Weekend BigBoy 24.11.08: Chrome, Chaos & Cosmic Mayhem!

Hold onto your helmets, Monkeys of Mayhem, because this Weekend BigBoy is kicking down the doors of convention and setting fire to the rulebook! We’re diving headfirst into chrome-plated chaos, cosmic mayhem, and everything that makes the soul of Manifesto Maravillado pulse with raw, untamed energy. It’s time to unleash the beast within and revel in the unapologetic, pedal-to-the-metal freedom we all crave.

This edition is loaded with heavy-hitting riffs, wild tales, and retro-futuristic madness that’ll make your pulse race. We’re talking iconic rockabilly heroes, legendary machines, and sci-fi thrills that pull you right into the thick of the action. And who’s leading this joyride? I, the Great Ape, am tearing through the universe of lowbrow, high-octane rebellion with a wink and a growl, daring you to ride shotgun.

We’re cranking up the nostalgia with tales from the golden age of speed and style—machines that roar, stories that bite, and enough cosmic vibes to light up the galaxy. This isn’t just a blast from the past; it’s a cosmic celebration of everything we love about de-evolution and the wild ride of living loud and free.

So throw caution to the wind, crank up the volume, and join us as we dive deep into the chaos and glory of unchained rebellion.

Welcome to the ride, my Fur Brained Followers—The Great Ape has the wheel, and we’re taking this beast straight to the edge!

Victor Prezio artwork in Battle Cry June 1963

Last week, we ventured into Episode 3: “Space Immigrants”, where Colonel Steve Zodiac and the crew of the Fireball XL5 confronted a bizarre new alien species in their quest to find a safe home. Packed with pulse-pounding action and retro space-age wonder, this episode had it all—strange beings, wild new worlds, and all the interstellar thrills we’ve come to love!

This week, we’re blasting into Episode 4: “The Sun Temple”, where Steve, Robert the Robot, Doctor Venus, and Professor Matic face their most mysterious challenge yet. Our fearless crew stumbles upon an ancient civilization whose secrets could change the fate of the galaxy. But with danger lurking around every corner, can they uncover the truth before it’s too late?

Expect otherworldly temples, strange artifacts, and cosmic mysteries in this thrilling ride through the stars! Strap in and set your course for adventure, because Fireball XL5 is ready to launch again. Get ready for another unforgettable journey into the unknown!

Cornelius And Zira

Vintage Car Crush! 1959 Oldsmobile Dynamic 88 Holiday Scenic Coupe.

Haruo Nakajima (in costume as Godzilla) and Momoko Kōchi on the set of Godzilla, 1954

Luis Dominguez cover art for UFO Flying Saucers, no. 5, 1975

1966 Ford Fairlane – 427ci

On January 30, 1969, The Beatles defied convention one last time by performing their final public set atop the Apple Corps headquarters on Savile Row in London. This legendary “rooftop concert” was a moment of spontaneity, boldness, and pure musical energy that captured the rebellious spirit of the 1960s. Despite the chill in the winter air, John Lennon, Paul McCartney, George Harrison, and Ringo Starr played a 42-minute set that echoed through the heart of central London, turning an ordinary Thursday into a landmark event in music history.

The rooftop concert was a poignant return to their roots and a farewell wrapped into one. The Beatles tore through classics like “Get Back,” “Don’t Let Me Down,” “I’ve Got a Feeling,” and “Dig a Pony,” showcasing the raw, unfiltered energy that had always defined their live performances. Unlike their chaotic stadium tours of earlier years, this performance was stripped down and spontaneous, offering an authentic connection to anyone within earshot. The chemistry between the bandmates was undeniable, even as they neared the end of their journey together.

Originally intended to wrap up filming for the Let It Be documentary, the rooftop concert wasn’t planned with the city’s peace in mind. No one had informed the neighboring businesses or the London police, who were soon swarmed with noise complaints from the surrounding area. As The Beatles played on, an impromptu crowd gathered below, filling the streets, craning from windows, and spilling onto nearby rooftops. Reactions were mixed—some were captivated, others bewildered, yet the performance carried on, undeterred by the growing police presence.

In true Beatles fashion, they pushed through the set until the last possible moment. As the police finally made their way onto the roof to stop the music, John Lennon delivered his famous closing line: “I’d like to say thank you on behalf of the group and ourselves, and I hope we passed the audition.” With that cheeky quip, The Beatles capped off their final live performance, leaving an indelible mark on music history.

