Get Your Banana Brains Ready for Chaos! Weekend BigBoy 24.10.04 is Here

Hold on to your fur, my fellow primates, because this weekend, the latest BigBoy is swinging straight from the heart of Manifesto Maravillado, loaded with more de-evolved madness than your monkey mind can handle! We’re going all-in, knuckles dragging, feet stomping, and IQs plummeting in glorious ape-minded style! It’s another rocket-fueled ride into absurdity, where every twist and turn is guaranteed to fry a few brain cells. You didn’t think evolution was moving too fast, did ya?

I, The Great Ape, your Head Simian in Charge, am throwing the manual out the window and mashing the pedal through the jungle of lowbrow genius, drag strip disasters, and space-age nonsense. From chrome-plated rocket dragsters to pinups with enough attitude to tear a hole in the space-time continuum, this weekend’s BigBoy is the ultimate monkey-minded manifesto.

Glitchers can have their pulp thrills, but for all my ape-brained brothers and sisters, this is where the real fun begins—because it’s not about thinking smarter, it’s about thinking wilder. We’re giving a big gorilla thump to seriousness and tearing through retro-futuristic dreams, garage punk chaos, and space-age rebellion.

This ride? Totally unhinged and unapologetically ape-tastic!

So forget all about that “progress” stuff and devolve with us. From rubber monsters to chrome machines, we’re shaking off the chains of civilization and going straight to the primal heart of the beast. Don’t just sit there scratching your head—scratch EVERYTHING, hop in the driver’s seat, and let’s burn rubber through the jungle of human absurdity.

Welcome to Manifesto Maravillado, where The Great Ape has the wheel, and chaos reigns supreme. It’s time to unleash the bananas, because de-evolution is the only way forward!

“Detour” (1945) is a quintessential film noir, drenched in existential dread and shot on a shoestring budget, making it one of the most iconic B-movies of its time. Directed by Edgar G. Ulmer, the film is a bleak road trip down the dark alleyways of fate, bad luck, and twisted choices.

Starring Tom Neal as Al Roberts, a down-on-his-luck piano player, the story follows his ill-fated hitchhike across the country. His life takes a sharp turn into disaster when he meets Vera, played with ferocious venom by Ann Savage. Vera is as dangerous as she is unpredictable, trapping Al in a web of deceit and murder that he can’t escape, no matter how hard he tries.

Detour is celebrated for its grim atmosphere, taut pacing, and the relentless spiral of doom that characterizes true noir. It’s a fatalistic look at how a single wrong decision can send a life careening off-course. Shot in only six days, the film has become a cult classic, proving that even with minimal resources, a gritty, raw story can stand the test of time.

Check out this Atomic Age gem—the Distex Lounge Chair by Gio Ponti! Designed in 1953 and oozing with Jetsons-meets-high-fashion vibes, this beauty is all about that sleek, futuristic optimism of the 1950s. With its sharp, angular lines and bold two-tone color, this chair could have come straight from a space station or a retro rocket ship.

The Lil’ Deuce Coupe: The Iconic Hot Rod and Clarence ‘Chili’ Catallo’s Journey – Manifesto Maravillado

Concept art for The Fifth Element by Jean Giraud (Mœbius) & Jean-Claude Mézières.

George Hughes • American
Born: December 23, 1907, Died: 1990

This piece by George Hughes, titled “This Does Not Commute” The Saturday Evening Post – September 24, 1955, brilliantly captures the everyday grind of commuter life in the 1950s. The passengers in the foreground sit with their faces buried in newspapers, as detached as ever, while the scene outside the train window invites us into the mundane and sometimes humorous moments of human life.

As the conductor dutifully punches tickets, there’s a sense of routine here, almost as if the characters have long accepted this rhythm of travel. The striking red-haired woman, calmly absorbed in her book, provides a hint of individuality amidst the monotony.

And if you look closely, the real magic unfolds in the window of the other train: a man asleep and another shaving, unaware of their roles in this small but intimate tableau of life. Hughes subtly reminds us that even in the most mundane of daily routines, there’s always something to notice—if we just take a moment to look.

