Weekend BigBoy: Let’s Get Wild, Unleash Mayhem, and Burn Rubber!

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. It’s time to throw caution to the wind and tear through the wildest corners of retro-futuristic dreams and counterculture chaos.

I, The Great Ape from Planet Ape, am your guide through the swirling madness of Manifesto Maravillado, where we fully embrace our “monkey mind” and celebrate the glorious mess of human de-evolution. From lowbrow art and garage punk attitude to drag races across the stars and retro-futuristic dreams, we’re mashing up everything wild, rebellious, and joyfully absurd. The ’60s rebel spirit is alive and well, and we’re inviting you to dive into a world where rubber monsters, chrome spaceships, and unfiltered human folly reign supreme.

This BigBoy post is a celebration of the offbeat, the wonderfully bizarre, and the unapologetically rebellious. It’s a riot of pinups tearing across intergalactic highways, a love letter to B-movie brilliance, and a shout-out to dragsters blazing a trail through the fabric of time. If you’re looking for hot rods, punkabilly swagger, and space-age mischief, you’ve come to the right place—because this is Manifesto Maravillado at its most madcap and unfiltered.

So buckle up tight, because we’re blasting off into a world where the only rule is to have fun. The Nitro is cackling and the pie crust cheater slicks are burning rubber as we hit full throttle with no brakes in sight. It’s all about revving up for the wildest ride, where pinup queens and space-age rebels race through neon skies, and every twist and turn is more thrilling than the last. Forget the map—Manifesto Maravillado is all about tearing down the road of human chaos with pure joy in our hearts and a reckless grin on our faces.

Welcome to the ride of your life—this is Manifesto Maravillado, and The Great Ape has the wheel!

Jungle Pam

Here, amidst the buzz of the crowd and the anticipation of the upcoming challenge, the partnership between Shelby and Miles shines—a dynamic duo poised for victory on the racing circuits.

Jonnie Wilson and Bettie Page

Check out this fab ‘’51 Henry J Gasser, Daddy-O! A true symbol of the raw, gasser style, Drag Addict is a blast from the past where speed was king and chicks digged greasers!

The look of satisfaction?

The iconic Pie Crust “Cheater” Slicks, named for their distinctive appearance, were initially wide treads recapped onto regular tires. Their trademark ribs served as trusses to support the overhanging tread. As tire tech evolved, these trusses became unnecessary, though the design stuck around as a decorative feature.

The pie crust slicks met their match in 1965 when Goodyear’s new “wrinkle wall” slicks outperformed them in a dramatic showdown at Fontana Dragstrip, marking the end of pie crust slicks in serious racing competitions.

You know what! Chicks Digg ’em!

Debbie Harry: The Punk Muse of 1970s New York City

In the gritty, electric atmosphere of 1970s New York City, Debbie Harry emerged as the iconic queen of the punk and new wave scene. As the frontwoman of Blondie, she became more than just a singer—she was a living, breathing embodiment of the city’s chaotic energy. Her sharp, seductive vocals, combined with Blondie’s genre-defying sound, captured the raw pulse of NYC’s underground.

Blondie’s music was a cocktail of punk, pop, and disco, embodying the rebellious spirit of a city that thrived on breaking the rules. Debbie’s image—a fusion of bleached-blonde glam and streetwise cool—became the face of New York’s counterculture. But it wasn’t just her voice or fashion; it was her ability to channel the wild, edgy, and often dangerous energy of the streets into something magnetic and unforgettable.

Harry’s influence transcended music, cementing her as a muse for artists, designers, and filmmakers of the time. She was the face of punk’s gritty glamour, walking the line between art and rebellion. Whether on stage at CBGB or strutting down the streets of Manhattan, Debbie Harry was, and remains, a beacon of NYC’s art, fashion, and music. Her legacy still pulses through the city’s veins, marking her as one of the defining icons of a golden era in music.

Ahead of Its Time: The 1960 Cadillac Series 62 Convertible Motorama Car with an In-Dash TV

The 1960 Cadillac Series 62 Convertible, a true Motorama marvel, was not just a symbol of luxury and style—it was a vision of the future. Cadillac’s penchant for innovation was on full display with this model, most notably for its in-dash TV, a feature decades ahead of its time. At a time when even home televisions were considered a luxury, Cadillac dared to imagine a world where passengers could enjoy visual entertainment from the comfort of their car.

The Series 62 Convertible epitomized the tailfin glory of Cadillac’s design era, with sleek lines, bold chrome accents, and those signature towering fins that captured the essence of 1960s automotive elegance. Yet, beneath its glamorous exterior, it was the technological advancements that made this vehicle a true showstopper. The in-dash TV wasn’t just a gimmick; it was a testament to Cadillac’s commitment to leading-edge innovation.

Motorama was all about showcasing the future of motoring, and this Cadillac was the perfect embodiment of that ethos. With its in-dash TV and futuristic features, the 1960 Cadillac Series 62 Convertible wasn’t just ahead of its time—it set a benchmark for what the luxury car of tomorrow could be. It remains an enduring symbol of a golden era of automotive imagination and American ingenuity.

Get ready for giant-sized thrills with War of the Colossal Beast (1958), a B-movie gem that towers over the competition! Following up on the success of The Amazing Colossal Man, this campy classic brings back our oversized anti-hero, Colonel Glenn Manning, who’s now half-skeletal, half-crazed, and 100% monstrous. After surviving a nuclear blast and a nasty fall, Manning has been living his best colossal life in Mexico, stealing trucks full of food and terrorizing the locals—because hey, a 60-foot-tall guy’s gotta eat, right?