The rooftop concert endures as a symbol of The Beatles’ lasting legacy and the era’s defiant creativity. Photographs from that day, including iconic shots by the Evening Standard, have become visual emblems of a band whose music broke boundaries and captured a generation. This unplanned finale, even today, feels as fresh and revolutionary as it was back then—a fitting final act for a band that will forever shape popular culture.

Michael Trim

Bridgeport Connecticut August 26, 1968

This is a remarkable training photo capturing the Apollo 11 crew as they rehearsed for their legendary lunar landing in 1969. In a meticulous simulation, just months before they would set foot on the Moon, the astronauts practiced deploying and using specialized lunar tools on a makeshift “lunar surface.” This dress rehearsal allowed them to refine their techniques, ensuring they were prepared for the unique challenges they’d encounter on the Moon’s surface, from maneuvering in reduced gravity to handling sensitive equipment with bulky space gloves.

Photos like this one reveal the extraordinary dedication and rigorous preparation that defined the Apollo missions, underscoring the precision and commitment required to achieve humanity’s first steps on an alien world.

Stevie Wonder’s Tonto synth.

Jean Sole La Caiman a Repasser (1980)

1958 Holden FC Special Sedan – Stock Obviously!

Poison Ivy …

The Stray Cats exploded onto the music scene in the early 1980s like a neon sign flickering to life in a dark alley, bringing the energetic sound of rockabilly roaring back into the mainstream. Formed in 1979 in Massapequa, New York, the band featured the charismatic lead singer and guitarist Brian Setzer, the lively upright bassist Lee Rocker, and the slick drummer Slim Jim Phantom. Their style? A heady mix of 1950s rock and roll swagger with a punch of punk energy, making them instantly recognizable with their pompadours and leather jackets. But beyond their slick looks, it was their infectious sound that captured the hearts of music fans everywhere.

One of the most exciting parts of the Stray Cats’ story was their commitment to reviving rockabilly, a genre that was nearly overshadowed by the rise of disco and the synth-pop explosion of the ’80s. Their music wasn’t just a nostalgia trip—it was a fresh, rebellious take on old-school rock and roll. Hits like “Stray Cat Strut” and “Rock This Town” showcased their ability to blend catchy melodies with irresistible rhythmic grooves, breathing new life into a style that had long been dormant. These songs became anthems, not only for their fans but for a whole new generation discovering the raw joy of rockabilly.

While their sound was crucial, the band’s fashion sense was just as captivating. The Stray Cats were more than musicians—they were style icons. With their slicked-back hair, tight jeans, and sharp jackets, they embodied the rebellious spirit of rock and roll. Fans embraced this look, capturing the essence of cool the band projected. It wasn’t just about the music; it was about a lifestyle—a way to express individuality and defy the polished mainstream often dominated by pop acts.

Behind the scenes, the band dynamics were just as intriguing. Brian Setzer’s creative vision often led the way, but it was the combined energy of Rocker and Phantom that brought their music to life. They faced the ups and downs of band life, yet their shared passion for music always brought them back together. This chemistry translated into electrifying live performances that left audiences dancing, unable to resist the high-octane energy pulsing from the stage.

The Stray Cats’ legacy extends beyond catchy tunes and iconic looks. They were pioneers of the rockabilly revival, opening the door for countless bands that followed. Their music continues to resonate, popping up in movies, commercials, and playlists, a reminder of a time when rock and roll was raw, fun, and undeniably cool. The Stray Cats aren’t just a band—they’re a crucial part of music history, leaving a mark that still reverberates through today’s culture.

Johnny Rotten and Sid Vicious photographed by Bob Gruen, 1977 – Smoking on a plane with a child seated right in front of you—those were the days!

Not a good day …

Adam Vehige

Some People are Greedy!

Two Timing Solo… C3P0 has it where it counts…

A boy enjoys his ice cream as he sits on a sea mine washed up on the beach at Deal in Kent, February 1940

Joe jusko – The Battle with Zad

When Devo performed “Uncontrollable Urge” on the cult comedy show Fridays, they created a spectacle that was pure post-punk theater—a high-octane explosion of energy domes, robotic moves, and frenetic sound. This was more than a song; it was a performance art piece that perfectly captured Devo’s twisted, de-evolution-themed vision. On Fridays’ boundary-pushing stage, they weren’t just a band—they were a movement, challenging every notion of what mainstream music and performance could be.

Post-punk and De-evolution—they’re like twin engines in the same rocket, blasting away from the tired norms of pop culture. Devo wasn’t simply making music; they were delivering a manifesto wrapped in synthesizers and fractured rhythms, a wired-up warning that the world wasn’t progressing—it was spiraling backward. In the late ’70s and early ’80s, post-punk wasn’t about glossy chords or radio-friendly hooks; it was raw, jagged, and ready to dismantle the status quo. Devo took that ethos and cranked it up, turning each performance into a warped science experiment. They fused synth-driven aggression and unsettling visuals, creating an eerie “de-evolved” irony that made audiences look twice at the chaotic world around them.

