Speaker 1: Hey, everybody, This is Chuck and welcome to this week's
Speaker 1: edition of the Stuff You Should Know Saturday Curated selects. Uh.
Speaker 1: This week I decided to go with how Exploitation Films
Speaker 1: Work from April four, two thousand eleven. And Uh, this
Speaker 1: one was an easy pick because I like all of
Speaker 1: our movie episodes and I think Josh might have put
Speaker 1: this one together way back in the day when we
Speaker 1: recorded it, and it was just really cool, and um,
Speaker 1: not only do we get to talk a lot about
Speaker 1: just some of the great exploitation films, but just a
Speaker 1: little bit about the history and how they came about.
Speaker 1: So I just remember really enjoying recording this one and
Speaker 1: got great feedback on it. So give it a shot,
Speaker 1: and if you've already listened to it, give it another shot,
Speaker 1: is what I suggest. Enjoy. Welcome to Stuff you Should
Speaker 1: Know from House Stuff Works dot com. Hey, and welcome
Speaker 1: to the podcast. I'm Josh Clark, There's Charles W. Chuck Bryant.
Speaker 1: This is Stuff you Should Know the podcast and kind
Speaker 1: of a special edition. Frankly, I am a little excited, Chuck,
Speaker 1: I'm a little giddy. Shut your mouth. That's yeah, okay, sure, Um,
Speaker 1: this is Uh, this is our first ever movie centric podcast, right,
Speaker 1: movie centric for sure. Yeah, we've mentioned movies of course
Speaker 1: all the time, but this one is like, this is
Speaker 1: all about movies. Um So this is by by popular
Speaker 1: request to an extent, people want to see like, um
Speaker 1: I want they want to hear us talk about movies
Speaker 1: and just do a movie podcast. So we decided to
Speaker 1: focus on exploitation films. This is also probably the first
Speaker 1: podcast that we're gonna say if you are a teacher
Speaker 1: of children in eighth grade or younger, and you're using
Speaker 1: this as a teaching tool, you might want to go
Speaker 1: to the one before this or the one after. Yeah,
Speaker 1: we don't generally try to alienate on it says we're
Speaker 1: not attempting to now. It's just a natural byproduct of
Speaker 1: the exploitation film. I can't talk about exploitation films without
Speaker 1: talking about some lurid subject matter. You can't say exploitation
Speaker 1: without they weren't exploiting, just people being nice, right, nice exploitation. So, Chuck,
Speaker 1: I went and saw a movie the other day called
Speaker 1: I Saw the Devil. It's a Korean movie. It's by
Speaker 1: the guy who did um The Tale of Two Sisters.
Speaker 1: I think he said, more violent than Old Boy. Yeah,
Speaker 1: they got old Boy is one of the main characters.
Speaker 1: And I've seen Old Boy. I've seen um uh, what's
Speaker 1: the other one? He did the Vampire movie first. I
Speaker 1: think it's pretty good. It was okay, um this one
Speaker 1: is it's the most violent thing I've ever seen in
Speaker 1: my life. It's the most graphically violent movie I've ever
Speaker 1: seen in my life. Um. The only the only reason it, like,
Speaker 1: I was able to complete because I'm like, this is
Speaker 1: it's a movie, but I walked out of it like
Speaker 1: it's so over the top, it's so gory. It's clearly
Speaker 1: an exploitation film. Yeah. Yeah, but the problem is is, like, really,
Speaker 1: if you start to look around John Hughes, films technically
Speaker 1: are exploitation films. The Breakfast Club is technically an exploitation film. Yeah,
Speaker 1: there's a big wave of teen exploitation films and we'll
Speaker 1: get to that. But yeah, you're right. So one of
Speaker 1: the broader definitions of exploitation films is basically anything that's
Speaker 1: really like over the top, that is beyond reality, um
Speaker 1: or that maybe focuses on people's fears, um uh, their
Speaker 1: their sexuality, um and basically just kind of serves it
Speaker 1: up in a larger than life manner. That's one way
Speaker 1: of looking at exploitation films. Yeah, you're basically they're exploiting, um,
Speaker 1: some of the seedier aspects of humanity most times, sure,
Speaker 1: like murder or sex, like weird sex, that kind of
Speaker 1: thing sex, weird sex, teenage is rebelling against parents, sure,
Speaker 1: like weird science. Have you ever been to a party
Speaker 1: where a couch shot out of the chimney and into
Speaker 1: the pond? I mean it's a pretty nice party. I
Speaker 1: don't think it's ever really happened, you know. Um, So
Speaker 1: that's the vast definition of exploitation. But you and I
Speaker 1: are um kind of qualified to teach a cinema cinema
Speaker 1: class at like maybe a low level community college at
Speaker 1: this point after the amount of research we've done in this,
Speaker 1: and we found that academically there's a there's a much
Speaker 1: more distinct um definition for exploitation, and it's seemingly interchangeable
Speaker 1: term grindhouse. Right, Yeah, what's the Is there a definition definition?
