; a U.S.M.C. tanker whose story was included in Oscar E. Gilbert’s Marine Corps Tank Battles in Vietnam. He was a devout Christian and family man, and a lifelong and benevolent member of the East Austin community.
Bud was also a dyed-in-the-wool Harley man, a walking encyclopedia of all things Harley-Davidson, and a natural-born good guy. He could talk to anyone – Bud maintained friendships with outlaw bikers and cops, Christians and atheists, bankers and b-girls and bums – and he did his level best to treat everyone with respect. He had very few enemies, and the only ones I ever met were only enemies because Bud wouldn’t give them something for nothing. He was a businessman – a true old-school horse-trader who worked hard to make a buck – but Bud was honest, and in all my years of knowing him I never saw him take advantage of anyone.
Bud built his business the old-fashioned way, beginning (just like Harley and the Davidsons themselves) in a backyard shed behind his North Austin home with some tools, a small collection of used motorcycle parts, and his experience working at Harley dealerships in California and Austin.
In April of 1979 Bud moved his operations to the grounds of a defunct lumberyard in East Austin. There a Spartan tin shack – unheated in winter, un-air-conditioned in summer, noisy and dusty all year ‘round – served as mechanic’s bay, showroom and office, while erstwhile lumber bins held his burgeoning parts inventory.
Over the following 36 years, Bud created a sprawling compound that eventually covered more than a quarter of a city block. In a ramshackle series of structures – some built, others acquired or repurposed and all interconnected – Bud kept aisles and aisles (and piles and piles) of old and odd motorcycle parts jumbled up in glorious disarray. There were tons of new old stock; OEM and aftermarket pieces painstakingly gathered from shops that were going out of business or dealerships purging their parts departments, stacked right alongside all the bent, broken, rusted, oil-soaked parts salvaged from a thousand different spent and clapped-out motorcycles. There was everything a rider might need to repair an old machine, customize a new one or, for that matter, build herself one from the ground up. Visiting Bud’s shop was like stepping back in time to those halcyon days when Harley shops were unique, one from another, instead of the prefabricated corporate clones they have become. For those of us who care about such things, Bud’s was Disneyland! 🙂
I first met Bud in the summer of 1979, when another biker gave me one of Bud’s cards. I had just gotten my first Harley, and wanted to learn everything I could about them. When I saw that Bud was the real deal I quickly asked if I could become a shop hang-around. I would come in after work and on weekends, exchanging free labor for the occasional discount motorcycle part and a far more valuable education in Harley-Davidsons. By the fall of that year I was working there full time, and in one way or another I kept working there for the next 36 years.
ABOVE: My shovelhead outside Bud’s perimeter fence, fall of 1980. Over the fence are the lumber stalls, now enclosed to create mechanics’ bays downstairs and parts storage upstairs.
Jack-of-all-trades what I was, I helped build various add-ons to the shop, including closing in the old lumber stalls to create additional mechanics’ bays, and reinforcing the second story so parts could be stored there. I ran electrical systems throughout as the business sprawled across first one, then two, and finally three separate lots known to all and sundry as 2612 East First Street. I worked as a shop grunt, with my elbows deep in the muck of the parts washer, became a parts man and mechanic, and even lived on-site for a while during one of my periods of homelessness, doubling as night watchman while hiding my as-yet-unpaid-for shovel from the repo man. I served as publicist, writing articles about Bud and the shop for national magazines, and provided backup on the rare occasion when a situation so demanded.
ABOVE: Bud’s logo, created and reproduced here by the artist, MAG. The same design also graced Bud’s t-shirts, business cards, bumper stickers…
I also traveled with Bud to swap meets all over hell and gone, driving his rattletrap old school bus gutted of seats and packed full of the infamously “new, used and abused” parts that were Bud’s specialty: everything from trendy chrome gewgaws and one-off chopper parts to hard-to-find transmissions, carburetors, flywheels and cylinder heads. Sometimes it seemed as if we were carrying half of Bud’s inventory with us when we set out and, because Bud shopped even as he sold, frequently carried even more inventory back to Austin!
ABOVE: My shovelhead right after I switched to a rigid frame, late 1980 or early ’81, in front of the tin shed that held Bud’s original “showroom” and mechanic’s bay. The notorious school bus is visible at top left.
