27 Club…
Love is love
Warriors …
A boy and his peddle car, 1930s.
Last week, we blasted off together with Episode 1: “Planet 46”, where Colonel Steve Zodiac and the crew of the Fireball XL5 faced down evil aliens and saved Earth from total destruction. It was retro space-age madness at its finest—rocket-fueled action, wild alien worlds, and all the de-evolved chaos we could handle!
This week, we’re diving headfirst into Episode 2: “The Doomed Planet”, and things are heating up! Steve and his trusty crew—Robert the Robot, Doctor Venus, and Professor Matic—are back, taking us on another cosmic ride, hurtling toward a planet on the verge of total collapse. There’s no time to waste as our fearless crew battles both time and gravity, trying to save the doomed planet before it’s obliterated.
It’s all the classic space adventure you crave—complete with epic explosions, cool gadgets, and a full dose of retro-futuristic mayhem. Ready to strap in for the next mission? Get your helmets on and engines ready because Fireball XL5 is about to take off once again, and you don’t want to miss it.
Goldie … from the Laugh in days …
Bell Parts…
Caught in the door. Pin-up art by Art Frahm.
Rod Serling’s ‘Planet of the Apes’
L7 – Lindon Circa 1994
Music for the de-evolved.
L7 – “Andres” is pure, unfiltered chaos straight from the heart of the ‘90s punk and grunge explosion. This track, pulled from their 1994 album Hungry for Stink, is a sonic gut punch, delivering that unmistakable L7 attitude—fierce, dirty, and unapologetically raw. With gritty distortion, pounding drums, and a vocal delivery that sounds like it’s been dragged through the underground, “Andres” captures the rebellious, anti-establishment spirit that L7 embodied. This isn’t just a song—it’s a primal scream, the kind of track that ignites the room and slaps you in the face with its energy. L7 wasn’t here to play nice, and with “Andres”, they proved once again why they were gunna be in-your-face.
Enjoy!
When Peter Lorre arrived in Great Britain, his first meeting with a British director was none other than Alfred Hitchcock. As Hitchcock spoke, Lorre smiled and laughed, despite having a limited command of the English language. Lorre later explained, “I had heard that he loved to tell stories, and so I watched him like a hawk. When I thought he’d told the punchline, I broke out in such laughter that I almost fell off my chair.” Hitchcock, impressed by Lorre’s charm, cast him in “The Man Who Knew Too Much” (1934), where Lorre learned much of his part phonetically.
Hitchcock reportedly gave Lorre the nickname “The Walking Overcoat,” because Lorre insisted on rehearsing in a floor-length overcoat, regardless of the season.
In a 2014 Guardian article, Michael Newton wrote of Lorre’s scenes with Leslie Banks in the film: “Lorre cannot help but steal each scene; he’s a physically present actor, often, you feel, surrounded as he is by the pallid English, the only one in the room with a body.”
Lorre, always savvy, sold Hitchcock the screen rights to “Secret Agent” (1936), in addition to co-starring in the film. Lorre had a knack for collecting valuable story properties, which were estimated to be worth $350,000 by 1944.
After completing “The Man Who Knew Too Much,” Lorre and his first wife, actress Celia Lovsky, sailed for New York on July 18, 1934, a day after finishing the shoot. Lorre settled in Hollywood, where he soon signed with Columbia Pictures. However, Columbia struggled to find suitable roles for him. Lorre eventually proposed adapting Fyodor Dostoyevsky’s “Crime and Punishment” (1866), with himself in the lead role. Harry Cohn, Columbia’s head, agreed to produce the film in 1935, on the condition that Lorre be loaned to MGM, possibly to recoup the costs of his underutilization.
For MGM’s “Mad Love” (1935), directed by Karl Freund, Lorre shaved his head to play Dr. Gogol, a deranged surgeon in Paris. Gogol replaces the destroyed hands of a pianist with those of an executed knife-throwing murderer. His obsession with the pianist’s wife, an actress at the nearby Grand Guignol theater, drives much of the film’s horror. The Hollywood Reporter praised Lorre’s performance: “Lorre triumphs superbly in a characterization that is sheer horror. There is perhaps no one who can be so repulsive and so utterly wicked. No one who can smile so disarmingly and still sneer. His face is his fortune.”
