Weekend Big Boy 24.09.07

The Last Man on Earth (1964), starring Vincent Price, is a chilling adaptation of Richard Matheson’s novel I Am Legend. Set in a post-apocalyptic world, the film follows Dr. Robert Morgan (played by Price), who appears to be the last human survivor of a global pandemic that has transformed the rest of humanity into vampire-like creatures. By day, Morgan hunts down these creatures, and by night, he fortifies his home against their relentless attacks.

Vincent Price’s portrayal of Morgan, a man burdened by loneliness, despair, and the haunting memories of his lost family, adds a deep psychological horror to the film. The eerie, desolate landscapes and the stark black-and-white cinematography amplify the sense of isolation and dread, making The Last Man on Earth a quintessential horror film of its era. While it may not have been a blockbuster upon its release, the film has since gained a cult following and is considered one of the most faithful adaptations of Matheson’s novel, despite its low-budget production. It has influenced numerous subsequent films and remains a significant work in the genre of apocalyptic.

The Last Man On Earth – horror movie (1964) starring Vincent Price (youtube.com)

Jungle Pam

“Master of Reality” is Black Sabbath‘s third studio album, released on July 21, 1971. Produced by Rodger Bain, this album solidified the band’s role as pioneers of heavy metal. The compositions on the album are credited to all four band members: Bill Ward, Geezer Butler, Ozzy Osbourne, and Tony Iommi.

The album is renowned for its heavy, doom-laden sound, which became a defining characteristic of the metal genre. Tracks like “Sweet Leaf,” “Children of the Grave,” and “Into the Void” showcase Tony Iommi’s iconic downtuned guitar riffs, which were a necessity due to the guitarist’s injured fingers but became a groundbreaking innovation in rock music. Ozzy Osbourne’s haunting vocals, Geezer Butler’s dark lyrical themes, and Bill Ward’s thunderous drumming all contribute to the album’s powerful atmosphere.

“Master of Reality” has been hailed as one of the greatest heavy metal albums of all time, influencing countless bands and continuing to resonate with fans decades after its release. It’s a quintessential Black Sabbath record that captures the essence of the band’s early sound and the raw energy of the early 1970s metal scene.

Into the Void (2009 – Remaster) (youtube.com)

Julie Newmar is the epitome of ’60s glam and charm, best remembered for her unforgettable portrayal of Catwoman in the classic “Batman” TV series. Born on August 16, 1933, in Los Angeles, Julie didn’t just play Catwoman—she owned the role, purring and prowling her way into pop culture history. With her statuesque beauty, witty banter, and those signature feline moves, she became an icon of the era, leaving a legacy that future Catwomen could only aspire to.

But Julie’s talents went beyond the screen. Before donning the catsuit, she was a Broadway sensation, winning a Tony Award for her role in The Marriage-Go-Round. And let’s not forget her entrepreneurial spirit—she’s also an inventor with several patents to her name, including a design for figure-enhancing pantyhose that perfectly combined her flair for fashion with practical innovation.

Julie Newmar was—and still is—more than just a pretty face. She’s a blend of brains, beauty, and that unmistakable 60s groove, making her a timeless symbol of cool. Whether she was dancing on Broadway or scheming in Gotham City, Julie did it all with style, intelligence, and a touch of mischief that keeps her fans enchanted to this day.

Nosferatu candle holder

Diane Ellis and Carole Lombard – 1929. Diane Ellis and Carole Lombard were two prominent figures in the early days of Hollywood, both known for their beauty and talent during the late 1920s. In 1929, Carole Lombard was beginning to emerge as one of Hollywood’s brightest stars, later becoming one of the most iconic actresses of the 1930s and 1940s. She was known for her comedic timing, stunning looks, and charismatic screen presence.

Diane Ellis, while not as well-known as Lombard, was a promising young actress during the same period. She appeared in several films during the late 1920s, showcasing her talent in a variety of roles. Unfortunately, her career was cut short when she passed away in 1930 at the young age of 20, which is why her legacy isn’t as widely recognized as Lombard’s.

The two actresses’ careers crossed during a transformative period in Hollywood, as the industry transitioned from silent films to talkies. This era marked the rise of many stars who would go on to define the Golden Age of Hollywood, and both Ellis and Lombard were part of this vibrant, dynamic scene.

Their connection in 1929 is a reflection of the intense and fleeting nature of early Hollywood stardom, where beauty, talent, and the right opportunities could catapult someone to fame, while others, like Ellis, were tragically cut short before their potential could fully blossom. Lombard’s enduring legacy as a comedic legend contrasts sharply with the tragic brevity of Ellis’s career, highlighting the unpredictability of life in the limelight during the golden age of cinema.

Hanging out in Chicago in the ’70s

Bat nan

Shovel

Turn it up …

Seems legit…

Give me the Willies …

Holy Cow!

Peter Driben’s pin-up that was featured as the January 1951 “Whisper” magazine cover

XL Falcon Delivery.

Sears at South Coast Plaza in Costa Mesa, California in 1967

Adeline and Augusta Van Buren were true trailblazers, both on the road and in challenging societal norms. In 1916, these fearless sisters set out on a groundbreaking journey across the United States, riding a pair of Indian Powerplus motorcycles—machines that were as tough as they were stylish. Their epic 3,300-mile adventure wasn’t just about testing the limits of their bikes; it was about pushing the boundaries of what women could do.

Along the way, Adeline and Augusta became the first people to scale the treacherous Pike’s Peak on motorcycles, a feat that required not just skill but also immense courage. The roads were mostly unpaved and the terrain unforgiving, but the Van Buren sisters powered through, proving their mettle as motorcycling pioneers.

But the road wasn’t their only challenge. In an era when women were expected to conform to strict societal norms, the Van Buren sisters defied convention by wearing trousers—a practical choice for motorcycling, but one that got them arrested more than once for “public indecency.” Their journey took nearly two months, and every mile was a testament to their determination to break free from the constraints placed on women of their time.

Adeline and Augusta Van Buren’s ride was more than just a transcontinental trip; it was a bold statement of independence and a rebellious stride towards gender equality, making them true icons in the world of motorcycling.

The SS Minnow from Gilligan’s Island was indeed portrayed as a 1964 Wheeler M/Y with those specifications, but let’s face it, the logistics of the Minnow’s ill-fated “three-hour tour” have always been a bit of a stretch.

Given the boat’s cruising speed and the duration of the trip, they would have only been able to travel around 27 nautical miles out from Honolulu before turning back. With that limited range, and even factoring in a storm-induced drift, the area they’d have been lost in would have been relatively small—definitely within the search capabilities of the U.S. Coast Guard, especially given the search grid of approximately 150 square miles that you calculated.

The truth is, Gilligan’s Island was never intended to be a realistic documentary. It was a fictional sitcom, created purely for entertainment. The idea of the Minnow and its crew being lost at sea for years on an uncharted island is purely a plot device, meant to set up the show’s comedic premise. So, while it’s fun to break down the technical details, it’s safe to say that the show wasn’t concerned with realism. The SS Minnow may have had the specs of a real boat, but the story surrounding it was purely imaginative. So, you can definitely keep doubting the reality of this “documentary”—because it was all in good fun!