As Devo tore through “Uncontrollable Urge,” they embodied the essence of post-punk rebellion. They weren’t here to fit in or provide comfort; they were here to wake people up, to shake them out of their societal slumber and hold up a mirror to the absurdity of modern life. In their hands, post-punk became more than just music—it was a subversive roadmap to a dystopian future that felt all too real. That night on Fridays, Devo cemented themselves as more than just a band. They were a glitch in the system, daring you to look straight into the chaos and maybe, just maybe, recognize the beautiful mess of de-evolution.

he 1947 discovery of the Dead Sea Scrolls in a cave near Qumran, along the northwest shore of the Dead Sea, was a groundbreaking moment in biblical archaeology and religious studies. This chance find by a young Bedouin shepherd, who stumbled upon the ancient texts while searching for a lost goat, revealed scrolls dating from the third century BCE to the first century CE. These scrolls, many of which were stored in clay jars that had deteriorated over time, included a vast array of writings: biblical manuscripts, sectarian texts, and documents on Jewish law and theology. Together, they offered invaluable insights into the religious landscape of the Second Temple period.

Among the most notable scrolls found were the Great Isaiah Scroll and the Community Rule. The Great Isaiah Scroll is a nearly complete copy of the Book of Isaiah, showcasing the impressive preservation and continuity of biblical texts across centuries. Meanwhile, the Community Rule provides a unique glimpse into the beliefs and practices of a religious community, likely the Essenes, a Jewish sect thought to have existed around the time of Jesus. These scrolls not only deepened our understanding of the Hebrew Bible but also provided important context for the socio-religious dynamics of the era, highlighting the diversity of Jewish thought during a pivotal period in history.

The impact of the Dead Sea Scrolls reaches far beyond their immediate historical and religious value. Their discovery ignited extensive scholarly research and reshaped perspectives on early Judaism and the origins of Christianity. The scrolls have also fueled public interest and debate, particularly around their influence on biblical interpretation and the development of religious beliefs. As conservation efforts continue to protect these fragile texts, the Dead Sea Scrolls remain a vital source for historians, theologians, and archaeologists, offering a rare glimpse into the complex tapestry of faith and tradition in the ancient world.

Oberyn Martell vs Gregor Clegane by Gary Gianni

One of the more crazy, zany, and immensely fun to look at illustrations that Mort Kunstler made in his career. This one was featured in the story “The Night the Mob Took Over Thrill Park” published in “For Men Only” magazine, November 1967.

Four-Color Shadows – The Mad Planet-Virgil Finlay-1954

The 1968 Bruce Larson Kendall Camaro 427, famously known as “USA-1,” is a legendary drag racing machine with a rich history in the world of motorsports. Built with precision and performance in mind, this Camaro features a powerful 427-cubic inch engine that showcases the raw power and engineering prowess of American muscle cars from the era. With its striking patriotic livery of red, white, and blue, adorned with gold stars and the USA-1 emblem, this Camaro not only dominated the track but also captured the spirit of a nation.

Sponsored by Sutliff Chevrolet and meticulously prepared for the strip, the car was engineered to excel in the AA/FC (A/A Fuel Coupe) class, combining aggressive design elements with groundbreaking speed capabilities. The rear of the vehicle is fitted with a prominent parachute for high-speed deceleration, a testament to the car’s raw power and the safety considerations needed for the intense world of drag racing.

Driven by Bruce Larson, a celebrated figure in drag racing, the USA-1 Camaro became an icon of the sport, symbolizing the relentless pursuit of speed and the evolution of drag racing culture. From the thunderous sound of the 427 engine to the flawless patriotic design, this Camaro stands as a tribute to the golden age of American muscle and the fearless racers who piloted these machines to victory. Breaking barriers, it was one of the first funny cars to top 200 mph and claimed victory at the 1969 Super Stock Magazine Nationals.

Sigourney Weaver on the set of Alien

Phantom from Space (1953) is a classic slice of 1950s sci-fi that delivers all the camp, mystery, and mid-century charm you could ask for—and yes, it’s free to watch if you’re ready for a trip back in time! Produced by W. Lee Wilder and his indie outfit, Planet Filmways, this black-and-white gem dives into a world where the FCC—yes, the Federal Communications Commission—suits up to save the day.

