BigBoy Monthly Manifest 25.01.17 – Rev Up, Go Big, and Embrace the Chaos!

M/M BigBoy Monthly Manifest 25.01.17 – Rev Up, Go Big, and Embrace the Chaos!

Welcome to Your BigBoy Monthly Brain Blast, My Primal Pioneers of Chaos!

This isn’t just a weekend lobotomy anymore—oh no. This is BigBoy Monthly Manifest, a massive, earth-shaking, chrome-drenched explosion of madness, built to shatter every last shred of calm in your ape-brained noggin. We’re not just hitting the road this time; we’re tearing through galaxies, demolishing limits, and lighting the fuse on a cosmic carnival of rebellion that burns brighter, louder, and wilder than anything you’ve ever known.

This monthly behemoth is stuffed to the gills with jukebox prophets, hyper-speed misfits, and leather-clad renegades, all charging full-throttle through tales of galactic grime, turbo-charged revolt, and midnight drags that will leave your pulse racing and your knuckles scraping the pavement. This isn’t just big—it’s monolithic, monstrous, and dripping with anarchic brilliance.

I, The Great Ape, your fearless harbinger of mayhem, have gathered the most unhinged and electric chaos from across time and space to deliver a manifesto of madness so massive, it could tip the scales of evolution itself. Cosmic outlaws, junkyard gods, and steel-hearted rebels fill these pages, screaming defiance at the void and daring you to embrace the primal glory of de-evolution.

This is a call to arms for the bold, the brash, and the unapologetically wild. It’s a celebration of living loud, living massive, and tearing up the rules as we drag-race through the chaotic cosmos of Manifesto Maravillado.

So, crank the volume, ditch the brakes, and prepare for an adventure so big, so bold, and so utterly unhinged, it’ll knock the evolutionary ladder sideways. This is the BigBoy Monthly Manifest, and it’s here to take no prisoners and break every mold.

Welcome to the ride of your life, my swingin’ simian soldiers. The Great Ape is at the wheel, and this is your ticket to the biggest, baddest, most bombastic rampage yet.

Buckle up, roar loud, and hold on tight—it’s time to go BIG!

BigBoy Monthly Manifest – The Start of Something Massive

*

*

*

Ultraman…

*

*

*

*

*

*

*

Shelley Fabares in Girl Happy: A Reflection of 1965’s Rebellion and Shifting Cultural Landscape

The phrase “I’m Evil”, in the context of 1965, speaks to a moment of profound societal transformation, where rebellion and defiance became cultural touchstones. The assassination of President John F. Kennedy in 1963 shattered the nation’s collective optimism, creating a sense of disillusionment and distrust in authority. By 1965, this loss of faith in government institutions fueled a broader questioning of societal norms and a longing for individuality, self-expression, and freedom.

This period saw the rise of rock ‘n’ roll as a dominant cultural force, with bands like The Rolling Stones and The Animals rejecting the clean-cut image of earlier pop acts. Their gritty, rebellious sound mirrored the frustrations of a generation grappling with political uncertainty and the erosion of traditional values. The phrase “I’m Evil” became emblematic of this cultural shift, a tongue-in-cheek embrace of anti-establishment attitudes that resonated with the growing fascination for antiheroes in both music and film.

In Hollywood, movies like The Cincinnati Kid and Faster, Pussycat! Kill! Kill! brought morally ambiguous characters to the forefront, reflecting a society increasingly skeptical of conventional notions of good and evil. This cultural moment was also captured in Girl Happy, where Shelley Fabares played opposite Elvis Presley, embodying the spirit of a youth eager to push boundaries and explore new identities. The film celebrated the playful rebellion and irreverent attitudes that defined the mid-1960s, as characters like Fabares’ became icons of style, individuality, and independence.

The fashion of 1965 further underscored this rebellion. Designers like Mary Quant and André Courrèges introduced bold, modernist looks that defied traditional expectations, while leather jackets, graphic tees, and dark sunglasses became symbols of youthful defiance. A statement like “I’m Evil” could easily adorn a jacket or shirt, merging fashion with ideology and reflecting the rise of wearable rebellion.

This rebellious energy wasn’t limited to fashion and music—it was deeply tied to a cultural loss of innocence. The post-Kennedy era gave rise to a countercultural movement, where the younger generation sought meaning and identity outside the confines of government and societal expectations. The phrase “I’m Evil” wasn’t just playful—it was a statement of individuality, a rejection of conformity, and a nod to the growing disenchantment with authority.

Decades later, “I’m Evil” endures as a symbol of this transformative era. It evokes the cultural audacity of 1965, when rebellion was both an art and a necessity, and when figures like Shelley Fabares embodied the boldness and irreverence of a youth determined to chart its own path in a rapidly changing world. Girl Happy remains a vibrant snapshot of a time when music, fashion, and film collided to challenge societal norms and celebrate the power of individuality.

*

*

*

Even the Kurgen needs a rest. Rare still from the lost scene from Highlander!

The 1908 Harley-Davidson Model 4 Strap Tank represents one of the earliest and most coveted models from the iconic American motorcycle brand. This particular example, meticulously restored around its original engine and an expertly fabricated frame, stands out as a testament to Harley-Davidson’s pioneering legacy and innovation. Its historical significance and rarity make it a true treasure for motorcycle enthusiasts.

Powered by a 27 CI (740cc) F-head single-cylinder engine, the Model 4 produces approximately 3.9 horsepower, a remarkable achievement for its time. This engine, emblematic of Harley-Davidson’s early engineering brilliance, offered reliable performance and could reach a top speed of 40 MPH. The power is transmitted to the 26-inch rear wheel via a leather belt drive, a hallmark of early motorcycle design.

The center drive setup, typical for motorcycles of the era, ensures the rider is positioned optimally for control and balance. The Model 4 Strap Tank is finished in Renault Gray, one of the limited color options available at the time. This understated yet elegant finish, adorned with pinstripe accents and hand-painted lettering by Janet Davidson, the founder’s aunt, adds a touch of artistry to its utilitarian design.

Named for its distinctive nickel-plated steel straps that secure the fuel and oil tanks to the frame, the Strap Tank style set the foundation for Harley-Davidson’s early identity. The Model 4 also featured several key improvements, such as an adjustable exhaust-valve stem, a strengthened fork, and wide fenders, showcasing the company’s commitment to innovation and quality.

This particular example has been meticulously restored, featuring numerous original components, including the engine, gas and oil tanks, and fork. The restoration earned it the prestigious AMCA Century Medallion Award at the Yankee Chapter National Meet in 2021. Once part of the renowned Glenn Bator Motorcycle Collection, the bike has been displayed in various museums and exhibits, underscoring its historical significance and exquisite restoration.

Vic Prezio – I would say that is a full house!

*

*

*

*

In 1929, Vivian Bales made history with an extraordinary journey across the United States, riding her 1929 Harley Davidson for 78 days and covering 5,000 miles. This remarkable feat not only showcased her daring spirit but also earned her a place in history as one of America’s early motorcycle adventurers. She told reporters that her motorcycle was her “key to the whole United States,” reflecting the freedom and opportunity she found on two wheels.

Vivian Bales became known for her long-distance rides during the 1920s and 1930s, a time when most of the country’s roads were still unpaved. Navigating rough terrain and unpredictable conditions, she pushed the boundaries of what was possible for motorcyclists—especially women. Her adventures captivated the public, and she gained fame as the first motorcycle cover girl, gracing the pages of magazines and inspiring others to embrace the open road.

Bales’ pioneering spirit and determination helped pave the way for future generations of motorcyclists.

*

The Great Ape’s Call to Rebellion

*

*

In 1927, Brigitte Helm captivated audiences with her dual portrayal of the human and robotic versions of Maria in Fritz Lang’s groundbreaking science fiction masterpiece, Metropolis. This iconic role remains one of the most memorable performances in cinematic history, showcasing Helm’s exceptional talent and resilience.

The production of Metropolis was an ambitious and grueling endeavor, with elaborate costumes, intricate set designs, and demanding physical performances pushing the cast to their limits. For Helm, embodying both the human and mechanical Maria required remarkable precision and endurance, particularly in the intense heat of the lights and the constraints of her metallic costume. Behind the scenes, moments of reprieve were essential for Helm to recover from the physically taxing conditions of the silent film era.

Helm’s performance was central to the film’s powerful commentary on class division, industrialization, and the fear of technology, themes that remain relevant to this day. Her striking portrayal of the robotic Maria, with its eerie, mechanical resemblance, helped bring the film’s pioneering special effects to life, cementing her as a defining figure in early cinema.

Directed by Fritz Lang, Metropolis revolutionized the science fiction genre with its ambitious storyline, elaborate visuals, and technical innovations. The film’s lasting influence can be seen in countless works that followed, from dystopian narratives to futuristic aesthetics.

For Brigitte Helm, Metropolis secured her legacy as one of the great actresses of the silent film era. Her portrayal of Maria continues to be celebrated as a groundbreaking achievement, a testament to her artistry and the enduring impact of early cinema.

*

Ed Emshwiller

*

1988 Flashback when a 25-foot shark from “Jaws” rode through Boston en route to the Musuem of Science to be part of a Science of Movie and Television, Magic exhibit

*

Before Airbags …

*

*

Graham Hill tests the Nikon F on his BRM P261. 1965 Monaco Grand Prix.

*

*

John Duillo – “The Mad Monsters of Monda-Lau!” / 1962.

CASIO AC-100 Clock Robot

“Bones heal, chicks dig scars, pain is temporary, glory is forever” – EK

*

*

Victorian Mannequins: Haunting Artifacts of a Bygone Era

The Victorian era (1837–1901) was a time of extraordinary contrasts, blending industrial progress with a fascination for the mystical and macabre. Among the many curiosities that emerged during this period were the enigmatic mannequins, which became both functional tools and haunting symbols of the age’s Gothic sensibilities.

Originally introduced in the late 18th century, mannequins gained prominence during the Victorian era as essential aids for dressmakers and artists. Early versions were crafted from wood or papier-mâché, reflecting the fashions of the time with remarkable detail. By the mid-19th century, advancements in wax modeling and sculpting techniques imbued these figures with an eerie realism. Many mannequins featured glass eyes and even human hair, making them unsettlingly lifelike and aligning perfectly with the Gothic revival movement that influenced Victorian art, architecture, and literature.

The Victorians’ fascination with the supernatural and otherworldly lent these mannequins an almost spiritual quality. In photographs from the late 19th century, mannequins often appear in haunting studio portraits, their lifeless forms eerily animated by the interplay of light and shadow. The long exposure times required by early photographic processes captured subtle details—shadows, glimmers, and expressions—that seemed to imbue the figures with an uncanny vitality. These images, ethereal and surreal, have since become cultural artifacts that fuel theories of time travel, spiritual connection, and Victorian surrealism.

As the 20th century dawned, the production of mannequins shifted toward mass manufacturing, favoring practicality over artistry. The handcrafted, haunting beauty of Victorian mannequins faded, replaced by standardized forms that served the growing consumer culture. Yet, these relics of a more mysterious time continue to captivate, inspiring surrealist art, dark aesthetics, and speculative stories about the lives they may have “witnessed.”

Today, Victorian mannequins are celebrated as historical artifacts and muses for creative exploration. They embody the hauntingly beautiful essence of their era, offering a tangible connection to the fascination with the supernatural and the artistic innovation that defined the Victorian age. Their allure endures, a testament to the interplay of craftsmanship, mystery, and the human imagination.

*

Mort Kunstler

Moff’ throwing the XB in hard.

*

*

A Tribute to the Swingin’ Simian Saps of Manifesto Maravillado

5.. 4… 3…2…1… Thunderbirds are Go!

The futuristic world of Thunderbirds, set in 2065, is an exhilarating blend of scientific innovation and looming peril. With dazzling advances in engineering, spaceflight, and civil construction, humanity aims to create a safer, better world—yet these ambitions often lead to disasters, whether through human error or sabotage. This is where International Rescue steps in, armed with an arsenal of futuristic technology and daring ingenuity. The series immerses viewers in thrilling rescue missions, showcasing imaginative action sequences and concepts that remain relevant even decades later.

A significant part of Thunderbirds’ magic lies in its soundtrack. Barry Gray’s iconic score is as memorable as the series itself, blending symphonic grandeur with jazz, percussion, and electronic influences. His compositions masterfully capture every mood, from the tranquility of life on Tracy Island to the intense drama of unfolding disasters. The triumphant Thunderbirds March, often accompanying the iconic launch sequences, is still celebrated as one of television’s greatest musical themes.

While often labeled as children’s television, Thunderbirds transcends generational boundaries. Younger viewers are drawn to its gadget-filled adventures, while older audiences find humor, depth, and a subtle complexity in its storytelling. This broad appeal has cemented Thunderbirds as a show for all ages, with its numerous revivals introducing new generations to the adventures of International Rescue.

The series also pushed the boundaries of special effects for its time. Directed by Derek Meddings, Thunderbirds pioneered techniques like fish tank effects and rolling roads, delivering visually stunning sequences that brought its world to life. The Thunderbird vehicles—crafted with extraordinary attention to detail—remain some of the most iconic designs in science fiction, representing the technical brilliance of the AP Films team.

At its core, Thunderbirds is driven by a life-saving premise. International Rescue’s dedication to protecting human lives—whether one person or hundreds—imbues the series with a sense of moral purpose. Jeff Tracy’s heartfelt reminder of the value of saving lives in Danger at Ocean Deep encapsulates the show’s empathetic spirit. This humanistic core, coupled with spectacular visuals and thrilling storytelling, makes Thunderbirds as captivating now as it was nearly 60 years ago. Its timeless message of compassion, innovation, and adventure ensures that it continues to inspire and entertain. FAB!

While often categorized as children’s television, Thunderbirds transcends generations. Younger viewers are captivated by its gadgets and action, while older audiences appreciate the show’s subtle humor, character development, and compelling stories. Its broad appeal has allowed Thunderbirds to inspire countless revivals, introducing new generations to the adventures of Scott, Virgil, Alan, Gordon, and John Tracy. These brothers, each piloting a unique Thunderbird craft, embody bravery and skill, while their father, Jeff Tracy, provides steady leadership. The team is supported by the brilliant engineer Brains, the unflappable Lady Penelope Creighton-Ward, and her loyal chauffeur Parker, adding depth and charm to the series.

The Thunderbird machines of International Rescue stand as some of the most celebrated vehicle designs in sci-fi history. With their unique capabilities and iconic appearances, these craft form the backbone of the series’ thrilling rescue operations. Each vehicle serves a specific purpose, from rapid response and heavy-duty transportation to space exploration and underwater missions, embodying the cutting-edge imagination and ingenuity that Thunderbirds became famous for.

