Weekend BigBoy 24.10.11: Unleash Chaos, Burn Rubber, and Go Ape!

Welcome to Manifesto Maravillado, where de-evolution isn’t just a philosophy—it’s a way of life.
Strap in, my fellow primates, because this Weekend BigBoy is here to blow the lid off sanity and send your banana brains spinning! Fresh from the headquarters of Manifesto Maravillado, this week’s edition is packed tighter than a dragster’s fuel tank with de-evolved madness, primed to set your gears grinding and your neurons misfiring. Evolution? Forget it! We’re tearing up the map, throwing it in the shredder, and celebrating the beautifully bizarre and unapologetically unhinged!

I, The Great Ape, your fearless leader of all things wild and reckless, am here to guide you through this jungle of lowbrow genius and retro-futuristic dreams. Think chrome-plated hot rods with jet engines strapped on, pinups with enough attitude to blast through the time-space continuum, and a dash of sci-fi nonsense that’s guaranteed to warp your reality. We’re cranking up the chaos to eleven and dropping the hammer—because here, it’s not about thinking smarter, it’s about thinking wilder and embracing the absurd.

This weekend’s BigBoy is a high-octane, knuckle-dragging thrill ride where the only thing faster than the rubber-burning action is how quickly you’ll throw out all pretense of seriousness. We’re diving headfirst into drag strip disasters, garage punk anthems, and rebellious rockabilly swagger. The glorious chaos of human de-evolution has never looked so good, and we’re here to revel in every greasy, chrome-plated second of it!

Prepare yourself for a riot of souped-up engines, DIY space-age contraptions, and tales of interstellar pinup queens taking on galactic highways. It’s a world where B-grade monsters rub shoulders with hot-rodding outlaws, where every turn on the racetrack might just send you spiraling into another dimension. Got a problem with that? Good—because we don’t do problems, we do solutions powered by nitro and fueled by reckless joy.

This is Manifesto Maravillado at its loudest, wildest, and most wonderfully chaotic. Whether you’re a long-time ape-brained brother or a newcomer just climbing out of the evolutionary muck, we’ve got a spot for you in this carnival of chaos. No rules, no brakes—just pure, unfiltered fun as we peel out of the straightjacket of modern life and go full throttle into the wild unknown.

So what are you waiting for? Drop that boring civility, grab your leather jacket, and get ready to burn rubber with a giant gorilla grin on your face. Let’s hit those neon-lit roads of human folly, where every detour is a new adventure, and every crash is just an excuse to rebuild and rev even harder. It’s time to unleash the chaos, go ape, and ride like we’re escaping extinction.

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

Chicks Dig Muscles!

1974

The Evoluon: Eindhoven’s Iconic Saucer of Science

Back in 1966, Philips, the electronics giant, unveiled the Evoluon, a building straight out of a sci-fi movie. Designed like a giant flying saucer, the Evoluon was built as a science museum to showcase the latest in technology and celebrate Philips’ 75th anniversary. Located in Eindhoven, Netherlands, the Evoluon quickly became an iconic part of the city’s skyline, reflecting the futuristic optimism of the space age.

Inside, it was all about hands-on science and tech exhibits, drawing crowds eager to explore the possibilities of the future. While it stopped operating as a museum in 1989, the Evoluon remains a landmark of retro-futuristic design. These days, it’s used as a conference center, but its flying saucer shape continues to inspire and captivate.

Whether you’re a fan of architecture or just love things that look like they belong in a sci-fi flick, the Evoluon is a must-see in Eindhoven—a true symbol of space-age dreams and innovation.

Mary Murphy

First Contact, 2018 – Mark Bryan 1950 – USA

‘The California Kid’

Hugh Joseph Ward.

The Vampire Bat (1933) is a classic slice of American horror that packs a whole lot of eerie atmosphere into a lean runtime. Starring Lionel Atwill, Fay Wray, and Melvyn Douglas, it delivers the kind of creepy thrills that were all the rage in the early days of sound cinema. Set in a sleepy little village plagued by mysterious deaths, the film plays out like a sinister whodunit—with a batty twist, of course.

Lionel Atwill sinks his teeth into the role of the town’s doctor, a man with more secrets than a vampire with a midnight curfew. Fay Wray, fresh from her iconic scream-queen turn in King Kong, brings the kind of charisma that could stop any monster in its tracks. And Melvyn Douglas is the grounded, no-nonsense inspector trying to make sense of all the suspicious goings-on.

The film is pure 1930s horror gold—complete with foggy streets, torch-wielding villagers, and the looming question: is the vampire bat really to blame, or is there something even darker lurking in the shadows?

The Vampire Bat might not have had the blockbuster budget of some of its more famous contemporaries, but it delivers on the gothic chills. It’s a weird, wonderful dive into the early days of horror cinema that’s still worth sinking your fangs into.

https://youtu.be/kfJIPEp0ppk

472ci Hemi 1969 Dodge Super Bee

1962 … GM moon transporter!

King Kong #1: The Official Adaptation of the Fantasy Classic February 1991

You know who I am…

Named after the sound they make – Knyuck Knyuck Knyuck Knyuck Knyuck

The crew of Gemini 8: Richard Gordon, Charles Conrad, David Scott and Neil Armstrong. November 1965.

The Monkees – “Porpoise Song”: A Psychedelic Dream

Released in 1968 as part of The Monkees’ surreal film Head, “Porpoise Song” is a far cry from their bubblegum pop hits like “Daydream Believer.” Written by the legendary Gerry Goffin and Carole King, this track dives deep into the psychedelic soundscape of the late ’60s, drenched in dreamy vocals and atmospheric instrumentals.
The song’s haunting lyrics and Micky Dolenz’s ethereal voice blend with lush orchestration to create an almost hypnotic effect. With references to the ocean and themes of existentialism, “Porpoise Song” feels like a departure into the psychedelic, experimental world that defined much of that era’s music.
Often hailed as one of The Monkees’ most artistically ambitious pieces, it captures the mood of the time—trippy, introspective, and utterly unique. Whether you’re a Monkees fan or just into the sound of late ’60s psychedelia, “Porpoise Song” is a mesmerizing ride worth taking.

Maskatron: The Ultimate Evil Robot Shapeshifter!

Hold on to your circuits, folks—Maskatron is here to wreak havoc! This bad bot wasn’t just any ordinary villain; he could morph into anyone just by swapping out his face. That’s right—Maskatron came with not one, not two, but three faces—including the likenesses of Steve Austin, Oscar Goldman, and legendary actor John Saxon. Talk about a robot with some serious identity issues!

