Dean

on Vine Auto Repair Building
( original Competition Motors Service department)

Cars
In 1949, Jimmy’s father bought him a ’39 Chevy.
In May 1954 Jimmy purchased a red MG and later purchased a white ’55 Ford stationwagon with wood paneling.
In March 1955 he bought his Porsche 356 1,500cc Super Speedster convertible;
and in September 1955 Jimmy bought his silver Porsche 550 Spyder,
he had the number 130 painted on the hood, and on the back end of the car,
he commissioned car customizer George Barris to paint his nickname "Little Bastard,"
the nickname he got from Bill Hickman, who had been his dialogue coach on Giant.

On your James Dean page you mention that he got the nickname 'Little Bastard' from his friend Bill Hickman.

That is true, but he was not the dialogue coach on 'Giant.' The dialogue coach was Bob Hinkle.

Bill Hickman was a stunt driver and actor friend that Dean met while making 'Fixed Bayonets!' in 1951.

Unfortunately, that info is also incorrect on the official James Dean website.

Here's some info on Bob Hinkle: http://www.imdb.com/name/nm1577834/

Motorcycles
James Dean's Uncle Marcus bought him his first motorcycle, a 1947 Czech Whizzer.
Jimmy also owned an English cycle, a Harley, a 500cc Norton, an Indian 500,
an Italian Lancia scooter and a British Triumph T-110,
which had "Dean’s Dilemma" painted on the side.

James Dean on a Triumph Motorcycle on the set of Rebel Without A Cause with Jim Backus

For the first time, Live Fast, Die Young: The Wild Ride of Making Rebel Without a Cause , by Lawrence Frascella and Al Weisel, tells the complete story behind the movie Rebel Without a Cause, a film that virtually defined our concept of what it means to be young. Set against the backdrop of the Atomic Age, the blacklist and America's burgeoning hot rod mania, the book narrates how 43-year-old director Nicholas Ray, buffeted by a shocking personal scandal, set out on a journey to make the defining film about young people. The book follows Ray as he hangs out undercover with L.A.'s most notorious juvenile gang, presides over auditions of young actors that often turned into violent mêlées and engages in a psychosexual exploration of his three young stars—James Dean, Natalie Wood and Sal Mineo—along the way creating a film that would have a seismic effect on American culture.