The story kicks off when a flying saucer crash-lands in the San Fernando Valley, throwing TV and radio transmissions into chaos (because what’s scarier than interrupted broadcasts, right?). Enter our invisible spaceman, leaving radioactive traces and dodging around the Valley like an intergalactic prankster. The FCC agents, looking all serious in their trench coats, are on his tail, but this isn’t your average chase scene; our alien friend is practically a ghost, causing havoc without ever really being seen.

Sure, the special effects are of the “blink and you’ll miss it” variety, and the alien’s invisibility seems to be more of a budget-friendly decision than a terrifying power. But that’s part of the charm! This movie captures the quirky optimism and Cold War jitters of the era, mixing a straight-laced plot with a delightfully absurd premise. With clunky dialogue, mysterious footprints, and the occasional flash of a saucer, Phantom from Space is the perfect throwback to when sci-fi was still figuring itself out—and having a great time doing it.

So, if you’re in the mood for a dose of vintage thrills (and plenty of unintentional laughs), grab your popcorn and check out the movie at the link below. Just remember: you never know who—or what—might be listening in on those radio waves.

For your viewing pleasure!

Cover art by Jean Michel Nicollet for ”Des Souris Et Des Robots” by Clifford D. Simak (Titres S.F. 1981).

Forest Clough … Woo hoo! Everyone Loves Cracker Night!

Falfa…

Vantasy!

Alex Ross

The Apollo 11 Command Module, “Columbia,” was the living quarters for the three-person crew during most of the first crewed lunar landing mission in July 1969.

Give me the Willys

Lawrence Sterne Stevens (American, 1884-1960). Hand from the Void

Joe Jusko – The Laboratory of Despair

1935 Monaco-Trossi 16-cylinder 2-stroke GP racer

The 1935 Monaco-Trossi race car, an audacious marvel of its time, is one of the most unique and experimental vehicles to ever hit the track. Designed through the visionary collaboration between Count Carlo Felice Trossi and engineer Augusto Monaco, this car was a daring fusion of automotive and aviation engineering, crafted to defy conventional race car design. Its distinct front-mounted radial engine was the first thing to catch the eye, breaking from the tradition of in-line or V engines typical in racing. This two-row, 16-cylinder engine, air-cooled and boosted by two Zoller superchargers, gave the car an aggressive look, as though it were a wingless aircraft grounded and ready to roar across the asphalt.

Engineered for power, the Monaco-Trossi’s supercharged radial engine was a testament to a pre-war fascination with aviation-inspired speed and design. The superchargers, mounted just behind the engine, gave the vehicle a unique silhouette, and their distinctive whine added to its fierce presence on the track. But while its configuration promised raw power, the radical design brought with it significant cooling and handling challenges—issues that would ultimately temper its potential to dominate the grid.

Visually stunning, the Monaco-Trossi was a blend of streamlined curves and intimidating strength. Its sleek, almost fuselage-like body was crafted for maximum aerodynamics, with an overall shape that spoke to a vision far ahead of its time. From every angle, it was a car that demanded attention: its bulging radial engine, strikingly open and exposed at the front, seemed almost alien among the more traditional racers of its era. The tires were slightly larger than typical racing tires, providing stability for its unusual weight distribution and compensating for the weight of the behemoth engine at the nose.

Though it seemed destined for greatness, the Monaco-Trossi faced setbacks that even its designers couldn’t overcome. With the engine’s position at the front, combined with the challenges of maintaining stable airflow, it struggled with overheating issues during testing. On top of that, the weight distribution made the car tricky to handle, especially at the high speeds needed for competitive racing. While it was ultimately deemed impractical for the track, the Monaco-Trossi remains a symbol of boundless creativity and the fearless experimentation that defined early motorsport.

As an icon of 1930s racing innovation, the Monaco-Trossi offers a glimpse into an era where engineers and drivers alike were more than willing to push boundaries and chase dreams of radical performance. Each feature, from the open louvered hood to the exposed superchargers, tells the story of a machine that was as much art as it was engineering. Though it never reached its full potential in competition, this rare vehicle endures as a tribute to a time when imagination and risk-taking ruled the racetrack.

With only one of these machines ever built, the Monaco-Trossi remains a coveted relic in the automotive world. Today, it stands as a reminder of the creativity and boldness of an era that pushed automotive design to its very limits. This car was not just about winning races—it was about expanding the horizons of what a race car could be. As it sits on display, still strikingly futuristic, it invites us to imagine what might have been had this radial beast tamed the track, capturing the thrill of an age that dared to dream big.

Thirst for Hurst

The dance of the last star-Fischermann.

