Weekend BigBoy 24.11.01 – Full Throttle into the Abyss: Go Ape and Don’t Look Back!

Weekend BigBoy Full Throttle into the Abyss

Strap in, primates, because this Weekend BigBoy is revving up like never before! We’re blasting out of the ordinary and straight into the de-evolved heart of Manifesto Maravillado madness, packed tight with roaring engines, killer riffs, and pure cosmic weirdness. This BigBoy is overflowing with raw nostalgia, burnt rubber, and everything that makes The Great Ape grin from ear to ear.

Forget convention—this is about rebellion, power, and unapologetic chaos! From chrome-dipped drag racers to pulp covers that scream attitude, we’re throwing ourselves into the grit and glory of classic American lowbrow. And who’s at the wheel? None other than I, The Great Ape, your fearless guide into the depths of the absurd and the unknown. I’m throwing every manual out the window and mashing the pedal to the floor. This edition’s got enough punk attitude, gasoline-fueled stories, and intergalactic escapades to make your knuckles white and your head spin.

We’re diving into everything that keeps the de-evolved spirit alive—retro sci-fi throwbacks, outrageous heroes, femme fatales who keep us on our toes, and the kind of machines that belong on the dark side of the moon. It’s wild, it’s loud, and it’s full-speed anarchy with zero regrets. Ready to go full ape? This isn’t just a ride; it’s a dive into the raw, chrome-plated heart of rebellion.

So what are you waiting for? Rip that rearview mirror off, grab the wheel, and let’s hit the road into the beautiful mess of de-evolution, because this BigBoy is charging at you in full force!

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

The Great Ape Relaxing

In March 1975, the music world was electric with creative energy. The era saw genres like rock, punk, and disco competing for the spotlight, each capturing the spirit of a generation in transition. At the heart of this vibrant scene stood Ronnie Wood, an iconic guitarist whose raw talent and laid-back style embodied the essence of 1970s rock. Caught here in a candid moment, sipping coffee in a hotel room, Wood exudes the effortless cool that defined the decade.

At the time, Wood had just joined The Rolling Stones, stepping into a band that was already a rock institution. With his signature sound and bluesy riffs, Wood added a new layer to classics like Sticky Fingers and Exile on Main St., albums that would cement The Stones’ legacy. Yet, Wood was no stranger to rock stardom. As a former member of The Faces, his blues-infused style and dynamic presence had already left an indelible mark on rock history.

In the touring life, the hotel room became a makeshift refuge—a space to recharge, reflect, and escape the frenzy of fame. For Wood, a simple coffee break was a rare moment of calm amid a whirlwind of creativity and chaos. Here, in the solitude of his room, he could pause and let the music settle in his mind, preparing for the next explosive performance.

The image of Wood in his hotel room captures more than a private moment—it’s a snapshot of the 1970s rock ethos. In those scattered hotel rooms filled with guitars, music sheets, and a vibe of spontaneity, some of rock’s most iconic songs were born. The blending of genres, the rise of punk, and the emergence of new voices were all brewing in this creative storm. And Ronnie, with his cup of coffee and his boundless talent, was right at the heart of it.

This moment reminds us of rock’s power to push boundaries and unite generations, encapsulating why the 1970s remain an unforgettable chapter in music history.

Who said fall out cannot be comfy!

Stewart astronaut / Planet of the Apes

Last week, we dove into Episode 2: “The Doomed Planet,” where Colonel Steve Zodiac and the crew of Fireball XL5 hurtled toward a world on the brink of collapse. Racing against time, Steve, Robert the Robot, Doctor Venus, and Professor Matic took us on a heart-pounding adventure, battling gravity, danger, and impending disaster. It was a wild ride full of explosions, high-stakes tension, and retro-futuristic mayhem!

This week, we’re moving into Episode 3: “Space Immigrants,” where things get even stranger. On their latest mission, the Fireball XL5 crew encounters a displaced alien civilization searching for a new home. But the path to peace is anything but smooth—Steve and the team must navigate through unexpected twists, cosmic misunderstandings, and hidden dangers to help these interstellar travelers find sanctuary.

Expect alien technology, daring rescues, and a whole lot of classic space intrigue as we plunge into this next chapter. Get ready to join the intrepid crew of Fireball XL5 for another adventure across the stars!

SSP Racers Rocked!

Thirst for Hurst

The Hartashen Megalithic Avenue: Armenia’s Forgotten Wonder

Hidden deep within the rugged landscapes of Armenia, the Hartashen Megalithic Avenue stands as a silent sentinel to an ancient world. Believed to be 6,000 to 8,000 years old, this enigmatic site is a collection of towering monoliths, meticulously aligned across the terrain, forming an avenue of stone that leaves modern observers in awe. But what was its purpose? Was it a ceremonial path, a place of gathering for ancient rituals, or perhaps an observatory used to track celestial movements?

Unlike famous megalithic sites such as Stonehenge, Hartashen has remained largely overlooked by mainstream archaeology, its secrets and stories hidden from the world. These imposing stones, standing tall against time, suggest a lost civilization with an impressive grasp of both space and ritual. And yet, despite its potential historical significance, Hartashen remains largely unexcavated and underexplored, its mysteries still buried beneath the soil.

