Weekend Big Boy 24.09.20

Weekend BigBoy – 24.09.20: Let’s Get Wild, De-Evolve, and Go Full Throttle!

Buckle up, folks, because this weekend Manifesto Maravillado is taking you on a rocket-fueled ride straight into the chaotic heart of our ape-brained, beautifully de-evolved universe! We’re talking a BigBoy post that’s bigger, louder, and more unhinged than ever before.

I, The Great Ape, am here to guide you through the swirling madness of Planet Ape, where our “monkey mind” is embraced with reckless abandon, and the absurdities of human de-evolution are not just accepted but celebrated. Imagine a place where lowbrow art meets garage punk attitude, where drag racing roars through space-time, and retro-futuristic fantasies collide with the rebellious spirit of the ’60s and beyond.

This weekend’s BigBoy is a shout-out to the beautifully bizarre and the unapologetically weird. From pinup queens tearing across intergalactic highways in chrome-plated spaceships to B-grade brilliance that defies logic and laughs in the face of reason, this post is a wild tribute to counterculture at its finest.

We’re going full throttle into the grease-stained world of drag strips, classic hot rods, rubber monsters, and rockabilly swagger, all drenched in a DIY ethos that gives a wink and a nod to retro-cool kitsch. It’s a kaleidoscopic carnival of absurdity, campy glamour, and rebel spirit—where the de-evolution of humanity isn’t something to fear, but to celebrate with a raucous cheer.

So strap in for a madcap adventure where nothing is too serious, but everything is wildly entertaining. The engines are revving, the pinups are ready, and the future is a glorious mash-up of space-age fantasies and punk-rock rebellion. Let’s tear down the highway of human folly with grins on our faces and engines roaring in our hearts. Welcome to the ride of your life—this is Manifesto Maravillado, and The Great Ape has the wheel!

Love is love!

You should see her Buns!

Burt Munro and “The World’s Fastest Velocette”

Burt Munro is a name synonymous with speed, engineering brilliance, and an indomitable spirit that saw him transform an aging motorcycle into a record-breaking machine. While most know him for his work on the 1920 Indian Scout, which earned him the title of “The World’s Fastest Indian,” Munro also gained notoriety for another incredible feat: building “The World’s Fastest Velocette.” Munro’s 1936 Velocette MSS was an engineering marvel in its own right, a machine that symbolized his relentless pursuit of speed and innovation.

The Velocette MSS: A Machine of Potential

The Velocette MSS, a 500cc model introduced in 1935, was designed as a reliable, well-engineered motorcycle. It followed the success of Velocette’s 250cc MOV and 350cc MAC models. The MSS used a more robust frame, shared with the KSS, and earned a reputation for reliability, power, and handling. Despite its early success, the MSS was not commonly associated with speed records or the extreme performance tuning that defined Burt Munro’s approach to motorcycling. Yet, Munro saw its potential.

By the time Munro acquired the 1936 Velocette MSS, he was already famous for his work on the Indian Scout, which he had transformed into a record-breaking machine. But his ambitions extended beyond just one motorcycle. He purchased the MSS for a mere £8 in 1957, after the bike was sold by the landlady of a boarding house to cover an unpaid accommodation bill. What seemed like a routine transaction to most would become the foundation of another record-breaking journey for Munro.

Modifying the Velocette: Munro’s Vision

From the moment Munro got his hands on the Velocette, he set about modifying it for speed. His process was gradual but thorough, and he worked tirelessly to make the MSS live up to his vision of a high-performance, record-breaking machine. Munro modified the engine to increase its displacement from the original 500cc to 670cc. He reinforced the chassis, lowered the frame, and adapted it to accommodate a fully prone riding position, which helped reduce wind resistance and improve aerodynamics.

Munro’s mechanical ingenuity didn’t stop at the frame and body. He significantly modified the engine, fitting it with a heavily altered aluminum cylinder head, originally from a Velocette MAC. He installed a supercharger at one point, experimenting with different configurations to push the MSS beyond its limits. Throughout his modifications, the bike’s engine saw countless rebuilds and adjustments. Munro’s obsession with fine-tuning every aspect of the Velocette paid off, as he consistently squeezed more power and speed out of the machine.

Speed and Success: Oreti Beach and Beyond

Munro’s hard work culminated in one of his greatest achievements: setting a record speed on the Velocette MSS at Oreti Beach in 1971. On that day, Munro officially recorded a top speed of 132.35 mph, making his Velocette one of the fastest motorcycles of its kind. However, as with many of Munro’s accomplishments, the official record only tells part of the story. According to Munro, he had unofficially hit an even higher speed—138 mph—during a run at Oreti Beach, a testament to his extraordinary skill as both an engineer and rider.

Munro believed that the Velocette MSS could go even faster under the right conditions, particularly at the Bonneville Salt Flats, where the long, flat terrain provided an ideal setting for speed trials. He estimated that, with full streamlining and the extended run-up available at Bonneville, the MSS could potentially reach 160 mph. However, there was a trade-off between the aerodynamic benefits and the challenges posed by running at higher altitudes, where the thinner air could limit engine performance. Munro’s Velocette was naturally aspirated, which put it at a disadvantage compared to supercharged bikes that could compensate for the reduced oxygen levels at high altitudes.

Mechanical Challenges: The Fragile Velocette

The Velocette MSS was not without its challenges. The engine, which Munro pushed to its limits, was prone to mechanical failures, particularly the crankcase, which Munro famously cracked multiple times. The weak point in the design led to several dramatic engine blowouts, including one captured in the 1971 Roger Donaldson documentary, Offering to the Gods of Speed. In the film, Munro’s Velocette suffers a catastrophic failure when the crankcase gives out during a speed run.

