Easy Rider Kayak Carrier J003 Owner Manual

1969 film by Dennis Hopper

Easy Rider
Theatrical release affiche
Directed by	Dennis Hopper
Written by	Peter Fonda Dennis Hopper Terry Southern
Produced by	Peter Fonda
Starring	Peter Fonda Dennis Hopper Jack Nicholson
Cinematography	László Kovács
Edited past	Donn Cambern
Colour procedure	Technicolor
Production companies	Pando Company Inc. Raybert Productions
Distributed by	Columbia Pictures
Release date	July 14, 1969 (1969-07-14) (New York City)
Running time	96 minutes
Country	United states
Language	English
Budget	$360,000–$400,000[1]
Box office	$60 million[2]

Like shooting fish in a barrel Rider is a 1969 American independent road drama flick written by Peter Fonda, Dennis Hopper, and Terry Southern, produced past Fonda, and directed by Hopper. Fonda and Hopper play two bikers who travel through the American Southwest and South, carrying the proceeds from a cocaine deal. The success of Easy Rider helped spark the New Hollywood era of filmmaking during the early 1970s.

A landmark counterculture moving picture, and a "touchstone for a generation" that "captured the national imagination," Easy Passenger explores the societal landscape, problems, and tensions towards adolescents in the United States during the 1960s, such every bit the ascent of the hippie movement, drug use, and communal lifestyle.^{[3] [iv]} Real drugs were used in scenes showing the employ of marijuana and other substances.^[5]

Released by Columbia Pictures on July 14, 1969, Easy Passenger earned $60 million worldwide from a filming budget of no more than $400,000.^{[1] [2]} Critics have praised the performances, directing, writing, soundtrack, and visuals. It received ii Academy Awards nominations for All-time Original Screenplay and Best Supporting Player (Jack Nicholson). In 1998, the motion picture was selected for preservation by the Library of Congress for being "culturally, historically, or aesthetically meaning".^[six]

Plot [edit]

Wyatt and Baton are freewheeling motorcyclists. Later on smuggling cocaine from Mexico to Los Angeles, they sell their haul and receive a big sum of money. With the cash stuffed into a plastic tube hidden inside the Stars & Stripes-painted fuel tank of Wyatt'southward California-style chopper, they ride due east aiming to reach New Orleans, Louisiana, in time for the Mardi Gras festival.

During their trip, Wyatt and Billy cease to repair a flat tire on Wyatt'due south bike at a farmstead in Arizona and accept a repast with the farmer and his family. Later, Wyatt picks upward a hippie hitch-hiker, and he invites them to visit his commune, where they stay for the rest of the day. The notion of "free love" appears to be practiced, with 2 of the women, Lisa and Sarah, seemingly sharing the affections of the hitch-hiking district member before turning their attention to Wyatt and Baton. As the bikers leave, the hitch-hiker gives Wyatt some LSD for him to share with "the right people".

Later, while riding along with a parade in New United mexican states, the pair are arrested for "parading without a permit" and thrown in jail. There, they befriend lawyer George Hanson, who has spent the nighttime in jail after overindulging in booze. After the mention of having washed piece of work for the ACLU along with other conversation, George helps them go out of jail and decides to travel with Wyatt and Baton to New Orleans. As they camp that nighttime, Wyatt and Billy innovate George to marijuana. Equally an alcoholic and a "foursquare", George is reluctant to endeavor it due to his fright of condign "hooked" and it leading to worse drugs but speedily relents.

Stopping to eat at a small-town Louisiana diner, the trio attracts the attention of the locals. The girls in the restaurant call up they are exciting, simply the local men and a police force officer make denigrating comments and taunts. Wyatt, Billy, and George decide to leave without any fuss. They make camp outside town. In the middle of the night, a group of locals set on the sleeping trio, beating them with clubs. Baton screams and brandishes a knife, and the attackers leave. Wyatt and Billy suffer minor injuries, merely George has been bludgeoned to death. Wyatt and Billy wrap George's body in his sleeping pocketbook, assemble his holding, and vow to return the items to his family.

