Manifesto Maravillado – Where Hot Rod Culture Meets Retro Sci-Fi Madness

Hold onto your helmets, my Apes of Anarchy, because this Weekend BigBoy is primed to take you on a ride through grease-stained chaos and cosmic rebellion! We’re smashing the ordinary into oblivion, revving up the engines of insanity, and diving deep into the wild tides of Manifesto Maravillado madness. Expect roaring flames, neon-soaked escapades, and a relentless barrage of thrills that’ll make your pulse race.

I, The Great Ape, am here to lead this untamed carnival of speed and cosmic fury. Together, we’ll burn rubber with renegade hotrods, dance on the edge of retro-futuristic mayhem, and shake the stars with every pounding beat.

This is where chrome shines brightest, rebellion rages hottest, and every twist of fate feels like a wild gamble on cosmic tides.

Prepare for blazing trails of raw nostalgia, cosmic riffs that echo across time, and tales that grab reality by the throat. This edition overflows with grit, bold moves, and unfiltered pandemonium—exactly what it takes to fuel the de-evolved hearts of every last one of us.

So strap in, polish your chrome, and get ready to burn rubber through the universe. There are no rules, no brakes—just pure, unstoppable adrenaline.

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

Where Lowbrow Art, Garage Punk & Kustom Kulture Goes Ape

Don Prudhomme – Snake!

Syd Mead

Seafoam Green and Chrome …

I think you would need a tetanus shot to ride in this!

Last week, we were in a race against time with Episode 5: “The Doomed Planet,” where Colonel Steve Zodiac and his brave crew faced a cosmic catastrophe on a mysterious world. Battling natural disasters and unknown forces, they raced to save the planet and its people, delivering all the high-stakes drama and explosive action we’ve come to expect from Fireball XL5. Our heroes reminded us that courage, ingenuity, and a bit of luck are all it takes to make miracles happen—even when the odds are stacked sky-high.

This week, we dive into Episode 6: “The Sun Temple.” When a distress signal draws the Fireball XL5 crew to an ancient and enigmatic world, Steve, Robert the Robot, Doctor Venus, and Professor Matic find themselves caught in the mysteries of a long-lost civilization. Beneath the blinding heat of a relentless sun and within the shadowy halls of a temple that holds secrets beyond imagination, the crew must unlock the truth before a cosmic force is unleashed.

Expect treacherous traps, stunning revelations, and a pulse-pounding quest for survival as Fireball XL5 ventures deep into the unknown. The answers they seek could alter the course of the galaxy—but danger lurks at every turn. Gear up for another thrilling ride, because Fireball XL5 is ready to light up the stars once again! Don’t miss a moment of the adventure, as secrets are revealed and legends are forged in the heart of the Sun Temple!

A rare photo of a young Evel Knievel circa 1966 rocking his Triumph t-shirt.

On November 13, 1971, “Duel” aired as part of the ABC Movie of the Weekend series, marking the feature directorial debut of Steven Spielberg. The film follows a traveling salesman, David Mann (portrayed with palpable tension by Dennis Weaver), as he drives through the rural roads of California to meet a client. What begins as a routine journey quickly spirals into a nightmarish battle for survival, as Mann becomes the target of a relentless, mostly unseen driver of a hulking semi-truck. The truck, a mechanical beast, embodies raw, unrelenting terror—a manifestation of road rage, hostility, and the perils of isolation.

The screenplay, penned by Richard Matheson, adapts his own short story published in the April 1971 issue of Playboy. The tale itself was inspired by a real-life encounter Matheson had on November 22, 1963, when a trucker dangerously cut him off on a California freeway. This personal experience became the fuel for a nerve-shredding story that captures the primal fear of being hunted with nowhere to hide.

“Duel” resonated so strongly with audiences and critics that it later received an international theatrical release by Universal Pictures. This extended version featured additional scenes shot after the original TV broadcast, allowing Spielberg to further refine the tension and pacing that would become hallmarks of his career.

One fascinating fact about the film’s legacy lies in its auditory connection to another Spielberg masterpiece. As the semi-truck plummets off a cliff in the climactic finale, a distinct dinosaur roar is heard in the original mono sound mix. This very sound effect reappears in Spielberg’s “Jaws” (1975) as the shark’s carcass sinks into the ocean. Spielberg has acknowledged this nod, explaining that he sees a kinship between “Duel” and “Jaws,” as both films center on “leviathans targeting everyman.” By inserting the sound effect into Jaws, Spielberg remarked that it was “my way of thanking Duel for giving me a career.” The roar itself originated from the 1957 B-movie “The Land Unknown,” adding another layer of homage and cinematic continuity that underscores Spielberg’s reverence for his early work.

“Duel” remains a tightly wound thriller that captures the essence of fear, tension, and the uncanny dread of being pursued by an unstoppable force—a testament to Spielberg’s brilliance in turning simple premises into enduring cinematic legends.

Find your way out in the ghost rider maze!

I wonder what happened on the patio?

When men were men … “Wild” Willie Borsch

Julie Adams remains an enduring icon of classic cinema, celebrated for her unforgettable role as Kay Lawrence in the 1954 sci-fi horror masterpiece “Creature from the Black Lagoon.” With her striking beauty, grace, and undeniable screen presence, Adams captivated audiences and cemented herself as one of the most memorable leading ladies in the golden age of monster films. Her portrayal of Kay, a courageous and intelligent scientist caught in the web of the mysterious Gill-man, brought a rare blend of vulnerability and strength to the genre, making her more than just a damsel in distress.

The film’s most iconic scene, in which the Gill-man swims beneath Adams as she glides effortlessly through the water, is etched into cinematic history—a hauntingly beautiful moment that perfectly contrasts her stunning elegance with the lurking terror beneath. Adams’ beauty and poise brought a mesmerizing allure to the role, elevating “Creature from the Black Lagoon” beyond a typical monster flick and turning it into a timeless classic beloved by generations.

Throughout her career, Adams appeared in a wide array of films and television shows, but it was her role in “Creature” that truly defined her legacy, earning her a devoted following among sci-fi and horror enthusiasts. Her willingness to embrace her status as a cult figure, coupled with her stunning looks and talent, made her a beloved figure at conventions and in pop culture lore. She remains a symbol of classic Hollywood glamour intertwined with the thrills of the monster movie era.

The Dr Smith Scream!

The Clairtone Project G stereo, pictured here with jazz pianist Oscar Peterson and a model, epitomizes the Jet Age elegance of the 1960s with its sleek rosewood cabinet and distinctive “sound globe” speakers. Produced between 1964 and 1967, this striking audio system became a symbol of luxury and modernity, attracting high-profile admirers like Hugh Hefner and Frank Sinatra and even making appearances in films such as The Graduate.

Despite its cutting-edge design and cultural cachet, the Clairtone Project G carried a hefty $2,000 price tag—equivalent to approximately $20,000 today—which limited its sales to fewer than 400 units. This scarcity has made it a rare and highly sought-after collectible, embodying both the bold optimism and the high style of its era.

You too can de-evolve – Three of our most famous readers – Before and After!

Michael: “So, does this phone home or what?”

What has been seen cannot be unseen – Are you sure you want to continue?