The 1935 construction of the Hindenburg at Germany’s Zeppelin Company facility in Friedrichshafen was a marvel of aviation ambition and engineering. This airship, one of the largest and most technologically advanced ever built, embodied Germany’s pursuit of lighter-than-air travel during an era when airships symbolized the future of transcontinental journeys. Designed for long-range passenger flights, the Hindenburg stretched 804 feet—longer than a football field—and boasted a meticulous design, using duralumin for its frame and cotton fabric coated with varnish for its exterior.

Building on the success of the LZ 127 Graf Zeppelin, the Hindenburg aimed to set new standards in airborne luxury. With room for 72 passengers in elegant cabins and communal areas featuring dining lounges, observation decks, and sleeping quarters, the airship promised a blend of ocean-liner comfort and the thrill of flight. However, using hydrogen for lift, despite its flammability, posed a significant risk, one that sparked public anxiety over airship safety. By this time, the industry was also facing stiff competition from fixed-wing airplanes—faster, more economical, and safer than hydrogen-filled airships.

After a successful maiden flight in 1936, the Hindenburg became a symbol of progress until tragedy struck on May 6, 1937, during a landing attempt in Lakehurst, New Jersey. The fire that erupted, causing the loss of 36 lives, marked the end of commercial airship travel, casting a shadow over an era once filled with dreams of airborne elegance and global connectivity. Yet, the Hindenburg’s legacy endures as a poignant testament to human ingenuity, ambition, and the perils that sometimes accompany technological progress

I prefer Keaton’s stressless delivery in the film. The beauty of that delivery is, it’s Bruce Wayne’s voice not Batman’s.

The Sleestak and Kathy Coleman in Land of the Lost, 1974

First Spaceship on Venus (1960, Poland/West Germany movie).

“Rocky & Bullwinkle” was a cartoon series that became famous not only for its wacky adventures but also for its sophisticated humor. Unlike typical children’s shows, which mostly aim for simple, easy-to-understand jokes, Rocky & Bullwinkle often included jokes that would go right over the heads of its young audience. For example, in the show, there was a map featuring a lake named “Lake Veronica”—a nod to the classic comics “Archie” where Veronica was a main character, a reference most kids wouldn’t get. Then, there was Boris Badenov (the villain) holding a picket sign that said he wanted “top billing” as part of the Villains, Thieves, and Scoundrels Union (Local 12), a joke playing off real-world labor unions and Hollywood hierarchy, which again, kids might not fully understand.

As adults, though, viewers start to recognize these inside jokes, cultural references, and even double meanings, like puns or wordplay that have a different layer of meaning. For example, some jokes are about politics, historical events, or cultural references from the 1960s—a lot of which only older audiences would know. So, watching it again as an adult reveals a whole new level of clever humor you probably missed as a kid. Rocky & Bullwinkle managed to entertain kids while giving adults something special to enjoy, making it a timeless show with a broad appeal.

The 1959 Cadillac Coupe DeVille was more than just a car—it was a bold symbol of American innovation and style, manufactured right in Detroit, Michigan. Designed by legendary automotive visionaries Bill Mitchell, Chuck Jordan, and Dave Holls, this model epitomized the height of Cadillac’s post-war glory days, combining cutting-edge technology with an unforgettable design that still resonates as one of the most iconic car designs in history.

Considered the pinnacle of Cadillac’s lineup, the 1959 Coupe DeVille boasted some of the most advanced features of its time. Options like air conditioning, cruise control, and a powerful triple-carbureted V8 engine showcased Cadillac’s commitment to luxury and performance. Under the hood, this powerhouse featured a 390 cubic inch (6.4-liter) V8 engine with a 4-barrel Carter AFB2814S carburetor, producing an impressive 325 horsepower—a serious statement in the automotive world of the 1950s.

Built on a 130-inch wheelbase, this two-door hardtop coupe was the star of the Series 6300 DeVille line, with 21,924 units sold—an impressive feat for a luxury car of its caliber. Measuring 225 inches in length and 80.2 inches in width, the Coupe DeVille wasn’t just long; it was imposing, with tailfins that remain the largest ever fitted to a Cadillac. These towering fins, paired with the dual “rocket” tail lamps, became defining elements not only of the Coupe DeVille but of American automotive design itself.

To this day, the 1959 Cadillac Coupe DeVille stands as a symbol of the era’s optimism, creativity, and unapologetic extravagance. Its silhouette and tail lights are instantly recognizable, echoing an age when cars were crafted with personality and flair. This masterpiece from Cadillac’s heyday isn’t just a car—it’s an icon, a piece of art, and a reminder of the golden age of American automobiles.