As you can imagine, things get hilariously out of hand when his sister and the military track him down. Cue the suspenseful music and low-budget special effects as Manning goes on a rampage through Los Angeles, smashing through the city like he’s got nothing better to do. With a face only a mad scientist could love and a temper to match, our Colossal Beast wreaks havoc before the final dramatic showdown at the Griffith Park Observatory.

What makes this flick so fun is its over-the-top drama, classic 1950s sci-fi effects, and that deliciously absurd plot. If you’re into giant monsters, crazy experiments, and a bit of cheese with your cinema, War of the Colossal Beast delivers big time—pun totally intended!

E/K being fat doing his thang…

Ruth Marten (American, born 1949)

The Robots

Dare Devils …

Shannon Sternweis 1962

Wakey wakey!

Thirst for Hurst – Linda Vaughn

Pink Floyd performing at the Royal Randwick Racecourse in Sydney, Australia, 1971.

PPink Floyd’s performance at the Royal Randwick Racecourse in Sydney on August 15, 1971, stands as a vivid snapshot of the band’s evolution during this transformative period in their career. The setlist showcased their journey from experimental psychedelia to the more expansive, progressive rock sound that would define their later work.

Opening with the sprawling suite “Atom Heart Mother” (without the usual accompanying orchestra), the band immediately dove into one of their most ambitious compositions. This was followed by the delicate “Green Is the Colour,” a reflective track from the More soundtrack, offering a softer moment before the intensity of “Careful With That Axe, Eugene.” Known for its chilling build and Roger Waters’ blood-curdling scream, “Eugene” never failed to captivate the audience with its tension and release.

Next came the atmospheric “Set the Controls for the Heart of the Sun,” a staple of their live performances that combined hypnotic rhythms with haunting vocals, perfectly capturing the essence of their early space-rock sound. The band then transitioned into “Echoes,” a sprawling, 23-minute epic that was still unreleased at the time but would later become the centerpiece of their 1971 album Meddle. Its blend of ambient soundscapes and powerful crescendos hinted at the progressive direction the band was heading toward.

“Cymbaline” provided a surreal, dreamlike interlude, with its extended instrumental sections and surreal lyrics, before the band closed the show with the experimental “A Saucerful of Secrets.” This track, featuring layers of dissonance and improvisation, encapsulated the band’s early penchant for sonic exploration, concluding with the uplifting “Celestial Voices” section.

This setlist reflects Pink Floyd’s deepening exploration of psychedelic, space rock, and progressive elements, balancing both intensity and serenity. The inclusion of “Echoes” hinted at the band’s forthcoming Meddle album, while the live renditions of these early tracks underscored their innovative approach to sound and performance. The show at Royal Randwick is remembered as a significant moment in the band’s live history, marking their creative ascent before releasing some of their most iconic work.

Great vision of the future from Modern Mechanix July, 1935

Joi Lansing (April 6, 1929 – August 7, 1972) was a vision of golden age glamour, often hailed for her dazzling looks and sparkling presence both on and off the screen. With a career spanning from the late 1940s through the 1960s, Joi wasn’t just a fixture in film and television; she was a blonde bombshell who could give Marilyn a run for her money. Often seen lighting up television screens in shows like “I Love Lucy” and “The Beverly Hillbillies,” Joi knew how to leave an impression that was anything but fleeting.

Joi was more than just a pretty face; she had a knack for comedy and drama, capable of delivering lines with a charismatic flare that made cameras love her and audiences remember her. Whether she was playing the sultry next-door neighbor or a sly, humorous character, Joi did it all with an elegance that was as natural as her ability to turn heads while merely checking her makeup in a compact mirror.

Her style, punctuated by glamorous gowns and flawless makeup, wasn’t just for the cameras. Off-screen, Joi was a walking masterclass in vintage chic, making her a timeless icon for anyone who loves a sprinkle of old Hollywood magic in their modern day. Her legacy in the world of fashion and film remains as indelible as her stunning visage.

Oops…

The 1928 Duesenberg Model J represents the pinnacle of luxury and performance from the pre-war era. Unveiled at the 1928 New York Auto Show, it quickly became a symbol of wealth and status, embodying cutting-edge engineering and bespoke craftsmanship. The car’s elegant design, long sweeping lines, and custom coachwork from top builders like Murphy and LeBaron made each Model J a one-of-a-kind masterpiece. Inside, the finest materials such as leather and polished wood combined with intricate details, making it as stunning as it was comfortable.

Under the hood, a powerful 6.9-liter, straight-eight engine delivered 265 horsepower, allowing it to reach speeds of 119 mph—an incredible feat for its time. Its advanced technology, including four-wheel hydraulic brakes and dual overhead cams, gave it performance and control unmatched by its contemporaries.

The Duesenberg Model J was more than just a car; it was a statement. Icons like Clark Gable, Howard Hughes, and even royalty like the Maharajas of India owned one, cementing its place in high society. The phrase “It’s a Duesy” even became popular, underscoring the car’s association with excellence.

Today, this car is one of the most coveted classic vehicles, often fetching millions at auction. Its impact on automotive design and culture still resonates, serving as a reminder of an era when craftsmanship, speed, and elegance came together in a truly extraordinary way.

