Manifesto Maravillado Weekend BigBoy 24.11.29 – Unleash the Fury: Chaos, Chrome, and Cosmic Carnage Awaits!
Cosmic Carnage Meets Punk-Fueled Chaos
Nomads of Gor Cover Art by Boris Vallejo
Boris Vallejo Savage Sword of Conan Cover Painting
Cousin Corneilius and his Girlfriend Zira
Ike & Tina Turner – Coke…
Was Sid Vicious the “big disgrace” referenced in Queen’s ‘We Will Rock You’?
During the recording sessions for We Will Rock You at Wessex Sound Studios, the Sex Pistols were working on their groundbreaking debut album, Never Mind the Bollocks, Here’s the Sex Pistols, in the same space. As legends have it, a heavily intoxicated Sid Vicious decided to barge into Queen’s session and confront Freddie Mercury with the sneering question, “Have you brought ballet to the working classes yet?
Mercury, never one to miss an opportunity for a quick-witted retort, shot back without missing a beat: “Not yet, dear.” He later recalled the encounter, saying, “I called him, I don’t know, Simon Ferocious or something, and just pushed him out. I think… yeah, I think we passed that test.” Drummer Roger Taylor, however, was less charitable, branding Vicious “a moron… an idiot!”
Interestingly, Johnny Rotten, frontman of the Sex Pistols, reportedly displayed a more playful side during their time at the studio. Wessex engineer Bill Price recounted how Rotten, in a lighthearted mood, crawled across the floor during one of Mercury’s piano recordings to greet him, saying a quick hello before slithering back out of sight. Brian May also remembered bumping into Rotten in the corridors, where they engaged in surprisingly polite exchanges about music.
Queen biographer Daniel Nester adds another layer to the story, recounting a tense yet humorous moment: Freddie rose from his chair and began flicking the safety pins on Sid’s leather jacket, asking, “Tell me, did you arrange these pins just so?” When Sid attempted to escalate the situation with intimidation, Freddie effortlessly pushed him back, challenging, “What are you going to do about it?” Vicious, despite his punk persona, backed down immediately.
Though the line “Buddy, you’re a boy make a big noise, playin’ in the street gonna be a big man someday” from We Will Rock You could be interpreted as a jab at Vicious specifically, it is more likely a broader statement about punk culture itself. Queen was making it clear that, despite the rise of punk’s defiant noise, they had no intention of being overshadowed or dethroned. Whatever the true intent, the legendary clashes between Freddie Mercury and Sid Vicious remain a colorful chapter in rock history, illustrating both the humor and rivalry of two iconic music worlds.
Mort Kunstler
On the road again…
The Future Past
Merchant of Speed…
Malcolm Young, the rhythmic heart of AC/DC, passed away seven years ago on November 18.
Here’s a glimpse into his legacy—a snapshot from January 1976 at Sydney’s Albert Studio, featuring Mal with his younger brother Angus Young and bassist Mark Evans, during the formative Bon Scott years. The session embodies the raw energy and grit that defined early AC/DC.
For an insider’s look at life in the band during this electrifying era, check out Mark Evans’ memoir, “DIRTY DEEDS: My Life Inside/Outside AC/DC”—a candid, unfiltered account of the band’s meteoric rise, loaded with stories of chaos, camaraderie, and unforgettable rock ‘n’ roll moments.
Captured by photographer Philip Morris, this stunning image freezes the intensity of a band on the brink of global domination. Malcolm’s tight riffs laid the foundation for every powerhouse anthem, while Angus’s blistering solos and Mark’s thundering bass completed the explosive trifecta. This is the stuff of rock legend.
Batman ‘89: Echoes #6 by Joe Quinones
On July 16, 1969, a father and son stood together at the John F. Kennedy Space Center in Florida, their eyes fixed on the Apollo 11 launchpad as the Saturn V rocket roared to life. This historic moment marked the beginning of humanity’s boldest journey yet—sending astronauts Neil Armstrong, Buzz Aldrin, and Michael Collins on a mission to the moon. As the rocket ascended into the sky, its fiery trail captured the hopes and dreams of millions around the globe, all watching with anticipation.
Apollo 11 became a defining achievement in human history, culminating on July 20, 1969, when Neil Armstrong took his first steps on the lunar surface. His words, “That’s one small step for [a] man, one giant leap for mankind,” echoed across the ages, symbolizing the extraordinary triumph of science, technology, and the indomitable human spirit. Armstrong and Aldrin spent over two hours exploring the moon, collecting 47.5 pounds (21.5 kg) of lunar rocks and soil—treasures that would deepen our understanding of the cosmos.
For those watching the liftoff, including the father and son, it was more than a rocket launch; it was the fulfillment of a dream. President John F. Kennedy’s challenge to land a man on the moon by the end of the 1960s had been realized, showcasing decades of relentless effort and ingenuity. Apollo 11 not only advanced space exploration but also brought humanity together in shared awe and wonder.
This mission redefined what was possible, proving that with ambition, perseverance, and collaboration, humanity could reach for the stars and make history.
You can’t argue with people who eat their steaks like this because they are still chewing!
The Bullitt chase scenes were powered by pure American muscle, with two Ford Mustangs and two Dodge Chargers tearing through the streets. Only one Mustang survived filming, and even Steve McQueen himself tried (unsuccessfully) to buy it back years later. Spotting who’s behind the wheel is its own game—if the rearview mirror is down, it’s McQueen himself driving, but when it’s up, stunt driver Bud Ekins takes over.
One of the most memorable moments, McQueen’s reverse burnout, wasn’t even in the script! He actually missed a turn but spun out so perfectly that they decided to keep it. And those speeds? Director Peter Yates called for around 75–80 mph, but McQueen and the Charger driver, seemingly fueled by adrenaline, pushed past 110 mph. No CGI, no effects—just unfiltered chase action on the hills of San Francisco.
Then there’s that curious VW Beetle—the dark green bug that keeps showing up in the chase. It wasn’t planned, but it somehow became a “character” in the background, adding an odd consistency to the wild pursuit. Shooting this sequence took a full three weeks of closed streets, marking Bullitt as one of the first films to capture San Francisco’s infamous hills at full throttle.
McQueen’s commitment to the role had its risks. At one point, he accidentally slammed into a parked car, prompting his wife to urge the director to rely more on stunt drivers—she wasn’t thrilled with her husband’s hands-on approach to high-speed driving.
The Bullitt Mustang itself was considered lost until it resurfaced in 2018, just in time to debut alongside the new 2019 Mustang Bullitt at the Detroit Auto Show. It was like seeing a piece of film history roar back to life.
More than just a car chase, the Bullitt scenes are legendary, capturing that raw, visceral thrill of speed, danger, and pure ‘60s grit. It’s not just a sequence—it’s the car chase that redefined action on film.
Venus on her scooter.
Fireball XL5
Last week, the Fireball XL5 crew tackled the mind-bending perils of Episode 6: “The Sun Temple”, navigating ancient traps and relentless heat to uncover secrets that altered the course of the galaxy. Steve Zodiac, Doctor Venus, Robert the Robot, and Professor Matic brought us thrills, suspense, and daring heroics, reminding us why we love this cosmic adventure.