Speaker 1: It's it's more like a time frame, so from like
Speaker 1: nineteen nineteen when they really first started making movies to
Speaker 1: I think nineteen sixty nineteen fifty nine when the Haze
Speaker 1: act went away, that was exploitation, and then after that
Speaker 1: it became grindhouse. It's my understanding. Okay, so let's do
Speaker 1: this all right, Well, that's the old joke, was that? Uh?
Speaker 1: In In the awesome documentary American Grindhouse, which documents this
Speaker 1: this era of filmmaking, the old joke, one of the
Speaker 1: guy says is that um exploitation films began five minutes
Speaker 1: after the camera was invented, the motion picture camera, because
Speaker 1: the guy was like the directors like to his girlfriend, Hey,
Speaker 1: would you mind taking your clothes off to the camera exactly,
Speaker 1: So it's it says something about the human condition that
Speaker 1: you invent the film camera, and the first moving images
Speaker 1: were often lurid um Edison's film that showed clips of
Speaker 1: like decapitations and violence and guys fighting and naked women
Speaker 1: um as film tests. So it's just that says a
Speaker 1: lot about people, like, all right, now we know how
Speaker 1: to capture things, so let's capture sex and violence first,
Speaker 1: right and um although that really kind of jibed with
Speaker 1: public taste, or at least public fascination, Uh, it didn't
Speaker 1: jibe with the prevailing standards, the agreed upon standards, right right? Uh,
Speaker 1: I thin Heast in nineteen nineteen. But the first exploitation
Speaker 1: film was Trafficking Souls or Wild New York Sleeps and that,
Speaker 1: like you said, exploitation often plays into fear. Is that
Speaker 1: played into the fear at the time of the White
Speaker 1: slave trade? Uh. Budget of fifty seven grand and gross
Speaker 1: four and fifty thousand dollars, which is a lot of doubt.
Speaker 1: That is a ton of though. And that was Universal
Speaker 1: Pictures and they went, hey, come onto something here. Right
Speaker 1: after that was released the Hayes Code. Um. Will Hayes
Speaker 1: was the Postmaster General and Presbyterian elder um and he
Speaker 1: was making a hundred grand a year during the depression. Unbelievable,
Speaker 1: right he Uh. He basically said, like, look, we need um,
Speaker 1: we need to apply some moral standards to filmmaking. There's decapitation,
Speaker 1: there's naked breast, there's there's white white slavery, Like we
Speaker 1: need to we need to pure this up. Right. Well,
Speaker 1: actually there wasn't nudity yet like those early test films.
Speaker 1: There were, but nudity. We'll get to that later. But yes,
Speaker 1: that's what Hayes trying to do. And like um prohibition
Speaker 1: didn't exactly quell drinking um. The Hayze Code actually sort
Speaker 1: of gave rise to the exploitation movement. Yeah, it's just
Speaker 1: like just like prohibition, just like marijuana prohibition, just like
Speaker 1: well any drug prohibition. Any time you say you can't
Speaker 1: do this, you can't have something that you want, the
Speaker 1: somebody else is going to operate in a black market.
Speaker 1: A black market's going to spring up, simple economics, and
Speaker 1: that's exactly what happened, and that's where exploitation cinema came up.
Speaker 1: It's like, you can't get this from Hollywood because Hollywood
Speaker 1: has to play by the rules. But my production studio
Speaker 1: is my model t and let's go make this movie.
Speaker 1: Give me some money. I'm going to film a child
Speaker 1: being born close up and put it in the movies. Yes,
Speaker 1: and you can do that. You can make your movies
Speaker 1: all day long. But if they're never exhibited, then what
Speaker 1: good are you doing or not? Like they were trying
Speaker 1: to do some good, but you're not making any scratch.
Speaker 1: So the forty Thieves they talked about in the in
Speaker 1: the documentary, where these filmmakers and exhibitors basically that traveled
Speaker 1: around like Carney's setting up these sort of guerrilla film
Speaker 1: screenings and some places sort of out of the way
Speaker 1: where they can't get caught. And that was, uh, for
Speaker 1: the first time, you know, they were taking films outside
Speaker 1: of the main stream different Sometimes they weren't even theaters.