For those who seek the unknown, the Hartashen Megalithic Avenue offers a tantalizing glimpse into the distant past—a world of stone and mystery, waiting patiently to reveal its secrets to those who venture to discover them.

The Born Losers (1967) slams us headfirst into the world of Billy Jack—a former Green Beret who’s seen all the horrors of Vietnam and just wants to live life under the radar. But when a vicious biker gang rolls into town, tearing it up and preying on the helpless, Billy’s peaceful retreat goes up in smoke. He steps in, not just to defend a motorist under attack but to make a stand, bringing his own brand of no-nonsense justice. One man against a gang—sounds like a losing battle, but not for Billy Jack.

This is more than just another showdown; it’s the birth of an iconic antihero with a fierce moral code and an even fiercer right hook. Billy Jack’s journey in The Born Losers sets the stage for the kind of explosive action and gritty justice that would define him. The movie taps into the rebellious, counterculture spirit of the ’60s, making Billy Jack the ultimate outsider hero—a man of few words, but when he speaks (or fights), the world listens. It’s a throwdown between a warrior’s heart and a thirst for peace, where the quiet strength of a lone fighter meets the loud, chaotic roar of a gang that doesn’t know what hit them.

“What a great view!” “Of the race, right?” “Uh… yeah!” Artwork by Bill Medcalf

Edmund Alexander “Ed” Emshwiller (February 16, 1925 – July 27, 1990) was a visionary American artist whose talents spanned both science fiction illustration and experimental filmmaking. Renowned in the sci-fi world, he frequently signed his work as Emsh or occasionally as Ed Emsh, becoming a celebrated name in speculative art and storytelling.

Emshwiller’s illustrations graced the covers of numerous pulp magazines and sci-fi novels during the 1950s and 1960s, infusing the genre with vivid, often surreal imagery that captured the imaginations of readers. His work was characterized by a bold, colorful style that evoked the wonder and intrigue of futuristic worlds and otherworldly beings.

Beyond illustration, Emshwiller ventured into the realm of experimental film in the 1960s and 1970s, where he continued to push creative boundaries. His films, often blending abstract visuals and innovative editing techniques, challenged traditional narrative forms and established him as a pioneer in the field of avant-garde cinema. Emshwiller’s work in both art forms showcased his forward-thinking approach and enduring influence on science fiction and experimental media.

Still Shifting Gears at 78
Here’s a snapshot from 1964, capturing Linda Vaughn as the iconic “Miss Firebird,” promoting Pure Firebird Racing Gas. With her unmistakable charm and undeniable presence, Linda embodied the allure and excitement of motorsports. Just two years after this photo, in 1966, she would join forces with Hurst Performance, earning the legendary title of “Miss Hurst Golden Shifter.”

From there, Linda’s star rose even higher, becoming an icon in the racing world and gracing hundreds of events with her presence. She was a regular face at racetracks, a friend to motorsports legends, and an ambassador for the high-octane culture that fueled the golden era of racing. Richard Petty himself once joked that she’s the only person who attended more races than he did!

Now, even at 78, Linda Vaughn remains a beloved figure in motorsports, carrying her legacy with pride and reminding us all that true passion never retires.

George Rozen

Wendy’s in the 1970s

Art by Basil Gogos

Find the empty Cup!

Quint getting friendly with Bruce …

Chicks dig Pie Crust Cheater Slicks!

Huston … We have lift off!

H. R. Van Dongen.

GE Fridge 1960

Batman ’66 Meets the Green Hornet #2 Cover Art by Alex Ross

Sid impressing Nancy with his Barre Chord ….

Oh Jayne

In 1939, American silent film actress Phyllis Gordon caused quite a stir as she strolled through the streets of London with her pet cheetah by her side—a striking image of glamour and audacity that left onlookers both captivated and astonished. Imported from Kenya, the cheetah embodied the era’s fascination with exotic pets, especially among Hollywood’s elite. For Gordon, this unusual companion wasn’t merely a pet; it was an emblem of her individuality, a Hollywood statement as bold as the silver screen characters she portrayed.

The 1930s were a time when owning exotic animals became fashionable among the wealthy and famous. Hollywood stars often embraced the flamboyant and unconventional, viewing animals like cheetahs as symbols of status, luxury, and an adventurous spirit. To walk a cheetah on a leash through a bustling metropolis was more than an eccentric choice—it was a powerful declaration of celebrity allure and personal mystique. Gordon’s cheetah wasn’t just a nod to her wealth; it was a bold expression of the allure that Hollywood stars of the era sought to embody, setting them apart from the ordinary.

Owning a cheetah in the heart of a city like London, however, came with its challenges. These magnificent creatures, known for their speed and elegance, are adapted to the vast open landscapes of the African savanna, not the cobblestone streets and narrow alleys of an urban jungle. Maintaining such a pet required more than just wealth—it demanded dedication, specialized care, and an acceptance of the inherent risks involved with a wild animal. Back then, animal welfare concerns were far less regulated than today, so what might be deemed controversial now was seen largely as an exotic curiosity in 1939.

