Mid-Week Big Boy 24.09.11

Sid Vicious, born John Simon Ritchie on May 10, 1957, became one of the most iconic and controversial figures in punk rock history. He is best known as the bassist for the Sex Pistols, a band that defined the punk movement of the late 1970s. Vicious joined the band in 1977 after Glen Matlock’s departure, even though he had little experience as a musician. His punk image and chaotic personality, however, embodied the spirit of the movement, quickly making him a cult figure.

Sid’s time with the Sex Pistols was brief but impactful, particularly during their infamous U.S. tour in 1978, which ended with the band’s disintegration. His relationship with Nancy Spungen, an American groupie, was equally infamous and fueled much of his tragic descent. The couple’s drug use escalated to dangerous levels, and in October 1978, Nancy was found dead from a stab wound in their hotel room at the Chelsea Hotel in New York. Sid was charged with her murder but died of a heroin overdose on February 2, 1979, before the trial could take place.

Vicious’ legacy is one of rebellion and tragedy, symbolizing the darker side of the punk rock lifestyle. Despite his short life and limited musical ability, his influence on the punk movement and popular culture endures.

Hop in, cool cats, because Ghost of Dragstrip Hollow (1959) is gonna take you on a wild ride through the swingin’ 50s! This 1959 flick is where hot rods meet haunted houses, and boy, does it deliver on the kicks. Picture this: a gang of greaser teens who are more into souped-up engines than spooky spirits. When they get booted from their garage, where do they end up? You guessed it—a creaky old mansion that’s got a few more ghosts than gaskets!

But these cats don’t scare easy. Instead of beating it, they crank up the fun with a monster mash costume party right in the middle of the ghostly goings-on. It’s a blast from the past, packed with all the cool lingo and wild rides that made the 50s roar. The flick’s not about giving you the willies—nah, it’s all about good times, groovy tunes, and that perfect mix of hot rod and horror.

So if you’re into drag races, haunted places, and a whole lotta laughs, Ghost of Dragstrip Hollow is your ticket to ride. It’s a real gas, man, and the perfect trip down memory lane for any hep cat who digs the era of fast cars and crazy scares!

Little Debbie … Little Debbie Please come home!

Sweet

Always make sure there is enough fibre in your diet!

18 Million Views – Must be doing something right!

Deep Purple’s live performance of “Lazy” in Scandinavia, 1972, showcases the band’s chemistry and musical brilliance at their absolute peak. This track, from their Machine Head album, highlights the iconic “Mark II” lineup: Ian Gillan on vocals, Roger Glover on bass, Ian Paice on drums, Jon Lord on keyboards, and Ritchie Blackmore on guitar.

In the first four minutes of the live rendition, the band builds an epic atmosphere through improvisational interplay. Jon Lord’s Hammond organ and Ritchie Blackmore’s bluesy guitar licks engage in a call-and-response that feels like a conversation between virtuosos. Ian Paice’s tight, jazzy drumming and Roger Glover’s steady bass anchor the jam, creating a groove that steadily escalates in intensity.

The buildup is a slow burn, full of dynamics and rich with musical tension, until the band drops into the instantly recognizable main riff, igniting the crowd. Ian Gillan’s vocals and harmonica complement the driving energy of the song, but it’s really the instrumental synergy and spontaneous musicianship of the band that makes this performance legendary.

What sets this version apart is not just the technical skill but the organic energy and interaction between the band members, creating a nearly tangible synergy. If you haven’t yet, be sure to check out the performance to witness one of the greatest live rock moments of the era.

Tom Tyler as The Phantom / Ace the Wonderdog as Devil – The Phantom (1943)

1958FL

The Dream Team – Philthy, Lemmy & Fast Eddie

Robby the Robot, from Forbidden Planet (1956), is indeed one of the most iconic and beloved robots in cinema history. His design, sophistication, and cost set him apart from many other cinematic robots of the era. Created at a time when special effects were in their infancy, Robby stood out not only because of his sheer size but also due to the advanced construction techniques used to bring him to life.

Designed by MGM’s art department and mechanical designer Robert Kinoshita, Robby had a budget-breaking cost of around $125,000, which accounted for a significant portion of the film’s $1.9 million budget. This investment highlighted MGM’s dedication to making Robby an essential and believable character within the film. Kinoshita, also known for his later work designing the robot for Lost in Space, gave Robby a futuristic yet functional aesthetic that would later influence robot designs in science fiction.

Robby’s construction utilized multiple materials, including metal, plastic, rubber, and Plexiglas, to create an alien, otherworldly appearance while still functioning as a wearable suit for the actor inside. Standing over seven feet tall, Robby was made in three detachable parts: legs, torso (which included arms), and head. Inside, stuntmen Frankie Darro and later Frankie Carpenter operated the robot, providing the physical movements for Robby while the voice was dubbed separately by actor Marvin Miller in post-production.

The robot’s voice synchronized with flashing neon tubes in his headpiece, a result of intricate voice-activated circuits. The complex internal mechanisms were visible beneath Robby’s transparent dome, adding a level of detail that fascinated audiences and made him a unique character, rather than a mere prop.

Robby’s impact extended beyond Forbidden Planet, with numerous appearances in other films and television shows, including episodes of The Twilight Zone, The Addams Family, and Lost in Space. Despite newer and more advanced robots entering pop culture, Robby has retained his charm and remains a symbol of mid-20th century science fiction’s optimistic view of the future.

Robby’s blend of detailed craftsmanship, practical effects, and innovative technology firmly cemented his place in the pantheon of iconic cinematic robots.

“Echoes” by Pink Floyd, performed live in Pompeii, is an iconic piece of music history that blends the mystique of ancient ruins with the psychedelic soundscapes of one of the greatest rock bands of all time. Filmed in 1971 in the hauntingly empty ruins of the Roman amphitheatre in Pompeii, Italy, this performance is part of the “Pink Floyd: Live at Pompeii” concert film directed by Adrian Maben.

“Echoes,” a 23-minute epic track from their 1971 album Meddle, is the centrepiece of this unique performance. The song is a journey through space and time, starting with a single “ping” from Richard Wright’s keyboard that gradually builds into a cosmic odyssey of sound. David Gilmour’s soaring guitar solos, Nick Mason’s intricate drumming, Roger Waters’ deep bass lines, and Wright’s atmospheric keyboards combine to create a musical experience that transcends the ordinary.

The Pompeii setting adds an otherworldly dimension to the performance, with the band playing to an audience of ancient statues and crumbling walls. The visuals of volcanic landscapes, along with the band’s ethereal music, create a surreal atmosphere that perfectly complements the themes of exploration, alienation, and the unknown that run through “Echoes.”

This performance is often hailed as one of Pink Floyd’s most powerful and innovative, showcasing their ability to fuse music, visuals, and environment into a cohesive and immersive experience. The “Live at Pompeii” film has since become a cult classic, revered by fans for its raw, unfiltered depiction of the band at the height of their creative powers.

For anyone looking to understand the true essence of Pink Floyd, “Echoes” at Pompeii is a must-see, capturing the band not just as musicians, but as artists pushing the boundaries of what rock music could be.