The Chevrolet Turbo Titan III was GM’s futuristic leap into the world of turbine-powered trucks back in 1965. Powered by the GT-309 gas turbine engine, this concept truck was a bold experiment in both design and technology, showcasing what the future of trucking might look like—if only it had been given a chance. The Turbo Titan III’s sleek cabover design, with its fiberglass and steel construction, looked like something straight out of the Space Age. It was all about pushing boundaries, blending cutting-edge aerodynamics with that cool, streamlined aesthetic that screamed mid-century innovation.

Inside, the cockpit was just as impressive. With wraparound glass, toggle switches, and an adjustable steering column, it felt more like stepping into a jet than a truck. But while the design was ahead of its time, the turbine engine had its limitations—primarily high fuel consumption at low speeds. This cool ride never made it to mass production, but it still stands as a testament to GM’s daring venture into a future where trucks could be as futuristic as they were functional.

Wheelie Kings!

Robbie …

“Girls’ Dormitory” by Paul Rader, 1963. Cover of “Girls Dormitory” by Joan Ellis

The Chrysler E49, an icon of Australian muscle, roared onto the scene in 1972 as part of the legendary Valiant Charger lineup. This beast was powered by the infamous Hemi 6 Pack engine, a 265cu inline-six fitted with triple 45mm Weber carburetors and an aggressive camshaft profile, all packed under the hood like dynamite ready to explode. Boasting 302 horsepower, it set a world record for the most powerful production six-cylinder engine of its time, leaving rivals in the dust with a sound as ferocious as its performance.

This engine was the product of a unique collaboration between US and Australian Chrysler engineers, designed in the States but truly brought to life on Australian soil. The E49’s acceleration was nothing short of mind-blowing, sprinting from 0 to 60 mph in just 6 seconds and tearing through the quarter mile in 14.4 seconds. In its day, it was a feared competitor on the streets and the track, challenging even the legendary 351 Cleveland-powered Ford Falcon GT-HO.

But the E49 was more than just a straight-line monster; it was a homologation special born to dominate the touring car circuits. Built for speed and engineered for racing, it became a staple of Australian motorsport. Even today, these snarling inline-sixes—now often producing over 420 horsepower in vintage racing—continue to cement the E49’s legacy as one of the fastest, most aggressive production cars Australia has ever seen. Pure Aussie muscle, through and through.

New York City Bunnies 1976

Carl Casper’s Phone Booth T-Bucket is one of the most unique and whimsical custom hot rods to ever grace the car show circuit. Known for his wild and imaginative creations, Carl Casper took a classic Ford Model T frame and transformed it into a rolling telephone booth, complete with a fully functional payphone. Casper was known for pushing the boundaries of custom car design, and this build is no exception, blending over-the-top creativity with the craftsmanship of classic hot rods.

Richard O’Brien was concerned that Meat Loaf might not be able to handle “Hot Patootie, Bless My Soul” in “The Rocky Horror Show” when the former Marvin Lee Aday was cast for the original L.A. Roxy cast. O’Brien brought out the music and handed it to him, saying, “It’s okay to flub a few lines. No one in the London cast has ever sung the whole thing correctly anyway.” He looked at it, replied “What’s the problem?” and then sang the whole thing without skipping a beat.

Meat Loaf originally played the parts of Eddie and Dr. Everett Scott. For the film version, “The Rocky Horror Picture Show” (1975), he played only Eddie, a decision he said made the movie not as good as the musical.
“I said you’re making a huge mistake and I still think they did, even though the actor was fine. The way it was in the play was that Eddie and Dr. Scott really looked alike, so you knew it was his nephew and I was a really good Dr. Scott.”

According to Meat Loaf, preparations for the motorcycle scene saw several accidents on the set. His stuntman drove the motorcycle through the scene including up and down several steep ramps. The bike fell off the top tier and landed upside down pinning the stuntman underneath it. Meat Loaf ran over and somehow mustered enough strength to lift the heavy bike just enough to move it off of him. The stuntman did not move for some time but eventually opened his eyes and told everyone he was OK. He later told him that it was an old stuntman trick to make sure he wasn’t suffering any pain or serious injuries before moving.