This curious sight sparked intrigue and discussions about the relationship between humans and exotic animals, foreshadowing modern debates on the ethics of keeping wild animals as pets. Phyllis Gordon and her cheetah thus remain an iconic symbol of a bygone Hollywood era, where glamour knew no bounds and spectacle reigned supreme. This image, etched in history, stands as a reminder of the era’s daring spirit and the Hollywood allure that often pushed the boundaries of the ordinary, capturing imaginations with displays as wild and glamorous as the stars themselves.

George Lucas before CGI, 1984.

That’s a 5 Dollar Milkshake!

Benelli 900 Classic Racer

These imposing ancient towers, located in the Sichuan province of China, stand up to 60 meters tall—remarkable feats of architecture that seem to challenge even today’s skyscrapers. Frederic Darragon, who came across them by chance while researching snow leopards in the region in 1998, was captivated by their grandeur and mystery. Carbon dating reveals they were constructed between 1000 and 1800 years ago, yet the true origins and purpose of these Himalayan marvels remain a mystery.

For five years, Darragon dedicated himself to documenting these structures, uncovering evidence of sophisticated building techniques and the resilience of a culture that thrived amidst challenging terrain. The towers’ unique design and height prompt questions: were they defensive fortifications, status symbols, or spiritual markers? Despite the research, the enigmatic purpose of these towering wonders continues to inspire intrigue, leaving us to wonder what ancient secrets might still be hidden within their stone walls.

The Mummy 1932

The Imme R100, produced by Riedel from 1948 to 1951, stands out as a marvel of post-war ingenuity and minimalist engineering. With material and financial constraints shaping its design, this lightweight motorcycle was crafted with a focus on sheer simplicity and resourcefulness.

A single-sided front fork and swinging arm give the Imme R100 its distinctive look, with the exhaust pipe ingeniously doubling as a structural member for the rear suspension. The rear wheel is cantilevered along with the engine, and all frame and fork tubing share a uniform 40mm diameter, showcasing a unified and efficient design. Driven by a 99cc engine producing 4.5 BHP, the bike’s 3-speed hand-change gearbox has an unconventional shift pattern: first gear sits in the middle, with second below and third above, a quirky yet effective design feature. To add to its uniqueness, the R100’s clutch is held open when idling in first gear.

Norbert Riedel, the designer, managed to secure essential production materials from American sources post-WWII, largely due to his reputation; he had designed the starter engine for the Messerschmitt Me 262 jet engines—a technology the Americans were keen to acquire. Approximately 12,000 Imme R100s were produced before the company closed in 1951, just as an improved 150cc version was in the works. Today, the Imme R100 is a rare and highly sought-after collector’s piece, celebrated for its innovation and historical significance.

Give me the Willys!

Tripods vs. Thunder Child Artist: David Hardy

14th November 1977 – Music Machine, Camden High Street (opposite Mornington Crescent Tube Station), Camden, London. L-R: Richard Hell, Mick Jones, Sid, Nancy and John. Richard Hell’s after-show party. Photo Steven Emberton.

Dariusz Kieliszek

The Great Paris Exhibition Telescope, unveiled in 1900 at the Paris Universal Exhibition, was one of the most extraordinary engineering feats of its time, showcasing the pinnacle of optical and industrial design of the era. Standing at a massive 100 feet in length, this giant refracting telescope was the largest ever constructed, built not so much for practical astronomy as for sheer spectacle. Located in the Champ-de-Mars in Paris, it quickly became a central attraction, drawing visitors from around the world who marveled at the colossal structure and dreamed of exploring the mysteries of the cosmos through its immense lenses.

The telescope, however, was more symbolic than functional. Designed during a period of intense fascination with scientific progress, it embodied the grandeur and ambition of the age, yet its design did not meet the rigorous requirements needed for serious scientific observation. The images it produced were less than ideal, as the materials and design choices prioritized aesthetics over optical clarity. This paradox—a stunning display of human ingenuity that fell short as a scientific tool—reflects the era’s unique drive to captivate and inspire the public with monumental works of technology.

When the exhibition ended, the future of the Great Paris Exhibition Telescope was as uncertain as its scientific value. Without a practical purpose or the means for upkeep, it was ultimately dismantled and sold for scrap, joining the ranks of many such once-celebrated marvels. Though it existed only briefly, the telescope remains a powerful emblem of the optimism and ambition of the early 20th century, a reminder of a time when the pursuit of knowledge was as much about grand displays as it was about practical advancements. Today, it endures as a historical symbol, capturing the spirit of an age when art, science, and public wonder collided on an extraordinary scale.

Rocket Kelly may not have the household-name recognition of Superman or Batman, but this daring aviator was a standout hero in the 1940s comic scene, capturing the spirit of post-war adventure and innovation. Published by Novelty Press during the golden age of comics, Rocket Kelly followed a fearless pilot who took on a mix of wartime villains and pulp-style adversaries, channeling the era’s fascination with both aviation and heroism. This was a time when flight and rocketry were at the forefront of public imagination, and Rocket Kelly brought those dreams to life on the comic page.

