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The European Heir Restoring Forgotten American Cars to Glory

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The European Heir Restoring Forgotten American Cars to Glory

Part passion project, part playground, the NB Center for American Automotive Heritage, founded by Nicola Bulgari, has facilities to service and showcase his collection of American cars from the early to mid 1900s.

A giant screen still towers over the site of the former Boulevard Drive-In Theater, a sprawling complex ringed by low-rise buildings in an industrial section of Allentown, Pa. For several decades in the middle of last century, it and other drive-ins showcased the might of America’s auto industry. The theaters — along with drive-through banks, pharmacies, groceries, liquor stores and dry cleaners — were both symbols of how cars were shaping popular culture and places to see all varieties of domestic vehicles.

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The Boulevard Drive-in closed in the 1980s, after about 40 years in operation. But visitors to the site today will notice signs of automotive life. Its hilly landscape has been paved with miles of narrow, curving roads and there is now an old-timey Sinclair Oil gas station on the premises, complete with a glass-tank pump and a sign that flashes the company’s dinosaur logo.

The infrastructure supports what the old drive-in has become: a temple to American cars from the early to mid 1900s.

Called the NB Center for American Automotive Heritage, the private museum was founded about a decade ago by Nicola Bulgari, the 84-year-old vice chairman of Bulgari, the Italian luxury brand that his grandfather started in Rome in 1884. (In 2011, the Louis Vuitton Moet Hennessy conglomerate took control of Bulgari in a multi-billion-dollar deal; in 2023, Mr. Bulgari was convicted of insider trading with LVMH stock in France and fined about $1.4 million.)

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A large garage filled with vintage cars

Vehicles are kept in temperature-controlled facilities and fueled at an old-timey Sinclair Oil gas station that was transplanted to the premises.

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The NB Center, in which Mr. Bulgari has invested at least $10 million, has about 200 vintage cars from his collection (another 100 are in storage in Italy). Nearly all of the vehicles were built between the 1920s and the mid-1950s, in the middle of America, for the middle of the market. There are Chryslers, Chevrolets, Nashes, Oldsmobiles, Studebakers and, most abundantly, Buicks.

Mr. Bulgari knows each of the vehicles by make, year, specification — and often by purchase date and location, too. He rattled off the bona fides of several cars on a recent tour of the center: They included a 1934 Buick 96S with “a smooth reliable engine that is unparalleled,” as he put it; a 1941 Nash with a rear seat that converts into a bed; a 1948 Buick “woody” station wagon with an ash-and-mahogany body.

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There was also a 1934 Chrysler Airflow Coupe, a model emblematic of the aviation-inspired trend toward streamlined automobile design. (Its developers included Orville Wright.) “From 1930 to 1934, a huge change occurred in design, when cars went from being a box, to smoothing down,” Mr. Bulgari said.

He has purchased most of the cars from sellers around the world. But Mr. Bulgari has also received some from donors who share his passion for a genre of automobiles that is prized less by collectors than cars from luxury European brands like Bugatti or Rolls-Royce.

“People ask me, ‘Why don’t you collect Ferraris?’” Mr. Bulgari said, noting that his older brother Gianni used to race a Ferrari 250 GTO in the mid 1960s. “My answer is there are too many Ferrari collectors already. They don’t need me.”

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He feels that the cars he collects do. Mr. Bulgari sees his automotive center as preserving what he calls “the history of the greatest era of the American automobile.”

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Nicola Bulgari in a 1935 Buick 96S Sport Coupe, one of his favorite cars in his collection.

While not currently open to the public, the center has hosted car clubs, philanthropic organizations, researchers and students for tours and events. Like other museums, it will loan out its contents. A 1934 Nash Ambassador from Mr. Bulgari’s collection recently appeared in the Pebble Beach Concours d’Elegance auto show, where the car won a second-in-class ribbon. Other cars or components have been borrowed by the Museum of Modern Art and the Frick Collection.

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Though the types of vehicles Mr. Bulgari collects are from a time when automakers in the United States made significant design and engineering advancements, they have little material value today. They generally sell for mid-five-figure prices (about the average cost of a new car) and restoring one can easily cost five times as much.

That’s largely why “the survivability of those cars is very low” compared with that of blue-chip models preferred by collectors, said Jonathan Klinger, 43, a vintage automobile specialist who spent years working with classic cars at the insurance company Hagerty before becoming the NB Center’s executive director last year.

Mr. Bulgari’s car collection may be less famous than Jay Leno’s and less rarefied than Ralph Lauren’s, but it has a distinct theme, something that Ken Gross, an automotive historian, author and curator, said is essential to any good collection.