Oh Jayne

“The Damned” “New Rose” is pure punk rock dynamite, exploding onto the scene in 1976 and laying the groundwork for a new era of music. With its razor-sharp riffs and Dave Vanian’s snarling vocals, this track is punk energy personified. Often hailed as the first-ever British punk single, it’s a two-and-a-half-minute blast of raw attitude, speeding through like a shot of adrenaline straight to the heart of rock ‘n’ roll.

Captain Sensible’s bass lines throb with urgency, while Rat Scabies hammers away on the drums like he’s trying to break through the earth’s crust. But it’s that iconic opening line—“Is she really going out with him?”—that sets the tone, instantly grabbing listeners by the collar and dragging them into the frenzied, rebellious world of The Damned.

“New Rose” is a high-octane, no-nonsense anthem that still feels as fresh and rebellious today as it did when it first hit the airwaves. So if you haven’t felt the thrill of punk’s wild beginnings, give it a spin and brace yourself for impact!

Chop looks killer!

“Home Sweet Homicide” by Walter Stackpool.

Surrender Creep

Julie Newmar

Lucille Ball in the 1940s was a rising star, transitioning from her early days as a glamorous model and chorus girl to becoming one of Hollywood’s most beloved comedic actresses. With her striking red hair (which she dyed in the 1940s), expressive face, and impeccable timing, she quickly earned a reputation as a versatile performer.

During this period, Ball starred in a variety of films, often in supporting roles, in musicals, dramas, and light comedies. Her work in movies like Too Many Girls (where she met future husband Desi Arnaz) laid the foundation for her iconic career in television.

In 1975, when public interest in NASA was declining, artist David A. Hardy created a memorable cover for F&SF (The Magazine of Fantasy & Science Fiction), featuring his character ‘Bhen’, a green alien smiling at the Viking Lander on Mars. Bhen, with his bemused expression, became an iconic figure, co-designed by Hardy’s friend, Anthony Naylor, a talented cartoonist and stained glass artist. This cover cleverly mixed science fiction and humor, giving the space program a lighthearted twist during a time of fading public enthusiasm.

Hot patootie, bless his soul! In 1975, on the set of The Rocky Horror Picture Show, two legends came together—Meatloaf and Tim Curry. Meatloaf, belting out his unforgettable “Hot Patootie” as Eddie, and Curry, commanding the screen as Dr. Frank-N-Furter, created cinematic magic. Their chemistry and larger-than-life performances helped cement the cult status of the film, which continues to thrill audiences decades later. Behind the scenes, the energy was just as electric, with these two iconic performers sharing moments that defined the rebellious and fun spirit of Rocky Horror.

The story illustration for “Until There Are None”, painted by Charles Copeland, is a vivid piece of pin-up art that appeared in the March 1965 issue of Stag magazine. Known for his mastery in capturing bold, dramatic scenes with striking women, Copeland’s work for this particular story reflects the gritty, adventurous spirit of the era’s men’s magazines. With its mix of sensuality and intensity, this piece stands as a hallmark of mid-century illustration, merging pulp fiction energy with the allure of pin-up culture.

Boris Vallejo and Julie Bell are a dynamic duo in the world of fantasy art, known for their stunning depictions of heroic figures, mythical creatures, and imaginative landscapes. Both celebrated individually for their talents, together they have created an iconic visual style that merges fantasy and realism in breathtaking ways.

Boris Vallejo, born in Peru in 1941, moved to the United States in the 1960s, where he quickly made a name for himself as one of the premier fantasy artists of his time. His work often features muscular warriors, powerful gods, and ethereal goddesses, all rendered with exquisite attention to detail and anatomy. Vallejo’s art has graced the covers of countless fantasy novels, comic books, and movie posters, including memorable pieces for Conan the Barbarian and Tarzan.

Julie Bell, a former competitive bodybuilder, was born in Texas in 1958. Her background in fitness and anatomy helped her craft incredibly lifelike and dynamic figures in her paintings. She initially made waves with her work in comic book covers and fantasy art, gaining recognition for her strong, sensuous characters, often inspired by her own experiences and passion for fitness. Bell’s deep understanding of muscle structure and movement allows her to create powerful, captivating figures, often portraying women as equally strong and heroic as their male counterparts.

The two met in the 1980s and began working together, eventually marrying in 1994. Their artistic collaboration is a seamless blend of their individual strengths, with Vallejo’s fantastical storytelling meeting Bell’s dynamic realism. The result is an unparalleled body of work filled with epic battles, graceful creatures, and intensely detailed otherworldly settings.

Their paintings have been featured in galleries and collected in several books, including Imaginistix and Dreams: The Art of Boris Vallejo and Julie Bell. Together, Vallejo and Bell have redefined the fantasy genre, bringing depth, emotion, and a sense of power to their subjects, whether depicting sword-wielding heroes or majestic animals.

The influence of Boris Vallejo and Julie Bell continues to inspire generations of artists, collectors, and fantasy fans, cementing their status as two of the most influential and iconic fantasy artists of our time.

More and Less – Julie Newmar…

Johnny & Sid…

“Who’s gonna tell you when it’s too late? Who’s gonna tell you things aren’t so great?” Benjamin Orr and Ric Ocasek

Love is Love

Janeane Garofalo, The Bowler, and the Star Trek Connection – What Went Down in Mystery Men

Alright, let’s take a trip back to 1999 when superhero movies were… well, not quite Avengers-level but still trying! Enter Mystery Men, a film that should’ve been a smash hit but ended up as one of those “what happened here?” moments. And trust me, Janeane Garofalo has thoughts.