Despite these setbacks, Munro remained undeterred. He rebuilt the engine time and time again, each rebuild bringing him closer to his ultimate goal of pushing the MSS to its absolute limits. His ability to rebuild the bike after such devastating failures was a hallmark of his mechanical genius and his never-say-die attitude. Munro knew that every time the engine failed, it was an opportunity to improve the machine further.

A Dual Legacy: The Velocette and the Indian

While Munro’s Indian Scout may have stolen the spotlight with its legendary run at the Bonneville Salt Flats, the Velocette MSS stands as a testament to Munro’s ability to coax extraordinary performance out of any machine he touched. Both bikes were an integral part of his legacy, showcasing his passion for speed and his deep understanding of mechanical engineering.

Munro’s Velocette MSS, often overshadowed by the fame of the Indian Scout, was just as important in cementing his place in motorsport history. It was a machine that reflected the duality of Munro’s approach—while the Indian was known for its brute force and raw power, the Velocette represented precision, refinement, and a more calculated pursuit of speed.

Munro’s Unstoppable Drive

Burt Munro’s work on the Velocette MSS is a reminder that his talent extended far beyond the world of Indian motorcycles. His Velocette project, which culminated in an official record speed of 132.35 mph and an unofficial run of 138 mph, is a story of resilience, ingenuity, and an unrelenting desire to push the boundaries of what was possible on two wheels. Despite the many mechanical failures and challenges that came with modifying the MSS, Munro’s ability to persevere and improve the machine turned it into one of the fastest Velocettes ever built.

The Velocette MSS may not be as well-known as Munro’s Indian, but it remains a crucial part of his legacy, reflecting his deep love for motorcycles and his determination to achieve speed records, regardless of the platform. Today, Munro’s Velocette, like his Indian, stands as a symbol of what can be achieved with dedication, creativity, and an unyielding passion for speed.

‘Warlord of Mars’ by Joe Jusko

Uh Oh!

“He told me when he turned 50 years old, “I’ve lived the perfect life, Mikkey. If I die tomorrow, I’ll die a happy man.” And after that, he got another 20 years! He lived 70 years on his terms, and I want to celebrate that.“ – Mikkey Dee on Lemmy Kilmister / Motörhead – Photo by Martin Häusler

Al Moore

1968 Plymouth Satellite

During the filming of Apocalypse Now, the infamous USO scene brought together an eclectic mix of talent, including Colleen Camp, Linda Carpenter and Cynthia Wood. Carpenter and Wood were real-life Playboy Playmates at the time, perfectly cast to embody the glamorous yet surreal allure of American pop culture in the midst of a chaotic war. Camp, who had been acting since she was 3, was a bit more hesitant about the nudity required for the scene. However, her friend Cynthia Wood eventually convinced her to go ahead with it. While the more risqué elements were cut from the original theatrical release, they later resurfaced in the Apocalypse Now Redux version, adding another layer of intensity to an already wild sequence.

The USO scene itself is unforgettable, and, as you noted, it’s more terrifying than titillating. With choppers roaring, soldiers roaring louder, and chaos everywhere, the juxtaposition of Playmates in bright costumes performing for men on the edge of madness becomes almost surreal. It’s a moment where the dissonance between fantasy and reality explodes on screen, evoking echoes of Marilyn Monroe’s legendary USO performances in Korea—but amped up to a frenetic, unsettling level. In Apocalypse Now, everything feels heightened, and this scene is no exception: it’s a dark commentary on the absurdity of entertainment in the middle of war, and how escapism can quickly spiral into something far more disturbing.

Even without having seen the Redux version, the original cut of the scene stands as a testament to the unsettling atmosphere Coppola created—where the boundaries between sanity and chaos, glamour and horror, are constantly being blurred.

Pictured Below – Colleen Camp, Linda Carpenter, Francis Ford Coppola, and Cynthia Wood.

Do the Bat Shimmy!

Shirley ‘Cha Cha’ Muldowney: The First Lady of Drag Racing

Born in 1940, Shirley “Cha Cha” Muldowney broke barriers and burned rubber to become one of the most iconic figures in motorsports. Often referred to as the First Lady of Drag Racing, Muldowney was the first woman to receive a Top Fuel dragster license from the National Hot Rod Association (NHRA), a historic milestone that would open the doors for future generations of female racers.

In a sport dominated by men, Muldowney not only held her own but blazed a trail. Known for her fearless driving and competitive spirit, she claimed an impressive 18 NHRA national event wins throughout her career. Her mastery of the Top Fuel Dragster—one of the fastest, most powerful vehicles in the sport—earned her a place among the racing elite. But it wasn’t just her victories that made her a legend; it was her perseverance in the face of doubt and resistance from a male-dominated industry.

Muldowney’s success shattered stereotypes and paved the way for women in drag racing, proving that raw talent and determination could overcome any obstacle. She is more than a racing champion—she is an enduring symbol of grit and empowerment, both on and off the track. Shirley “Cha Cha” Muldowney remains an icon in the world of motorsports, a woman who rewrote the rulebook and left tire tracks on history.

Iggy and the Stooges – Raw Power (1973): The Birth of Punk’s Wildest Album

When Raw Power hit the airwaves in 1973, it was like a bomb going off in the world of rock ‘n’ roll. Iggy and the Stooges delivered a raw, unfiltered, and utterly chaotic album that would become one of the most influential records in punk history. With Iggy Pop’s feral energy at the helm, Raw Power took everything loud, dirty, and primal about rock music and amplified it to the breaking point.

The album’s title couldn’t be more fitting. From the opening track, “Search and Destroy,” you’re thrown into a sonic assault of distorted guitars, pounding drums, and Iggy’s menacing growl. Guitarist James Williamson, who joined the band for this album, brought an aggressive edge to the band’s sound, laying down blistering riffs that sound like they’re on the verge of exploding.