This week, dive into the deep with Episode 7: “XL5 to H2O”! When Fireball XL5 receives a distress signal from an aquatic civilization under threat, Steve and the crew race to a water-covered world to investigate. But what they find beneath the waves is a society in peril—an advanced underwater city facing sabotage, betrayal, and an enemy determined to wipe them out.
Expect submerged danger, dazzling underwater visuals, and a mission unlike any other, as Fireball XL5 plunges into the depths of the unknown. With time running out and an entire civilization hanging in the balance, Steve and his team must navigate the treacherous waters of mystery and deception to save the day.
Get ready for a deep-sea spectacle filled with high stakes, breathtaking action, and unforgettable moments. Whether it’s under the stars or beneath the waves, Fireball XL5 delivers thrills that keep us coming back for more. “XL5 to H2O” is ready to make a splash! Don’t miss it!
An Atlas rocket on the launch pad at Cape Canaveral.
Chicks Dig Pie Crust Cheater Slicks!
Collect them all!
When it comes to garage rock insanity and psychobilly swagger, The Cramps reign supreme, and “Bikini Girls With Machine Guns” is their twisted masterpiece. Released in 1989 from their album Stay Sick!, this track is a delirious cocktail of surf rock riffs, twisted humor, and over-the-top energy—a two-and-a-half-minute trip into unhinged, glorious chaos.
With lyrics dripping in cheeky irreverence and a riff that feels like it crashed a 1960s beach party armed with B-movie madness, the track is peak Cramps. They don’t just lean into the bizarre—they surf it, blending pulp kitsch with punk attitude to create an anthem that’s equal parts rebellion and campy joy. It’s a musical love letter to the weird, the wild, and the downright wacky.
The music video? Oh, it’s a fever dream. Picture go-go dancers shaking it in a haze of pulp imagery and vintage kitsch, all while Lux Interior’s snarling charisma and Ivy Rorschach’s razor-sharp guitar riffs steal the show. It’s part surf rock, part psychobilly freakout, and 100% The Cramps, showcasing why they’re the undisputed pioneers of turning absurdity into an art form.
“Bikini Girls With Machine Guns” is more than a song; it’s a neon-soaked middle finger to convention, a celebration of the freaky and fabulous, and a riotous reminder that The Cramps are here to make the bizarre feel like home. Turn it up, and let the retro-fueled, rebellious carnival begin!
Action Zone? Extra large snack sack? Where do I get these!
When Sylvester Stallone was young, broke, and chasing a dream in Hell’s Kitchen, NYC, he found solace in the loyal companionship of a Bull Mastiff puppy he named Butkus, after football legend Dick Butkus. Stallone once said, “When I was 26, I was totally broke and going nowhere very very fast. I owned two pairs of pants, shoes with holes in them, and dreams that seemed as distant as the sun… But I had my dog, Butkus, my best friend, my confidant, who always laughed at my jokes, put up with my moods, and was the only living thing that loved me for who I was.”
Living in a tiny, rundown apartment above a subway stop—what he described as having “hot and cold running roaches”—Stallone found inspiration and companionship in Butkus. They were inseparable, surviving on little and sharing the struggle. During this time, with Butkus by his side, Stallone began writing the screenplay for what would become the iconic film Rocky (1976).
But life was far from glamorous. As money grew tighter, Stallone faced the heartbreaking decision to sell Butkus for $40 outside a 7-Eleven to keep himself afloat. However, fate intervened when his screenplay for Rocky sold. Determined to reunite with his beloved companion, Stallone tracked down Butkus’s new owner. Knowing how desperate Stallone was, the man demanded $15,000 to return the dog—a hefty price Stallone didn’t hesitate to pay. “He was worth every penny,” Stallone later reflected.
Butkus didn’t just return to Stallone’s life—he became part of the legend. Credited as Butkus Stallone, he appeared in Rocky (1976) and Rocky II (1979), cementing his place as a beloved piece of movie history. Tragically, Butkus passed away in 1981 from a heart attack, leaving a permanent mark on Stallone’s life.
In a 2015 interview, Stallone revealed that Butkus’s memory lives on: “He was like my first son. Till this day, he’s still my screensaver.” Butkus’s story is one of unwavering loyalty, resilience, and the unbreakable bond between a man and his dog—a tale that mirrors the underdog spirit of Rocky himself.
Charles Copeland.
Custom Consul!
You want to live forever? Sandahl Bergman born November 15 1951
Robert McCall
Pinup Culture, Rockabilly Rumble, and Drag Strip Legends
In the carefree days of 1941, young couples are captured reveling in the timeless joy of a lazy float on the Apple River in Wisconsin. With beers in hand and laughter echoing over the water, their playful energy seems to defy the shadows of the era. The Great Depression lingered in memory, and World War II loomed on the horizon, yet here, on this tranquil river, the weight of history seemed to evaporate in the warmth of a summer’s day.
The Apple River, a gem of the Midwest, has long been a haven for those seeking both adventure and simplicity. Its winding path and serene waters offered the perfect setting for tubing, swimming, and escaping the grind of daily life. In the early 1940s, such moments of leisure were more than just recreational—they were essential. For many Americans, nature served as a salve for the soul, a reminder that even in turbulent times, beauty and joy could still be found.
What makes this image even more striking is the contrast it represents: a nation on the cusp of global upheaval, yet still finding solace in the simple pleasures of camaraderie and connection. This couple’s laughter, their carefree lounging, is a snapshot of resilience—a small act of rebellion against the weight of the world. It’s a moment that says: We will laugh, we will live, we will hold onto joy even when the future is uncertain.
Scenes like this one also speak to the essence of rural American life in the early 20th century—a rhythm shaped by community, nature, and resourcefulness. This wasn’t the era of curated Instagram moments or lavish vacations; it was about grabbing an inner tube, a few friends, and a bottle of soda or beer, and letting the river carry you wherever it pleased.
Perhaps that’s what makes this photograph feel so timeless. It captures a universal truth: joy doesn’t need a grand stage. Sometimes it’s found in the smallest, simplest acts—floating on a river, surrounded by friends, letting the current carry you into a fleeting moment of pure, unfiltered happiness. This is the magic of summer, of youth, and of finding light, even in the shadow of history.
Donald “Duck” Dunn’s legendary 1958 Fender P-Bass
Ohrai’s Heisei era Godzilla
Thirst for Hurst
Did you know Godzilla was the 5th member of KISS but do different opinions he left the group to go back Japan to continue his tour of destruction
March 3 1967 – Paul McCartney photograph by Leslie Bryce, playing his 1964 Fender Esquire.
The EMS Synthi 100 stands as a monument to forward-thinking synth design, a marvel of 1971 that still boggles the mind with its complexity and ambition. Originally conceived as a monstrous expansion of the EMS VCS3, the Synthi 100 featured a staggering 12 oscillators, 8 filters, dual keyboards, a ring modulator, oscillator sync, and two 60 x 60 pin matrix patchboards. It even boasted a three-layer digital sequencer—groundbreaking at a time when analog synthesis was in its infancy. This beastly machine cost £6,500 in its day (equivalent to over £95,000 in today’s currency), and only about 30 units were ever produced, making it a rare gem in synthesizer history.
The creative mind behind this monster was David Cockerell, a pioneering designer who later left his mark through groundbreaking work with Akai and Electro-Harmonix. While Moog was busy building their towering modulars and ARP had the 2500, the Synthi 100 stood apart as a synthesis powerhouse in a league of its own. It wasn’t just about its size and scope; it embodied an entirely different vision of what electronic music creation could be.