So, Garofalo wasn’t even going to play The Bowler at first. She turned down the role. But then, she hears William H. Macy and Geoffrey Rush have signed on. Suddenly, things are looking up, and she’s like, “Okay, I’m in!” And thank goodness she did because her character, with the bowling ball that contains her dad’s skull (yeah, it’s weird but awesome), totally stole the show!

Then there’s her legendary speech near the end of the film. You know, that stream-of-consciousness rant about indie filmmaking? Guess what? It wasn’t even scripted! Director Kinka Usher just wanted to use up some extra film, so he told her to go for it. And it was so good, they kept it in the final cut. Boom!

Now, Garofalo is known for her bluntness, and she didn’t hold back about the experience. She basically said the movie was “over-hyped and over-budgeted” and that, despite the potential, it ended up being a “fairly mediocre non-event.” Ouch! But hey, she got paid well for chilling on set, so there’s that.

Here’s a fun little Easter egg for you: there’s a subtle Star Trek reference in Mystery Men! Remember that weird way William Shatner pronounced “sabotage” during the Star Trek video game recording? (He legit said, “Don’t tell me how to act—it sickens me!”) In this movie, Ben Stiller repeats that line, and Garofalo follows up with, “You say ‘sabotage,’ I say ‘saboTAGE’.” Shatner-level sass, right there.

In the end, Mystery Men may not have been a box office smash, but it’s got its own charm. A bit of Garofalo improv, some Shatner vibes, and a team of weird superheroes? You can’t ask for more cult classic goodness.

The original cougar – Stifler’s Mum…

“I’m Your Witchdoctor” by John Mayall & The Bluesbreakers, featuring the legendary Eric Clapton on guitar, is a searing, electrifying track from 1965 that helped solidify Clapton’s status as a guitar god. With its voodoo-tinged blues riff and Mayall’s haunting vocals, this song casts a spell that still resonates with fans of British blues.

Recorded during the same period that spawned the iconic “Blues Breakers with Eric Clapton” album, the track showcases Clapton’s fiery, overdriven guitar tone—later nicknamed the “woman tone”—which would become a defining element of his sound. The rawness of Clapton’s Les Paul wail, combined with Mayall’s gritty harmonica and eerie lyrics, creates a hypnotic atmosphere, as if conjuring blues spirits from the crossroads.

“I’m Your Witchdoctor” isn’t just a song—it’s a trip through the darker, mystical side of the blues, with Clapton’s guitar magic leading the way. If you’re a fan of Clapton’s early work or British blues in general, this track is an essential listen.

Thirst for Hurst

The 1960s marked a thrilling era of innovation and experimentation in automotive engineering. One intriguing, albeit not entirely efficient, example of this inventive spirit was an engine design where the supercharger was powered by a separate accessory motor. This setup featured a blower driven at a constant speed, independent of the engine’s rev changes. While innovative, this approach proved less practical as it couldn’t dynamically adjust to the rev variations of the Chrysler engine it was paired with. Such designs, despite their quirks, underscore the era’s relentless push to explore new frontiers in automotive performance.

Striking a chord in the annals of rock history, the Traveling Wilburys stand casually with their Gretsch guitars, epitomizing the cool convergence of rock royalty. This supergroup—featuring icons like George Harrison, Bob Dylan, Tom Petty, Roy Orbison, and Jeff Lynne—melds timeless talent with classic style, each guitar echoing the unique harmony and revolutionary spirit they brought to the music scene.

The Traveling Wilburys’ second album, playfully titled Vol. 3, is a testament to their creative spirit and George Harrison’s mischievous humor. Despite mourning the loss of Roy Orbison, the remaining members—George Harrison (Spike), Jeff Lynne (Clayton), Tom Petty (Muddy), and Bob Dylan (Boo)—regrouped with renewed identities, embracing the continuity of their collaborative magic. Produced by Harrison and Lynne, the album sessions in spring 1990 carried the legacy forward with both original songs and heartfelt tributes, including the charity single “Nobody’s Child,” supporting Olivia Harrison’s Romanian Angel Appeal. Vol. 3 stands as a heartfelt homage to their missing brother, “Lefty Wilbury” (Roy Orbison), maintaining the Wilbury’s whimsical legacy against the backdrop of personal loss and artistic evolution.

Victor Prezio’s 1955 cover for “True Adventures” magazine is a striking piece of vintage art, capturing the bold spirit and dramatic flair of mid-century graphic design. This cover showcases Prezio’s mastery in illustrating thrilling scenes that promise adventure and intrigue, perfectly encapsulating the essence of the era’s adventure pulp fiction.

This striking artwork by Frank Kelly Freas, often hailed as the “Dean of Science Fiction Art,” epitomizes his mastery of blending technology and human form. Known for his ability to infuse futuristic concepts with emotional depth, Freas’s illustration here is a vivid example. It features a robot woman with circuitry visible beneath a transparent panel, evoking themes of technology, identity, and the intersection of human and machine—themes that are recurrent in his works and resonate with core sci-fi explorations. This image captures the essence of Freas’s impact on the visual language of science fiction during his illustrious career.

Gramps and Herman

Ralph McQuarrie (1929 – 2012) The artwork on the cover of Isaac Asimov’s book “Robot Visions” is a captivating illustration by Ralph McQuarrie, renowned for his influential concept art in the realm of science fiction. This cover art compellingly portrays a robot in a thoughtful, almost melancholic pose, which vividly captures the essence of Asimov’s exploration of robot psychology and the ethical quandaries they present. McQuarrie’s work not only enhances the book’s thematic concerns but also adds a visual depth that beckons readers into Asimov’s profound narratives, highlighting the complex interplay between human creators and their robotic creations.