But wait, it gets better. Maskatron’s limbs? Yeah, they’d blast right off his body with the press of a button. Arms, legs, even his head would go flying, turning him into a robotic missile! And don’t forget his removable components—he was basically the Swiss Army knife of evil robots, with plenty of tricks up his cybernetic sleeves.

Whether he was imitating heroes or exploding into pieces, Maskatron was the ultimate ’70s sci-fi toy villain. He wasn’t just part of the action—he was the action. The kind of bot who’d swap faces and then literally fall apart on you. Now that’s what we call next-level evil!

Big Daddy Breakin’ Stuff!

There was plenty of steady work for artist Earl Norem in the 1960s. This two-page illustration comes from a 1965 issue of “For Men Only”

We Come in Peace…

Deb’s

Abe and his Les Paul

Chicks Dig Pie crust Cheater Slicks!

Mail or should I say “Male” Order back in the day!

You know there is some big brains hidden under that big hair right!

Yury Gagarin and Valentina Tereshkova, the first man and woman in human history to go to space, 1960s. (There’s only one question: why is Gagarin holding Tereshkova’s ear?)

What a legendary trio! Subotai, Valeria, and Conan—the ultimate dream team for sword-swinging, evil-crushing, and treasure-hunting. Whether they’re sneaking through darkened tombs, slaying beasts, or laughing in the face of doom, these three are the definition of cinematic cool. With Subotai’s sharp wit and deadlier archery, Valeria’s unmatched ferocity, and Conan’s sheer, barbaric might, they made every scene of Conan the Barbarian a full-throttle thrill ride.

An iconic mix of brains, brawn, and bad-assery—no sorcerer or snake cult stands a chance!

Drag Racing History – Greer Black & Prudhomme A/FD

When you talk about legendary dragsters, the Greer-Black-Prudhomme 1962 car is the one that always burns rubber in the memory. It wasn’t just a looker—it was a winner. In a time when speed was king, this beast managed to fuse beauty and performance like no other. Tommy Greer brought the cash, Keith Black brought the engine and clutch wizardry, and a young, daring Don Prudhomme? He brought the raw, untamed skill behind the wheel. Together, they created something that sent shivers through every competitor on the strip.

With its bright yellow body (it also rocked a red/orange scheme at one point), a Kent Fuller chassis, and a 392ci Chrysler engine masterminded by Keith Black, this machine was built for one thing—dominance. In 1964, it set the track ablaze with a 7.77-second ET at over 191 mph—a jaw-dropping time for the era. But like all good things, this iconic partnership eventually wrapped up. Greer moved to drag boats, Black focused on building engines, and Prudhomme? Well, he just went on to be one of the most successful names in drag racing history. Not too bad for a kid who started out as a SoCal car painter, right? Fun fact: one of the first cars Prudhomme ever painted was this very dragster.

The car’s wild ride didn’t end there—it was sold to “Reno Auto Wrecking” in 1967, and then disappeared into storage, like a treasure buried under time. Enter Steve Davis, a restoration master, who brought this piece of drag racing history back to life. Davis, known for his impeccable attention to detail, made sure this beauty was restored to her former glory, placing it back where it belongs—among the greatest dragsters ever built.

From its roaring past to its pristine restoration, the Greer-Black-Prudhomme dragster will forever be etched into the DNA of drag racing history.

The Cramps, Poison Ivy Rorschach – Photo by Steve Koiznajcik 1979

1983 When The Cramps hit the stage, it was pure rockabilly chaos. Tracks like “What’s Inside a Girl,” “Hot Pearl Snatch,” and “Can Your Pussy Do the Dog?” oozed their signature psychobilly sleaze.

Lux Interior‘s wild vocals and Poison Ivy‘s hypnotic riffs created a raw, electrifying vibe. From the demented swagger of “What’s Inside a Girl” to the frantic energy of “Can Your Pussy Do the Dog?”, these live performances were a mix of twisted fun and unhinged rock ‘n’ roll.
Long Live the Cramps!

“Tito & Tarantula’s” song “After Dark” gained significant popularity due to its memorable use in the 1996 cult classic film From Dusk till Dawn, directed by Robert Rodriguez and written by Quentin Tarantino. The track plays during one of the most iconic scenes in the movie, featuring a seductive and mesmerizing dance performance by Salma Hayek’s character, Santanico Pandemonium.

The band Tito & Tarantula, led by singer and guitarist Tito Larriva, is known for their unique blend of Tex-Mex rock, blues, and Latin influences, and “After Dark” perfectly encapsulates their gritty, sultry sound. The song’s eerie, hypnotic vibe, combined with Larriva’s deep, smoky vocals, creates an atmosphere of tension and allure that fits the film’s dark, supernatural tone.

This track helped solidify Tito & Tarantula’s place in rock history, particularly among fans of the film and the 90s alternative rock scene. “After Dark” continues to be one of their most recognized songs, often associated with the unforgettable imagery of Hayek’s dance with a snake in From Dusk till Dawn.

The 45rpm single “Jack The Ripper” was issued on Swan 4137, performed by Link Wray and His Ray Men. Released in 1963, this gritty instrumental became one of Wray’s most iconic tracks, showcasing his raw, distorted guitar sound that laid the groundwork for garage rock and punk. With its menacing title and signature heavy reverb, “Jack The Ripper” continues to resonate as a defining piece of rock history. Link Wray’s innovation with power chords and feedback gave this track an unmistakable edge that still thrills listeners today.

Ed Emshwiller

Ancient Technology or Unsolved Mystery? The Melting Steps of the Temple of Hathor

Deep within the ancient Temple of Hathor in Egypt lies a staircase that has baffled archaeologists and history buffs alike. Carved from solid granite, the steps appear to have melted, warping into smooth, rippling forms that seem impossible given the hardness of the stone. It’s a sight that sparks curiosity, looking like something straight out of a sci-fi story or ancient alien theory.

But here’s the kicker—no one can quite explain how these granite steps got this way. Experts agree that natural erosion or wear and tear couldn’t produce this kind of melted appearance, especially not with a material as tough as granite. So, what could have caused these steps to look like they’ve been exposed to extreme heat or some unknown force?

Some speculate about ancient technologies that might have been lost to history, while others ponder more supernatural explanations, like powerful rituals or cosmic events. Then, of course, there are the theories involving advanced civilizations that had knowledge far beyond our own.

Whatever the cause, the melting staircase remains an unsolved enigma, adding a touch of mystery to the Temple of Hathor, a place already rich with ancient stories and secrets. It’s just one more piece in the puzzle of Egypt’s enduring mysteries, a reminder that history sometimes leaves us with more questions than answers.

“The Lost World” art by F. Newton Burcham .