In the world of Pellucidar, Dian the Beautiful proves time and again that she’s far from a mere damsel in distress—she’s a force to be reckoned with. In “Savage Pellucidar,” Dian boldly takes the reins of her own fate, commandeering an untested hot air balloon in her relentless quest to find the missing David Innes. Her journey is anything but uneventful; high above the world, she faces off against a menacing pterodactyl, showcasing her indomitable spirit and quick thinking.

Later in the tale, Dian earns the moniker “Tiger Girl” in a truly unique encounter. Finding herself face-to-face with three formidable tarags, or saber-toothed tigers, Dian’s fearlessness turns a potentially deadly situation into an extraordinary bond. The great beasts become her protectors, nuzzling her with a loyalty born from her consistent kindness. In one poignant moment, while her companion Gamba quakes with fear, Dian’s calm assurance reveals the depths of her connection: “They will not hurt us,” she says confidently. “They are my friends. Every time that I can, I bring them pieces of meat.” This profound relationship underscores Dian’s strength, empathy, and command over even the wildest of creatures.

In the artwork by Joe Jusko, Dian’s essence is captured with breathtaking clarity. Here stands the majestic heroine—brave, determined, and ready to conquer whatever challenge comes her way. With her spear in hand and the mighty tarag by her side, Dian embodies the spirit of adventure and resilience that makes her a timeless figure in the Burroughs universe. No obstacle can halt her; she is every bit the courageous and unstoppable force fans have come to admire.

Joaquin Phoenix and his Ring of Fire – Walk the line

Dirty old men need love, too. James ‘Burt’ Munro (1899-1978)

Blackmore being a knob again!

GE Giant Screen TV with integrated VCR from 1978. I cannot imagine how much these things weighed. Chances are they would not get stolen! Right?

“Quickly miss! I’ll lay down covering fire while you make a dash to the available beach chair!” Cover art by Carlo Jacono for an Italian pulp magazine.

Chrome and Chaos – The DIY Rebels of Grease Monkey Culture

Let’s go clubbing!

Hans Zimmer with his Moog modular with Roland System 700 cabinets.

Vikings by Frank Frazetta

Honey – Does this make me look fat?

The Stray Cats’ performance of “My One Desire” at the 1981 Montreux Jazz Festival is nothing short of electrifying. This legendary set captured the band at the height of their early career, delivering their retro-inspired rockabilly with an infectious energy that had the crowd eating out of the palms of their hands. The Montreux Festival, typically known for jazz, became a stage for the Cats to show just how genre-defying and powerful their rockabilly revival was, mixing slick licks, wild rhythms, and plenty of swagger.

In this rendition, Brian Setzer’s vocals soar with a fiery passion that can only be amplified in a live setting, while his impeccable guitar work crackles with intensity and finesse. The raw, unfiltered sound of Slim Jim Phantom’s stand-up drumming and Lee Rocker’s slapping bass adds a thrilling edge, proving why the Stray Cats became instant favorites among rockabilly and punk fans alike.

What many might not know is that the Stray Cats’ appearance at Montreux wasn’t just a lucky gig; it marked a pivotal moment that helped solidify their place on the international stage. While the festival is steeped in jazz traditions, acts like the Stray Cats brought in a dose of rebellion and modernity, bridging old-school rock ‘n’ roll and contemporary flair. Their performance was such a hit that it showcased how rockabilly could still be relevant, thrilling, and downright irresistible.

If you listen closely to this version, you’ll catch how Setzer and the band play off each other with a chemistry born from countless gigs in clubs and dives, yet with the polish of seasoned performers. It’s a reminder of why “My One Desire” remains testament to their timeless appeal and boundary-pushing energy.

Earl Norem

Fixing an Austin the right way …

The Wall of Sound was nothing short of an engineering marvel, crafted to elevate the Grateful Dead’s live performances to legendary status. Conceived by audio pioneer Owsley “Bear” Stanley, it was a massive, unprecedented public address system that pushed the boundaries of what a live concert experience could offer. This towering structure made its grand debut in its completed form on March 23, 1974, at the Cow Palace in Daly City, California, after an initial preview at Stanford University’s Maples Pavilion on February 9, 1973.

Weighing over 70 tons and boasting hundreds of amplifiers, speakers, subwoofers, and tweeters, the Wall of Sound stood more than three stories tall and spanned nearly 100 feet across. It was more than a sound system; it was a physical and auditory spectacle. The sheer size and power of the Wall were unmatched—an enormous structure designed not only to deliver crystal-clear sound but to immerse concertgoers in a sea of music that felt both personal and transcendent.

Jerry Garcia in front of this behemoth became an iconic image of rock history. The Wall wasn’t just loud; it was meticulously engineered to deliver precise and undistorted audio to every corner of the audience. Each instrument had its dedicated speaker stack, allowing unparalleled clarity and separation—a revolutionary approach that left other sound systems in the dust. Despite the challenges of transporting and maintaining this colossal system, it symbolized the Dead’s commitment to pushing creative and technical limits, capturing their ethos of boundary-defying artistry.

For Deadheads and music enthusiasts, the Wall of Sound wasn’t merely a spectacle; it represented an era of innovation, community, and the spirit of live music. Its legacy echoes in every massive concert setup that followed, proving that when it comes to sound, the Dead always played it big.

The Napier-Railton is a legendary aero-engined racing car, constructed in 1933 to the design specifications of Reid Railton and commissioned by John Cobb. Built by the esteemed Thomson & Taylor, this mechanical marvel is most famously associated with the Brooklands race track, where it became an enduring symbol of speed and engineering prowess.

Driven predominantly by Cobb, the Napier-Railton made a name for itself in motorsport history by setting the all-time lap record at Brooklands in 1935—a record that still stands, as Brooklands closed for racing during World War II. The car is powered by a 24-litre W12 Napier Lion aero engine, which generates a ground-shaking roar and astonishing power that set it apart from competitors of the era.

The Napier-Railton is a testament to the innovation and daring spirit of pre-war racing. It remains an icon in automotive history, celebrated for its stunning design, breathtaking power, and role as a trailblazer on the world’s first purpose-built banked race circuit. Its distinctive, powerful silhouette and unparalleled speed captivated onlookers and solidified its place as a truly remarkable racing machine.

Love is Love

Lilly Christine, the “cat girl” of burlesque, in a 1940s pin-up shoot.

Merchant of Speed

John Duillo

“Private Idaho” by The B-52’s is a quintessential slice of new wave pop, infused with the band’s signature blend of surf rock, punk, and absurdist humor. Released in 1980 as part of their second studio album, Wild Planet, the song quickly became one of the band’s defining hits, known for its infectious energy, offbeat lyrics, and quirky delivery.

The song’s title and refrain—“You’re living in your own Private Idaho!”—have become an iconic catchphrase, reflecting the band’s talent for turning surreal, playful imagery into instantly memorable lines. While at first listen, the lyrics might sound like a whimsical, nonsensical ride, they carry a satirical edge, hinting at themes of paranoia, isolation, and escapism. The reference to “Idaho” isn’t necessarily about the state itself; instead, it acts as a metaphorical “place” where one retreats from reality—isolated, trapped, or simply living in their own bubble.

With its jangly guitar riffs, driving beat, and Fred Schneider’s distinctive spoken-sung delivery juxtaposed against the harmonized vocals of Cindy Wilson and Kate Pierson, “Private Idaho” is a high-energy track that encapsulates The B-52’s playful yet edgy aesthetic. The band, known for their retro style and eccentric themes, channels their vibrant personality into every note, making the song a staple of early ’80s alternative dance floors.