They also needed to get shots of Meat Loaf riding the bike up and down the ramps, so the crew rigged a wheelchair that would hold a set of handlebars and a motorcycle windshield in front of a camera as the crew pulled it up and down the steps. Unfortunately, as they were in the middle of shooting, the wheelchair hit a ridge at the bottom of the steps sending him flying towards the floor and shattering both the camera and the windshield. His stuntman tried to catch him in the process but the ramp caught the stuntman’s leg and caused a serious fracture. Meat Loaf also suffered a deep cut on his head.

Ethel and Gogo Rojo, the dynamic duo of Argentine cinema and pop culture, captivated audiences with their vivacious energy and undeniable charm. Known for their iconic roles in the 1960s and 70s, these sisters brought a bold, glamorous flair to the screen. With their unforgettable presence and playful performances, the Rojo sisters embodied the spirit of the era, leaving an indelible mark on entertainment history.

This 1930 Peugeot P50T board track racer is not just a motorcycle—it’s a blend of history, engineering, and wild imagination. What really sets it apart is the modern scale version of a WWI Gnome & Rhone radial aircraft engine, boasting nine cylinders and overhead valves. This meticulously crafted engine runs on methanol premix fuel with glow plug ignition, delivering that raw, unfiltered power of early 20th-century aviation right to the streets.

It sits like it belongs, snug within the 1930 Peugeot P50T frame, paying homage to the days when motorcycles ripped around oval tracks at breakneck speeds. With its combination of old-school aesthetics and aviation-inspired mechanics, this bike is a unique symbol of engineering madness and vintage cool.

The “Coretta Chair” by Team Form AG from 1971 is a futuristic, space-age piece that embodies the bold design experimentation of the early 70s. Its sculptural form, combining hard, smooth surfaces with plush, inviting upholstery, offers a unique contrast of materials that screams both retro sci-fi and avant-garde style. This chair is a perfect example of the era’s fascination with ergonomic design, showcasing how designers were blending comfort with radical, innovative aesthetics. It’s a statement piece that looks like it belongs on the set of a 70s futuristic film.

Caroline Munro coming from filming Dracula A.D. 1972…gets a shine…

Number 1 Loser’s Hero!

Shovel ..

Love is Love

Bad Neighborhood…

Jungle Pam…

Stooges looking like Gangsters …

Cornelius Keepsake ..

In 1958, Audrey Hepburn was often spotted shopping in Beverly Hills with her adorable pet deer, Pippin, affectionately known as Ip. The heartwarming image of the iconic actress walking side by side with the little fawn quickly became legendary, further cementing Hepburn’s status as a timeless figure of charm and grace.

Audrey had bonded with Pippin while filming Green Mansions, where the two formed an inseparable connection off-screen. Their close relationship, coupled with Hepburn’s natural elegance, turned their outings into an enchanting sight that still captures the imagination of fans and animal lovers alike.

he 1960 Citroën DS Tissier Van is a rare and extraordinary adaptation of the already iconic Citroën DS. Known for its futuristic design and hydro-pneumatic suspension system, the DS was transformed by Tissier, a French coachbuilder, into a specialized workhorse. This elongated van variant was built for heavy-duty tasks, often used as a car transporter or ambulance, making full use of the DS’s exceptional road-handling capabilities and comfort.

The Tissier conversion retained the sleek lines of the DS but extended the rear into a flatbed or large cargo space, capable of carrying hefty loads while maintaining the DS’s famed smooth ride. With the DS’s legendary engineering paired with Tissier’s unique modifications, this van became a perfect blend of practicality and avant-garde design, still admired by enthusiasts today for its one-of-a-kind approach to utility vehicles.

Dejah Thoris ready to take on all the chaos Barsoom can throw at her, whether it’s rogue Tharks or Martian monsters. Joe Jusko’s mastery of dramatic lighting, vibrant colors, and intricate details makes this piece pop like a scene straight out of a sci-fi pulp novel, reminding us all why we fell in love with those larger-than-life space adventures in the first place.