8 Track Goodness

1970 Corner Shop

Betty Drafton: The Rebel on Wheels

Picture this: It’s 1949 in Los Angeles, the sun’s blazing, and the streets are roaring with engines. Enter Betty Drafton, cool as can be, tearing down the road on her 1947 Velocette MAC bob-job, a sleek 350cc single with a rigid frame and girder fork. She’s riding in true rebel style, the rear fender chopped, front fender long gone, and lights? Who needs ‘em when you’ve got speed on your mind? That tank—painted red with a white speed flash—screams as loud as the engine itself, and her rims shine with white centers, adding to the flash. The Flanders riser and handlebars keep her steady, while the p-pad on the rear fender adds just a hint of rebellious comfort.

Now check this out: Betty’s got the wind in her face, revealing a post-war marvel of fashion—yep, the brassiere! Uncommon before World War II, thanks to rubber shortages during the war, this undergarment was a hot commodity in the late ’40s. Who knew speed and style could collide in such a perfect way?

This moment was caught by none other than Loomis Dean, a man who knew how to capture the magic of the times. A former photographer for Barnum & Bailey Circus, Dean started at LIFE magazine in 1947, eventually nailing 52 covers. This shot, part of his famous series of LA women riders, was taken in Griffith Park, immortalizing a moment of post-war rebellion, freedom, and pure motorcycle soul. Sadly, the story never ran, but it lives on in the LIFE magazine archives—a snapshot of a woman ahead of her time, riding into history with a roar.

[Photo by Loomis Dean / LIFE magazine]

Art by Norm Saunders, used for a cover of “Man’s Conquest” in 1969.

Project X: The Star of The Hollywood Knights

Forget the actors Danza & Pfeiffer — Project X, a supercharged 1957 Chevy, is the real star of The Hollywood Knights (1980). This gleaming yellow hot rod has a mean look with its massive blower sticking out of the hood, and it’s all about pure horsepower and attitude. The film’s plot might revolve around the pranks and mischief of the Knights gang, but this ‘57 Chevy steals the show every time it rumbles onto the screen.

In the movie, Project X is more than just a car—it’s a symbol of freedom, rebellion, and raw speed, perfectly capturing the spirit of the era. It embodies that go-big-or-go-home attitude that made muscle cars legends in the first place. With its slick paint job, chrome accents, and that unmistakable rumble, Project X turns heads and makes its presence known, whether it’s idling at Tubby’s Drive-In or tearing up the streets of Beverly Hills.

But Project X isn’t just a Hollywood prop—it’s a real deal hot rod that’s gone on to become a cult icon among car enthusiasts, representing the golden era of custom cars and drag racing. A true piece of automotive history, it’s as unforgettable as the movie it came from, embodying that timeless badass energy that made The Hollywood Knights a cult classic.

Eerie #60 (Warren, 1974)by Ken Kelly

The King still has Gig! – He aint dead!

The Beautiful M.M.

Thirst for Hurst…

Rod Hadfield’s supercharged Ardun flathead-powered 1926 Model T coupe (streetmachine.com.au)

“That Low Down Feeling” painted by Gil Elvgren

On July 24, 1975, the British glam rock band The Sweet made a memorable appearance on the BBC’s Top of the Pops, performing their hit single “Action.” By this time, The Sweet had already established themselves as one of the leading acts in the glam rock movement, known for their flamboyant style, catchy hooks, and energetic performances.

“Action” was a powerful, hard-hitting track that marked a slight shift in The Sweet’s musical direction. Moving away from the bubblegum pop sounds of their earlier hits, the band embraced a heavier rock style with “Action,” which reflected their desire to be taken more seriously as musicians. The song features bold guitar riffs, strong vocals, and a dynamic rhythm, showcasing the band’s evolving sound.

Their performance on Top of the Pops was electric, with The Sweet delivering a high-energy rendition that captivated the audience. The band’s visual presentation, characterized by their glam rock attire and stage presence, further emphasized their place in the glam rock scene of the 1970s.

“Action” went on to become a hit, reaching the Top 20 in the UK Singles Chart. The song’s success, combined with their performance on Top of the Pops, helped cement The Sweet’s status as one of the era’s most influential rock bands. This appearance is often remembered as a highlight in their career, showcasing their transition from pop sensations to rock heavyweights.

(LIVE SWEET – CHECK OUT THE DRUM FILLS!)

20 year old Dolly Parton in a recording studio, 1966.

Big Daddy Don Garlits is a living legend in the world of drag racing, renowned for his unmatched tenacity, daring spirit, and innovation on and off the track. From his humble beginnings tearing down an airstrip in his early dragster to breaking records with electric-powered beasts, Garlits has cemented his place as one of the most accomplished and fearless racers in motorsports history.

‘Big Daddy’ Don Garlits has never held back other than this time holding driver Connie Swingle at Bakersfield.

Garlits didn’t just race—he changed the game. Known for developing the rear-engine dragster design, he revolutionized safety and performance in the sport, taking it to new heights (and speeds). His relentless pursuit of excellence is what propelled him from small-town racing to international fame, with each milestone marked by breathtaking speed and engineering genius. Whether behind the wheel of his legendary Swamp Rat dragsters or pushing the envelope with cutting-edge electric machines, Big Daddy has never stopped chasing that next big win.

For decades, he has been the face of drag racing, proving time and again that there’s no limit to what can be achieved with skill, grit, and a drive for innovation

Earl Norem artwork from a 1969 “Man’s World” magazine story.

Sid and Johnny

1937 Cadillac V16 Series 90 Convertible by Hartmann.

Virginia Bell 1956 – Ding Dong!!!

Give me the Willys!

Julie Newmar – The Best Catwoman!

“Live At Pompeii” 1971.

The line “One of these days, I’m going to cut you into little pieces” is more than just a chilling phrase—it’s a defining moment in Pink Floyd’s sonic landscape. Featured in their 1971 track “One of These Days” from the album Meddle, it encapsulates the raw, menacing energy that courses through the song. Delivered by drummer Nick Mason through a warped, otherworldly voice, the line slashes through the eerie soundscape like a knife, leaving a lasting imprint on listeners.

During their legendary Live at Pompeii performance, the line becomes even more haunting. With no audience to feed off, Pink Floyd delivers a surreal, almost hypnotic set, surrounded by the ancient ruins of Pompeii. The amphitheater, long abandoned, becomes the perfect stage for this dark and powerful performance, where the band’s experimental blend of progressive rock and psychedelia reaches new heights. The thunderous bassline—played by both Roger Waters and David Gilmour—pulses like a heartbeat, while the distorted phrase hangs in the air like a sinister promise, adding an edge of danger to the already intense atmosphere. And, as if to remind you of the human side behind all that sonic power, watch closely at 4:45 when Nick Mason loses a drumstick—but like a true pro, he recovers seamlessly without missing a beat, adding even more raw authenticity to the performance.