“Private Idaho” has continued to resonate in pop culture, reflecting both The B-52’s enduring influence and their ability to craft music that’s simultaneously catchy, fun, and thought-provoking. Its quirky title even inspired Gus Van Sant’s 1991 film, My Own Private Idaho. The B-52’s cemented their legacy as pioneers of the new wave genre, and “Private Idaho” remains a beloved gem in their colorful discography. So, the next time you’re feeling lost or in a surreal state of mind, just remember—you’re not alone. You might just be living in your own “Private Idaho.”

Syd Mead

Blackmore’s broken guitar headstock because he was being a knob!

The Avala Tower, perched on Avala Mountain in Belgrade, Serbia, is a striking example of socialist modernism. Designed by architects Uglješa Bogunović and Slobodan Janjić, along with engineer Milan Krstić, construction of the tower began on October 14, 1961, and was completed in 1965. The project was executed by the “Rad” construction company and was meant to serve as a television tower and symbol of technological progress.

Tragically, the tower was destroyed in 1999 during the NATO bombing of Yugoslavia. However, it was later reconstructed in 2010, staying true to its original iconic design. The Avala Tower’s unique tripod structure and bold, futuristic form continue to make it an enduring symbol of resilience and architectural innovation.

Adam Vehige

“Cheesecake” became a popular term to describe pin-up photos that exuded a playful, flirtatious, and often lighthearted charm. In the 1950s, the term epitomized a new wave of pin-up culture, characterized by smiling, approachable women who captivated their audience with a mix of glamour and mischievous allure. Capitalizing on this cultural phenomenon, “Stars & Stripes” magazine crowned Marilyn Monroe as Miss Cheesecake of 1952. Monroe, with her iconic charisma and photogenic charm, became the ideal embodiment of this playful style.

In August 1951, Monroe attended an event organized by the magazine, where she posed with a cheesecake—an on-the-nose nod to the term—and even sliced servings for the attendees. The press, unsurprisingly, was in full attendance, capturing every bit of the spectacle. This moment contributed to Monroe’s meteoric rise as a Hollywood icon and cemented her legacy in pin-up and pop culture history. The playful, joyful energy she brought to every appearance helped redefine the pin-up aesthetic, making “cheesecake” synonymous with Monroe’s signature blend of flirtatious glamour and light-hearted confidence.

Belly dancing by Henry Clive

The Zora Arkus-Duntov 327 HEMI Prototype: The Corvette Engine That Could Have Been

The Zora Arkus-Duntov 327 HEMI Prototype stands as a testament to an era when automotive innovation knew few bounds. In the 1960s, Zora Arkus-Duntov, often hailed as the “Father of the Corvette,” envisioned a new level of performance for Chevrolet’s already formidable small-block V8 engines. Among his most fascinating creations was the 327 HEMI prototype—an experiment that blended cutting-edge design with raw power, embodying Duntov’s relentless drive to push the limits.

The prototype began with Chevy’s 327 cubic inch small-block V8 but incorporated a revolutionary twist: hemispherical combustion chambers. Drawing inspiration from Chrysler’s famed HEMI engines, Duntov sought to merge the HEMI head’s superior airflow and efficiency with the lightweight, compact design of Chevrolet’s small-block. His vision led to the creation of a hybrid engine featuring aluminum hemispherical heads of his own design. This configuration promised dramatic improvements in power output by allowing for higher compression ratios and enhanced airflow—all while maintaining reliability and the characteristic compactness of the small-block V8.

Although the 327 HEMI prototype was never officially rated, engineering estimates suggested that it had the potential to produce over 400 horsepower with the right tuning. This output would have made it a formidable rival to other high-performance engines of its time, such as Chrysler’s 426 HEMI and Ford’s 427 SOHC. However, despite its impressive potential, the engine faced several challenges that prevented it from reaching mass production. The most significant barrier was cost—manufacturing the complex hemispherical head design was more expensive compared to traditional small-block heads, making it less feasible for Chevrolet to pursue at scale. Furthermore, General Motors had corporate policies in the mid-1960s that restricted engine displacement and horsepower for regular production vehicles, further limiting the development of such an ambitious project.

While the 327 HEMI never made it to the production line, it remains a powerful reminder of Duntov’s willingness to break boundaries and experiment with unconventional ideas. His legacy lives on in the evolution of the Corvette into a world-class sports car, rooted in bold engineering and a fearless approach to performance.

Today, the 327 HEMI prototype occupies a unique place in Chevrolet and Corvette history—a glimpse into what could have been during the golden age of American muscle. It symbolizes an era when visionaries like Duntov were unafraid to dream big and explore the limits of performance engineering, leaving behind a legacy that continues to captivate and inspire car enthusiasts worldwide.

Dodge this!

Conan by Frank Frazetta

Dawn Wells

1967 – Jackie Stewart leaning into it.

Pinup Culture, Rockabilly Rumble, and Drag Strip Legends

Caroline Munro, put that in your pipe and smoke it!

On July 20, 1969, history was made when Apollo 11 touched down on the moon, marking humanity’s first steps on another celestial body. Neil Armstrong, followed shortly by Buzz Aldrin, became the first and second individuals to walk on the lunar surface, etching their names in the annals of space exploration with Armstrong’s iconic words, “That’s one small step for [a] man, one giant leap for mankind.” This moment not only captured the imaginations of millions watching around the world but symbolized humanity’s potential to push beyond known boundaries.

In this photograph, we see a young Neil Armstrong during his X-15 days at the Naval Air Development Center (NADC) in Bucks County. Before the moon mission, Armstrong was already an accomplished test pilot and astronaut, pushing the limits of experimental aircraft in the atmosphere’s edge. His X-15 flights, reaching speeds of over Mach 5, were pivotal training for his later role as a pioneer in space.

Armstrong’s journey to becoming the first man on the moon was one of dedication, courage, and an unwavering commitment to exploration. The Apollo 11 mission was the culmination of a decade of rapid technological advancements and intense competition in the Space Race, with the world holding its breath as the lunar module touched down in the Sea of Tranquility.

So, as we celebrate the 55th anniversary of this monumental achievement, let’s remember the trailblazers like Armstrong, Aldrin, and Michael Collins, who orbited above, and reflect on their bravery, innovation, and the spirit of discovery that continues to inspire generations.

1965 Pontiac Bonneville. The Bonneville was a popular choice among families and executives during the mid-1960s.

Norman Rockwell

Alex Ross brings his painting mastery to Comic Book Art

“Women of Wonder” Cover Artwork by Michael Koelsch

The Super Mustang: Ford’s Futuristic Dragster That Fell Short on the Track

The Super Mustang was a unique, short-lived creation by Ford, intended as a flashy promotional tool during the late 1960s drag racing scene. Conceived by the same Ford design team responsible for the first Mustang production car, this sleek machine made its debut at the 1967 NHRA Winternationals, with Tom McEwen at the wheel. Despite its futuristic and aerodynamic look, McEwen described it as a “pet project” that, unfortunately, didn’t live up to its visual allure.

The Super Mustang boasted some truly innovative features for the time. Built on a 150-inch chassis, it featured a sophisticated rear suspension system, a rarity for most slingshot dragsters of the era, which typically sported solid-mounted rear ends and no suspension. The Posi-Traction rear end, supported by coil-over shocks, traction bars, and an anti-sway bar, hinted at Ford’s ambitious efforts to push the envelope in drag racing technology.