Dode Martin and Jim Nelson with the “One Thing” with a Chevy engine. Their twin was the “Two Thing”. Have them both on disc of the 1961 Winternationals. At Denver in 1961 Jim Nelson drove the ‘ Straight Arrow” which was powered with a Pontiac engine.

Sandahl Bergman “Conan The Barbarian” [1982] “You want to live forever!”

They want to break free

Mary Ellen Terry, a captivating figure in the 1950s dance scene, epitomized the grace and vivacity of the era’s entertainment. Renowned for her precise technique and emotive performances, Mary Ellen left an indelible mark on the world of dance. Her style seamlessly blended classical ballet with the burgeoning modern dance movement, allowing her to shine in both concert performances and on the glittering stages of Broadway.

Throughout her illustrious career, Mary Ellen was celebrated not only for her technical prowess but also for her ability to convey deep emotions through movement. Audiences were routinely spellbound by her performances, often resulting in standing ovations and rave reviews. Her influence extended beyond the stage as she mentored young dancers, imparting her passion and knowledge to the next generation, securing her legacy in the annals of dance history.

Give Me the Willies…

Dress for Success!

Stevie Ray Vaughan and his mother, Martha Vaughan.

Alien Worlds 3-D no 1, 1984. Cover by Joe Chiodo

Anne Francis (1930–2011), born on September 16th, is an iconic figure in the world of science fiction and television history. Best remembered for her starring role in the 1956 classic “Forbidden Planet,” Anne captivated audiences as the charming and intelligent Altaira, alongside the unforgettable Robby the Robot. Her beauty, grace, and strong screen presence made her a standout in a genre typically dominated by male characters.

Anne also broke ground in television by starring in the series Honey West (1965–1966), where she played the title role of the first female detective to headline a TV show. With her distinctive mole above her lip and stylish, action-packed portrayal, Anne paved the way for future female-led shows.

In this publicity photo, Anne is pictured with Robby the Robot, a symbol of 1950s sci-fi charm and a lasting part of pop culture history. Anne Francis’s legacy continues to inspire, reminding us of her pioneering roles in both film and television

Sabretooth vs Wolverine – Kunkka

Betty Brosmer

Frank and Friends in this thrilling glimpse into the phantasmagorical world of “The Rocky Horror Picture Show,” the iconic cast converges in a surreal tableau. Anchored by Frank N. Furter’s magnetic presence, each character embodies the extravagant spirit and subversive flair that define the cult classic. A time warp of style, attitude, and campy horror, this image captures the essence of a nightmare dressed like a daydream—wholly unforgettable and delightfully transgressive.

Chicks dig Pie Crust Cheater Slicks…

1928 Brough Superior SS-100 Motorcycle: The Rolls-Royce of Motorcycles

The 1928 Brough Superior SS-100 stands out as one of the most celebrated motorcycles in history. Often referred to as the ‘Rolls-Royce of Motorcycles,’ this iconic bike was not only a marvel of engineering but also a masterpiece of customization, tailored to the specifications of each discerning owner. Originating from the hands of George Brough in Nottingham, England, back in 1924, the Brough Superior SS-100 combined luxury with peak performance.

Each of these majestic machines came with a bold promise: a capability of reaching 100 mph. True to its grandeur, even the handlebars were custom-formed to fit each buyer’s preference, emphasizing the motorcycle’s bespoke nature. In 1925, amid a production run of sixty-nine units, the SS-100 was priced at £170—a sum equivalent to £10,300 today.

The legacy of the SS-100 as the “Rolls-Royce of Motorcycles” was not self-proclaimed. This illustrious title was initially coined by a magazine road tester, and following a tour by a Rolls-Royce executive who was impressed by the Brough Superior factory’s craftsmanship, the use of the title was formally sanctioned.

In terms of build, the SS100 boasted components sourced from various high-end suppliers. From 1924 to 1936, it featured a twin-cam KTOR JAP V-twin engine, later upgraded to a Matchless engine. It incorporated a 4-stud 3-speed gearbox from Sturmey-Archer, complemented by a chain drive. Brough also re-engineered the Harley-Davidson forks to create a lighter, yet robust version, enhancing the SS-100’s handling to match its power.

Adding to its storied lineage, the Brough Superior SS-100 Alpine Grand Sports debuted at the 1925 Motorcycle Show, boasting a full touring specification. That same year, the brand introduced the Pendine Racing Model, capable of 110 mph and designed for increased ground clearance, celebrating the speed trials at Pendine Sands where Malcolm Campbell famously set numerous world records.

Owning a piece of this legacy, the 1928 Brough Superior SS-100 not only connects one to a pinnacle of motorcycle history but also to a tradition of unmatched excellence and bespoke luxury.

Glen Orbik’s artwork “Blackmailer” is a quintessential piece of modern pulp fiction art, echoing the dramatic flair and suspenseful narratives typical of mid-20th-century pulp magazines. Known for his ability to capture the essence of classic noir and pulp fiction in vibrant paintings, Orbik’s works often feature femme fatales, shadowy figures, and a palpable sense of intrigue.