Live at Pompeii and “One of These Days” embody the essence of Pink Floyd’s boundary-pushing creativity, with that one spoken line serving as the perfect expression of their ability to blend the haunting, the strange, and the rebellious into something unforgettable

https://www.youtube.com/watch?v=Nw1643T0RD0&ab_channel=PinkFloydUpload

Oww …

Going to Town Gear!

Elwood

Get a handle on this dummy!

Yes – Deb’s again …. Can you tell she is a fave!

“Breathless Moment” painted by Gil Elvgren

Safety first!

Rubber Ducky you’re the one!

The original Cat woman Julie Newmar and her stunt double Marilyn Watson outside the Batman studios 1966.

If it wasn’t for Michael Keaton’s Batman, we might never have seen the iconic Grapple Gun take center stage in the Caped Crusader’s arsenal. Introduced in Tim Burton’s 1989 Batman, the Grapple Gun became an instant symbol of Batman’s ingenuity—allowing him to scale Gotham’s towering buildings, swing across dangerous chasms, and escape in ways that seemed superhuman, all without breaking a sweat. This clever, industrial design quickly became a fan-favorite gadget, reflecting Batman’s reliance on technology over supernatural powers.

Before Keaton’s portrayal, Batman’s tools were more simplistic, but the Grapple Gun marked a turning point. It elevated the Dark Knight’s persona from a detective with cool gadgets to a superhero with borderline science-fiction tech, bridging the gap between his grounded, noirish roots and the more fantastical elements of his world. The invention of the Grapple Gun opened the door for Batman to have increasingly inventive, game-changing technology in every iteration that followed—whether it was Christian Bale’s Batman in the Dark Knight Trilogy or Ben Affleck’s in Batman v Superman.

Without Keaton’s Batman popularizing this tech-savvy evolution, we might never have seen the iconic, zip-line-swinging Batman that we know today. The Grapple Gun didn’t just stick—it became essential, symbolizing Batman’s constant innovation in the fight against crime.

Not sure she should light a match with all of that hairspray…

On August 10, 1977, the world of professional wrestling unknowingly witnessed the birth of a legend. A day before his 24th birthday, a young Terry Bollea, later to become the immortal Hulk Hogan, stepped into the ring for his first professional match at the National Guard Armory in Fort Myers, Florida. Wrestling under the name “The Super Destroyer,” Bollea faced Brian Blair in a bout for Championship Wrestling from Florida (CWF). This match marked the beginning of what would become one of the most iconic careers in the history of sports entertainment.

Terry Bollea’s journey to this moment had been intense and rigorous. He spent over a year training under the tough and respected Hiro Matsuda, a trainer known for pushing his students to their limits. Just days before his debut, wrestling legends Jack and Gerald Brisco visited Bollea’s training gym and handed him a pair of wrestling boots, informing him of his impending debut—a moment that would propel him into wrestling history.

At the time, Bollea wrestled under his real name but was billed as “The Super Destroyer,” a persona with a deep legacy in the wrestling world. The character, originally portrayed by Don Jardine, was a masked figure shrouded in mystery. Bollea briefly embraced this enigmatic persona before moving on from CWF, which marked the end of his time as “The Super Destroyer.”

After leaving CWF, Bollea’s career took an unexpected path. It wasn’t until 1978, when he met Ed Leslie (who would later become Brutus Beefcake), that Bollea returned to the ring. The two formed a tag team called The Boulder Brothers and wrestled in various promotions. Their time in the Continental Wrestling Association (CWA) in Memphis proved pivotal when promoter Jerry Jarrett offered them a lucrative contract.

It was during a television appearance in Memphis that Bollea’s destiny began to unfold. Seated next to Lou Ferrigno, the star of The Incredible Hulk, Bollea’s massive frame drew comparisons to Ferrigno’s on-screen persona. The host’s remark that Bollea seemed to outsize “The Hulk” himself struck a chord. Backstage, Mary Jarrett, the wife of promoter Jerry Jarrett, suggested that Bollea adopt the “Hulk” moniker. This led Bollea to start performing as Terry “The Hulk” Boulder, setting the stage for the creation of one of the most famous names in wrestling history.

This early chapter of Terry Bollea’s career laid the foundation for his transformation into Hulk Hogan, a figure who would go on to become synonymous with professional wrestling. From his humble beginnings as “The Super Destroyer,” Bollea’s journey would see him rise to unimaginable heights, capturing the hearts of millions and changing the landscape of sports entertainment forever.

How do you like your Beatles? Clean-cut, mop-topped, and suit-clad pop idols, or colorful, bearded hippies who revolutionized rock? Here’s a third option: the early Beatles were basically punks.

Before Brian Epstein discovered them, the Beatles were a raw, rebellious band playing in the gritty nightclubs of Hamburg and Liverpool. Clad in leather jackets and jeans, they were a far cry from the polished image that later made them famous. They smoked, swore, and even ate chicken on stage between songs, showing little regard for mainstream appeal or etiquette. This rough-and-tumble image kept them confined to small venues, playing for just enough cash to buy more chicken.

Then along came Epstein, a man with a vision. He saw the potential in the Beatles but knew they needed a transformation to break into the mainstream. Epstein urged them to ditch the leather and denim in favor of tailored suits. He gave them clean, styled haircuts, and even got them to start bowing after performances. One of his more peculiar changes was convincing them to stop letting excess guitar wire dangle from their instruments—a common practice at the time so they could quickly re-tie a broken string mid-performance. Epstein saw this as messy and unprofessional, and the Beatles eventually agreed.

Initially, the band wasn’t thrilled with the changes Epstein suggested. But as John Lennon later admitted, it was a choice between “making it” or continuing to eat chicken on stage. They chose wisely, and the rest is history. The Beatles’ transition from gritty punks to global superstars is a testament to the power of image and the right management. Epstein’s guidance helped the Beatles break free from the club scene and conquer the world, making them one of the most influential bands in history.

On August 14, 1948, a musical powerhouse was born—Bruce Thomas, the bassist whose grooves would help define the sound of rock and roll during the late ’70s and early ’80s. While he may not be a household name like some of his contemporaries, Thomas’s work with Elvis Costello & The Attractions stands as a testament to his incredible talent and versatility.

Teaming up with drummer Pete Thomas (no relation), Bruce formed the backbone of The Attractions, the band that propelled Elvis Costello’s early work into legendary status. Together, they created a rhythm section that was nothing short of magical, driving the band’s sound with a mix of precision, power, and flair that few could rival.