Near Death experience … Waiting!

Lemmy at the Windsor Free Festival, 1973.

Pretty well stock standard!

Hey…Give me a Buzz Buzz Buzz …

Hans Zimmer and a Moog synthesizer, 1970.

Who is your favorite? Marsha, Linda or Nikki?

Ack Ack Ack …

Roswell Rod – A Cosmic Masterpiece by Fritz Schenck

Rev your engines and brace yourself, because the Roswell Rod isn’t your run-of-the-mill custom car—it’s a wild, space-bound hot rod that looks like it just shot out of a UFO. Created by Fritz Schenck, a custom car wizard inspired by the legendary Ed “Big Daddy” Roth, this bubble-top beauty is more than a nod to Roth’s bizarre creations—it’s an extraterrestrial homage wrapped in fiberglass, chrome, and pure imagination.

Fritz grew up dreaming of Roth’s far-out rides like Rat Fink, Mysterion, and Beatnik Bandit—those wild model kits you just had to build as a kid. He even met his hero at the New York Custom Car Show back in the ’70s. Fast forward a few decades, and Fritz is a fabricator and painter, channeling the same outlandish energy into his own builds. The Roswell Rod is the crown jewel of his work, a machine straight out of the sci-fi pages of yesteryear.

Built in the early 2000s, the Roswell Rod takes cues from Roth’s cartoonish creations, but with an East Coast twist. Starting with a handmade square-tube frame, Fritz incorporated a 1970 Buick Skylark front end, because why not? The rear suspension is a custom four-link setup with coilovers, and from there, he hand-laid fiberglass to create the space-age body, complete with fins that scream afterburners but actually house 1960 Thunderbird taillights. Up front? A bitchin’ grille made from Model “A” wishbones, because when you’re Fritz, everyday car parts aren’t just functional—they’re art.

And let’s talk about that bubble top. If Roth’s cars were known for anything, it’s those insane domes that made his hot rods look like they were designed for astronauts. The Roswell Rod is no exception—it’s the first bubble-top custom on the East Coast! The top lifts with a linear screw mechanism, revealing an interior that’s part spaceship, part dragster. White pearl vinyl seats with red zodiac piping, handcrafted by Dondi of Trek Automotive, give it that intergalactic lounge feel, while the handmade steering wheel looks like it was pulled right out of an alien cockpit. Fritz didn’t skimp on the details, decking the dash with Moon gauges to keep the vitals in check.

Powering this retro rocket? A chromed-out 327 Chevy engine with a 6-71 blower, protruding through the body like a gleaming chrome alien artifact. And the paint job? Oh, it’s next-level. “Roswell Radiation Flow Orange,” a custom shade Fritz whipped up himself, is detailed with candy red scallops and a unique plastic-wrap technique that gives the paint a marbled, otherworldly effect. If this car doesn’t stop you in your tracks, nothing will.

It rolls on Radir cheater slicks wrapped around chrome Astro Supremes, giving it a stance that’s ready to launch. The rear fenders are molded right into the body, making it look sleek and fast, like it’s always in motion. It’s a masterpiece of design, ingenuity, and just plain fun—exactly what custom cars should be.

Fritz didn’t stop at the Roswell Rod. He’s built a clone of Roth’s “Outlaw” and restored other Roth creations like the Mega Cycle. You can even see these wild rides on display at the Motorcyclopedia Museum in Newburgh, NY. But the Roswell Rod is the one that stands out. With every detail dripping in Roth-inspired madness, it looks like it’s ready to tear across the galaxy—or at least transport you back to the golden age of Kustom Kulture.

The Roswell Rod is a love letter to the weird, the wonderful, and the absolutely over-the-top world of custom cars. One part retro sci-fi, one part hot rod, it’s a time machine on wheels, bringing us back to the days of Weirdo shirts, monster models, and Kustom car shows.

Anita and Darlene it is then…

An electric bathtub from 1910.

1933 Willys Street Rod

Try lugging that to Gig!