Legendary artists have used and revered the Synthi 100. Aphex Twin is rumored to own one, channeling its immense power into his mind-bending soundscapes, while Pete Townshend of The Who recently gifted his unit to a UK university, ensuring its legacy and potential for creative exploration would continue to inspire future generations.
For those lucky enough to encounter one, let alone touch its keys, the Synthi 100 remains a near-mythical experience—a testament to the boundless imagination and innovation of its era. It’s a reminder of a time when music technology was exploding with possibilities, and synthesizers weren’t just instruments—they were dreams made real in wires and circuits.
Corporate Injustice by Michael Michera
Fred Rodewald
Al Moore
We all wanted him to win at least once! right?!?!?
The Stray Cats’ “(She’s) Sexy + 17” is a slick, high-octane burst of rockabilly revival that perfectly captures the swagger and charm of the early ’80s. Imagine the glow of neon signs reflecting off chrome fenders, the hum of a diner jukebox kicking into gear, and the raw electricity of youth—this is the world Brian Setzer, Lee Rocker, and Slim Jim Phantom transport you to.
The track opens with Lee Rocker’s upright bass line, a slinky groove that hooks you right in, setting the stage for a story as timeless as teenage rebellion. Then comes Setzer’s guitar—sharp, brash, and full of attitude. Every riff feels like the rev of a hot rod engine, daring you to let loose. Meanwhile, Slim Jim Phantom’s tight, snare-driven drumming is the heartbeat of the song, propelling it forward with a relentless, infectious energy.
Lyrically, Sexy and Seventeen is a love letter to youthful infatuation, crackling with innocence and cheeky allure. The phrase “sexy and seventeen” encapsulates that thrilling moment when everything feels possible—when a crush can spark a wildfire of emotions. Setzer’s playful delivery strikes the perfect balance between mischief and sincerity, reminding us all of that dizzying, heart-racing rush of first loves and fleeting glances.
For fans of retro cool and The Great Ape—a die-hard Stray Cats aficionado—this song is a masterpiece of vintage vibes brought roaring into the modern age. It’s a celebration of everything that makes rockabilly irresistible: slick hair, rebellious energy, and melodies that stick with you like your first summer crush.
Joe Doolin Planet Comics No 50
If only he had Pie Crust Cheater Slicks, Cause Chicks Diggem’
Is she posing with the Jag? Or is the Jag posing with her? Mamie Van Doren is an actress, model, singer, and sex symbol who is known for being one of the first actresses to somewhat recreate the look of Marilyn Monroe.
Caroline Munro gets her hands on David Hasselhoff’s impressive weapon in glorious Star Wars Knock-off, Starcrash (1978)
Chrome-Plated Mayhem at Full Throttle
“Disco Dilemma”, made for a “For Men Only” cover. Artist is Mort Knustler
Johnny’s not amused – Sid is saying something Stupid again!
Zira (Kiim Hunter), Colonel George Taylor (Charlton Heston) and Nova (Linda Harrison) – Planet of the Apes (1968)
Robot Rocket! By Boris Artzybasheff
Glen Orbik
Modern Lovers – “Roadrunner” (1972): The song that’s practically the anthem for anyone who’s ever felt that surge of freedom on a late-night drive, “Roadrunner” by The Modern Lovers is a true American classic. Recorded in 1972, this track captures the raw, stripped-down energy of proto-punk before punk was even really a thing. Jonathan Richman’s monotone vocals and deadpan delivery over a relentless two-chord riff were unlike anything else at the time—a hypnotic ode to teenage boredom, the thrill of the open road, and that magical feeling of “Radio On.”
With lyrics that mention everything from Stop & Shop to Route 128 in Massachusetts, “Roadrunner” feels both specific and universal. It’s got that gritty minimalism that feels honest, and it quickly gained a cult following, becoming a foundational track in the world of punk rock.
Flash forward to 1977, and who comes along with their own version of “Roadrunner”? None other than the Sex Pistols—the kings of British punk. Their cover on “The Great Rock ‘n’ Roll Swindle” added a snarling edge to the track, taking Richman’s Boston-centric meditation and injecting it with a dose of UK punk attitude. While Richman was almost detached in his delivery, the Pistols made it rougher, angrier, giving the song a second life across the pond and a place in the punk pantheon.
So you’ve got The Modern Lovers laying down the blueprint in ’72, and the Sex Pistols picking up the torch five years later—a perfect example of how great songs transcend time, place, and even attitude.
Al Williamson
On August 11, 1964, Paul McCartney and John Lennon stepped into Abbey Road Studios to record “Baby’s In Black,” a track that would feature on Beatles for Sale. This song marked a shift in The Beatles’ evolving sound—a blend of catchy melodies with introspective, darker lyrical themes. Abbey Road, with its famed acoustics and state-of-the-art equipment, was already becoming synonymous with The Beatles’ groundbreaking work, setting the stage for the legendary status it would achieve in years to come.
For this recording, The Beatles opted for the Neumann U47 microphones, a choice that spoke to their commitment to exceptional sound quality. Known for its warm, rich tones, the U47 was a favorite in the recording industry, prized for capturing vocals with clarity and depth. This decision was just one example of The Beatles’ forward-thinking approach; even at this stage in their career, they were constantly pushing boundaries in music production.
Co-written by Lennon and McCartney, “Baby’s In Black” offered fans a glimpse into a more reflective side of the band. The song, with its themes of unrequited love and heartbreak, showcased the duo’s expanding lyrical abilities. Lennon and McCartney’s harmonies brought a haunting quality to the song, blending their voices into a lush tapestry that became a hallmark of their style. George Harrison’s guitar added a melancholic edge, while Ringo Starr’s steady drumming grounded the piece, enhancing the song’s somber, yet hypnotic rhythm.
This session was a snapshot of The Beatles’ musical evolution. Moving beyond the pure pop sounds of A Hard Day’s Night, they began incorporating more complex arrangements and lyrical themes, carving out a path that would lead them to be recognized as serious, genre-defining artists. “Baby’s In Black” fused rock with folk influences, creating a sound that was distinctly theirs—a blend that set them apart from their contemporaries.
During the recording, the synergy between Lennon and McCartney was electric. Their camaraderie, humor, and shared creative vision lent an infectious energy to the session. These moments of collaboration and mutual respect were integral to The Beatles’ creative process, allowing them to experiment and push their sound in new directions—a quality that would be instrumental as their music grew more ambitious in the years that followed.
“Baby’s In Black” was part of the broader cultural wave of the British Invasion, a time when The Beatles were ascending to global superstardom. As they recorded songs that spoke to universal themes of love, loss, and longing, they connected with listeners across the world. Their blend of accessible melodies with innovative techniques helped shape the future of popular music, making them icons whose influence stretched far beyond the charts.
The session that August, with the Neumann U47 microphones capturing every nuance, remains a cherished chapter in music history. It’s a testament to The Beatles’ relentless pursuit of artistic excellence and serves as a reminder of how four young men from Liverpool reshaped the music landscape. “Baby’s In Black” may have been recorded in a single day, but its legacy, like The Beatles themselves, has endured for generations. Through every harmony, every lyric, and every inventive recording technique, they cemented their place in music history, a legacy that resonates as strongly today as it did in 1964.