Ford’s Design Staff meticulously crafted the swoopy body, perfecting its shape in their wind tunnel. The resulting aerodynamic design, with a bubble canopy covering the cockpit and seamlessly blending into the rear section that enclosed the slicks, was undeniably eye-catching. With its injected Ford 427 SOHC engine built by Connie Kalitta and Tom Marsh, it promised performance to match its looks.

However, despite its alluring exterior, the Super Mustang’s performance left much to be desired. Clocking in at a modest 8.60 seconds at 180 mph, it fell far short of the competition. Kalitta’s own Ford-powered dragster, for example, dominated the Winternationals with a 7.17-second run at 218 mph. McEwen candidly admitted, “Despite all of the money and brains behind the project, it was, to put it bluntly, a dog.”

The Super Mustang’s racing career ended shortly after it began, but it continued to shine on display at Ford car shows, where its dramatic looks made it a crowd favorite. In the end, it served as a testament to the idea that in racing, as in life, looks can indeed be deceiving.

Syd Mead

Edward Runci

Hey … It’s Jungle Pam!

Lt. Gay Ellis, Gabrielle Drake (UFO series)

Big Daddy’s ROAD AGENT show car, powered by a Chevy Corvair flat six aluminum air-cooled engine

The way I walk is just the way I walk… Poison Ivy – The Cramps

The “Balancing Act, 1962,” captures the awe-inspiring spectacle of a seal balancing a doll on its nose at the Krone Circus in Aachen, Germany. Taken in a bygone era, the photograph is a snapshot of circus history and the enchanting performances that delighted audiences across generations. With wide-eyed children watching in amazement, the scene speaks to the magic and whimsy that the circus brought to towns and cities worldwide, creating cherished memories and showcasing incredible animal training acts that continue to fascinate.

A Mort Kunstler painting titled “The Honey Pot”

Apollo 11 Lunar Module (LEM) liftoff, Rocketdyne’s artist, July 1969

Date Night …

Thirst for Hurst…

Mort Kunstler

Freeway Flyer!

From Cheater Slicks to Gasser Drag Racing – Rebel Rock and Custom Cars

Sauna, Vodka, Goats, Death. Must Be the Most Finnish Music Video Ever! Leningrad Cowboys – “These Boots” (1992)

The Leningrad Cowboys’ take on “These Boots Are Made for Walkin’” is a quintessentially Finnish concoction of absurdity, humor, and a dash of cultural critique. This isn’t just a cover of Nancy Sinatra’s classic—oh no, it’s a dive into Finnish life from 1952 to 1969, tracing the main character Mato Valtonen’s life story with a mix of satire, surrealism, and deadpan charm. It’s all there: school years, marriage, the daily grind, a brief stint in farming, and a final melancholic realization that farming’s no longer viable—an ode to a changing economy, all set against a backdrop of goats, vodka, and, of course, the band’s trademark sky-high pompadours and pointed shoes.

The video weaves short film storytelling with music video flair, all brought to life by members of the Leningrad Cowboys playing pivotal supporting roles. Mato’s journey reflects Finland’s post-war transformations, moving from agrarian roots to a modernizing society, while the Cowboys’ bizarre yet precise performances add comedic touches that only they could deliver.

If you’ve never dipped your toes into the strange world of the Leningrad Cowboys, prepare for a wild ride. This Finnish band originated as a fictional creation for the film “Leningrad Cowboys Go America”, directed by Aki Kaurismäki. The band, initially a Soviet rock parody seeking fame in the U.S., became a genuine global act, known for blending rock and roll with Soviet-era imagery and a whole lot of ridiculous charm. Their mix of over-the-top outfits, deadpan expressions, and surprising musical talent makes for an unforgettable spectacle.

“These Boots” exemplifies their commitment to the bizarre and brilliant. Featuring the Alexandrov Ensemble, the official Russian army choir, the video mashes up Soviet pomp with rock bravado, creating an explosion of absurdity and energy. Whether it’s the over-choreographed dance numbers or the dead-serious choir juxtaposed against the Cowboys’ antics, you can’t help but be entertained.

Beneath the humor and eccentricity, however, lies serious musical chops. The Cowboys have taken on countless rock classics and twisted them into uniquely Finnish art pieces, often sneaking in subtle critiques of both Eastern and Western societal norms. It’s rock, it’s satire, it’s a cultural commentary, and it’s all done while wearing shoes longer than most ski poles.

“These Boots” is more than a music video—it’s a showcase of Finland’s strangest rock exports, and it’s unapologetically glorious. So, pour a drink, don your wildest shoes, and embrace the madness that is the Leningrad Cowboys. Because sometimes, to understand life, you just have to laugh at its absurdity, and maybe dance a little with goats in tow.

Also there is a lake in Finland that looks like Finland!

The True King Tutt…

Art by the great Earl Norem.

Confused, A little angry, Clearly uncomfortable, Nervous, Doesn’t want to be there, Scared, Disturbed, Not prepared for a test – Leon Kowalski (Replicant) – Blade Runner (1982)

Went down to the Crossroads …

Wonder what Robert would say if someone told him 30 million people would listen to one of his songs eighty years after his passing just on this link alone?

Was not a success … Twin V8 All-Wheel Drive – But Hey – Chicks Dig Pie Crust Cheater Slicks!

Grandpa will fix you up with the right stuff…

On October 25, 1975, Evel Knievel pulled off one of his most daring and memorable stunts, soaring over 14 Greyhound buses at the Kings Island theme park near Cincinnati, Ohio. This wasn’t just another stunt for Knievel; it was a defining moment in his already legendary career, solidifying his status as the king of daredevil antics. To every kid of the ’70s, Knievel’s jumps represented the ultimate in bravery, and his larger-than-life persona inspired countless homemade ramps and backyard stunts as kids everywhere sought to capture just a fraction of his thrill-seeking glory.

The Kings Island jump wasn’t Knievel’s first flirtation with death-defying leaps. Just five months earlier, he had attempted a jump over 13 buses at Wembley Stadium in London, resulting in a horrific crash that left him battered with a broken pelvis, a broken hand, and other injuries. Knievel, known for his resilience, was determined not to let his legacy end in a hospital bed. The Kings Island jump, televised live on ABC’s Wide World of Sports, attracted massive viewership—an estimated 52% of the television audience tuned in, hanging on to every pulse-pounding second.

The successful leap over the 14 Greyhound buses was more than just a personal victory; it was a testament to Knievel’s indomitable spirit and raw tenacity. Decked out in his signature star-spangled jumpsuit, Knievel charged down the 180-foot runway, accelerating to a blistering speed of over 90 mph on his Harley-Davidson XR-750. As he soared over the buses, the crowd erupted with cheers, and for a brief moment, the world collectively held its breath. Knievel landed with a jolt, but his wheels stayed on the ground, and he coasted to a triumphant stop—a stark contrast to the crash at Wembley.

For kids of the 1970s, this jump was the embodiment of pushing boundaries and embracing the thrill of risk. It’s no wonder so many young daredevils of that era built rickety wooden ramps in their driveways and backyards, pretending to be Knievel, fueled by dreams of catching big air. Evel Knievel made the impossible feel within reach, even if only for a fleeting moment.