Bruce Thomas wasn’t just any bassist; he was a virtuoso who blended the melodic sensibility of Motown’s James Jamerson with the thunderous attack of The Who’s John Entwistle. His bass lines were always inventive, often unexpected, and they perfectly complemented the wild genre-bending nature of Costello’s songwriting. From the punk-infused energy of This Year’s Model to the genre-blurring brilliance of Armed Forces and beyond, Thomas’s playing was the secret sauce that gave The Attractions their unique edge.

Before he became an Attraction, Bruce Thomas had already cut his teeth in the music world. He replaced Paul Rodgers on bass in Middlesbrough’s The Roadrunners, right before Rodgers went on to form Free, one of the most iconic rock bands of the late ’60s and ’70s. Thomas also spent some time with Quiver, further honing his craft and proving that he was more than capable of holding down the low end in any musical setting.

But Thomas’s talents don’t stop at music. He’s also a celebrated author and one of the most respected biographers of Bruce Lee—yes, the Bruce Lee. It’s not every day you find a rock bassist who also has a deep understanding of martial arts philosophy, but then again, Bruce Thomas has always been anything but ordinary.

So, here’s to Bruce Thomas—a bassist who deserves every ounce of recognition for his contributions to rock music and beyond. His ability to blend technical skill with artistic flair has left a lasting impact on the music world, proving that the rhythm section can be just as vital as the frontman in creating timeless rock ‘n’ roll.

The Wagner Motorcycle Company, founded in 1901 in Saint Paul, Minnesota, by George Wagner, was a pioneering force in the early days of American motorcycling. As an offshoot of the Wagner Bicycle Company, the firm quickly established itself as an innovator in motorcycle design and production during its relatively short lifespan, which lasted until 1914.

One of Wagner’s most notable contributions to the motorcycle industry was its decision to position the engine low in the frame, utilizing what was known as a “loop frame.” This design was revolutionary at a time when most motorcycles were high-engined clones of the popular Indian models. The lower engine placement in the loop frame offered better stability and handling, setting Wagner motorcycles apart from the competition.

By 1911, Wagner motorcycles had evolved to feature pushrod engines ranging from 15 cubic inches in the early 1900s to 29 cubic inches by 1911. These engines were equipped with a suction intake valve and powered by a V-belt drive system, which was standard for many motorcycles of that era. However, Wagner’s designs included several unique features that distinguished them from other motorcycles at the time. For example, Wagner motorcycles used the loop frame as part of the exhaust system—a novel approach that underscored the company’s commitment to innovative engineering.

Wagner motorcycles were also known for their aesthetically pleasing, highly curved frames, which were constructed with brazed bronze fittings, a testament to the company’s attention to detail and quality craftsmanship. Early models even came with front baskets, adding a touch of practicality to these early machines.

In terms of pricing, Wagner motorcycles were accessible yet premium for their time, with models ranging from $175 to $210. Despite their quality and innovation, Wagner produced approximately 8,500 motorcycles before ceasing operations in 1914, making them a rare and highly sought-after piece of motorcycling history today.

The Wagner Motorcycle Company may have been short-lived, but its contributions to the evolution of motorcycle design and engineering continue to be recognized by vintage motorcycle enthusiasts and historians alike.

The 1939 Duesenberg Coupe is a prime example of the artistry and craftsmanship that defined the golden age of American automobiles. At a time when the world was on the cusp of dramatic change, Duesenberg was still turning out some of the most luxurious, powerful, and exclusive cars ever made. The 1939 Coupe, in particular, stands as a beacon of this era—a car that not only embodies the height of pre-war luxury but also the pinnacle of American engineering.

Duesenberg was synonymous with opulence, and the 1939 Coupe was no exception. With its low, sweeping lines and bold, imposing grille, the Coupe was designed to turn heads and assert its presence on the road. But it wasn’t just about looks; this car was built for performance. Underneath the hood lay a straight-eight engine, often supercharged, that delivered an exhilarating level of power. At a time when many cars were designed simply to get from point A to point B, the Duesenberg Coupe was built to thrill—to make the journey as exciting as the destination.

Inside, the 1939 Duesenberg Coupe was the very definition of luxury. The finest materials—leather, wood, chrome—were used throughout, creating an environment that was as comfortable as it was elegant. Each Duesenberg was custom-built, meaning that no two were exactly alike, and the 1939 Coupe was a true one-of-a-kind masterpiece. From the meticulous craftsmanship to the attention to detail, every aspect of the car was designed to meet the highest standards of the day.

Today, the 1939 Duesenberg Coupe is a rare and highly sought-after collector’s item. It’s a car that commands attention at any car show, not just because of its beauty, but because of what it represents: a time when automobiles were not just a mode of transport, but a symbol of status, power, and American ingenuity. Owning a Duesenberg from this era is like owning a piece of history—a tangible reminder of a time when cars were as much about style and substance as they were about speed.

The legacy of the 1939 Duesenberg Coupe lives on, a testament to the enduring appeal of classic American cars and the craftsmanship that went into building them. It’s a car that will always be remembered not just for its stunning design and incredible performance, but for the legacy it represents in the annals of automotive history.

The Fifth Element // art by Shan Jiang

Bob’s Big Boy Home of the original Double Decker Burger

Roof Top Relaxing, New York 1951 Lisa Larsen

James Dean photographed in New York City by Dennis Stock in 1955

The Clash – Paul Simonon, Mick Jones, Joe Strummer and Topper Headon arriving at JFK Airport, NYC, 1981. Photo by Allan Tannenbaum

Factory of colour TVs in the Soviet Union, 1970s.

Duel 1971 Location: Vasquez Canyon Rd, Canyon Country, California 2023.

Duel (1971) is the kind of edge-of-your-seat thriller that grabs you by the collar and doesn’t let go until the credits roll. Directed by a then-unknown Steven Spielberg, it stars Dennis Weaver as a mild-mannered salesman who finds himself in a high-stakes game of cat-and-mouse with a faceless, psychotic truck driver on a lonely desert highway. It’s as simple as it is terrifying—a masterclass in tension with almost no dialogue but plenty of nerve-shredding suspense.

Spielberg’s direction is pure cinematic genius, turning a straightforward story into a nail-biting chase that makes you feel every rev of the engine, every screech of tires, and every heartbeat of Weaver’s escalating panic. The real star of the show? That relentless, hulking tanker truck, which becomes a monster in its own right, a mechanical embodiment of unstoppable terror.