Samson Pollen
Led Zeppelin’s Unintended Farewell to America
On July 24, 1977, Led Zeppelin performed what would unknowingly be their last-ever U.S. concert, delivering a powerful set to fans in Oakland, California. Just two days later, tragedy struck when Robert Plant’s 5-year-old son, Karac, died suddenly of a viral infection. This devastating loss led Plant to pull away from the music scene, and the band’s future in America became uncertain.
Three years later, in 1980, it looked like Led Zeppelin was ready to make a comeback. They announced plans for a U.S. tour called “The 1980s: Part One”, slated to kick off on September 11. The tour was meant to bring the British rock icons back to their devoted American fans after a prolonged absence. But fate intervened. On September 24, just one day after their first rehearsal for the tour, drummer John Bonham tragically passed away, reportedly after drinking 40 measures of vodka in 12 hours. His sudden death shook the band to its core.
Two months later, on December 4, 1980, Led Zeppelin officially announced that they would not continue without Bonham, ending any hopes for a reunion. With that decision, their performance in Oakland became their last-ever American show—a farewell they had never intended. It was a poignant end to their journey in the U.S., leaving behind a legacy and a devoted fan base who would forever remember the thunderous, electric force that was Led Zeppelin.
It’ August 1975. Look what I just got!!!
The Dual Casio A100WEGG Watch used in Alien – Sweet!
“I’ve been accused of being sexist and I think it’s pretty damn silly. Ridiculous. I paint beautiful women: sometimes they look vulnerable and sometimes they look like the deadliest things on two legs. I love women. I don’t think that I suggest that they’re weak or wimpy or that they’re being taken advantage of. And when did painting the body become sexist? I could sit around painting bowls of fruit or people mowing the yard, you know, the most boring crap that would challenge no one— and who would want to see it? Nobody.” – Frank Frazetta
Karen Black, Trilogy of Terror (1975).
The Legendary Ford GT – An Icon of American Muscle and Racing Dominance
The Ford GT stands as an enduring symbol of American power, speed, and innovative engineering—a car that not only defined its era but also took on the world’s best and won. Its journey began in the early 1960s when Henry Ford II famously set out to beat Ferrari on their own turf at Le Mans. When an attempted acquisition of Ferrari fell through, Ford’s mission became clear: build a car that could dominate the track and humiliate Ferrari.
The first iteration of the Ford GT40, known as the Mark I, debuted in 1964. Powered by a 4.7-liter V8, it was a promising machine but was initially plagued by reliability issues. Determined to succeed, Ford enlisted Carroll Shelby and Shelby-American to rework the GT40, leading to crucial improvements, particularly in the GT40 Mark II. This variant was fitted with a massive 7.0-liter (427 cu in) V8 engine, which unleashed unprecedented power and made the GT40 a serious contender on the track.
A lesser-known fact? In preparation for the 1966 Le Mans race, Shelby and his team faced a formidable challenge with the car’s weight distribution. This led them to fill the tires with nitrogen instead of air, stabilizing pressure and giving the GT40 a more consistent grip—one of the many small innovations that contributed to the GT40’s later success.
In 1966, the GT40 achieved what Henry Ford II had set out to do, claiming a historic 1-2-3 finish at Le Mans, the first American car to win the race. This legendary win secured Ford the Constructors’ Championship in the World Sportscar series and marked the beginning of an incredible four-year Le Mans victory streak, from 1966 to 1969, cementing the GT40 as a motorsport legend.
The Ford GT story didn’t end there. Fast-forward to 2005, and Ford unveiled a modern tribute to the original—the new Ford GT. With a supercharged V8 producing 550 horsepower, this car was a modern marvel, combining heritage-inspired design with state-of-the-art technology. The retro styling and raw power of the 2005 GT captivated fans and collectors, establishing it as one of the most sought-after American supercars.
In 2016, Ford again revived the GT, this time with a twin-turbo V6 delivering over 600 horsepower, marking a new era of advanced technology and aerodynamics. This version was designed with a singular focus: return to Le Mans. And, in an astonishing full-circle moment, Ford won again in 2016—exactly 50 years after the GT40’s historic victory.
Today, the Ford GT stands as a testament to American innovation, resilience, and the power of a brand committed to greatness. From the glory days of the GT40 to its 21st-century resurgence, the Ford GT isn’t just a car; it’s a legend that redefined American racing and showed the world that American muscle could go toe-to-toe with the best.
Ann-Margret: The Fiery Icon Who Redefined Hollywood Glamour and Grit
Ann-Margret Olsson burst into the Hollywood scene with a captivating blend of beauty, talent, and undeniable charisma that instantly set her apart. Born in Sweden in 1941, she moved to the United States at the age of six, bringing with her the spark and determination that would later make her one of the most beloved stars of her era. Known for her fiery red hair, striking voice, and unforgettable presence, Ann-Margret quickly found her way to the big screen in the early 1960s and became a cultural icon who continues to inspire audiences today.
Her career took off in 1961 with a small role in Pocketful of Miracles, but it was her performance in Bye Bye Birdie (1963) that truly launched her to stardom. Playing Kim MacAfee, the innocent teenage girl swept up in the frenzy of rock-and-roll mania, Ann-Margret exuded charm and vivacity that stole the show. Her sultry voice and infectious energy captivated viewers, and her performance became a defining moment in musical cinema. This role paved the way for her next major film, Viva Las Vegas (1964), where she starred opposite none other than Elvis Presley. Their chemistry on-screen was electric, sparking rumors of a romance that only added to the intrigue surrounding her. Ann-Margret’s singing and dancing abilities matched the King’s move for move, solidifying her place as a Hollywood powerhouse.
Beyond her talent, Ann-Margret’s fearlessness and versatility set her apart. While she embraced roles that showcased her as the quintessential Hollywood bombshell, she was not afraid to tackle complex, gritty characters. In the 1971 film Carnal Knowledge, directed by Mike Nichols, Ann-Margret gave a stunning, raw performance as Bobbie, a woman caught in a destructive relationship. Her portrayal earned her an Academy Award nomination and marked her transition into more serious dramatic roles, proving she was more than just a pretty face. Her performance was a revelation, and her willingness to embrace such vulnerability in a role revealed her depth as an actress.
Throughout her career, Ann-Margret also faced and overcame incredible adversity. In 1972, she suffered a near-fatal accident during a live performance in Lake Tahoe, falling 22 feet and sustaining serious injuries, including a broken jaw and multiple fractures. Despite the long recovery, her determination and resilience shone through as she returned to the stage and screen with renewed vigor, solidifying her reputation as a dedicated and courageous performer. She continued to dazzle audiences with her timeless glamour and undeniable skill, never allowing setbacks to define her.
A true icon of versatility, Ann-Margret has seamlessly transitioned between film, television, and stage, bringing her signature energy and talent to each medium. She starred alongside legends like Jack Nicholson, John Wayne, and Walter Matthau, holding her own and often outshining her co-stars. Her work in films like Tommy (1975), where she played a troubled mother in The Who’s rock opera, and her memorable roles in films like Grumpy Old Men (1993) and its sequel, proved her ability to reinvent herself and remain relevant over the decades.