Bette Davis -1930s – So much for THOSE eyes huh!

“This shark, swallow ya whole.”

Did you know Great white sharks have serrated bladelike teeth with the upper jaw containing a row of 23-28 teeth and their lower jaw 20-26 teeth. These triangular teeth can reach up to 6.6 inches in height.

“Eavesdropping on Sis” by George Hughes (1949), captures a moment that is both nostalgic and revealing of the era’s domestic life. The scene is set in a typical American household, where a young girl is sneaking a listen to her older sister’s telephone conversation. The landline phone, prominently featured in the painting, is a bulky, black rotary dial model, likely attached to the wall by a coiled cord—commonplace in homes of that time but alien to the younger generations today.

In this era, having just one telephone in the house, usually placed in a central, high-traffic area like the kitchen or hallway, meant that privacy was a rare commodity. Any conversation, especially those involving teenage crushes or secret plans, could easily be overheard by family members. Hughes captures this reality with a touch of humor and warmth, highlighting the curious nature of sibling relationships and the universal experience of trying to sneak a listen in a world where privacy was hard to come by.

Today, with the advent of mobile phones and private communication channels, such a scene feels almost foreign. Modern technology has drastically changed the way we communicate, often in the privacy of our own rooms or on the go, far from the prying ears of siblings or parents. However, this painting serves as a charming reminder of a time when eavesdropping was a shared family activity, and the phone was a central hub of household life.

Ford Falcon 500 GS 351 Ute (XB Series) – Sweet Ute!

George Gross

Maureen McCormick is best known for her role as Marcia Brady on the iconic television show The Brady Bunch, which aired from 1969 to 1974. Born on August 5, 1956, in Encino, California, McCormick became a beloved figure in American pop culture, embodying the all-American girl-next-door with her portrayal of the eldest Brady daughter. Her role as Marcia cemented her as a symbol of the wholesome, optimistic family values that the show promoted, and the catchphrase “Marcia, Marcia, Marcia!” became a part of TV history.

Beyond The Brady Bunch, McCormick’s career has been a journey of both triumphs and challenges. After the show ended, she faced difficulties in shedding her Marcia Brady image, which led to struggles with personal demons, including battles with addiction and depression. However, McCormick showed incredible resilience, eventually overcoming these challenges and reinventing herself in the entertainment industry.

She continued to work in television, appearing in various Brady Bunch reunions, TV movies, and reality shows, including Celebrity Fit Club and Dancing with the Stars. Her 2008 autobiography, Here’s the Story: Surviving Marcia Brady and Finding My True Voice, became a New York Times bestseller, offering an honest and introspective look at her life behind the scenes of fame.

Today, Maureen McCormick remains a symbol of perseverance and the enduring appeal of classic television, continuing to connect with fans both new and old through her work and public appearances.

Filler up!

Playgirl After Dark, also known in the U.S. as Too Hot to Handle, is a 1960 British drama film that starred the iconic Jayne Mansfield as Midnight Franklin, a sultry and captivating burlesque dancer performing in London’s seedy Soho district. Mansfield, already known for her blonde bombshell persona, added her signature blend of allure and charm to the role, portraying a nightclub performer entangled in a world of crime, love, and intrigue.

Midnight Franklin is a dancer at the famous “The Pink Flamingo” nightclub, which is run by her boyfriend. The plot weaves through the underworld of Soho, where Midnight navigates the pressures of being a performer while dealing with a gangster trying to take over the nightclub. Mansfield’s portrayal of Midnight added depth to her character beyond the glamorous facade, showcasing her talents in a more dramatic setting.

The film was notable for combining elements of noir and drama with the glamorous world of burlesque, appealing to Jayne Mansfield’s star power and drawing in audiences with its steamy and risqué tone. Though it didn’t reach the heights of her other hits, Playgirl After Dark is still remembered for its place in the pantheon of 1960s films that pushed the boundaries of sexuality and style.

Suzi Quatro’s “Can the Can“ is the raw, rebellious anthem that rocketed her to international stardom in 1973. With its tough-as-nails attitude, the track is a blistering blend of glam rock swagger and Quatro’s signature bass-driven punch. At the time, Quatro was redefining what it meant to be a woman in rock, smashing stereotypes with her leather-clad, no-nonsense persona while wielding her bass like a weapon.

The track’s cryptic title—”Can the Can”—adds to its cool mystique. According to Suzi, it’s all about achieving the impossible, which fits her journey to the top perfectly. Produced by the legendary songwriting duo Nicky Chinn and Mike Chapman, the song is drenched in gritty guitar riffs and a relentless rhythm, making it the ultimate power anthem for anyone looking to break down barriers.

Suzi’s raw energy and rock ‘n’ roll attitude in “Can the Can” not only secured her place as the Queen of Glam Rock but also paved the way for countless female artists who followed. It’s the sound of an era when rock was loud, unapologetic, and just a little dangerous.

Gilligan’s Island is one of the most beloved and iconic television shows of the 1960s, capturing the hearts of viewers with its unique blend of humour, adventure, and memorable characters. Created by Sherwood Schwartz, the show originally aired on CBS from September 26, 1964, to April 17, 1967, spanning three seasons and 98 episodes.

The series is centred around a group of seven castaways who are stranded on a deserted island after a “three-hour tour” goes awry. The group includes the bumbling yet lovable first mate Gilligan, played by Bob Denver; the authoritative and often exasperated Skipper, portrayed by Alan Hale Jr.; the millionaire couple Thurston Howell III and Lovey Howell, played by Jim Backus and Natalie Schafer; the movie star Ginger Grant, brought to life by Tina Louise; the brilliant yet somewhat socially awkward Professor, portrayed by Russell Johnson; and the sweet, girl-next-door Mary Ann Summers, played by Dawn Wells.

Despite its relatively short run, Gilligan’s Island became a cultural phenomenon, largely due to its simple premise, quirky humour, and the chemistry among its cast. Each episode typically revolved around the group’s attempts to escape the island, only to be thwarted by Gilligan’s clumsiness or unforeseen circumstances. The show’s slapstick comedy, combined with light-hearted social satire, made it a hit with audiences of all ages.

Over the years, Gilligan’s Island has enjoyed a lasting legacy, with numerous reruns, spin-offs, TV movies, and even animated series. The characters and the theme song, “The Ballad of Gilligan’s Island,” have become ingrained in American pop culture, making the series a nostalgic favourite for many.

Even decades after its original airing, Gilligan’s Island remains a cherished piece of television history, remembered fondly for its charm, wit, and the enduring appeal of its cast of castaways.

Back when catalogues had the good stuff!

Disney Memories…

“Superstition”…this crusty old ’57 Gasser has probably been on here before but I thought it was cool & wanted to share. A true “barn find” Survivor complete with a blown Pontiac Engine!

Jungle Pam

Virginia Bell was a popular American actress and model born on August 14, 1934, in Montrose, California. Rising to fame during the 1950s and 60s, she became a notable figure in the pin-up and burlesque scene, renowned for her curvaceous figure and captivating presence. Bell appeared in several adult-themed films, with some of her most recognized work including Bell, Bare and Beautiful (1963) and Scanty Panties (1961). Her charm and appeal made her a frequent figure in men’s magazines and photo spreads of the time.