This haunting image captures a poignant moment in American history—mother and child gazing out of their window as a nuclear mushroom cloud rises in the distance. Taken in 1953 during a nuclear test in Nevada, this photograph encapsulates the tension and surreal normalcy of life during the Cold War era. In those years, nuclear tests were not uncommon, and the people of Nevada and neighboring states often witnessed these formidable displays of power, sometimes from their very homes.

The photograph is a stark reminder of the proximity of ordinary life to extraordinary, world-altering events. It shows the blend of curiosity, fear, and detachment that characterized the nuclear age. The image serves as a powerful reflection of an era when the threat of nuclear war loomed large, influencing culture, politics, and daily life in profound ways.

Big Daddy

Lindsay Wagner aka the Bionic Woman with Ted Cassidy as Bigfoot!!

The Mummies’ Never Been Caught is the epitome of lo-fi garage rock fury. Released in 1992, this album is a raw, raucous ride that slams you right into the heart of 1960s-inspired punk madness. Known for their DIY ethos and love of all things analog, The Mummies recorded this album on the cheap, refusing to polish their sound in any way. The result is an electrifying collection of tracks that hit with the force of a runaway train.

From the opening chords of “Your Ass (Is Next in Line)” to the chaotic energy of “Shot Down,” The Mummies deliver a relentless assault on the senses. Their signature “budget rock” style—fuzzy guitars, pounding drums, and snarling vocals—is a middle finger to overproduced music. Tracks like “Red Cobra #9” and “The Fly” showcase the band’s talent for crafting infectious riffs that stick in your head long after the album’s over.

What makes Never Been Caught stand out is its unapologetic attitude. The Mummies don’t care if their instruments are slightly out of tune or if the recording is a bit distorted—in fact, they thrive on it. This album captures the essence of what garage rock is all about: raw energy, pure rebellion, and a disdain for the polished mainstream. It’s a must-listen for anyone who appreciates music with grit, attitude, and a touch of madness.

So, if you’re ready to dive into the wild, untamed world of The Mummies, strap in and give Never Been Caught a spin—just don’t expect to come out the other side unscathed.

Mamie Van Doren

“Born to Lose” by Motörhead is a raw and gritty anthem that captures the essence of the band’s hard-living, no-holds-barred attitude. Featured on their 1986 album Orgasmatron, the track is a high-octane mix of heavy metal and punk rock that perfectly embodies the rebellious spirit of frontman Lemmy Kilmister and his bandmates.

The song is a testament to living life on your own terms, regardless of the consequences. With its driving guitar riffs, thunderous drumming, and Lemmy’s unmistakable growl, “Born to Lose” delivers a powerful message of defiance and resilience. It’s a track that resonates with those who walk the edge, embracing their fate with an unapologetic swagger.

Motörhead, with their signature blend of speed, aggression, and attitude, have always been a band for the outcasts and the misfits—those who, like the song says, were “Born to Lose.” Yet, in the face of adversity, there’s a sense of victory in their defiance, a refusal to conform or surrender. “Born to Lose” is more than just a song; it’s a rallying cry for anyone who’s ever felt like they’re up against the world but keeps fighting back anyway.

Gotham City Police Headquarters & 55+ years later the Warner Bros studio backlot.

Merchant of Speed – Big Daddy Don Garlits – legal at 95% nitro…

Jap Crap…

Knock Knock by Jakub Rozalski…

Harley Davidson VLD1200 from 1935 ex Madrid police

H.G. Wells’ The War of the Worlds is a legendary tale of alien invasion that has been adapted into various formats since its publication in 1898. One of the most notable adaptations is the 1953 film produced by Paramount Pictures, titled The War of the Worlds. This film brought H.G. Wells’ terrifying vision of a Martian invasion to the silver screen with groundbreaking special effects for its time.

Directed by Byron Haskin and produced by George Pal, the film departs from Wells’ original setting in Victorian England, placing the action in 1950s California. The plot follows the desperate struggle of humanity as the Martians unleash their advanced technology on Earth, laying waste to cities and incinerating everything in their path. The iconic Martian war machines, with their deadly heat rays and protective force fields, became a visual representation of the story’s underlying themes of survival and the potential fragility of human civilization.

Released by Paramount Pictures, the film was both a critical and commercial success, winning an Academy Award for Best Special Effects and leaving a lasting impact on the science fiction genre. The movie is a prime example of how classic literature can be reimagined for a new era, while still retaining the core essence of the original work.

The War of the Worlds remains a landmark in cinematic history, continuing to inspire adaptations and retellings that explore humanity’s response to the unknown and the terrifying possibility that we are not alone in the universe.

Give me the willies …

Joan and Debs…

Prehistoric …

Burt Munro’s Indian Scout, famously known as the “Munro Special,” is a legendary motorcycle that captured the world’s attention with its incredible speed and ingenuity. In 1953, during beach speed trials in New Zealand, Burt Munro pushed his highly modified 1920 Indian Scout to a jaw-dropping speed of 123.831 mph, setting a record that stood as a testament to his relentless pursuit of speed.

This was no ordinary Indian Scout. Munro had spent decades meticulously modifying and tuning his bike, transforming it from a modest 600cc machine into a beast capable of challenging and surpassing the speeds of modern motorcycles. The “Munro Special” was fitted with a homemade streamline fairing and numerous custom-engineered parts, reflecting Munro’s ingenuity and determination. He crafted many of these modifications in his small workshop, using only basic tools and materials.

Burt Munro’s legacy, immortalized in the film “The World’s Fastest Indian,” continues to inspire motorcycle enthusiasts around the globe. His story is one of passion, innovation, and the relentless pursuit of a dream, making the “Munro Special” one of the most iconic motorcycles in the history of land speed racing.

In this iconic behind-the-scenes photo from the set of Abbott and Costello Meet Frankenstein (1948), we see the towering Glenn Strange, who played the Frankenstein Monster, holding the stunning Ann Blyth, dressed as a mermaid. Strange, who was the third actor to play the Monster in Universal’s classic horror series, brought a sense of pathos and physicality to the role that made his portrayal memorable. Ann Blyth, known for her roles in musicals and dramas, seems to have swapped genres momentarily in this playful shot. This moment captures a lighter side of classic Hollywood horror—where even the most fearsome monsters took time to share a smile with their glamorous co-stars.

Thirst for Hurst – Ms Linda Vaughan

Debs…

“Looking for Trouble” by Gil Elvgren is a quintessential example of classic pin-up art, capturing the playful and slightly mischievous charm that Elvgren was known for. In this piece, a beautiful, confident woman is depicted in a provocative yet humorous scenario—she’s holding a small gun, seemingly ready to defend herself, but her pose and expression suggest she’s more likely to cause trouble than avoid it.