All those parts, BTW, were haphazardly stacked in rectangular metal trays, and part of my job as grunt was to hump the damn things in and out of the bus at every stop. Bud was a “recycler” before recycling was trendy – those metal trays were actually old medicine chests salvaged from a downtown hotel slated for demolition – and when filled with panhead four-speed gears, ironhead cylinders, shovelhead connecting rods and the like they were heavy and sharp-edged enough to take off fingers! I hated them with a passion, but even those trays couldn’t diminish the joy of traveling in Bud’s circle, meeting bikers and shop owners from around the world, learning the ins and outs of doing business the East Austin Way.
ABOVE: A profile I wrote about Bud, back in the summer of 1991.
Of course, Bud also became one of my best, most reliable friends. He always seemed glad to see me, to step out and share a meal or just hole up in his cramped little office and visit for a while. There wasn’t much we couldn’t discuss, either, from faith and fear to family and friends, flatheads to Twin Cams, the war, the rallies at Sturgis and Daytona, the swap meet circuit, the biker books we both enjoyed and exchanged, and, naturally, the latest gossip from the motorcycling scene. Toward the end, we talked about what was happening to him, and steps he needed to take to be at peace as he crossed that final bridge. Like everyone who loved him, I did what I could to help, but it wasn’t enough. If it could have done any good I’d have cheerfully given up blood, sweat and body parts to help him recover, or at least not suffer quite so much.
The day Bud died I exchanged texts with another longtime friend who had known Bud in the days when he worked at the old Harley-Davidson dealership in town. I wrote that our world just became a much smaller place. He agreed, writing “Smaller, sadder, and much more lonely.”
I miss my friend every day, but I remain grateful that he was my friend. Through Bud I got to be part of a grand tradition in American motorcycling – the small independent shop that is the backbone of the bikers’ world. Bud’s was a near-mystical place packed full of history disguised as scrap metal – a funky, messy mélange of mechanic and machinist’s shop, motorcycle museum and meeting hall – and it was a BLAST! Man, I’m glad I got to be there!
ABOVE: Bud’s Motorcycle Shop circa early 2000s, photographer unknown.
As a longtime biker, any mention of motorcycles, riders, clubs, etcetera, intrigues me, so when Bob Dylan mentioned late Hells Angel Berdoo President Bobby Zimmerman (Chronicle: Volume One, 2004, pg. 79), while explaining his own renaming, I went looking for more info. First, I located a photo of the deceased, posted on the Berdoo chapter’s Memorial page:
Dylan apparently had the date of death wrong: He said Zimmerman died in 1964, but Zimmerman’s *Angel brothers have him dying three years earlier.
Then I dug a little further, and found this article, a human-interest item by John Weeks of the San Bernardino Sun, published last fall, in which Dylan claims a spiritual bond with the soul of the dead Angel:
A surprise addition to the local family
Ladies and gentlemen, let’s put our hands together and give a warm hometown welcome to a local boy who has made good, who has distinguished himself as one of the most influential singers and songwriters of all time, a living legend, a Presidential Medal of Freedom honoree, a recipient of multiple Grammy, Oscar and People’s Choice awards, the one and only, the Inland Empire’s own … Bob Dylan!
Whoa, hold on here. Let’s check our notes.
Says here that Bob Dylan was born Robert Zimmerman in 1941 in Duluth, Minn., that he grew up in Hibbing, Minn., that he went to college in Minneapolis, that he moved to New York and became famous, that he later lived in both New York and Minnesota, and that for the last couple of decades he has made his home in Malibu. There’s no mention here at all of the Inland Empire.
Oh, wait, there’s more. Wow, this is new. Says here that Bob Dylan had a bonding experience with the soul of a dead San Bernardino biker, also named Robert Zimmerman, in the 1960s, and that he was transformed into a different person at that time.
An Inland Empire person, evidently.
Is this a joke?
If it is, it’s Bob Dylan himself who is telling it. In public.
Here are his own words, in an interview with Mikal Gilmore that appears in a recent cover story in Rolling Stone magazine:
“When you ask some of your questions, you’re asking them to a person who’s long dead. You’re asking them to a person that doesn’t exist. But people make that mistake about me all the time. … Transfiguration is what allows you to crawl out from under the chaos and fly above it. That’s how I can still do what I do and write the songs I sing and just keep on moving.”
That Bob Dylan! What a card! What a kidder!