What many may not know is that despite Knievel’s reputation for danger, he meticulously planned his stunts. Each jump was a calculated risk, and while the spectacle may have seemed chaotic, Knievel understood every factor at play—speed, distance, ramp angle, and the unpredictable nature of his motorcycle. His successful jump at Kings Island would go down as one of his career highlights, a reminder that sometimes, the line between life and death is just a ramp away.

So, when we remember Knievel and the way he made us all want to defy gravity, we recognize more than a daredevil; we honor a man who made daring seem almost sacred. This was 1975—the reason why nearly every kid built ramps for their bicycle, their hearts pounding with the hope of capturing just a sliver of Knievel’s audacious spirit.

Robert Crumb, 1969

Norman Saunders.

Screamin’ Jay!

Screamin’ Jay Hawkins was an electrifying force of nature who carved a unique niche in the world of blues, rock, and theatrical performance. Born Jalacy Hawkins on July 18, 1929, in Cleveland, Ohio, he became one of the most eccentric and unforgettable figures in music history. His blend of shock theatrics, powerful blues vocals, and larger-than-life stage persona influenced generations of artists, paving the way for performers who dared to be different.

Hawkins initially trained as an opera singer, which helped shape his dynamic vocal range and commanding presence. However, his career took a different turn when he found his calling in rhythm and blues. In 1956, Hawkins recorded what would become his signature song, “I Put a Spell on You.” The original intention was a simple ballad, but a night of heavy drinking in the studio transformed it into something primal and wild. With Hawkins belting out guttural wails, growls, and howls, the song became an anthem of raw, unfiltered passion. Though banned by some radio stations for its overtly sexual energy and ferocious delivery, it resonated with audiences and became a classic.

On stage, Screamin’ Jay Hawkins became more than a musician—he was a spectacle. He pioneered theatrical shock rock decades before it became mainstream, often emerging from a coffin in full voodoo-inspired regalia, clutching a skull-topped cane named “Henry,” and casting “spells” over his audience. His shows were a wild mix of horror, humor, and showmanship, cementing his reputation as a trailblazer who embraced absurdity and spectacle in the pursuit of captivating entertainment.

Hawkins’ influence extends far beyond his own recordings. His theatricality paved the way for artists like Alice Cooper, Arthur Brown, KISS, and countless other performers who embraced larger-than-life personas. Hawkins himself released a diverse range of music, blending blues, R&B, rock, and even opera, always keeping listeners on their toes.

Despite a career that sometimes saw him overshadowed by the very theatrics he introduced, Screamin’ Jay Hawkins remained a powerful, boundary-pushing artist whose legacy lives on. He passed away in 2000, but his spirit and the spell he cast on music are as potent as ever.

The “shock” in shock rock owes much to Screamin’ Jay, the man who put a spell on us all.

Riding the Wild Cosmic Tide in Grease-Stained Glory

Carroll Baker’s journey to stardom is nothing short of fascinating and showcases a versatile talent who could captivate audiences across various entertainment mediums. Her career began in an unconventional way, as she first worked as an assistant to a stage magician—a far cry from the silver screen roles that would later define her career. From there, Baker’s ambition led her to work as a dancer and model, gradually building a reputation that would carry her into the world of acting in the 1950s.

Perhaps one of the most curious footnotes of her early career was winning the title of “Miss Florida Fruits and Vegetables” in 1949—a peculiar beauty pageant accolade that hints at the eclectic path she traversed to break into Hollywood. It’s a reminder of how showbiz often starts in the most unexpected of places. Baker would later cement her status as a bona fide star, with performances that blended beauty, charm, and undeniable dramatic talent. Her rise serves as a testament to perseverance, adaptability, and a knack for seizing every opportunity, no matter how unconventional.

A young Helen Mirren.

Even the Germans can de-evolve

Former Pink Floyd guitarist and vocalist David Gilmour has revealed that he felt “bullied” by the record company into releasing the band’s final album, The Endless River, in 2014. The album, arriving 20 years after their previous studio work The Division Bell, was met with mixed reactions from fans and critics, many of whom felt it didn’t live up to the band’s storied catalog.

The project primarily featured Gilmour and drummer Nick Mason, with archived recordings from late keyboardist Richard Wright, who had passed away in 2008. Roger Waters, former bassist and founding member, had left the band in 1985 following their 12th album, The Final Cut, and was not involved in The Endless River.

Gilmour explained to the Los Angeles Times that during sessions for The Division Bell, the band had amassed hours of ambient material, originally intended to be compiled as an instrumental album titled The Big Spliff by their engineer Andy Jackson. However, these recordings were shelved, and years later, pressure from the record label to officially release the material intensified. The intent was to counteract bootleg sales and present the recordings as a proper Pink Floyd release.

“My mistake, I suppose, was in being bullied by the record company to have it out as a properly paid-for Pink Floyd record,” Gilmour admitted. “It should have been clear what it was — it was never intended to be the follow-up to The Division Bell.” The tepid reception to the album was not the parting note the band had envisioned, leaving both Pink Floyd and its fans with mixed feelings about their final chapter.

Since the disbandment of Pink Floyd, the members have pursued different paths. Gilmour released Luck and Strange, his first solo album since 2015, and has been touring globally to promote it. Nick Mason, meanwhile, formed Nick Mason’s Saucerful of Secrets, a supergroup focusing on the band’s early psychedelic material, featuring members from The Blockheads and The Orb. Roger Waters has continued his prolific solo career and recently revisited classic Floyd material with The Dark Side of the Moon Redux to mark the 50th anniversary of their iconic 1973 album.

Conan The Destroyer. Lunch break!

Space Bass Monkey By Stephen Green

Curling time. Illustration by Ruskin “Russ” Williams

Renato Casaro

Battle Beyond the Sun (1959) is a sci-fi gem with a fascinating backstory, as it stands as a quirky relic of early space-age cinema and international collaboration… or, more accurately, Cold War-era cinematic re-purposing. Originally produced in the Soviet Union under the title “Nebo Zovyot” (“The Heavens Call”), this film was later adapted for American audiences by none other than a young Roger Corman—who, along with director Francis Ford Coppola (credited under a pseudonym), gave the movie a bizarre facelift.

In its initial Soviet version, Battle Beyond the Sun was intended to showcase Soviet achievements in space exploration, reflecting the era’s obsession with reaching beyond the Earth’s atmosphere. The plot, focused on a space race between two factions from Earth aiming to reach Mars, is notable for its attempt to glorify teamwork, scientific discovery, and the spirit of exploration.

Enter Roger Corman, ever the opportunist. In re-editing the film for American audiences, Corman stripped away much of the ideological subtext, adding his own brand of monster magic. To spice things up, Coppola created bizarre alien creatures, whose rubbery and low-budget appearances became a hallmark of this version. These creatures engaged in a duel that served little purpose other than to entice a monster-loving American audience. The effect was campy, cheesy, and undeniably memorable, making Battle Beyond the Sun a cult favorite in later years for its wonderfully outlandish imagery.

While the special effects may seem dated by modern standards, this film offers a glimpse into a time when sci-fi captured imaginations and sparked conversations about the possibilities of space exploration. Battle Beyond the Sun stands as a unique example of how political tensions, cultural aspirations, and good old-fashioned sci-fi spectacle could be stitched together across continents and re-imagined for entirely different audiences.