They go along to New Orleans and find a brothel George had told them about. Taking prostitutes Karen and Mary with them, Wyatt and Billy wander the parade-filled streets of the Mardi Gras celebration. They end upward in a French Quarter cemetery, where all four ingest the LSD the hitch-hiker had given to Wyatt.

The next forenoon, as they are overtaken on a two-lane country road by two local men in an older pickup truck, the rider in the truck reaches for a shotgun, proverb he will scare them. As they pass Billy, the passenger fires, and Billy has a lowside crash. The truck passes Wyatt who has stopped, and Wyatt rides dorsum to Baton, finding him lying flat on the side of the road and covered in claret. Wyatt tells Billy he's going to get aid and covers Billy'south wound with his own leather jacket. Wyatt and so rides down the road toward the pickup as it makes a U-turn. Passing in the opposite direction, the passenger fires the shotgun again, this time through the commuter'south-side window. Wyatt's riderless motorbike flies through the air and comes apart before landing and becoming engulfed in flames.

Bandage [edit]

• Peter Fonda as Wyatt, "Helm America"
• Dennis Hopper as Billy
• Jack Nicholson as George Hanson
• Luke Askew as Stranger on Highway
• Phil Spector every bit Connection
• Karen Black as Karen
• Toni Basil as Mary
• Antonio Mendoza as Jesus
• Mac Mashourian as Bodyguard
• Warren Finnerty as Rancher
• Tita Colorado equally Rancher's Wife
• Luana Anders as Lisa
• Sabrina Scharf equally Sarah
• Robert Walker Jr. every bit Jack
• Sandy Brown Wyeth as Joanne

Among those uncredited in the district scene were Bridget Fonda, Dan Haggerty, and Carrie Snodgress.

Production [edit]

Writing [edit]

Hopper and Fonda'southward kickoff collaboration was in The Trip (1967), written by Jack Nicholson, which had themes and characters like to those of Easy Rider.^[vii] Peter Fonda had become "an icon of the counterculture" in The Wild Angels (1966), where he established "a persona he would develop further in The Trip and Piece of cake Passenger."^[8] The Trip likewise popularized LSD, while Easy Rider went on to "celebrate '60s counterculture" but does so "stripped of its innocence."^[nine] Author Katie Mills wrote that The Trip is a style indicate along the "metamorphosis of the insubordinate road story from a Beat relic into its hippie reincarnation as Like shooting fish in a barrel Rider", and connected Peter Fonda's characters in those ii films, along with his character in The Wild Angels, diffusive from the "formulaic biker" persona and critiquing "article-oriented filmmakers appropriating advanced film techniques."^[7] It was also a step in the transition from independent film into Hollywood's mainstream, and while The Trip was criticized as a simulated, popularized underground film made by Hollywood insiders, Easy Rider "interrogates" the attitude that hole-and-corner film must "remain strictly segregated from Hollywood."^[vii] Mills also wrote that the famous acrid trip scene in Easy Rider "conspicuously derives from their first tentative explorations as filmmakers in The Trip."^[7] The Trip and The Wild Angels had been depression-upkeep films released by American International Pictures and were both successful. When Fonda took Like shooting fish in a barrel Rider to AIP, however, every bit it was Hopper'south offset film as managing director, they wanted to be able to supervene upon him if the film went overbudget, so Fonda took the film to Bert Schneider of Raybert Productions and Columbia Pictures instead.^[10]