Jungle Pam…
The #1 Batmobile in early ’66
Peter Boyle and Madeline Khan – 1972
Multi-tasking with Bo Diddley in 1972 – Photo by Dan Paulsen
Quite possibly the first “solo” character that started my love affair with superheroes. My earliest memories are of watching him, Superfriends and Battle of the Planets…
Space Ghost
Where else would Robin Hang Out?
Someone told me this guy was fast…
Motorcycle suspensions from the 1920s
Men’s magazine interior illustration – circa 1964 – John Duillo
What Determination Looks Like!
“The Hands of Doom!” Tony Iommi
Tim Kush and Tommy Ivo Have a Bad Day
This is the first publicly sold bottle of Coca-Cola released in 1894. It contained an estimated 3.5 grams of cocaine.
Bad news …
Anita Ekberg photographed by Peter Basch, 1956.
Tom McMullen’s ’32 Ford Highboy Roadster is a car that became an undeniable symbol of the hot rod era, capturing the essence of what it meant to be part of the burgeoning custom car culture of the 1960s. Though McMullen had served in the U.S. Navy, his military life wasn’t what brought him fame. It was his car, a hot rod that slowly but surely became legendary among enthusiasts, first in California, and soon across the U.S. and even Europe.
But why did this particular Roadster stand out among the sea of ’32 Fords that countless rodders built over the years? The answer isn’t straightforward—McMullen’s Roadster wasn’t necessarily groundbreaking in its mechanics or design, but it became iconic because of its style, attitude, and sheer presence. Hot rodders saw in it something special, something that defined an era and inspired generations of car builders.
McMullen’s Roadster made its mark not just on the streets, but in popular culture. It graced the covers of magazines like Hot Rod, Street Rodder, and Popular Hot Rodding, and even appeared in TV shows like Life of Riley and The Rebel. It was also featured on album covers, including Hot Rod Rally and Shut Down, which cemented its status as a car that symbolized more than just the hot rod world—it represented a lifestyle.
The car’s journey began in 1959, when McMullen purchased the ’32 Ford for $650 from a delivery driver living near George Barris’ famous shop in Lynwood, California. Over the years, McMullen made countless modifications, turning it into the stripped-down, high-powered roadster that became his signature. The build, though not flashy or complex, embodied everything that hot rodding was about—speed, simplicity, and a drive to stand out.
The first article about McMullen’s Roadster appeared in the March 1961 issue of Custom Rodder magazine, but some of the details were inaccurate—mistakes about the price, engine specs, and construction circulated, but that hardly mattered to the fans who loved the car. What mattered was the bold aesthetic and the attitude it conveyed.
Over time, the car’s fame only grew, even spawning a successor, Tom’s Tub II, which appeared in Chromes & Flammes magazine in the 1980s. But nothing ever quite matched the allure of the original Tom McMullen Roadster, a car that came to symbolize the golden age of hot rodding and remains a favorite among enthusiasts today.
Whether seen tearing down a California highway or gracing the pages of Street Rodder, this Roadster stood for more than just the sum of its parts—it stood for freedom, rebellion, and the timeless appeal of a well-built hot rod.
The 1965 Mercury Comet Cyclone Sportster, a futuristic show car designed by legendary customizer Gene Winfield, was truly ahead of its time. Featuring a sleek, open-top two-seat design, the Sportster took innovation to the next level with pistol-grip steering handles and floor touch pads that replaced the traditional clutch, brake, and accelerator pedals. This cutting-edge concept embodied the spirit of the 1960s car culture, pushing the boundaries of both style and technology. Another example of Winfield’s creative genius, the Cyclone Sportster remains a standout icon in the world of custom automobiles.
Radio DJ legend, Wolfman Jack, makes a Halloween appearance at Knott’s Berry Farm -circa 1979. Wolfman was only 57 years old when he died. I assumed he was much older. Terrific voice.
In 1953, Life Magazine dispatched a photographer to capture behind-the-scenes moments of “Creature From The Black Lagoon.” Despite their vibrant Technicolor quality, these photos never saw the light of day in print. However, one image from this forgotten collection has resurfaced, offering a unique glimpse into the making of this iconic film.
Give me the Willys!