So, if you’re ready for some cosmic mayhem with a touch of Cold War history and campy monster battles, Battle Beyond the Sun is the perfect ride for your Weekend BigBoy. Don’t miss it—this is one interplanetary adventure that’s truly out of this world!

You wanna live forever!

Where Retro Sci-Fi and De-Evolution Vibes Collide

Glen Orbik.

In the early 1970s, Southwest Airlines embraced a bold approach to air travel, carving out a reputation with a mix of daring style and unprecedented customer service. Stewardesses like the one pictured became iconic symbols of the era, sporting daring mini-dresses and knee-high go-go boots that reflected the spirit of the times. It was a move meant to stand out in the competitive airline industry, combining glamour, efficiency, and the rapidly evolving fashion trends of the ’70s.

Founded in 1971, Southwest differentiated itself by focusing on low fares, frequent flights, and a fun-loving attitude. Their unique uniforms and casual, friendly service redefined passenger expectations and drew attention to a brand that was reshaping the sky-high industry norms.

This snapshot captures not just a flight attendant at work but a slice of a transformative era in airline travel, where every detail—from the uniforms to onboard cocktails—played into the charm of flying. It symbolizes Southwest’s rebellious spirit, one that took to the skies with confidence and brought a splash of personality into an industry typically known for formality.

Al Brule

Witchiepoo, the hilariously wicked witch from the classic children’s TV series “H.R. Pufnstuf”, riding her quirky flying contraption with Orson Vulture perched beside her. Witchiepoo, portrayed with comedic flair by Billie Hayes, was notorious for her relentless schemes to capture Freddy the Flute and foil young Jimmy and his friends on Living Island. Here, she’s seen in her signature red-and-black striped stockings, flying high with an umbrella atop her craft, epitomizing the blend of humor, fantasy, and psychedelic charm that made “H.R. Pufnstuf” a cult favorite in the late 1960s. The image captures the essence of the Krofft Brothers’ magical world—a realm where zany characters and surreal adventures brought joy and laughter to audiences young and old.

Seems like the most awkward spot on the driveway to work on your car.

Roll the dice and see if a lucky seven or eleven turns up! “Lady Luck” painted by Glen Orbik.

1937 Volkswagen Beetle prototype was a significant piece of automotive history that laid the groundwork for one of the most iconic cars ever made. Officially known as the Type 30 prototype, this early iteration of the Beetle showcases the streamlined, aerodynamic shape that would become instantly recognizable worldwide. Only around 30 of these prototypes were produced, making this model an incredibly rare sight today.

The 1937 prototypes were part of Ferdinand Porsche’s design work under the directive of Adolf Hitler to create a “people’s car” (Volkswagen in German). It aimed to be affordable, reliable, and efficient—accessible to the average German family. These early models were tested rigorously and led to the development of the production-ready Beetle, which would go on to become a symbol of post-war economic recovery and global automotive culture.

One lesser-known fact about these early Volkswagen Beetle prototypes is that they underwent extensive testing under extreme conditions. The prototypes were driven across thousands of miles, including journeys over the rugged terrain of the Austrian Alps and scorching deserts, to test their durability and reliability. This rigorous testing was unprecedented for a “people’s car” at the time, reflecting Ferdinand Porsche’s commitment to creating a robust and versatile vehicle.

Another intriguing detail is that the early prototypes featured split rear windows, a design element that would later become iconic in the post-war Beetles, often referred to as “Brezelkäfer” (Pretzel Beetle) due to the shape of the rear window. However, these early prototypes also faced significant challenges, including issues with engine overheating and inadequate suspension systems, which were refined in subsequent iterations.

Moreover, while Porsche’s design is often credited for the Beetle, there was also influence from Hans Ledwinka, an Austrian automotive engineer who designed the Tatra cars. This led to a post-war lawsuit from Tatra, which Volkswagen eventually settled out of court, acknowledging some design similarities. This historical legal battle is a reminder of the complex origins and influences that shaped the Beetle’s development, a detail not widely discussed in mainstream automotive history.

Seeing one of these early prototypes reminds us of the humble beginnings of a car that would eventually achieve legendary status, becoming the best-selling single-platform car design ever produced.

Walter Molino 60s.

On December 14th, 1977, Sid Vicious is captured during a soundcheck at the Eksit Club in Rotterdam, Netherlands. This snapshot of Sid—lean, defiant, with a sneer that spoke volumes about the raw punk ethos—captures him during the Sex Pistols’ European tour, just weeks before their notorious U.S. run. A notable detail that sharp-eyed fans will recognize is the Bat Devils Breda sticker on his bass. Both Sid and guitarist Steve Jones sported this emblem on their instruments during these gigs in December 1977 and into the Sex Pistols’ U.S. tour in 1978. The sticker itself is a nod to a motorcycle club from the Dutch city of Breda, reflecting the mix of rebellion and underground connections that defined the era’s punk scene.

Plymouth great Pop Art campaign was one of the best in the Muscle Car era

Gillian Anderson & David Duchovny photographed by Mark Seliger, 1997

Gil Elvgren’s “I’ve Been Spotted”. Painted in 1951

The Damned ’77

Bon Scott

The Ramones’ “Rocket to Russia”, released on November 14, 1977, stands as a defining moment not just for the band, but for punk rock as a whole. This third album solidified their place as pioneers of the genre, blending raw punk energy with undeniable pop sensibility. As Vance Hiner put it, “Johnny Ramone’s hard-charging down-beat chords couple with Dee Dee and Tommy Ramone’s metronome precision to create a well-timed engine that drives the harmony-laden chorus straight to the heart of leader Joey Ramone’s serious crush.” The result was an album that bristled with “relentless energy and romantic idealism,” elevating it from a punk classic to a masterpiece of pure pop songwriting.

“Rocket to Russia” encapsulates the evolution of the Ramones’ sound. While their self-titled debut had a raw and unpolished ferocity, and “Leave Home” showed glimpses of a tighter, more melodic approach, “Rocket to Russia” struck the perfect balance. The album produced unforgettable tracks like “Rockaway Beach,” a chugging ode to summer escapism, and “Ramona,” where each member played at their absolute peak. The mix of surf rock influences, infectious hooks, and punk grit created a sound that was unmistakably Ramones.

Yet, despite the triumph of “Rocket to Russia,” the Ramones faced their share of challenges. The punk scene in 1977 was turbulent, with headlines dominated by the controversial antics of bands like the Sex Pistols. This negative association impacted the Ramones, limiting their radio play and, in turn, their commercial success. Undeterred, they entered Mediasound Studios in Manhattan with a fierce determination to outdo their peers. As noted, Johnny Ramone was adamant about creating a record that would outshine the Sex Pistols’ “Anarchy in the U.K.” With Ed Stasium engineering and $25,000 in production funds, they delivered what many consider their finest album.

From a sonic standpoint, “Rocket to Russia” captured the essence of the Ramones. Joey’s upfront vocals, Johnny’s commanding guitar riffs, and the relentless rhythm provided by Dee Dee and Tommy created an electrifying listening experience. Tracks like “Cretin Bop” and their cover of “Surfin’ Bird” showcased their relentless drive for fast, fun rock n’ roll.

With “Rocket to Russia,” the Ramones created an album that was more than just music—it was a statement of intent, a testament to their enduring legacy, and a reminder of the unbreakable spirit of punk rock. Fast, furious, and fun-filled, it remains a pivotal chapter in their storied career and continues to inspire generations of music fans.