Aside from her modeling and acting career, Bell had an interesting personal life, having been married multiple times, including to Alexander White, Charles Merle Bell, and Eli Herman Jackson. She passed away on July 18, 2010, in Westlake Village, California, leaving behind a legacy as one of the unforgettable icons of mid-century burlesque and pin-up culture.

Ding Dong!

Released in September 1968, Cream’s “White Room“ b/w “Those Were the Days” marked a key moment in the band’s psychedelic rock evolution. Written by bassist Jack Bruce and poet Pete Brown, “White Room” was originally slated for the Disraeli Gears album but was rejected by Atco Records. The song eventually found a home on Wheels of Fire, becoming a hit in the US, where it reached #6 on the Billboard Hot 100.

Musically, the track stands out with its moody, atmospheric sound, enhanced by Eric Clapton’s use of the wah-wah pedal and Ginger Baker’s commanding drumming, which included timpani. Felix Pappalardi, the band’s producer, also contributed by playing violas on the track. Pete Brown’s cryptic lyrics, based on a poem about a period of transition in his life, added to the song’s mystique, reflecting themes of isolation, change, and introspection.

Despite early challenges during its production, including multiple sessions across London and New York, “White Room” has become one of Cream’s signature songs and a defining piece of late 60s rock.

Carrie-Anne Moss, who brought the iconic character Trinity to life in “The Matrix” (1999), initially had her doubts about the intense physical demands described in the script. She was sceptical not only about performing the extreme acrobatic actions but also about the Wachowskis’ ability to direct such a big-budget film. However, after spending time with the Wachowskis and going through their detailed storyboard, Moss understood their vision and why others had placed their trust in the sibling directors.

Her casting process involved a gruelling three-hour physical test, giving her a taste of the rigorous training that lay ahead. To prepare for the film’s complex wire fu sequences, the actors were scheduled for four months of intense training. Renowned choreographer Woo-Ping Yuen initially had concerns about the cast’s fitness levels, but he adjusted his approach, tailoring the training to each actor’s strengths. For Moss, this meant capitalizing on her feminine grace, crafting moves that highlighted her deftness and lightness.

Seeing the first cut of “The Matrix” was a surreal experience for Moss, as it was the first time she had ever watched herself on the big screen. The film’s success led to her being instantly recognized, especially when wearing sunglasses, an accessory closely associated with her character. Moss has since expressed a deep respect for Trinity, stating that she wouldn’t take on another role similar to her out of loyalty to the character and the film.

Moss’s dedication to Trinity and her reluctance to reprise a similar role highlights her commitment to preserving the uniqueness of her performance in “The Matrix,” a film that has since become a cultural touchstone in the world of cinema.

“Hide Away” is one of Freddie King‘s most famous instrumentals, a blues classic that has stood the test of time since its release in 1961. The track was a significant hit, reaching number 5 on the Billboard R&B charts, and it also crossed over to the pop charts, a rare feat for a blues instrumental.

Freddie King, one of the “Three Kings” of the blues (along with B.B. King and Albert King), showcased his exceptional guitar playing on “Hide Away,” blending a seamless mix of Chicago blues with rock ‘n’ roll elements. The song was named after Mel’s Hideaway Lounge, a popular club in Chicago where King often played. It became a staple in the repertoire of many blues and rock guitarists and has been covered by numerous artists over the years.

The track is noted for its catchy, rolling bass line and sharp, stinging guitar riffs. It’s a perfect example of King’s ability to convey emotion and storytelling through his guitar without the need for lyrics. “Hide Away” is often cited as a must-learn piece for aspiring blues guitarists, offering a lesson in both technique and the soulful expression that King mastered so well.

King’s influence on future generations of guitarists cannot be overstated, and “Hide Away” remains one of his most enduring legacies. It captures the essence of the electric blues sound that King helped to pioneer and continues to be a favourite among blues enthusiasts around the world.

I was arrested five times this week ….

Denis Beauvais’ “Alien vs. Predator” artwork captures the intense, otherworldly showdown between two of cinema’s most iconic extraterrestrial species. In this dynamic scene, a fierce Predator grapples with a terrifying Xenomorph, with both combatants locked in a battle to the death. The artwork is rich in vibrant colours and meticulous detail, bringing to life the primal, brutal nature of their conflict.

Beauvais, renowned for his work in the sci-fi and fantasy genres, has masterfully blended the Predator’s advanced, tribal-inspired armor with the Xenomorph’s sleek, biomechanical design. The human character in the foreground, armed and ready, adds a layer of tension and human perspective to the scene, emphasizing the sheer scale and danger of these alien titans. This piece is a tribute to the ongoing fascination and popularity of the “Alien vs. Predator” universe, where every clash between these species is an epic tale of survival and supremacy.

Follow me for more food Ideas …

Wanna tell you a story ’bout a woman I know… She’s a straight razor kind of woman…
James Brown, “The King,” took his tribute to rock ‘n’ roll royalty to new heights with his electrifying rendition of AC/DC’s “Whole Lotta Rosie.” Known for his uncanny Elvis-like presence, Brown injects his powerful vocals and distinct flair into the classic hard rock anthem. His version honors both the gritty edge of the original and the raw energy that made AC/DC legendary.

Legendary EC Comics was a publisher known for its influential and controversial horror, crime, and science fiction comic books. EC Comics, short for “Entertaining Comics,” was founded by Maxwell Gaines and later taken over by his son William Gaines.

During its peak from 1950 to 1956, EC Comics published some of the most memorable and groundbreaking titles in the comic book industry, including Tales from the Crypt, The Vault of Horror, The Haunt of Fear, Crime SuspenStories, and Weird Science. The trio of hosts depicted in the image—the Crypt-Keeper, the Vault-Keeper, and the Old Witch—became iconic figures in horror culture, known for their ghastly tales filled with irony and dark humour.

However, the period marked in the image, 1950-1956, highlights a crucial era in comic book history. In 1954, the Senate Subcommittee on Juvenile Delinquency held hearings, during which comic books, especially those published by EC, were blamed for contributing to juvenile delinquency. This led to the establishment of the Comics Code Authority (CCA), which enforced strict guidelines on content, effectively censoring the graphic and mature themes that EC’s titles were known for.

The implementation of the Comics Code led to the decline of EC Comics’ horror and crime titles, which couldn’t meet the new regulations. By 1956, EC had ceased publication of these controversial titles, marking the end of a revolutionary era in comic history. The image you provided is a tribute to those formative years and the enduring legacy of EC Comics.

EC Comics may have been short-lived in its original form, but its impact was profound, influencing countless creators and leading to the later revival of horror comics and the creation of the iconic Tales from the Crypt TV series in the 1990s.

46 FL Knucklehead Chopper!

Pin-up problems painted by gusty Gil Elvgren

Johnny Cash was a man of profound contradictions, a walking paradox who lived a life that was equal parts truth and fiction. Kris Kristofferson, who famously wrote the line “He’s a walking contradiction, partly truth and partly fiction,” captured this duality perfectly. Cash was a man revered for his strength, his faith, and his artistry, yet he was also a man who battled with his own demons—demons that led him down a path of temptation, addiction, and self-destruction.