“Blackmailer” first appeared as a cover for a noir fiction collection, embodying the themes of deceit, danger, and drama. The piece showcases Orbik’s skill in using bold colors and dynamic compositions to evoke stories that pull viewers into a world of suspense and seduction. His art, deeply influenced by the likes of Norman Rockwell and other classic American illustrators, carries a timelessness that bridges the golden age of pulp fiction with contemporary graphic storytelling.

Orbik’s mastery in the revival of the pulp fiction aesthetic has made his work highly prized among collectors and enthusiasts of the genre. His ability to blend modern techniques with vintage motifs ensures that each piece is not just a work of art but a portal to a thrilling era of storytelling.

Cruising through 1958 with an air of muscle and luxury, the Pontiac Bonneville Convertible made a striking transition from high-performance variant to a celebrated model line of its own. A signature piece of 1950s automotive panache, the Bonneville heralded the dawning era of muscle cars.

Under the Hood The Bonneville wasn’t just a showpiece; it packed a punch with a 370-cubic-inch V8 engine, churning out 255 horsepower right off the bat. Paired with a Carter four-barrel carburetor and a crisp 3-speed manual transmission, it offered a drive that was anything but tame. For thrill-seekers, options like the Super Hydramatic automatic transmission ramped up the power to 285 horsepower, while the Tri-Power setup—featuring three two-barrel carburetors—added an extra layer of growl to this beast, turning it into a true muscle contender.

Design and Decadence From every angle, the 1958 Bonneville captured the essence of the late ’50s flair. Its sleek, flowing lines adorned with generous chrome detailing exuded a modern grandeur, while the dramatic two-tone paint schemes and bold tail fins stamped it as a standout on any road. Inside, luxury met comfort with features like foam-padded seats, power windows, and optional bucket seats, underlining the Bonneville’s dual nature as a performance machine wrapped in elegance.

A Collector’s Dream Today, the 1958 Bonneville Convertible stands as a coveted gem among collectors, particularly prized for its scarcity and historical significance. Convertibles make up a mere fraction of the production, with those equipped with the Tri-Power or Rochester fuel injection being the most sought after, embodying the full spirit of Pontiac’s performance heritage.

In sum, the 1958 Bonneville Convertible isn’t just a remnant of automotive history—it’s a vibrant chapter that blends muscle, luxury, and striking design, continuing to captivate enthusiasts and collectors alike.

In 1962, Pete Best was dismissed from The Beatles by manager Brian Epstein, a decision fueled by both personal dynamics within the band and musical preferences. George Martin, their producer, preferred to use a session drummer, which presented an opportunity for John, Paul, and George to part ways with Pete, despite Martin never intending for Best to be fired.

The band found Pete to be more conventional, both musically and socially. While John, Paul, and George bonded during their offstage time in Hamburg and Liverpool, Pete often kept to himself, which left him out of many group dynamics. His style, from clothing to his refusal to adopt the iconic “mop-top” haircut, further distanced him from the rest of the group, although Pete later claimed he was never asked to change his appearance.

Paul McCartney acknowledged Pete’s quieter, more reserved personality, describing him as different from the rest of the band, which likely contributed to the decision. Even though Pete was popular with fans and delivered solid performances, Epstein ultimately sided with John, Paul, and George, agonizing over the decision.

Though he faced the blow of losing his spot in the world’s soon-to-be biggest band, Pete Best received a sizable payment from The Beatles 30 years later, closing a chapter on one of rock history’s most famous dismissals.

The 1936 Bugatti Type 57S Atlantic Coupe stands as a beacon of automotive artistry and engineering brilliance, with only four examples ever crafted by Jean Bugatti, son of the legendary Ettore Bugatti. Among these rare masterpieces, chassis number 57473, commonly known as the “Chatard Atlantic”, holds a particularly dramatic and storied history.

In 1955, this Atlantic met a tragic fate when it was struck by a train at a railroad crossing near Gien, France, claiming the lives of its owner, René Chatard, and his female companion. Despite the severe damage, the car’s provenance and iconic design ensured it remained a prized artifact in the world of classic automobiles.

Before the accident, the car had already undergone a distinctive transformation. Delivered in 1936 to Jacques and Yvonne Holtzschuch, it was soon restyled by famed coachbuilder Joseph Figoni, who gave it a unique, sweeping design that set it apart from other Atlantics. This, combined with the black bodywork and beige pigskin interior, made it a standout at the 1937 Concours d’Elegance de Juan-les-Pins. Later, the car was repainted blue in compliance with FIA racing regulations for France and further streamlined by Figoni.

After the devastating accident, the car’s remains were recovered in 1965 by Paul-André Berson, who spent a decade meticulously restoring the vehicle, utilizing the intact right-hand side and replacing damaged components. Upon completion in 1977, it was sold to Nicholas Seydoux, who later had it restored once more by André Lecoq.

In 2006, the Chatard Atlantic was acquired by its current owner, who sourced unused original parts from the Berson restoration, including damaged body panels and the engine block. The fully restored car made its grand appearance at the Pebble Beach Concours d’Elegance, celebrated as one of the most remarkable automobiles ever created.

The 1936 Bugatti Type 57S Atlantic Coupe is more than a car; it is a symbol of resilience, design innovation, and the enduring allure of classic automotive craftsmanship. Its story serves as a poignant reminder of the importance of preserving these automotive treasures for future generations to admire and cherish.

Kate Bush: The Visionary Artistry of a Musical Pioneer

Kate Bush, born July 30, 1958, in Bexleyheath, Kent, England, is a groundbreaking singer, songwriter, record producer, and dancer whose distinct talent and eclectic style have left an enduring mark on music. Starting her musical journey at a young age, Bush’s unique sound caught the attention of David Gilmour of Pink Floyd, leading to her being signed by EMI Records.