Shot on a shoestring budget, Duel became an instant classic and a showcase for Spielberg’s skill at turning the mundane into the menacing. It’s a film where the everyday act of driving suddenly feels like the most dangerous thing in the world. Weaver’s performance is pitch-perfect, capturing the growing desperation of a man who quickly realizes he’s up against something far more sinister than just a reckless driver.

Duel is a brilliant precursor to Spielberg’s later blockbuster successes, a tight, tension-filled ride that shows what happens when you take a simple premise and elevate it to something unforgettable.

So … If you aint seen it … Here it is. You’ll be on the edge of your seat checking your rear vision!

First published for the August 16, 1947 cover of The Saturday Evening Post, Norman Rockwell used son Peter to model in Boy on High Dive. Moving his easel to the balcony of his studio, Rockwell cranked it as high as it would go and hoisted Peter onto a plank hanging over the 2-story space to accurately capture the fear on his face.

In 1955, during a candid moment captured by photographer Eve Arnold, Marilyn Monroe revealed a side of herself that was often overshadowed by her public persona—the intellectual curiosity that belied her image as a mere Hollywood starlet. Marilyn Monroe, who famously kept a copy of James Joyce’s Ulysses in her car, found solace in the complexity of the text. She loved the way the words flowed, how they sounded when spoken aloud, and would often read passages to herself, attempting to untangle the labyrinthine structure of Joyce’s work.

On this particular day, Arnold and Monroe had stopped at a local playground, and while Arnold busied herself with preparing her camera and loading film, Monroe did what she often did—pulled out her book and began to read. Her quiet contemplation amidst the otherwise unassuming setting of the playground created a stark contrast. It wasn’t just an ordinary woman reading a book; it was Monroe, engrossed in one of the most difficult literary works of the 20th century, seeking to make sense of its intricate stream of consciousness.

For those who only saw her as a glamorous icon, this image offers a glimpse of the depth and complexity behind the facade. Monroe, much like Joyce’s Ulysses, was multi-layered—her outward charm and beauty masking an inner world that was rich, complex, and filled with introspection. Eve Arnold’s photograph immortalizes that beautiful intersection of intellectual curiosity and celebrity, where Monroe’s quest for knowledge meets her stardom, with a novel in hand, sitting in a colorful, striped bathing suit on a simple playground bench. – Eve Arnold, photographer, 1955

Ralph McQuarrie

There is No Kill like Overkill!

Motörhead’s “Overkill” is the quintessential anthem that cemented the band’s status as one of the pioneers of heavy metal. Released in 1979, the track blasts out of the gates with an unrelenting double bass drum attack, courtesy of Phil “Philthy Animal” Taylor, and Lemmy Kilmister’s signature growling basslines that set the tone for what would become an all-time classic.

The title track of their second album, Overkill, is often hailed for its groundbreaking use of that driving, galloping rhythm, which was highly influential in shaping the thrash and speed metal scenes that would follow in the 1980s. The song doesn’t just play—it assaults, with “Fast” Eddie Clarke’s razor-sharp guitar riff slicing through the air like a chainsaw in overdrive. Lemmy’s iconic rasping vocals, roaring over the top, deliver lyrics that embody the band’s no-nonsense, hard-living ethos.

And it doesn’t end when you think it will. “Overkill” is infamous for its false endings—just when you think the chaos is over, it roars back to life with even more intensity. This constant barrage of sound is a perfect representation of the band’s ethos: more speed, more volume, more attitude.

“Overkill” became a staple of Motörhead’s live shows, an adrenaline-fueled explosion that left audiences breathless. It’s more than a song—it’s a relentless force that kicks in your teeth and keeps coming.

If there was ever a track that captured the raw, unfiltered energy of Motörhead, it’s this one. Crank it up, and remember: In the world of rock ‘n’ roll, there is no kill like Overkill!

Studio Version with the Dream Team – Fast Eddie, Philthy and Lemmy

Overkill (Live Hamburg Germany 1998) filmed in Düsseldorf, Germany to commemorate the band’s 30th anniversary.

Everyone was Kung-Fu Fighting!

Leonard Nimoy with his parents on his 36th birthday, March 1967

Beast!

Ozzy Osbourne buying fireworks in 1978

By 5 pm on the Monday after the race, a joke was already making the rounds:
“What’s red and lies on its back?”
“A dead Super Roo.”

Even Sydney’s radio king, John Laws, couldn’t resist, bragging about his Monaro GTS350 and quipping on-air, “Super Roo, Hoo-Roo.”

In the aftermath of the Bathurst disaster, Big Al Turner found himself summoned by Bill Bourke, his boss. He knew a grilling was coming. Bill Bourke took a deep breath, his posture calm, but his eyes were sharp, like a predator about to strike. Al, all six-foot-four of him, braced himself.

Bill’s voice cut through the silence. “What… the… f#ck just happened?”
Al swallowed hard. “I f#cked up.”
He glanced around the table at the Ford executives, each avoiding eye contact with the blond-haired Californian. His usually tan face had paled, and his eyes were dark with tension.

Bill’s voice rose, disbelief lacing every word. “That’s it? You f#cked up?” He turned to a photographer who’d been documenting the meeting just moments earlier.
“What the god-damn hell are you still doing here? Get out!”

Al cleared his throat, trying to steady his nerves.
“Bill, the tyres were tested at Calder. They should have been okay for Bathurst—”
“Should’ve been?! Jesus Christ! Calder’s a picnic compared to Bathurst!” Bill’s frustration boiled over.
“We look like a bunch of drugged-out hippies who don’t know their noses from their arses!” He stubbed out his cigarette with a sharp twist.
“Our GTHOs were supposed to dominate Australia and the Pacific. Instead, they slid around like god-damn mongrel dogs on wet lino!”

Al focused on a pulsing vein on Bill’s temple.
“It won’t happen again. We’ll do more testing.”
“We? What makes you think you deserve another chance?”
“I don’t make the same mistakes twice. If we don’t win everything next year, I’ll resign.”

Bill shook his head, still fuming, when Ray Kennedy, Ford’s Publicity Manager, spoke up.
“Excuse me—”
“Not now, Ray—”
“Mr. Bourke, I think we can turn this around.”

Bill turned, locking eyes with Ray.
“You can’t turn this f#ck-up into a win!”
“No, but…” Ray allowed a small smile to crack through the tension. “Everyone knows it was the tyres, but the public’s speculating. They’re listening to John Laws cracking jokes on national radio.”
Bill leaned back, considering.
“Go on. Get to the point.”

Ray took a breath, then pressed on.
“We get ahead of it—maybe with an exclusive in the Sydney Morning Herald. We control the story. We tell the public we have the most powerful, best-handling car in Australia, but it was a tyre issue—something even our top engineers couldn’t predict.”