This Pete Townshend performing at the Pembroke College May Ball in 1966 “picture” has become quite famous over the years, representing a pivotal moment in the rock era. The ball, a formal event hosted by Pembroke College at the University of Cambridge, traditionally featured more classical or jazz performances, but Townshend and The Who brought their signature intensity to the black-tie crowd, creating a striking contrast between the rebellious energy of their music and the formal setting of the audience.
The audience’s reactions in the image highlight the culture clash—while some attendees seem overwhelmed by the chaos, others appear entranced. The spectacle Townshend created on stage with his windmill guitar strumming and flamboyant moves was far from the typical entertainment these students were used to, making this performance an unforgettable experience.
Townshend’s guitar-smashing antics were often part of The Who’s live shows during this period, and their performances were known for pushing the boundaries of both sound and showmanship. This photo encapsulates the early years of The Who and the revolutionary spirit of 1960s rock and roll.
Pan
It’s important for your portable TV to have a cutting board for your cheese snacks
Peter Kwong, James Pax, and Carter Wong in Big Trouble in Little China (1986).
Tommy Ivo and Normal Graboski
Lambovannie
During the filming of Taxi Driver in 1975, a 14-year-old Jodie Foster took on the challenging role of Iris, a young girl caught in the dark, seedy world of New York City. Directed by Martin Scorsese, the film explores themes of loneliness and alienation, and Foster’s portrayal was pivotal to its emotional depth. However, due to the explicit nature of some scenes involving adult themes, Jodie’s older sister, Connie Foster, was brought in as a body double to ensure the young actress was shielded from the more sensitive material.
Connie’s role as a stand-in allowed the filmmakers to handle the delicate subject matter without compromising Jodie’s well-being or the film’s artistic integrity. The decision was a safeguard, adhering to industry standards concerning the portrayal of minors while maintaining the film’s narrative authenticity. Jodie’s remarkable performance shone through, yet the careful use of her sister behind the scenes helped manage the film’s more mature elements.
Taxi Driver became a critical success, earning widespread praise and awards, and cementing Jodie Foster’s reputation as a talented young actress. It also sparked discussions about the portrayal of youth in cinema and the ethical responsibilities of filmmakers when working with minors. Jodie’s standout performance, supported by her sister’s involvement, contributed to the film’s enduring legacy and highlighted the importance of protecting young talents in the industry.
Bad Girls
Julie Newmar photographed by Peter Basch, 1960
Mr. Dingle, the Strong – Twilight Zone …
Keef… Choices!
Furies
In 1969, the landscape of American music was undergoing a seismic shift. Rock and roll had dominated the scene for over a decade, but from the underground emerged a new sound—a raw, energetic genre that would lay the groundwork for punk rock. At the forefront of this movement was none other than Iggy Pop and his band, The Stooges. Their music, attitude, and aesthetic didn’t just challenge the conventions of the time—they tore them apart, setting the stage for a cultural revolution that would reshape the music industry for decades.
The iconic quote, “1969, okay! Another wall across the USA… It’s another year for me and you. Another year with nothing to do,” encapsulates the disillusionment and restlessness that permeated the late 1960s. The promises of the counterculture and civil rights movements had not fully materialized, leaving young people at a crossroads, facing political turmoil and a rising sense of apathy.
Enter Iggy Pop, born James Newell Osterberg Jr. in 1947, a voice for this disaffected youth. With his flamboyant stage presence, half-naked performances, and a “take no prisoners” attitude, he embodied the spirit of rebellion. Formed in Ann Arbor, Michigan, in 1967, The Stooges were a force of nature, consisting of Ron Asheton on guitar, Dave Alexander on bass, and Scott Asheton on drums. Their self-titled debut album, released in 1969, captured their primal energy and became the blueprint for punk. Songs like “I Wanna Be Your Dog” and “No Fun” struck a chord with listeners, drawing influences from garage rock, blues, and what would become protopunk.
The Stooges’ sound was like nothing else—distorted guitars, pounding bass lines, and primal rhythms that rejected the polished productions of mainstream rock. They embraced an unrefined, aggressive style that resonated with a generation craving visceral, unfiltered music. And while their debut album might not have been a commercial success, it planted the seeds for what would become the punk movement.
Photographer Glen Craig captured the essence of The Stooges during this time. His images of Iggy Pop on stage are iconic, revealing a frontman who defied performance norms. Iggy’s wild antics, combined with his magnetic stage presence, helped to redefine what live performance could be. This fearless approach would go on to influence countless punk rock acts that followed.