Art by Frank Frazetta.

Boris Karloff in The Bride of Frankenstein (1935)

Grease Monkey Legends: The Heroes of Hot Rod Culture

So-Cal Speed Shop Coupe

Wanna know more?

The 1953 So-Cal Speed Shop Coupe: A Legendary Double-Threat Hot Rod

Al Rossi

1965 Famous Monsters of Filmland (FMOF) yearbook showcases a nostalgic advertisement featuring detailed model kits of classic Universal Monsters. Each kit allowed fans to assemble and paint iconic horror characters, capturing the eerie charm of The Mummy, The Wolf Man, Frankenstein, Dracula, and The Creature from the Black Lagoon in miniature form. These kits were popular collectibles, sold by Captain Company—a go-to mail-order outlet for monster enthusiasts during the 1960s.

The hand-crafted nature of these models offered a tactile, creative experience for fans and collectors, who would painstakingly paint and assemble their favorite monsters. Beyond just toys, these figures represent a formative time in monster culture, where love for cinema’s creepiest creatures transcended the screen to become a tangible passion for many.

Cathedrals of Culture and Imagination.

The Academy Theatre stands as a testament to the architectural ingenuity and cultural aspirations of 1930s Los Angeles. Situated in Inglewood, this theater debuted in 1939 with its striking Streamline Moderne design, characterized by sweeping curves, clean lines, and an emphasis on aerodynamic, futuristic forms. The building’s architect, S. Charles Lee, was a pioneer of theater design during this period, having created numerous cinematic landmarks across Southern California. Lee envisioned theaters not only as entertainment venues but as monuments to a bright, optimistic future. The Academy Theatre’s design reflects this philosophy, capturing both the glamour and excitement of Hollywood’s golden age.

The theater’s neon-lit tower, reminiscent of a spiraling rocket or radio mast, quickly became a beloved landmark. At night, the glowing marquee and tower served as a beacon, drawing crowds to experience the magic of the movies. This illuminated spire symbolized modernity and progress, embodying the public’s fascination with the era’s technological advancements and the possibilities of the future.

Photographer Julius Shulman, known for documenting mid-century architecture, captured the Academy Theatre in its full splendor, ensuring its place in the visual history of Los Angeles. Shulman’s images immortalize the structure’s seamless blend of art deco motifs and modernist innovation, showcasing the artistry that made it stand out among the countless theaters built during Hollywood’s heyday.

What many may not know is that the Academy Theatre was more than just an architectural marvel—it played a pivotal role in community life. The theater was a premiere destination for moviegoers, hosting films that ranged from Hollywood blockbusters to local premieres. During World War II, theaters like the Academy provided a critical escape from the harsh realities of war, offering a glimpse of hope and resilience on the silver screen.

The building’s interior was just as captivating as its exterior. Patrons entering the theater were greeted with lavish murals, intricate lighting, and plush seating, providing a sense of luxury and escapism that contrasted sharply with everyday life. The theater’s projection room boasted state-of-the-art equipment, ensuring that every screening was a memorable experience.

In later years, as multiplexes rose to prominence, the Academy Theatre faced challenges common to many grand theaters of its era. While some were demolished or fell into disrepair, the Academy endured, becoming a cherished piece of Los Angeles’ history. Efforts to preserve and celebrate its unique architecture have helped it remain a symbol of cultural and architectural heritage. Today, its legacy continues to captivate enthusiasts of cinema, design, and history, standing as a reminder of the artistry and ambition that defined the golden age of Hollywood.

Blonde on a Lambretta, 1965 – Manhattan, New York – Joel Meyerowitz

“Spoonful” by Howlin’ Wolf is a blues classic that has resonated through decades of music history, thanks to its raw power and the commanding presence of its originator, Chester Arthur Burnett—better known as Howlin’ Wolf. Originally recorded in 1960 and written by the legendary Willie Dixon, the song captures themes of desire, obsession, and the lengths to which one might go for “a spoonful” of something they crave. Howlin’ Wolf’s growling vocals, visceral delivery, and searing guitar riffs defined the original version, cementing it as a staple of Chicago blues.

When it comes to the psychedelic version of “Spoonful,” it’s often associated with the transformation by bands like Cream, who famously covered it in the mid-to-late 1960s. This version of “Spoonful” infused the traditional blues structure with the burgeoning psychedelic rock movement, bringing a new intensity and expanded jam session feel. Eric Clapton’s intricate, blues-rock guitar work, Jack Bruce’s powerful vocals, and Ginger Baker’s dynamic drumming reimagined the song, creating a hypnotic blend of blues authenticity and acid-drenched rock exploration.

In the hands of these bands, “Spoonful” evolved into a sonic journey—a sprawling, electrifying piece that captured the spirit of experimentation that defined the psychedelic era. With extended instrumental breaks, distortion-laden riffs, and a freeform approach, it showcased how blues could seamlessly morph into rock’s ever-shifting landscape. The hypnotic rhythm and swirling guitars exemplified how traditional themes of longing and craving found new resonance in the late ’60s counterculture, where music sought to break free from conventional boundaries and explore the uncharted territories of sound and experience.

The psychedelic rendition of “Spoonful” not only paid homage to Howlin’ Wolf’s original but also highlighted the genre’s influence on rock, illustrating how deeply blues underpinned the music of the era. This version became a touchstone for fans of both blues and rock, proving that even a “spoonful” of timeless blues could catalyze a whole new wave of musical exploration and innovation.

Michael Koelsch

Speaking of Boots… Nancy (Frank’s Daughter) Sinatra selling Silvertone most likely for Sears! That is a lot of S’s

This striking image showcases the hieroglyphic inscriptions on the walls of the Temple of Ramesses III at Medinet Habu, located on the West Bank of Luxor, Egypt. Constructed between 1186 and 1156 BC during the reign of one of ancient Egypt’s last great pharaohs, Ramesses III, this temple stands as a monumental testament to the grandeur of the 20th Dynasty. Built both as a place of worship and a record of the king’s triumphs, the temple’s walls are adorned with detailed hieroglyphs that narrate significant events, military campaigns, and religious ceremonies conducted during Ramesses III’s reign.

Among the temple’s most notable inscriptions are the accounts of the king’s military victories, particularly his successful defense of Egypt against the Sea Peoples—a confederation of maritime raiders who threatened Egypt’s borders during the late Bronze Age. These hieroglyphs, often accompanied by vivid, intricate carvings of battle scenes, underscore Ramesses III’s prowess as a warrior-king and his role as a protector of Egypt. In addition to military accomplishments, the inscriptions highlight religious rites, showing the pharaoh making offerings to the gods and reaffirming his divine right to rule, thus maintaining Ma’at (order and harmony) in the realm.

The walls of Medinet Habu preserve more than just Ramesses III’s legacy; they offer crucial insights into the politics, art, religion, and culture of New Kingdom Egypt. The hieroglyphic texts serve as both historical documentation and expressions of artistic excellence, capturing the beliefs and daily lives of the ancient Egyptians. The vivid and precise carving of these symbols showcases the skill and dedication of ancient artisans.

Today, the Temple of Ramesses III remains one of the most significant archaeological sites in Egypt. Scholars and visitors are continually fascinated by the vast wealth of information etched into its walls, which provide a direct link to the past and a tangible window into the achievements and legacy of one of ancient Egypt’s great rulers.