What makes Ann-Margret’s legacy so enduring is her ability to defy expectations. She embodies the spirit of a Hollywood legend who is both glamorous and gritty, larger-than-life yet deeply relatable. Whether she’s singing, dancing, or delivering powerful dramatic performances, Ann-Margret continues to captivate audiences with her infectious spirit and unwavering commitment to her craft.
Today, Ann-Margret remains a symbol of resilience and reinvention, an actress whose impact on Hollywood is as powerful now as it was when she first graced the screen. She has earned her place as a true icon, not just of Hollywood’s Golden Age, but of all time, inspiring generations to embrace their talents, push boundaries, and pursue their passions with boldness and heart.
All you can eat!
Debbie Harry, the iconic lead singer of the legendary punk and new wave band Blondie, became one of the most recognizable and influential figures of the 1970s and 1980s music scene. Born July 1, 1945, in Miami, Florida, Debbie was adopted as an infant and raised in New Jersey. Before finding her musical calling, she held a variety of jobs, including working as a waitress and even a Playboy Bunny. These early-life experiences added a unique depth and edge to her persona, helping to shape the fearless, trailblazing artist she became.
Blondie was formed in 1974 when Harry teamed up with Chris Stein, a guitarist and photographer. Their shared passion for art, fashion, and music gave birth to a sound and aesthetic that would define the punk and new wave movements. Blondie became a fixture of the iconic New York City music scene, performing regularly at venues like CBGB, where they cultivated their style and gained a devoted following. In 1976, they released their self-titled debut album, marking the start of their meteoric rise. The band’s innovative fusion of punk, disco, reggae, and pop set them apart, while Harry’s platinum blonde hair and bold style cemented her as a cultural icon.
In 1979, Blondie reached new heights with the release of their album Parallel Lines, featuring hits like “Heart of Glass” and “One Way or Another”. “Heart of Glass”, with its disco-infused beat, became a defining anthem of the era, hitting #1 on the Billboard Hot 100 and solidifying Blondie’s place in music history. The band dominated the charts throughout the 1980s with hits like “Call Me,” “Rapture,” and “The Tide Is High”, showcasing their versatility across genres. Harry’s distinctive voice, magnetic stage presence, and bold image shattered barriers in the male-dominated music industry, earning her a reputation as a trailblazer for women in rock.
Beyond music, Debbie Harry’s influence extended to fashion and beauty, where her fearless, edgy style became legendary. From her signature bold red lips and avant-garde makeup to daring outfits that pushed boundaries, Harry redefined what it meant to be a fashion icon. Designers and photographers often looked to her for inspiration, including Chris Stein, who captured many of her most memorable images. Her ability to merge punk rebellion with high fashion made her a muse for countless artists and cemented her place as a cultural pioneer.
Decades later, Debbie Harry remains a symbol of fearless individuality, her legacy spanning music, fashion, and pop culture. From her groundbreaking music to her trailblazing style, she continues to inspire generations, proving that the essence of punk isn’t just about sound—it’s about daring to be unapologetically yourself.
She’s a Fave! You wanna know more?
Debbie Harry: The Iconic Rebel of Punk Rock and Pop Culture – Manifesto Maravillado
Greg Hildebrand
Sex Pistols
Did you know that the iconic Interstate 80 (I-80), also known as the “Highway to Heaven,” is one of the longest and most storied highways in the United States? Stretching nearly 2,900 miles from San Francisco, California, to Teaneck, New Jersey, this vital artery connects coast to coast, traversing a diverse landscape that reflects the heart of America. However, one particularly breathtaking section of I-80—between the cities of Laramie and Cheyenne in Wyoming—has earned its heavenly nickname for good reason.
This stretch winds through the Laramie Mountains’ “Summit” pass, marking the highest point on I-80 at an impressive 8,640 feet above sea level. Travelers here are greeted with panoramic views of rugged mountains, high plains, and ever-changing skies that give the stretch an ethereal beauty, especially when clouds appear to converge at the highway’s horizon, creating the illusion of a “highway to heaven.”
I-80 is more than a scenic route; it’s a pathway layered with historical significance. Much of the highway follows the original path of the Lincoln Highway, America’s first transcontinental road, which in turn closely traced the routes of historic trails like the Oregon Trail and the Mormon Trail. In many ways, I-80 carries the legacy of early pioneers, settlers, and dreamers who braved the West.
Beyond its aesthetic and historical importance, I-80 plays a critical role in U.S. commerce and transportation. Serving as a major freight corridor, it supports countless trucks and cross-country travelers, making it a backbone of the American economy. And while the Wyoming section is undoubtedly scenic, it is also notoriously challenging, particularly in winter, when snow and ice can make this heavenly route an icy gauntlet for drivers.
One lesser-known fact about I-80 is that it was initially intended to end in New York City. However, the final stretch ends in Teaneck, New Jersey, just a short distance from the Big Apple, leaving a bit of mystery and intrigue at its eastern terminus. I-80 remains a lifeline connecting both rural towns and bustling cities across 11 states, each offering unique landscapes and tales along the way. Whether for its historic significance, scenic grandeur, or vital role in American transportation, the “Highway to Heaven” is a testament to the country’s vastness, diversity, and ambition.
Kenton Nelson (American, born 1954)
Helmut Newton – Maitresse et Chauffeur, Paris, 1976
Weird science at General Dynamics, 1965-1969
Carlo Jacono
A Thing of Joy!
Earl Norem
Street-Ray by Luigi Colani
The Great Ape’s Guide to Chaos and Rebellion
In the 1940s, a waitress on roller skates delivering a tray full of food to customers was a classic image of the American diner and drive-in experience. Roller-skating waitresses, known as “carhops,” became a defining feature of roadside diners during this era, adding a lively, innovative twist to dining out. Though the idea of carhops originated in the 1920s and 1930s, it reached its cultural peak in the 1940s as post-war America embraced car culture. Families, armed with newfound mobility, flocked to drive-ins, where they could park and enjoy meals served right to their car windows.
The charm of carhops on roller skates was more than just convenience; it injected energy, style, and a sense of fun into the dining experience. These waitresses—balancing trays laden with burgers, fries, milkshakes, and sodas—glided effortlessly between cars, creating an atmosphere that was as much about entertainment as it was about food. However, the job demanded incredible skill, balance, and stamina. Navigating tight rows of parked cars on skates, all while managing heavy trays and greeting customers with a smile, was no small feat. Their distinctive uniforms—featuring skirts, aprons, and often small caps or scarves—embodied the upbeat and friendly image that drive-ins sought to project.
Drive-ins themselves were cultural landmarks, characterized by neon lights, bright signage, and an atmosphere buzzing with excitement. Carhops on skates brought these spaces to life, making them particularly popular with teenagers and young adults looking for a lively social scene. Families, too, appreciated the convenience of dining from their cars, and the cheerful presence of carhops became a beloved aspect of the experience. These roller-skating waitresses represented more than just a novelty—they symbolized the optimism, leisure, and accessibility of post-war American life.
The decline of carhops began in the 1960s as fast-food chains like McDonald’s popularized more efficient, self-service dining formats. Despite this, the image of a roller-skating waitress remains an enduring symbol of 1940s nostalgia and the vibrant car culture that defined the era. Today, some retro-inspired diners continue to honor this tradition, employing roller-skating carhops to evoke the charm and energy of a bygone era.
The sight of a waitress on skates, tray in hand, captures the spirit of mid-century America: a time of joy, innovation, and community-centered dining. It’s a reminder of when eating out was filled with flair and personality, a uniquely American blend of convenience and showmanship.