One of the most remarkable aspects of Rocket Kelly is its artist, E.C. Stoner. As one of the first Black comic artists to break into the mainstream, Stoner brought a unique and cinematic flair to the series. His illustrations showcased sleek rockets, dramatic skies, and intense aerial combat, giving Rocket Kelly an unmistakable style that set it apart from other comics of the era. With bold lines and dynamic visuals, Stoner’s work infused the character with a palpable energy, making each adventure leap off the page.

The stories themselves were a thrilling mix of action, sci-fi, and patriotism, reflecting America’s wartime resilience and its budding interest in space exploration. While Rocket Kelly didn’t survive past the 1940s, the comic remains a cherished piece of pulp history. Collectors and fans of retro sci-fi are drawn to its vintage covers and pioneering spirit—a reminder of a time when humanity was on the brink of reaching for the stars, with heroes like Kelly leading the charge into the unknown.

Ozzy and Frend …

The 1912 Henderson Four is an early American motorcycle masterpiece, recognized for its innovative engineering and classic design. Founded by brothers Tom and William Henderson, Henderson Motorcycles introduced this model as their first four-cylinder machine, which quickly garnered a reputation for its smooth performance and impressive speed. With a 934cc inline-four engine, it could achieve speeds previously unheard of for motorcycles at the time, making it one of the fastest bikes on the road.

The Henderson Four’s streamlined design features a long wheelbase for stability, two leather seats, and a straightforward, elegant frame. Its white-rimmed tires, exposed engine, and simplistic controls capture the spirit of the era, blending function with style. Despite its luxury status and higher price point, the Henderson Four became an icon of American motorcycle history, appealing to enthusiasts who sought both performance and refinement.

The construction of Sleeping Beauty’s Castle at Disneyland in 1954 marked a defining moment in the world of theme parks and American entertainment. As the first of its kind in the United States, Disneyland officially opened its gates on July 17, 1955 in Anaheim, California, with the castle quickly becoming an iconic symbol for both the park and the Walt Disney Company. The castle was crafted to embody the magic, wonder, and imagination that Walt Disney envisioned for his dream theme park.

Inspired by European castles, Sleeping Beauty’s Castle drew from the architectural styles of Gothic and Romanesque traditions and featured spires, turrets, and a charming drawbridge—all essential elements to evoke a fairytale atmosphere. Walt Disney saw the castle not only as a centerpiece but as a living representation of the enchanting stories that had captured the hearts of audiences through his films. Under the direction of talented designers, including artist Ken Anderson and designer Claude Coats, the project took shape with a focus on intricate detail and artistic flair, from the stonework to the colorful palette that would bring Fantasyland to life.

One of the castle’s most innovative aspects was its use of forced perspective, an architectural trick that made the castle appear grand and majestic despite its relatively small scale. By constructing smaller elements at the lower levels and enlarging features towards the top, designers achieved an illusion of height and grandeur, making visitors feel as if they were stepping into a larger-than-life storybook world. This technique contributed to the immersive magic that Disneyland aimed to offer, encouraging guests to lose themselves in a world of fantasy.

Upon completion, Sleeping Beauty’s Castle was adorned with beautiful stained glass windows that told the story of Sleeping Beauty, adding a touch of artistry and storytelling within its walls. These windows invited guests to not only admire the craftsmanship but also immerse themselves in a timeless tale. As the backdrop for attractions, parades, and memorable events, the castle became an integral part of Disneyland’s charm, symbolizing the joy and wonder within the park’s gates.

Since Disneyland’s opening, Sleeping Beauty’s Castle has evolved with various updates and renovations, each carefully crafted to maintain its beauty and timeless appeal. Through these changes, the castle has remained a cherished landmark, representing Disney’s legacy of imagination. Today, the castle stands as a lasting emblem of Disney magic, featured prominently in branding, merchandise, and films, continuing to captivate generations as a beacon of wonder.

Classic Comic – Tales to Astonish # 3 (1959) – “The Giant from Outer Space” Cover by Jack Kirby. Kirby & Steve Ditko Art

Virgil Finlay

Old Balck Joe …

One velvet morning when I’m straight…

Cybill Shepherd

The 1939 Horch 855 Special Roadster by Gläser stands as an icon of German luxury and engineering from the Classic Era—a true masterpiece of automotive craftsmanship. With an estimated production run of only five to seven examples, the 855 Special Roadster was a rare gem, featuring an overhead-cam eight-cylinder engine on the shortened 853 chassis. Paired with stunning Special Roadster bodywork crafted by renowned coachbuilders like Gläser, this Horch was designed to rival the elegance and power of Mercedes-Benz at the time.

The design of the Horch 855 is nothing short of captivating, with its long, louvered hood, tapered fenders, and streamlined silhouette that exudes boldness and sensuality. It represents the pinnacle of Horch’s commitment to luxury and innovation, cementing its reputation as one of Germany’s finest automakers.