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“I personally think what Bulgari has done is wonderful because many of those cars were, if not neglected by collectors, just not paid much attention to,” Mr. Gross added. “Their restoration gives you a glimpse into some cars that you might not necessarily see anywhere else.”

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A box of old, rusted speedometers

Three cars on the ground in a garage and one in the foreground on a lift

A speedometer calibration machine, top left, is used to adjust the accuracy of analog dashboard gauges at one of the center’s workshops.

Mr. Bulgari’s fascination with American cars started in childhood, around the time the Boulevard Drive-In opened in Allentown. “I first saw American cars in 1946 in Lugano, Switzerland,” he said. He was five years old and World War II had just ended. “I don’t have to describe what Rome was like in 1946, after the war,” Mr. Bulgari continued. “It was scary. So it was a bit of a shock to see these magnificent cars.”

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He purchased his first Buick — a toy car — that same year. Not long after, in 1953, he went to watch the Mille Miglia, a 1,000-mile semiregular road race in Italy that first took place in 1927. He was 12, and although the race featured Porsches, Jaguars, Mercedes-Benzes, Aston Martins, Ferraris and Maseratis, Mr. Bulgari recalled dreaming only of seeing a 1953 Chrysler, one of the few American cars in the race.

“American cars had something style-wise that European cars never had,” he said. “And because of strong competition and a growing market, their engines, transmissions and suspensions were so advanced,” he continued, almost breathlessly. “And the metallurgy — they were constantly working on finding better materials, higher quality, longer lasting.”

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To maintain his cars, Mr. Bulgari has brought a handful of small car-restoration businesses to the center, acquiring them in deals that included their equipment and employees (no jobs were lost in the process). The businesses include the former Hyde Villa Machine Shop, which operated in Reading, Pa., for more than 50 years before its owner, Rich Olsen, sold it to Mr. Bulgari two years ago. “We brought in everything — boring machine, crankshaft grinder, milling machine,” Mr. Olsen, 72, said.

A so-called three-olives machine, bottom left, named for the martini garnish it resembles, is used to fabricate fenders and trunk lids.

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Keith Flickinger, the NB Center’s curator and chief operating officer, sold his business, Precision Motor Cars in Allentown, to Mr. Bulgari in 2015, after years of working on various restoration jobs for him. “I used to have dozens of projects from dozens of clients,” Mr. Flickinger, 62, said. “Now I have dozens of projects, but just one client.”

Mr. Flickinger saw folding his business into the NB Center as a way to preserve it, he added, while “preserving American automotive history and mentoring younger craftspeople” like the center’s student interns. They have come from the Pennsylvania College of Technology, Lehigh University in Bethlehem, Pa., and McPherson College in McPherson, Kan., the rare American university to offer a four-year degree in car restoration. Amanda Gutierrez, McPherson College’s vice president for automotive restoration, said the center “has become a valuable educational partner, applying and expanding skills students have developed.”

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Jon Haring, 48, the center’s automotive restoration manager, started working with cars as a teenage apprentice to Mr. Flickinger. Now he spends his days getting Mr. Bulgari’s vehicles in perfect running order — a process that can take as long as two-and-a-half years for a single car, partly because the period-correct parts they can require often have to be made from scratch.

Cars are maintained by a full-and part-time staff of 19 people, some of whom sold their small restoration businesses to the center in deals that included their equipment.

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Charts tracking the progress of restoration work are posted near the entrances to the center’s workshops. The projects are myriad and often arcane: Creating handmade wooden wheels in the style of a 1920s Studebaker with the help of local Amish wheelwrights, for instance, or producing floor mats like those in a 1930s Nash by cobbling together ribbed rubber, casting a silicone mold and pouring in urethane. “It took about 40 hours to make the mats,” Mr. Haring said.

Brad Danish, an upholstery technician, started working full-time at the center in 2015. He had previously spent much of his career working out of the garage of his home in Pennsylvania’s Lehigh Valley. Using a range of industrial sewing machines and custom-made components, Mr. Danish, 66, has stitched seats, door panels, headliners and carpets.

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His craft is exemplified in the restoration of the leather seats in Mr. Bulgari’s 1939 Lincoln Zephyr convertible, which was believed to be the only model of its kind in original condition when Mr. Bulgari bought it for $60,000 in 2016. By then, the leather upholstery had petrified and the stitching had decomposed. Mr. Danish removed, soaked and softened the hides before reupholstering the seats by sewing through their existing stitching holes. That level of reverence to original details, he said, sets “a standard for future restorations of similar vehicles.”