The Christopher Inn, completed in 1963 in downtown Columbus, Ohio, was a bold example of mid-century modern architecture that left a lasting impression on the city’s skyline. Designed by Karlsberger & Associates and Leon Ransom, Columbus’s first notable African American architect, this cylindrical building broke the mold with its futuristic design. The inn’s wedge-shaped rooms featured custom-made furniture and uniquely angled corners, creating an immersive, modern aesthetic that set it apart from conventional hotel designs of the era.

Standing proudly in the heart of Columbus, the Christopher Inn’s round, layered structure gave it an almost spacecraft-like appearance, attracting attention and admiration. Each floor was perfectly cylindrical, making it one of the most recognizable and innovative buildings of its time. However, despite its architectural significance and cultural impact, the inn was sadly demolished in 1988. Today, it lives on in vintage postcards and memories as a symbol of Columbus’s mid-century architectural ambitions and the city’s brief flirtation with avant-garde hotel design.

Chicks Dig Pie Crust Cheater Slicks…

Alfred Kelsner

Nightmare #10, 1953. Splash page by Murphy Anderson.

George Harrison sitting in a 1964 Plymouth Fury in South Florida. The Beatles were in Miami for the Ed Sullivan Show live from the Deauville Hotel and local police provided George some American cars to tool around in. Harrison is about to turn 21.

Eszter Lakatos

Earl Norem 1970 Carnival Wife

The Apes shall rise Up! Well if we can be othered …

Lump, the cheeky dachshund whose name means “rascal” in German, was born in 1956 and originally belonged to David Douglas Duncan, a renowned photographer for Life magazine. In 1957, Duncan brought Lump along when he traveled to the south of France to photograph his friend Pablo Picasso at his villa near Cannes. The dachshund didn’t get along with Duncan’s other dog, an Afghan hound, so Duncan thought a change of scenery might do him good.

Lump seemed destined to find his way into Picasso’s life. At their first meeting, Lump immediately charmed the artist and his partner, Jacqueline, by jumping onto Picasso’s lap and giving him a kiss. It was love at first sight, and Picasso’s affection for the dachshund was instant and lasting. That very day, Picasso painted Lump’s portrait on a dinner plate—a small tribute that marked the beginning of their bond. Lump soon became a fixture in Picasso’s world, even replacing the big hound in Picasso’s reinterpretations of Diego Velázquez’s Las Meninas, where he took center stage in the artwork.

Duncan later recalled that Lump “just took over” the villa, and Picasso adored him. The artist would cradle Lump in his arms, feed him from his hand, and indulge the little dachshund as if he were more family than pet. When it was time for Duncan to leave, Picasso insisted that Lump should stay with him, and Duncan agreed. According to Duncan, it seemed that Lump himself had made the decision to stay, marking the start of a six-year companionship.

Six years later, Duncan returned to find that Lump was suffering from a common spinal problem in dachshunds. A vet was treating him, but the prognosis wasn’t hopeful. Determined to help his friend, Duncan took Lump back to Stuttgart, Germany, to seek better care. Miraculously, Lump recovered and spent his later years with Duncan, though he never joined his owner again on visits to Picasso.

The story of Lump and Picasso is one of pure, unexpected friendship. Picasso famously once said, “Lump, he’s not a dog, he’s not a little man, he’s somebody else.” This sentiment captures how Lump, with his quirky personality, became something special in Picasso’s life. Lump passed away on March 29, 1973, just days before Picasso’s own death on April 8. Their connection remains a reminder of how even the greatest artists can find muses and companionship in the most unlikely places.

Cutaway illustration by Chesley Bonestell of the von Braun multi-stage spaceship from the mid-1950’s.

Joe Jusko – Back, Numa!

Oh Jayne…

School Anti-Cheating Hats: A Playful Spin on Academic Integrity

With cheating on the rise, schools are getting creative in their efforts to uphold academic integrity. Enter the anti-cheating hat—a quirky yet effective way to discourage students from peeking at their neighbors’ work during exams. These hats, often featuring wide brims or built-in barriers, make it nearly impossible for students to glance sideways without being noticed.

Unlike traditional surveillance methods, these hats add a touch of humor to the exam room while still making a serious statement about honesty. They’ve also sparked a viral trend, with students sharing photos of themselves wearing these hats on social media, turning them into symbols of ethical behavior.

Beyond deterring dishonesty, anti-cheating hats offer schools a chance to engage students in broader discussions about ethics and personal responsibility. By embracing this lighthearted approach, educators create a more positive testing environment, where students feel encouraged to rely on their own abilities and take pride in their achievements.