This particular Horch 855, chassis number 855007, holds a unique place in history as the only surviving production model. It was acquired in the late 1940s by U.S. Army officer Loren E. Lawrence and later starred alongside Rock Hudson in the 1959 film The World Is Ours. Over the decades, this Horch has passed through esteemed collections, eventually being restored by Audi and exhibited in their museum for over 30 years.

Recently repatriated to the United States, this immaculately preserved Horch 855 remains a shining example of pre-war German luxury and design, a lasting tribute to Horch’s legacy as a true king of the road.

Marilyn Monroe and Queen Elizabeth (both 30 at the time) meet at a movie premier in London, 1956.

ALLAN MOFFAT

On November 10th 1939, Allan Moffat was born in the wheatbelt of Canada, before his father’s career took the family across the Atlantic to South Africa.

After spending much of his early adolescence in Johannesburg, Allan relocated to Australia at 17 years of age, when his father, who worked for American manufacturer of agricultural machinery, Massey Ferguson, was transferred to Melbourne.

Allan started his motor racing journey in the 1960s, finishing fourth at the inaugural Sandown six-hour enduro in a Ford Lotus Cortina with co-driver Jon Leighton.

Allan’s first entry into the Australian Touring Car Championship was in 1965, again driving a Lotus Cortina, before he spent some years in the U.S. driving Ford Mustangs for Carroll Shelby in the new Trans-Am Series with a mix of Australian co-drivers.

By 1969, Moffat had returned to Australia full-time, and showcased his improved skills and American connections in the ATCC, driving a Coca-Cola-sponsored Boss 302 Mustang.

That same year, Allan made his debut for the Ford works team in an XW GTHO Falcon at the Hardie-Ferodo 500 in Bathurst, campaigning to a fourth place with co-driver Alan Hamilton.

The following years saw Moffat become one of Australia’s most dominant race drivers, claiming victories at Bathurst in 1970 and 1971, as well as his first Australian Touring Car Championship in 1973.

The conclusion of the 1973 season saw the Ford Motor Company step-back from motor sport, leaving Allan no choice but to ramp up and fund his own Allan Moffat Racing team (with some secret help from Ford and its dealership network) in an effort to continue his racing.

He stayed aligned with Ford, racing a number of hardtops wearing varied livery, taking his second and third Australian Touring Car Championships in 1976 and 1977.

During this period, he had developed a fierce rivalry with good friend Peter Brock, who drove for the Holden Dealer Team.

In perhaps his most memorable victory, he claimed the 1977 Bathurst in a famous one-two formation finish beside the second team car driven by Colin Bond.

Despite the successes, Allan found it difficult to find finances and resources to continue on, and so, come 1981, to the shock of many die-hard Ford fans, he took an opportunity to drive a Mazda RX-7 for Peter Stuyvesant International Racing, where he won his fourth Australian Touring Car Championship in 1983.

Allan saw the 1980s and his racing career out with a stint in the Holden Dealer Team, and also in a Ford Sierra with Allan Moffat Enterprises, but with limited success.

After retirement, he kept the team alive for a few years, only entering cars into the Sandown 500 and Bathurst 1000 races.

Allan Moffat had an incredible motorsport career in Australia, winning a total of 32 of his 100 starts between 1965 and 1989.

He was inducted into The Sport Australia Hall of Fame in 2018 as an Athlete Member for the sport of motor racing, and continues to be a cult hero to Ford and GTHO Falcon die-hards alike.

Jean Shrimpton by Richard Avedon.

1964 saw the rise of a powerhouse in women’s sports—the Texas Track Club of Abilene. Hailing from Abilene, Texas, this trailblazing team of young women smashed through gender norms, capturing national attention for their athletic prowess and pushing the boundaries of what was considered possible for female athletes. At a time when women’s sports were just beginning to gain recognition, the Texas Track Club emerged as a fierce competitor on the national stage, challenging stereotypes and setting a new standard for excellence in women’s athletics.

Under the guidance of coach Loyd Jones, known for his innovative training methods and unwavering belief in his athletes, the Texas Track Club practiced relentlessly. Jones, who often trained his team on makeshift tracks with limited resources, inspired a spirit of resilience that fueled their success. His coaching was as much about mental toughness as it was about physical conditioning, teaching his athletes to confront every challenge with grit and determination.

In the early 1960s, opportunities for women in sports were sparse, with few programs and even fewer support systems for female athletes. The Texas Track Club’s success in this context was nothing short of revolutionary. The team excelled in sprints, relays, and field events, consistently winning medals and setting records at regional and national levels. Their achievements weren’t just victories on the track—they were bold statements that advocated for inclusivity and paved the way for more opportunities in women’s sports.

One of the club’s standout stars, Margaret Matthews, became a force in sprinting, her talent and determination propelling her to the national championships. Alongside her teammates, Matthews became an inspiration, a symbol of what women could accomplish in competitive sports. The Texas Track Club’s victories resonated far beyond the track, showing young women across the country that they too could compete—and excel—at the highest levels.

The legacy of the Texas Track Club of Abilene goes beyond their medals and records. Their journey unfolded during a transformative era in American history, aligning with the Civil Rights Movement and the push for gender equality. These young women weren’t just athletes; they were pioneers, breaking down barriers and challenging societal expectations. Their story remains a powerful chapter in the history of American athletics, a testament to the impact of perseverance, community, and the courage to redefine boundaries.