Elvgren, a master of the pin-up genre, often infused his work with a sense of narrative, making each piece more than just a static image of beauty. “Looking for Trouble” is no exception; it tells a story of a woman who is both alluring and formidable, embodying the spirit of the mid-20th century’s playful yet empowered femininity.

The artwork’s blend of glamour and humor, combined with Elvgren’s impeccable technique, makes it a standout piece in the world of pin-up art. Whether she’s truly looking for trouble or just a bit of fun, one thing is clear—this dame is ready for anything!

Freddie Mercury warming up backstage. Photo by Neal Preston.

The 1925 Rolls-Royce Phantom I, famously known as the “Round Door Rolls” or “Jonckheere Coupe,” is one of the most iconic and distinctive classic cars ever created. Originally built as a standard Phantom I with a Hooper Cabriolet body, this particular Rolls-Royce underwent a dramatic transformation in 1934 by the Belgian coachbuilder Jonckheere, who gave it its now-famous aerodynamic design.

What makes the Round Door Rolls truly stand out are its unique design features. The car’s most striking element is its large, perfectly circular doors, which give it its nickname. The overall design is streamlined and futuristic, with a sweeping fastback rear, a prominent vertical tailfin, and an unconventional modification of the traditionally upright Rolls-Royce grille, which was sloped to match the car’s sleek profile. The car’s exterior is both elegant and imposing, embodying the Art Deco style that was popular during the 1930s.

Despite its grandeur and beauty, the Round Door Rolls was far from practical. Weighing almost four tons and powered by a 7.7-liter straight-six engine that produced just 108 horsepower, the car was not particularly fast or agile. However, its sheer presence and the audacity of its design made it a showstopper wherever it went.

The Round Door Rolls has a storied history, including being displayed at the 1936 Cannes Concours d’Elegance, where it won the “Prix d’Honneur.” After passing through various owners and even spending time neglected, the car was eventually restored to its former glory. Today, it resides in the Petersen Automotive Museum in Los Angeles, where it continues to captivate visitors with its blend of luxury, eccentricity, and historical significance. The Round Door Rolls is not just a car; it’s a rolling piece of art that represents the height of bespoke automotive craftsmanship.

Julie Newmar

Iggy Pop with the Ramones at CBGBs. Photo by Roberta Bayley

The King

10 out of 10!

Barbara Roufs was pure dynamite on the drag strip scene in the 1970s—a vibrant burst of energy in the world of high-octane, rubber-burning action. Known as the “Queen of the Drag Strip,” she wasn’t just a trophy girl; she was an icon of the era, bringing a unique blend of glamour and grit to the races. With her bold outfits and magnetic vibe, Barbara embodied the wild spirit of the 70s, adding a touch of cool to the high-speed, testosterone-fuelled drag racing world.

Roufs wasn’t just about the looks, though—she was all about the scene, a key figure who made each event feel like a party with engines roaring and adrenaline pumping. Her presence was the perfect mix of style and substance, making her a fan favourite and a lasting legend in drag racing culture. Even today, she’s remembered as the heartbeat of the strip, a symbol of an era when racing was more than just speed—it was a full-throttle celebration of life.

Mary Ryan of Redcliffe, and Judy Brannellyn, of Clontarf, at the ‘Ekka’ in 1952. Courier Mail pic.

Indian Motorcycles, one of America’s most iconic and storied brands, has a rich history that spans over a century. From its inception to its pivotal role in shaping the motorcycle industry, Indian has left an indelible mark on American culture and engineering. Let’s take a closer look at some lesser-known facts that highlight Indian Motorcycles’ fascinating journey.

Indian Motorcycle was founded in 1901 by George M. Hendee and Oscar Hedstrom, originally as the Hendee Manufacturing Company. The brand adopted the name “Indian” to symbolize American heritage and strength, making it the oldest American motorcycle brand and a true trailblazer from the start.

In 1907, Indian introduced the first American V-twin engine, setting the stage for the dominance of V-twin engines in the motorcycle industry. This innovation became a blueprint for future cruiser and touring bikes, a legacy that continues today.

The “Indian Scout,” introduced in 1920, quickly became a legend for its exceptional balance of power and agility, earning a place in the hearts of riders and racers alike. Its legacy lives on in modern versions that pay homage to the original design.

Indian Motorcycles played a significant role in both World Wars, supplying nearly 50,000 motorcycles to the U.S. military during WWI. In WWII, Indian developed specialized models like the Indian 841, designed for desert warfare, showcasing the brand’s adaptability and engineering prowess.

Burt Munro, a New Zealand racer, famously set a land speed record in 1967 on a heavily modified 1920 Indian Scout. His incredible feat was later immortalized in the film The World’s Fastest Indian, starring Anthony Hopkins, further cementing Indian’s place in motorcycling history.

In 1911, Indian rider Jake DeRosier became America’s first motorcycle racing champion, helping to establish Indian’s reputation as a leader in performance and innovation.

The Indian Four, introduced in 1927, featured a smooth and powerful four-cylinder engine that set a new standard in motorcycle performance. Although production ceased in 1942, the Indian Four remains a highly sought-after collectible today.

Indian was also a pioneer in motorcycle suspension technology. In 1913, the brand introduced the first production motorcycle with full suspension, significantly improving ride comfort and handling—long before its competitors adopted similar technology.

The iconic Indian headdress logo and the “Chief” name were introduced in the 1920s, becoming synonymous with the brand. These symbols, deeply rooted in Native American imagery, continue to be central to Indian’s identity.

Indian’s “Wrecking Crew,” one of the first factory-supported racing teams, dominated American motorcycle racing in the early 1900s. Their success on the racetrack contributed to Indian’s reputation for speed and reliability.

After years of changing ownership and uncertainty, Indian Motorcycles was revitalized by Polaris Industries in 2011. Polaris invested heavily in reestablishing Indian as a premier American motorcycle brand, leading to a successful resurgence in the market.

The rivalry between Indian and Harley-Davidson dates back to the early 1900s. This fierce competition on both the racetrack and in the consumer market has fueled the growth of American motorcycle culture for over a century.

In 1914, Indian was ahead of its time, introducing the first motorcycle with an electric starter. This innovation made riding more accessible and comfortable, showcasing Indian’s commitment to pushing the boundaries of motorcycle technology.

Indian motorcycles have always been a favorite for customization. From the early days of bobbers and choppers to today’s modern custom scene, Indian bikes provide a canvas for riders to express their individuality and creativity.

These lesser-known facts highlight the profound impact Indian Motorcycles has had on the industry and its enduring legacy as a symbol of American innovation and craftsmanship. Whether through groundbreaking designs, contributions to war efforts, or its ongoing rivalry with Harley-Davidson, Indian Motorcycles continues to be a revered name in the world of motorcycling.

Carroll Shelby, the legendary American automotive designer, race car driver, and entrepreneur, is an icon whose influence on the automotive world is unparalleled. From his early days in Texas to becoming a motorsport legend, Shelby’s life was marked by innovation, speed, and an unwavering competitive spirit.