Devo’s red “Energy Domes”—those infamous flower pot-shaped headpieces—became iconic symbols of the band’s message of de-evolution. Paired with sleeveless turtlenecks that gave them a futuristic-meets-industrial vibe, their look was as striking as their sound. The Energy Domes weren’t just headgear; they were a statement on uniformity and identity, embracing the weird in a world obsessed with normalcy.

It’s time to Whip It… Whip it Good!

Elzo Durt

The Bay Theater, designed by the legendary S. Charles Lee in 1949, stands as a shining example of mid-century theater architecture on the West Coast. Known for his visionary approach, Lee skillfully blended architecture and signage into a seamless, eye-catching composition that commanded attention. The theater’s bold, illuminated “BAY” sign, perched high atop the building, became an iconic sight, drawing moviegoers in with its radiant glow and modern design.

S. Charles Lee’s work is celebrated for his ability to turn theaters into architectural statements, and the Bay Theater is no exception. His expertise in theater design defined many movie palaces across California, where he brought glamour and a touch of Hollywood magic to the streets. The grand opening of the Bay Theater, captured in vintage photographs, showcases Lee’s vision brought to life, a place where cinema and architectural artistry met under the West Coast sky.

Joe Jusko – Narrow Escape

Substitute Fantastic Four team by Paolo Rivera

Remember to turn your clocks back!

Halloween, released in 1978, remains one of the most successful independent films of all time. But did you know that the iconic Michael Myers mask was actually created from a cheap Captain Kirk mask? Production designer Lee Wallace transformed the $2 mask purchased from a Hollywood Boulevard costume shop by trimming the eyebrows, removing the sideburns, darkening the hair, widening the eye holes, and painting it a flat white. And just like that, Michael Myers was born. When William Shatner was told his face had inspired the terrifying look, he reportedly asked, “Is that a joke? Are they kidding?” While he’s said he’s honored by the connection, Shatner admits he’s never actually seen the film.

528ci Hemi Barracuda

Who Really Sculpted the Sphinx?

The Sphinx, that mysterious stone guardian of the Giza Plateau, stands as a testament to an ancient world we only partially understand. For millennia, the Sphinx has faced the relentless sands of Egypt, buried repeatedly up to its neck, with only its solemn head emerging above ground. This enigmatic site, found encased in a ‘basin’ surrounded by high walls on three sides, was rediscovered in the 19th century when archaeologists unveiled the full body of the Sphinx from its sandy grave.

Here’s the perplexing question: if ancient Egyptian builders were indeed responsible for sculpting the Sphinx, why would they carve such a grand monument knowing it would be buried in desert sands within a few short years? The logic seems flawed—even the wisest engineers of ancient Egypt would have recognized that the shifting sands would inevitably engulf their work.

The theory challenges the conventional timeline. It suggests that the Sahara wasn’t always a desert, but rather a lush, green landscape with flowing rivers and lakes, a paradise of life. Evidence shows that between 12,500 B.C. and 3,500 B.C., the Sahara experienced a gradual shift from verdant plains to arid desert. If the Sphinx was carved in that green era, when sand was not yet an issue, it could explain why its creators had no reason to fear its burial.

In this light, the builders of the Sphinx might not have been the Egyptians we know from history, but rather an older, perhaps forgotten civilization who inhabited a very different landscape. This radical notion reshapes our understanding, placing the Sphinx’s origins deep in prehistory, back to a time when Egypt was an oasis, not a desert.

The Sphinx, then, might not just be a symbol of Egyptian kingship—it could be a silent witness to a lost age and a reminder of a civilization that thrived long before the pharaohs rose to power.

The Atomic Kid (1954) is the kind of Cold War comedy only the ’50s could produce—where getting caught in a nuclear explosion is just the setup for a wacky adventure! Mickey Rooney stars as Blix Waterberry, a lovable dope with a heart of gold who accidentally wanders into a nuclear test site while prospecting for uranium. And what happens? He gets atomized, survives the blast, and becomes America’s first atomic-powered hero! Now, most people would probably just… you know… disintegrate. But Blix? He walks away with a glowing personality—literally.

Once he’s back in civilization, Blix becomes an instant celebrity. He’s poked and prodded by the government, swarmed by reporters, and even finds romance. His atomic powers give him a bizarre resilience, a bit of a radioactive glow, and a charm that’s irresistible to the ladies (though that last one might just be Rooney himself). It’s pure 1950s zaniness, where nuclear radiation doesn’t give you cancer—it gives you superpowers!