In 1974, The Lords of Flatbush brought together two soon-to-be stars, Sylvester Stallone and Henry Winkler, in a gritty, coming-of-age story set in 1950s Brooklyn. Stallone, playing the tough and charismatic Chico, was still years away from his Rocky fame, but his performance hinted at the raw power he’d soon bring to the screen. Meanwhile, Winkler, who was already gaining popularity as Arthur “Fonzie” Fonzarelli on Happy Days, took on the role of Butch, a sensitive and introspective character, showing a versatility that would define his career.

The Lords of Flatbush dives deep into the lives of a group of Brooklyn teenagers grappling with friendship, loyalty, and the pressures of growing up in a rapidly changing world. With a blend of drama and humor, the film resonated with audiences, capturing the essence of teenage angst and camaraderie that felt both universal and timeless. The chemistry between Stallone and Winkler brought a sense of authenticity to the story, creating unforgettable moments that lingered long after the credits rolled.

For both Stallone and Winkler, this film was more than just an acting gig—it was a launchpad for future Hollywood stardom. Stallone’s intensity and Winkler’s charm set the stage for careers that would become iconic, with The Lords of Flatbush as a pivotal stepping stone. The film has since gained cult status, celebrated for its nostalgic look at adolescence and its lasting influence on the genre. Decades later, The Lords of Flatbush stands as a heartfelt snapshot of youth, friendship, and the American spirit, embodying the enduring allure of stories about growing up and finding one’s place in the world.

In 1961, Louis Armstrong, the legendary jazz virtuoso, crafted a moment of pure musical intimacy against the awe-inspiring pyramids of Giza, Egypt. Playing his trumpet for his wife, Lucille, with the timeless backdrop of ancient stones, Armstrong created an unforgettable scene that transcended the personal and touched the universal. This performance was more than just music; it symbolized a bridge between cultures and a powerful moment in the ongoing dialogue between America and the world during a period of profound social and political transformation.

Known as “Satchmo” or “Pops,” Armstrong was a pioneer who reshaped jazz with his unmatched trumpet skills, gravelly voice, and charisma that captivated audiences around the globe. His career, which began in the 1920s and reached into the 1960s, placed him at the heart of jazz’s evolution and aligned him with the era’s pressing social changes. By the time he reached Giza on this tour, Armstrong had become a cultural ambassador, representing both the resilience and creativity of African American art as well as jazz’s unique power to bridge divides.

The Giza performance was part of Armstrong’s broader international tour aimed at showcasing jazz as an American art form that could speak to anyone, anywhere. His visit to Egypt highlighted the globalization of jazz—a genre celebrated worldwide for its improvisational soul and emotional intensity. Playing amidst the majesty of the pyramids, Armstrong brought modern jazz to an ancient land, illustrating music’s ability to unite history and modernity in a single, transcendent moment. This scene was a reminder that, like the pyramids, great art endures, connecting us across time and culture.

The performance was also a personal milestone. Lucille, his steadfast partner, was by his side through countless tours and challenges, making this intimate concert a tribute to their deep bond. It was a rare moment for Armstrong to share his music in such a meaningful, quiet way, away from the roar of the crowd, in a setting both grand and intimate.

In the backdrop of the civil rights movement in America, Armstrong’s presence as a Black artist in Egypt also carried a poignant message. As he played his trumpet in a far-off land, he represented not only American music but the struggles and aspirations of a people seeking equality and justice. His music resonated as a voice for the marginalized, reminding audiences of the human spirit’s resilience and the way jazz could foster unity and understanding across borders.

This iconic image of Louis Armstrong at Giza goes beyond the personal; it tells a story of cultural exchange, human connection, and the universal language of music. In a world divided by politics and prejudice, Armstrong’s legacy endures as a shining example of art’s capacity to inspire, heal, and bring people together.

By 1973, Elvis Presley had solidified his place not only as the King of Rock and Roll but as an enduring American cultural icon whose appeal spanned generations. This pivotal year would spotlight both his resilience as an artist and the shifting landscape of the music industry that he had shaped.

Elvis kicked off 1973 with a groundbreaking television event—the Aloha from Hawaii concert, broadcast live via satellite on January 14. This was more than just a concert; it was a global phenomenon, making history as the first performance transmitted around the world via satellite. Reaching over a billion viewers in 40 countries, this concert showcased his magnetic stage presence with hits like “Hound Dog,” “Love Me Tender,” and “Burning Love.” The event not only reignited global interest in his music but reminded audiences of his unparalleled talent and timeless charisma.

Despite this spectacular high, 1973 was also a challenging year for Elvis. He grappled with personal issues, including health problems and the unrelenting pressures of fame. His strained relationship with his manager, Colonel Parker, and ongoing struggles with substance abuse took a toll on both his performances and his public image. However, his commitment to his music never wavered. Las Vegas had become his second home, where he held a residency at the Las Vegas Hilton and continued to wow audiences night after night. His shows in Vegas were as elaborate as they were iconic, featuring a fusion of rock, gospel, and pop backed by spectacular production. His signature style, amplified by costumes designed by Bill Belew, embodied the extravagance of the era and reinforced his standing as a cultural legend.