Born on January 11, 1923, in Leesburg, Texas, Carroll Shelby’s love for speed was evident even during his military service as a flight instructor and test pilot during World War II. However, despite his future success in motorsport, Shelby faced a serious challenge: a heart condition diagnosed in his early years. This didn’t stop him from racing; he famously took nitro-glycerine pills during races to manage chest pain.

Shelby’s most famous achievement as a driver was his victory at the 1959 24 Hours of Le Mans, where he drove an Aston Martin DBR1 alongside British driver Roy Salvadori. This win cemented his reputation as a top-tier race car driver. However, due to his heart condition, Shelby retired from racing in 1960 and shifted his focus to automotive design, where he would leave an even greater mark.

In 1962, Shelby founded Shelby American and created the Shelby Cobra by combining the lightweight British AC Ace chassis with a powerful Ford V8 engine. The Cobra became an American icon, dominating the racing scene in the 1960s. Shelby’s partnership with Ford continued with the creation of the high-performance Shelby Mustang GT350 in 1965, solidifying the Mustang’s place as a muscle car legend.

Shelby’s rivalry with Ferrari is the stuff of legend, particularly his role in the development of the Ford GT40, which was designed to take on Ferrari at Le Mans. The GT40 went on to win Le Mans four times in a row from 1966 to 1969, forever cementing Shelby’s legacy in motorsport history.

To further compete in international endurance racing, Shelby developed the Shelby Daytona Coupe. This car won the GT class at the 1965 24 Hours of Le Mans and helped Shelby American secure the FIA World Sportscar Championship.

But Shelby’s talents weren’t limited to cars—he was also a connoisseur of chili, even marketing his own line of chili products under the brand “Carroll Shelby’s Original Texas Chili.” His philanthropic efforts were equally impressive; in 1991, he established the Carroll Shelby Foundation, which provides assistance to children in need of medical care and supports education and automotive training for young people.

In the late 1990s, Shelby developed the Shelby Series 1, the only car designed and built from the ground up by Shelby American. This car featured a modern, lightweight aluminium and carbon-fibre structure, showcasing Shelby’s continued innovation in automotive design.

Shelby’s contributions to the automotive world were recognized with multiple hall of fame inductions, including the International Motorsports Hall of Fame and the Automotive Hall of Fame, both in 1992. In the 2000s, Shelby returned to Ford, helping to design high-performance versions of the Mustang, including the Shelby GT500.

Carroll Shelby passed away on May 10, 2012, at the age of 89. However, his legacy lives on through the continued production of Shelby-branded vehicles and the work of the Carroll Shelby Foundation. His contributions to automotive design and racing have left an indelible mark on the industry, ensuring that the name Carroll Shelby will be remembered for generations to come.

Carroll Shelby at the wheel of his Aston Martin DBR1, winning the 1959 24 Hours of Le Mans.

Anjelica Huston is an American actress, director, and former model, known for her distinctive presence and her ability to bring depth to a wide range of characters. Born on July 8, 1951, in Santa Monica, California, she comes from a prominent Hollywood family. Her father, John Huston, was a legendary director, and her grandfather, Walter Huston, was an acclaimed actor.

Huston’s career took off in the 1980s, and she quickly became known for her collaborations with director Wes Anderson and her roles in films such as Prizzi’s Honor (1985), for which she won the Academy Award for Best Supporting Actress. Her portrayal of Maerose Prizzi showcased her ability to blend vulnerability with strength, and it solidified her place in Hollywood.

One of her most iconic roles is that of Morticia Addams in The Addams Family (1991) and its sequel Addams Family Values (1993). Her portrayal of Morticia, with her gothic elegance and deadpan humour, became a defining image of the character and earned her a place in pop culture history.

In addition to her acting career, Huston has also directed films, including Bastard Out of Carolina (1996) and Agnes Browne (1999). Her directorial work has been praised for its sensitivity and strong narrative voice.

Anjelica Huston continues to be a respected figure in the entertainment industry, admired for her talent, grace, and the legacy of her family’s contributions to film. Her career spans decades, and she remains a powerful force both in front of and behind the camera.

The 1958 Chevrolet Impala stands as an emblem of the late 1950s American automotive flair, capturing the exuberance and boldness that defined the era’s car design. As the first model to carry the Impala name, it was intended to be a top-tier option within the Chevrolet Bel Air lineup, yet it quickly forged its own identity as a classic.

From a design standpoint, the ’58 Impala is unmistakable. It features a wide, chrome-heavy front grille, dual headlamps, and distinctive tailfins that seamlessly extend from the rear, giving the car a futuristic, jet-inspired look. The long, sleek body was adorned with sweeping side trim and tail lights that seemed to belong more to a spacecraft than a car. Inside, the Impala continued its commitment to luxury with a spacious interior filled with high-quality materials, chrome accents, and a symmetrical dashboard that balanced form and function. The variety of premium fabrics and colors available for the seats only added to its appeal as a true statement of style and comfort.

Under the hood, the 1958 Impala offered several engine choices, catering to a range of driving preferences. While the base model came equipped with a 235 cubic inch inline-six engine, most enthusiasts were drawn to the powerful V8 options, particularly the 348 cubic inch V8. This engine provided an impressive horsepower range from 250 to 315, depending on the configuration, ensuring that the Impala wasn’t just about looks—it had the performance to match. Whether paired with a three-speed manual, a two-speed Powerglide automatic, or a three-speed Turbo Hydra-Matic transmission, the Impala delivered a smooth and responsive driving experience.

Beyond its technical specifications, the 1958 Impala left a lasting impact on American car culture. It became an instant icon, beloved by collectors and enthusiasts for its aesthetic appeal and its representation of an era when American automobiles were designed to be both beautiful and powerful. The Impala’s introduction marked the beginning of a legacy that saw it become one of Chevrolet’s most successful nameplates, a status it would maintain for decades to come.

Today, the 1958 Impala remains a highly sought-after classic, not just for its historical significance but also for its timeless style. Whether on display at car shows or held in private collections, it continues to remind us of a time when cars were as much about making a statement as they were about transportation.

Take that!

You Knucklehead

On August 16th, 1974, the Ramones played their first-ever show at the iconic New York City venue CBGB & OMFUG, marking the beginning of a new era in rock music. This performance is often credited with helping to ignite the punk rock movement, which would go on to revolutionize the music scene in the late 1970s.

The Ramones, with their raw, stripped-down sound and no-nonsense approach, stood in stark contrast to the elaborate and polished rock music that dominated the airwaves at the time. Their first show at CBGB, with its fast-paced songs, minimalist lyrics, and rebellious energy, set the stage for what punk would become—a genre that valued authenticity, simplicity, and a do-it-yourself ethos.

This debut was the start of the Ramones’ long-standing relationship with CBGB, where they would go on to play numerous shows, solidifying their status as one of the most influential punk bands of all time. The Ramones’ early performances at CBGB laid the groundwork for their eventual rise to fame, and their influence can still be felt in rock music today.

This historic event, 50 years ago, is remembered as a pivotal moment not just for the Ramones, but for the entire punk rock movement, which was about to take the world by storm.