Men’s adventure mag illustration by Bruce Minney, c 1969.

Sometimes it is hard when no-one believes in you…

Yasutaro Mitsui with his steel humanoid robot, Tokyo, Japan, 1932

Meat & Ace

Chicks Dig Flames ….

In 1942, El Santo, the legendary lucha libre icon, made his unforgettable debut at Arena Mexico in Mexico City, forever changing the landscape of Mexican wrestling. Known as “El Enmascarado de Plata” (The Silver-Masked Man), El Santo became a national hero, both in and out of the ring. His debut marked the beginning of a 40-year career that not only solidified lucha libre as a cultural phenomenon but also turned him into a beloved folk hero, whose influence extended into movies, comics, and beyond. His mask became a symbol of justice and mystique, securing his legacy as one of Mexico’s most celebrated figures.

BREAKING NEWS: The NY Mets signed THE JOKER!

Deep inside the Death Star Darth takes a relaxing tub …

Mads Bartholin’s Alma Four custom motorcycle made from a Nimbus frame, Indian Four-style exhaust system and 1,000cc straight-four NSU car engine. He had rebuilt it with an Indian Four-style exhaust system, a 16-inch rear wheel, a Harley-Davidson solo seat and a wide handlebar. “The NSU engine is air-cooled, inexpensive, looks kind of right and there are loads of them around,” says Mads. This was in 1997.

Extras on the set of Cleopatra (1963), produced by 20th Century Fox.

Thirst for Hurst…

1968 Vox Marauder

The Nordberg 12-cylinder diesel radial engine, introduced in 1947, was a groundbreaking power unit that displaced an impressive 29,556 cubic inches (484.3 liters) and produced around 2,000 horsepower (1,500 kW). This radial engine was designed with several advantages over the traditional stationary inline engines that were the standard at the time. Its unique radial design featured horizontal cylinders and a vertical output shaft, making it a perfect fit for power generation in industries like aluminum production and pumping applications.

One of the key innovations of the Nordberg radial engine was its compact and lightweight configuration. Compared to similarly powered inline engines, the Nordberg radial took up only about half the space and could be installed on a much lighter foundation, making it highly practical for various industrial uses. Initially, the Nordberg radial was a spark-ignition, natural gas-powered engine, featuring two spark plugs in each cylinder head. It had a single cam that actuated a gas valve, allowing the natural gas to mix with the scavenging air, making the engine reliable and economical in its early applications.

As its reputation grew, Nordberg expanded the use of the engine to central power stations and pumping applications, particularly for flood control and sewage treatment plants. Eventually, diesel and Duafuel versions were developed. The Duafuel engine could run on a flexible mix of fuels, using anywhere from 100% diesel to a blend of 5% diesel and 95% natural gas, optimizing the engine for the most cost-effective operation.

The Nordberg radial engine became a crucial player in heavy industry, standing out for its fuel flexibility, compact size, and powerful output.

Up on the tire!! old school topfuel

Winners are grinners …

Deb’s

The King …

Romas Kukalis

In the 1930s, when readers stood at newsstands, they had a choice: spend 25¢ on a glossy magazine with refined images and crisp text, or for just a dime, dive into the wild world of the pulps—those cheap, rough-papered gems filled with adventure, fantasy, horror, and science fiction. With lurid covers screaming for attention, the inside illustrations of pulps were usually basic due to tight budgets and the limitations of low-quality paper.

That all changed in December 1935, when Weird Tales introduced a striking new illustrator: Virgil Finlay. Finlay’s work, bursting with detail and imagination, stood out from the typical pulp fare. His illustrations featured monsters, aliens, demons, and of course, lots of beautiful women—often enigmatic and draped in mystery or danger, appealing to the largely male audience.

What set Finlay apart was his unparalleled technique. Using scratchboard, he created white lines on black backgrounds, combining it with pen cross-hatching and the meticulous process of stipple—placing thousands of individual dots to create tonal effects. This painstaking technique resulted in images of such depth and texture, they practically leapt off the cheap pulp paper. Finlay’s commitment to his craft meant he was often late on deadlines, but his fans were more than willing to wait.