Tracks like “Gimme Danger” and “Your Pretty Face Is Going to Hell” don’t just flirt with chaos—they dive headfirst into it. The production, handled by David Bowie, keeps things just this side of out-of-control, with every song teetering on the edge of complete meltdown. It’s messy, it’s loud, and it’s absolutely iconic.

Iggy Pop’s performance on Raw Power is nothing short of legendary. His sneering, howling vocals feel untamed and unpredictable, channeling a primal energy that would go on to define punk rock. At a time when polished, radio-friendly rock was dominating the airwaves, Raw Power was the antidote—uncompromising and unpolished, yet dripping with attitude and defiance.

Though it didn’t initially achieve commercial success, Raw Power would go on to be revered as a blueprint for punk and alternative rock. The Stooges, with Iggy leading the charge, created a record that feels like it could break apart at any moment—and that’s exactly what makes it so timeless.

Raw Power is the sound of a band breaking free of all constraints, embodying the spirit of rebellion in its purest form. It’s loud, dangerous, and unforgettable. If you’re looking for the album that defines what raw rock ‘n’ roll is all about, look no further.

Morning cuppa with the misses…

You Knuckle Head!

Fall of the Berlin Wall (1989)

Jungle Pam

Brain Boy (1963): The Super-Powered Genius of Dell Comics

In 1963, Dell Comics introduced readers to a unique superhero who didn’t rely on brute strength or gadgets, but on his intellect and mental powers—Brain Boy. Created by Herb Castle and artist Gil Kane, Brain Boy was a breath of fresh air in a genre dominated by caped crusaders and muscle-bound heroes. This comic series tapped into the fascination of the time with science, the potential of the human mind, and the Cold War-era obsession with espionage.

The protagonist, Matt Price, is no ordinary hero. Born with extraordinary telepathic and telekinetic powers after his parents perished in a car accident caused by sabotage, Matt was recruited by a government agency known as the Organization of Active Anthropologists (a quirky name for a secret spy agency). With his powers of mind control, telepathy, and the ability to mentally levitate objects and himself, Brain Boy was sent on missions that involved international intrigue, espionage, and psychological battles.

The Brain Boy comics combined the action and suspense of Cold War spy thrillers with science fiction, making it stand out in the crowded comic book market of the early 1960s. Instead of fighting supervillains, Matt Price dealt with foreign powers, psychic warfare, and mind-controlling adversaries. He faced threats that required mental finesse rather than simple brawls, which was a unique twist for readers accustomed to more physical battles.

While Brain Boy only ran for six issues from 1963 to 1964, the comic remains a fascinating piece of comic book history, reflecting the era’s optimism about the power of the human mind and the belief that mental prowess could shape the future. In the decades since, Brain Boy has been revived in various forms, continuing to capture the imagination of readers intrigued by the concept of mental superpowers. Though short-lived, Brain Boy left an impression as one of the first heroes to champion brainpower over brawn.

“This doesn’t seem to keep the chap from my lips.” Pin-up art by Gil Elvgren

H. R. Van Dongen

Making of the T-Rex for “Jurassic Park” (1993)

On September 18, 1967, The Who released the 45 single “I Can See for Miles” backed with “Mary-Anne With the Shaky Hands” (Decca 32206) in the United States. Written by Pete Townshend, the song was the only single from their 1967 album The Who Sell Out and reached #9 on the Billboard Hot 100 and #10 on the UK Singles Chart. Known for its multi-layered production and dramatic build-up, the song was recorded in several different studios across continents, exemplifying the growing complexity of rock recording in the late 1960s.

Songwriting and Meaning

Townshend wrote “I Can See for Miles” during the early days of his relationship with his future wife, Karen Astley. The song is about jealousy and suspicion, with Townshend playing a character who ominously warns a girl that she can’t escape his watchful gaze. The lyrics, such as “You’re gonna choke on it too” and “I can see for miles and miles,” convey a vindictive tone, which Townshend later described as somewhat dark and creepy. Despite its menacing subject matter, Townshend considered it some of his best work, calling it a “remarkable song” and hoping it would become a massive hit.

Production and Recording

The recording process for “I Can See for Miles” involved separate sessions in London, New York, and Los Angeles, showcasing the band’s growing use of advanced studio techniques. The backing tracks were laid down in London, vocals and overdubbing took place in New York’s Talentmasters Studios, and the song was mastered at Gold Star Studios in Los Angeles. The US Decca single also features an overdubbed second bass line, adding to its dense sound.

Interestingly, The Who rarely performed this song live due to the challenge of replicating the complex sound with only one guitar. Townshend’s one-note guitar solo on the track reflected his own creative frustration at the time, as he felt intimidated by the technical prowess of Jimi Hendrix, who had recently arrived on the London scene.

Impact and Legacy

Although Townshend expected “I Can See for Miles” to become a massive success, he was disappointed by its modest chart performance. However, it remains the only single by The Who to break into the Top 10 of the Billboard Hot 100. Its lasting impact can also be seen in how it inspired Paul McCartney to write “Helter Skelter” after reading an interview where Townshend described the track as “the most raucous rock ‘n’ roll, the dirtiest thing they’d ever done.”

The word “Miles” is repeated 57 times throughout the song, a repetitive element that adds to its hypnotic and escalating intensity. The song remains a classic of The Who’s catalog, showcasing their unique ability to blend rock energy with ambitious, multi-layered production.

Listen to Entwistle’s Bass Sound!

John Belushi, Robbie Robertson and The Band backstage, 1976

Elvinstein…

Scrivner’s Drive-In at the corner of Sunset and Cahuenga in Hollywood was a buzzing hotspot in the 1950s, embodying the quintessential “Happy Days” vibe. Just a block or two from where Amoeba Music now stands on Sunset, Scrivner’s was more than a burger joint—it was a cultural hub. In the summer of 1956, legendary DJ Art Laboe hosted live afternoon broadcasts from the drive-in, letting kids pick the top 20 hits of the time. It became a gathering spot for teens, greasers, and music lovers, a place where music and car culture intersected in true ’50s fashion.