By 1965, A.P. Films had established itself as a pioneer of space-age puppet entertainment, with hits like Supercar, Fireball XL5, and Stingray. Each of these series had featured a standout central vehicle that defined its identity, making them ideal for storytelling and merchandising alike. However, Gerry and Sylvia Anderson wanted to push the boundaries with their new series. Inspired by a real-life German mining disaster, where critical rescue equipment arrived too late, they envisioned a fleet of specialized machines capable of responding to any emergency. This shift from a single “star vehicle” to an ensemble fleet set Thunderbirds apart and laid the groundwork for its enduring success.

The design and construction of the Thunderbird vehicles fell to Derek Meddings, an accomplished special effects artist who was already renowned for his innovative work. The Andersons provided Meddings with basic descriptions of each machine, originally referred to simply as “Rescue 1,” “Rescue 2,” and so on. These early notes outlined their general functions but left much of their visual design to Meddings’ imagination.

Thunderbird 1, piloted by Scott Tracy, was envisioned as a 15,000-mph rocket capable of vertical takeoff and horizontal flight. Meddings introduced the swing-wing design, allowing the craft to fold its wings during launch and extend them for atmospheric flight. This gave Thunderbird 1 both aerodynamic efficiency and a sleek, futuristic appearance.

Thunderbird 2, the heavy-duty transporter piloted by Virgil Tracy, posed the greatest design challenge. Meddings envisioned a massive craft with detachable pods, which would carry rescue equipment for specific missions. The telescopic landing legs allowed the pods to be deployed directly to the ground. While its minimal forward-swept wings raised questions about its aerodynamics, this design gave Thunderbird 2 its iconic, industrial look—one that would go on to define the series.

Thunderbird 3, Alan Tracy’s spacecraft, was inspired by real-world rocket designs, particularly the Soyuz family. Meddings’ design incorporated a trio of massive engines, fins, and a striking red-and-black color scheme. Although its appearances in the series were less frequent, Thunderbird 3’s grandiose design captured the imagination of viewers.

Thunderbird 4, Gordon Tracy’s underwater scout, was comparatively simple in design but packed with functionality. A compact craft carried aboard Thunderbird 2, it featured compact boosters, rocket tubes, and a maneuverable light-bank that revealed various rescue gadgets. While its design was less ornate than its predecessors, its practicality made it indispensable in aquatic missions.

Finally, Thunderbird 5, John Tracy’s orbital communications satellite, took its design cues from the Round House set. Its circular structure was complemented by antennas and docking ports, giving it the futuristic look required for its role as International Rescue’s monitoring station. Meddings added thoughtful details to make it visually distinct, despite its limited screen time.

Meddings’ creative approach wasn’t just about functionality; it was also about immersive world-building. Working with Bob Bell, who oversaw the craft’s interiors, Meddings ensured that every aspect of the Thunderbirds felt cohesive. Bell’s art direction gave the interiors a retrofuturistic charm, with banks of monitors, controls, and equipment perfectly scaled for the puppets. Together, Meddings and Bell created a seamless aesthetic that extended from the Thunderbird craft to Tracy Island, the family’s hidden base of operations.

Filming the Thunderbird machines presented its own set of challenges. The rolling road technique simulated movement for vehicles like Thunderbird 2, while fish tank effects created the illusion of underwater rescues with Thunderbird 4. Varying sizes of models were used for different shots, from close-ups to wide angles. Thunderbird 2, with its massive size and detachable pod system, was particularly difficult to film, often suffering damage during shoots. Thunderbird 4’s aquatic sequences were equally challenging, requiring constant adjustments to ensure the electronics worked underwater.

Despite these obstacles, the Thunderbird machines became the heart of the series. Their distinctive designs and thrilling functionality brought a sense of realism to Thunderbirds’ sci-fi adventures, captivating viewers and setting a new standard for television special effects. Meddings’ ingenuity, combined with the Andersons’ vision and Bell’s art direction, created vehicles that weren’t just tools—they were characters in their own right. Thanks to the collaborative brilliance of everyone involved in their creation, Thunderbirds are, and always will be, GO!

International Rescue’s pod vehicles are specialized machines designed to handle tasks beyond the capabilities of the main Thunderbird craft. While the five Thunderbird machines serve general rescue purposes and are dispatched based on the type of disaster, the pod vehicles bring a unique and often unpredictable narrative edge to every episode they appear in. These compact and highly specialized machines, housed within Thunderbird 2’s interchangeable pods, enable International Rescue to perform some of its most arduous and intricate rescue operations. From ensuring atomic airliners land safely to burrowing beneath inaccessible terrain, the pod vehicles are a vital link in International Rescue’s operations.

Unlike the Thunderbird craft, which were designed before the series’ production, the pod vehicles were developed on an episode-by-episode basis, dictated by the rescue scenarios created by the show’s writers. The likes of Alan Fennell, Dennis Spooner, and others devised numerous small yet mighty machines, tailored to meet specific rescue challenges. With only 14 unique pod vehicles appearing across the series’ 32 episodes, most of these machines were one-off creations, each serving a precise role in the story.

The task of designing the pod vehicles primarily fell to Derek Meddings, though a young Mike Trim, a talented model maker, began taking on an increasing share of the workload. Trim’s early designs, such as the Recovery Vehicles from Pit of Peril, impressed Meddings and led to him handling more of the auxiliary vehicle designs. Trim, along with model makers Roger Dicken and Ray Brown, built the pod vehicles from wood and fiberglass, often incorporating working mechanisms to enhance realism. These models, however, were typically pulled along miniature sets rather than relying on built-in motors to avoid issues with the dust-ridden environments that plagued earlier productions.

Among the most iconic pod vehicles is the Mole, a burrowing machine capable of penetrating virtually any surface. Mounted on a mobile trolley, the Mole can be positioned and deployed at various downward angles, making it a versatile tool for underground rescues. Equally memorable are the Elevator Cars, used to assist aircraft with malfunctioning landing gear. These vehicles feature hydraulically supported flatbeds and can be remotely operated, ensuring a smooth landing even in critical situations.

The Firefly, another standout pod vehicle, serves as a firefighting clearance vehicle, equipped with a heat-resistant shield for clearing debris and quelling infernos. Often working alongside the Mole, the Firefly is essential in high-risk rescue operations involving fire and structural collapse. The Dicetylene Cage, a unique elevator-like transporter, allows for the rescue of individuals trapped in burning buildings, equipped with extinguishers and a secure clamping mechanism.

Other vehicles include the Recovery Vehicles, which use suction clamps to drag damaged vehicles from collapsed areas, and the DOMO (Demolition and Object Moving Operator), which supports damaged structures at risk of collapse. The Excavator further complements this lineup with its ability to crush debris into a fine powder, clearing paths for other vehicles.

Not all pod vehicles are heavy-duty machines. The Transmitter Truck, capable of beaming long-range signals into space, aids in communication rescues, while the Mobile Crane and Monobrake add agility to International Rescue’s fleet. Even the smaller machines, such as the Laser Cutter, Thunderizer, and Neutraliser Tractor, serve critical roles. The Laser Cutter slices through metal with precision, the Thunderizer launches rescue equipment into inaccessible areas, and the Neutraliser Tractor disrupts malfunctioning electronic systems.

The Jet Air Transporter stands out as one of International Rescue’s most unique vehicles, using artificial gravity to create secure pockets of air, allowing people to leap to safety when other evacuation methods are impossible.

The pod vehicles exemplify the ingenuity and versatility of International Rescue. They enable the organization to tackle scenarios that require pinpoint precision or specialized tools, ensuring that no rescue is beyond their reach. From the Mole’s subterranean strength to the Thunderizer’s airborne ingenuity, these machines highlight the creativity and innovation that made Thunderbirds a timeless masterpiece of action and adventure. FAB!

The world of Thunderbirds remains a thrilling testament to the boundless creativity of its creators and the technical brilliance of its production team. From the iconic Thunderbird machines to the highly specialized pod vehicles, every element of the series was crafted with meticulous attention to detail, seamlessly blending cutting-edge science fiction with relatable human drama. Nearly six decades on, Thunderbirds continues to captivate audiences with its timeless themes of courage, innovation, and compassion. Whether it’s the daring rescues, groundbreaking special effects, or the unforgettable music, Thunderbirds stands as a cultural landmark that has left an indelible mark on the history of television and science fiction. Truly, Thunderbirds will always be GO!

*

Rev Up, Go Big, and Embrace the Chaos

I am the Nightrider…

*

Paolo Uberti – Surrealist

*

*

Bathurst Warpaint 1978. XC Falcon Cobra’s of Moffat & Bond. 

*

*

Veronica Lake

*

Clint with the real star on the set of “The High Plains Drifter”

Japanese futuristic vision of 1957.

*

The Great Ape commands you to crank up the volume and let the raw, electrifying energy of “The Ballroom Blitz” by The Sweet thunder through your speakers! This high-octane glam rock anthem, written by the legendary duo Nicky Chinn and Mike Chapman, is a cornerstone of rock history. Released in September 1973, the track reached number one in Canada, number two in the UK and Australia, and number five on the US Billboard Hot 100. Its infectious riffs and explosive chorus are guaranteed to ignite any room.

Born from a moment of chaos during a Grand Hall performance in Kilmarnock, Scotland, where The Sweet were pelted with bottles, “The Ballroom Blitz” transforms that fiery confrontation into an anthem of defiance and adrenaline. Recorded at Audio International Studio in London, the track’s theatrical flair and powerhouse instrumentation capture the spirit of the glam rock era.

While it never graced a UK studio album, it featured on the US and Canadian versions of Desolation Boulevard, ensuring its global acclaim. Its unforgettable riff even nods to Bobby Comstock’s “Let’s Stomp” from 1963, showcasing its deep roots in rock history.

The song has inspired countless covers, including The Damned’s 1979 version, with Lemmy from Motörhead on bass, and Krokus’s 1984 take that brought it roaring back into the hard rock scene. It’s become a cultural touchstone, famously featured in Wayne’s World (1992) with Tia Carrere’s rendition, and more recently in The Edge of Seventeen (2016) via The Struts. Even industrial metal band 3Teeth gave it a sharp edge in 2020 for Guns Akimbo.

The Great Ape demands your full attention—pour your energy into the storm of sound, feel the chaos, and revel in the brilliance of “The Ballroom Blitz.” Now watch the clip, my primates of pandemonium, and bow to the might of glam rock glory!

*

This was a concept car created by GM back in the 60s called the Stiletto. It was displayed in the GM pavilion at the 1964-65 World’s Fair.

Rudolf Sieber-Lonati

*

In 1965, George Lois, the visionary art director of Esquire magazine, made a bold decision that would shape the course of magazine photography. Tasked with illustrating the article The Masculinization of the American Woman, Lois chose Virna Lisi, the elegant Italian actress who was in Hollywood filming Assault on a Queen alongside Frank Sinatra.

Lisi, known for her striking beauty and fearless attitude, accepted the unconventional challenge with enthusiasm, even suggesting they shoot the concept that same afternoon. The resulting image—a glamorous Lisi with shaving cream on her face and a razor in hand—was both audacious and unforgettable. Evoking the allure of Marilyn Monroe while showcasing Lisi’s unique sophistication, the cover became one of the most celebrated images of the decade.

The photograph represented more than just an artistic triumph; it became a cultural touchstone. Capturing the changing tides of the 1960s, it symbolized the evolving notions of femininity, independence, and strength. The cover’s modernity and its challenge to traditional gender roles were groundbreaking, making it an emblem of the era’s transformative spirit.

Virna Lisi’s fearless embrace of the unexpected solidified her as an enduring icon in Hollywood and beyond. The Esquire cover remains one of the most imitated and celebrated images in the history of magazine photography, a testament to Lisi’s magnetic presence and timeless elegance. Her legacy continues to inspire, reminding us of the power of boldness and reinvention.

Mary Anne Hawkins surfing the flooded streets of Long Beach, 1940s

*

Oran park, Australian Touring Car Championship 1978. Moffat and Bond running the reverse hood scoops without controversy by this stage.

*

The other Munro – Caroline

*

*

*

*

The Great Ape’s Call to Rebellion

Mars Attacks (1962): The Trading Card Series That Invaded Pop Culture

Unleash the mayhem of the Mars Attacks trading cards, the sci-fi sensation that crash-landed into candy stores in 1962, bringing with it grotesque Martians, fiery destruction, and humanity’s desperate fight for survival. Created by Topps, with stunning artwork by Wally Wood, Bob Powell, and Norman Saunders, the 55-card series didn’t just tell a story—it etched a warpath of chaos into the imagination of an entire generation.

The cards chronicle a full-scale Martian invasion, with Earth under siege by cruel, hideous aliens wielding bizarre weapons and unrelenting brutality. From global battle scenes to shocking close-ups of Martian atrocities, every card pulled you deeper into the vivid nightmare of Earth’s downfall. The climax? Humanity strikes back with a vengeful counterattack on Mars, reducing the Martians to rubble just before their doomed planet implodes.

While kids devoured the cards, their lurid depictions of gore, destruction, and ahem slightly racy subtexts sparked parental outrage. Community uproar forced Topps to halt production, but not before the cards became a cultural flashpoint. Today, Mars Attacks cards are prized collectibles, with original packs fetching thousands of dollars at auction.

Decades later, the franchise continues to thrive. From the twisted genius of Tim Burton’s 1996 film adaptation to comic crossovers and anniversary reprints, Mars Attacks has proven its staying power. The gruesome, outrageous, and darkly humorous world it created lives on, cementing its place as a landmark in sci-fi and pop culture history.

So shuffle through those cards, prepare for Martian madness, and remember: no one is safe when the invasion begins! Earth beware—the Martians are here to stay!

*

Industrialized condensed milk first emerged in 1856, thanks to Gail Borden, an inventive American who sought to dehydrate cow’s milk to create a longer-lasting product. During the process, he discovered that the milk, before transforming into powder, condensed into a thick, sweet cream that was not only delicious but practical. This accidental innovation gave birth to one of the most versatile and beloved ingredients in kitchens worldwide.

The popularity of Borden’s condensed milk skyrocketed during the American Civil War (1861–1865), as it became a crucial supply for troops. Its long shelf life, portability, and nutritional value made it an ideal food source for soldiers, earning it recognition across the United States.

By 1857, the first condensed milk production industry, Anglo Swiss Condensed Milk, was established in Switzerland. The innovation quickly spread throughout Europe, where the product gained immense popularity. Over time, condensed milk became an essential ingredient in desserts, beverages, and recipes around the globe, solidifying its place in culinary history.

Trapped Detective Story Magazine Dec 1959 Paul Rader

*

*

Meanwhile, back in 1949…

This iconic image captures the raw power and engineering brilliance of John Goss’s XA Falcon Sports Sedan tearing through Oran Park in 1974. The car was a testament to innovation, featuring a fiberglass bonnet, front guards, and doors—a significant weight-saving approach for performance optimization. The rear wheel arches were radiused to accommodate bigger rubber, not just for improved grip but also to facilitate quick tire changes during intense pit stops.