His work left an impression on literary giants, too. H.P. Lovecraft himself was a fan and even penned a poem inspired by one of Finlay’s illustrations. Over a 35-year career, Finlay produced more than 2,500 illustrations, an astonishing feat considering his slow, detail-oriented approach.

Though Finlay also worked in color and created some memorable covers, it’s his black and white illustrations that remain iconic. Despite a decline in the popularity of pulps in the 1960s, Finlay kept working, shifting to astrology magazines before his untimely death. It wasn’t until the 1970s that his work was rediscovered and celebrated in a series of reprinted collections, showing just how stunning his drawings were when freed from the limitations of pulp paper.

Finlay’s unique blend of imagination and technical skill cemented his place as one of the most extraordinary fantasy, horror, and science fiction illustrators of all time. His work remains a legacy of otherworldly beauty and meticulous craftsmanship.

In 1962, President John F. Kennedy, Sr. took a break from work to clown around with his eldest child, Caroline

Bad Habits

An Empire State builder “riding the hook” high above New York City, 1930. This daring steelworker hovers over the skyline with the iconic Chrysler Building in the background, a testament to the fearless spirit of the men who built the city’s most famous skyscrapers. These builders, known as skywalkers, worked without modern safety equipment, braving dizzying heights to construct the towering buildings that still define New York’s skyline today.

Industrial Designer Richard Arbib’s 1956 Astro-Gnome concept car is a dazzling vision of mid-century futurism. Known for his out-of-this-world designs, Arbib created the Astro-Gnome as a symbol of the Space Age, with its bubble canopy and sleek, rocket-inspired aesthetic. The car, built on a 1955 Cadillac chassis, showcased his bold, futuristic vision, blending automotive design with the excitement of space exploration.

Fun fact: Richard Arbib also briefly dated the iconic Bettie Page, the queen of pin-up culture, during the height of his design career. Their brief relationship added another layer of intrigue to Arbib’s already vibrant life, connecting the worlds of industrial design and pop culture.

This

Plus this…

Equals…

The guitar was last played on stage at the Palladium in New York on 20 September 1979. Frustrated at the stiffness of the audience, Simonon raised his guitar like a giant axe, turned his back to singer Joe Strummer, and brought it crashing down. It would probably have been forgotten had not photographer Pennie Smith been standing less than six feet away with her 35mm Pentax camera. “It wasn’t a choice to take the shot,” “My finger just went off.”

SSP Racers were a blast! Did you have one?

Clarence Doore’s “Fish with Human Hands Attacked Me!” striking and bizarre 1955 cover for True Weird Magazine perfectly encapsulates the outlandish spirit of mid-century pulp magazines. With a woman in a red bikini, visibly startled, fending off aquatic creatures with grotesque human-like hands, Doore’s artwork pulls readers right into the surreal world of the story. The exaggerated tension, the almost comical horror, and the vividly illustrated scene scream classic pulp fiction. Doore’s style shines in this bizarre, captivating image, making it a perfect fit for True Weird’s wild tales of the strange and supernatural.

Never trust Mickey!

It is always fun until someone loses an eye!

Wallace Allan Wood (June 17, 1927 – November 2, 1981) was one of the most iconic and influential figures in American comic book history. Best known for his groundbreaking work on EC Comics titles such as Weird Science, Weird Fantasy, and the early years of MAD Magazine, Wood’s unique art style and creative vision left an indelible mark on the industry. His work on the T.H.U.N.D.E.R. Agents and Warren Publishing’s Creepy also cemented his reputation as a versatile artist.

Wally Wood, IF Magazine 1959-1968

Wood’s influence extended into the world of superheroes when he famously designed Daredevil’s distinctive red costume for Marvel Comics. However, Wood was not confined to the world of traditional comics. He created and owned the long-running characters Sally Forth and Cannon, which were highly influential in the independent comic scene. His magnum opus, The Wizard King trilogy, a fantasy saga about Odkin son of Odkin, showcased his remarkable storytelling, although he tragically passed before completing the final volume.