At the height of his fame, Cash consumed amphetamines so recklessly that they nearly destroyed his ability to sing. He was a man who spoke often of the importance of family, yet he struggled to keep his own family together, eventually losing his first marriage to his lifestyle and his love affair with June Carter. His faith was as towering as the man himself, but even that was tested when, at his lowest, he crawled into a cave, feeling as far from God as one could possibly be.

Johnny Cash’s life is often remembered through the lens of his love story with June Carter Cash. Their relationship became a defining element of his life, marked by both passion and tumult. They met while they were both married to other people, a complexity that seeped into the lyrics of “Ring of Fire,” a song co-written by June that became one of Cash’s biggest hits. Despite the love that eventually blossomed between them, Cash’s first wife, Vivian Liberto, was a significant part of his life, a woman who stood by him during the early, often difficult years of his career.

Vivian and Johnny married in 1954, shortly after his return from serving in the Air Force in Germany. They exchanged thousands of love letters during his time overseas, a testament to the deep bond they shared early in their relationship. However, the pressures of Johnny’s burgeoning career and his growing addiction to drugs and alcohol began to erode the foundation of their marriage. Despite Vivian’s attempts to help him quit his destructive habits, including a move to Casitas Springs, California, in 1961, the marriage was ultimately doomed.

Their relationship hit a breaking point after Cash’s infamous drug arrest in 1965, which brought their private life into the public eye in the worst way. A newspaper mistakenly identified Vivian, who was Italian-American, as African-American, leading to a backlash in the racially charged South, including cancelled concerts and death threats from the Ku Klux Klan. The couple’s marriage, already strained, could not withstand the public scrutiny, Cash’s escalating drug use, and his growing relationship with June Carter.

By 1966, Vivian had filed for divorce, unable to compete with Johnny’s demons and the presence of June Carter in their lives. Despite the heartbreak, Vivian remarried in 1968 and lived a quieter life away from the public eye until her death in 2005. Johnny’s marriage to June Carter, while filled with its own share of struggles, became one of the most iconic love stories in country music, lasting until June’s death in 2003. Johnny Cash followed her just four months later, leaving behind a legacy of music, love, and the complex, often contradictory life he lived.

The tale of Johnny Cash is a reminder that even legends are human, capable of both great love and deep flaws, a man who walked the line between sin and redemption every day of his life.

The Rocketeer (1991) is one of those rare gems that combines the nostalgic charm of the Golden Age of Hollywood with the high-flying excitement of a superhero adventure. Directed by Joe Johnston, who later brought Captain America to the big screen, The Rocketeer is a love letter to the classic serials of the 1930s and ’40s, filled with daring stunts, devious villains, and just the right amount of romance.

Set in 1938 Los Angeles, the film follows Cliff Secord (Billy Campbell), a young stunt pilot who stumbles upon an incredible find—a rocket pack hidden in an old barn. Designed by the legendary Howard Hughes, this jetpack has the power to turn any man into a flying superhero. With the help of his quirky mechanic buddy, Peevy (Alan Arkin), Cliff straps on the jetpack and becomes “The Rocketeer,” a masked hero with the power to soar through the skies.

But things aren’t all smooth sailing for our high-flying hero. As Cliff learns to master the rocket pack, he finds himself in the crosshairs of some very dangerous enemies. On one side, there’s Neville Sinclair (played with sinister charm by Timothy Dalton), a suave Hollywood actor who’s secretly a Nazi spy. Sinclair will stop at nothing to get his hands on the rocket pack, which he plans to deliver to the Third Reich. On the other side, there’s Eddie Valentine (Paul Sorvino), a tough-as-nails mob boss who’s been hired by Sinclair to retrieve the rocket pack, even if it means breaking a few bones—or blowing up half of Los Angeles.

As if dodging bullets and rockets weren’t enough, Cliff also has to protect the love of his life, Jenny Blake (Jennifer Connelly), an aspiring actress who unwittingly gets caught up in the dangerous game. As the Rocketeer, Cliff faces off against mobsters, Nazis, and betrayal at every turn, all while trying to keep his secret identity and protect those he loves.

Though it didn’t explode at the box office, The Rocketeer has earned its wings as a cult classic. With its impeccable period detail, thrilling action sequences, and an earnest love for the golden era of aviation and adventure, the film has a dedicated fanbase that cherishes its blend of retro style and heroic spirit.

It’s a story about ordinary people thrust into extraordinary circumstances, and the courage it takes to rise to the challenge. If you’re looking for a movie that captures the spirit of classic adventure with a dash of old-school Hollywood glamor, The Rocketeer is definitely worth the ride

Watch the whole movie here -> The Rocketeer 1991 1080p HD – BiliBili

Allan Moffat 1969 Mustang…

In 1979, during Van Halen’s “World Vacation” tour, David Lee Roth, the charismatic frontman known for his high-flying stage antics, experienced a mishap that would become rock legend. While performing on stage, Roth attempted one of his signature high-energy jumps but misjudged his landing, coming down hard on a microphone stand. The impact resulted in a broken right foot. Despite the injury, Roth’s showmanship didn’t falter—he famously finished the performance, proving his dedication and resilience. I am saying coke assisted.

This moment became a testament to Roth’s commitment to entertaining his fans, even at the expense of his own well-being, and added to the lore of Van Halen’s live performances, which were known for their wild energy and raw power.

This is the moment just before he landed…

Bankers huh!

Peg…

I need one of these!

Oh my!

The Sex Pistols’ Filthy Lucre Tour in 1997 was a reunion tour marking the band’s 20th anniversary. One of their standout performances was in Japan, where they played their hit song “Pretty Vacant.” The tour came after years of tension and conflict within the band, but their return to the stage was a major event in the punk world. Despite their infamous reputation and Sid Vicious’ absence, the band, with Johnny Rotten, Steve Jones, Paul Cook, and Glen Matlock, delivered energetic performances across the globe.

“Pretty Vacant” was one of the Sex Pistols’ defining songs, a rebellious anthem that captured the punk ethos of defiance and disdain for societal norms. The Japan performance showcased the band’s raw energy, with Johnny Rotten’s snarling vocals and Steve Jones’ powerful guitar riffing leading the charge. Fans were ecstatic to see the Pistols back in action, and this performance reaffirmed their legacy as pioneers of the punk movement.

The Filthy Lucre Tour proved that the Sex Pistols, despite their chaotic history, still had the ability to shake things up and deliver a memorable punk rock experience.

My new band … Frankie goes to Zombiewood…

Pan ‘n’ a Van

This rubber ducky has seen stuff…

Roddy McDowall is famously known for his role as Cornelius in the 1968 classic “Planet of the Apes.” While McDowall portrayed the role of the curious and empathetic chimpanzee scientist, behind the scenes he was known for being quite relaxed and easy-going, especially while in his extensive ape makeup and costume. It’s often remarked how patient McDowall had to be, given the arduous makeup process, which took hours to apply.