As the year progressed, the disillusionment that Iggy expressed in his lyrics mirrored the chaos of 1969—a year marked by the Vietnam War, the Woodstock Festival, and ongoing civil rights struggles. The Stooges’ music became an anthem for those disenchanted with society, a rebellious outcry from a generation caught in the storm of change.
And though their debut album initially struggled to find its footing, The Stooges’ influence would be felt long after the final note faded. Their raw energy inspired the likes of The Ramones, Sex Pistols, and The Clash, fueling the flames of the punk revolution in the 1970s.
1969 wasn’t just another year—it was the beginning of something far bigger. Iggy Pop and The Stooges didn’t just create music; they created a movement. Their legacy is one of rebellion, raw power, and unapologetic individuality that continues to shape rock music and culture today.
Blown Hell: A Nostalgic Roar from the Golden Era of Drag Racing
For those who live for the smell of burnt rubber and the heart-pounding excitement of old-school drag racing, Ron Rinauro’s legendary ’55 Chevy 210 Club coupe will surely spark some memories. In 1966, this California-based beast, aptly named Blown Hell, was a regular at the iconic drag strips like Fremont and Half Moon Bay. With an altered-wheelbase that gave it its aggressive stance, this Chevy was as mean as it looked.
Under the hood was a 292-cid small-block, supercharged with a GMC 6-71 blower, Hilborn fuel injection, and a Vertex magneto running on 10% nitro. With all that power, Rinauro pushed this bad boy through the quarter-mile with a TorqueFlite transmission, clocking an impressive 9.73 seconds at 146 mph. Blown Hell was a showstopper, leaving spectators in awe as it screamed down the strip.
One of those spectators was a young Jerry James, a performance-obsessed teenager who spent hours in the wooden stands, soaking in the sights and sounds of cars like Blown Hell tearing up the track. As time passed, Jerry would serve aboard the USS Ranger during the Vietnam War, but the memory of that Chevy Gasser never left his mind.
After returning from service in 1970, Jerry continued to hone his mechanical skills in stock car racing and hydroplanes. Then, as fate would have it, an opportunity arose to recreate the very car that had fueled his passion for speed all those years ago. Blown Hell wasn’t just a car—it was a symbol of an era, a nostalgic link to the heyday of drag racing, and a reminder of the pure, unfiltered thrill of watching legends on the track.
And now, that memory is brought back to life.
Greg Staples
Joey Ramone and Gaye Advert of The Adverts, London circa 1978.
Silver Surfer…
The Sisters G, Eleanor and Karla Gutöhrlein, were a dazzling dance and acting duo whose fame skyrocketed in the late 1920s and early 1930s. With their bobbed haircuts, synchronized performances, and magnetic stage presence, the sisters were often mistaken for twins, captivating audiences across Europe and later Hollywood.
Born just a year apart—Eleanor in 1909 and Karla in 1910—the duo first gained attention in their native Germany before becoming icons in America’s burgeoning entertainment scene. Their elegance and charm were immortalized by Maurice Seymour’s 1928 photograph, which captured their timeless allure. The Roaring Twenties was a period of change and liberation, and the Sisters G were its perfect embodiment, blending style, independence, and talent into one irresistible package.
Hollywood soon beckoned, and the Sisters G arrived just in time for the explosive rise of musical films in the early talkie era. In 1930, they made a splash with their appearance in the lavish Technicolor revue King of Jazz, sharing the screen with Paul Whiteman’s orchestra and thrilling audiences with their precise choreography. Their performance captured the rhythm of the Jazz Age, and solidified their place among Hollywood’s elite dancers.
The sisters continued their cinematic journey with appearances in Recaptured Love (1930) and God’s Gift to Women (1931), starring alongside none other than the legendary Louise Brooks. Though not box office hits, these films showcased their infectious energy and contributed to the era’s growing fascination with modernity and female independence.
The flapper look, characterized by their signature bobbed hair, became a symbol of the new, liberated woman—an iconography that the Sisters G helped popularize. They were part of a cultural movement that embraced bold fashion, daring performances, and defiance of old social norms.