When seeing a withal of himself and Bruce Dern in The Wild Angels, Peter Fonda had the thought of a modern Western, involving two bikers travelling around the country and eventually getting shot by hillbillies. He called Dennis Hopper, and the two decided to turn that into a movie, The Loners, with Hopper directing, Fonda producing, and both starring and writing. They brought in screenwriter Terry Southern, who came upwards with the title Easy Passenger. The film was mostly shot without a screenplay, with advert-libbed lines, and production started with only the outline and the names of the protagonists. Keeping the Western theme, Wyatt was named subsequently Wyatt Earp and Billy afterward Billy the Kid.^[xi] However, Southern disputed that Hopper wrote much of the script. In an interview published in 2016 [Southern died in 1995] he said, "Yous know if Den Hopper improvises a dozen lines and six of them survive the cutting room flooring he'll put in for screenplay credit. Now it would be almost impossible to exaggerate his contribution to the film—only, by George, he manages to do information technology every time."^[12] According to Southern, Fonda was under contract to produce a motorcycle moving picture with A.I.P., which Fonda had agreed to allow Hopper to straight. According to Southern, Fonda and Hopper didn't seek screenplay credit until after the first screenings of the film, which required Southern'due south agreement due to writers guild policies. Southern says he agreed out of a sense of camaraderie, and that Hopper later on took credit for the entire script.^[12]

According to Terry Southern's biographer, Lee Hill, the role of George Hanson had been written for Southern's friend, actor Rip Torn. When Torn met with Hopper and Fonda at a New York restaurant in early 1968 to discuss the function, Hopper began ranting about the "rednecks" he had encountered on his scouting trip to the South. Torn, a Texan, took exception to some of Hopper'due south remarks, and the two most came to blows, as a result of which Torn withdrew from the project. Torn was replaced by Jack Nicholson, whom Hopper had recently appeared with in Head (along with another Easy Rider co-star, Toni Basil).^[13] In 1994, Jay Leno interviewed Hopper about Piece of cake Rider on The Tonight Evidence, and during the interview, Hopper falsely claimed that Torn had pulled a pocketknife on him during the altercation when information technology was really the other way around. This infuriated Torn, so he sued Hopper for defamation seeking punitive damages. Torn ultimately prevailed against Hopper on all counts.^[11]

Filming [edit]

The filming budget of Easy Rider was $360,000 to $400,000.^{[1] [14]} Peter Fonda said that on top of this, he personally paid for the costs of travel and lodging for the crew, saying, "Everybody was taking my credit cards and would pay for all the hotels, the food, the gas, everything with Diner's Club".^{[15] [fourteen]} Laszlo Kovacs said that an boosted $ane one thousand thousand, "about three times the budget for shooting the balance of the pic" was spent licensing music that was added during the editing.^[16]

Co-ordinate to Bill Hayward,^[14] the associate producer of the film, in interviews included as part of the bonus DVD feature, Shaking the Muzzle, Hopper was difficult on set up. During test shooting on location in New Orleans, Hopper fought with the production'south ad hoc crew for control. At i bespeak he entered into a physical confrontation with photographer Barry Feinstein, who was 1 of the camera operators for the shoot.^[14] Later on this turmoil, Hopper and Fonda decided to assemble a proper crew for the rest of the film.^[v]

Allegedly, the characters of Wyatt and Baton were respectively based on Roger McGuinn and David Crosby of the Byrds.^[17]

The hippie district was recreated from pictures and shot at a site overlooking Malibu Canyon, since the New Buffalo commune in Arroyo Hondo near Taos, New United mexican states, did not permit shooting there.^[16]

A short prune near the beginning of the film shows Wyatt and Billy on Route 66 in Flagstaff, Arizona, passing a large figure of a lumberjack. That lumberjack statue—in one case situated in front of the Lumberjack Cafe—remains in Flagstaff, but now stands inside the J. Lawrence Walkup Skydome on the campus of Northern Arizona University.^[18] A second, very similar statue was also moved from the Lumberjack Cafe to the outside of the Skydome.^[xix]

Virtually of the pic is shot outside with natural lighting. Hopper said all the outdoor shooting was an intentional choice on his office, because "God is a great gaffer." The product used two five-ton trucks, one for the equipment and one for the motorcycles, with the bandage and crew in a motor habitation.^[16] One of the locations was Monument Valley.^[sixteen]

The eatery scenes with Fonda, Hopper, and Nicholson were shot in Morganza, Louisiana.^[16] The men and girls in that scene were all Morganza locals.^[16] In order to inspire more vitriolic commentary from the local men, Hopper told them the characters of Billy, Wyatt, and George had raped and killed a girl exterior of town.^[5] The scene in which Billy and Wyatt were shot was filmed on Louisiana Highway 105 Due north, only exterior Krotz Springs, and the two other men in the scene—Johnny David and D.C. Billodeau—were Krotz Springs locals.