Speaker 1: They would show themen like VFW halls if you want
Speaker 1: to go see Birth of the Baby films. Apparently they
Speaker 1: were popular. Yeah, that was a whole genre, early genre
Speaker 1: of well and so was early on a lot of
Speaker 1: the film centered around like how to wear a condom
Speaker 1: and sex hygiene films. Yeah, because there was no information
Speaker 1: about that out there, and so exploitation filmmakers, whether um,
Speaker 1: disingenuously or genuinely, um, we're presenting their stuff like this
Speaker 1: is a public service. People need to know this and
Speaker 1: and making movies about it. But also and people were
Speaker 1: going on that excuse as well, like well, I needed
Speaker 1: I need to know about this. But at the same time,
Speaker 1: it's like I want to see this the craziest thing
Speaker 1: I'll ever see in my life, you know, on screen
Speaker 1: or they argued a lot of times that they were
Speaker 1: cautionary tales. If they were about drugs or violence, they
Speaker 1: would say, hey, this could happen to you, so you
Speaker 1: should educate yourself. But what they really want to do
Speaker 1: is get the movie scene and make some money. Exactly
Speaker 1: um paramount decision of this is pretty big. The Supreme
Speaker 1: Court voted that movie studios could no longer own their
Speaker 1: own movie theaters. At the time, you know, there would
Speaker 1: be like the Paramount Theater in Hollywood from the paramount
Speaker 1: film production company they would show their movies. Supreme Court
Speaker 1: said no more. And all of a sudden, exploitation films
Speaker 1: became a little bit more legit because the Hayes coat
Speaker 1: kind of fell apart. And this is post World War two,
Speaker 1: so people have seen a lot of death recently, well
Speaker 1: out of death, and then are they thought ladies in
Speaker 1: a suggestive roles were good for morale And there was
Speaker 1: a little bit of loosening on the sex thing a
Speaker 1: little bit post World War two. And that led to
Speaker 1: another sub genre um of exploitation film, the nudist colony film,
Speaker 1: which were which were pawned off as documentaries. A lot
Speaker 1: of well most of these were pawned off as documentaries
Speaker 1: which legitimized them. But really it was maybe maybe it
Speaker 1: actually was filmed that a news can't probably not. Mostly
Speaker 1: they were actors and actresses just engaged in archery naked
Speaker 1: or um long walks naked. There could be no sex
Speaker 1: still that was still taboo, but it was just like
Speaker 1: naked pretty people at a nudist colony, which is interesting
Speaker 1: because you're not a nudist, will come learn about them exactly? Yeah.
Speaker 1: After that, through the history we had things like, um,
Speaker 1: the teen like you said, the teen Rebellion of the
Speaker 1: fifties with that rebels out of Call as in Black
Speaker 1: Boar Jungle, and movies like that. All of a sudden,
Speaker 1: we're targeted specifically at teens, which was new, and then
Speaker 1: drive in theaters were built so teenagers could see movies
Speaker 1: where their parents weren't going to be. Apparently the adults
Speaker 1: didn't go to drive ins a lot at first. It's
Speaker 1: all kids. I didn't know that, so they showed exploitation
Speaker 1: films and then later the beach films, which were marketed
Speaker 1: as It's silly, It's Frankie avalon, but they were decidedly
Speaker 1: weird and overtly sexual sometimes and then chuck if you
Speaker 1: if if you'll notice, Um, we're kind of progressing along
Speaker 1: in this um um chronological order, and each thing is
Speaker 1: kind of being built on the last. It was very
Speaker 1: much a step process, right, and um, apparently that that
Speaker 1: was kind of the form that exploitation filmmaking followed until
Speaker 1: nineteen sixty. It was just it was centered around drugs, violence, sex,
Speaker 1: and in a lot of ways they were presented as documentaries.
Speaker 1: They might not have a plot, um, And basically it
Speaker 1: was one person would make some film and it would
Speaker 1: just break all the rules, and then then a bunch
Speaker 1: of other people would make similar films and the same
Speaker 1: that that was the way it went. And then um,
Speaker 1: in the nineties sixties, things just started to go every
Speaker 1: which way, all sorts of directions. Right, So nudity nudity
Speaker 1: films were a long standing thread of exploitation films and
Speaker 1: then they probably reached their pinnacle with Russ Meyers, right,
Speaker 1: King of the Nudies is what he's called. Yeah, he
Speaker 1: was the first guy too. He's significant because he was
Speaker 1: the first director to have films featuring nudity that actually
Speaker 1: we're uh dramatic narratives and had plots and characters, and
Speaker 1: they weren't classified as documentaries anymore. And then the Roughies
Speaker 1: came along and they offered up violence for the not
Speaker 1: first time, but uh big time for the first time.
Speaker 1: And uh that has a lot to do with the
Speaker 1: fact that it was the sixties and Kennedy was shot
Speaker 1: in the United States was just becoming increasingly violent. America
Speaker 1: lost its innocence. Yeah. Um. And the other thing that
Speaker 1: really happened in the nineteen sixties was the Hayes Code
Speaker 1: officially won away, was replaced by the m p a
Speaker 1: A and the the I guess the longstanding UM prohibition
Speaker 1: on Hollywood producing exploitation films was it was lessened decreased,
Speaker 1: and so studios were like, oh, we can make money
Speaker 1: over here too, Well, let's start making exploitation films. And
Speaker 1: this is where grindhouse was born. So my uh cinema
Speaker 1: professor definition of grindhouse is big budget, studio backed exploitation films. Okay, yeah,
Speaker 1: that's that's mine. I like it. That's gonna be a
Speaker 1: quiz question later. I'll go with that. Um. Actually, back
Speaker 1: up one second. We got to mention Herschel Gordon Lewis.
Speaker 1: He was a director, um, who had a co director.