The film is directed by Leslie H. Martinson, with a script co-written by Blake Edwards, who would go on to create the Pink Panther series. And just like those classic slapstick comedies, The Atomic Kid is packed with sight gags and ridiculous situations that make it hard not to laugh. This was back when people still thought radiation might be fun—a new frontier of mysterious powers, glowing skin, and maybe even a bit of atomic romance.

And here’s a little-known tidbit: Mickey Rooney’s wife at the time, actress Elaine Devry, stars as his love interest, adding a quirky real-life twist to the radioactive romance. The film even managed to grab the attention of none other than Elvis Presley himself, who references it in his own 1964 movie Kissin’ Cousins. So if you’re in the mood for some atomic-age absurdity, pull up a chair, grab your hazmat suit, and hit play. Watching The Atomic Kid is like opening a time capsule to a world where glowing in the dark was just part of the fun.

https://youtu.be/lmrItPZ9hNw

Steve Rude

I didn’t know HOLDEN was exporting back then.

“Sleeping Beauty” by Ciruela Cabra

In 1906, a man stood in silent fascination at the National Library of Sweden, examining one of the most mysterious manuscripts ever created—the Codex Gigas, known ominously as the “Devil’s Bible.” At an astounding 92 centimeters (36 inches) tall and weighing around 75 kilograms (165 pounds), the Codex Gigas remains the largest medieval illuminated manuscript in existence. Crafted in the early 13th century, likely within the walls of a Bohemian monastery, this manuscript required over 160 animal skins to produce its 310 vellum pages.

Inside this monumental book lies a collection of texts that capture the breadth of medieval thought: the Old and New Testaments, medical writings, historical chronicles, and even mysterious spells and magical incantations. But the most infamous aspect of the Codex Gigas is its haunting full-page illustration of the Devil, a fearsome depiction that has spurred dark legends around the manuscript’s origin. Local lore tells of a monk who, condemned to be walled up alive for breaking his vows, pledged to create a grand work in a single night. As the tale goes, realizing the task was impossible, he made a pact with the Devil to complete the manuscript. Scholars may dismiss this as legend, yet the eerie image and aura of the book keep the story alive.

The Codex Gigas isn’t just a relic of religious significance—it’s also a window into the knowledge and beliefs of its time, featuring everything from astrological charts to the wisdom of medieval medical authorities. Thought to have taken nearly 20 years to complete, this manuscript is a testament to the enduring commitment of monastic scholarship.

Captured by Swedish forces in 1648 during the Thirty Years’ War, the Codex Gigas found a new home in Stockholm, where it resides today. Its sheer scale and enigmatic content have made it one of the most studied artifacts of the medieval period, attracting historians, theologians, and the curious from around the world. Even now, as modern researchers continue to investigate its pages, the Codex Gigas stands as a symbol of human ambition, spiritual depth, and the allure of the unknown, bridging the realms of knowledge and myth in a truly unique way.

Natalie Wood in her dressing room after shooting a scene in “Gypsy” (1962)

Creature From the Black Lagoon (1954) Ben Chapman, Julie Adams

Manifesto Maravillado – The Marvelous Manifest – isn’t just a zine; it’s a full-throttle journey through rockabilly riffs, sci-fi madness, and unapologetic counter-culture chaos. It’s a mash-up of past, present, and future—an electrifying blend of garage punk, surreal nostalgia, and that wild edge that only de-evolution can bring.

With me, The Great Ape, at the helm, we’re not just observing the absurd—we’re embracing it. This is a world where B-movie magic and raw, anarchic art rule the roost, a space where drag strip oil mingles with glittering pop culture grime, and where the lines between reality and retro-fantasy blur. Manifesto Maravillado takes you to the heart of the underground, where rubber beasts, rocket ships, and raw humanity intertwine in a gritty, chromed-out tapestry that’s pure rebellion.

Picture it: characters that leap from the page, bold strokes that salute the DIY spirit, and stories that tear down the highway of imagination. With pinup queens, cosmic adventures, and more than a nod to rock and roll’s rebellious soul, we’re here to celebrate everything that defies the norm.

This is where rockabilly meets rocket science, where everything loud, bold, and offbeat is given center stage. Manifesto Maravillado is the battle cry of the proudly unapologetic, the offbeat, and the eternally wild at heart.

Manifesto Maravillado—where de-evolution isn’t just a theme; it’s the destination. Buckle up, because we’re tearing down the road at breakneck speed into a world of pure, cosmic chaos!

And don’t go too far—next week’s BigBoy is coming in hot, cranking up the insanity even further. Stay tuned—you’re in for one wild ride!