In its time, this XA Falcon was ahead of the curve, serving as a design mule for fiberglass panels that later became available for this series of Falcons. A 1970s advertisement even featured this very car, cementing its role as a pioneer in Australian motorsport history.

Sadly, after its racing days, the car was passed to another owner, only to meet a tragic fate—it was stolen, stripped, and burned out, marking a heartbreaking end for a vehicle that once dominated the track and showcased the best of innovation and racing passion.

Behind the scenes of The Shining (1980)

*

“The Fan / The Breeze” (1988) is a painting by Ron Schwerin, an American painter born in 1940 in Pittsburgh, Pennsylvania.

*

“The Great Ape commands you to dive into the campy chaos of The Batwoman (1968), a gloriously bizarre superhero flick from the golden age of lucha libre cinema. Directed by the legendary Mexican filmmaker René Cardona, this cult classic combines crime-fighting capers, masked wrestlers, and mad science into a delirious cocktail of pure pulp entertainment.

Starring Maura Monti as the titular Batwoman, the film introduces us to a glamorous, gadget-wielding vigilante who takes justice into her own hands while clad in an iconic, revealing batsuit. Equal parts femme fatale and fearless crimefighter, Batwoman is on the trail of a nefarious scientist conducting grotesque human-fish hybrid experiments—a plot straight out of a fever dream.

Shot in bold colors with a wildly over-the-top tone, the film features exhilarating fight scenes, underwater battles, and plenty of lucha libre flair. As Batwoman dives into danger—literally and figuratively—she proves herself every bit the match for any villain or monster that comes her way. From its quirky storyline to its unabashedly campy aesthetic, The Batwoman is a testament to the boundless creativity of Mexican genre cinema in the 1960s.

So heed the Great Ape’s command and revel in the unhinged joy that is The Batwoman. It’s a cinematic ride like no other, where superheroes, science fiction, and lucha libre collide in spectacular fashion!

Someone in this family can weld …

Miss Monroe

The Aventine Keyhole is a captivating hidden gem in Rome, located at the Villa del Priorato di Malta on the Aventine Hill. This villa, granted extraterritorial status by Italy in 1869, is the headquarters of the Sovereign Military Order of Malta—a relic of medieval chivalry and one of the world’s oldest institutions.

What makes the Aventine Keyhole so extraordinary is the unexpected visual journey it offers. When you peer through the small, perfectly aligned keyhole in the villa’s gate, you’re treated to a stunning and symbolic view: three countries in a single line of sight. Framed by an impeccably trimmed hedge-lined pathway, you see Malta (the villa grounds), Italy (Rome’s cityscape), and, in the distance, the majestic dome of St. Peter’s Basilica in Vatican City.

This iconic perspective is a masterstroke of design, blending art, architecture, and geography. It’s an experience of discovery and delight, as visitors from around the world gather to steal a glimpse through this unassuming portal, uniting three distinct nations in a single, unforgettable moment. Simple, symbolic, and magical, the Aventine Keyhole remains a must-see for those wandering through the Eternal City.

A rum machine in the 1950s

*

John F. Kennedy, the 35th President of the United States, holds the distinction of being the only U.S. president to have been awarded the Purple Heart, a prestigious military decoration given to members of the armed forces who are wounded in action. Kennedy earned this honor for his extraordinary service and bravery during World War II, specifically as the commander of the PT-109, a patrol torpedo boat operating in the Pacific Theater. On the night of August 2, 1943, Kennedy’s PT-109 was rammed by a Japanese destroyer, an incident that left the boat wrecked and sinking. Despite sustaining significant injuries, Kennedy displayed remarkable courage and leadership. He swam for hours, towing one of his injured crew members to safety by clenching a life jacket strap in his teeth, ultimately guiding his surviving crew to a remote island. Kennedy’s determination and resilience saved lives and earned him recognition for his heroism under fire.

Bon Scott playing drums in the Spektors 1966

Fantastic Story Magazine #17 September 1953

*

Peter Stormare, now hailed for his chilling portrayal of Lucifer in Constantine, fought to reimagine the character in a way that prioritized menace over flash. Originally envisioned as shirtless, tattooed, and clad in leather pants with bondage jewelry, the filmmakers’ initial design leaned heavily on visual shock value. Stormare, however, had a different idea.

“I said, ‘No one’s gonna listen to what I have to say,’” Stormare recalled in an interview with Screen Rant. He championed a theatrical, minimalist approach: an off-white linen suit, tar-stained feet, and shaved eyebrows to give Lucifer an unsettling, almost ethereal quality. Stormare argued that stripping away the excess allowed the character’s dialogue and subtle menace to shine.

The gamble paid off, with Stormare’s restrained yet deeply sinister take on Lucifer earning widespread fan acclaim. “I’m very proud of [my Lucifer],” he shared, adding, “It’s really nice to have that support among fans.” His portrayal, often cited as one of the most compelling depictions of the Devil on screen, stands as a testament to his creative instincts and commitment to authenticity over spectacle.

*

Why BigBoy Monthly Manifest Is Your Monthly Dose of Madness!

*

Lawrence Sterne Stevens

*

*

*

*

*

*

*

Did you know? The Hoover Dam stands as one of the most remarkable feats of engineering in the United States, straddling the Colorado River on the border between Nevada and Arizona. Constructed between 1931 and 1936 during the Great Depression, it was a monumental effort aimed at controlling floods, providing vital agricultural irrigation, and generating hydroelectric power to support the growing needs of the region.

Standing at an impressive 221 meters (726 feet) high, the Hoover Dam was among the tallest dams in the world when completed, and it holds back the waters of Lake Mead, the largest reservoir in the U.S. Its construction was a massive undertaking, employing thousands of workers and injecting much-needed economic activity into the country during a time of severe hardship.

Beyond its utilitarian purpose, the Hoover Dam is a symbol of American innovation and resilience. Today, it serves as a major tourist destination, attracting millions of visitors annually who come to marvel at its scale, learn about its pivotal role in U.S. history, and appreciate its contribution to the infrastructure and development of the southwestern United States.

*

*

Dorothy Parker sends a telegram to her editor 1945

*

Pacific Southwest Airlines stewardesses in the 1970s

David Nicholson’s ’73 XA Falcon Hardtop is a specially built land speed car used for dry lake racing events such as Australia’s Speed Week; held annually on Lake Gairdner, SA.

The XA currently runs a Moe Engine’s 438-cube Dart Block Clevo V8, 4sp Toploader Box, 9” Diff filled with 2.75 Gears, and 28” Rear Tyres.

At the 2023 Speed Week event, David wound the big beast up and ran a best of 211.503 mph (340.381 km/h), and in the process reset the Australian Classic Production Coupe & Sedan land speed record with a two-way average of 211.162 mph (339.832 km/h).

*

*

Weird Worlds #1, 1972. Splash Page by Murphy Anderson.

*

*

*

*

Filling up the Geoghegan Super Falcon with Shell 100 racing fuel in a totally different era downunder.. The wild mechanically injected Cleveland would’ve drank it like it was nobody’s business and turned it into pure music! Pretty laid-back in the pits too, just how we like it!

*

Laurence Tureaud (a.k.a Mr. T) was raised in the rough south side ghetto of Chicago. He is the second to youngest of twelve children (he has four sisters and seven brothers) and grew up in the housing projects. His father, Nathaniel Tureaud, left when Laurence was 5, and his mother raised the family on $87 a month welfare in a three-room apartment.

“I think about my father being called ‘boy’, my uncle being called ‘boy’, my brother, coming back from Vietnam and being called ‘boy’. So I questioned myself: ‘What does a black man have to do before he’s given the respect as a man?’ So when I was 18 years old, when I was old enough to fight and die for my country, old enough to drink, old enough to vote, I said I was old enough to be calle

That’s a sign of respect that my father didn’t get, that my brother didn’t get, that my mother didn’t get.”

Mr. T’s brothers encouraged him to build up his body in order to survive in the area; he has commented, “If you think I’m big, you should see my brothers!” His mother is a religious woman who has had a strong influence on him. He says, “Any man who don’t love his momma can’t be no friend of mine.” He was an average student in school. “Most of the time,” he says, “I stared out the windows, just daydreaming. I didn’t study much because I have a photographic memory.” Apart from one spell between 5th and 7th grades when he went a little astray—playing hooky, cursing, acting tough, being disrespectful—he was a well-behaved child (he worried about how his mother would feel if he ended up in jail, and stayed out of trouble).

According to Mr. T, he attended the premiere of Rocky III (1982) with his mother. During the scene where he yells lurid remarks at Adrian, his mother turned to him and said, “I did not raise you to talk to a lady like that.” She then stormed out of the theater.

*

*

*

“Margaret with Cat”, 1995 – RON SCHWERIN (American, b. 1940)

*

Built on the powerful chassis of a 1957 Chrysler 300C, the Chrysler Ghia Super Dart 400 was a one-of-a-kind show car that combined cutting-edge engineering with Italian craftsmanship. Its bold styling, highlighted by dramatic tail fins adorned with the Super Dart 400 insignia, hinted at the raw power lurking beneath its sleek exterior.

Under the hood, the Super Dart 400 boasted a formidable 400-horsepower Chrysler Hemi engine, a product of Chrysler’s industrial engine line. This powerhouse was fed by dual 4-barrel carburetors and enhanced with a factory “Power Pack,” which included a 10:1 compression ratio, delivering an exhilarating level of performance. Every element of the engine was fine-tuned for speed and power, making it a true testament to Chrysler’s engineering prowess during the golden era of American performance cars.

Beyond its impressive mechanics, the car’s design reflected a seamless blend of American innovation and Italian artistry, courtesy of the renowned Ghia coachbuilders. Its futuristic lines, sweeping curves, and meticulously crafted details made it a standout at auto shows and a vision of what high-performance luxury could look like.

The Chrysler Ghia Super Dart 400 was a statement of ambition and style, encapsulating the spirit of 1950s automotive innovation and capturing the imagination of enthusiasts with its unparalleled combination of elegance and muscle.

Arnie as Mr Freeze – Where do I get me them slippers!

Charles Copeland

The history of Triumph Motorcycles began in 1883 when Siegfried Bettmann, a young immigrant from Nuremberg, Germany, arrived in Coventry, England. A year later, at the age of 20, Bettmann founded the S. Bettmann & Co. Import Export Agency in London. Initially, the company specialized in selling bicycles rebranded under the Triumph name and sewing machines imported from Germany.

By 1886, Bettmann sought a stronger identity for his company, renaming it the Triumph Cycle Company. In 1887, with funding from the Dunlop Pneumatic Tyre Company, Triumph was officially registered as the New Triumph Co. Ltd. Around this time, Bettmann partnered with Moritz Schulte, another native of Nuremberg, whose influence would significantly shape Triumph’s future.

Encouraged by Schulte, Bettmann transitioned Triumph from a trading company to a manufacturer. In 1888, Triumph purchased a factory in Coventry using family loans, and by 1889, the company was producing its first Triumph-branded bicycles. Expansion followed in 1896, with Triumph opening a second bicycle factory in Nuremberg.

In 1898, Triumph expanded its Coventry operations to include motorcycles, and by 1902, the company had produced its first motorcycle—a bicycle equipped with a Belgian Minerva engine. Triumph’s commitment to innovation quickly grew, and in 1904, the company began designing motorcycles entirely in-house. By 1905, Triumph had produced over 250 motorcycles, a significant milestone for the burgeoning industry.

The following years saw rapid growth. By 1907, Triumph had opened a larger plant and was producing over 1,000 motorcycles annually. Around this time, Triumph introduced a lower-end brand called Gloria. To address confusion between products made at the Coventry and Nuremberg factories, the Nuremberg motorcycles were renamed TWN (Triumph Werke Nürnberg) for certain export markets.

The outbreak of World War I marked a turning point for Triumph. Production shifted to support the Allied war effort, with Triumph supplying over 30,000 motorcycles, including the renowned Model H Roadster. Nicknamed the “Trusty Triumph,” this model is often considered the first modern motorcycle due to its reliable design and ease of use.

After the war, Triumph faced internal challenges. Bettmann and Schulte clashed over the company’s direction, with Schulte pushing for a focus on car production. This disagreement led to Schulte’s departure, but Triumph diversified regardless, purchasing the former Hillman car factory in Coventry. By 1923, Triumph had launched its first saloon car under the Triumph Motor Company name.

Triumph’s growth during the 1920s was remarkable. The company’s Coventry plant, covering 500,000 square feet, was capable of producing up to 30,000 motorcycles and cars annually. Triumph bicycles also gained significant international demand, with licensed production in the United States. The introduction of the Super Seven in 1928, followed by the Super Eight, marked Triumph’s first major success in the automotive market.

From its beginnings as a bicycle importer, Triumph grew into a pioneering force in motorcycles and automobiles, blending craftsmanship, innovation, and resilience. Its legacy remains a cornerstone of British engineering excellence, celebrated worldwide by riders and enthusiasts alike.

*

*

*

In 1931, Cab Calloway recorded his most famous song, “Minnie the Moocher”, making history as the first single by an African American artist to sell a million records. The song’s infectious “Hi-de-ho” chorus became synonymous with Calloway and earned him the nickname “The Hi De Ho Man.”

Calloway’s influence extended beyond music and into animation. In the 1930s, he provided voice work and dance choreography for three Betty Boop cartoons: “Minnie the Moocher” (1932), “Snow White” (1933), and “The Old Man of the Mountain” (1933). Through rotoscoping, Calloway’s iconic dance moves were transformed into the animated characters’ movements. His gliding backstep, later referred to as “The Buzz”, has been cited as a precursor to Michael Jackson’s moonwalk.

The success of Minnie the Moocher also influenced Calloway’s lyrics. Originally, the chorus featured a simple “Ho-dee-hody”, but during one performance, he improvised “Hody-Hody-Hody-ho” when he forgot the words. The audience loved it, and this version became permanent, adding to the song’s charm and popularity.

Calloway’s fame soared in the 1930s, with performances in short films for Paramount and appearances in classic films such as International House (1933), where he performed the cheeky song “Reefer Man”. He became one of the most filmed jazz musicians of his era, alongside Duke Ellington.

Calloway’s career remained vibrant for decades. In the 1960s, he toured with the Harlem Globetrotters, performed on TV, and starred alongside Steve McQueen in The Cincinnati Kid (1965). He also co-starred with Pearl Bailey in an all-Black cast of Hello, Dolly! on Broadway in 1967, cementing his reputation as a multi-talented performer.