Speaker 1: I can't remember the other guy's named you. Anyway, he
Speaker 1: was he was a co director and he was one
Speaker 1: of these exploitation guys that was getting frustrated because there
Speaker 1: weren't a lot of places to show your movies, so
Speaker 1: it was pretty crowded marketplace. So he said, what's the
Speaker 1: one taboo that like, people will pay to see that
Speaker 1: you you're allowed to show in theaters, but that uh,
Speaker 1: studios won't make And it was Gore. Oh yeah. He
Speaker 1: was the first guy to start showing really disgusting bloody
Speaker 1: scenes in his movie Blood Feast. Blood Feast, which actually
Speaker 1: was three years after Psycho, and Psycho also did a
Speaker 1: lot for the mainstream, ushering in of a little bit
Speaker 1: of Gore in that. But there's like a shot of
Speaker 1: blood following Janet Lee's murder, you know, which is I
Speaker 1: imagine it's pretty graphic for Hollywood, and that's what you
Speaker 1: think of. You're like, oh, those stupid sixties, but that's
Speaker 1: you know, they're they're so naive. Like that was controversial,
Speaker 1: not really though, Like if you stepped just slightly outside
Speaker 1: of Hollywood, you ran into things like Blood Feast or
Speaker 1: you know, Last House on the Left, Yes, that's nineteen
Speaker 1: seventy two, I think, yeah, Wes Craven. So that was
Speaker 1: important because Um, all of a sudden, a drugs started. Uh,
Speaker 1: well three things. Political uh themes started popping up, sexual freedom,
Speaker 1: the youth generation. Drugs started popping up in movies for
Speaker 1: the first time, drug use. Well not for the first time,
Speaker 1: we'll talk about reefer madness, um, but teenagers were depicted
Speaker 1: as victims of violence for the first time. Like Last
Speaker 1: House on the Left, I believe is kind of regarded
Speaker 1: as the first teen slasher film. Yeah, Wes Craven, It's
Speaker 1: it was almost a snuff film. It was almost regarded
Speaker 1: like that. It's pretty hardcore, but yeah, it definitely blood
Speaker 1: Feast definitely allowed Last House on the Left to come around.
Speaker 1: But it also probably more directly UM formed the foundation
Speaker 1: for UM slasher exploitation, like Friday the Thirteenth, Nightmare on
Speaker 1: Elm Street. Absolutely, um My Bloody Valentine's another big one.
Speaker 1: Yeah the Crazy Oh yeah that was in a original right,
Speaker 1: there's a remake now, I think, yeah, yeah remakes. Uh
Speaker 1: so that brings us we're in the seventies. UM. Politically
Speaker 1: charged movies brought race into the to the mix, and
Speaker 1: all of a sudden, we had black exploitation or black
Speaker 1: exploitation UH movement starting exploiting the civil rights movement basically.
Speaker 1: But the cool thing about black exploitation films is for
Speaker 1: the first time you had African Americans as heroes. Yeah,
Speaker 1: and not heroes in a typical sense, not even anti heroes,
Speaker 1: but heroes that were like, they didn't ride into town
Speaker 1: on on a white horse or wearing a white hat.
Speaker 1: They very clearly wore black hats if need be, Like
Speaker 1: they would engage in crime, they would murder people if
Speaker 1: need be. They were um. They were basically like the
Speaker 1: um face of Black America coming out of the Civil
Speaker 1: rights are like, we're ticked off, you know, and we're
Speaker 1: gonna stick it to the white man, stick it to
Speaker 1: the man, and we're gonna do it in these movies. Chuck,
Speaker 1: I know the movie. You're about to um to mention.
Speaker 1: Let's this is it? You keep the fathing me. You
Speaker 1: my man, you're my favorite man. Can take it, baby.
Speaker 1: So yes, that was a landmark film for a lot
Speaker 1: of reasons. One because it grows four million bucks and
Speaker 1: it made the major studio say, hey, you know what
Speaker 1: the black hero is marketable? Yeah, well you haven't said
Speaker 1: the title yet. Oh I didn't know. You gotta say it, right,
Speaker 1: to Melvin Van People's film Sweet Sweet Backs, badass song
Speaker 1: that was well done. That was Melvin Van Van Peebles,
Speaker 1: whose last name may sound familiar. He's the father of
Speaker 1: Mario Van Peebles. For your younger cats listening to this one, Um,
Speaker 1: cats are age, actually younger cats, because he's kind of like, okay,
Speaker 1: so cats are Yeah, that's Mario Van People's dad, you know,
Speaker 1: New Jack City. Yeah, exactly. Um. So Melvin Van Peoples
Speaker 1: made this movie. He produced it, he raised the money
Speaker 1: for it, he wrote it, he directed it, he starred
Speaker 1: in it. And it was the beginning of the black
Speaker 1: exploitation sub genre, which is one of the most important
Speaker 1: genres of any American cinema absolutely ever, absolutely, and so
Speaker 1: considering how important that subgenre is, this quote from Time
Speaker 1: Magazine's film critic Richard corless Um should really hit home.
Speaker 1: Sweet Sweet Back uh is quote, without question or competition,
Speaker 1: the most influential movie by a black filmmaker. So this
Speaker 1: is a really big deal, right, yeah, And it was.
Speaker 1: It was just quickly on the plot. It was about
Speaker 1: a black man who was a jiggielow who had as
Speaker 1: a male prostitute for you younger cant and he had
Speaker 1: a deal worked out with the cops where he was.
Speaker 1: He said, you know, you can arrest me as much
Speaker 1: as you want, release me right afterward. Fill your quota.