In 1978, at just 19 years old, she made a stunning debut with her single “Wuthering Heights”, which became an instant hit and made Bush the first British female artist to reach number one on the UK Singles Chart with a self-written song. This achievement was a bold sign of her potential as a visionary artist.

Bush’s debut album, The Kick Inside, also released in 1978, solidified her musical prowess, while her career continued to ascend as she broke new ground in both music and performance. Her theatrical stage presence, unconventional lyrics, and technological innovation in music production set her apart as an artist ahead of her time.

Her influence spans multiple genres, blending rock, pop, experimental music, and literary themes, which has inspired generations of musicians. Throughout her career, Bush became the first British solo female artist to top the UK Albums Chart and broke records as the first female artist to enter at number one.

In 2022, Bush’s iconic song “Running Up That Hill”—first released in 1985—experienced a massive revival, thanks to its feature in the popular Netflix series Stranger Things. The song reached the top of global charts, including a second number-one spot in the UK and a top-three position on the US Billboard Hot 100.

Kate Bush’s long list of accolades includes 14 Brit Award nominations, a win for Best British Female Artist in 1987, and three Grammy nominations. She was awarded the Ivor Novello Award for Outstanding Contribution to British Music in 2002, appointed CBE in 2013, and made a Fellow of The Ivors Academy in 2020. In 2023, she was inducted into the Rock and Roll Hall of Fame.

With her boundary-pushing artistry, literary-infused music, and mesmerizing performances, Kate Bush continues to influence and inspire, ensuring her place as one of the most iconic and visionary musicians in history.

The King Elvis III: A Cadillac Tribute to the King of Rock ‘n’ Roll

In the world of custom cars, few creations shine as brightly as the 1959 Cadillac Eldorado Biarritz Convertible known as “The King Elvis III.” Designed by the legendary John D’Agostino, this car is not just a stunning piece of automotive art, but a tribute to one of the most iconic figures in American pop culture—Elvis Presley, the King of Rock ‘n’ Roll.

John D’Agostino, a renowned custom car designer from California, crafted this breathtaking tribute to capture the essence of Elvis and his undeniable love for Cadillacs. Throughout his life, Elvis famously owned over 100 Cadillacs, many of which he gifted to friends, family, and even strangers. For Elvis, the Cadillac was more than just a car—it was a symbol of success, generosity, and personal style.

The King Elvis III is built on the platform of the 1959 Cadillac Eldorado Biarritz Convertible, an American icon in its own right. Known for its extravagant tailfins, luxurious interior, and aura of unmatched elegance, the 1959 Eldorado was the ultimate symbol of American excess and glamour. In this way, it perfectly mirrors the larger-than-life persona of Elvis Presley during his reign over the world of music and pop culture.

This custom creation by D’Agostino goes beyond honoring Elvis’s love for Cadillacs—it embodies the cultural zeitgeist of 1959, a time when ducktail hairstyles, white suede shoes, and rock ‘n’ roll were at the forefront of youth culture. The King Elvis III immortalizes these cultural touchstones in chrome, leather, and steel, serving as a rolling tribute to the era that Elvis defined.

Seen at high-profile events like the Rodeo Drive Concours in Beverly Hills, the King Elvis III is more than just a car on display—it’s a celebration of Elvis Presley’s legacy and his lasting impact on American music and style. With its sleek lines, custom paintwork, and meticulously crafted details, the King Elvis III is a mobile homage to the King, blending the worlds of automotive mastery and rock ‘n’ roll history.

For fans of cars, music, and the enduring influence of Elvis Presley, the King Elvis III represents more than just a custom ride—it’s a legend on wheels, carrying the spirit of the King of Rock ‘n’ Roll into the future.

This enchanting artwork is by Alberto Vargas, a master of pin-up art known for his beautifully rendered images of women. His style is characterized by its elegance and sensuality, often capturing his subjects in romantic or playful poses. This piece, with its soft colors and graceful lines, is a wonderful example of Vargas’s skill in bringing feminine charm and allure to life on canvas. It embodies the classic Vargas girl—idealized, glamorous, and eternally alluring.

Step into a time when diner culture and atomic age curiosity collided, and feast your eyes on the tantalizing Uranium Burger! Priced at just 45 cents, it’s a relic from an era when playful innovation met culinary daring. Imagine the buzz at your local hangout, with patrons eager to try a burger so intriguing, it’s named after the element that powered the future. Whether it glows in the dark or simply ignites your taste buds, this burger is a blast from the past that’s too curious to pass up! Dive into a bite of history, and savor a flavor that’s truly explosive!

Shovel

Cacklefest – Don Garlits Swamp Rat 1B

1962 … Mars Attacks! trading cards

1969 Plymouth Roadrunner, – Beep Beep!

Gabrielle Drake & Antonia Ellis in “UFO”

In the electrifying universe of 1970s sci-fi television, “UFO,” a gem from across the pond, dazzled audiences with its groundbreaking portrayal of women in roles far beyond the ordinary. Amidst the show’s futuristic chaos, two characters stood out: Lieutenant Gay Ellis and Joan Harrington, portrayed by the talented Gabrielle Drake and Antonia Ellis, respectively.