While shooting the cemetery scene, Hopper tried to convince Fonda to talk to the statue of the Madonna every bit though it were Fonda's female parent (who had committed suicide when he was 10 years old) and ask her why she left him. Although Fonda was reluctant, he eventually complied. Later Fonda used the inclusion of this scene, along with the concluding scene, as leverage to persuade Bob Dylan to allow the use of Roger McGuinn's cover of "It'due south Alright, Ma (I'm Only Bleeding).^{[14] [v]}

Post-product [edit]

Despite being filmed in the get-go half of 1968, roughly between Mardi Gras and the assassination of Robert F. Kennedy, with production starting on February 22,^[xx] the film did non have a U.Southward. premiere until July 1969, afterwards having won an laurels at the Cannes flick festival in May. The delay was partially due to a protracted editing process. Inspired by 2001: A Infinite Odyssey, i of Hopper's proposed cuts was 220 minutes long, including all-encompassing use of the "wink-forward" narrative device, wherein scenes from later in the movie are inserted into the current scene.^[14] Merely ane flash-forward survives in the concluding edit: when Wyatt in the New Orleans brothel has a premonition of the final scene. At the request of Bob Rafelson and Bert Schneider, Henry Jaglom was brought in to edit the moving-picture show into its current form, while Schneider purchased a trip to Taos for Hopper so he wouldn't interfere with the recut. Upon seeing the final cut, Hopper was originally displeased, saying that his movie was "turned into a Television set bear witness," simply he eventually accepted, claiming that Jaglom had crafted the movie the mode Hopper had originally intended. Despite the big part he played in shaping the moving-picture show, Jaglom only received credit every bit an "Editorial Consultant."^[11]

It is unclear what the exact running time of original rough cut of the motion picture was: four hours, 4 and a half hours, or five hours.^[xiv] In 1992 the film's producers, Schneider and Rafelson, sued Columbia Pictures over missing negatives, edit footage and damaged prints belongings them negligent apropos these assets. Some of the scenes which were in the original cutting only were deleted are:^[21]

• The original opening showing Wyatt and Billy performing in a Los Angeles stunt bear witness (their existent jobs)
• Wyatt and Billy existence ripped off by the promoter
• Wyatt and Billy getting in a biker fight
• Wyatt and Baton picking upward women at a bulldoze-in
• Wyatt and Baton cruising to and escaping from Mexico to score the cocaine they sell
• An elaborate police and helicopter chase that took place at the kickoff afterward the dope bargain with police force chasing Wyatt and Baton over mountains and across the Mexican border
• The road trip out of 50.A. edited to the full length of Steppenwolf's "Born to Exist Wild" with billboards along the way offering wry commentary
• Wyatt and Baton being pulled over past a cop while riding their motorcycles across a highway
• Wyatt and Billy encountering a black motorbike gang
• Ten additional minutes for the volatile café scene in Louisiana where George deftly keeps the peace
• Wyatt and Billy checking into a hotel before going over to Madam Tinkertoy's
• An extended and much longer Madam Tinkertoy sequence
• Extended versions of all the campfire scenes, including the enigmatic finale in which Wyatt says, "We blew information technology, Billy."