Speaker 1: It's all good. And then one day while the arrest
Speaker 1: is going down, they the cops attack a black panther
Speaker 1: and Sweet Sweet Back kills one of the cops and
Speaker 1: then just said, he just goes on a rampage against
Speaker 1: the white man after that. Ye. So you've got um prostitution, um,
Speaker 1: tons and tons of nudity, insects um, lots of violence um,
Speaker 1: and uh other crimes all wrapped up into a black
Speaker 1: power theme. That's right. Uh. And then to top it
Speaker 1: all off, you have what is arguably a child sex
Speaker 1: scene starring Mario van People's Melvivan People's son I think
Speaker 1: age six, having sex as Sweet Sweet Back. It's his
Speaker 1: first sexual encounter with an older person. Um. And in
Speaker 1: the cold podcast, if he became a cult leader, he
Speaker 1: would have taken a younger bride, remember I am. That's right.
Speaker 1: So if you're interested in in that movie and you
Speaker 1: can't get enough of Sweet Sweet Backs bad ass song, um,
Speaker 1: you could also check out bad Ass exclamation Point, which
Speaker 1: is Mario van People's biopic about his father making that movie.
Speaker 1: That's right, And I have not seen that, but I
Speaker 1: wanted to at the time, and it just sort of
Speaker 1: slipped at the cracks. There's always Netflix, baby, that's right.
Speaker 1: Uh and uh what happened with um, Sweet Sweet Back
Speaker 1: was that, like I said, that told the studios, hey,
Speaker 1: that we can market this, and so they got a
Speaker 1: little more mainstream with movies like super Fly, which were
Speaker 1: a little safer shaft shaft movies at wide audiences would
Speaker 1: enjoy as well. Yeah, the ones that didn't scare the
Speaker 1: man exactly like Cheft's a good guy. He doesn't take
Speaker 1: any guff from them, and but the people he's not
Speaker 1: taking guff from or the cops, who's really on the
Speaker 1: same side as That's right. So chuck um blaxploitation obviously
Speaker 1: huge affected everything from um, you know, Menace to Society
Speaker 1: to Blackula. All of that came from Sweet Sweet Back.
Speaker 1: And um we mentioned the guy who directed this next movie,
Speaker 1: Russ Myers. Um, this is probably a seminal work. Let's
Speaker 1: listen to this clip from the trailer. You ladies and
Speaker 1: gentlemen go go for a wild, wild ride with the
Speaker 1: White Cats, but be aware the sweetest kittens, have the
Speaker 1: sharpest claud for your own safety. See Faster pussy Cats
Speaker 1: Kill Kill wild when wild whales race the fastest pussy
Speaker 1: cats and they'll be jilling your stuff on this kid
Speaker 1: then hanging it up. Nothing. He's got nothing to do
Speaker 1: with the money. The money, jack and chill. They make
Speaker 1: a maffia look like brownies. They make the mafia look
Speaker 1: like brownies. That's right. That says quite a bit about them. Um.
Speaker 1: So this that was faster Pussycat Kill Kill Um. In
Speaker 1: the nineteen sixty five Rust Myers UM basically women exploitation
Speaker 1: film NUDI film. Remember Russ Myers was King of the Nuties.
Speaker 1: He made twenty six movies. But this is probably at
Speaker 1: the very least is his best known, uh, if not
Speaker 1: like his masterpiece. Yeah, and he hatched a slew of
Speaker 1: I mean not that he wasn't legit. He was, but
Speaker 1: what mainstream people would callegit. Filmmakers were came up through
Speaker 1: the Russ Meyer film camp. Basically Yeah, so it's pretty cool. Yeah,
Speaker 1: UM and rust Me are also little known fact. Another
Speaker 1: movie that's mentioned in this article. There's an article on
Speaker 1: the site, by the way called ten Noteworthy exploitation films
Speaker 1: that this is based on written by you yeah, um,
Speaker 1: which I shall only recommend going to read because it
Speaker 1: has a lot of extra stuff we're not going to
Speaker 1: cover in this one, or at least extra movies. But
Speaker 1: um russ Meyer directed a movie called Beyond the Valley
Speaker 1: of the Dolls too, right, which was the bastard son
Speaker 1: of the legitimate film. But Beyond Valley and Dolls is
Speaker 1: a jiggle fest written by none other than Roger Ebert's right, yeah,
Speaker 1: the movie Roger Ebert ever wrote, Yeah, he had aum. Yeah,
Speaker 1: it was a very brief career. But that's a that's
Speaker 1: an illustrious one really. Uh yeah, So if you're going
Speaker 1: to talk about the plot, a faster pussycat kill kill um.
Speaker 1: And I say that because there's three exclamation points. Exclamation
Speaker 1: point kill three exclamation points. Okay, I thought it was
Speaker 1: a comment then too. All right, either way, that's a
Speaker 1: lot of punctuation for a film title. And uh, it
Speaker 1: was about three bisexual go go dancers. They go on
Speaker 1: a crime spree out in the desert and what do
Speaker 1: they do? They end up killing a man or no,
Speaker 1: they kill the man in a couple keep a girl.