In 1978, Calloway brought Minnie the Moocher to a new era with a disco version that reached the Billboard R&B chart. He further solidified his legacy in 1980 when he appeared in the cult-classic film The Blues Brothers, performing Minnie the Moocher. When recording the updated soundtrack for the film, Calloway was ready to perform the disco version but was asked to stick to the timeless original, which enchanted yet another generation of fans.

Cab Calloway’s legacy as a pioneer in jazz, an entertainer, and a cultural icon lives on. His larger-than-life charisma, innovative artistry, and timeless performances continue to influence and inspire audiences around the world. “Hi-de-ho!”

Al “The Flying Dutchman” Vanderwoude

*

It’s 106 miles to Chicago, we’ve got a full tank of gas, half pack of cigarettes, it’s dark and we’re wearing space suits …

Fear and loathing in Gotham City

*

*

The punk subculture, rooted in the aggressive and raw sounds of punk rock, is an enduring testament to rebellion, individuality, and a do-it-yourself (DIY) ethos. Emerging from the countercultural shadows of the 1970s, it challenged mainstream norms with distorted guitars, frenzied drumming, and lyrics that gave voice to anti-establishment ideals.

Punk rock bands, often comprised of vocalists, guitarists, bassists, and drummers, deliver short, high-energy tracks with simple arrangements and sharp-edged messages. While some songs tackle serious topics like freedom, anti-corporatism, and non-conformity, others embrace lighter themes of romance or partying. Subgenres such as surf punk, rockabilly punk, and reggae punk add diversity to the movement’s soundscape.

Historically, punk took root in 1960s garage rock, later evolving into protopunk in the late ’60s. Its first distinct scenes blossomed in New York City, London, and Los Angeles, creating the movement’s backbone, with further punk waves sprouting in cities worldwide, including Brisbane, Toronto, and San Francisco.

The DIY ethic—core to punk ideology—saw punks shun the commercial music industry, producing and promoting their art independently. Born largely from lower economic classes, punks rejected the affluence associated with popular rock music and championed personal freedom, anti-authoritarianism, and non-conformity.

Despite its ethos of liberty, the punk movement has faced conflicts over extremist ideologies. The majority of the punk community actively rejects fascist or Nazi-aligned groups, considering them antithetical to punk’s core values. Iconic moments, such as the Dead Kennedys’ anthem Nazi Punks Fuck Off or Green Day’s anti-racist chants, reaffirm punk’s stance against hate.

From the nihilism of British punks chanting “No Future” to the grittier self-destruction of American punks, the movement is as much a lifestyle as it is a sound. At its heart, punk is a refusal to conform, a celebration of raw creativity, and a commitment to staying unapologetically loud and free.

Sandahl Bergman. Conan The Barbarian 1982. You wanna live forever!

Drunk by Alexey Egorov

*

The 1956 Buick Centurion concept car, unveiled at the 1956 GM Motorama, remains a symbol of futuristic design and innovation. Its groundbreaking features and aviation-inspired aesthetics captured the spirit of mid-century optimism and advanced engineering.

The Centurion’s body, crafted from red and white fiberglass, featured a striking clear “bubble top” roof and a dramatic tail cone with wings, creating a sleek, space-age silhouette. The interior, designed with an airplane-like style, further emphasized its futuristic vision, reflecting the era’s fascination with aviation and technology.

Among its most revolutionary features was the backup camera, a first in automotive history. Though not functional, the system consisted of a television camera mounted above the tail cone, which projected rear images onto a screen embedded in the dashboard. This innovation replaced the traditional rear-view mirror and hinted at technologies that would become standard decades later.

The speedometer was another standout element, featuring a freestanding design with a fixed indicator and a rotating dial, echoing the Centurion’s aircraft influence. These touches showcased General Motors’ commitment to pushing the boundaries of automotive design during this period.

Today, the 1956 Buick Centurion is preserved at the Sloan Museum within the Flint Cultural Center in Flint, Michigan, where it continues to fascinate enthusiasts as a testament to the imaginative spirit of the 1950s Motorama era.

*

*

*

Prepare yourself for a blast of pow, bam, and unapologetic 1970s absurdity with Legends of the Superheroes, a two-part live-action spectacle that feels like it leaped straight out of a Saturday morning cartoon—because, well, it sort of did. Produced by Hanna-Barbera and airing on NBC in January 1979, this superhero showcase brought the world of the animated Super Friends to life with real actors, real costumes, and a heavy dose of campy charm.

The specials acted as a loose reunion for the 1960s Batman TV series, reuniting Adam West as Batman and Burt Ward as Robin. Seeing these two back in their capes and tights was a nostalgic delight, their playful chemistry as “The Dynamic Duo” still intact and ready to thwart evil with pun-filled quips and exaggerated heroics.

But this wasn’t just about Batman and Robin. The show gathered an ensemble of DC’s mightiest heroes and most mischievous villains, creating a colorful, chaotic crossover event. From Superman and Wonder Woman to the Flash and Green Lantern, the specials aimed to cram as many heroes as possible into the frame—complete with occasionally dubious costumes and hilariously over-the-top performances.

And then there were the villains. Joker, Riddler, and a host of other rogues brought their nefarious antics, leaning fully into the theatrical, larger-than-life personas that made these characters unforgettable. But it wasn’t all battles and brawls. One of the episodes featured a roast of the superheroes, complete with gags, jabs, and some truly bizarre humor that only 1970s TV could pull off.

Watching Legends of the Superheroes today feels like opening a time capsule filled with polyester, exaggerated performances, and a healthy disregard for modern comic continuity. It’s cheesy, it’s ridiculous, and it’s absolutely wonderful in its own way.

So, cue up the clip, get ready for some vintage Batman and Robin action, and embrace the zaniness. Legends of the Superheroes might not take itself too seriously, but it’s a campy celebration of the characters that defined a generation of comic book fandom. Holy retro television, Batman!

*

*

Duke Ellington eating four tubs of ice cream in bed

*

*

Did You Know? Lukla Airport, officially known as Tenzing-Hillary Airport, is often called the most dangerous airport in the world. Perched at an altitude of 2,845 meters (9,334 feet) in Nepal, it serves as the main gateway for climbers embarking on the journey to Mount Everest. But what sets this airport apart is the sheer adrenaline-pumping challenge it offers to pilots and passengers alike.

The runway, for starters, is an engineering marvel—and a heart-stopper. At just 527 meters (1,729 feet) long, it ends abruptly at a sheer cliff on one side and towering mountains on the other. Its 12-degree slope gives planes a crucial boost for takeoff but adds a layer of complexity to landings, leaving no room for error.

Surrounding the airport are jagged peaks and dramatic cliffs, creating a natural amphitheater that limits maneuverability. Add to this the ever-changing weather conditions—thick fog, unpredictable winds, and low visibility—and you’ve got a recipe for one of the most intense flying experiences on Earth.

Unlike modern airports with advanced navigation systems, Lukla relies heavily on pilot expertise and sheer visual navigation. Only the most seasoned aviators, with specialized training, are cleared to approach this high-altitude, high-risk airstrip.

It’s a place where every landing feels like a victory and every takeoff a triumph, making Lukla not just a destination, but an unforgettable adventure in itself.

*

*

*

Fantastic Adventures [v.11 n.12] (art Edmond Swiatek 1949)

*

*

Leg Show’ T. Photo 1970.

Walter Popp

*

In 1936, two young aspiring artists, Al Jaffee and Will Elder, sat side by side in the lunchroom of the High School for Music and Art in New York City, unknowingly laying the groundwork for what would become two of the most iconic careers in American cartooning. These formative years marked the beginning of a lifelong friendship and a creative journey that would revolutionize the world of satire and illustration.

The Birth of Mad Magazine and the Rise of Satirical Art

By the early 1950s, Jaffee and Elder were at the forefront of a cultural revolution in American cartooning, as key contributors to the now-legendary Mad Magazine. Created by Harvey Kurtzman in 1952, Mad became a cultural phenomenon, redefining satire and skewering the norms of American society, politics, and pop culture with sharp wit and irreverent humor.

Will Elder, renowned for his intricate and highly detailed illustrations, added an unmistakable touch to Mad’s pages. His work was a treasure trove of hidden jokes and visual gags, rewarding readers who looked beyond the surface with hilarious Easter eggs in every frame.

Meanwhile, Al Jaffee cemented his place in history with his ingenious features, most notably the Mad Fold-In, which debuted in 1964. This clever, interactive visual gag delighted readers by transforming a full-page illustration into a surprising punchline when folded, becoming one of Mad’s most beloved staples.

Together, Jaffee, Elder, and their contemporaries like Jack Davis and Sergio Aragonés, helped establish Mad Magazine as a cultural institution, redefining the boundaries of satire and creativity. Their work not only transformed the comic book industry but also reshaped how America engaged with humor, inspiring generations of writers, illustrators, and comedians who followed in their footsteps.

*

Lilly Buys a Hot Rod! Lily is out shopping for not one, but two new cars.

It’s Herman’s birthday, and Lily has surprised him with a new car.

The Munster Koach, an unforgettable piece of 1960s pop culture, was crafted by the legendary Barris Kustoms for the hit TV show The Munsters. This spooky hot rod was a true feat of imaginative engineering, built from three Ford Model T bodies that extended its total length to a jaw-dropping 18 feet. Powered by a formidable 289 Ford Cobra engine and boasting an astonishing 10 carburetors, the Munster Koach was as wild under the hood as it was in its gothic design.

Despite its impressive specs, the car lacked power steering, making it an absolute beast to drive—but that only added to its larger-than-life mystique. The Munster Koach was the result of a collaborative effort by custom car legends George Barris, Tex Smith, Tom Daniel, and the father-and-son team of Dick and Keith Dean, each bringing their unique expertise to this historic build.

Today, the Munster Koach stands as a testament to the artistry and innovation of Barris Kustoms, embodying the creativity and flair that made the 1960s such a vibrant era for television and automotive culture.

*

1964’s “Drag-U-LA”: The Munsters’ Spooky Speed Machine

In 1964, The Munsters gave television fans a truly unforgettable hot rod in the form of the Drag-U-LA, also known as the Coffin Car. This ghoulish yet high-powered creation was the brainchild of Barris Kustoms, a company synonymous with iconic custom vehicles. Built for Grandpa Munster, the Drag-U-LA was designed to embody his love for all things creepy, while also showcasing a jaw-dropping amount of automotive flair and horsepower.

The Drag-U-LA’s chassis was constructed from an actual fiberglass coffin, giving it its unmistakable, macabre appearance. Adding to its eerie aesthetic were features like gold-anodized trim, a bubble-top canopy, and a spooky, bat-inspired design that perfectly complemented the Munster family’s gothic charm. The vehicle was powered by a potent 350-horsepower, 289-cubic-inch Ford V8 engine, mounted at the rear and fitted with dual four-barrel carburetors, ensuring that this unique dragster had as much speed as it did style.

To complete its striking look, the Drag-U-LA rolled on racing slicks at the rear and skinny motorcycle tires up front. The exhaust pipes, shaped like organ pipes, added to its eerie vibe while simultaneously functioning as a practical design feature. Its unforgettable presence made it a standout in the series, most notably in the episode “Hot Rod Herman,” where the Drag-U-LA participated in a high-stakes drag race.

Much like its sibling vehicle, the Munster Koach, the Drag-U-LA became a pop culture sensation, celebrated not just for its spooky design but also for its innovative construction. The car remains an enduring symbol of 1960s custom car culture, a testament to the ingenuity of George Barris and his team, and a beloved piece of television history.

Today, the Drag-U-LA continues to captivate fans of both classic cars and classic TV, solidifying its place as one of the most unique and iconic vehicles ever built for the small screen.

*

Gene Tierney

I know … Lets drop a flatty V8 in a go kart and who needs a stinkin’ seat!

*

Aurora by Inge Schuster

The 1946 Harley-Davidson Crocker Twin Racer stands as a remarkable testament to the innovation and audacity of early American motorcycle racing. This unique Bonneville Salt Flats special combines a 1946 Harley-Davidson EL Knucklehead engine with a 1936 Crocker chassis, uniting two iconic brands into a singular, historically significant machine.

This motorcycle represents a fascinating chapter in racing heritage, symbolizing an unexpected reconciliation between Al Crocker and Harley-Davidson. Al Crocker, who famously harbored disdain for Harley-Davidsons and was deeply associated with the Indian Motorcycle Company, began his career at Indian in Springfield around 1909. By the early 1930s, Crocker had moved west, establishing a successful Indian dealership in Los Angeles and innovating speedway racers by converting Indian Scouts and developing his own overhead valve (OHV) top ends.

In 1933, Crocker, alongside his former supervisor Paul Bigsby, designed and built a limited series of OHV single-cylinder speedway racers, setting the stage for the groundbreaking Crocker V-twin, introduced in early 1936. This V-twin quickly earned its place as the fastest American motorcycle, outperforming Harley-Davidson’s EL Knucklehead by a stunning 20 MPH. With only 64 Crockers ever built, combining its chassis with the Harley-Davidson Knucklehead engine for Bonneville speed attempts was both a practical and intriguing choice.

This 1946/36 Harley-Davidson/Crocker hybrid embodies the ingenuity of early American motorcycle racing. Its Knucklehead engine, built by the late George Hood, powered the bike at the Bonneville Salt Flats as recently as 2020, where it was speed-limited to 125 MPH due to tire restrictions.

The Harley-Davidson Crocker Twin Racer isn’t just a motorcycle—it’s a symbol of the pioneering spirit, engineering brilliance, and competitive drive that defined a golden era of racing. This machine bridges the gap between rival brands, honoring the legacy of Al Crocker while showcasing the enduring performance of the Harley-Davidson Knucklehead.

*

*

*

*

*

At the Earl’s Court Motor Fair in London, John DeLorean sat proudly in his namesake sports car—a gleaming, stainless steel marvel with futuristic gull-wing doors that captured the imagination of onlookers. The DeLorean DMC-12, a car born of innovation and ambition, symbolized DeLorean’s vision to disrupt the automotive world with something bold and uncompromising. As the former General Motors executive showcased his creation to a crowd of enthusiasts, the car’s sharp lines, iconic design, and promise of high performance made it a showstopper at the prestigious event.

Designed with a V6 engine and an eye-catching brushed metal body, the DeLorean was more than just a vehicle; it was a statement. Its radical design set it apart in an era when most cars embraced the conventional, and DeLorean himself embodied the rebellious spirit of his creation. Yet, alongside the fanfare, whispers of doubt followed—skepticism about whether such an audacious concept could match its real-world performance.

Though its time as a production car was short-lived, plagued by financial woes and production hurdles, the DeLorean transcended its initial reception. Its defining moment came in 1985, when it achieved pop culture immortality in Back to the Future, forever linking its sleek design with time travel and 80s nostalgia. The DeLorean may not have conquered the automotive market as DeLorean dreamed, but it remains an enduring icon of ambition, style, and a moment when the future seemed just within reach.