In between takes, McDowall could frequently be seen lounging and relaxing in full costume, reading or engaging with the crew, creating an amusing contrast between his sophisticated demeanor and the primitive appearance of his character. Despite the intense workload, McDowall’s professional and easy-going nature made him a beloved figure on set. His contribution to the “Planet of the Apes” franchise extended well beyond the 1968 original, as he would go on to reprise different roles in later films and the TV series, solidifying his connection with the beloved franchise.

McDowall’s iconic portrayal of Cornelius (and later Caesar in sequels) left a lasting impact on science fiction and film history.

Glenn Strange (August 16, 1899 – September 20, 1973) was a prolific American actor best known for his work in Western films and television. Standing at a towering 6’6″, Strange often portrayed villains and tough characters, which made him a natural fit for roles in the Western genre. He appeared in numerous films throughout his career, many of which were B-movie Westerns that were popular in the 1930s and 1940s.

However, Strange is perhaps most famously remembered for his role as Frankenstein’s monster in Universal Studios’ later Frankenstein films. He played the iconic monster in three films: House of Frankenstein (1944), House of Dracula (1945), and Abbott and Costello Meet Frankenstein (1948). His portrayal of the monster followed in the footsteps of Boris Karloff and Lon Chaney Jr., and he brought his own physicality and presence to the role, helping to cement the character’s legacy in popular culture.

Beyond his work in horror films, Strange found a long-lasting role in the television series Gunsmoke. From 1961 until his death in 1973, he played Sam Noonan, the beloved bartender at the Long Branch Saloon. This role made Strange a familiar face to millions of television viewers and added another layer to his already diverse acting career.

Strange’s versatility as an actor allowed him to transition smoothly between genres, and his contributions to both Westerns and horror films have left a lasting impact on American cinema.

Natasha Romanoff

That sh!t ‘ll kill ya…

No wonder the Batman is smiling… Adam West is with the beautiful Catwoman Julie Newmar…

Original cover art by Johnny Bruck for ATLAN episode #180, titled “Apokalypse für Glaathan” (Apocalypse for Glaathan). This piece was originally published in 1975 and is an excellent example of Bruck’s iconic work within the German science fiction series.

Bruck’s use of vibrant colours and dynamic composition, with the central character seemingly bursting out of the painting while battling serpentine threats, exemplifies the intense, action-packed nature of the ATLAN series. The apocalyptic theme is captured perfectly through the surreal, hellish backdrop and the desperate energy of the protagonist, emphasizing the high stakes of the narrative.

The ATLAN series is a spin-off of the long-running German space opera Perry Rhodan, which is the most successful sci-fi book series in the world. ATLAN follows the adventures of the immortal Arkonide named Atlan, who navigates various cosmic and temporal challenges. Bruck, who was a prolific cover artist, contributed to the series’ unique visual identity with his captivating illustrations.

This particular cover captures the imagination and horror that ATLAN fans have come to expect, blending science fiction with elements of mythological terror. It’s a powerful reminder of the dramatic and sometimes surreal scenarios found within the pages of ATLAN.

Call me Snake!

Don “The Snake” Prudhomme is a legendary figure in the world of drag racing, known for his incredible skill, tenacity, and the fierce rivalries that made him a household name in motorsports. Born on April 6, 1941, in San Fernando, California, Prudhomme’s career in drag racing began in the early 1960s, and he quickly rose to prominence due to his exceptional talent behind the wheel.

Prudhomme earned the nickname “The Snake” for his lightning-fast reflexes and his ability to “strike” with incredible precision on the drag strip. He became one of the most successful and respected drivers in the history of the National Hot Rod Association (NHRA), winning multiple championships and setting numerous records.

One of Prudhomme’s most famous rivalries was with fellow drag racer Tom “The Mongoose” McEwen. This rivalry was so intense and captivating that it was turned into a highly successful marketing campaign, leading to the creation of the iconic “Snake and Mongoose” Hot Wheels toy line. Their battles on the track were legendary, and the Snake vs. Mongoose rivalry remains one of the most celebrated in drag racing history.

Prudhomme’s achievements include winning the NHRA Funny Car Championship four times (1975, 1976, 1977, and 1979) and being one of the first drivers to achieve a sub-6-second run in the quarter-mile. His dominance in the 1970s helped to elevate the sport of drag racing to new heights, and his innovative approach to car design and tuning set new standards in the sport.

Even after retiring from competitive racing in 1994, Prudhomme remained deeply involved in the sport, transitioning into a successful career as a team owner and mentor to younger drivers. His legacy in drag racing is unmatched, and he continues to be revered as one of the greatest drivers and innovators the sport has ever seen.

Johnny Cool!

Elizabeth Montgomery was a dynamic and multifaceted American actress, best remembered for her enchanting role as Samantha Stephens on the iconic TV show Bewitched. Born on April 15, 1933, in Los Angeles, California, Elizabeth was practically Hollywood royalty, being the daughter of celebrated actor and director Robert Montgomery. Her career, which spanned more than five decades, showcased her impressive range across television, film, and stage.

Bewitched, airing from 1964 to 1972, became the cornerstone of Montgomery’s career. Her portrayal of Samantha, the witch with a heart of gold trying to balance her magical abilities with suburban life, made her a household name. The show’s unique blend of fantasy, comedy, and subtle social commentary struck a chord with audiences, and Montgomery’s charm and charisma were central to its lasting success. The chemistry she shared with her on-screen husbands, Dick York and later Dick Sargent, added to the show’s magic.

But Montgomery was not just a one-note actress. She took on a variety of challenging roles that demonstrated her versatility and depth. In the 1974 television movie A Case of Rape, she gave a powerful performance as a woman fighting for justice after being assaulted, a role that earned her widespread acclaim. Her chilling portrayal of Lizzie Borden in the 1975 TV movie The Legend of Lizzie Borden is another testament to her ability to take on darker, more complex characters.

In addition to her work on Bewitched, Montgomery also made a memorable appearance in the film Johnny Cool (1963), where she played a glamorous and dangerous woman involved with a mob hitman, played by Henry Silva. The film, a gritty crime drama, allowed Montgomery to showcase a different side of her acting skills, portraying a character who was far removed from the wholesome image she later cultivated on television.

Montgomery’s legacy extends beyond her television fame. She was a dedicated actress who continuously sought out roles that challenged her and used her platform to bring attention to important social issues. Elizabeth Montgomery passed away on May 18, 1995, but she left behind a rich legacy that continues to influence television and pop culture. Bewitched remains a beloved classic, captivating new generations of fans with its timeless charm.

Oh look … The Batman has caught someone and is RESTRAINING them … Yer that is what is happening here…

Wonder what is new on the Juke Box!

Self Destruct ….

Behind the Scenes of Sci-Fi and Hollywood Glamour (1953)

In this captivating behind-the-scenes moment from 1953, Hollywood magic collides as producer George Pal introduces Janet Leigh and Tony Curtis to one of the most iconic props in science fiction history—the Martian fighting machine from The War of the Worlds. Pal, a visionary producer known for his pioneering work in sci-fi cinema, was in the midst of creating The War of the Worlds, a film that would become a landmark in the genre.