Wally Wood Heroes Inc. Presents Cannon #2 Misfits Title Page 1 | Lot #92284 | Heritage Auctions

Despite the vast success of his career, Wood’s personal life was marked by struggle, and he tragically took his own life in 1981. Known within the comics community as Woody, though he preferred not to be called Wally, his legacy transcends the many genres and mediums he touched—whether through his Mars Attacks trading cards for Topps or his comic strips, advertising illustrations, and album covers.

Wally Wood, Peep Show

In recognition of his contribution to the comic book industry, Wood was the first inductee into the Jack Kirby Hall of Fame in 1989 and was later honored by being inducted into the Will Eisner Comic Book Hall of Fame in 1992.

Wally Wood, Incredible Science Fiction No. 33

Skybound Comics is diving deep into the waters of nostalgia with a sequel series about Hollywood’s most iconic merman. Here’s a glimpse of the raw cover art for “Creature from the Black Lagoon Lives!”, issue 3, set to release in 2024. This dynamic artwork, created by David Talaski, captures the thrilling essence of the beloved creature and his aquatic terror. Keep an eye out for this revival of a monster movie classic, sure to make waves in the comic world!

Give me the Willies!

John Carter Of Mars’ by Mark Zug

Green is nice…

Envious!

Vox Rocks…

Bill Wray

If you are not first, you’re last…

Jules…

The Smithereens / Behind The Wall Of Sleep (’86)

“Behind the Wall of Sleep” is an iconic track from The Smithereens, released in 1986 as the second single from their debut album Especially for You. Written by lead singer Pat DiNizio on the back of a cocktail napkin, this song is soaked in vintage rock charm and personal nostalgia. Inspired by bassist Kim Ernst of the Boston band The Bristols, DiNizio’s lyrics weave in pop culture references to ‘60s icons like Jean Shrimpton and Bill Wyman, creating a dreamlike narrative that merges rock history with a personal crush.

The melody hit DiNizio like lightning during a flight, and he obsessively sang it to himself so it wouldn’t slip away. Stuck in traffic for two hours, with the tune looping like a mantra, he knew he had something special.

RIP Pat

Charles Copeland was an illustrator who left his mark on men’s magazines and paperback covers during the 1950s and 60s. Though little biographical information exists about him, Copeland’s artwork spoke volumes, capturing the essence of pulp fiction’s golden age. His illustrations often depicted rugged, manly men in thrilling, life-or-death situations alongside seductive women, all bathed in a world of danger and intrigue. His vivid, action-packed style made him a standout, embodying the spirit of mid-century pulp fiction, where adventure, tension, and allure reigned supreme.

Man – Your playing is on fire tonight – No Seriously!!!

Officer Jayne wants your ID!

Japanese Axe!

Debs “Are you talkin’ to me?”

Godzilla … Grrr…

Nuns with Guns – Bad Habits… Please excuse the Nun Pun!

Earl Norem “We Heisted New York’s ‘Diamond Row’!,” Stag magazine story illustration, August 1973

Johnny and the Boys … Steve playing Excalibur!

Well, at least she has her shoes on for the doctor’s visit. Pin-up by Gil Elvgren.

Holy Tintinnabulation!

Don’t Sniff Glue Kids …

Alan Gutierrez

KISS 1977

Batman and Superman by Adrián Gutiérrez

Everyone wished this … Didn’t they?

The Killer…

Alex Schomburg

Atom-Blasetd Seeds – Souvenir of Oak Ridge, Tennessee 1958

Love is Love

No Nazis, no guns going off, no thrown punches. Yet, this Samson Pollen painting still found its place in Stag magazine. Titled “Pulling Her Leg,” this piece graced the August 1970 issue, a departure from Pollen’s usual high-octane action scenes. Known for his bold, dynamic depictions of macho adventures, this particular artwork presented a quieter moment, proving that Pollen could capture intrigue and tension even in seemingly calm situations.