John DeLorean’s vision lives on in the car’s unmistakable silhouette—a symbol of how innovation can leave a lasting mark, even when the road ahead is far from smooth.

King Kong poster art, John Berkey, 1976

*

Marilyn Monroe, born Norma Jeane Baker (1926–1962), is often remembered as the quintessential Hollywood icon of beauty, glamour, and sensuality. Yet, beneath the surface of her dazzling persona lay a deeply intelligent, curious, and introspective woman whose life and legacy continue to captivate the world. Often overshadowed by her image as a sex symbol, Marilyn was a woman of substance, a voracious reader, and an astute observer of human nature.

Few know that Marilyn Monroe possessed an IQ of 165, surpassing even Albert Einstein. Her intelligence, often underestimated, was matched by her curiosity and hunger for knowledge. In her home, Marilyn maintained a personal library of nearly a thousand books, ranging from classic literature to poetry, theater, and philosophy. She immersed herself in works by writers such as James Joyce, Leo Tolstoy, Walt Whitman, and Sigmund Freud, often seeking solace and inspiration in their words. Reading, she once said, was her way of nourishing her spirit and expanding her mind.

Her wit and keen insight into life are reflected in her timeless quotes, which offer a glimpse into her complexity, humor, and resilience. From the empowering statement, “One of the best things that ever happened to me is that I am a woman. That’s the way all women should feel,” to her honest acknowledgment of human flaws, “Imperfection is beauty, madness is genius. It’s better to be ridiculous than boring,” Marilyn spoke with a clarity that transcended her Hollywood image.

Marilyn’s life was also marked by a refreshing sense of self-awareness and an unyielding determination to break free from the constraints of societal expectations. She famously said, “If I had followed all the rules, I would have never gotten anywhere,” embodying her defiance of norms and her embrace of authenticity. As a woman navigating a world that often reduced her to her appearance, she lamented the objectification she faced: “A sex symbol becomes a thing. I hate to be a thing.” Yet, she used her platform to challenge these perceptions, refusing to let her identity be confined to a single narrative.

Her relationships with others were equally nuanced. Marilyn’s empathy and understanding of human nature shone through in statements like, “I’ve never left anyone I believed in,” and, “I have never cheated anyone. Sometimes I let men deceive themselves.” She also expressed the bittersweet reality of love and connection, observing, “It’s easier to love a man than to live with him,” and, “It’s better to be alone than unhappy with someone.”

Despite the challenges she faced, Marilyn’s outlook on life remained remarkably positive. Her advice to herself and others resonates as a beacon of hope: “Keep your head up, chin up, keep smiling, because life’s a beautiful thing and there’s so much to smile about.”

Her interactions with notable figures like Albert Einstein, whom she famously joked with about combining their beauty and intelligence, reveal her charm and wit. She once quipped, “You and I could have a child: I would donate my beauty and your intelligence.” Einstein’s reply—“Maybe it comes out with my beauty and with your intelligence”—adds another layer of humanity and humor to the way Marilyn was perceived by her peers.

Marilyn Monroe’s story is not simply one of beauty and fame; it is a testament to the complexity of the human spirit. She was a woman who embraced her flaws, challenged societal expectations, and lived with courage and authenticity. Her life was not without pain or struggle, yet her ability to find humor, wisdom, and strength in her experiences makes her a timeless figure of inspiration. Through her words, actions, and legacy, Marilyn continues to remind us that there is so much more to every person than what meets the eye—and that true beauty lies in embracing every facet of who we are.

*

Mort Kunstler

*

Well, this is awkward…

In a historic moment of sci-fi crossover, Robby the Robot from Forbidden Planet met his counterpart, the Robot from Lost in Space, in the Lost in Space Season 1 episode “War of the Robots”, which first aired on February 9, 1966. Designed by the same brilliant mind, Robert Kinoshita (1914–2014), both robots embodied the pinnacle of mid-20th century sci-fi design, each representing a distinct era of technological wonder and narrative imagination.

This meeting of metallic minds was a rare treat for viewers, blending the 1950s cinematic brilliance of Forbidden Planet with the campy yet groundbreaking TV adventures of Lost in Space. While Robby had already achieved legendary status as one of the most iconic robots in film history, the Lost in Space Robot brought charm, humor, and danger to weekly television, cementing its place as a pop culture favorite.

Interestingly, this fictional clash of robots occurred during an exciting era in real-world space exploration. Just a month later, from March 16–17, 1966, the Gemini 8 mission, piloted by Neil Armstrong and David Scott, marked another milestone in humanity’s journey toward the stars.

Both robots and the Gemini mission reflect humanity’s ongoing fascination with the possibilities of space and technology, one through science fiction and the other through scientific achievement. Whether on alien worlds or orbiting Earth, 1966 proved to be a monumental year for imagining—and reaching—the stars.

This is how Popular mechanics tried to explain, to their non Custom Car readers, what was done to the 2 High end Custom Mercury’s in 1953. The Louis Betancourt – Ayala restyled – 1949 Mercury, and the Wally Welch – Ayala & Barris restyled – 1950 Mercury were used to point out how these cars were customized in the April 1953 “Four wheels waiting for a face lifting” article. ⁣⁣⁣

*

*

Isaac Asimov by Jantner Janos

*

*

In 1954, Julie Adams cemented her place in cinematic history with her portrayal of Kay Lawrence in the iconic horror film Creature from the Black Lagoon. However, her journey on set wasn’t without its challenges. While filming an underwater scene in the murky lagoon, Adams accidentally struck her head on a rock, requiring medical attention. Despite this setback, she showcased remarkable resilience, continuing her role as the film’s leading lady.

The film itself became a cornerstone of the Universal Monsters legacy, a staple of 1950s monster cinema. Adams’ character, Kay, captured audiences with her vulnerability, strength, and memorable interactions with the “Gill-man”. Her performance not only contributed to the film’s immediate success but also solidified her status as one of the most iconic “final girls” in early monster movies.

Filming Creature from the Black Lagoon was no small feat, particularly in an era when special effects and practical stunts often required actors to endure physical challenges. Adams’ injury highlights the toll that mid-20th-century filmmaking could take, particularly in genre films that relied heavily on physically demanding environments and ambitious effects.

Yet, this mishap did little to dim Adams’ star power or the film’s impact. Her role in Creature from the Black Lagoon remains a defining moment in her career and a vital piece of horror and sci-fi history. The film continues to be celebrated for its artistry and influence, and Adams’ legacy as a resilient and talented actress lives on, inspiring generations of fans and filmmakers alike.

*

The Ultimate Dose of De-Evolution

*

*

There can be only one …

1966 Ford Ranger II Concept Truck,

Fay Wray (1907–2004), best known as the iconic scream queen from King Kong (1933), strikes a stylish pose while showcasing the 1929 New Mexico license plate. With her characteristic elegance and charm, Wray holds the plate bearing the distinctive “00-000” number, a design that reflects the Art Deco influences of the era.

This image beautifully captures the blend of vintage automotive culture and Hollywood glamour, reminding us of a time when even license plates became objects of artistry and pride. Wray’s timeless poise continues to resonate, cementing her as a symbol of classic Hollywood style and sophistication.

Evel Knievel – #1 Losers Hero

*

Mort Kunstler

The 1970s was a transformative decade for cycling, as it gained prominence as both a recreational pastime and a viable alternative mode of transport. Rising environmental awareness, combined with the fitness boom of the era, made bicycles a symbol of sustainability and healthy living.

During this period, urban planners and local governments began paying greater attention to the needs of cyclists, introducing bike lanes, dedicated paths, and signage to promote safety and accessibility. The sign in the photo reflects this growing consideration, though its phrasing may have unintentionally invited some humorous interpretations.

*

The Vampire Lovers (1970); Madeline Smith, Ingrid Pitt, Kate O’Mara, Pippa Steel and Kirsten Betts

*

William Heath Robinson (1872-1944)

B. B. King Sets the Record Straight. “When Elvis appeared he was already a big, big star. Remember this was the fifties, so for a young white boy to show up in an all-black function took guts. I believe he was showing his roots and he seemed proud of those roots. After the show he made a point of posing for pictures with me, treating me like royalty. He’d tell people I was one of his influences. I doubt whether that’s true, but I like hearing Elvis give Memphis credit for his musical upbringing.

Back in 1972, Elvis helped me get a good gig at the Hilton Hotel while he was playing in the big theater. He put in a call for me and I worked in the lounge to a standing room only crowd. Elvis fans came in different colors, but their love for good music was all the same. They were always a good audience.

Many nights I’d go upstairs after we finished our sets and go up to his suite. I’d play Lucille [King’s guitar] and sing with Elvis, or we’d take turns. It was his way of relaxing.

I’ll tell you a secret. We were the original Blues Brothers because that man knew more blues songs than most in the business—and after some nights it felt like we sang every one of them. But my point is, that when we were hanging out in the Hilton in the 70s, Elvis had not lost his respect, his ‘yes sir,’ his love for all fields of music. And I liked that.”

High Plain, Lo Mein by KYM DAY

*

The Great Ape commands you to feast your eyeballs on this forgotten gem of late-night camp!

The Elvira Show, a lost treasure from 1993, serves up all the wit, sass, and sultry charm that made Elvira a horror icon. Hot off the heels of Elvira, Mistress of the Dark, this unaired pilot saw Cassandra Peterson once again don her vampish garb, trading cinematic scares for sitcom hilarity. The plot? Forget the movie—it’s a standalone concoction of one-liners so cheesy they’re delicious, rapid-fire innuendo, and supernatural hijinks that only Elvira could pull off.

Teaming up with the legendary Katherine Helmond (of Soap and Who’s the Boss? fame) as the delightfully wicked Aunt Minerva, this sitcom is a cauldron of camp, comedy, and clever gags. Elvira delivers her signature deadpan sass with all the glitter and ghoulish charm you’d expect, and the chemistry between her and Helmond is pure magic.

Why wasn’t this show picked up? Who knows—network executives clearly lacked taste. But we’re lucky to have this pilot, packed with cringe-worthy zingers, laugh-out-loud absurdity, and Elvira doing what she does best: being fabulously, unapologetically herself.

So grab your popcorn, dim the lights, and prepare to revel in Elvira’s spooky sitcom that never was. The Great Ape insists—you owe it to your twisted sense of humor to watch this one! It’s spooky, it’s silly, and it’s Elvira—what more could you ask for?

1974 Woolco Christmas catalog – Mmmm dat’s nice!

*

Andrea Kowch – “Whirlwind”

*

*

The 1955 Lincoln Futura was a concept car that looked like it had rolled straight out of the future—a glossy, space-age marvel designed by the Ford Motor Company. With its bubble canopy windows, bold tailfins, and sleek, aerodynamic lines, the Futura embodied the daring optimism of mid-century design. While its innovative styling was ahead of its time, practicality and cost concerns led Ford to shelve the project, leaving the Futura as a one-of-a-kind automotive prototype.

But fate had other plans for this forgotten masterpiece. In 1966, the Futura roared back to life when it was reimagined as the Batmobile for the hit television series Batman. Legendary car customizer George Barris saw potential in the futuristic design and transformed it into a vehicle fit for Gotham’s caped crusader. With its jet-black body accented by bold red trim, bat-inspired details, and over-the-top gadgets like the jet turbine engine and Batphone, the Batmobile became as much a star of the show as Adam West himself.

What began as a rejected prototype became one of the most iconic vehicles in pop culture. The Batmobile’s unmistakable silhouette and roaring on-screen presence turned the Futura into an enduring legend. Its second life as Batman’s trusted ride cemented its place in both automotive history and the annals of superhero lore. Today, the Batmobile remains an enduring symbol of creativity, nostalgia, and the power of reinvention—proof that even a forgotten concept car can rise to legendary status.

*

*

Walter Popp

*

Conan the Barbarian—the Reaver, the Usurper, the Buccaneer, and the King of Aquilonia—is one of the most enduring icons of Sword and Sorcery. Created by Robert E. Howard, Conan’s tales of savage strength, cunning, and unrelenting willpower have inspired some of the greatest artists in the industry. From the vivid pulp magazines to awe-inspiring comic book panels and paperback covers, Conan’s legacy has been immortalized through the works of Frank Frazetta, Boris Vallejo, John Buscema, and even the legendary Neal Adams.

Frank Frazetta, the undisputed master of fantasy art, captured Conan’s primal power and ferocity in a series of paperback covers that defined the look of Sword and Sorcery for decades. Boris Vallejo followed with his own stunning interpretations, bringing a sleek, otherworldly style to the barbarian. For comic fans, John Buscema became the definitive Conan artist, setting the standard with his work on the Marvel Comics series, where his bold lines and dynamic compositions brought Howard’s world to life on a monthly basis.

Then there was Neal Adams, whose contributions to Conan, though brief, remain legendary. Adams drew only one full issue, provided layouts for another, and painted several breathtaking covers. Yet, his realistic approach to Conan set his work apart, presenting the Cimmerian with unparalleled detail and intensity.

One particular Adams masterpiece, created as a labor of love rather than for a commission or cover, stands out as a testament to his genius. This piece captures Conan’s raw power and relentless spirit: rippling muscles, eyes glittering with the promise of death, and a bloodied spear poised for its next victim. Every detail radiates the savage beauty of Howard’s creation.

This image, it’s legend is an enduring representation of a hero who has captivated fans for nearly a century. Neal Adams’ work on Conan remains a shining example of an artistic master pouring his soul into the essence of a character, crafting a piece that will forever stand the test of time. For any Conan fan, this is the barbarian as he was meant to be—fierce, unyielding, and unforgettable.

*

Jesse Ventura’s fatal wound in “Predator” (1987)

A nice shot of Moffat’s project B-52 at Bathurst 1974. Those big door numbers certainly got the attention of the officials back then! This Car (when eventually sorted and painted Red) would take him to within two races of winning the 1976 Touring Car Championship, before it burned to the ground in it’s transporter on the way to the Adelaide round. Graciously lending his own Car, privateer John Goss gave Moffat the chance to compete in the final two rounds of ’76 and he won the Championship.

*

*

1975 Star Trek Coupe

Born on February 8, 1931, in Marion, Indiana, James Dean became one of Hollywood’s most iconic actors despite his tragically brief life. His unforgettable performance in Rebel Without a Cause (1955), directed by Nicholas Ray, immortalized him as a cultural symbol of youthful angst and rebellion. Playing Jim Stark, a troubled teenager navigating the pressures of family expectations and societal conformity, Dean delivered a raw and deeply emotional performance that resonated profoundly with 1950s audiences. The film captured the struggles of post-war American youth and remains a cinematic classic.