Meanwhile, on a neighbouring Paramount Pictures lot, Curtis and Leigh were busy filming Houdini, a biographical film about the famous escape artist. This image captures a fascinating moment of crossover between two very different productions—one steeped in the mystery and showmanship of Houdini, and the other in the terrifying possibilities of alien invasion.

This encounter between the glamorous couple and the menacing Martian machine is a perfect example of the behind-the-scenes magic that fuels Hollywood. It also serves as a reminder of the golden age of cinema, where stars and filmmakers crossed paths in the bustling studios, creating movie history in every corner.

For George Pal, The War of the Worlds would go on to become a sci-fi classic, while Tony Curtis and Janet Leigh would continue to be Hollywood royalty, both individually and as a couple. This photograph is not just a glimpse into a single moment, but a snapshot of Hollywood’s rich and intertwined history.

Classic Junk …

It is always funny until SOMEONE loses an eye!

“Time goes on. So, whatever you’re going to do, do it. Do it now. Don’t wait.” – Robert De Niro.

Robert De Niro‘s portrayal of Travis Bickle in Martin Scorsese’s Taxi Driver 1976 is one of the most iconic and haunting performances in film history. De Niro’s Bickle is a lonely, disturbed Vietnam War veteran who descends into madness while driving his taxi through the gritty, decaying streets of 1970s New York City. The film, scripted by Paul Schrader, is a dark exploration of alienation, violence, and the urban underbelly, with Bickle’s infamous line, “You talkin’ to me?” becoming a defining moment in cinema.

De Niro’s commitment to the role was intense; he famously spent weeks driving cabs in New York to prepare, and even lost weight to physically embody the character’s deteriorating mental state. His performance captures the complexity of Bickle’s psyche—his anger, paranoia, and his twisted sense of justice—all of which lead him on a path to vigilantism.

Taxi Driver is not just a film; it’s a cultural artifact that encapsulates the era’s anxieties and the myth of the anti-hero. De Niro’s performance, combined with Scorsese’s direction, Bernard Herrmann’s haunting score, and the film’s raw depiction of urban life, solidified its status as a masterpiece. It’s a film that remains as powerful and provocative today as it was upon its release.

Give me the Willies…

Oh Jayne!

The Indian Arrow 149 213cc ’49, as reimagined by Street Spirit Cycles, is a stunning example of how classic motorcycles can be transformed while respecting their original heritage. Originally produced by Indian Motorcycles in 1949, the Arrow 149 was celebrated for its lightweight construction and agility, powered by a 213cc single-cylinder engine that made it accessible and reliable for riders of the post-war era.

Street Spirit Cycles has breathed new life into this classic, meticulously restoring the original engine and upgrading key components to enhance performance and ride quality. The customization retains the Arrow’s vintage aesthetic, with sleek lines and minimalist styling that highlight the bike’s classic design. At the same time, modern touches like updated suspension, improved braking systems, and bespoke detailing ensure it performs at the highest standards of today’s custom motorcycle scene.

This custom build stands as a tribute to the legacy of Indian Motorcycles, blending timeless design with contemporary craftsmanship. It’s a bike that not only appeals to vintage enthusiasts but also to those who appreciate the artistry of custom motorcycle creation. The Indian Arrow 149 213cc ’49 by Street Spirit Cycles is a perfect fusion of past and present, making it a standout piece in the world of bespoke motorcycles.

Xena, a warrior princess of a pin-up. Artwork is by Greg Land.

Susanna Hoffs makes me walk like an Egyptian!

Susanna Lee Hoffs, born on January 17, 1959, is an American singer-songwriter and actress best known as a founding member of the all-female rock band, The Bangles. Alongside Debbi Peterson and Vicki Peterson, she co-founded the band in 1981, bringing together a unique blend of pop, rock, and jangly guitar sounds that would become synonymous with the group.

The Bangles first made waves with their debut album, All Over the Place (1984), which, despite receiving critical acclaim, didn’t achieve significant commercial success. However, their second album, Different Light (1986), catapulted them to fame, earning double-platinum status in 1987 and triple-platinum by 1994. This album featured the chart-topping single “Walk Like an Egyptian” and the Prince-penned “Manic Monday,” which reached number two on the US charts.

Hoffs, with her distinctive voice, quickly became one of the band’s most recognizable members, especially since she was the lead vocalist on five of the Bangles’ seven singles released by Columbia Records. This led to a public perception that she was the band’s lead singer, though in reality, vocal duties were shared among all members.

The Bangles’ third album, Everything (1988), continued their success, featuring hits like “In Your Room” and the timeless ballad “Eternal Flame,” both of which Hoffs co-wrote with Billy Steinberg and Tom Kelly. However, internal tensions within the band, partly due to the pressures of touring and the perception of Hoffs’s leadership role, led to their split in 1989.

After a decade-long hiatus, the Bangles reformed in 1999 and released Doll Revolution in 2003, followed by Sweetheart of the Sun in 2011. Throughout her career, Susanna Hoffs has remained an enduring figure in rock music, known for her sweet yet powerful vocals and her significant contributions to one of the most iconic mainstream bands of the 1980s.

The Téléavia P111 is an iconic high-definition television from the late 1950s, known for its striking design that set it apart from other TVs of its era. Designed by the renowned French industrial designer Roger Tallon, the P111 was released around 1958 and is often celebrated for its futuristic aesthetic, which was ahead of its time.

The P111 was manufactured by Téléavia, a company that was part of the French electronics group Thomson. Téléavia was known for producing cutting-edge, stylish televisions, and the P111 is one of its most famous models. The TV’s design is sleek, with a minimalist, almost sculptural form that combined functionality with high design—a hallmark of Tallon’s work.

This television is especially notable for its unique “flying saucer” appearance, with a rounded, tiltable screen housed within a bold, circular frame. The Teleavia P111 has become a collector’s item and is often displayed in museums and design exhibitions as a prime example of mid-century modern design.

Beyond its visual appeal, the P111 represented a leap forward in television technology at the time, offering one of the earliest forms of high-definition picture quality, which was a significant innovation in the 1950s.

If you’re interested in design history or vintage electronics, the Teleavia P111 is a fascinating piece that exemplifies the intersection of technology and aesthetics during a transformative period in the 20th century.

Monsters need love too!

The 1961 Oldsmobile Dynamic 88 was more than just a car; it was a rolling emblem of the early 1960s, a time when American automobiles were big, bold, and dripping with style. The post-war boom was still in full swing, and the open road was calling. Families were expanding, and the interstate highway system was linking cities and states like never before. The Dynamic 88 was Oldsmobile’s answer to the era’s need for a ride that was equal parts power and prestige.

This ride wasn’t just about getting from point A to point B—it was about how you looked doing it. The 1961 Dynamic 88 sported a new, more modern design that shed the exaggerated fins of the ’50s in favor of a sleeker, more streamlined look. The front end was dominated by a wide, imposing grille, and the subtle tailfins hinted at the car’s performance potential without screaming for attention. This was the car for the guy or gal who wanted to make a statement but didn’t need to shout.