While their Hollywood career may have been brief, the Sisters G left an undeniable mark on the entertainment world. They symbolized a time of artistic innovation and the joyful rebellion of the Jazz Age, and their legacy lives on through the films and photographs that captured their elegance and grace. Through their contributions to Pre-Code Hollywood, they helped shape a dynamic moment in cinema history, a period where creativity and expression thrived.
Groovy Scales … “Hey Fatso!”
The Michigan Madman: E.J. Potter’s Wild Ride
E.J. Potter, better known as the “Michigan Madman,” wasn’t your average motorcycle daredevil—he was a mechanical genius with a thirst for speed and danger. Born in Ithaca, Michigan, Potter made a name for himself in the 1960s and ’70s by doing the unthinkable: strapping V8 car engines onto drag bikes and pushing them to their absolute limits. His most infamous creation, the “Widowmaker”, wasn’t just one bike, but a series of death-defying machines, each powered by monstrous 350- and 454-cubic-inch Chevy V8 engines. Forget about clutches or transmissions—these beasts were controlled by pure guts and throttle alone.
Known for his fearless riding style and wild stunts, Potter would tear down drag strips at speeds exceeding 170 mph, leaving a trail of blown minds and smoking rubber in his wake. He set numerous records, with each run more insane than the last, earning his rightful place as a motorsports legend. The Michigan Madman’s boundary-pushing, nerve-shattering exploits embodied American ingenuity, proving that with enough heart (and horsepower), you can defy the odds, the machines, and even common sense.
E.J. Potter will forever be remembered as a daredevil who rewrote the rules of speed, a man who fused raw power with human bravery—and lived to tell the tale.
The Fonz’s Triumph – Happy Days
1949 Triumph Trophy 500 Custom – Frame #TC11198T – Engine #TR59106133
Despite Fonzie’s love for motorcycles in “Happy Days”, actor Henry Winkler had a well-known fear of riding them. In fact, many of the scenes where Fonzie appears to be riding a motorcycle were cleverly staged, with the bike attached to a platform and pulled by a truck. Interestingly, the motorcycle Fonzie used on the show had a unique history—it was the same 1949 Triumph Trophy TR5 that Steve McQueen rode during the famous motorcycle jump scene in “The Great Escape” (1963).
Initially, Fonzie rode a Harley-Davidson Knucklehead in the earlier episodes, but the production switched to the Triumph because it was lighter and easier for Winkler to handle. This piece of TV trivia adds another layer of cool to both Fonzie’s character and the legacy of “The Great Escape”, combining iconic Hollywood moments across different generations of entertainment.
Though Henry Winkler (Fonzie) himself couldn’t actually ride the bike—famously crashing it into a sound truck on his first attempt—the Triumph remained a central part of his character throughout the show’s ten-year run. It made regular appearances, becoming a fixture in the Fonz’s persona. As Fonzie once told Mr. C, “It changed my whole life. It’s the whole reason for me to live.”
The bike’s history is equally legendary off-screen. After filming wrapped, it fell into obscurity until it resurfaced years later. One of three bikes used in the show, this Triumph was customized by Hollywood stuntman Bud Ekins. Rediscovered and sold at Bonhams Auctions in 2011, it was displayed at the San Diego Automotive Museum from 2017-2021. In December 2021, it sold for a whopping $231,562.50, cementing its place in TV history.
Patti Page
The Cavorit Capsule – Bob Eggleton
King of the Streets
“Skirting the Issue” by Gil Elvgren, painted in 1956
Marilyn Monroe remains an enduring symbol of the 1950s, embodying the era’s delicate balance of glamour, allure, and vulnerability. Born Norma Jeane Mortenson in 1926, her story is one of remarkable transformation. From a difficult childhood to becoming one of the world’s most recognizable figures, Marilyn’s life is a testament to reinvention and resilience. By the early 1950s, she had evolved from a model and aspiring actress into a Hollywood sensation, captivating audiences not just with her beauty but with a presence that was impossible to ignore.
Her rise to stardom truly began in 1950, with small roles in The Asphalt Jungle and All About Eve, but it was in the years that followed, with films like Niagara (1953), Gentlemen Prefer Blondes (1953), and How to Marry a Millionaire (1953), that Marilyn Monroe cemented her place in Hollywood history. Her image as the ultimate “blonde bombshell” wasn’t just about looks—it was about the unique combination of sensuality, charm, and a kind of vulnerable strength that resonated deeply in post-war America.