Brother Link doing his thang!

Link Wray – “Rumble” (1958): The Song That Shook Rock ‘n’ Roll

When Link Wray unleashed Rumble in 1958, it wasn’t just another instrumental—it was a seismic shift in the sound of rock ‘n’ roll. With its gritty, distorted guitar tone and menacing attitude, Rumble became one of the most influential tracks in music history, paving the way for punk, heavy metal, and even garage rock.

Clocking in at just over two minutes, Rumble is raw and primal. The song’s title perfectly captures its essence—a slow-building, threatening groove that feels like it’s ready to erupt. Wray’s power chord riff, drenched in distortion and reverb, was revolutionary for its time, giving the track an aggressive edge that made it stand out in the more polished rock scene of the ’50s.

The song’s rebellious spirit was so potent that it was banned from some radio stations, even though it had no lyrics. The fear? Rumble‘s sound alone was enough to incite unrest, with its swaggering attitude suggesting danger and defiance. This only added to its mystique, as Wray became the poster child for the raw, untamed energy that rock ‘n’ roll could embody.

Wray’s use of distortion on Rumble is legendary—he is credited with popularizing the power chord and pushing the boundaries of what the electric guitar could do. By stabbing a pencil through the speaker cone of his amp, Wray created the signature “dirty” sound that would go on to influence generations of guitarists, from Pete Townshend to Jimmy Page and beyond.

Rumble isn’t just a song—it’s an attitude, a game-changer that proved rock ‘n’ roll didn’t need words to be dangerous. With its hypnotic riff, primal power, and groundbreaking sound, Link Wray’s Rumble remains a cornerstone of rock history, forever etched in the DNA of modern music.

Julie Newmar – The Catwoman

Love is Love…

Ambush on Lux by Alan Gutierrez

Thirst for Hurst – Linda Vaughn signing autographs…

On the border between Texas and Mexico, five lives are about to intertwine – with fatal results.

MARTY: the gambler who rolls the dice on a night with…

MEG: the divorcee who seeks excitement and finds…

LILY: the beautiful hitchhiker lured into a live sex show by…

CASSIE:the redhead with her own agenda and WEAVER the killer with a razor in his pocket, on the run from the police and determined to go down swinging

Ford Nucleon (1958)

Art by Michael Hutter

Bentley Speed Six ‘Blue Train Special’: The Legend of Woolf Barnato’s Daring Feat

The Bentley Speed Six ‘Blue Train Special’ has long been entwined with one of the most legendary tales in automotive history—the epic race between Bentley Boy Woolf Barnato and the famous Blue Train express. In 1930, at a party in Cannes, Barnato made a bold claim: he could beat the Blue Train, which ran from Cannes to Calais, driving his Bentley Speed Six. Despite the lack of highways and battling terrible March weather, Barnato did exactly that, crossing the finish line in London with time to spare—four minutes before the train even reached Calais.

This remarkable feat became a sensation, immortalized in artwork that depicted Barnato’s Bentley Speed Six roaring alongside the Blue Train in a high-speed battle of man versus machine. However, the myth around the specific car used in this race was debunked in 1999. For years, it was believed that the famous Blue Train Special Bentley was the very car Barnato drove during the race. Yet, it was discovered that the actual car involved had been built later, meaning the Blue Train Special was not the car that beat the train.

Despite this revelation, the Blue Train Special has cemented its place in motoring lore. With its sleek design and performance pedigree, the Bentley Speed Six became synonymous with Bentley’s dominance both on and off the track during the early 20th century. The legend of Barnato’s race lives on, not just as a tale of victory, but as a symbol of Bentley’s ethos: a combination of luxury, speed, and the daring spirit of the Bentley Boys.

Even though the Blue Train Special wasn’t the car that made history, it remains an iconic figure of Bentley’s glorious past, forever linked to one of the most thrilling and glamorous races in automotive folklore.

Lon Chaney Jr. & Evelyn Ankers in The Wolf Man (1941): A Classic Monster Movie Duo

When Lon Chaney Jr. and Evelyn Ankers teamed up in The Wolf Man (1941), they became an unforgettable pair in one of Universal Studios’ most iconic monster films. Directed by George Waggner, The Wolf Man stands as a cornerstone of classic horror, bringing the tragic tale of Larry Talbot, a man cursed to turn into a werewolf, to life on screen.

Lon Chaney Jr., son of silent film legend Lon Chaney, stepped into his father’s monstrous footsteps with a powerful portrayal of the tormented Larry Talbot. Chaney’s portrayal of Talbot was filled with deep pathos and vulnerability, making him one of the most sympathetic figures in Universal’s gallery of monsters. His transformation into the Wolf Man, created by makeup genius Jack Pierce, became one of the most iconic images in cinema, showcasing a character trapped between humanity and beastly horror.

Opposite Chaney was the stunning Evelyn Ankers, who played Gwen Conliffe, Talbot’s love interest. Ankers’ beauty and grace made her a perfect leading lady, and her chemistry with Chaney added emotional weight to the film’s drama. Ankers became the quintessential “scream queen” of the 1940s, appearing in several Universal horror films, but it was her role in The Wolf Man that cemented her place in monster movie history.

The film’s eerie atmosphere, haunting score, and Chaney’s unforgettable performance turned The Wolf Man into a timeless classic. Lon Chaney Jr. would go on to reprise the role in several sequels, but it was his debut alongside Ankers that left an indelible mark on horror cinema. Together, they brought a humanity and tension to the monster genre that has stood the test of time, making The Wolf Man one of the greatest and most beloved monster films of the era.