A man operating a sewing machine

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Fabric swatches and a clock on a wall next to a whiteboard with a checklist on it

Brad Danish, top left, an upholstery technician, stitching a wool-broadcloth covering for the front seat of a 1942 Buick Super Sedanette.

Mr. Bulgari said that another goal of the NB Center and its work is to ignite in others the same passion he has for the cars he collects. “What I’m trying to create is something that is contagious, that people understand, and then, on their own, they’re trying to save the cars of this time as well,” as he put it. “What is important is that people get inspiration. Even if they do one car in a lifetime, they save a piece of history.”

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Some who have been to the site have taken up Mr. Bulgari’s cause. Johnathan Trumbo, 25, and Anthony Maguschak, 23, two mechanics at the center, now each own early 20th-century American cars. Mr. Maguschak, who lives in the Lehigh Valley, bought and has been rebuilding a 1939 Buick Special. “I absolutely credit Mr. Bulgari and this place with my interest in old Buicks,” he said.

As for Mr. Trumbo, who also lives in eastern Pennsylvania, he bought a 1931 Ford Model A pickup truck. “My friends all have their things — they’re into computers or electronics,” he said. “This is my thing. And they think it’s cool.”

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Soo Catwoman, ‘the Female Face of Punk,’ Is Dead at 70

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Soo Catwoman, ‘the Female Face of Punk,’ Is Dead at 70

In 1976, Susan Lucas asked a local barber in Ealing, West London, to part the back of her short hair — which she greased on the sides to emulate the Bride of Frankenstein — and shave off the entire middle section.

“He was very shocked and I think he thought I was kidding at first,” she recalled in a 2009 interview. But eventually he relented. When he finished shearing off almost all her hair, she said, “I think he felt bad about what he’d done.”

Two tufts remained, one on either side of her shaved head, flared upward to resemble cat ears.

“I was really pleased with it,” she said.

She dyed her new ears black, slicked them up with dabs of Vicks VapoRub and christened herself with a new name: Soo Catwoman.

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That summer, she met and befriended Sid Vicious and Johnny Rotten of the Sex Pistols at Club Louise, a hotbed for musicians on the growing punk scene. She emerged as the face of that scene when she graced the cover of Anarchy in the U.K., a Sex Pistols fanzine.

With long tendrils of eyeliner swiped across her lids, a black star on her cheek and a skull dangling from one ear, her look, as well as her expression — a devil-may-care gaze that refused to waver — became a defining image of the vibrant, corrosive glamour of British punk.

“For me, rock ’n’ roll is all about haircut and attitude,” Bob Gruen, a photographer who documented the early punk era, said in an interview. “And she had both.”

Soo Catwoman died on Sept. 30 at a hospital in London. She was 70. Her daughter, Dion October Lucas, said the cause was complications of meningitis.

The fanzine photograph was published without her knowledge, and her face was soon reproduced on countless T-shirts and posters, often without permission or payment.

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“It seems that my face and image, my ‘art’ as some have called it, has been hijacked,” she said in 2009, adding, “I’ve lost count of the amount of things that my face has since been used to publicize over the years, from books to clothing and everything in between.”

As her likeness became synonymous with punk, Soo Catwoman was a frequent presence in British newspapers. She was later portrayed onscreen in Julien Temple’s mockumentary “The Great Rock ’n’ Roll Swindle” (1980) and in the 2022 mini-series “Pistol.”

Her D.I.Y. ethos influenced designers including Thierry Mugler, Chanel and Junya Watanabe, whose models strutted down the runway wearing warped Union Jacks and spiked hair. Keith Flint of the band the Prodigy fashioned his own acid-green cat ears after hers.

Soo Catwoman “was the female face of punk, the sexual opposite of Johnny Rotten,” Mark Perry wrote in his book “And God Created Punk” (1996). “Next to Vivienne Westwood she was the most influential woman in punk fashion. If she wore something, others followed.”

Susan Helene Lucas was born on Oct. 24, 1954, in London to John William Lucas, who was in the merchant navy, and Mary (Cobb) Lucas. She was the 10th of 15 children, and her parents joined two houses in the Chiswick area to make room for their large family.

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As a teenager, inspired by the flamboyance of glam rockers like David Bowie, Susan dyed a pink stripe into her pointed bangs.

At 21, after debuting her signature haircut, which she paired with jewelry made from found objects like needles and broken razor blades, she became a fixture, photographed with Billy Idol and members of the Damned. For a time in the 1970s, she shared a flat with Sid Vicious and earned the nickname Auntie Sue for her kindness toward him.