Speaker 1: They basically empower her, yes, come on with her by
Speaker 1: murdering her boyfriend, and she ends up on the crimes
Speaker 1: for you with them, and they basically end up going
Speaker 1: to an isolated house with a wheelchair bound old man
Speaker 1: and his son's who's allege they're all leeches. They have
Speaker 1: these women, Yeah, but they don't know that these women
Speaker 1: are tough ladies. And the men and his son, the
Speaker 1: man and his sons apparently um are allegedly have a
Speaker 1: large amount of cash statched in this house. So it's
Speaker 1: kind of like a standoff of of m gall who
Speaker 1: will come out on top? Well, and you know who
Speaker 1: comes out on top? Uh. And this film was noteworthy
Speaker 1: for one big reason was that, Uh, there's a lot
Speaker 1: of dualism towards gender. So on one hand, he's exploiting
Speaker 1: these women and apparently got women in their first trimester
Speaker 1: of pregnancy so they were more voluptuous. Yeah, not in
Speaker 1: this film, but in his other films he he would
Speaker 1: hire um. I can't remember the lady's name, but the
Speaker 1: star of Fester pussy Kill Kill is in other Russ
Speaker 1: Meyers films, and um he made sure that she was
Speaker 1: like well to her third first trimester to to enhance
Speaker 1: her natural bustinus. That's right, her bosom if you will.
Speaker 1: But the script, like I said, it was dualism because
Speaker 1: while he did that, it also empowered women because the
Speaker 1: women in his films bowed to no man. No, they
Speaker 1: were the champs, they were the they were heroines really
Speaker 1: for the first time. But they were they were objectified
Speaker 1: very clearly. But at the same time, if you follow
Speaker 1: the script and really look at their characters, then yeah,
Speaker 1: they're they're powerful women. And this uh kind of kicked
Speaker 1: off a big slew of women exploitation films, exploitation films,
Speaker 1: the women in Prison movies, yes, which relead sisters very
Speaker 1: big at the time. Uh, women were lead actors for
Speaker 1: the first time, they were aggressors for the first time.
Speaker 1: Uh still nude often while they were doing this stuff
Speaker 1: spawned the television show The Facts of Life. But the
Speaker 1: interesting thing is they found that these movies appealed to
Speaker 1: men and women because men would go see it for
Speaker 1: obvious reasons. Women would go see it because it was
Speaker 1: empowering and uh, they didn't mind, you know, looking at
Speaker 1: the naked ladies because women are much more grown up
Speaker 1: than men are. But Josh, the seventies also got a
Speaker 1: little schlocky, which in a sense was true to the
Speaker 1: exploitation model. They like, they really went over the top.
Speaker 1: No more political statements, no more advancing of women's gender
Speaker 1: or or African marins Americans. It just got really shlocky
Speaker 1: and outrageous at that point. Well what happened and starting
Speaker 1: in the sixth but really took hold in the seventies,
Speaker 1: and then from that point on was exploitation cinema, early
Speaker 1: on showing a live birth, nudist camps. These were all
Speaker 1: geared toward adults in the sixties, and then later on
Speaker 1: big time in the seventies, the audience became almost exclusively
Speaker 1: teenagers like those driving teenagers or um uh well teenagers
Speaker 1: anywhere who cares um, but they the the audience was teenagers,
Speaker 1: and the cast started to become teenage, so it had
Speaker 1: a little more of a bent on what teenagers are
Speaker 1: having to deal with, like bullying, like the the kid
Speaker 1: in this next clip right, which is I have to
Speaker 1: say one of my favorite movies from way way back.
Speaker 1: Here we go with Toxic Avenger. Yah, meet little Melvine.
Speaker 1: He's a ninety pound weekly Everyone hated Melvine. I'm gonna
Speaker 1: take this mop and shop it down your throat, they
Speaker 1: teased him. I'm gonna do it with you, okay. They
Speaker 1: taunted him. They tormented him until he had a horrifying
Speaker 1: accident and fell into a vat of nuclear waste, transforming
Speaker 1: Little Melbourne into a hideously deformed creature of superhuman signs
Speaker 1: and strength move and became the Toxic Avenger. So Josh.
Speaker 1: The Toxic Avenger movie was unique in that it's film
Speaker 1: production company, Trauma, is very popular in their own right.
Speaker 1: Have you ever seen Surf Nazis Must Die? I haven't,
Speaker 1: but I know about Trauma. I mean they are master
Speaker 1: self promoters and market tiers. They have. They were one
Speaker 1: of the first production companies to have a website, like
Speaker 1: a really comprehensive website. You should go on their website,
Speaker 1: their whole catalog. It's um really just well done and
Speaker 1: it's schlocky, but it's well done right in. Toxic Avenger
Speaker 1: follows the story of a ninety eight pound weakling who
Speaker 1: has picked on released the same years Ghostbusters. Do you
Speaker 1: notice that right, Yeah, so it was it occurred at
Speaker 1: zero year years zero. Uh, we'll just put the null
Speaker 1: set represent that and um, this kid gets pushed out
Speaker 1: of a window into a vat of toxic sludge, which
Speaker 1: that's beyond bullying. Really yeah, I mean this is basically
Speaker 1: it's a more twisted version of Modern Problems, the Chevy
Speaker 1: Chase film from a couple of years earlier. That one. Oh,
Speaker 1: you never saw Modern Problems. It's very silly, but he
Speaker 1: got toxic sludge dumped on him and had special powers
Speaker 1: from years earlier, prior or after what win was the movie?