Atco Dragway: A Legendary Track in the Heart of New Jersey

Established in 1960, Atco Dragway quickly became one of the premier drag racing venues on the East Coast. Located in Atco, New Jersey, this iconic track has been a hotspot for drag racing enthusiasts for over six decades, providing adrenaline-pumping action for professionals and amateurs alike. The dragway has earned a reputation for its well-maintained track, loyal racing community, and a wide variety of events that attract racers and fans from across the country.

The drag strip’s 1/4-mile track has a long-standing tradition of thrilling spectators with high-speed runs, powerful launches, and the deafening roar of engines. Over the years, Atco Dragway has become an integral part of American drag racing culture, fostering a tight-knit community of racers and fans who share a passion for speed, performance, and competition.

Though drag racing has evolved over the years, Atco Dragway continues to be a beloved institution for both racers and fans, carrying on its legacy as one of the longest-running drag racing tracks in the United States. Whether you’re a die-hard gearhead or a casual spectator, Atco Dragway offers an experience that captures the heart and soul of American drag racing.

Scoobie Snack?
Throughout her various incarnations, Velma is usually portrayed as a highly intelligent young woman with an interest in the sciences. She is also often portrayed as being very well-read on obscure fields such as Norse writing (as in the third Scooby-Doo series, The Scooby-Doo Show). Due to her intelligence and problem-solving abilities, Velma is typically the first one to solve the mystery and, like Sherlock Holmes and many other fictional detectives, often keeps her conclusions secret till the end of the story. Velma Dinkley was inspired by the brainy sweater girl Zelda Gilroy, as played by Sheila Kuehl, from the late 1950s/early 1960s American sitcom The Many Loves of Dobie Gillis.

Frankie’s got the moves with the Ladies!

M.M….

Tastes like Chicken

Poison Ivy: The Badass Guitarist Behind The Cramps’ Psychobilly Sound

Poison Ivy, born Kristy Marlana Wallace, was the driving force and co-founder of The Cramps, one of the most iconic and influential bands in the psychobilly scene. With her scorching guitar riffs, sultry style, and undeniable attitude, Ivy helped define the band’s raw, gritty sound, blending punk rock energy with rockabilly swagger and a love for all things weird and wild. Alongside her partner-in-crime, Lux Interior, she crafted a sonic world where B-movies, horror flicks, and garage rock collided into something completely fresh and unforgettable.

From the moment Ivy picked up her signature Gretsch guitar, she created an unmistakable vibe—minimalistic, drenched in reverb, and laced with primal energy. She wasn’t about flashy solos or technical tricks. Instead, her playing was hypnotic, pulsing with a dangerous groove that became the heartbeat of The Cramps’ music. Tracks like “Human Fly,” “Goo Goo Muck,” and “I Was a Teenage Werewolf” are driven by Ivy’s dark, twangy riffs that brought an eerie yet electrifying edge to the band’s signature style.

Offstage, Poison Ivy was every bit the cool, mysterious persona she exuded while playing. With her pin-up style and tough, no-nonsense attitude, she became a symbol of empowerment and rebellion in a male-dominated scene. Her influence on punk, rockabilly, and alternative music is undeniable, as she proved that a woman could not only keep up but lead the charge in an era of raw, DIY rock ‘n’ roll.

Whether you’re a fan of punk, garage rock, or just love music with an edge, Poison Ivy’s legacy in The Cramps remains legendary—a trailblazing guitarist who shredded convention and left a lasting mark on music history.

The phrase “Lace Panty Commandos” has become a tongue-in-cheek reference for fans of vintage Men’s Adventure Magazines, a genre that thrived in the mid-20th century. These magazines, also known as “sweat mags,” were filled with exaggerated, over-the-top tales of danger, adventure, and heroic men facing off against ruthless enemies or deadly creatures. Often featuring lurid covers of scantily clad women in peril or improbably tough female warriors, these magazines reveled in pulp fantasy and hyper-masculine narratives.

“Lace Panty Commandos” plays into the absurd and often contradictory portrayal of women in these stories—depicted simultaneously as helpless victims and tough-as-nails fighters, sometimes outfitted in outlandishly impractical “battle gear.” The joke encapsulates the campy, often ridiculous nature of the genre’s depictions, where strong female characters were often clad in lingerie or equally impractical attire, yet still participated in daring adventures.

For readers and collectors of these magazines, the term is a playful nod to the bizarre mix of cheesecake imagery and action-packed storytelling that defined the era. While certainly reflective of a bygone time with some outdated views, it also serves as a point of humor and fascination for modern fans who appreciate the kitsch and campiness of Men’s Adventure Magazines.

“Just play, Robin… Play for all you’re worth”

Screamin’ Jay Hawkins

Douglas Klauba, John Carter of Mars with Dejah Thoris and Tars Tarkas

RKO starlets 1940s

Jack Kirby, Comic artist and co-creator, of Captain America, the Avengers, Iron Man, Fantastic Four, Incredible Hulk, Black Panther and thousands more. Photographed during training for WWII.

Mad magazine Super Special from summer 1983, although it’s reprinted from an earlier Mad, probably from the ’60’s.

Is there anything Yoko can’t do!

Dona Drake: The Complicated Star Who Hid in Plain Sight

Dona Drake, born Eunice Westmoreland in Jacksonville, Florida, on November 15, 1914, lived a life shaped by talent, resilience, and the societal pressures of her time. A gifted actress, singer, dancer, and bandleader, Dona had the charm and zesty personality that could light up any stage. Yet, the path to her career in Hollywood was anything but straightforward, with her denying her African-American heritage and passing as a Latina—a decision likely made to navigate the industry’s rigid and prejudiced structures.