Dean’s famous quote, “Dream as if you’ll live forever, live as if you’ll die today,” epitomizes the intensity and urgency with which he approached both life and his craft. Known for his introspective nature and fierce passion for acting, Dean often explored existential themes in his roles, bringing an authenticity that few could match. Off-screen, he was equally compelling—independent, rebellious, and determined to live life on his own terms.

Tragically, Dean’s life was cut short at the age of 24 when he died in a car accident on September 30, 1955. His untimely death only deepened his mystique and solidified his place as a cultural icon.

Dean’s impact on popular culture is immeasurable. His portrayal of the misunderstood youth in Rebel Without a Cause made him a symbol of defiance and independence, a figure that continues to resonate across generations. His signature style—a red jacket, white T-shirt, and jeans—became synonymous with 1950s youth fashion, further cementing his influence beyond the screen.

Despite appearing in only three major films, James Dean’s legacy as a trailblazer in Hollywood and a voice for the disenfranchised remains intact. His story inspires dreamers, artists, and actors worldwide to live boldly and authentically, embodying the timeless spirit of rebellion and individuality.

*

Poison Ivy & Lux Interior – The Cramps

*

*

*

Gerald V. Casale for DEVO here. My friend and colleague Jeff Winner reminds me that today, the 29th December, is Alan Myers’ birthday. If Alan was still with us here pumping out DEVO rhythms, he would be 70 years old. As with my brother Bob, the loss only hurts more as time marches on.

I really can’t imagine how DEVO would have succeeded as well without Alan Myers. When you see and/or hear Alan perform live in DEVO performance videos or on our records from our heyday, it’s somewhat mind-boggling to think that Alan drummed the way he did, when he did. I have flippantly referred to him in interviews as “the human metronome.” It was a comment meant to bequeath giant praise. Clearly, his precision and power eclipsed whatever advantages that soulless drum machines can ever offer.

Like another master of minimalism, Charlie Watts, Alan came from the discipline of a jazz drumming background. Rather than flail away with corny rock n’ roll flash dissipating his strength, Alan channeled his energy straight from the brain, through his body, and onto the skins via tireless hands and feet. An hour and 20 minutes into a DEVO performance, he could muster his overdrive gear to power through Smart Patrol, Gates of Steel, Gut Feeling, and Come Back Jonee, taking the manic audience over the top. He credited his serious, daily devotion to practicing Tai Chi as the source of his other-worldly energy reserve.

Alan’s drug of choice was meditation. He avoided the silly distractions of backstage chaos and celebrity indulgences. DEVO meant business, and Alan was the driving force that provided the proof of concept. There was no drummer like him then in the 1970s and ’80s. There are imitators now, but there was only one Alan Myers. Make no mistake about that.

Duty Now, —GVC

Devo performs “Uncontrollable Urge” live on Fridays (1980): A New Wave Explosion!

In 1980, Devo, the pioneers of New Wave de-evolution, brought their electric energy to the stage of Fridays, the cult comedy show known for pushing boundaries and showcasing cutting-edge acts. Performing “Uncontrollable Urge”, one of their most ferociously energetic tracks, Devo delivered a performance that was equal parts quirky, chaotic, and unforgettable.

Dressed in their iconic jumpsuits and energy dome hats, the band charged through the song with mechanical precision and infectious mania. The performance highlighted their unique blend of punk rock attitude, futuristic synths, and biting satire—a perfect fit for the offbeat spirit of Fridays.

The show, which was often compared to Saturday Night Live but with a more irreverent edge, gave Devo the ideal platform to showcase their avant-garde approach to music and performance. With Mark Mothersbaugh’s manic vocals and the band’s synchronized, robotic movements, “Uncontrollable Urge” turned the stage into a de-evolved dance party.

It wasn’t just a performance—it was a statement. Devo’s appearance on Fridays solidified their reputation as one of the most innovative and entertaining acts of the New Wave era, proving that de-evolution was here to stay. Whip it good? No, urge it uncontrollably!

Jack Gaughan – Farewell Thunderchild

*

*

*

During his 1960 presidential campaign, John F. Kennedy brought a new level of intimacy and determination to the art of politics by campaigning door-to-door in West Virginia, a critical battleground in the Democratic primary. Despite skepticism about his youth, inexperience, and Catholic faith—which raised concerns among Protestant voters—Kennedy rolled up his sleeves and hit the streets, shaking hands and engaging directly with West Virginians in their homes and communities. This strategy was as personal as it was groundbreaking, helping to bridge the gap between a polished, charismatic candidate and the everyday struggles of working-class Americans.

Kennedy’s efforts weren’t just symbolic; they were deeply hands-on and focused on the issues. As he moved through small towns and rural areas, he tackled the state’s pressing concerns head-on—coal mining struggles, unemployment, and poverty—proving that he wasn’t just there to win votes but to understand the people’s struggles. By listening to their concerns and answering tough questions face-to-face, Kennedy began to dismantle the doubts surrounding his candidacy. His natural charm, eloquence, and ability to connect with voters on a human level became a defining aspect of his campaign.

The result was a hard-earned victory in the West Virginia primary, a pivotal moment that showcased his ability to win over skeptical voters in a conservative, largely Protestant state. This triumph was more than just a political win—it was a turning point that propelled him toward the Democratic nomination and ultimately the presidency. West Virginia became a symbol of his grassroots approach, demonstrating his commitment to reaching voters where they lived and proving that charisma, hard work, and a personal touch could overcome even the most entrenched doubts. This chapter of his campaign remains a shining example of the power of direct, human-focused politics.

Sebastià Boada

*

*

“Be sure and tell ’em Large Marge sent ya!”

Oh Jayne

*

1976

*

Passing by over the city by Gregory Fromenteau

In the 1940s, with the world grappling with war and resource conservation, even commuting became a matter of both necessity and creativity. This iconic photograph showcases a group of women donning roller skates and encouraging others to “Do Your Bit! Skate to Work—Save Gas.” It’s a vibrant testament to how Americans embraced ingenuity and community spirit during times of challenge.

While cars were becoming a symbol of freedom and prosperity, wartime restrictions on fuel made alternatives like roller skating a patriotic act. The simplicity of skating to work carried not only practical benefits but also reflected a sense of collective effort in a society striving to support the war effort.

The stylish skaters captured in this image embody the optimism and resilience of the 1940s. Their synchronized moves and cheerful attire radiate a spirit of camaraderie, even as resources were rationed and traditional conveniences were set aside. It was an era where innovation and patriotism merged seamlessly into daily life.

This scene also hints at the growing post-war transformation of transportation culture. By the late 1940s, with restrictions easing, the automobile industry was poised for its golden age, symbolized by gleaming chrome accents and aerodynamic designs that defined the American Dream. But for this moment in time, these skaters remind us that even the simplest acts, performed with style and determination, played a part in shaping history.

*

*

In 1964, Honor Blackman was at the pinnacle of her career, exuding a mix of strength, sophistication, and charisma that redefined the roles of women in entertainment. As the unforgettable Pussy Galore in Goldfinger, she delivered a performance that was as commanding as it was elegant, breaking away from traditional female archetypes in cinema. Her blend of sharp wit and undeniable allure left an indelible mark on the James Bond franchise, elevating her character to iconic status.

Simultaneously, Blackman’s role as Cathy Gale in The Avengers solidified her as a feminist trailblazer. With her sharp intellect, mastery of judo, and a wardrobe that epitomized modern sophistication, Cathy Gale stood out as a powerful, independent woman who could hold her own in a male-dominated world. Blackman’s portrayal didn’t just entertain—it inspired, reflecting the growing tide of societal change during the 1960s and challenging conventional norms.

Off-screen, Honor Blackman became a symbol of empowerment, encouraging women to embrace independence and self-assurance. Her legacy continues to resonate, representing not only timeless glamour but also the courage to step beyond boundaries and redefine what it means to be a leading lady.

*

Blast Through Cosmic Highways

*

Antonio Bernal 

“Farewell Aunty Jack” is an unforgettable anthem that became synonymous with The Aunty Jack Show, a satirical and groundbreaking Australian television series that first aired in 1972. Performed by Rory O’Donoghue (as Thin Arthur), the song was as unconventional as the show itself. It shot to No. 1 on the Australian charts in 1974, where it reigned for an incredible 10 weeks, making it a cultural touchstone for a generation.

The show, created by Grahame Bond, featured the larger-than-life character of Aunty Jack, a loud, brash, and delightfully anarchic figure played by Bond himself. Aunty Jack, often dressed in a floral frock with a steel boxing glove, threatened to “rip your bloody arms off” in her gravelly voice, a catchphrase that became iconic. The show’s mix of absurd humor, biting satire, and surreal sketches was unlike anything Australian audiences had seen before, and it quickly gained a devoted cult following.

Set in the fictional town of Wollongong, the series introduced viewers to a bizarre yet lovable cast of characters, including Thin Arthur (Rory O’Donoghue), the skinny and timid sidekick; Kid Eager (Garry McDonald), the overzealous youth; and Flange Desire (Sandra McGregor), adding a dose of quirky charm to the ensemble. Each episode was a whirlwind of unpredictable humor, parodying everything from politics to pop culture. Its mix of live-action, music, and absurdity made it a trailblazer in Australian comedy.

Despite its short run, the show’s influence was profound, not only for its sharp wit but also for its boldness in addressing taboo subjects. Its cross-dressing humor and surreal storytelling challenged the norms of 1970s television, paving the way for future boundary-pushing comedies. Though initially met with some controversy, The Aunty Jack Show quickly became a beloved fixture in Australian households.

“Farewell Aunty Jack”, the closing theme, perfectly encapsulated the show’s spirit. Its catchy tune and whimsical lyrics, sung with a mix of humor and heart, resonated deeply with fans. The song celebrated the show’s eccentricity, with lines that seemed to wink at the absurdity of the characters and their antics. It wasn’t just a theme song—it was a farewell hug from Aunty Jack herself, a promise to always stay memorable.

Today, The Aunty Jack Show remains a celebrated part of Australian television history, and “Farewell Aunty Jack” continues to bring smiles to those who remember the bold, unapologetic comedy of one of Australia’s most unique TV creations. It’s a reminder of a time when television dared to be weird, wild, and absolutely wonderful.

Thirst for Hurst

*

*

Boris Vallejo

*

Morticia – Carolyn Jones

*

*

*

Jungle Pam!

Cyber remake of “Morning Sun” by Edward Hopper

The Gilbert U-238 Atomic Energy Laboratory, introduced by the A.C. Gilbert Company in 1950, was an ambitious educational toy designed to teach children about nuclear and chemical reactions using actual radioactive materials. Conceived by Alfred Carlton Gilbert, the inventor of the Erector Set, the lab aimed to inspire young minds toward careers in science and engineering.

Gilbert, an American athlete, magician, toy-maker, and businessman, believed in the educational value of toys for building a “solid American character.” His creations often had educational significance, and during World War I, he was dubbed “the man who saved Christmas” for convincing the U.S. Council of National Defense not to ban toy purchases during the holiday season. The Atomic Energy Lab was among several chemistry sets available at the time, each designed to engage children in scientific exploration.

The lab was comprehensive, containing instruments that allowed users to observe nuclear reactions firsthand, including a cloud chamber to visualize alpha particles traveling at high speeds, a spinthariscope displaying the disintegration of radioactive materials on a fluorescent screen, and an electroscope to measure the radioactivity of various substances. Additionally, the set included four jars of uranium-bearing ore samples—autunite, torbernite, uraninite, and carnotite—sourced from the Colorado Plateau region. To ensure safety, the instructions advised users not to open certain sample jars to prevent the spread of radioactive material, which could interfere with experimental results. The set was priced at $49.50 at its release, equivalent to approximately $630 in 2023.

Despite its educational intent, the Atomic Energy Lab faced criticism for including radioactive materials in a children’s toy. In 2006, Radar Magazine listed it among “the 10 most dangerous toys of all time.” However, analyses, such as one by IEEE Spectrum in 2020, suggested that the radiation exposure from the kit was minimal, comparable to a day’s exposure to sunlight, provided the samples remained sealed.

The product was short-lived, available only from 1950 to 1951, with fewer than 5,000 units sold. Its high price and the advanced nature of the experiments likely limited its appeal to the general public. Today, the Gilbert U-238 Atomic Energy Lab is a rare collector’s item, reflecting a unique period in educational toy history when the wonders of atomic energy captured the public’s imagination.

In December 2024, a complete set of the Gilbert U-238 Atomic Energy Laboratory was auctioned, highlighting its status as a coveted collector’s item. The kit, containing real uranium samples and instruments to measure radioactivity, was expected to fetch over £3,000 ($4,000). Despite its controversial nature, the set remains a testament to a bygone era of educational experimentation.

Walter Popp

*

*

In 1984, Sarah Connor told Kyle Reese “They cannot make things like that yet.” Kyle Reese said “Not yet. Not for about 40 years.” That would be now. In 2024.

Worry is the Root of All Evil by Johfra Bosschart

In May 1973, David Bowie and guitarist Mick Ronson were captured in this unforgettable photograph by Mick Rock, as they traveled by train to Aberdeen for the first show of Bowie’s final Ziggy Stardust tour. With Bowie dressed in his bold, striped Ziggy outfit and Ronson shimmering in a glittering suit and oversized tie, the image is a perfect reflection of the glam rock era—extravagant, fearless, and larger than life.

This moment comes during the peak of Bowie’s Ziggy Stardust persona, a revolutionary character that blurred the lines between music, fashion, and performance art. At his side, Mick Ronson served as Bowie’s indispensable collaborator—his scorching guitar work and onstage presence elevated Bowie’s music into something truly otherworldly. Together, they shaped the sound of albums like The Rise and Fall of Ziggy Stardust and the Spiders from Mars and brought an electrifying energy to the live performances that defined the glam rock movement.

The photograph, with its casual intimacy, belies the monumental changes about to unfold. This tour would mark the end of Ziggy Stardust, as Bowie famously retired the character later that summer, shocking fans and the music world alike. Captured here on the cusp of that transformation, Bowie and Ronson embody the magic, camaraderie, and creativity that made this period so iconic.

It’s a timeless image of two artists, both sadly gone, at the height of their powers—forever tied to a moment when rock and roll reached for the stars and touched them.

Rafael Gallur

*

*

*

In the early 1960s, Ford Motor Company pushed the boundaries of automotive design with a striking concept car, the Ford Seattle-ite XXI. Revealed at the 1962 World’s Fair in Seattle, this futuristic vehicle was a bold attempt to reimagine the possibilities of automobile engineering and styling. Though it never made it to production, the Seattle-ite XXI represented a forward-thinking approach that still resonates with the automotive industry today.

A Glimpse Into Tomorrow

The Seattle-ite XXI was designed to embrace concepts that seemed far ahead of its time, featuring cutting-edge technology and engineering advancements that were only speculative in the 1960s. This concept car envisioned features like four steerable front wheels, easily interchangeable power units, a travel programming computer, variable density glass, jalousie windows, and fingertip steering. It was more than a car; it was a glimpse into what the future of transportation could hold.