In addition to his live performances, 1973 also saw the release of new music, including the album Aloha from Hawaii: Via Satellite and Elvis: A Legendary Performer Volume 1, a collection of some of his best recordings and live moments. These releases, along with the ongoing buzz from his live shows, kept Elvis in the spotlight, further cementing his impact on rock and roll and popular music.

By the close of 1973, Elvis’s influence was captured in various media: films, documentaries, and books documenting his life and career. His impact on music and culture was profound, shaping the sound of rock and roll and inspiring a generation of artists who would follow in his footsteps.

While 1973 brought both triumphs and challenges, it reinforced Elvis Presley’s status as a cultural phenomenon. His unique ability to connect with audiences through his music and electrifying performances ensured that his legacy would persist long after his passing in 1977. Today, Elvis stands as a symbol of American music and the spirit of rock and roll, leaving an indelible mark on entertainment history.

Big Daddy – Chicks Dig Pie Cutter Cheater Slicks

1964 Dragmaster 112-Inch Dart – a rare beast from the golden age of drag racing, crafted with pure muscle and finesse. One of only 20 complete Darts to roll out of the Dragmaster workshop, this machine is a brutal yet beautiful fusion of engineering and speed. Packing a 327 cubic-inch Chevy V8 under its skin and flaunting featherweight magnesium body panels, this Dart was born to obliterate the quarter-mile.

With Borrani forged aluminum front wheels imported straight from Italy, it carries a touch of racing elegance, effortlessly blending style and savagery. But don’t let the looks fool you—this car meant business on the track. At the 1964 NHRA Winter Nationals, it shredded the quarter-mile in an 8.39-second sprint, leaving the competition in its dust and earning a solid spot in drag racing history.

This isn’t just a car; it’s a milestone, a legend, a testament to the raw brilliance of 60s-era engineering where every part served a purpose, and every second mattered.

Danger Will Robinson….

You can’t trust the count kids …

Heeeyyyy…

Artwork by ~ Frank Kelly Freas

October 26, 1985: A Time-Travel Milestone

Thirty-nine years ago, on October 26, 1985, a young Marty McFly embarked on an adventure that would forever change the course of his life—and the imaginations of millions. Using a DeLorean modified by the eccentric scientist Dr. Emmett Brown, Marty became one of pop culture’s most beloved time travelers, journeying 30 years back in time to 1955.

The trip, originally an accident, turned into a week-long mission filled with close calls, paradoxes, and unforgettable encounters. Marty faced the daunting challenge of not only preserving his parents’ relationship to secure his own future but also navigating a world vastly different from the one he knew. From fending off bullies to impressing the younger versions of his parents, Marty’s journey was a crash course in both time travel and family history.

Against all odds, Marty managed to return to 1985—arriving just moments before he initially departed, thanks to Doc’s precision with the DeLorean’s controls. This cinematic journey set a benchmark in sci-fi storytelling, exploring the ripple effects of even the smallest changes in time and leaving an indelible mark on the genre.

Today, we celebrate Back to the Future as more than just a story of time travel; it’s a tale about the challenges and adventures of discovering who we are and where we come from.

David Finch

Hotel Loneliness by Link Wray—the raw power of 3 chords, 2 hands, and 1 lung. This track embodies the essence of stripped-down rock ‘n’ roll, where every note hits like a punch to the gut, proving that sometimes, simplicity packs the biggest punch. Wray’s unmistakable style, honed over years and fueled by pure grit, takes center stage here, using just three chords to lay down a melody that’s haunting, soulful, and downright rebellious.

With two hands on the guitar, he pulls out sounds that scream with emotion, backed by the story of one lung, a reminder of his battle with tuberculosis—a struggle that never once dulled his spirit but instead sharpened his sound. Hotel Loneliness isn’t just a song; it’s a manifesto for rock and roll minimalism, a testament to what happens when raw talent meets sheer willpower.

Link Wray needed nothing more to create a haunting, gritty masterpiece that still resonates with the disenchanted, the solitary, and the restless.

Earl Norem

Debbie Harry photographed by Kate Simon, 1977.

“Putting on Nylons,” was created by Mort Künstler for the February 1970 cover of Men magazine. Painted in 1965 and measuring 10.5 x 12 inches, this oil-on-board illustration captures Künstler’s unmistakable style—a perfect blend of seduction, mystery, and storytelling. The artwork is signed and dated on the back, showcasing Künstler’s dedication to even the smallest details in his works.

A quintessential example of his pulp art legacy, this piece embodies the sensual tension and noir aesthetic that made Künstler one of the leading illustrators of his time. Known for creating evocative covers that captivated readers at a glance, Künstler masterfully used light, shadow, and expression to heighten the emotional impact of his scenes. Here, the focus on the female figure adjusting her nylons, while a suited man watches intently from across the room, adds a layer of intrigue that invites viewers to wonder about the relationship between the two and the secrets they might share.