No, wait. Later in the interview, he starts talking about transfiguration again, and he presses the point. He brandishes a dog-eared copy of the book Hell’s Angel: The Life and Times of Sonny Barger and the Hell’s Angels Motorcycle Club. He cites a chapter in the book that recounts how Robert Zimmerman, the 21-year-old president of the San Bernardino chapter of the Hells Angels, who lived on Walnut Street in San Bernardino, was killed in a 1961 motorcycle accident in Madera County. That accident was a precursor, Dylan believes, to his own motorcycle accident in 1966 near Woodstock, N.Y. The two events were directly related and they completed Dylan’s transformation into a new person, he says.
He can’t be serious about this, right?
Wait, he really is. He goes off on it for a third time during the course of the interview. “I’m showing you a book that’s been written and published. I mean, look at all the connecting things: motorcycles, Bobby Zimmerman. … And there’s more to it than even that. … I’d always been different than other people, but this book told me why. … I didn’t know who I was before I read the Barger book.”
Well, if he really means it, we should start now to prepare for that hometown concert in the Inland Empire that now seems inevitable. We’ll put up banners. “Welcome home, Bob!”
He can perform in the giant San Manuel Amphitheater in Devore, or perhaps he would prefer a smaller arena show, at the Epicenter, say, in Rancho Cucamonga, or the San Manuel Stadium in downtown San Bernardino, or Coussoulis Arena at Cal State San Bernardino. Or, he could do a series of small, intimate shows in theater settings, such as the Glass House in Pomona, or the Fox Riverside, or the historic California Theatre in San Bernardino.
Many towering figures in the music industry do have strong roots in the Inland Empire. The list includes Tennessee Ernie Ford of San Bernardino, Kris Kristofferson of Claremont, Frank Zappa of Rancho Cucamonga, Jimmy Webb and Jim Messina of Colton, Sammy Hagar and Travis Barker of Fontana, and Liberace, Dick Clark and Herb Alpert, all of whom had homes in Lake Arrowhead.
Jazz legend Pearl Bailey, in her retirement, ran a popular guest ranch in Apple Valley.
Singers Bonnie Raitt and Joan Baez both have University of Redlands connections, thanks to their fathers. Raitt’s father, the Broadway star John Raitt, was a University of Redlands graduate. Baez, whose father taught there, writes about living in Redlands in her autobiography, “Daybreak.”
Now, it appears, we must add a new name to the list of musical hometown heroes.
Of course, unlike the others, Dylan neither was born nor raised here, nor did he ever work or go to school here. No, he’s here only in spirit, as the result of transfiguration.
The story is addressed in greater detail by author Grant Maxwell, in a post he describes as “a (slightly modified) excerpt from my forthcoming book, How Does It Feel?: Elvis Presley, the Beatles, Bob Dylan, and the Meaning of Rock and Roll,” which may be seen here:
In that post Maxwell delves deep into the chronology of events, and how Zimmerman’s death ties in not only with Dylan’s own motorcycle crash, but with the entirety of Dylan’s professional career! So, I guess that would make Zimmerman Dylan’s “guardian angel,” right?
Food for thought, if you’re inclined to think along those lines.
* NOTE: In the book Dylan mentions in his interview – Hell’s Angel: The Life and Times of Sonny Barger and the Hell’s Angels Motorcycle Club – Hells Angel Sonny Barger relates the story of Zimmerman’s death on the ride home from the Bass Lake Run, an annual Angel event immortalized in Hunter S. Thompson’s book on the Angels. However, while on page 70 he gives the same 1964 date that Dylan used, on page 130, again recounting Zimmerman’s death, he writes that Zimmerman died in1962. I can’t explain the discrepancies between Barger’s recollections and the chapter’s official website.
I’ve been doing a little research on songwriter Bob Dylan. Like most riders, I already knew about his mysterious wreck near Woodstock, New York, in 1966, where he dumped his Triumph, injured himself to an unknown degree, and went into seclusion for a while.
However, in reading through books about Dylan, interviews with people who knew him prior to his arrival in Greenwich Village, and his own Chronicles: Volume One (2004) I turned up a few references to Harleys, time spent running with the biker boys in his hometown, even being a bit of a “rough, tough” character. I don’t know how true any of that is, but he apparently did spend some time around riders, as seen in the photos below.
1966, on the Triumph he later wrecked:
I always cringe at this one, because for some reason he’s dangling his feet – not a smart thing to do and goofy-lookin’ to boot!
The passenger below is identified as “Sebastian,” but I don’t who Sebastian is:
I’m not sure of the year – probably mid-’60s – but he appears to be riding a Japanese bike; maybe a Honda:
and in 2004, back on a Harley-Davidson!
One more, of the man on an entirely different kind of bike…
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