XC Custom Coup

Blackmore being a dick…

Ritchie Blackmore, the legendary guitarist of Deep Purple, is well-known for his intense stage presence and penchant for smashing guitars, but his most infamous display of this came during the California Jam on April 6, 1974. The event, held at the Ontario Motor Speedway in California, was one of the biggest rock festivals of the era, drawing hundreds of thousands of fans. However, the festival didn’t go as smoothly as planned for Deep Purple.

Scheduled to go on later in the day, the band was pushed to start earlier due to technical issues and pressure from the festival organizers. This disruption didn’t sit well with Blackmore, who was known for his fiery temperament. Frustrated by the scheduling issues and the overall chaos, Blackmore took out his anger on his instrument in a now-legendary performance. During the set, he proceeded to smash several Fender Stratocasters, famously setting one on fire and hurling it into the audience. To top off the spectacle, he used explosives planted in his amplifiers, causing a huge pyrotechnic display that left fans and crew members alike in awe.

The California Jam incident has gone down in rock history as one of the most explosive and memorable examples of a musician “blowing off steam” on stage. It cemented Blackmore’s reputation not only as an incredible guitarist but also as a true rock ‘n’ roll wildman who wasn’t afraid to let loose in the most dramatic way possible.

Created by Donald Rust in 1994, is notable for being the 515th depiction of a pin-up model engaged in the classic act of talking on a rotary phone—a popular trope in pin-up art. Donald Rust is known for his diverse range of artwork, which includes everything from traditional portraits to vibrant, nostalgic pin-up art that captures the essence of mid-20th-century Americana.

Pin-up art, particularly from the 1940s and 1950s, often portrayed women in glamorous or playful scenarios, and the rotary phone is a recurring element, symbolizing the modernity and connectedness of the era. Rust’s painting would have been created with an appreciation for this genre, emphasizing the timeless appeal of the pin-up style combined with everyday objects that evoke a sense of nostalgia.

This particular work is a testament to the enduring popularity of pin-up art, even in the late 20th century, as artists like Rust continued to celebrate and reinterpret the classic themes that made this style iconic.

“Mama Weer All Crazee Now” is one of Slade‘s most iconic anthems, capturing the essence of the glam rock era with its high-energy, sing-along vibe. Released in 1972 as a single from their album Slayed?, the song became an instant hit, reaching No. 1 on the UK Singles Chart and solidifying Slade’s reputation as one of the most electrifying bands of the time.

The song is characterized by its driving rhythm, infectious chorus, and raw, celebratory lyrics that encourage letting loose and having a wild time. It was written by the band’s dynamic duo, Noddy Holder and Jim Lea, who drew inspiration from their experiences of performing live and the raucous, carefree spirit of their fans.

“Mama Weer All Crazee Now” is a quintessential Slade track, with Noddy Holder’s powerful vocals leading the charge, backed by Jim Lea’s thumping bass, Don Powell’s solid drumming, and Dave Hill’s gritty guitar riffs. The song became a staple of Slade’s live performances, where the band’s over-the-top stage antics and flamboyant outfits perfectly complemented the song’s wild energy.

The track’s influence extended beyond the UK, and it became a hit in several other countries as well. Its enduring appeal has led to numerous covers by other artists over the years, further cementing its place as a classic of the glam rock genre.

Whether you’re a longtime fan or new to Slade’s music, “Mama Weer All Crazee Now” is a must-listen, embodying the joyous rebellion and carefree spirit that made the 70s such a vibrant era in rock history.

Joe Petrali, often referred to as “Smokin’ Joe,” was a legendary figure in American motorcycle racing, with a career that spanned multiple disciplines including board track racing, dirt track, speed records, and hill climbs. He is celebrated as one of the most versatile and accomplished racers in the history of the American Motorcyclist Association (AMA).

Born in 1904, Joe Petrali developed a passion for motorcycles at an early age. By the time he was just 13, he had purchased his first bike, a 500cc Indian, for a mere $35. A year later, at 14, he entered his first race, setting the stage for a storied career that would see him dominate the American motorcycle racing scene.

Petrali’s talent was undeniable, and his achievements speak for themselves. He won an impressive 49 AMA national championship races, making him one of the most successful racers of his era. He was the last of the great Class A racing stars, a category of professional racers who competed at the highest levels before the advent of modern Class C racing.

One of the highlights of Petrali’s career came on March 13, 1937, when he set a new one-mile motorcycle speed record at Daytona Beach. Riding a specially built, streamlined Harley-Davidson, Petrali reached a staggering speed of 136.183 mph. This record would stand for 11 years, a testament to his skill and the advanced engineering of the motorcycle he rode. It wasn’t until 1948 that Rollie Free would break this record, famously doing so on a Vincent at the Bonneville Salt Flats.

In addition to his remarkable achievements on the track, Joe Petrali was also recognized for his contributions to the sport off the track. His AMA membership card identified him as AMA Life Member #1, underscoring his status as a pioneering figure in American motorcycling.

Petrali retired from racing after his record-setting run in 1937 but remained a revered figure in the motorcycle community until his death in 1973. His legacy continues to inspire new generations of racers and enthusiasts, and he is remembered as one of the true legends of American motorcycle racing.

Mick Jagger in 1967. Photo by Michael Cooper.

55 Street Freak 468bbc, Muncie 4 speed, 12 bolt

Jeff Beck, captured here in the comfort of his Surrey home in 1967, embodies the quintessential image of the British rock guitarist at the height of the swinging sixties. With his unmistakable Fender Telecaster resting nearby, Beck is seen indulging in a quiet moment, flipping through a music magazine, likely soaking in the latest in the world of rock ‘n’ roll. His surroundings—a modestly decorated living room, complete with a shaggy dog and the necessary music equipment—speak to the era’s blend of casualness and cultural explosion. Beck, known for his innovative guitar work and as a pioneer of the British Invasion, remains a towering figure in rock history. The tranquillity of this image contrasts with the raw energy he brought to his music, marking him as both an artist and a man deeply connected to his craft.

Never give in.

That shit’ll kill you…

Cream’s “Tales of Brave Ulysses”: The Psychedelic Odyssey That Redefined Rock

In the annals of rock history, few bands stand as towering pillars like Cream. Composed of Eric Clapton, Jack Bruce, and Ginger Baker, this supergroup blended blues, rock, and a hefty dose of psychedelic experimentation, creating a sound that defined an era and left an indelible mark on music. Among their many groundbreaking tracks, “Tales of Brave Ulysses” is a definitive masterpiece—a song that encapsulates the spirit of the late ’60s with vivid imagery, innovative guitar work, and a soundscape that still resonates today.

Released in 1967 on their Disraeli Gears album, “Tales of Brave Ulysses” is more than just a song—it’s a mythological journey into the experimental world Cream was so adept at navigating. The track, with its swirling guitar riffs, poetic lyrics, and pioneering use of the wah-wah pedal, is a sonic time capsule of the psychedelic era.