“The Doctor Said I Needed Glasses”, a 1945 pin-up painting by Earl Moran.
“Ding, Dong, Ditch“—the classic prank where kids ring a doorbell and dash away, leaving the homeowner bewildered—has been a mischievous childhood tradition for generations. Capturing this innocent rebellion, Robert Doisneau’s 1934 photograph beautifully immortalizes the playful spirit of youth, evoking laughter and nostalgia. The image portrays a moment of pure, unadulterated joy, highlighting the carefree nature of childhood from a simpler time, when the thrill of the chase and shared laughter with friends were some of life’s greatest pleasures.
While “ding, dong, ditch” is a familiar concept, its prevalence today is up for debate. With technology becoming an ever-present force, doorbell cameras and security systems may have made this timeless prank a bit trickier for the bold youngsters who still dare to try it. Instead, many children today find their fun through screens, whether it’s video games or social media, marking a shift from outdoor play to digital interactions. Yet, the essence of “ding, dong, ditch”—a harmless thrill and a shared laugh among friends—still resonates, even if the methods of mischief have changed.
At its core, “ding, dong, ditch” serves as a reminder of the joys of childhood freedom. It’s about the creativity, camaraderie, and sense of adventure that come with being young and free. While society and technology have changed, the underlying drive for connection and fun remains timeless. Somewhere, kids might still be gathering courage for one last ring-and-run, keeping the spirit of playful pranks alive. Because, after all, some things about childhood never really change—they just find new ways to unfold.
The fairy and the spider. Artwork by Boris Vallejo
On 21st December 1977, the Sex Pistols took the stage at Club Lafayette in Wolverhampton as part of their infamous “Never Mind the Bans” tour, with support from the band Satan’s Rats. This gig was steeped in the chaotic energy that only the Pistols could deliver, embodying the raw essence of the punk movement. As the year drew to a close, punk was reaching its explosive peak, and performances like this solidified the Pistols’ reputation as the genre’s incendiary trailblazers.
This particular show holds a unique place in punk history, especially given the rarity of documentation. Only two photographs from this gig have surfaced, adding an air of mystery and exclusivity to its legacy (see comments for the other image). Punk gigs at the time were often fleeting, gritty moments of rebellion, and Club Lafayette’s intimate setting provided the perfect backdrop for the Pistols’ unruly, no-holds-barred performance.
It’s important to distinguish this gig from their Huddersfield Ivanhoe’s performance on Christmas Day 1977, a similarly chaotic show but with noticeable differences. Observant fans have noted details such as Steve Jones’ different T-shirt, Johnny Rotten’s tartan trousers, and the distinct backstage curtain at Club Lafayette, proving this wasn’t just another misdated punk anecdote.
The Wolverhampton gig, like many Pistols shows, carried the spirit of punk defiance in the face of societal rejection. It wasn’t just a performance—it was a statement. In the gritty glow of the Club Lafayette stage, the Sex Pistols unleashed their fury, fusing anger, rebellion, and artistry into a sound that was reshaping the music world forever. For those lucky enough to have been there, it was an unforgettable night—a moment when punk’s chaotic heart was beating louder than ever.
Jane Fonda and John Voight, 1977
Imagine squeezing yourself into a space no larger than the front seat of a VW Beetle—then staying there for nearly 14 days. That’s exactly what Command Pilot Frank Borman and Pilot Jim Lovell endured during Gemini 7’s mission in December 1965. The capsule, now housed at the Smithsonian National Air and Space Museum, stands as a testament to the sheer grit and humor needed to survive the early days of human space exploration.
With no room to stretch and limited amenities (to put it mildly), Gemini 7 wasn’t exactly a five-star getaway. The spacecraft was designed to test the feasibility of long-duration spaceflight, an essential step for the upcoming Apollo missions. For two weeks, Borman and Lovell floated in a claustrophobic metal can, proving that humans could physically and mentally handle extended stays in space. But let’s not sugarcoat it—it wasn’t glamorous.
Borman later referred to the last three days of the mission as downright “bad.” With no showers, questionable food choices (freeze-dried shrimp cocktail, anyone?), and the ever-present challenge of going to the bathroom in microgravity, the astronauts had to make the best of a less-than-comfortable situation. Adding to the fun, their suits—designed to keep them alive—meant that their living quarters also became a bit of a sweaty, smelly environment over time.
To stave off boredom (and perhaps maintain their sanity), Borman read Mark Twain’s Roughing It, while Lovell chose Walter D. Edmonds’ Drums Along the Mohawk. Imagine floating through space, surrounded by the vastness of the cosmos, while immersing yourself in tales of 19th-century pioneers. The juxtaposition is almost too perfect.
Here’s something you might not know: Gemini 7 also had a critical role in space rendezvous testing. While Borman and Lovell were in orbit, Gemini 6A launched and performed the first-ever rendezvous maneuver with Gemini 7. For a brief moment, the two spacecraft flew within a foot of each other, paving the way for future docking techniques that would be crucial in Apollo’s lunar missions.
The mission also highlighted the psychological toll of long-duration spaceflight. Borman and Lovell’s interactions (and occasional frustrations) provided valuable insights for future missions, helping NASA refine how to support astronauts during extended stays in space.
Gemini 7 wasn’t just a test of technology—it was a test of patience, endurance, and adaptability. For Borman and Lovell, those two weeks in that cramped capsule were a prelude to even greater challenges, and their perseverance laid the groundwork for the triumphs of the Apollo era.
Fun fact: During a live TV broadcast from orbit, Lovell famously said, “Hello from the lovely Gemini 7 motel, where the food is good, but there’s no room service.” Turns out, a sense of humor really does help when you’re stuck in a tin can hurtling around the Earth!
Gloria Stoll
The Kookie T
Wanna Know More? Check out The Kookie T: Norm Grabowski’s Revolutionary T-Bucket Hot Rod
In a 1944 high school classroom, amidst the quiet hum of chalk on blackboards and the shuffle of papers, a girl passes a note to her friend in the row behind her—a timeless act of youthful defiance and connection. This small, secret exchange is more than just a way to share a laugh or a bit of gossip; it’s a brief escape from the structure of the classroom, a moment that feels personal and thrilling in its simplicity.
For students in the 1940s, note-passing was a cherished ritual, a way to communicate in an era long before texts or instant messages. Each note was a tangible piece of camaraderie, often adorned with doodles, unique handwriting, and inside jokes. These slips of paper carried plans for after-school adventures, whispered secrets, and expressions of friendship, creating bonds that helped define their teenage years.
But this image also holds a deeper layer. Set against the backdrop of World War II, these students were navigating a world marked by uncertainty and upheaval. For them, friendships and small acts of connection like this note-passing weren’t just distractions—they were anchors of normalcy. In the midst of global turmoil, a simple note became a piece of stability, a reminder of innocence, and a small act of rebellion against the rigid structures of both their school day and the world outside.
This fleeting scene, with its sense of shared secrecy and the warmth of youthful solidarity, captures the essence of high school life in an era gone by. It’s a snapshot of a time when friendships were forged through small, meaningful acts, and a handwritten note could carry the weight of a thousand words. In that single, quiet gesture, there’s a reminder of the unchanging spirit of youth—the joy, the mischief, and the importance of connection that transcends generations.