During the 1960s and ’70s, Künstler’s covers for Men and other popular magazines became iconic representations of the era’s fascination with crime, thrillers, and forbidden desires. This particular piece exemplifies the artist’s skill in capturing the edgy allure of pulp fiction, combining bold composition with a sense of narrative that pulls the viewer directly into the scene.

With a detective vibe straight out of a noir novel, the scene blends suspense with glamour, inviting viewers to imagine the backstory. This piece highlights Künstler’s knack for creating visual drama that feels cinematic, where each figure is painted with purpose, revealing just enough to pull you into the story. His work often reflects a fascination with both grit and elegance—a timeless nod to the pulp and crime thriller aesthetic.

Künstler’s legacy in pulp art continues to resonate, blending seductive mystery and intense atmosphere, making each piece a mini-drama that lingers long after you’ve looked away.

Frankenstein 1931

Norma-Jean Wofford, famously known as “The Duchess,” was more than just Bo Diddley’s rhythm guitarist—she was an essential part of his powerhouse sound and presence. Joining Bo on stage with her bold guitar fills and harmonies, she brought an undeniable energy to the band. Performing alongside Gloria Morgan and Lily “Bee Bee” Jamieson, known as the “Bo-ettes,” The Duchess stood out not only for her guitar skills but for the fierce chemistry she shared with Diddley. They played off each other with a rawness and intensity that’s often compared to the iconic partnership of Brian Jones and Keith Richards.

Reflecting on their time together, Diddley spoke fondly of her: “I think a lot of Norma-Jean. She was, like, a very honest person… I used to tell her to keep all my money.” The Duchess wasn’t just a bandmate—she was Diddley’s confidante, handling his finances and sharing the road with him until she decided to leave in 1966 to get married. Describing her family as “beautiful people,” Diddley remembered how they treated him like one of their own, making him feel welcome beyond the spotlight.

The Duchess left her mark on four of Diddley’s albums, even appearing on the cover of Bo Diddley and Company (1963). Her influence can be heard across tracks on Surfin’ With Bo Diddley (1963), Hey! Good Lookin’ (1965), and 500% More Man (1965), where her guitar work and harmonies helped shape the band’s electrifying sound.

Though she left the music scene after marrying and moving to Florida, her legacy in rock and roll remains, a testament to the fire and spirit she brought to Bo Diddley’s band. In many ways, The Duchess was ahead of her time—a talented musician and trusted companion whose contribution to the music world shone brightly, even if the trail went quiet after her departure. She passed away in Fontana, California, in 2005, but her influence lingers, like the powerful riffs and rhythms she played alongside Bo Diddley on stages across the country.

Deep in prayer …

The April 1955 Petty Girl in “Esquire”.

Ray Harryhausen’s concept art for a War of the Worlds movie he wanted to make but never happened

Hubert de Lartigue

Manifesto Maravillado – The Marvelous Manifest – is a shot of high-octane, wild-eyed futurism, garage punk, lowbrow art, sci-fi, and pure ’60s psychedelia straight to your senses. This is the unapologetic celebration of de-evolution as a badge of honor, a world where our “monkey minds” reign supreme, and we revel in the absurd and the wonderfully weird.

Guided by me, The Great Ape, step into a universe where absurdity isn’t just accepted—it’s expected. This is where sizzling pinups meet roaring drag races, retro-futurism collides with the bizarre fringes of pop culture, and Manifesto Maravillado opens a gateway to the strange and spectacular underbelly of our imaginations. Think rubber beasts, rocket ships, and pure, raw humanity all tangled in a beautifully chaotic tapestry.

Imagine punk rock riffing with space-age dreams and the future crashing headlong into the smoke-and-grease relics of a lowbrow past. In every issue, you’re tearing down intergalactic highways in chrome-plated hot rods, pinup queens at the helm, and characters leaping off each page with a salute to the underground. This is art dripping in DIY rebellion—bold, gritty, and pulsing with every brushstroke.

We’re not the smartest species—but we’re definitely the most fun, throwing a rowdy celebration of de-evolution with every issue. Here, B-movie magic and anarchic art are the law. Pinups flash their alien charms, drag racers defy space and time, and retro-futuristic vibes drift between kitsch and cool. Manifesto Maravillado lives in a world where seriousness is benched, letting joy and primal instinct take the wheel.

At Manifesto Maravillado, we embrace our inner freakshow with a grin. This magazine is your VIP pass into pop culture’s twisted alleys—dripping with campy glamour, drag strip oil, and counter-culture rebellion. It’s where rockabilly meets rocket science, all wrapped up in a cheeky nod to nostalgic chaos.

This is where past, present, and future collide in a pulse-pounding dance, a playground for garage punk, surreal nostalgia, and gleeful absurdity. With each page, Manifesto Maravillado stands as the battle cry for the bold, the unhinged, and the proudly unapologetic.

Welcome to Manifesto Maravillado—where de-evolution is no tragedy but a high-speed, no-holds-barred journey into cosmic chaos. Buckle up—the Great Ape has the wheel, and we’re taking this ride full-throttle into the madness!