The real Eunice Westmoreland, affectionately nicknamed “Una,” was a child prodigy in music, performing at her father’s restaurant in Philadelphia before moving to New York to chase her dreams. By the 1930s, she found herself in Broadway shows and nightclubs, performing under the alias Una Villon. To gain further traction in her career, she adopted a new identity: Rita Rio, a Latin persona that emphasized her “exotic” flair. She even learned Spanish to fit her crafted image.

In 1935, she formed Rita Rio and Her Rhythm Girls, an all-girl band that wowed audiences with its glamorous and lively performances. The next big break came when she landed a feature in Eddie Cantor’s Strike Me Pink (1936). Although it didn’t skyrocket her film career right away, it set the stage for her next transformation.

Under the guidance of good friend Dorothy Lamour and a signing with Paramount, Eunice Westmoreland became Dona Drake, a name designed to evoke a Mexican, Irish, and French heritage. Her studio-crafted backstory claimed she was born and raised in Mexico City, and her first big appearance under this identity was in Aloma of the South Seas (1941). Soon, Dona found herself playing vibrant, spirited supporting roles in films like Louisiana Purchase (1941) and Road to Morocco (1942), typically cast as the “exotic” sidekick or love interest.

Despite her undeniable talents, Hollywood’s typecasting restricted her from breaking out into the leading roles she deserved. After a particularly successful appearance in Hot Rhythm (1944), Paramount dropped her contract, and Dona began freelancing in films like Without Reservations (1946) and Dangerous Millions (1946).

Her personal life took a turn when she married Oscar-winning costume designer William Travilla in 1944, with whom she had a daughter, Nia Novella. Though she scaled back her career after her marriage and motherhood, Dona made a few notable appearances in the late 1940s and mid-1950s, including roles in Another Part of the Forest (1948) and The Girl from Jones Beach (1949).

Sadly, health issues including heart ailments and epilepsy, along with emotional struggles, led to her early retirement from acting in 1957. Although she and Travilla separated in 1956, they remained close, often appearing together at events until her death in 1989 from pneumonia and respiratory failure. Travilla passed away a year later.

Dona Drake’s story is one of undeniable talent, complex identity, and navigating the harsh realities of a Hollywood that left little room for women, especially women of color, to flourish on their own terms. Unlike the tragic stories often associated with passing, Dona did not sever ties with her family or heritage. However, the pressures to conceal her true identity for the sake of her career reflect a deeper commentary on race, identity, and fame in mid-century America.

In 1928, Ernst Henne, a legendary German motorcycle racer, acquired a BMW R37 and began an ambitious project that would ultimately lead to one of the most significant chapters in motorcycle history. Dissatisfied with the bike’s original performance, Henne stripped the R37 down to its bare essentials, discarding much of the factory equipment to focus on what really mattered: speed.

Henne’s modifications were extensive and innovative, particularly the addition of a supercharger to the twin-cylinder, boxer-configured engine. The BMW R37 originally had a 749cc engine with a bore and stroke of 83mm and 68mm, respectively. With the supercharger installed, Henne’s version of the R37 was reportedly capable of producing over 100 horsepower—a staggering figure for its time, far exceeding the power of most contemporary road cars.

Over the course of six years, from 1929 to 1935, Henne’s relentless pursuit of speed led to the BMW R37 setting an incredible 76 world records. In 1929, he achieved a world-record motorcycle speed of 216.75 km/h (134.67 mph). Not satisfied, Henne continued to refine and develop his bike, and in 1935, he shattered his previous record by reaching a jaw-dropping speed of 256 km/h (159 mph).

What makes Henne’s achievements even more remarkable is that much of his work was done in a backyard shed, far removed from the high-tech facilities we associate with modern racing. His accomplishments with the supercharged BMW R37 were not only a testament to his engineering skill but also a pioneering effort that pushed the boundaries of what motorcycles could achieve before World War II.

Ernst Henne’s supercharged BMW R37 remains a symbol of innovation and determination, and its legacy continues to inspire motorcycle enthusiasts and engineers alike.

On August 15, 1979, Led Zeppelin released their eighth and final studio album, In Through the Out Door, marking a pivotal moment in the band’s history. Recorded at ABBA’s Polar Studios in Stockholm, Sweden, over a three-week span in late 1978, the album stands as a testament to the band’s resilience and evolving sound. This album was the last to be released before the tragic death of drummer John Bonham in 1980, making it a poignant chapter in the Led Zeppelin saga.

The album’s title, In Through the Out Door, is a reflection of the band’s struggles during that period. After the devastating loss of Robert Plant’s son, Karac, in 1977, and their forced financial exile from the UK due to tax issues, the band found themselves in a difficult position. The title metaphorically suggests the challenge of regaining their footing in the music world, as they were effectively trying to “enter through the ‘out’ door.”

Unlike previous Led Zeppelin albums, In Through the Out Door features a more prominent creative input from bassist and keyboardist John Paul Jones and vocalist Robert Plant. John Paul Jones, in particular, took on a larger role in the songwriting process, largely due to his excitement over a new keyboard he had acquired. As Jones recalls, “Robert and I just got to rehearsals early, basically. By the time everybody turned up for rehearsals, we’d written three or four songs.” This shift in the creative dynamic led to a distinct sound on the album, one that blended the band’s hard rock roots with more experimental and melodic elements.

Despite the band’s challenges, In Through the Out Door was a commercial triumph, topping both the Billboard 200 in the United States and the UK Official Albums Chart. It produced several memorable tracks, including “Fool in the Rain,” “All My Love,” and “In the Evening,” each showcasing the band’s versatility and continued innovation in the late stages of their career.

As In Through the Out Door celebrates its 45th anniversary, it remains a powerful reminder of Led Zeppelin’s ability to adapt and thrive, even in the face of adversity. Whether you’re drawn to the soulful melody of “All My Love” or the rhythmic drive of “Fool in the Rain,” this album holds a special place in the hearts of Led Zeppelin fans around the world. So, what’s your favourite track from this iconic album?