Basil Gogos
In the daring days of 1950s sprint car racing, Larry Crockett epitomized the fearless spirit of post-war drivers. Many of these men, who had been hardened by the brutal realities of World War II, found solace and adrenaline in a different kind of battle—one fought on the dirt tracks of America. But even by their standards, this was a dangerous era of racing, with little to no safety measures in place.
Captured in 1954, this image of Crockett going full throttle showcases the raw intensity of that era. With only a rudimentary helmet for protection, no fireproof clothing, and without shoulder harnesses or roll bars, drivers like Crockett faced down death every time they got behind the wheel. The margin for error was razor-thin, and a mistake or mechanical failure could have—and often did—tragic consequences.
In 1955, Larry Crockett’s career, like that of many racers of the time, was cut short at Langhorne Speedway, where he lost his life in a similar sprint car. His story is a stark reminder of the risks these men took for the thrill of racing, paving the way for future generations and safer racing practices. For them, speed wasn’t just a pursuit—it was a defiant dance with danger, a post-war test of courage that symbolized both a love for racing and the echoes of wartime valor.
Beach ware. Pin-up art by Al Buell
Peter Green: The Enigmatic Genius of Blues Rock
Born Peter Allen Greenbaum on October 29, 1946, in Bethnal Green, London, Peter Green grew up in a working-class Jewish family as the youngest of four children. His early love for music was sparked by his brother Michael, who taught him his first guitar chords. By 11, Green was teaching himself to play, taking inspiration from Hank Marvin of The Shadows and honing a style that would later make him a legend.
Green’s career took off in 1966 when he joined John Mayall & the Bluesbreakers, stepping into the shoes of none other than Eric Clapton. Despite his brief time with the Bluesbreakers, Green’s impact was seismic—he quickly established himself as a guitarist with a haunting, unique tone that set him apart.
In 1967, Green left the Bluesbreakers and, along with drummer Mick Fleetwood and bassist John McVie, formed a new band: Fleetwood Mac. Initially focused on blues, the band’s early success was fueled by Green’s masterful guitar work and songwriting. Hits like “Albatross,” “Black Magic Woman,” and “Oh Well” showcased his brilliance and established Fleetwood Mac as a powerhouse in the British blues scene.
But as the ’70s approached, Green’s life took a darker turn. In 1970, he left Fleetwood Mac, struggling with mental health issues compounded by LSD use. Diagnosed with schizophrenia, he spent much of the decade in and out of psychiatric hospitals. His reclusive lifestyle and erratic behavior added to his mystique, turning him into something of a tragic legend in the world of rock.
Though his career became sporadic, Green made a quiet comeback with solo albums like “In the Skies” and “Little Dreamer” in the late ‘70s. It wasn’t until the formation of the Peter Green Splinter Group in the late 1990s, however, that he truly returned to music. The group’s extensive tours and several album releases helped Green reconnect with fans and reclaim a piece of his lost legacy.
Green’s relationship with Fleetwood Mac remained complex. He never rejoined the band fully, but he did briefly return to help complete a tour in 1971 after Jeremy Spencer abruptly left. He also made an uncredited appearance on their 1973 album “Penguin” and contributed to the track “Brown Eyes” on 1979’s “Tusk.” In 2020, as a testament to Green’s enduring influence, Mick Fleetwood organized a star-studded tribute concert to honor his contributions to the band.
Peter Green passed away on July 25, 2020, at 73, leaving behind a legacy that resonates deeply in the worlds of blues and rock. Musicians and fans alike mourned the loss of a pioneering artist who, despite his struggles, reshaped the sound of rock and roll with his soulful, melancholic guitar and unforgettable songwriting. His story remains a mix of brilliance, tragedy, and redemption—a fitting legacy for one of rock’s most enigmatic talents.
Kirk owns this now… Greenies Les Paul – Note the out of phase p’ups! The accident that gave him that sound…
And just like that, your childhood is wrecked! – Somethings cannot be unseen – The horror, the horror!
Just Ann-Margaret walking her tortious…
Frank Frazetta
Tina Louise is trouble!
Hemi Dart
The Vampire Lovers (1970) – Kirsten Betts, Pippa Steal, Kate O’Mara, Madeline Smith and Ingred Pitt.
Back to the Future (1985) is packed with clever little details that reward eagle-eyed fans on rewatch. One of the most famous of these subtle touches involves the sign for the Twin Pines Mall. When Doc Brown and Marty McFly first meet at the mall to test the DeLorean’s time-traveling capabilities, the sign clearly reads “Twin Pines Mall.” But when Marty travels back to 1955, he accidentally runs over one of the two pines in old man Peabody’s yard, unwittingly changing the course of history.
Fast forward to the end of the film, when Marty returns to 1985, and the mall’s sign now reads “Lone Pine Mall”—a clever nod to the small change Marty made in the past, which had lasting effects in his timeline. This subtle yet brilliant detail is just one example of how Back to the Future plays with the concept of time travel and cause and effect, proving that even the smallest actions can ripple through time and change the world in unexpected ways.
Akira Kurosawa and George Lucas
Cynthia Wood; Playmate of the Month, February 1973, Playmate of the Year, 1974 appearing in Francis Ford Coppola’s ‘Apocalypse Now’ in 1979.
Kickin Jeans (also known as Action Jeans) were made by Century Martial Arts from 1977-1991. They wear like regular western jeans but the stretch denim and special design let you move like a stuntman
Born to mow!
Cousin Cornelius Chilling out
Josh Kirby
In the late 1960s, before she became a well-known actress, Teri Garr worked as an assistant for Hanna-Barbera on The Banana Splits Adventure Hour. At a time when she was still finding her footing in Hollywood, this job helped her make ends meet and kept her connected to the world of entertainment. When she eventually left, Joe Barbera gave her an animation cel from the show as a parting gift, a gesture that showed his appreciation and one that meant a lot to her. This small token became a cherished memento of her early days in the industry—a reminder of the humble beginnings of her remarkable career.
The 1930 Ford Model A is truly an icon of American automotive history. Originally crafted as a versatile, reliable workhorse, it found a unique place in mail delivery, particularly on rural postal routes where dependability was key. With its rugged build and dependable performance, the Model A quickly became a favorite for postal carriers navigating unpaved roads and unpredictable weather conditions.
Powered by a 201 cubic inch four-cylinder engine, the Model A provided all the muscle needed for the time, and its straightforward mechanics made it easy to repair and maintain—a crucial feature for vehicles in constant use. Many Model As were outfitted with customized delivery bodies, tailored to hold mail and packages efficiently, showcasing the adaptability of Ford’s design to suit specific needs.
Restoring or preserving a Model A mail delivery vehicle is more than just a nod to the past; it’s a way to honor a bygone era when the Model A helped connect remote communities across America. This charming piece of Americana not only reflects a time of practical ingenuity but also serves as a reminder of the dedicated service that helped bring people together, one delivery at a time.
This iconic photo of Jimmy Page captures him at his Riverside home in Pangbourne, where he and the band members of Led Zeppelin honed the sounds that would soon change rock music forever. The cozy setting may seem unassuming, but this is where “Whole Lotta Love” and “What Is and What Should Never Be” began to take shape. According to Page, the energy in the house was magnetic, a catalyst for creativity.