The 1961 Chevrolet Corvette 283/315 “Fuelie” is a true milestone in American sports car history. Known for its fuel-injected engine, this Corvette stands out with a 283 cubic inch V8 engine producing an impressive 315 horsepower, a feat of engineering that set it apart from its carbureted counterparts. The “Fuelie” not only delivered better performance but also offered improved fuel efficiency, making it a technological marvel of its era.

Design-wise, 1961 was a turning point for Corvette. It introduced the iconic “ducktail” rear end, a sleeker and more refined look that featured the now-signature four round taillights. This design choice became a hallmark of Corvette’s future models, marrying high-performance engineering with striking aesthetics.

One particularly special example of the 1961 “Fuelie” comes in Honduras Maroon with Ermine White coves, an uncommon and eye-catching combination with only 647 built that year. Its Faun Beige vinyl interior adds to its charm, and this model boasts a matching removable factory hardtop and a four-speed synchromesh manual transmission. Once part of Leonard Nagel’s prestigious collection, this “Fuelie” has earned multiple NCRS Top Flight awards, scoring an impressive 99.5% for its originality.

With only 1,462 fuel-injected Corvettes produced in 1961, this “Fuelie” holds a revered spot in automotive history, cherished by collectors and enthusiasts alike for its cutting-edge technology and timeless design.

Al Feldstein

Boris Groh, a talented Ukrainian artist known for his haunting, surrealistic works, created this eerie illustration as the cover for Lost Symphony Music’s Chapter I: I Felt a Funeral in My Brain. The image shows a skeletal figure lying at the bottom of a grave, gazing upward, while shadowy, ghost-like figures peer down from above. The piece taps into the unsettling themes of mortality, loss, and introspection, reflecting the mood of the chapter’s title. Groh’s distinct style, which blends the surreal with the macabre, creates an atmosphere thick with tension and mystery, evoking a sense of being trapped between life and death. His artwork captures the solemn, almost dreamlike nature of contemplating the end, in perfect harmony with the chapter’s introspective narrative.

Cheetah …

Naughty Boys …

“Don’t try and fool me! It’s not sweater weather season!” A stunning illustration by Samson Pollen for an issue of For Men Only. Known for capturing moments of tension, allure, and style, Pollen’s work often brings an irresistible charm with its mix of danger and seduction. This piece captures the very essence of mid-century pulp art, where the stakes are high, and the glamor is undeniable. It’s all about those sneaky, steamy glances before the action hits—classic Pollen.

No Fun!

Dinner at the drive-in movie theater in 1952

Poison Ivy and Lux hanging around in staircases

This Batman and Joker Promo Shot definitely gives off some “buddy cop comedy” vibes! The 1989 Batman film was dark and moody, but this shot feels like it’s straight out of a quirky 80s sitcom where Batman and Joker have to team up for some wacky adventure. With Batman’s tough-guy stance and Joker’s playful grin, it’s like they’re about to hit the streets as mismatched partners solving crime with slapstick antics. All they need now is a corny theme song to round it out!

The Barnstable Twins on Quark.

Nailed it!

You’re gunna’ need a bigger boot…

99 & 86…

Destroyer

Back in 1976, KISS was at the peak of their powers—four makeup-wearing blokes prancing around on stage, pyrotechnics galore, and selling out arenas with their over-the-top rock spectacle. Destroyer was their magnum opus, the album that took them from rock stars to living legends. Bob Ezrin’s slick production turned their raw energy into something epic, with tracks like “Detroit Rock City” and the thunderous “God of Thunder” becoming instant classics. This was KISS at their absolute best—before the early ’80s saw their star fade a bit, Destroyer captured them in all their flamboyant, fire-breathing, blood spitting glory.

Junk Yard Nevada Desert

1958 Corvette

U.S. Agent Who Invaded Hitler’s House of Hostage Frauleins, 1966 – Charles Copeland

Rodney Mattheus artwork

Garlits in Swamp Rat 13 (1969)

Look, it’s a Velma Dinkley pin-up where she’s actually not wearing the same orange sweater she’s always wearing in “Scooby-Doo” shows! Good on you, Velma! Artwork by NoEskape.