Unique Design and Powertrain Innovations

One of the most revolutionary aspects of the Seattle-ite XXI was its modular powertrain design. Ford designers envisioned a vehicle that could run on a variety of power sources, from fuel cells to even a compact nuclear propulsion device. The car’s entire front section was designed to detach from the passenger compartment, allowing the driver to swap out power capsules depending on the driving need, such as an economical 60-horsepower unit for city driving or a more powerful option for long-distance travel.

This modular concept would have granted the Seattle-ite XXI immense flexibility, allowing the car to be adapted for different purposes with ease. The power units would be connected through a flexible coupling, seamlessly linking the controls to the passenger compartment.

With a wheelbase of 122.8 inches and an overall length of 221.6 inches, the Seattle-ite XXI was intended to be a long and sleek vehicle. The front and rear wheels had a tread of 60.1 inches and 65.4 inches, respectively, providing a stable and secure ride. Despite its imposing dimensions, with a height of 45.4 inches and width of 80 inches, the car maintained a low, aerodynamic profile that hinted at the future of automotive design.

Advanced Steering and Handling

The four steerable front wheels were another standout feature, with Ford’s designers believing that such a configuration would greatly improve the car’s tracking, traction, and braking efficiency. The front wheels, working in tandem, would have allowed for a more stable and controlled driving experience, potentially revolutionizing vehicle handling. Coupled with fingertip steering, the Seattle-ite XXI would offer an effortless driving experience, with precise control at all speeds.

High-Tech Interior Features

Inside, the Seattle-ite XXI was equally forward-thinking. The car was designed to include a travel programming computer that would replace traditional dials and gauges. This computer would simplify the dashboard, with a centrally mounted viewing screen displaying important data such as engine performance, road and weather conditions, and the vehicle’s position on a constantly updating road map. It would even estimate the time of arrival at the selected destination, offering a new level of convenience to drivers.

Passenger Comfort and Design Innovation

The Seattle-ite XXI was designed with passenger comfort in mind. Jalousie windows—slatted windows that could be opened or closed to control ventilation—would reduce noise and improve airflow, while variable density glass would provide a cool, glare-free cabin environment. This glass was meant to help regulate the interior temperature, enhancing the vehicle’s air conditioning efficiency.

The seats were fixed, forming an integral part of the car’s structure, but the floorboards were designed to be adjustable. This allowed the pedals to move into a position tailored to the driver, increasing comfort and driving ease. The separation between the passenger compartment and the power capsule at the front also contributed to a noiseless interior, creating a tranquil environment for those inside.

Pioneering a New Era in Car Design

Ford’s Seattle-ite XXI was not bound by the limits of 1960s technology. The project was a pure exercise in speculation and imagination. Gene Bordinat, Ford’s Vice President of Design at the time, described the concept as “an example of the kind of exploration that can lead to key breakthroughs in automotive design and engineering.”

The car’s unrestricted design approach allowed Ford’s designers to play with ideas that were purely theoretical, pushing boundaries that would inspire future innovations. While much of the technology featured in the Seattle-ite XXI may have seemed fantastical at the time, many of the ideas presented in this concept—such as modularity, alternative powertrains, and advanced computer systems—have since become key areas of focus in modern automotive design.

Legacy of the Seattle-ite XXI

Though the Seattle-ite XXI never reached full-size production, the 3/8-scale model highlighted the designers’ futuristic vision and the car’s radical departure from conventional automotive thinking. It remains one of the most visionary concept cars in automotive history. Its radical ideas, from the interchangeable powertrains to its travel programming computer and futuristic styling, were all reflections of the excitement and optimism of the Space Age. While the car itself may never have hit the streets, the Seattle-ite XXI’s innovations helped pave the way for modern advancements in vehicle technology, demonstrating how conceptual thinking can inspire real-world breakthroughs in the years to come.

A young Debbie Harry, photographed in 1966, presents a glimpse of the future icon before she became a household name as the lead singer of Blondie.

*

*

Cutting a mean profile in ’78. Moffat’s project Phoenix Falcon, now with the reverse bonnet/hood scoop, was a great looking Racecar.

Johfra Bosschart, Dutch (1919-1998), Allegory of Human Life, 1969

*

Walter Popp

*

In the mid-1910s, daredevil Johnny Hogg and his wife perform a jaw-dropping stunt, cruising along a massive aqueduct pipeline in Los Angeles’ Mint Canyon atop a Harley-Davidson sidecar rig. The pipeline, stretching an impressive 15 miles, became the stage for this heart-stopping display of skill and courage.

Johnny’s balance and control on the precarious, curved surface are astonishing, but this was far from a risk-free adventure. Just days after Hogg’s successful stunt, another thrill-seeker attempted the same feat on a solo motorcycle. His luck didn’t match Johnny’s, and the endeavor ended in a hospital visit—a stark reminder of the dangers involved.

The photo captures the spirit of early 20th-century motorcycling culture, where riders often pushed the limits of both their machines and their courage. Johnny Hogg’s ride is a testament to a bygone era of fearless adventurers and the extraordinary lengths they went to for excitement and notoriety. I also proof that some wives can trust their husbands.

*

*

*

Full-Throttle Features: What Will You Discover in This Issue?!

Pierre Joubert – Satellite Lune, 1955.

In the scene where Neo reaches for a doorknob, the camera couldn’t be hidden effectively, so the director of photography put a coat and a tie over himself, matching Morpheus’s attire to blend in as much as possible.

Verne Tossey

*

In a deleted scene from Return of the Jedi, Carrie Fisher and Harrison Ford filmed this rarely seen moment amid a Tatooine sandstorm. The sequence—cut from the final film—takes place shortly after Han Solo’s rescue from Jabba’s palace, depicting Han, Leia, and the rest of the Rebel crew navigating their way through the harsh desert winds. Wrapped in scarves and goggles for protection, the pair forge ahead, visually emphasizing their resilience and bond after all they’ve endured.

While the sandstorm scene didn’t make the theatrical release, it serves as a fascinating piece of Star Wars lore, offering fans a glimpse of the small character-driven moments that deepen the narrative. Han and Leia’s quiet determination amid the chaos highlights their growing partnership, grounded in loyalty and love. The deleted footage is now a fan favorite, showcasing both the expansive world-building of Return of the Jedi and the undeniable chemistry between Fisher and Ford.

This windswept shot is a testament to the effort and detail poured into every corner of the Star Wars universe, even scenes left on the cutting room floor. For fans of the galaxy far, far away, moments like this are treasures to be uncovered—reminders of the epic scope and human heart behind the saga.

Meanwhile at SHADO Moonbase.

*

“Twilight of the King” by Dariusz Zawadski

Syd Mead

The atmosphere on the set of The Big Sleep in 1944 crackled with classic Hollywood glamour and an undercurrent of tension. Humphrey Bogart and Lauren Bacall, the golden couple of the silver screen, were poised to mesmerize audiences with their smoldering chemistry. But behind the scenes, an unexpected force emerged that would leave its mark on the film’s legacy.

Enter Martha Vickers, a relatively unknown actress cast as Carmen Sternwood, the seductive younger sister to Bacall’s Vivian Sternwood Rutledge. Carmen was a minor role—meant to add intrigue but not detract from the film’s leads. Yet, when the cameras rolled, Vickers delivered a performance so magnetic and audaciously charged that she sent ripples across the set. Her Carmen was brazen, dangerous, and unapologetically alluring, commanding attention with a raw energy that couldn’t be ignored.

Word spread quickly among the crew. “She’s stealing the show,” whispered one technician as Vickers lit up the screen. Even Raymond Chandler, the novelist whose work inspired the film, reportedly remarked, “She makes it look easy, doesn’t she?” In Vickers, Chandler saw Carmen’s femme fatale persona spring to life in a way that surpassed his own creation.

Lauren Bacall, riding high on her breakthrough in To Have and Have Not and solidifying her romance with Bogart, was far from pleased. She had everything to lose as Hollywood’s new “It Girl,” and Vickers’ performance began to overshadow her own portrayal of Vivian, the film’s central female lead. While Humphrey Bogart, ever the consummate professional, kept his frustrations under wraps, insiders noted that he was also less than thrilled about the distraction from the Bogie-Bacall dynamic, which was the film’s major draw.

As the tension mounted, the studio executives stepped in. Dailies showed Vickers commanding the screen in ways that threatened to shift the audience’s focus away from the lead couple. Scenes that showcased Carmen’s wit, flirtation, and sultry presence were deemed too potent and began to disappear in the editing room. The decision wasn’t about storytelling; it was about preserving Bacall’s stardom and ensuring the film’s marketability as a Bogart-Bacall tour de force.

By the time The Big Sleep premiered in 1946, Vickers’ role had been pared down, leaving only traces of the electrifying performance that had stunned the set. Critics still noticed her, praising her as a standout, even in a reduced capacity. Audiences wanted more of Carmen Sternwood, but the studio had ensured that Vickers’ impact was muted.

For Martha Vickers, the experience could have been a launchpad to stardom. Instead, while she continued acting, she never again reached the same level of recognition. Her performance remains a testament to her undeniable talent—and a reminder of the politics of Hollywood stardom, where the spotlight is fiercely guarded, and talent alone isn’t always enough.

For Bogart and Bacall, the controversy was a footnote in their careers. The Big Sleep became another hit in their string of successes, solidifying their place in Hollywood history. Yet, the tension Vickers sparked offers a rare glimpse into the behind-the-scenes drama of a golden age classic—a world where power and ambition could rival the most thrilling plots on-screen.

Mort Kunstler

Art By: Walter Molino (1915 – 1997)

*

Mickey Thompson’s Wild V8 IndyCar Engine stands as a testament to the bold vision and ingenuity of one of motorsport’s most innovative minds. Created in the mid-1960s through a collaboration between Mickey Thompson and Chevrolet, this engine was nothing short of revolutionary, featuring a 3-valve-per-cylinder layout—two intake valves and one exhaust valve—a radical design for its era.

Thompson aimed to challenge the supremacy of the Ford DOHC V8s and Offenhauser engines at the Indianapolis 500. Compact and lightweight, the engine displaced 255 cubic inches (4.2 liters) to meet IndyCar regulations. It was designed to deliver speed and agility, powering Thompson’s low-profile, rear-engine car.

In 1967, the engine made its debut at the Indianapolis Motor Speedway, showing remarkable potential in early testing with impressive speed. However, the project faced persistent mechanical challenges. Issues with reliability and adapting to the unique demands of IndyCar racing plagued its development. During practice sessions, these problems prevented the engine from qualifying, and in 1968, a pre-testing accident dashed another attempt to bring Thompson’s vision to life.

Ultimately, the project was shelved, but the Mickey Thompson 3-Valve Chevy V8 remains an emblem of Thompson’s fearless spirit. His willingness to push boundaries and challenge established norms is a legacy that continues to inspire in the world of motorsport innovation.

*

EYEFUL magazine (Eyeful Magazine Inc, 1952)

*

The Great Ape commands a journey to the stars—prepare yourself for First Spaceship on Venus (1960), a Cold War-era sci-fi gem drenched in retro-futuristic wonder and nuclear-age anxiety. Hailing from the golden age of international space films, this Polish-East German production (Der schweigende Stern) is as much a time capsule as it is a cosmic adventure.

The plot launches us into interstellar intrigue as a team of multinational astronauts discover a mysterious artifact—a recording left behind by the presumed inhabitants of Venus. Their mission? To venture to the second planet from the Sun and uncover its secrets. What they find is a desolate world haunted by the ruins of an advanced but self-destructive civilization—a not-so-subtle cautionary tale for humanity.

Why watch it? Because First Spaceship on Venus is a wild blend of atomic-era optimism and existential dread. It’s full of retro rockets, futuristic sets, and special effects that, while dated, carry a surreal charm. The international cast, colorful costumes, and eerie Venusian landscapes make this a visual treat for lovers of old-school sci-fi. Sure, the pacing might test your patience, but those psychedelic visuals and vintage space vibes will reward any ape-brained adventurer willing to take the trip.

So fire up your screens, rev the retro thrusters, and let The Great Ape guide you through this forgotten relic of cosmic cinema. Prepare for space travel where the stakes are planetary, the science is questionable, and the message still resonates: Will we learn before it’s too late? Buckle up and find out!

*

This fascinating photo and accompanying tale are an amusing blend of myth and reality—a prime example of how history and pop culture often collide in unexpected ways. Wayne Bruce, supposedly a Scotsman and descendant of the legendary Robert the Bruce, is presented here as a shadowy 19th-century figure who donned a mask to fight crime in the streets of Scotland. While this story has no verified historical backing, it’s an intriguing what-if that ties into the lore of Batman, the beloved comic book vigilante.

The idea of Glasgow as Gotham isn’t entirely far-fetched either—its gothic architecture, dark alleys, and atmospheric streets make it a natural stand-in for the gritty, crime-ridden world of Gotham City in modern Batman films. That eerie connection, paired with this Victorian-era vigilante aesthetic, adds a layer of charm and folklore to the image.

While the photo itself is most likely a clever fabrication or early costume whimsy, it captures the spirit of Batman—a figure of justice who uses anonymity and theatrics to fight for the downtrodden. Whether truth or myth, the beard-and-mask combo here is a timeless look for any caped crusader!

Ed Vebell

*

Sand-Pit Bullderier – Polish fantasist Jacek Yerka

In the late 1960s, television was awash with soap operas spinning familiar tales of love, betrayal, and power. Yet, among them emerged a show that dared to shatter the mold: Dark Shadows. Initially framed as a gothic daytime drama centered on the secrets and scandals of the wealthy Collins family in Maine, the series spent its first year as a moody yet relatively conventional melodrama. But in April 1967, an unexpected twist would redefine not only the show but the entire soap opera genre.

The game-changer came in the form of Barnabas Collins, played by the magnetic Jonathan Frid. Introduced as a distant Collins relative, his arrival was unforgettable—a pale hand reaching ominously from a coffin, gripping a grave robber, and instantly signaling to viewers that this character was anything but ordinary. Barnabas, it turned out, was a 201-year-old vampire cursed with immortality, a thirst for blood, and an eternal longing for his lost humanity.

Originally intended to be a temporary villain, Barnabas struck a nerve with audiences. Frid’s nuanced portrayal of the tormented vampire transformed him from a menacing antagonist into a tragic anti-hero. Fans were captivated by his struggle for redemption and his blend of menace and melancholy. Instead of being killed off, Barnabas became the heart of the series, and with him came a bold new direction for Dark Shadows.