Under the hood, the Dynamic 88 packed a serious punch with its 394 cubic inch Rocket V8. This engine wasn’t just for show; it delivered power with a smoothness that made highway cruising a dream. Whether you were heading downtown or cross-country, this V8 purred with authority, letting you know it had plenty of muscle in reserve if you needed to dust off the car next to you at a stoplight.

Inside, the Dynamic 88 was all about comfort and class. Bench seats, chrome accents, and a dashboard that looked like it belonged in a spaceship—this was the future, or at least it felt that way in 1961. The car was big enough to carry the whole family, but with enough style to ensure that dad still felt cool behind the wheel.

On the road, the Dynamic 88 was a symbol of the American Dream, cruising down freshly paved highways, top down, radio blaring, the miles ticking away effortlessly. It wasn’t just about getting somewhere; it was about the journey, and the Dynamic 88 made sure that journey was as smooth and stylish as possible.

In the context of its time, the 1961 Oldsmobile Dynamic 88 wasn’t just a car; it was an experience, a piece of rolling Americana that captured the optimism, the style, and the sheer enjoyment of driving that defined the early 1960s.

Poison Ivy…

The Dream Team  …

Moon Baking…

It’s good to be the Dracula!

Duane Eddy, one of the pioneering guitarists of the late 1950s and early 1960s, was more than just a musician—he was a cultural icon. Known for his distinctive “twangy” guitar sound, Eddy quickly rose to fame with hits like “Rebel Rouser,” which climbed to #6 on the charts, and other instrumental classics such as “Ramrod,” “Peter Gunn,” and “Because They’re Young.” His music, characterized by its driving rhythms and deep, resonant guitar tones, became a staple on radio and television, defining the sound of an era.

Eddy was more than just a musician; he was a teen idol who captured the hearts of young fans everywhere. In 1959, American Bandstand selected him as the best instrumental solo artist, solidifying his place in rock ‘n’ roll history. His influence extended beyond his early years, as he continued to produce music into the 1980s. In 1987, Eddy collaborated with the avant-garde group Art of Noise, bringing his classic “Peter Gunn” theme into a new generation with a fresh, electrifying version that wowed audiences.

In 1961, Funicello appeared on the cover of Eddy’s album “Girls, Girls, Girls,” which featured tracks dedicated to various girls’ names—each one evoking the spirit of the time. This album cover, along with the music it represented, became an enduring symbol of the early ’60s pop culture. The pairing of Eddy’s rugged, cool image with Funicello’s wholesome, girl-next-door charm captured the imagination of fans and remains one of the most memorable images of the era.

Nuns with Guns…

War of the Worlds….

The 1959 Buick Invicta is a true gem from the golden age of American automobiles, embodying the bold, futuristic design and powerful performance that defined late ’50s Detroit iron. Positioned between the more affordable LeSabre and the luxury-oriented Electra, the Invicta was introduced as a mid-range model and quickly became a favourite for those seeking a blend of style, performance, and value.

One of the most striking features of the 1959 Invicta is its design. Buick’s design language that year was all about excess and elegance, and the Invicta carried this forward with its dramatic “Delta Wing” styling. This included expansive tail fins that soared at the rear, giving the car a sense of motion even when standing still. The front grille featured a bold, horizontal design flanked by quad headlamps, contributing to the car’s wide, aggressive stance.

Under the hood, the 1959 Invicta packed a serious punch. It was powered by Buick’s 401 cubic inch “Wildcat” V8 engine, which churned out a robust 325 horsepower and 445 lb-ft of torque. This engine was mated to a Twin Turbine Dynaflow automatic transmission, which was known for its smooth, seamless operation. The combination of this powertrain with the Invicta’s well-engineered suspension made it not just a looker but a cruiser with plenty of go.

Inside, the Invicta was just as impressive, featuring a spacious and luxurious cabin that was trimmed with high-quality materials. The dashboard was futuristic for its time, with a clean, driver-focused layout that included large, easy-to-read gauges and plenty of chrome accents.

The 1959 Buick Invicta remains a beloved classic today, admired for its distinctive design and potent performance. It’s a car that captures the spirit of an era when American automakers were pushing the boundaries of both style and engineering. Whether you’re at a classic car show or cruising down the highway, the Invicta is a ride that turns heads and brings a smile to the face of anyone who appreciates the artistry of mid-century American automotive design.

Julie Newmar

The ‘71 GTO Judge isn’t just a muscle car; it’s a full-throttle statement on wheels, embodying the swagger and raw power of the early ’70s. As one of the last true heavy-hitters before the muscle car era began to fade, the Judge stood tall with its beastly 455 HO V8 engine, dishing out 335 horsepower and a jaw-dropping 480 lb-ft of torque. This wasn’t just a car—it was a street-legal missile that could rocket from 0 to 60 mph in just over 6 seconds, leaving everything else in a cloud of burnt rubber.

Visually, the Judge was as loud as its engine, flaunting its attitude with a menacing split grille, bold Ram Air hood scoops, and that unmistakable rear spoiler. Decked out in high-impact colours like Carousel Red, with those iconic “The Judge” decals screaming from the sides, this car didn’t just turn heads—it snapped necks.

Inside, the vibe was all business, with high-back bucket seats, a Hurst T-handle shifter, and a Rally gauge cluster that made you feel like you were strapped into a rocket ready for takeoff. It wasn’t just a car; it was a symbol of an era where muscle reigned supreme, and speed was king.

Today, the 1971 GTO Judge is a legend, a relic from a time when Detroit pumped out pure, unfiltered power. Owning one isn’t just about having a classic car; it’s about owning a piece of the unapologetic, tire-shredding history of American muscle.

Check out the beasty bugger below!

I<3 Tura

Tura Satana, born Tura Luna Pascual Yamaguchi on July 10, 1938, in Hokkaido, Japan, was an iconic figure in the world of exploitation cinema, best known for her role as the fierce Varla in Russ Meyer’s cult classic Faster, Pussycat! Kill! Kill! (1965). Her journey to stardom was as unconventional as the characters she portrayed.

Satana’s early life was marked by hardship; she was of Japanese, Filipino, and Native American descent, and after being interned with her family in a World War II internment camp in the United States, she faced racial discrimination and violence. Despite these challenges, she grew into a formidable young woman, learning martial arts and developing a tough, take-no-prisoners attitude that would later define her film roles.

Before breaking into the film industry, Satana worked as a burlesque dancer, where she honed her stage presence and commanding persona. Her striking looks and fierce charisma caught the attention of filmmaker Russ Meyer, who cast her as the lead in Faster, Pussycat! Kill! Kill!. In the film, Satana played Varla, a violent, sexually aggressive anti-heroine, whose dominating presence and deadly allure became a defining image of the 1960s exploitation genre. Her performance, with its combination of physicality, sensuality, and toughness, remains iconic, and Varla is often cited as a feminist icon in pop culture.

Beyond her most famous role, Satana appeared in a number of other films and TV shows throughout the 1960s and 70s, though none matched the impact of her work with Meyer. She retired from acting in the 1980s but continued to be a beloved figure among fans of cult cinema, often attending conventions and screenings of her work.