Rewind to February 3, 1979

On this day, The Blues Brothers—the dynamic duo of Dan Aykroyd and John Belushi—took the top spot on the Billboard album chart with their debut album, Briefcase Full of Blues. What started as a comedic sketch on Saturday Night Live quickly snowballed into a cultural phenomenon, blending humor with some seriously soulful music.

The album features the pair’s raucous cover of Sam & Dave’s classic “Soul Man,” which became an instant hit, turning Aykroyd’s and Belushi’s comedic alter egos, Elwood and Jake Blues, into legitimate musical icons. The record’s success was not just a flash in the pan; it was a testament to the authenticity and respect the duo had for the blues genre. Backed by an all-star band of seasoned musicians, including legends like Steve Cropper and Donald “Duck” Dunn, Briefcase Full of Blues wasn’t just a parody—it was a bona fide celebration of rhythm and blues.

As the album soared to the top of the charts, it helped to ignite a blues revival across the United States, bringing the genre back into the mainstream and introducing it to a new generation of fans. This milestone moment in 1979 wasn’t just about topping the charts; it was about two comedians who, through their love of music, created something that transcended comedy and became a lasting part of rock and blues history.

So, grab your sunglasses and your hat, and remember: “We’re on a mission from God.”

Ava Gardner, born on December 24, 1922, in Grabtown, North Carolina, was one of Hollywood’s most enigmatic and enduring icons. With her stunning beauty and magnetic screen presence, Gardner captivated audiences during the Golden Age of Hollywood, becoming known as much for her off-screen antics as for her on-screen performances.

Gardner’s rise to stardom was nothing short of a Hollywood fairy tale. Discovered after a chance photograph taken by her brother-in-law caught the eye of MGM executives, Gardner was quickly signed to a contract. She made her mark with a breakthrough performance in The Killers (1946), where she played the sultry femme fatale Kitty Collins, a role that established her as one of Hollywood’s premier leading ladies.

Her personal life was as dramatic as any of her film roles. Gardner was married three times, each relationship marked by turbulence and intensity:

Mickey Rooney (1942-1943): Her first marriage to the Hollywood star was brief and troubled by Rooney’s gambling and infidelities. Their union lasted just over a year.

Artie Shaw (1945-1946): Gardner’s second marriage, to bandleader Artie Shaw, was marred by his controlling and often belittling behavior, leading to another quick separation.

Frank Sinatra (1951-1957): Perhaps her most famous marriage, Gardner’s relationship with Frank Sinatra was a tempestuous affair filled with passion, jealousy, and public scrutiny. Their love story, though deeply intense, was also plagued by mutual infidelities and fiery confrontations. Gardner herself once quipped about their relationship, saying, “Well, I’ll tell you—nineteen pounds is cock,” capturing the volatile yet deeply connected nature of their bond.

Beyond her romantic entanglements, Gardner was known for her fiery temper and luxurious lifestyle, becoming a fixture in the tabloids. Her connections with powerful figures like Howard Hughes only added to her mystique. However, Gardner’s rebellious spirit extended beyond her personal life; she was a staunch supporter of civil rights, often defying the norms of segregation in the South, and maintained close relationships with African-American friends, including her personal assistant Rene Jordan.

By the 1960s, weary of Hollywood’s relentless spotlight, Gardner moved to Spain, where she lived out her remaining years with fewer film appearances but an enduring legacy. Films like Mogambo (1953), for which she received an Academy Award nomination, and The Barefoot Contessa (1954) remain testaments to her talent and enduring appeal.

Ava Gardner passed away on January 25, 1990, in London, leaving behind a legacy defined by glamour, rebellion, and a unique spirit that challenged the conventions of her time. Her life story continues to fascinate, embodying the complex interplay of beauty, talent, and a fierce independence that made her one of Hollywood’s most unforgettable stars.

Whistle Stop (1946) is a noir drama film starring Ava Gardner and George Raft. Directed by Leonide Moguy, the film is based on a novel by Maritta Wolff. The story revolves around a small-town love triangle filled with jealousy, intrigue, and crime.

Ava Gardner plays Mary, a woman who returns to her hometown after a long absence, rekindling a complicated relationship with her ex-lover, Kenny Veech (played by George Raft). Tension arises as Kenny competes with a new suitor, Lew Lentz (portrayed by Tom Conway), for Mary’s affection. The rivalry escalates into a plot involving murder and betrayal.

Set against the backdrop of a gritty, small-town atmosphere, the film showcases Gardner’s star power as a femme fatale, while Raft delivers a hardened performance as a man driven by desperation and passion. Though not one of the biggest noir classics, Whistle Stop has a moody and atmospheric quality, typical of 1940s film noir, and features strong performances by its leading actors.

The 1939 SS 100 Jaguar 2½-Litre Roadster by Van den Plas is a rare and exquisite example of pre-war automotive craftsmanship, uniquely bodied by the Belgian coachbuilder Carrosserie Van den Plas of Antwerp, rather than the more commonly known British counterpart, Vanden Plas. This specific vehicle, chassis number 49064, holds the distinction of being the last 2½-Litre SS 100 Jaguar chassis built before the onset of World War II, according to the Jaguar Daimler Heritage Trust.

Van den Plas of Antwerp, originally established in 1870 for building carriage axles and wheels, had evolved into Belgium’s premier custom automobile body builder by the 1930s. Known for their distinctive and elegant designs, Van den Plas bodies were characterized by their refined curves and luxurious detailing, drawing inspiration from the influential French coachbuilders of the era, such as Figoni et Falaschi.