The Birth of a Classic

The story behind “Tales of Brave Ulysses” is almost as legendary as the track itself. The genesis of the song started when Australian artist and poet Martin Sharp handed Eric Clapton a set of lyrics scrawled on a napkin. These lyrics, inspired by the ancient myth of Ulysses and the dreamy, sun-soaked vibes of Ibiza, struck a chord with Clapton, who was then exploring new sonic territories. With those words in hand, Clapton crafted the music, using his newly acquired wah-wah pedal to create the song’s signature fluid, wave-like motion—a sound that would soon become synonymous with the psychedelic rock genre.

Breaking Down the Music

Jack Bruce’s bass lines are as inventive as ever, anchoring the track while allowing it to soar into the stratosphere. His vocals—dynamic, urgent, and powerful—pull listeners deeper into the narrative. Meanwhile, Ginger Baker’s drumming provides the heartbeat of the song, mixing precision with a wild abandon that elevates the track’s intensity.

Musically, “Tales of Brave Ulysses” is a prime example of controlled chaos. The song opens with Clapton’s guitar, heavily drenched in wah-wah, creating an undulating effect that perfectly mirrors the mythic journey of Ulysses. It’s not just a riff; it’s an invitation to dive into a world where reality and fantasy blur into one.

The Lyrical Odyssey

The lyrics of “Tales of Brave Ulysses,” penned by Martin Sharp, are as trippy and evocative as the music itself. They paint vivid images of “a deep blue sea,” “naked ears,” and “sunshine,” all while nodding to Greek mythology. But the lyrics aren’t just about Ulysses; they speak to the broader human experience, reflecting the spirit of exploration—both physical and spiritual—that was at the heart of the 1960s counterculture.

A Lasting Legacy

“Tales of Brave Ulysses” didn’t just resonate with its listeners—it helped to shape the future of rock music. Clapton’s innovative use of the wah-wah pedal opened new doors for guitarists, while the track’s fusion of blues, rock, and psychedelia set a new standard for what rock could be. Even today, the song stands as a testament to the creativity and daring of Cream, reminding us of a time when rock was about pushing boundaries and exploring new sounds.

Next time you listen to “Tales of Brave Ulysses,” don’t just listen—immerse yourself in it. Let the waves of sound and poetic lyrics transport you back to an era where music was more than just a listening experience—it was a journey.

1958 Corvette

“Marriage License” by Norman Rockwell for The Saturday Evening Post (June 11, 1955)

Chuck Berry, 1974. Photo by Lynn Goldsmith

Pan

The Iron Giant is a 1999 animated science fiction film directed by Brad Bird, based on the 1968 novel “The Iron Man” by Ted Hughes. Set during the Cold War in 1957, the film follows a young boy named Hogarth Hughes who befriends a massive, metal-eating robot from outer space. The robot, voiced by Vin Diesel, is initially designed as a weapon but struggles with the concept of violence, influenced by Hogarth’s belief that he can choose who he wants to be—hero or villain.

The film is notable for its deep themes of identity, choice, and the impact of warfare, delivered through the lens of a beautifully animated story. With its richly emotional narrative and superb voice acting, The Iron Giant has earned critical acclaim and a devoted fanbase, despite its initial box office struggles.

The movie blends a nostalgic 1950s Americana setting with timeless messages, making it a favourite among both children and adults. Its animation style, combining traditional hand-drawn elements with CGI, was ahead of its time, contributing to its lasting impact on the animation industry.

Over the years, The Iron Giant has been re-evaluated as a modern classic, praised for its storytelling, animation, and emotional depth. It continues to influence contemporary filmmakers and remains a poignant reminder of the human capacity for change and redemption.

Watch it here -> 1999 “Iron Giant” (FULL) – TokyVideo

The Black Strat!

The Black Strat: The Inside Story of David Gilmour’s Legendary Guitar

If guitars could tell stories, The Black Strat would have tales of innovation, heartbreak, triumph, and millions of fans. This unassuming black Fender Stratocaster has seen it all, from the highest highs of Pink Floyd’s fame to becoming the most expensive guitar ever sold at auction. Here’s a closer look at the guitar that defined not only the sound of Pink Floyd but also became a symbol of rock music itself.

How It All Began

David Gilmour bought The Black Strat in 1970, shortly after joining Pink Floyd. He picked it up at Manny’s Music in New York City, a famous shop that had supplied gear to countless musicians. Originally, it was a 1969 Fender Stratocaster with a sunburst finish, but by the time Gilmour purchased it, the guitar had been repainted black—a look that would become synonymous with Gilmour himself.

The purchase wasn’t just out of preference; it was out of necessity. Gilmour’s previous guitar, a similar Strat, had been lost during a U.S. tour in 1968. The Black Strat stepped in to fill that void and quickly became his go-to instrument, an extension of his musical voice.

Shaping the Sound: The Modifications

What makes The Black Strat so special isn’t just its history, but how it evolved alongside Gilmour’s career. Over the years, the guitar underwent numerous modifications to meet the demands of Pink Floyd’s ever-expanding sound.

Neck Swaps: Gilmour frequently swapped the guitar’s neck between maple and rosewood throughout the 1970s. Each material gave the guitar a slightly different tone, allowing Gilmour to adapt the guitar to whatever musical context he needed—whether it was the gritty riffs of “Money” or the ethereal tones in “Shine On You Crazy Diamond.”

Pickup Experiments: The Black Strat wasn’t immune to experimentation. In 1973, Gilmour installed a Gibson PAF Humbucker between the bridge and middle positions, searching for a fatter, more aggressive sound. However, he eventually returned to a traditional single-coil setup, albeit with some hot-rodded elements. The bridge pickup was replaced first by a DiMarzio FS-1 and then later by a Seymour Duncan SSL-1, both of which offered a hotter output and greater versatility.

Kahler Tremolo System: Perhaps the most drastic modification was the installation of a Kahler Tremolo System in the 1980s. This modification required cutting out a chunk of the guitar’s body, allowing Gilmour to achieve more dramatic pitch bends. However, he eventually reverted to a traditional tremolo system, restoring some of the guitar’s original feel and character.

Final Setup: By the time Gilmour was done tinkering, the only potentially original part of The Black Strat was the bridge plate. Even the tuners had been replaced with more reliable Kluson models to handle the rigors of live performance.

The Black Strat on Classic Tracks

The Black Strat is far more than just a piece of gear; it’s an integral part of some of the most iconic tracks in rock history.

“Comfortably Numb”: The soaring solos in “Comfortably Numb” are quintessential examples of The Black Strat’s tone—rich, sustaining, and filled with emotional depth. The guitar’s unique setup helped Gilmour deliver one of the most memorable guitar solos of all time.

“Money”: The funky, syncopated riff of “Money,” driven by a powerful bassline and a syncopated 7/4 time signature, also features The Black Strat in its famous solo. The cutting tone provided by the guitar’s custom pickups is unmistakable.