Easy Rider's style — the bound cuts, time shifts, flash forwards, flashbacks, hasty hand-held cameras, fractured narrative and improvised acting — tin can be seen as a cinematic translation of the psychedelic feel. Peter Biskind, author of Piece of cake Riders, Raging Bulls wrote: "LSD did create a frame of mind that fractured experience and that LSD experience had an effect on films like Easy Rider."^[22]

Motorcycles [edit]

While Easy Rider is famous for the Harley-Davidson choppers, the movie really begins with the characters riding ii European-made dirt bikes, Fonda on a crimson Bultaco Pursang, Hopper on Norton P11 Ranger. In total, ii dirt bikes, and four former law bikes were used in the film. The 1949, 1950 and 1952 Harley-Davidson FL Hydra-Glide bikes were purchased at an auction for $500,^[24] equivalent to about $4100 in 2022. Each bike had a fill-in to make sure that shooting could proceed in case one of the old machines failed or got wrecked accidentally. The main motorcycles for the film, based on hardtail frames and panhead engines, were designed and built by 2 chopper builders — Cliff Vaughs and Ben Hardy — following ideas of Peter Fonda, and handled by Tex Hall and Dan Haggerty during shooting.^[24]

One "Captain America" was demolished in the last scene, while the other iii were stolen and probably taken apart earlier their significance as movie props became known.^[24] The demolished cycle was rebuilt by Dan Haggerty and offered for auction in October 2014 past Profiles in History, a Calabasas, California-based sale house with an estimated value of $1–1.two meg. The provenance of existing Captain America motorcycles is unclear, and has been the subject of much litigation.^[25] The EMP Museum in Seattle identified a Captain America chopper displayed there equally a rebuilt original moving-picture show prop. Many replicas have been made since the film's release, including examples at the Deutsches Zweirad- und NSU-Museum (Germany), National Motorcycle Museum (Iowa), Barber Vintage Motorsports Museum (Alabama), and Harley-Davidson Museum (Milwaukee).^{[24] [26] [27]}

Hopper and Fonda hosted a wrap party for the movie and then realized they had not yet shot the final campfire scene. Thus, it was shot afterward the bikes had already been stolen, which is why they are not visible in the background as in the other bivouac scenes.^{[11] [24]}

Reception [edit]

Peter Fonda's American Flag patch, which sold for $89,625 in 2007

Critical reception [edit]

The film received mostly positive reviews from critics. Vincent Canby of The New York Times called information technology "pretty but lower example movie theater" despite the "upper case" "pious statement nearly our society which is sick". He was mildly impressed by the photography, rock score and Nicholson's performance.^[28] Penelope Gilliatt in The New Yorker said that it "speaks tersely and aptly for this American age, that is both the all-time of times and the worst of times."^[29]

Roger Ebert added Easy Rider to his "Great Movies" list in 2004.^[30] Easy Passenger holds a "Certified Fresh" 83% rating on Rotten Tomatoes based on 54 reviews. The site'south consensus states: "Edgy and seminal, Easy Passenger encapsulates the dreams, hopes, and hopelessness of 1960s counterculture."^[31]

Box office [edit]

The motion picture opened on July 14, 1969, at the Beekman theater in New York Urban center and grossed a house record of $40,422 in its first week.^[32] It grossed even more the following week with $46,609.^[33] In its fourteenth calendar week of release, it was the number one film at the U.Due south. box part and remained there for three weeks.^{[34] [35]} It was the fourth highest-grossing moving-picture show of 1969, with a worldwide gross of $threescore meg, including $41.7 million domestically in the U.S. and Canada.^{[2] [36]}

Accolades [edit]

In 1998, Like shooting fish in a barrel Rider was added to the Us National Film Registry, having been deemed "culturally, historically, or aesthetically pregnant."^[six]

In April 2019, a restored version of the picture was selected to be shown in the Cannes Classics section at the 2019 Cannes Movie Festival.^[44]

American Motion-picture show Plant Lists

• AFI's 100 Years...100 Movies – #88

Significance [edit]