The timing—October 5, 1979—was right as Blondie was redefining what it meant to be a band at the intersection of genres, bringing a fearless blend of punk, new wave, and disco to a broad audience. The blue romper, bold stage presence, and Harry’s unmistakable voice made for an unforgettable era that still echoes in music and fashion circles today.

Debbie Harry fronting Blondie during this era epitomized cool with her signature mix of punk attitude and disco-pop glamour. The look in this shot, featuring a bold blue romper and headband, is a perfect snapshot of Blondie’s transition into disco-inspired sounds, especially with the smash hit “Heart of Glass.” The band’s appearance on ‘Midnight Special’ captured their crossover appeal and cemented Harry as an icon of late ’70s music and style.

Richard Creamer’s photograph immortalizes a moment that represents more than just music; it captures a cultural turning point where boundaries were blurred, and Blondie led the charge.

She’s a Fave! You wanna know more?
Debbie Harry: The Iconic Rebel of Punk Rock and Pop Culture – Manifesto Maravillado

Frank Kelly Freas 1957

The Spencer House, designed by Richard Neutra in 1955, stands as a prime example of Mid-Century Modern architecture, a movement that Neutra helped define. Neutra’s architectural philosophy emphasized minimalist forms, functionality, and a strong connection between indoor and outdoor spaces. This ethos is evident in the Spencer House’s design, featuring expansive glass walls, flat roofs, and open floor plans that invite natural light and blur the boundaries between the interior and its stunning surroundings.

The house’s integration with its environment reflects Neutra’s dedication to enhancing the sensory experience of its occupants, creating spaces that feel both inviting and tranquil. Located with sweeping views, the Spencer House exemplifies how Neutra’s work prioritized harmony with nature while offering a sleek, modern aesthetic that remains timeless. It’s a testament to his ability to blend cutting-edge design with a respect for the natural landscape, crafting homes that resonate with simplicity, beauty, and practicality.

Fritz Lang’s Ministry of Fear (1944) dives deep into the shadowy recesses of wartime paranoia, blending noir aesthetics with the pulse-pounding tension of espionage. Based on the novel by Graham Greene, the film follows Stephen Neale (played by Ray Milland), a man just released from a mental asylum who stumbles into a world of Nazi intrigue after a seemingly innocent trip to a village fair.

The story opens with Neale winning a cake at the fair—a prize that unknowingly holds a sinister secret. From this deceptively whimsical moment, Lang unspools a narrative drenched in suspicion, conspiracy, and danger. The cake becomes the catalyst for a chain of events involving assassinations, coded messages, and shadowy figures lurking around every corner.

Lang, a master of German Expressionism and Hollywood noir, crafts a tense, oppressive atmosphere that reflects Neale’s increasing desperation and confusion. Shadows play a critical role, as they so often do in Lang’s work, creating a palpable sense of dread and claustrophobia. The film uses these elements to depict a society teetering on the edge of chaos, mirroring wartime anxieties about spies, informants, and shifting loyalties.

Ray Milland’s performance is central to the film’s appeal, portraying Neale as a man haunted by his past, struggling to trust anyone—including himself. As he navigates a labyrinth of deceit, we see echoes of Lang’s earlier films, like M and The Testament of Dr. Mabuse, where morality is ambiguous and danger lies just out of sight.

Ministry of Fear thrives on its relentless pacing and twists, capturing the pulse of wartime thriller narratives while giving Lang ample space to explore themes of identity, guilt, and the struggle for truth in a world gone mad. The plot twists and betrayals come fast and thick, with Lang’s direction keeping viewers on the edge of their seats.

Though Ministry of Fear may not be Lang’s most famous work, it stands as a testament to his mastery of suspense and his ability to turn a seemingly simple plot device—a cake—into the linchpin of an international conspiracy. The film is a fascinating blend of noir and spy thriller that reflects both the literal and metaphorical darkness of its era. For fans of classic thrillers and wartime intrigue, it’s a darkly captivating journey through a world where no one is as they seem—and everyone has something to hide.

You can watch it here: Ministry Of Fear ( 1944)

Carlo Jacono

Gray Morrow

Les Paul’s “The Log” guitar, created in 1939, marked a pivotal moment in the evolution of the electric guitar. At a time when pioneers like George Beauchamp were experimenting in southern California, Les Paul—then known as Lester Polfus—was also forging his own path in Hollywood. An established musician, Les performed both country music as Red Hot Red and Rhubarb Red, as well as jazz under his real name. Driven to solve the problem of uneven harmonic response produced by amplified hollowbody guitars, Les crafted “The Log”—a four-by-four piece of solid pine fitted with a Gibson neck, handmade pickups, and a rudimentary bridge and vibrato tailpiece.

To give it a more traditional appearance, he attached the two halves of an Epiphone hollowbody to either side of the pine block, though it was purely for show. Despite its unconventional look, “The Log” became a groundbreaking prototype for the solidbody electric guitar and now resides in Nashville’s Country Music Hall of Fame—a testament to Les Paul’s ingenuity and restless creativity. His contributions extended beyond the guitar itself; Paul revolutionized multitrack recording and foresaw the rise of home recording decades in advance.

Les Paul played “The Log” on recordings with notable artists like Bing Crosby and the Andrews Sisters. However, when he presented his creation to Gibson in 1941, the reception was less than enthusiastic—met with laughter and skepticism. It wasn’t until the solidbody market, led by Leo Fender’s Telecaster in the 1950s, gained traction that Gibson reconsidered Paul’s innovations. The guitar world eventually caught up to Les Paul’s vision, proving his forward-thinking brilliance in shaping modern music.

Glen Orbik

That’s a tight squeeze.

Congratulations on further de-evolving with this Weekend BigBoy—you glorious Knuckle Draggers owe me a Banana!

Stay Tuned for Underground Culture, Cosmic Adventures, and More!

Manifesto Maravillado – The Marvelous Manifest – isn’t just a zine; it’s a joyride through chrome-plated chaos, rebellious counter-culture mayhem, and sci-fi escapades that blur the lines of time and space. It’s a collision of past, present, and future—pounding with garage punk attitude, retro-fueled nostalgia, and that defiant spirit of de-evolution we’ve all come to embrace.

With me, The Great Ape, at the helm, we don’t just observe the madness—we plunge headfirst into it. Rubber-burning beasts, cosmic outlaws, and neon-streaked renegades rule these pages, leaving trails of grease, mayhem, and a wake of rebellious art that defies reason. Every curve is sharper, every tale bolder, and the cosmic vibes are off the charts.

Picture it: roaring engines, DIY rock-and-roll chaos, and pinup icons daring you to chase them through gritty streets of neon dreams. Here, retro-futurism collides with primal anarchy—a celebration of everything loud, wild, and unapologetically rebellious. This is where chrome burns brightest, music shakes the cosmos, and every twist of fate is another wild turn on this ride.

This is Manifesto Maravillado—the anthem for the unchained, the offbeat, and those who aren’t afraid to throw bananas at the rules. Gear up and hang on, because we’re barreling into cosmic anarchy at full throttle, no brakes in sight!

And don’t wander too far—next week’s BigBoy promises more rebellion, more madness, and more Monkey Business. So keep your minds unhinged and draggin’ them knuckles—because The Great Ape is far from done leading you through the wild and untamed cosmic jungle of Manifesto Maravillado.