“Shine On You Crazy Diamond”: The haunting, echo-laden intro to “Shine On You Crazy Diamond” showcases the guitar’s ability to produce lush, ambient textures. Gilmour used The Black Strat’s tone to great effect, crafting a soundscape that’s both melancholic and expansive.

The Retirement and Resurrection

By the mid-1980s, The Black Strat had seen better days. After years of heavy use, Gilmour retired the guitar, putting it on display at the Hard Rock Cafe in Dallas, Texas. When it was returned to him in the late 1990s, the guitar was in rough shape—many parts were missing, and the guitar had suffered significant damage. Enter Phil Taylor, Gilmour’s long-time guitar technician, who undertook the meticulous task of restoring The Black Strat to its former glory.

Once restored, The Black Strat was back in action, appearing on Gilmour’s solo tours and Pink Floyd’s final performances, including their reunion at Live 8 in 2005. The guitar was also used during the recording of Gilmour’s solo album On an Island and Pink Floyd’s final studio album, The Endless River.

The Fender Custom Shop Replica

Recognizing the significance of The Black Strat, Fender’s Custom Shop worked closely with Gilmour and Taylor in 2008 to create a signature model. This wasn’t just a replica; it was a labor of love, designed to capture every detail of the original, right down to its unique wear and tear. The David Gilmour Signature Stratocaster became an instant hit among fans and collectors alike, offering them a chance to own a piece of rock history.

The Auction That Broke Records

In 2019, David Gilmour decided to auction off The Black Strat including other guitars of his as part of a charity event.

A Legacy That Endures

The Black Strat isn’t just a guitar; it’s a legend. It’s the instrument that helped create the soundtracks to countless lives and inspired generations of musicians. Whether it’s the ethereal notes of “Shine On You Crazy Diamond” or the searing solos of “Comfortably Numb,” The Black Strat has left an indelible mark on music history.

David Gilmour’s relationship with The Black Strat is a testament to the bond between a musician and their instrument. Through decades of modifications, countless performances, and some of the most famous recordings in rock history, The Black Strat has proven that it’s not just the notes that make a guitar legendary; it’s the stories behind them.

Black Strat Specific Detail:
Here’s a detailed breakdown of the specific components of David Gilmour’s Black Strat, as it was configured at the time of its 2019 auction:

Body

Type: 1969 Fender Stratocaster.

Finish: Originally sunburst, repainted black before Gilmour purchased it.

Material: Alder, a common choice for Stratocasters, known for its balanced tone.

Neck

Type: 1983 Fender ’57 reissue “C” shape neck.

Fingerboard: Maple with a 7.25″ radius, which gives it a vintage feel.

Frets: 21 vintage-style frets.

Scale Length: 25.5 inches.

Nut Width: 1.65 inches (42 mm).

Other Details: Installed during the late 1990s restoration, this neck contributed to the guitar’s bright and snappy tone.

Pickups

The pickups in The Black Strat were a key part of its sound, and each had unique specifications:

Bridge Pickup: Seymour Duncan SSL-5

Type: Single-coil

DC Resistance: Approximately 12.9 kΩ

Inductance: 4.10 Henries

Magnet Type: Alnico V

Characteristics: This custom-wound pickup was known for its higher output, providing a hotter and more powerful tone, making it ideal for Gilmour’s soaring leads.

Middle Pickup: 1971 Fender single-coil

Type: Single-coil

DC Resistance: Approximately 5.6 kΩ

Inductance: ~2.75 Henries

Magnet Type: Alnico V

Characteristics: This pickup offered a vintage tone, with a balanced and clear sound typical of early 1970s Fender pickups.

Neck Pickup: 1971 Fender single-coil

Type: Single-coil

DC Resistance: Approximately 5.6 kΩ

Inductance: ~2.75 Henries

Magnet Type: Alnico V

Characteristics: Similar to the middle pickup, this pickup provided warm, round tones, perfect for Gilmour’s clean, melodic playing.

Electronics

Pickup Selector: 5-way switch, allowing various combinations of pickups for different tonal possibilities.

Volume and Tone Controls: Standard Stratocaster setup with one master volume and two tone knobs. The tone controls were adjusted to Gilmour’s preferences for optimal sound shaping.

Pickguard

Type: Black 11-hole single-ply pickguard, installed in the mid-1970s and part of the guitar’s most recognized aesthetic.

Bridge/Tremolo System

Type: Fender synchronized tremolo bridge.

Tremolo Arm: Shortened arm, measuring approximately 4.25 inches, customized for Gilmour’s use to provide greater control during bends and vibrato.

Tuners

Type: Kluson tuners, replaced early in the guitar’s life to improve tuning stability.

Jack Plate

Type: Standard 1/4″ input jack.

Note: The guitar had previously been fitted with an XLR jack to reduce noise, which was later removed.

Condition

Overall: The guitar showed significant wear and tear from decades of use, including scratches, dings, and areas where the finish had worn through to the wood. These elements, rather than detracting from its value, added to the guitar’s character and historical significance.

David Gilmour’s Gear: The Amps, Pedals, and Effects That Defined Pink Floyd’s Sound

David Gilmour’s guitar sound is as iconic as the music of Pink Floyd itself. It’s atmospheric, soaring, and incredibly detailed—a perfect match for the band’s expansive and often otherworldly soundscapes. But what gear did Gilmour use to create those legendary tones? Here’s a rundown of the amps, pedals, and effects that were key to his sound.

Amps: The Backbone of Gilmour’s Tone

Hiwatt Custom 100 DR103: If there’s one amp that’s synonymous with Gilmour, it’s the Hiwatt DR103. Known for its massive headroom and clean tone, this amp was Gilmour’s go-to for much of his work with Pink Floyd. It’s what powered the crystalline chords on The Dark Side of the Moon and the epic solos on The Wall. The Hiwatt’s ability to stay clean even at high volumes made it perfect for handling Gilmour’s extensive pedalboard.

Alembic F-2B Preamp: In the studio, Gilmour often used this tube preamp, which is based on the classic Fender Showman circuit. It added warmth and richness to his tone, especially when used to drive his effects chain. You can hear its influence on many of the band’s mid-70s records.

Fender Twin Reverb: For those sparkling clean tones, Gilmour also relied on the Fender Twin Reverb. This amp’s bright, clear sound was ideal for the clean passages in tracks like “Shine On You Crazy Diamond,” where every note needed to ring out with perfect clarity.

Pedals and Effects: The Secret Sauce

Electro-Harmonix Big Muff Pi: The Big Muff is the pedal behind those massive, singing lead tones that define solos like “Comfortably Numb.” Gilmour’s use of the Big Muff is legendary, giving him that thick, sustaining distortion that cuts through any mix.

Binson Echorec: This echo unit wasn’t just an effect; it was practically an instrument in itself. Gilmour used the Echorec to create those lush, multi-layered delays that became a hallmark of Pink Floyd’s sound. Think of the rhythmic echoes on “Time”—that’s the Echorec at work.