Along with Bonnie and Clyde and The Graduate, Easy Rider helped kicking-first the New Hollywood era during the late 1960s and 1970s.^[45] The major studios realized that coin could exist made from low-budget films made past avant-garde directors. Heavily influenced by the French New Wave, the films of the and then-called "post-classical Hollywood" came to correspond a counterculture generation increasingly disillusioned with its regime too as the government's effects on the world at large and the establishment in full general.^[45] Although Jack Nicholson appears only every bit a supporting actor and in the final one-half of the film, the standout performance signaled his arrival every bit a moving picture star,^[45] along with his subsequent motion picture Five Easy Pieces in which he had the atomic number 82 role. Vice President Spiro Agnew criticized Easy Rider, forth with the band Jefferson Airplane, as examples of the permissiveness of the 1960s counterculture.^[46]

The picture'southward success, and the new era of Hollywood that it helped usher in, gave Hopper the adventure to directly once again with complete artistic control. The result was 1971'due south The Terminal Movie, which was a notable box office and critical failure, finer ending Hopper's career as a director for well over a decade.^{[ citation needed ]}

It likewise gave Fonda the chance to directly with The Hired Mitt although he rarely produced again.^[47]

Music [edit]

The pic'south "groundbreaking" soundtrack featured pop stone artists including The Band, The Byrds, The Jimi Hendrix Experience and Steppenwolf.^[48] Editor Donn Cambern used diverse music from his own record collection to make watching hours of wheel footage more interesting during editing.^[16] Most of Cambern'south music was used, with licensing costs of $1 one thousand thousand, triple the film'southward budget.^[16] The moving-picture show's extensive use of pop and rock music for the soundtrack was similar to what had recently been used for 1967'due south The Graduate.

Bob Dylan was asked to contribute music, but was reluctant to apply his own recording of "Information technology's Alright, Ma (I'thou Only Haemorrhage)", so a version performed by Byrds frontman Roger McGuinn was used instead. Besides, instead of writing an entirely new song for the pic, Dylan but wrote out the first poesy of "Carol of Piece of cake Passenger" and told the filmmakers, "Give this to McGuinn, he'll know what to practice with it."^[49] McGuinn completed the song and performed it in the film.

Originally, Peter Fonda had intended the band Crosby, Stills, Nash, & Immature to write an entirely original soundtrack for the film, simply this failed to materialize for two reasons.^[50] For one, cutter Donn Cambern edited the footage much more closely to what were only meant as temporary tracks than was customary at the time, which led to everyone involved finding them much more than suited to the material than they had originally thought. Likewise, upon watching a screening of the film with Cambern's edits, the group felt they could not better on the music that was used.^[14] On the other manus, Hopper increasingly got control over every attribute over the class of the project and decided to throw CSNY out behind Fonda'due south back, telling the band as an excuse, "Wait, you guys are really good musicians, simply honestly, anybody who rides in a limo tin't embrace my picture show, and so I'm gonna take to say no to this, and if you guys try to go in the studio again, I may have to cause y'all some bodily harm."^[fifty]

Inspired by the movie, Hendrix later wrote a song "Ezy Ryder", with lyrics reflecting the film's themes.

Dwelling media [edit]

The film was released by The Criterion Drove in November 2010 as part of the box gear up America Lost and Found: The BBS Story. Information technology included ii audio commentaries, one featuring thespian-director-author Dennis Hopper, the other with Hopper, actor-writer Peter Fonda, and product manager Paul Lewis; two documentaries well-nigh the making and history of the motion picture, Born to Exist Wild (1995) and Easy Passenger: Shaking the Cage (1999); television excerpts showing Hopper and Fonda at the Cannes Moving-picture show Festival; and a new video interview with Bbs co-founder Stephen Blauner.^[49]

Sequel [edit]

In 2012, a sequel to the movie was released titled Easy Rider: The Ride Dorsum, directed by Dustin Rikert.^[51] The motion-picture show is about the family of Wyatt "Captain America" Williams from the 1940s to the present day. No members of the original cast or coiffure were involved with the film, which was produced and written by apprentice filmmaker Phil Pitzer, who had purchased the sequel rights to Easy Rider.^[52] Pitzer also pursued legal action confronting Bob Rafelson and Bert Schneider in social club to cake them from reclaiming the rights to the picture show.^[52]