The SS 100 Jaguar chassis was purchased by Van den Plas just before the outbreak of World War II with the intention of creating a custom-bodied masterpiece. However, the war put a halt to the project, and the chassis managed to survive through the conflict, unused. After the war, Van den Plas, like many European coachbuilders, faced the challenge of rebuilding and adapting to a new automotive landscape. This Jaguar chassis provided them with the perfect opportunity to showcase their talents in the immediate post-war period.

In a bid to attract new business during these lean years, Van den Plas completed the roadster, which was characterized by its fuller curves and broad chrome embellishments, reflecting the stylistic trends of the late 1940s. This roadster is not just a car but a piece of automotive history, encapsulating the resilience and artistry of Van den Plas during a tumultuous time. It stands as a testament to the enduring legacy of both Jaguar and Van den Plas, embodying a unique blend of British engineering and Belgian craftsmanship.

In 1955, renowned singer and bandleader Vaughn Monroe was captured in a striking photograph astride his Indian Motorcycle, embodying the essence of mid-20th-century Americana. Monroe, famous for his rich baritone voice and timeless hits like “Ghost Riders in the Sky,” was not just a musical icon but also a passionate motorcyclist. His love for the open road and classic motorcycles was well-known among his fans.

The image of Monroe on his Indian Motorcycle perfectly encapsulates the spirit of freedom, adventure, and the quintessential American dream. Indian Motorcycles, known for their craftsmanship and iconic status in American culture, were a fitting choice for Monroe, whose larger-than-life persona and deep connection to American music made him a perfect representative of this classic brand.

This photograph doesn’t just depict a celebrity on a bike; it weaves together two powerful symbols of American culture—music and motorcycles. Vaughn Monroe’s dual identity as a top-tier entertainer and motorcycle enthusiast highlights the broader cultural landscape of 1950s America, where the open road and musical innovation were celebrated aspects of everyday life.

Vaughn Monroe was an American singer, bandleader, and actor, best known for his deep baritone voice and his contributions to popular music during the 1940s and 1950s. Born on October 7, 1911, in Akron, Ohio, Monroe became one of the most popular and successful big band leaders of his time.

Monroe’s career took off in the early 1940s when he formed his own orchestra, the Vaughn Monroe Orchestra. His music was characterized by smooth, romantic ballads, and he quickly became known for his distinctive vocal style. Some of his most famous songs include “Ghost Riders in the Sky,” which became a major hit and remains a classic to this day, as well as “There! I’ve Said It Again,” “Let It Snow! Let It Snow! Let It Snow!,” and “Racing With the Moon.”

In addition to his success in music, Vaughn Monroe also had a career in film and television. He appeared in several movies, including Singing Guns (1950) and The Toughest Man in Arizona (1952), often playing roles that capitalized on his rugged, all-American persona.

Monroe was not just a musician but also a businessman, managing his career and orchestra with great success. His contributions to music were recognized with multiple accolades, and his influence extended well beyond his peak years.

Monroe passed away on May 21, 1973, but his legacy as one of the defining voices of the Big Band era continues to be remembered and celebrated.

Volks Wagon!

Debs…

Obligatory Nerd Time: Gary Frank, “Margot Kidder as Lois Lane and Christopher Reeves as Clark Kent/Superman”, from Action Comics #866. Source

Nuns with Guns …

Stan Lee Mars Attacks

The art of Bruce McCall is truly captivating because it offers a whimsical and satirical take on the future through the lens of Retro Futurism. His work often imagines a world where technology and culture have evolved in ways that reflect the optimistic, yet exaggerated, visions of the 1920s and 1950s—a time when humanity believed that everything from cars to entire cities would eventually sprout wings, and zeppelins would dominate the skies. What makes McCall’s art even more delightful is his ability to infuse these fantastical scenes with a tongue-in-cheek humor, poking fun at both past and present-day ideas of progress.

Born and raised in Canada, McCall didn’t take the traditional route to becoming an artist. A high-school dropout, he is largely self-taught, having pursued various careers in commercial art, journalism, and advertising before returning to his passion for humor and satire. His breakthrough came when he and a friend whimsically submitted humorous drawings to Playboy, which ultimately led him to the world of satire.

McCall became a major creative force at National Lampoon in the 1970s, where his quirky take on Atomic Age optimism resonated with the countercultural audience of the time. He crafted iconic imagery for the magazine, using his distinct visual style to capture the absurdities of modern life through the exaggerated lens of mid-century futurism. His ability to merge nostalgia with satire cemented his place in the world of humor.

These days, McCall is known for his longtime contributions to The New Yorker, where his witty observations on contemporary culture continue to thrive. His latest works, like Marveltown and 50 Things to Do with a Book, are a testament to his enduring creativity and his ability to make us laugh while reflecting on the absurdities of life and the future.

Ariel – Ben Bickell lapped Brooklands at 110mph aboard a supercharged 498cc Ariel Square Four but engine failure scuppered his bid to win The Motor Cycle prize offered to the first British 500 to cover 100 miles in an hour

Bo Diddley

The Final Episode Of The MASH Franchise Never Aired In The U.S. (& Was Lost For 30 Years)

Knuckle Bobber

The Dream Team – Fast Eddie, Lemmy and Philthy – Motörhead in New York, 1981

Wally Wood, Mars Attacks art

Chief Brody

Vampira in the Shining …

Dreams are free …

Invisible Man 1933

Give me the Willies!

Futuristic Road Trip with the Family – Bruce McCall

Nuns with Guns

Henry Richard van Dongen (1920-2010) cover, ‘Super Science Stories’, Sept. 1950

Riddle me this!

Anne Margaret on her Trumpy …

Where is scooby when you need him!
Velma Dinkley is a fictional character in the Scooby-Doo franchise. She is usually seen wearing a baggy orange turtleneck sweater, a short red pleated skirt, knee high socks, Mary Jane shoes, and a pair of black square glasses, which she frequently loses and is unable to see without. She is seen as the “brains” of the group.