Electro-Harmonix Electric Mistress: This flanger was a big part of Gilmour’s setup, especially during the late 70s and early 80s. You can hear its sweeping, jet-like sounds on tracks like “Run Like Hell,” adding depth and movement to the guitar parts.

Uni-Vibe: The Uni-Vibe’s swirling, chorus-like effect was another key to Gilmour’s sound, especially on live versions of songs like “Breathe.” It added a subtle, pulsing texture that made his clean tones even more hypnotic.

Dallas Arbiter Fuzz Face: Before the Big Muff, there was the Fuzz Face. Gilmour used this classic fuzz pedal on earlier Pink Floyd records, helping to define the band’s early, more experimental sound.

MXR Phase 90: This simple phaser was often used by Gilmour to add a touch of modulation to his solos, giving them a bit of extra depth and movement.

Rack Gear and Custom Pedalboards

Pete Cornish Custom Pedalboards: By the late 70s, Gilmour’s rig had become so complex that he started working with Pete Cornish, who built custom pedalboards to organize and maintain his growing collection of effects. Cornish’s boards helped Gilmour achieve a consistent sound whether he was in the studio or on stage.

TC Electronic 2290 Digital Delay: In the 80s and 90s, Gilmour added this high-end digital delay to his setup. The 2290 offered pristine, clear repeats and allowed for complex delay patterns that added a new dimension to his sound.

Lexicon PCM 70: This rack unit was another studio staple, providing rich, ambient reverb and delay effects. It’s part of what gave Gilmour’s later recordings their expansive, cinematic quality.

Wrapping It All Up

David Gilmour’s gear was as much a part of his artistry as his playing. From the robust clean tones of his Hiwatt amps to the swirling effects of his pedalboard, each piece of equipment was carefully chosen to craft the ethereal, powerful sound that became Pink Floyd’s signature. Gilmour’s approach to his gear was meticulous, and his ability to harness the technology of his time made him not just a great guitarist, but a true innovator in the world of rock music.

The other gear

David Gilmour also owned and used a vast array of instruments throughout his career. Here are some of the most notable ones, each contributing to the iconic sound that defined so many Pink Floyd albums:

1955 Gibson Les Paul Goldtop

This guitar, fitted with P-90 pickups, was used extensively during the recording of The Wall. Gilmour played it on tracks like “Another Brick in the Wall (Part 2)” and “Comfortably Numb,” where its warm, rich tones complemented his lead work. The Les Paul’s distinctive sound is part of what makes these solos stand out.

Fender Telecaster

Custom 1959 Telecaster: Gilmour acquired this guitar in the early 1970s, and it became one of his main instruments for slide guitar. The maple-necked Telecaster was famously used on the solo for “Run Like Hell” from The Wall and the rhythm parts of “Dogs” from Animals.

1955 Esquire: Another Telecaster variant that Gilmour used is a 1955 Fender Esquire. It’s known for its distinctive single-pickup setup and was notably used during the recording of “Dogs.” Its sharp, biting tone gave an edge to many of Gilmour’s recordings.

Martin D-35 Acoustic

Gilmour’s 1969 Martin D-35 was his go-to acoustic guitar for many of Pink Floyd’s recordings. It features prominently on tracks like “Wish You Were Here” and “Goodbye Blue Sky.” The D-35’s balanced tone and resonance made it ideal for the delicate, fingerpicked parts that Gilmour often played.

Fender Stratocasters

Candy Apple Red Stratocaster: This guitar was fitted with EMG pickups and was often used during the 1980s and 1990s, especially for live performances. The EMG pickups gave the guitar a cleaner, more powerful tone, which suited the more modern sound Gilmour was going for during this period.

#0001 Stratocaster: This guitar is part of the Fender Stratocaster’s early history, and while not the actual first Stratocaster made, it is one of the earliest, marked with the serial number #0001. Gilmour acquired this guitar later in his career, and it’s noted for its vintage vibe and exceptional build quality.

Bill Lewis Custom 24-Fret Guitar

This custom guitar, made by Canadian luthier Bill Lewis, features 24 frets, which is unusual for a guitar used by Gilmour, who typically preferred the 21-fret design of vintage Fender Stratocasters. The Lewis guitar was used during the recording of The Dark Side of the Moon, particularly on the song “Money,” where the extended fret range allowed Gilmour to achieve higher notes that were integral to the solo.

Ovation 1619-4 Steel-String Acoustic

Gilmour used this acoustic guitar for live performances in the late 1970s and early 1980s. The Ovation’s unique bowl-back design helped project a louder, more resonant sound, making it ideal for stage use.

Gibson J-200 Acoustic

This large-bodied acoustic guitar was used by Gilmour during the recording of Pink Floyd’s Final Cut and A Momentary Lapse of Reason albums. Its deep, rich tones can be heard on tracks like “The Final Cut” and “On the Turning Away.”

Gretsch Duo Jet

Gilmour used a Gretsch Duo Jet, notably during the recording sessions for The Division Bell. This guitar, with its distinct humbucker pickups and chambered body, added a different texture to Gilmour’s sound.

These instruments, each with their unique characteristics, contributed to the vast array of tones and textures that David Gilmour brought to Pink Floyd’s music. His careful selection of guitars, combined with his signature playing style, helped create the timeless soundscapes that continue to influence musicians around the world.

Pink Floyd’s Dave Gilmour sells $21.5 million guitar collection and donates proceeds to fight global warming (newatlas.com)

My attempt at a build.

Jayne Mansfield 1956

One small lunch for man… One great lunch for mankind!

Andrew Ritchie

Runaways 

Shirley MacLean as The Bat Lady in “Artists and Models” 1955

In the 1955 musical comedy “Artists and Models,” Shirley MacLaine stars as Bessie Sparrowbush, who doubles as “The Bat Lady,” a character from a popular comic book series that plays a central role in the plot. The film, directed by Frank Tashlin, is a colorful and lively depiction of 1950s pop culture, blending romance, rivalry, and humor with song-and-dance numbers.

The story revolves around Rick Todd (Dean Martin), an aspiring artist, and his roommate Eugene Fullstack (Jerry Lewis), who is obsessed with comic books, particularly the Bat Lady series. Eugene’s vivid dreams and nightmares, inspired by the comic books, become a source of inspiration for Rick, who uses them to create his own comic book series. As Rick pitches his series, they both become entangled with Abby Parker (Dorothy Malone), who is fired as the original artist for the Bat Lady, and Bessie, who Eugene unwittingly meets, unaware that she is the model for his favorite comic character.

Shirley MacLaine’s portrayal of Bessie Sparrowbush as The Bat Lady adds a layer of charm and playfulness to the film. Her character embodies the glamour and fantasy of the comic book world, which contrasts with the real-life struggles and comedic mishaps of the main characters. The film’s combination of humour, romance, and musical elements, along with MacLaine’s charismatic performance, makes “Artists and Models” a quintessential example of mid-century Hollywood entertainment.

Watch it here -> Artist and Models (1955)

Watch out for the pointy bit! Artwork by Al Buell.

Soul Food…

Moon the Loon…

Mexican standoff…

Oh Jayne!