Bill’s breathing slowed. He glanced at Al Turner, who was now staring intently at Ray, and then lit another cigarette, motioning for Ray to continue.
“We don’t name the tyres. Instead, we come up with a catchy headline.”

Al leaned forward, the faintest spark of a grin on his face. “How about: ‘We’re feeling a little deflated?’”

Bill smirked—just a little. “That’s good. We can spin the story while promoting everything but those lousy tyres.” He glanced around the table, then gave Ray an approving nod. “Good job.”

Checking his watch, he turned back to Al. “I want a win next year, or it’s your ass.” Al nodded firmly. “I won’t let you down.”

Everyone’ Favourite Drummer!

G-O GG-O

Chicks Dig Cheater Slicks

Emma Frost: Known as the White Queen, Emma Frost is a mutant with powerful telepathic abilities and the secondary ability to transform her body into diamond. She started as a villain but later became a member of the X-Men and a key leader in the mutant community.

Storm: Ororo Munroe, known as Storm, is a powerful mutant with the ability to control the weather. She has been a leader of the X-Men and one of the most iconic and influential characters in the Marvel Universe.

Rogue: Rogue, whose real name is Anna Marie, has the ability to absorb the powers, memories, and life force of others through touch. She has been a central character in the X-Men, known for her struggles with controlling her powers and her relationship with Gambit.

Jean Grey: Known as Marvel Girl, Phoenix, and Dark Phoenix, Jean Grey is one of the original members of the X-Men and one of the most powerful mutants. She possesses telepathy, telekinesis, and the Phoenix Force, a cosmic entity with unimaginable power.

Stray Cats – Live at Rockpalast 1983: Rockabilly Mayhem Unleashed!

Dig this, cats and kittens—in 1983, The Stray Cats hit the Rockpalast stage and sent shockwaves through the crowd, igniting a firestorm of pompadours, grease, and pure rockabilly rebellion. Brian Setzer’s guitar was like a weapon, slicing through the night with blistering riffs while Lee Rocker slapped that upright bass like it owed him money, and Slim Jim Phantom was pounding out beats on a minimalist drum kit like he was racing a hot rod.

“Stray Cat Strut,” “Rock This Town,” and “Runaway Boys”? Forget about it—they blew the roof off with those hits! The Stray Cats didn’t just play music—they time-warped everyone straight back to the slickest, wildest era of hot rods, leather jackets, and dance hall brawls, all while dripping with that punk rock swagger. It wasn’t just a concert; it was a full-blown rockabilly riot.

This Rockpalast show is Stray Cats in their purest form, a riot of rhythm and rebellion where the past and future collided in one glorious blast. It’s the kind of thing that makes you want to grab a comb, slick back your hair, and dance like nobody’s watching.

So turn it up and get ready to rock this town inside out and take a time warp to a wild, pompadour-fueled party, with just the right touch of rebellion and nostalgia.

Teenage girls at the drive-in movie, 1957

Don’t Screw with Alice!

The 1939 Mercedes-Benz T80 wasn’t just a car—it was a thunderous mechanical marvel designed to obliterate the land speed record. This six-wheeled leviathan, with its futuristic, jet-age look, was the brainchild of Ferdinand Porsche, built for the legendary Hans Stuck, aka “King of the Mountains.” The design was revolutionary for its time—mid-engined, boasting six wheels for maximum stability, and with a cockpit so tight, it felt more like a fighter plane than a car. If that wasn’t enough, the T80 was powered by a mind-melting 3000 hp engine—specifically a 44.5 Litre Daimler-Benz DB 603 inverted V12, borrowed from an aircraft! Mercedes-Benz didn’t just want to break records; they wanted to leave the competition in the dust, vaporized by the sheer force of speed.

At the heart of this machine was an engine that roared with the fury of wartime aviation. The Daimler-Benz DB 603 was no ordinary engine—it was a behemoth meant for Messerschmitts, tuned to push the T80 to an estimated speed of 373 mph (600 km/h). Wrapped around this beast of an engine was an aerodynamic body that looked like something straight out of a pulp sci-fi novel, with a drag coefficient of 0.18—a figure still impressive by today’s standards. The streamlined design wasn’t just for show; it was meticulously crafted to slice through the air with almost no resistance, creating a land-bound missile that would redefine what was possible on four (or in this case, six) wheels.

But fate had other plans. World War II erupted, and the T80 never got its chance to make history on the salt flats. Instead, it became a symbol of what might have been—a lost chapter in the annals of speed. Today, the T80 stands as a gleaming artifact of raw ambition, a testament to a time when Mercedes-Benz was willing to rewrite the rules of physics in pursuit of speed. It’s the ultimate “what if?” of motorsports, a beast that never got to roar at full throttle, but continues to fuel the imagination of gearheads everywhere. This wasn’t just a car—it was a statement.

Agat f 8-bit computer

The Agat was the Soviet Union’s answer to the Apple II, dropping in the early ‘80s. Imagine Apple vibes, but with a bit more grit. This 8-bit machine was bulky, slow, and made with local Soviet parts, but hey, it got the job done. It became a staple in schools, teaching kids how to code with style (if style includes a slightly clunky design).

Apple II-compatible? Sort of. The Agat could run many Apple programs with a little Soviet twist. Though it was slower, it was still a proud step in Soviet tech, teaching the next generation to embrace the digital future, one pixel at a time.

Lucille Ball wasn’t just America’s favorite redhead; she was a powerhouse who changed TV forever. Before I Love Lucy made her a household name, she spent years in Hollywood, playing glamorous roles and waiting for her big break. It wasn’t until she embraced comedy that everything clicked, and boy, did it ever!

Alongside her husband, Desi Arnaz, she launched Desilu Productions, which eventually produced hits like Star Trek and Mission: Impossible. After they divorced, Lucy made history by becoming the first woman to run a major studio. Talk about girl power!

Ball also made waves on I Love Lucy by showing her real-life pregnancy on TV—something unheard of in the 1950s. Censors wouldn’t even let them say the word “pregnant,” so they used “expecting” instead. But despite the restrictions, the episode where Lucy gives birth became one of the most-watched TV events ever.

She also fought to have Desi play her on-screen husband, breaking barriers as TV’s first interracial couple. And let’s not forget the slapstick comedy—Lucy stuffing chocolates in her mouth or stomping grapes in Italy are still some of the funniest TV moments ever.

Lucille Ball’s influence didn’t stop at comedy. She was a visionary who supported shows like Star Trek, proving she wasn’t just a funny face—she had brains, business sense, and a whole lot of guts!