The show plunged headlong into the supernatural, leaving behind mundane family dramas for tales of witches, werewolves, ghosts, and time travel. Collinwood, the eerie Collins family estate, became a hotbed of otherworldly intrigue, its halls filled with curses, séances, and shadowy figures. This reinvention not only revitalized the series but turned it into a cultural phenomenon. Ratings soared, merchandise flew off the shelves, and Jonathan Frid became an icon.

Barnabas’s sympathetic portrayal as a vampire yearning for humanity was groundbreaking. He was among the first of his kind in pop culture—an anti-hero rather than a mere monster. His influence can be seen in everything from Interview with the Vampire to Buffy the Vampire Slayer and Twilight. Dark Shadows didn’t just introduce vampires to daytime television; it redefined how they were perceived, giving them depth, complexity, and pathos.

The supernatural gamble gave Dark Shadows an enduring legacy. The show’s original run ended in 1971, but its impact persisted through movies, a 1990s revival, a 2012 Tim Burton film, and a devoted cult following. What began as a simple gothic soap opera became a trailblazer, proof that reinvention can lead to greatness.

Dark Shadows remains a testament to creative risk-taking, a series that didn’t just embrace its haunting potential but thrived because of it. In the end, the show didn’t just survive—it became immortal, much like the vampire who made it unforgettable.

*

The Beechcraft Plainsman Concept Car, unveiled in 1946 by the Beech Aircraft Company in Wichita, Kansas, was a marvel of post-war innovation and a bold vision of the automotive future. This car was far ahead of its time, combining advanced aeronautical engineering with groundbreaking automotive features.

Powered by an air-cooled four-cylinder Franklin engine, the Plainsman used a generator to drive four electric motors, one for each wheel, making it an early example of all-wheel drive and hybrid technology. Its cutting-edge independent air suspension promised a smoother ride, while the aluminum body kept its weight down to a remarkable 2,200 pounds (1,000 kg). The car boasted an impressive top speed of 160 miles per hour (260 km/h) and could accommodate six passengers, a rare feat for such a sleek design.

The Plainsman’s fastback silhouette featured generous windows and curved doors blending seamlessly into the roof, creating a futuristic aesthetic. Beechcraft also incorporated crash protection into the car’s design, reflecting the company’s commitment to safety—a concept not widely emphasized in automobiles of the era.

Despite its groundbreaking features, only two Plainsman prototypes were ever built, making it an incredibly rare piece of automotive history. The Plainsman stands as a testament to Beechcraft’s ambition to bring aviation-grade innovation to the roads, offering a glimpse of what the future of transportation might have been.

Ed Vebell

*

*

Protective suits and Emergency Life Pack for an evening in New York, 1961. Photo by Max Scheler.

Salt Life…

Oran park 1977. Dick Johnson at work in the Bryan Byrt XB Falcon steamroller. Huge rear rubber under factory wheel arches was the order of the day, and these were full!

*

*

*

*

Earl Norem

*

*

Who is the best noir actor? That question has fueled debates among cinephiles for decades. The genre, with its smoky alleys, shadow-drenched faces, and morally ambiguous characters, has produced a roster of unforgettable stars. But one name often slides under the radar, like the smooth operator he so often played: Fred MacMurray.

Yes, Fred MacMurray—the same actor who later became America’s favorite sitcom dad in My Three Sons. But rewind to the 1940s and 50s, and you’ll see MacMurray navigating the treacherous terrain of femme fatales, shady deals, and inevitable doom with a quiet intensity that made him a noir icon. He wasn’t flashy like Humphrey Bogart or brooding like Robert Mitchum. MacMurray brought something else—a kind of everyman sensibility that made his descents into moral corruption all the more chilling.

Take Double Indemnity (1944), a cornerstone of the noir genre. MacMurray plays Walter Neff, an insurance salesman caught in a web of seduction and murder spun by Barbara Stanwyck’s femme fatale, Phyllis Dietrichson. That opening line—”I killed him for money and a woman. I didn’t get the money and I didn’t get the woman. Pretty, isn’t it?”—sets the tone for a tale of greed and betrayal. MacMurray’s portrayal is riveting because he doesn’t play Neff as a slick villain but as a man whose weaknesses feel uncomfortably relatable. His charm and casual demeanor make his eventual downfall feel like a tragedy you can’t look away from.

Three years later, MacMurray returned to noir with Singapore (1947), a less-remembered gem where he played Matt Gordon, a smuggler haunted by love and loss in a post-war Southeast Asia. His line, “I like troubled times. They keep the police occupied,” encapsulates his character’s cynicism and resourcefulness. MacMurray carried the weight of a man whose past was as murky as the Singapore backstreets he prowled, showing he could exude both romantic vulnerability and tough-as-nails resilience.

In Borderline (1950), MacMurray pivoted to a slightly more adventurous tone, starring opposite Claire Trevor. Playing a federal agent infiltrating a drug smuggling operation, his character relied on wit and instinct, delivering lines like, “There are two things I can rely on: my appetite and my instincts.” Though the film flirts with comedic elements, MacMurray’s performance retains a noir edge, proving his adaptability within the genre’s framework.

Then came Pushover (1954), a film that fully embraced the noir ethos of blurred morality and doomed desires. MacMurray starred as Paul Sheridan, a cop who succumbs to temptation when he falls for a gangster’s girlfriend. His line, “Money isn’t dirty. Just people,” captures the cynicism that pervades his character’s decisions. Here, MacMurray flips the script on his earlier roles, playing a man whose choices are driven not by desperation but by cold calculation, leading to his inevitable unraveling.

Off-screen, Fred MacMurray was a stark contrast to the morally compromised men he portrayed. At one point, he was the wealthiest actor in Hollywood—and, reportedly, the entire United States. Unlike the flashier stars of his era, MacMurray maintained a low-key lifestyle, eschewing the extravagant displays of wealth that characterized Golden Age Hollywood. He invested wisely, lived modestly, and let his work speak for itself. This unpretentious nature only added to his on-screen credibility, grounding his characters in a realism that made their flaws and failings all the more compelling.

Fred MacMurray may not be the first name that comes to mind when discussing the kings of noir, but he deserves his place in the pantheon. His ability to blend charm, vulnerability, and moral ambiguity gave his performances a timeless quality that still resonates. Whether he was scheming for love and money in Double Indemnity or navigating a treacherous underworld in Pushover, MacMurray embodied the noir ethos with a quiet power that lingers long after the credits roll.

*

Bob Larkin

*

*

*

Right when I’m getting to the best part of a dream!

*

*

What’s Inside This Month’s Manifest

*

Jules…

Slingshot dragsters, a hallmark of the 1950s and 1960s drag racing scene, were renowned for their iconic design, with the driver seated behind the front-mounted engine and the rear axle positioned under their seat. This innovative layout dramatically improved traction, allowing for blistering acceleration on the drag strip.

However, the design came with significant risks. Drivers faced intense vibrations, extreme heat, and the ever-present danger of catastrophic mechanical failures. These risks culminated in a notable crash in 1970, which left legendary driver Don Garlits injured. This incident marked a turning point in the sport, spurring the development of rear-engine dragsters that revolutionized safety standards while maintaining the high-octane performance racers demanded.

Though slingshot dragsters were eventually replaced in professional drag racing by their safer successors, their legacy lives on. These machines are celebrated at nostalgic drag racing events, where they stand as symbols of daring innovation, the evolution of automotive engineering, and the raw audacity of an era defined by speed.

Virgil Finlay

Moffat’s XA GT going over the top of the mountain at Bathurst ’73, 50 odd years ago.

*

Few motorcycles have achieved the level of fame and flair as Evel Knievel’s Harley-Davidson Stratocycle, a dazzling machine that stole the spotlight in the 1977 movie Viva Knievel!. Born as a 1976 Harley-Davidson XLCH, this bike already had a reputation for power and performance, thanks to its higher compression and greater peak power compared to the standard XL model. But it wasn’t until legendary stuntman Bud Ekins worked his magic that this Harley transformed into an icon.

For the film, Ekins envisioned a motorcycle as bold and audacious as Knievel himself. He designed custom bodywork that would turn heads and reflect the larger-than-life persona of America’s most famous daredevil. The bike was decked out with stars, stripes, and a striking bald eagle, embodying the spirit of Knievel’s fearless showmanship and patriotic flair. The result? The Stratocycle—a two-wheeled symbol of guts, glory, and cinematic spectacle.

In Viva Knievel!, the Stratocycle wasn’t just a prop; it became a character in its own right. It perfectly complemented Knievel’s legendary stunts and flamboyant style, further cementing his status as an American cultural icon. Today, the Stratocycle remains a coveted piece of motorcycle history, representing not only Knievel’s daring feats but also the creativity and craftsmanship of Ekins, whose vision brought the bike to life.

Whether admired for its eye-catching design, its role in a classic film, or its connection to one of the greatest daredevils of all time, Evel Knievel’s Stratocycle continues to inspire awe and nostalgia—a true star-spangled legend on two wheels.

*

*

*

Frank Frazetta’s “Kane on The Golden Sea” is an iconic work of fantasy art that captures the brooding, enigmatic allure of Karl Edward Wagner’s legendary anti-hero, Kane. Painted in oil on board, this masterpiece measures 16 x 22 inches and served as the cover art for Wagner’s Darkness Weaves, bringing the dark, ominous world of Kane to vivid life. Frazetta’s signature style, with its dynamic composition and atmospheric detail, perfectly embodies the tension and danger inherent in Kane’s character—a man you’re unsure whether to cheer for or wish against.

Frazetta himself remarked on this deliberate ambiguity: “There is a dark mood going on: you don’t know whether to root for this guy or hope he gets taken out.” This emotional conflict is palpable in the painting’s stormy seas, foreboding light, and the commanding, defiant pose of Kane, standing at the helm of his ship, surrounded by warriors poised for battle.

The partnership between Frazetta and Wagner was a meeting of creative titans. Wagner, known for curating Year’s Best Horror for fifteen volumes and editing the Echoes of Valor series, also made significant contributions to fantasy literature by restoring the original texts of Robert E. Howard’s Conan stories. His later pivot to horror fiction earned him prestigious accolades, including the World Fantasy and British Fantasy Awards, cementing his legacy in the genre. Frazetta’s cover art for Darkness Weaves immortalizes Kane and Wagner’s shared vision, ensuring its place in the pantheon of fantasy literature and art.

“Jungle” Jim Liberman & his first wife Bobbi in the foreground

Carolyn Jones (1930-1983) in a promotional still for 1957 noir crime film “Baby Face Nelson” directed by Don Siegel

*

Mantis…

The Tatin-Mallet monoplane of 1907 represents an extraordinary moment in early aviation, where ambition, ingenuity, and a fair dose of trial-and-error paved the way for modern flight. Designed by Victor Tatin, a visionary with roots in late-19th-century aeronautical experimentation, this aircraft was constructed by balloon builder Maurice Mallet and powered by a 40hp Antoinette engine driving twin pusher propellers. Its daring design was funded by aviation enthusiast and adventurer Comte Henry de La Vaulx, who also piloted the machine on its ill-fated flights.

The monoplane’s maiden voyage at St. Cyr managed to cover 50-70 meters—a modest but promising distance for its time. However, a second flight attempt ended in a spectacular crash, bringing de La Vaulx’s fixed-wing aviation pursuits to an abrupt halt. Not one to abandon the skies entirely, de La Vaulx shifted his focus back to lighter-than-air flight, continuing his ventures in aerostation until his tragic death in 1930, when the passenger plane he was aboard collided with power lines near Newark.

De La Vaulx’s contribution to aviation is punctuated by the introduction of his peculiar “crash suit,” a padded contraption meant to mitigate the dangers of early flight. Equal parts ingenious and comical, the suit was a stark reminder of the risks these pioneers faced. Looking every bit as audacious as his aircraft, de La Vaulx’s “crash suit” captured the essence of a time when flight was a bold, unpredictable, and often hazardous endeavor.

The Great Ape commands you to turn up the volume and let the bittersweet brilliance of “Only Happy When It Rains” by Garbage drench your soul in its sardonic self-awareness and moody introspection. This quintessential 1990s anthem, released in 1995, is a playful critique of grunge-era angst and a celebration of emotional complexity, perfectly capturing the ironic embrace of melancholy that defined the alternative rock scene.

With Shirley Manson’s haunting voice—a blend of detachment and intensity—layered over Butch Vig, Duke Erikson, and Steve Marker’s brooding guitar riffs, pulsating rhythms, and lush electronic textures, the track delivers a dynamic soundscape that teeters between vulnerability and tongue-in-cheek humor. Lines like “Pour your misery down on me” are both earnest and wry, creating a meta-narrative on the indulgence of sadness that perfectly complements the alt-rock aesthetic.

Over the years, “Only Happy When It Rains” has cemented its place as a defining classic of the genre, a signature moment in Garbage’s rise to fame, and a staple of their live performances. Obey the call, revel in the storm, and let this anthem of irony and raw emotion wash over you. Rock on, my primates of pandemonium!

*

*

George Gross

*

*

Congratulations, my cosmic chromeheads and primal pioneers of chaos! You’ve just bulldozed your way through the Bigboy Monthly Manifest, and The Great Ape couldn’t be prouder of your ape-brained resilience. Give yourselves a round of applause—or better yet, a chest-pounding roar—for surviving this massive, mind-melting ride!

Keep the Madness Massive and the Chaos Cosmic!

Manifesto Maravillado – The Marvelous Manifest – isn’t just a zine; it’s a gravity-defying rocket ship fueled by grease, grit, and glorious rebellion. It’s where the bold, the weird, and the unapologetically wild come to play. Each page is a flaming tribute to the art of unfiltered anarchy, where rules are just another thing to be torn apart and reassembled into something beautifully unhinged.

With me, The Great Ape, at the helm, we’re not just cruising through chaos—we’re punching through the stratosphere with a nitro-fueled cocktail of jukebox rebellion, sci-fi grit, and midnight-drenched mayhem. This is the place where dragstrip dreams meet cosmic nightmares, and every story dares to push the throttle past reason.

Imagine neon-lit dystopias, punk-fueled rallies in forgotten wastelands, and tales so defiant they could shatter the stars. This isn’t a ride for the faint of heart—it’s for the chrome-clad warriors, the leather-bound rebels, and the misfits unafraid to lose control.

This month, you’ve proven you’ve got what it takes to survive the BigBoy Monthly Manifest’s colossal chaos. But this is just the beginning—the next issue promises even bigger thrills, bolder twists, and wilder madness. Think you’ve seen it all? Think again, because The Great Ape has a few more tricks up his sleeve.

So keep your engines roaring, your fists pounding, and your hearts blazing, my loyal disciples of destruction. The Great Ape demands your allegiance—and your rebellion.

This isn’t the end; it’s just the next gear. Until next month—stay wild, stay weird, and stay gloriously untamed. FAB!

Oh yer and the Great Ape did write the riff even though he only hit the skins in “Kids Stink, Don’t they?” Give it a play!