The 1950s were a time of rapid change in Hollywood and society at large. As America emerged from the shadows of World War II, there was a surge of optimism, prosperity, and shifting social values. Marilyn’s image challenged the conventional ideals of femininity. She embodied the era’s beauty standards, yet there was a complexity about her—an underlying fragility—that made her relatable. Her ability to blend innocence with sensuality made her an icon, and her persona reflected the evolving dynamics of the decade.
One of the most famous images of Marilyn was captured by Alfred Eisenstaedt for LIFE Magazine in 1953. In these photographs, Monroe effortlessly blended her on-screen allure with moments of vulnerability, offering a glimpse into the woman behind the public persona. These images helped solidify her status as not just a movie star but a cultural icon, someone who symbolized both the glamour and the contradictions of the 1950s.
But beneath the surface of fame, Marilyn’s life was far from perfect. Her personal struggles—failed marriages, mental health challenges, and the constant pressure of maintaining her image—were the darker sides of her fame. Her relationships with Joe DiMaggio and Arthur Miller were scrutinized intensely by the media, turning her private life into public spectacle. Yet, despite these challenges, Marilyn continued to deliver unforgettable performances, with films like The Seven Year Itch (1955) and Bus Stop (1956) showcasing her talent.
Marilyn Monroe’s legacy endures not just because of her beauty or acting talent, but because of her profound impact on the culture of her time. She became a symbol of the 1950s, and her story reflects the complexities of fame, femininity, and the American Dream. Her life and career continue to captivate new generations, reminding us of an era where Hollywood stars didn’t just play roles—they defined them.
Manifesto Maravillado – The Marvelous Manifest – ignites your senses with an electric jolt of futurism, garage punk, lowbrow art, sci-fi, and a psychedelic explosion from the wild ’60s. It’s a daring tribute to the wonderfully weird, celebrating the beautiful chaos of human de-evolution as a badge of honour. Here, where our “monkey minds” reign supreme, we revel in the ridiculous and the absurd.
Guided by me, The Great Ape, journey into a universe where absurdity is the norm, and the backwards tumble into the B-grade brew of chaos is not just expected but celebrated. From sizzling pinups to roaring drag races, and from retro-futurism to the bizarre edges of pop culture, Manifesto Maravillado is your portal into the wild, wonderful underbelly of cultural oddities. It’s an ecstatic, anarchic mix-up of rubber beasts, rocket ships, and the raw, unadulterated folly of humanity.
Envision a world where punk rock meets space-age fantasies, where the future crashes into the greasy, smoke-filled relics of the past. In the pages of Manifesto Maravillado, you’ll find yourself hurtling along intergalactic highways in hot rods, with pinup queens in gleaming chrome spaceships. Our art, soaked in the spirit of DIY rebellion, boasts gritty textures and bold lines, with characters that jump right off the page, saluting the underground with every stroke and colour.
We, the not-so-smart but incredibly fun species, throw a party in our de-evolution with every issue. Here, B-movie magic and wild, unbridled art are the norms. Pinups flaunt their alien quirks, drag racers rip through the fabric of time and space, and retro-futuristic scenes teeter between kitsch and cool. Manifesto Maravillado dwells in a place where seriousness takes a back seat to unbridled joy and our primal instincts are given free rein.
At Manifesto Maravillado, we don’t just recognize our freakshow tendencies—we revel in them with wild grins and mischievous winks. This magazine is your ticket to a wild ride through the twisted alleys of pop culture, dripping with camp glamour, drag strip oil, and a vibrant swirl of counter-culture rebellion. It’s where rockabilly meets rocket science, all wrapped up with a cheeky nod to nostalgic cool.
This is the realm where past, present, and future collide in a delirious dance of harmony—a domain where you can immerse yourself in the vibrant life of garage punk, the dreamy nostalgia of the past, and the delightful absurdity of now. From high-octane engines to otherworldly beings, Manifesto Maravillado stands as a manifesto for the bold, the unhinged, and the proudly unapologetic.
So welcome to Manifesto Maravillado, where our de-evolution isn’t a tragedy but a thrilling, anarchic plunge into the cosmos of creative chaos. Strap in tight—the Great Ape is at the helm, and we’re speeding full throttle into sheer madness!
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