Tura Satana’s legacy is one of empowerment and resilience. She broke barriers for women in film, particularly in roles that defied the typical Hollywood depiction of female characters. She passed away on February 4, 2011, but her impact on cinema and popular culture continues to be felt, with her roles and persona inspiring generations of performers and filmmakers.

The Cramps’ track “She Said” is a wild ride of psychobilly madness, perfectly embodying the band’s signature blend of punk, rockabilly, and horror-inspired lyrics. Released as part of their 1990 album Stay Sick!, “She Said” is a standout track that showcases the group’s raw energy and Lux Interior’s unmistakable vocal style. The song is a fast-paced, gritty tale that pulls listeners into a twisted, noir-esque narrative, all set against the backdrop of The Cramps’ trademark reverb-heavy guitar riffs and primal beats.

With its eerie, seductive vibe, “She Said” is a perfect example of how The Cramps blurred the lines between music and macabre storytelling, creating an atmosphere that’s equal parts sinister and seductive. The band, known for their underground appeal and rebellious spirit, brings all their chaotic energy to this track, making it a must-listen for fans of their unique brand of rock and roll.

If you’re looking to dive into the darker, more rebellious side of rock, “She Said” by The Cramps is a track that encapsulates everything that made the band a cult favourite. It’s rock ‘n’ roll in its rawest, most unfiltered form, with a spooky twist that only The Cramps could deliver.

Somone realised their dream!

“Ghost Rider”

“Ghost Rider” is the ultimate rebel on two wheels—a fiery spirit of vengeance who roars down the highways, leaving a trail of flames in his wake. Born from the pages of Marvel Comics in 1972, Ghost Rider is the alter ego of Johnny Blaze, a stunt motorcyclist who made a deal with the devil to save his mentor. But like all deals with the devil, there was a catch. Blaze becomes the Ghost Rider, a skeletal biker with a flaming skull, cursed to ride forever as the devil’s bounty hunter.

Clad in black leather and wielding a hellish chain, Ghost Rider’s motorcycle is no ordinary bike—it’s a demon-powered machine that defies the laws of physics, racing up walls and across water, all while burning with the fires of hell. And if that wasn’t cool enough, the Rider’s penance stare forces the wicked to relive their sins, delivering a justice that’s hotter than hell itself.

Over the decades, Ghost Rider has become a symbol of rock-and-roll rebellion, embodying the spirit of defiance, freedom, and a touch of the supernatural. Whether tearing through the pages of a comic book or lighting up the silver screen, Ghost Rider reminds us that some heroes ride hard, fast, and straight into the flames.

My Mattress is lumpy!

The 1970 Darlington Southern 500 is a legendary NASCAR race that took place on September 7, 1970, at Darlington Raceway in South Carolina. Known for its challenging track, which had already earned its nickname “The Track Too Tough to Tame,” the 1970 Southern 500 was significant for several reasons, including its competitive field, exciting action, and impact on the season.

One of the highlights of this particular race was Buddy Baker’s victory, where he dominated the competition. Driving his #6 Dodge Charger for Cotton Owens, Baker managed to outpace legends like Richard Petty and David Pearson. This was a key win for Baker, as it marked one of his biggest triumphs in a NASCAR career that saw him become known as one of the fastest drivers of his era.

The race also stood out for the intense heat on race day, which added a layer of difficulty for drivers as they battled the tricky turns and long straightaways of Darlington’s track. Several top drivers struggled with mechanical issues, further adding to the drama.

The Southern 500 at Darlington was, and still is, one of NASCAR’s most prestigious events, often testing not just the speed but the endurance and strategy of the teams. This 1970 edition was no different, cementing itself as a memorable chapter in stock car racing history.

Boy hiding in a TV set, Boston, 1972

“Sunscreen?” by Kurt Ard, created in 1958, is a charming and humorous illustration that perfectly captures the playful and often quirky side of mid-century life. Kurt Ard was a Danish illustrator known for his ability to tell stories through his artwork, often highlighting everyday situations with a twist of humour or irony.

In “Sunscreen?” the scene likely depicts a typical family beach day, where the characters are engaged in a relatable, humorous situation involving sunscreen—something many of us have experienced. Ard’s style is characterized by its warmth, attention to detail, and a subtle sense of humour, making the mundane feel special and the familiar feel delightfully absurd.

This piece reflects the era’s cultural attitudes toward leisure, family, and the emerging popularity of outdoor activities. The art style and subject matter of “Sunscreen?” align with the wholesome, yet slightly mischievous tone that was common in the late 1950s illustrations, evoking a sense of nostalgia for a simpler time.

Ard’s illustrations were popular in magazines and advertising, often offering a snapshot of daily life with an emphasis on the humorous or ironic elements. His work remains a delightful window into the past, capturing the essence of mid-century culture with a light-hearted touch.

Salem’s Lot was released 39 years ago…

by Moebius

“Nude Nuns with Big Guns” is a 2010 exploitation film that combines elements of grindhouse cinema with a heavy dose of irreverent and provocative themes. Directed by Joseph Guzman, the movie is a gritty, over-the-top revenge tale that follows a nun who, after being betrayed by her convent and nearly killed, sets out on a bloody mission of vengeance against those who wronged her.

The film is known for its unapologetic blend of action, violence, and dark humour, with a storyline that involves corrupt clergy, drug trafficking, and, as the title suggests, nuns armed with serious firepower. It’s a film that doesn’t shy away from its controversial and shocking content, embracing the grindhouse tradition of pushing boundaries and revelling in its exploitation roots.

“Nude Nuns with Big Guns” is a film that appeals to fans of cult cinema, particularly those who appreciate the audacious and outrageous style of exploitation films from the ’70s and ’80s. It’s a wild ride that plays with genre conventions while delivering a story that’s as provocative as its title suggests. The film has garnered a cult following, particularly among those who enjoy movies that challenge the norm with a mix of shock, satire, and brutal action.

Mosrite…

“On Instruments” is a captivating piece of artwork by Walter Baumhofer, an artist renowned for his illustrative work, especially within the pulp fiction genre. Painted in the classic American style, this piece captures a moment of intense focus and determination. The painting depicts a woman, possibly a pilot or an aviator, deeply engaged in her work, operating a complex set of controls with one hand while speaking into a headset. The vibrant blue of her uniform, contrasted against the mechanical and intricate background, draws the viewer’s attention directly to her, encapsulating a sense of urgency and professionalism.

Baumhofer, often referred to as the “King of the Pulps,” was known for his ability to blend action with emotion, a talent clearly displayed in “On Instruments.” While this particular painting isn’t overtly a pin-up in the traditional sense, it embodies the allure and grace often associated with pin-up art, but with a twist of competence and capability. The figure’s expression and posture convey a narrative beyond the canvas, inviting viewers to imagine the story behind the moment captured.

This painting, like much of Baumhofer’s work, is a testament to the era’s fascination with adventure, technology, and the burgeoning role of women in traditionally male-dominated fields. It’s an evocative piece that blends the allure of pin-up art with the high-stakes world of aviation, making it a unique and timeless work in Baumhofer’s impressive portfolio.

Nyuck Nyuck Nyuck ….

Panhead …