In 1979, she contributed backing vocals to the Invaders’ album “Test Card” and sang lead on their single “Backstreet Romeo.” In 1989, after a long absence from the scene, she resurfaced to record a cover of the O’Jays song “Back Stabbers” with Derwood Andrews of Generation X and Rat Scabies of the Damned.

As punk permeated the mainstream, Soo Catwoman largely withdrew from the public eye. She went from being “insulted on a daily basis,” with people avoiding her on public transportation “as if I were contagious,” to watching privileged strangers infiltrate the scene. “Those of us with holes in our jumpers didn’t actually put them there on purpose,” she said in a 2007 interview with the website Punk77.

“I had an exhibit in London a while ago, and Soo came to the opening,” Mr. Gruen said, “and she was this sweet English housewife.”

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Speaking to The Times of London after her mother’s death, Dion Lucas said, “Although she was the epitome of punk, as far as her image, she was a hippie underneath it all.”

She home-schooled her children for a while and led an effort to save a tree outside their school. In her free time, she read the Romantic poets and listened to music ranging from Neil Young to Motown.

In 2008, her daughter launched a campaign to reclaim her image. She silk-screened T-shirts and printed tote bags, which she and her mother sold online.

“My mother’s image has at times been associated with negativity, words like ‘destroy’ and ‘anarchy,’ and the mental pictures they conjure up don’t really fit with the person she is,” Dion Lucas said in 2009. “Her beliefs are more about a mental revolution — about people learning to think for themselves.”

In addition to her daughter, Soo Catwoman is survived by a son, Shem Lucas; 10 brothers, Paul, John, Tony, Steve, Joe, Jim, Dave, Robert, Roland and Adam; a sister, Linda Lucas Kenny; and four grandchildren.

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Reflecting on her legacy on her Myspace page years ago, Soo Catwoman seemed bemused by the evolution of the look she helped create.

“It still seems strange to me that what happened back then could bring about so many changes, in hair, music, fashion, etc.,” she wrote. “It seems quite funny that what started out as anti-fashion became fashion in itself.”

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Jake Paul Reveals He’s Sparring W/ Shakur Stevenson To Prep For Gervonta Davis

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Jake Paul Reveals He’s Sparring W/ Shakur Stevenson To Prep For Gervonta Davis

Jake Paul
Shakur Stevenson Is Helping Me Prep For Tank Davis!!!

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Video: The Knicks’ Josh Hart Shares His Secret to a Strong Marriage

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Video: The Knicks’ Josh Hart Shares His Secret to a Strong Marriage

new video loaded: The Knicks’ Josh Hart Shares His Secret to a Strong Marriage

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The Knicks’ Josh Hart Shares His Secret to a Strong Marriage

Josh Hart of the New York Knicks takes us beyond the court to his home. Mr. Hart and his wife, Shannon, open up about their relationship and love languages, and he shares with us a side of him you don’t see on game day.

“We’ve known each other for about 15 years, basically half of our life. And we’ve always been that consistent person in each other’s life. We always were there for each other.” “It was like consistent communication.” “We push each other to be better. We both give each other tough love. It’s never what we want to hear. But it’s always what we need to hear. We never try to sugarcoat anything.” “My love language, I would say quality time and probably physical touch.” “Definitely physical touch. That’s her love language. Back scratches is her love language. For me, my love language, I probably would say words of affirmation.” “I’m not very lovey-dovey in my words of affirmation, but I think just through my support during the season and my tough love — He doesn’t see it as affirmation, but it is.” “Do I see it as affirmation? That’s a great question. You always appreciate someone for always being real with you. I’m the super laid back, calm one. When calmness is needed, it’s a hundred percent going to be me.” “Yeah, but sometimes he’s too calm. Which is also like, What’s wrong with you?” “On the court, it’s totally different. My role on the court is to be fiery, to play with my heart on my sleeve and show that passion and that competitiveness. But me as a person is super chill, super laid back, kind of just going with the flow. Whatever happens, I’m going to figure it out.” “I’ve got to win every argument, every conversation.” “She’s super competitive. Becoming parents probably changed our relationship, for sure, for the better.” “You always hear that kids can tear you guys apart or it’s so hard, this and that. But we’ve honestly gotten closer, so it’s helped us.”

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Josh Hart of the New York Knicks takes us beyond the court to his home. Mr. Hart and his wife, Shannon, open up about their relationship and love languages, and he shares with us a side of him you don’t see on game day.

By Chevaz Clarke, Sadiba Hasan, Thomas Vollkommer and Srdjan Stojiljkovic

October 21, 2025

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