Speaker 1: It was two years before Toxic Avenger, but Toxic Avenger
Speaker 1: took it into a gore special effects way that that
Speaker 1: Modern Problems never did. So the janitor Melvin I believe
Speaker 1: his name is Um, becomes toxified, It becomes toxic. The
Speaker 1: Toxic Avenger, who um beats the tar out of people
Speaker 1: at the health club where he was abused and mutated
Speaker 1: UM and Uh has tons of sex as the Toxic
Speaker 1: Avenger because his um newfound manhood is just irresistible to
Speaker 1: women and UM. One of one of the things that's
Speaker 1: noteworthy about the Toxic Avenger is that they actually tried
Speaker 1: to make decent effects. It wasn't just it wasn't horrible.
Speaker 1: I guess you could say, well, for the time. You know,
Speaker 1: it wasn't bad. No, they they remained bad and they
Speaker 1: probably were kind of bad even back then. But for
Speaker 1: for for Grindhouse films, yeah they were, they were great.
Speaker 1: Um and uh. It was also noteworthy because it came
Speaker 1: out of Trauma Productions or Trauma Studios um. And it
Speaker 1: led to a whole line of Toxic Avenger movies and
Speaker 1: schlock in general, which is basically like some crazy, horrible
Speaker 1: thing has happened. But we're not going to dwell too
Speaker 1: much on that. Let's see what let's let's see where
Speaker 1: the action takes us. So like Bad Taste that Peter
Speaker 1: Peter Jackson's first film, right is a great example of
Speaker 1: schlock that came out of Toxic Avenger, and he had
Speaker 1: the film that followed, Peter Jackson Dead Alive, which was
Speaker 1: at one point supposedly the gorrious film ever made. Although
Speaker 1: it sounds like your new Korean MOVIEUS surpassed that. Yeah,
Speaker 1: I think it probably has. I haven't seen That Alive.
Speaker 1: It's seen Bad Taste and Bad Taste. It was horribly gory,
Speaker 1: but I think this has it beat. Yeah, but I
Speaker 1: bet you if anything, I mean, I haven't seen them.
Speaker 1: When you're talking about but is it more realistic gore? Yeah,
Speaker 1: with bad like these are aliens that are having their
Speaker 1: heads blown off, So it definitely takes you, at least,
Speaker 1: um a a degree away from caring this is happening
Speaker 1: to human beings in in um I saw the Devil,
Speaker 1: so it definitely has driven home a little more well.
Speaker 1: And and the violence, even the gore back then, it
Speaker 1: was so over the top, right out of Fangora magazine.
Speaker 1: It's like, you know, dude, Fangoria is still around, is it? Yeah?
Speaker 1: I figured it was. I'm glad it is. We follow
Speaker 1: it on our Twitter feed. Ye, like a head will
Speaker 1: explode in scanners and you know, it's not disturbing because
Speaker 1: it's so clearly over the top. But these new movies
Speaker 1: are much more disturbing. If he asked me, I agree
Speaker 1: wholeheartedly because they're more realistic. Um. So, carrying on with
Speaker 1: Chucks and my Cisco and eber act. Uh, this is
Speaker 1: the second to last movie in our little list today
Speaker 1: and um this one's from way back from the thirties.
Speaker 1: So let's talk about reefor madness. These high school boys
Speaker 1: and girls are having a hop at the local soda
Speaker 1: fountain innocently they innocent of a wo and deadly menace
Speaker 1: lurking behind closed doors. Marijuana, the burning weed with its
Speaker 1: roots in hell. Or watch case if you want, I
Speaker 1: want to bet you will meet Bill or once too
Speaker 1: broad in his strong will as he takes the first
Speaker 1: step toward enslavement. Hey. So that was the excellent reefer Madness,
Speaker 1: which was an exploitation drug exploitation film and very much
Speaker 1: a cautionary tale. It even shaped the drug culture and
Speaker 1: how uh people looked at drugs. Is is you know
Speaker 1: marijuana at the time. It's this really evil thing that
Speaker 1: can make you crazy to kill people. Yeah, and actually
Speaker 1: in in very much the vein of early exploitation films.
Speaker 1: It was produced and distributed UM as a public service.
Speaker 1: Like the alternate title for it was UM Tell Your Children.