Page recalls the summer of ’68, when he first came up with the guitar riff for “Whole Lotta Love” on his houseboat along the Thames in Pangbourne. Inspired partly by his early admiration for rockabilly guitarists’ big intros, he instantly recognized that this riff was something special. It was powerful, raw, and, as he described, “addictive, like a forbidden thing.” When he played it for the band in the living room, the reaction was immediate—they all felt the spark. That moment marked the start of something legendary, as the riff would go on to define one of rock’s most unforgettable anthems.
In this simple, ordinary room, music history was being made, showing that the magic of creation often happens in the most unassuming places.
Frankie loves to model – He’s just not good at it, Sorry Alfred!
Smoke ’em if you Got ’em!
Edward Hopper Compartment C, Car 293 (1938)
Ack Ack Ack
Nashville Pussy – The name alone sounds like a dare, and the band delivers like a shot of whiskey to the bloodstream.
Born in 1996 out of the dirty rock ‘n’ roll back alleys of Atlanta, this band is the unapologetic love child of AC/DC and Motörhead with a shot of Southern-fried rebellion. Founded by Blaine Cartwright (the gravel-voiced preacher of rock) and Ruyter Suys (the guitar-wielding firestarter with riffs hotter than a Georgia summer), Nashville Pussy didn’t just walk onto the scene—they burst through the wall, guitar in one hand, bottle in the other.
Their debut album, “Let Them Eat Pussy” (1998), came in like a Molotov cocktail, leaving the music world either cheering or clutching its pearls. The album was so unfiltered, so in-your-face that it even snagged a Grammy nomination for Best Metal Performance—a move that probably left the suits over at the Grammys nervously adjusting their ties. From their wild, whiskey-soaked lyrics to their explosive sound, this wasn’t your average Southern rock. This was raw, gritty, and laced with the smell of burnt rubber and last night’s hangover.
Ruyter Suys is a force of nature on stage. Picture this: a headbanging, guitar-slinging rock goddess ripping through riffs like she’s conjuring thunder, making even the most seasoned guitar heroes look like they’re playing the kiddie pool. And the live shows? Imagine a barn burner that somehow got invited to a punk show—loud, messy, and soaked in sweat and cheap beer. They’ve got a reputation for turning every stage into a Southern rock bacchanalia, no fancy pyrotechnics needed.
For those wondering where the name Nashville Pussy came from, well, you can thank Ted Nugent for that gem. Legend has it, the name’s lifted straight out of Nugent’s “Double Live Gonzo!” album, where he dedicated a song to “all the Nashville pussy.” So, yeah, they’re not exactly subtle, and they wouldn’t have it any other way.
Over the years, they’ve cranked out albums like “High as Hell” (2000) and “Pleased to Eat You” (2018), each one a glorious, unapologetic homage to rock excess and rowdy Southern grit. And while Nashville Pussy might not be headlining arenas, they’ve built a hardcore following, fueled by die-hards who know their whiskey and like their rock as raw as it gets. They’ve toured with legends like Motörhead and Reverend Horton Heat, proving they’re not just surviving in the rock underground—they’re thriving in it, a testament to the untamed spirit of rock ‘n’ roll.
So, if you’re looking for a band that’ll blow the roof off, make you reconsider your life choices, and leave you with ringing ears and a grin, Nashville Pussy is here, six-strings blazing. Because rock doesn’t always need polish—it just needs to kick ass.
Unfiltered De-Evolution in Full Force
Spock loved his land yacht of a 1964 Buick Riviera
Kowalski
Things made of nightmares
Sweet
Poison Ivy…
John Duillo
Also, things made of nightmares or should I say Terror! Watch out Karen!
Katsuhiro Otomo
Julie Newmar
Ken Kelly
Don’t a much better job than Frankie!
This picture of New York in 1933 looks like it’s from the 2070s.
Oops …
3 Chords, 2 Hands, 1 Lung — that’s Link Wray at his finest, and if there’s one track that embodies his raw, unfiltered power, it’s “The Flying Wedge.” This isn’t just a tune; it’s a sonic punch to the gut, a ride down a dark highway with the volume cranked up to eleven. Wray’s gritty guitar tone slashes through the air, channeling the rebellious, adrenaline-fueled energy of rock ‘n’ roll in its purest form.
As “The Flying Wedge” unfolds, it’s like watching a wave of sound crash over you, pulling you into a time where rock was untamed and unpolished. Wray’s signature riffs cut deep, each note ricocheting with a swagger that screams independence. Imagine a room full of teens, heads bobbing to the relentless beat, or a lone rider cruising down an open road, letting the distorted melody set the pace.
This track isn’t just a song; it’s an attitude. Link Wray didn’t need fancy solos or elaborate production. With just 3 chords and a whole lot of grit, he crafted an anthem for anyone who’s ever wanted to throw caution to the wind. Listening to “The Flying Wedge” is like taking a trip back in time to those hot, sticky nights filled with youthful rebellion and that electric sense that anything was possible.
It’s not just rock ‘n’ roll; it’s a call to freedom, a reminder that music, at its core, is about feeling alive. So hit play, turn it up, and let Link Wray take you on a ride that’s fast, loud, and unapologetically free.
Publicity photo from Alfred Hitchcock’s 1963 horror film, “The Birds” starring Tippi Hedren.
George Wilson, from the Gold Key Comic, Space Family Robinson No 10 October 1964
Alessandro Biffignandi
Looks like she has just tuned that baby right up and taking a well deserved break!
Syd Shores 1965
Congratulations on further de-evolving with this Weekend BigBoy lobotomy —you glorious Knuckle Draggers owe me a Banana!
Keep the Chaos Rolling and the Chrome Shining!
Manifesto Maravillado – The Marvelous Manifest – isn’t just a zine; it’s a rocket-fueled carnival of cosmic chaos, garage punk swagger, and retro-futuristic rebellion. It’s the ultimate time-warp thrill ride, smashing the boundaries of nostalgia and anarchy with reckless abandon. We’re not following the rules; we’re rewriting the manual, one grease-slicked, neon-lit tale at a time.
With me, The Great Ape, gripping the wheel like a madman on a mission, we don’t just cruise through the chaos—we cannonball straight into it. Chrome-clad beasts, intergalactic renegades, and grease-slicked troublemakers blaze through these pages, leaving a trail of mayhem, mischief, and pure, grease-stained rebellion in their wake. Every turn is wilder, every tale louder, and the cosmic anarchy? Off the charts, baby.
Picture the rush: cosmic drag strips lit by starlight, jukebox rebels screaming against the system, and tales that twist reality into a flaming loop-de-loop of chaos. Every story, every image, every note is a tribute to the wild, untamed spirit that keeps us alive, dragging our knuckles in proud defiance of the mundane.
This is Manifesto Maravillado—the battle cry for the untamed, the weird, and those who see rules as mere suggestions. Rev your engines and tighten your grip, because we’re tearing into the chaos headfirst, full-throttle, and without a hint of regret!
So don’t stray too far, my Primates of Pandemonium! Next week’s BigBoy promises even more grease-streaked madness, pulse-racing tales, and banana-flinging rebellion. Keep your minds wild, your engines roaring, and your knuckles ready for the ride—The Great Ape isn’t done shaking the cosmos yet!
Oh yer and the Great Ape did write the riff even though he only hit the skins in “The Secret of Hangar #9”! Give it a play!
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