See also [edit]

• List of American films of 1969
• Listing of films featuring hallucinogens
• American Dream
• Hippie exploitation films
• Method acting
• Outlaw biker film
• List of films related to the hippie subculture

References [edit]

1. ^ ^{a b c}
   • $360,000, "Easy Rider", Box Office Mojo
   • $375,000, Turan, Kenneth (July 10, 1994), "Film Comment: How We've Learned to Terminate Worrying and Dear the Reissue: The restored 'Dr. Strangelove' remains a potent picture afterwards 30 years", Los Angeles Times
   • $400,000, Osgerby, Bill (2005). Biker: Truth and Myth: How the Original Cowboy of the Road Became the Like shooting fish in a barrel Rider of the Silverish Screen. Globe Pequot. p. 62. ISBNi-59228-841-iii.
   • $400,000, Easy Passenger at IMDb
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6. ^ ^{a b} "Consummate National Film Registry Listing". Library of Congress . Retrieved 2020-02-27 .
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43. ^ "Awards Winners". wga.org. Writers Club of America. Archived from the original on 2012-12-05. Retrieved 2010-06-06 .
44. ^ "Cannes Classics 2019". Festival de Cannes. 26 April 2019. Retrieved 26 April 2019.
45. ^ ^{a b c} Canby, Vincent (2007). "Easy Passenger (1969)". Movies & Boob tube Dept. The New York Times. Archived from the original on 2007-eleven-03. Retrieved 2008-10-18 .
46. ^ Patterson, James T. (1996), Grand Expectations: The United states, 1945–1974, Oxford University Printing, ISBN9780195076806 , retrieved January xv, 2015
47. ^ Vagg, Stephen (Oct 26, 2019). "Peter Fonda – 10 Phases of Acting". Filmink.
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49. ^ ^{a b} "Easy Rider". The Benchmark Collection.
50. ^ ^{a b} Mastropolo, Frank (2014). The Story of the Groundbreaking 'Like shooting fish in a barrel Rider' Soundtrack, Ultimate Classic Stone, July 14, 2014
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52. ^ ^{a b} Rabin, Nathan. "Aye, there's an Easy Rider sequel, and aye, information technology'south awful". The Dissolve . Retrieved 17 February 2018.

Bibliography

• Aldaz, Gabriel (2010). Right Palm Up, Left Palm Down: The Log of a Cantankerous-Land Scavenger Chase. SparkWorks. ISBN978-0-9703407-7-i.
• Carr, Jay; National Society of Film Critics (2002). The A List: The National Society of Motion-picture show Critics' 100 Essential Films . Da Capo Press. ISBN0-306-81096-four.
• Like shooting fish in a barrel Rider Bibliography (via UC Berkeley)
• Loma, Lee (1996). Easy Rider . British Film Plant. ISBN0-85170-543-X.
• Hoberman, J. Criterion Drove Essay
• Klinger, Barbara (1997). "The Road to Dystopia: Landscaping the Nation in Easy Rider". In Steven Cohan, Ina Rae Hark (ed.). The Road Pic Book. New York: Routledge. ISBN0-415-14936-3.
• Lev, Peter (2000). American Films of the 70s: Conflicting Visions . Academy of Texas Printing. ISBN0-292-74716-0.
• Phipps, Keith. (November 16, 2009) Slate.com. The Like shooting fish in a barrel Passenger Route Trip: Retracing the Path of the Iconic Picture show on Its 40th Anniversary
• Zoller Seitz, Matt. Criterion Drove Essay

Further reading

• Christgau, Robert (1969). "Moving picture Music". The Village Voice. No. July 24. New York.

External links [edit]

holdenginfortiect1971.blogspot.com

Source: https://en.wikipedia.org/wiki/Easy_Rider

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