Debs…

Dean Jeffries

Neil from the Young Ones …

What really Happened ..

Jules Popping out of a cake!

Stalemate

The 1950s Atomic Flying Saucer Lamp by Stilnovo is a retro-futuristic masterpiece that perfectly captures the mid-century obsession with space-age design. Its sleek, UFO-like form and minimalist aesthetic scream optimism for the future, as if it’s about to beam up the nearest atomic-age living room into a world of neon lights and chrome-plated dreams. Stilnovo, known for its high-end Italian lighting, gave the world a stylish glimpse of the cosmos, bringing a touch of sci-fi cool right into the home. This is not just a lamp—it’s a glowing homage to an era when the stars felt just within reach!

A young Don Prudhomme in 1959 with the injected Buick powered gas dragster he purchased from his pal TV Tommy Ivo, the Kent Fuller built car that Ivo first raced in 1957 . . .

It’s never that bleak!

Onya Mum!

“Gudbuy T’Jane” by Slade is like a glam rock grenade, ready to blow your socks off with its foot-stomping energy and cheeky swagger. Released in 1972, this isn’t just a song; it’s a full-on, glittery sonic punch to the gut. The boys in Slade knew how to crank out the hits, and “Gudbuy T’Jane”? Well, it’s a glorious slice of glam rock mischief that refuses to quit.

Legend has it, Jane wasn’t just some random name; she was a publicity whiz who helped push their earlier single “Take Me Bak ‘Ome” into the limelight. That’s right, a song about a PR genius helping to fuel the Slade machine. Noddy Holder’s raspy, gritty vocals tear through the track like he’s been gargling gravel (in the best way possible), while Dave Hill’s guitar riffs shred with a flamboyant, “I-don’t-give-a-damn” attitude.

This is no sweet love ballad—it’s an unapologetic shout-out to Jane, with a catchy hook so strong it could knock your pint right off the bar. Slade’s ability to combine raw rock power with a dollop of tongue-in-cheek charm is why “Gudbuy T’Jane” still stands tall as one of their most unforgettable bangers. So crank it up, let the glitter fall where it may, and say “Gudbuy” to whatever is holding you back because Slade’s about to blow the roof off.

The Stiletto: A Pearl Lime Green Bubble-Top Marvel

In 1965, show promoter Bob Larivee had a vision—to create a crowd-pleasing custom car that would draw in ticket buyers and steal the spotlight at auto shows. To make this vision a reality, he commissioned Gene Baker to design a stunning bubble-top car. Gene teamed up with Ron Gerstner, and together, they built The Stiletto—a futuristic, eye-catching creation that embodied the best of the bubble-top trend.

The Pearl Lime Green Stiletto was a true head-turner, impossible to ignore with its bold color and sleek lines. It made its debut at the 1966 Detroit Autorama, instantly captivating crowds with its transparent bubble canopy and striking design. After wowing audiences in Detroit, the Stiletto continued its run at the Roadster Show, further solidifying its reputation as a showstopper in the custom car world.

The Stiletto was built from the ground up, showcasing Ron Gerstner’s exceptional skills and further elevating his national reputation as a master of custom car craftsmanship. It also marked the end of an era, as one of the last bubble-top creations before the bubble-top craze began to fade in the late 1960s. Today, The Stiletto stands as a symbol of a time when automotive design was all about imagination, creativity, and pushing the boundaries of what a car could be.

Oh Jayne…

The Bat and the Cat…

Obey!

RUNNING ON EMPTY: Was It Really a Phase Three?

“What ya got here, a Phase Three?” “Yep.” “Hey man… What color is she?” “It’s green… it’s your basic green.” “Green… heh, heh, heh… that’s nice, green. Green is nice.”

The Australian film Running on Empty is often celebrated as a cult classic, and for good reason. This was the first high-octane flick where the cars stole the spotlight, leaving a lasting impact on car enthusiasts, who can still recite nearly every line.

Filmed entirely in New South Wales, the movie starred Australian actors Terry Serio (Mike), Max Cullen (Rebel), Richard Moir (Fox), and Deborah Conway (Julie). But the true stars of the show were the cars: the HT Monaro in the opening scene, the Gazzard boys’ EK Holden, Fox’s flashy Dodge Challenger, and Reb’s blown ’57 Chev. But for Ford fans, all eyes were on that red Falcon with GTH-351 plates.

Driven by Mike in the movie, the red Falcon was portrayed as a Phase Three. Yet, in reality, five different cars were used, and none were genuine Falcon GTHO Phase IIIs. All but one were replicas, with the lead car possibly being a genuine Falcon GT—though the exact chassis number remains a mystery. Sharp-eyed viewers could spot the differences: XB Falcon-style side mirrors, 12-slotter wheels, a shaker that sat too low, and the sound of a hydraulic valve train Cleveland instead of the characteristic rumble of a GTHO’s mechanical lifter engine.

The lead car had its quirks, including a second-gear snatch. As Mike’s mechanic Tony (played by Vangelis Mourikis) puts it, “Even granny wouldn’t be scared to go shopping in it.” After losing its first race against Fox’s big, bad black Dodge, the Falcon retreated to the countryside, eventually claiming victory over the Gazzard boys. But when the boys lost, they were less than thrilled, attacking the red Falcon with pickaxes, pouring fuel over it, and setting it ablaze.

After being badly burnt and driven off a livestock truck into a dam, the battered Falcon was reborn with a new body from a blue Falcon 500 sedan found in the bush. Rebuilt, souped up with nitrous oxide, and donning its GTH-351 identity once more, it returned to the city for a rematch with Fox’s Dodge. This time, the Falcon met its end, crashing under a semi-trailer loaded with timber logs, tearing off its roof and flipping upside down. In that moment, the standard differential and single exhaust system gave away its true nature.

Steve Courtney, who managed to source and build many of the movie’s cars, recalls, “We had a genuine car along with four other stunt cars for filming. No one knows this, but we actually used the genuine car in the scene where it went airborne. The stunt cars couldn’t be fixed in time, and we were on a tight schedule.” He adds, “One of the crew members even took the car for a spin and crashed it into a truck. We couldn’t get the right side stripes in time, so the 351-GT stripes were hand-painted. The original car’s whereabouts? Still a mystery.”

Terry Serio, who played Mike, adds, “Even now, fans spot me and ask for autographs on their VHS or DVD copies. It’s hard to think of another Aussie film that’s made such a mark on people. Even younger guys know every line!” He recalls prepping the car for the truck crash scene, including cutting the pillars with a hacksaw to weaken them. “We watched as stuntman Peter West drove under that trailer for real. It was risky, and luck was definitely on our side.”