Set in the then-futuristic 1980s, “UFO” offered a unique vision of Earth’s first line of defense against interstellar threats. Gabrielle Drake’s Lieutenant Ellis, with her signature silver suit and enigmatic purple wig, commanded Moonbase with an unshakeable calm and authoritative grace. Antonia Ellis’ character, Joan Harrington, brought vigor and sharpness to the space trackers team, her intelligence pivotal in numerous close encounters.

Their performances not only added depth and intrigue to the show’s dynamic but also challenged the typical expectations for female characters in the genre, making them iconic figures in sci-fi history. Gabrielle and Antonia infused their roles with a blend of sophistication and strength, ensuring that “UFO” remains a beacon of progressive character portrayal in the vast cosmos of classic science fiction.

“When you find out that the confessional booth was accidentally swapped with a photo booth!”

Give me the willies!

Warning signs…

Extremely Rare Italian version 1970’s Motorized Batman & Robin

Boris Vallejo

Anita Ekberg photographed on the set of ‘Back from Eternity’ (1956)

The BMW R75/6 by Kingston Custom stands out in the German custom bike scene, where strict regulations often throttle creativity. Despite these challenges, Dirk Oehlerking of Kingston Custom showcases his prowess with this impeccably crafted machine. Honoring traditional German quality while pushing boundaries, Oehlerking brings a new edge to classic BMW aesthetics with a blend of bobber and Brat style influences.

The transformation begins with a small but striking Yamaha Mokick tank, which infuses a sleek vibe into the vintage frame. This BMW isn’t just about looks; it’s about performance, too. The bike’s heart, the engine, has been meticulously overhauled and finished with a glass bead blast for a pristine look, and is now paired with a Norton-inspired exhaust, singing a throaty tune that’s sure to turn heads.

Lowered forks and Sachs Hydro Cross shocks perfect the R75’s aggressive stance, while bead-blasted wheels wrapped in fresh Metzeler tires affirm its readiness for the asphalt jungle. Custom tweaks like the discreetly placed battery and aluminum foot controls emphasize Oehlerking’s attention to detail and commitment to functional aesthetics.

Kingston Custom’s BMW R75/6 not only respects the rigors of German regulations but does so with a flair that makes it a standout piece in the international custom motorcycle community.

Milton the Monster, also known as “Milton the Monster Show,” is a classic example of spooky fun mixed with slapstick, first hitting TV screens in 1965. Created by Hal Seeger, this animated series broke the mold with its lovable creature Milton—a monster created by mad scientist Professor Weirdo. Unlike the typical monsters of horror, Milton was as harmless as a kitten and perpetually good-natured, often finding himself in hilariously eerie predicaments.

Each episode rolled out from Horror Hill, where Milton lived with his eccentric monster mates: Heebie and Jeebie, the two-headed monster; Abercrombie, the zombie; and Fangenstein, the oversized canine. Together, this motley crew of creatures hilariously navigated the ups and downs of monster life, ensuring there was never a dull moment in their spooky, quirky world.

What made Milton the Monster stand out was its clever blend of monster movie elements with light-hearted, family-friendly humor. Milton’s characteristic bellowing laugh and the catchy theme song still resonate with fans, keeping the show a beloved memory in the annals of classic animation. Whether he was unintentionally scaring the townspeople or trying to outwit his creator’s mad schemes, Milton brought a dose of warmth and whimsy to the monster genre, making him a standout star in the realm of animated mischief and adventures.

Obey

You guessed it!… Gil Elvgren

Nom Nom Nom…

A new love in Tokyo (1994) Sawa Suzuki

The girl in red. An illustration by Al Moore for “The Saturday Evening Post”, 1944

Bruce on Holiday 1975

Riff Raff

Always wanted one of these!

“Take events in your life seriously, take work seriously, but don’t take yourself seriously, or you’ll become affected, pompous and boring.” ~ Shelley Duvall

The Art of Katsuhiro Otomo

Marvel’s Ghost Rider ignites the dark streets with a fearsome blaze, embodying the perfect blend of horror and heroism on his demonic ride. Whether as Johnny Blaze or Danny Ketch, this skull-faced spirit of vengeance transforms into a fiery specter, his chains rattling the very souls of the wicked. Bound to the demon Zarathos and fueled by a thirst for justice, Ghost Rider isn’t just a thrill-seeker on wheels. He’s a blazing beacon of supernatural retribution, delivering scorching comeuppance with his infamous penance stare—a hit for those who prefer their heroes with a bit more fire and brimstone.

I go Buzz Buzz Buzz It’s Just Because !

Dejah Toris by Joe Pimentel

The Number 1 Losers Hero tries to jump the canyon!

Art by Harry Ekman

Thanks for Surviving the Madness of Manifesto Maravillado!

You made it, brave traveler! You’ve just roared through the cosmic chaos of Manifesto Maravillado, where the ordinary gets left in the dust and de-evolution is worn like a badge of honor. It’s been a wild ride, packed with rubber-burning antics, punk-rock attitude, and space-age daydreams, but you held on tight and came out the other side grinning.

Led by The Great Ape, we’ve plowed through the weird, the wonderful, and the wonderfully bizarre. And now, as the smoke clears and the engines cool down, we just want to thank you for being along for the ride. You’re officially part of the Manifesto crew, where the only rule is to let loose and have a blast.

So until next time, keep the spirit of Manifesto Maravillado alive—embrace the strange, love the chaos, and always ride full throttle into the madness.

Welcome to the ride of your life—this is Manifesto Maravillado, and The Great Ape has the wheel!