Speaker 1: And the whole thing set in a PTA meeting where
Speaker 1: this guy is relating this story and it's a story
Speaker 1: about lost lives, about murder, about um, guilt and paranoia
Speaker 1: and all of it is fed and based on rampant
Speaker 1: drug use, which is really just a lot of pot
Speaker 1: smoking um which can turn you into a fiend. And
Speaker 1: um it's apparently the director his name is Dwayne Esper
Speaker 1: he did other exploitation films from the thirties like Sex, Madness,
Speaker 1: Psychotic Connections, um, and he made a name for himself
Speaker 1: basically taking of these things that may have originally been
Speaker 1: written as a public service and making them so outlandish
Speaker 1: that he exploited the people who were making these movies
Speaker 1: and created this legacy of like just insanely over the
Speaker 1: top exploitation films from the thirties. Well, and ironically, refor
Speaker 1: Madness years later would become, um, not so much an
Speaker 1: anti drug propaganda film. How should I say this, but
Speaker 1: a film that college students would sit around and watch
Speaker 1: while partaking and laughing at this whole thing, and a
Speaker 1: cult film. Yeah, because it puts drugs so far out
Speaker 1: there that, um, if you, despite all the warnings, take
Speaker 1: drugs anyway and you realize that you don't turn into
Speaker 1: a fiend and murder somebody, um, you uh. Refor Madness
Speaker 1: basically dares you to go further. So it's kind of
Speaker 1: in it's the opposite has the opposite effect of what
Speaker 1: I think it's original intent was before Dwayne Nesperg got
Speaker 1: his hands on it. And as a side note, I
Speaker 1: had troubled deciding between Reefer Madness, and another nineteen thirties
Speaker 1: film by a guy named Todd Browning called Freaks. Oh yeah,
Speaker 1: well that was um, that was huge because it was
Speaker 1: the first big exploitation film pre Hayes Code or and Last. Yeah,
Speaker 1: first and last, and it was it was an MGM film. Yeah,
Speaker 1: and it's widely considered a masterpiece. I mean, it looks great.
Speaker 1: It's it's not it was well done. It's a huge. Um,
Speaker 1: it's a it's a revenge movie, which is a very
Speaker 1: common theme in UM exploitation films, especially violent ones. But
Speaker 1: it's it featured Browning dared to um have real freaks.
Speaker 1: I guess if you circus sideshow freaks, Yeah, um star
Speaker 1: in this. Uh and they basically exact their revenge on
Speaker 1: people who have mistreated them. And uh, I have not
Speaker 1: seen it really Yeah, yeah, I wanted to. I hear
Speaker 1: it's just awesome. I can't want it ended his career though, unfortunately. Yeah,
Speaker 1: and he was a popular filmmaker at the time. Well,
Speaker 1: hats off to him for first staying true to his art.
Speaker 1: Chuck just took his hat off. Donnel cap. All right, Chuck,
Speaker 1: here's the last one that we've got a clip for um,
Speaker 1: which I think everybody will notice um or recognize without
Speaker 1: even a word. There's not even a word in this clip,
Speaker 1: and you will understand what's going on. So here we go.
Speaker 1: So Josh, those are the unmistakable sounds of fist of
Speaker 1: fury of Mr One, Mr Bruce Lee, Bruce Lee kicking bottom.
Speaker 1: This first movie, Yeah, which was originally titled well, it's
Speaker 1: still title, I think in Asia The Big Boss, um
Speaker 1: and uh, in America it is. It's it's titled Fists
Speaker 1: of Fury. It was on the Other nine on cable.
Speaker 1: I saw part of it. Yeah, Yeah, I didn't realize
Speaker 1: it was the first one, though I would have tuned in. Yeah.
Speaker 1: And it was first of what, um five five major films. Uh.
Speaker 1: And basically it's the story of a martial arts student
Speaker 1: who's investigating the murder of his teacher. And um, it began,
Speaker 1: uh the martial arts exploitation sub genre, which later would
Speaker 1: become just martial arts films, right or was it still
Speaker 1: considered exploitation. It's all the same, They're one and the same.
Speaker 1: Anything that even remotely resembles in a Bruce Lee movie,
Speaker 1: specifically The Big Boss or any of them, is martial
Speaker 1: arts exploitation technically, um, because again we arrive at that
Speaker 1: one definition. It's over the top, Like Bruce Lee is
Speaker 1: taking on scores of anonymous thugs, um for two one
Speaker 1: after the other for two hours, just beating the tar
Speaker 1: out of all these people without tiring. Really. Um. Everybody's
Speaker 1: kind of waiting their turn politely in a circle around him,
Speaker 1: and he has to beat everybody and then he works
Speaker 1: his way up and it's over the top. So it
Speaker 1: is exploitation. But um. It led to other films like
Speaker 1: Samurai exploitation. Remember American Ninja. Remember the whole ninja film
Speaker 1: thing that came in the mid eighties. That's from Bruce
Speaker 1: Lee's Um, that's Bruce Lee's doing. Well. Yeah, and you
Speaker 1: go to these at the time when I was first
Speaker 1: going to New York many years ago, that would be uh,
Speaker 1: you know, you go to Times Square and this is
Speaker 1: still one Time Square was kind of gross, and that
Speaker 1: would be just the martial arts movie store where it
Speaker 1: was all that stuff, man, like thousands of movies about
Speaker 1: ninja's and samurai's martial artists and very big. I was
Speaker 1: inspired by American Ninja to become a ninja memember. I
Speaker 1: entered ninja training with Tommy Rooper, who had like more
Speaker 1: throwing stars than any kid I've ever known. What did
Speaker 1: you have? Like one throwing star I borrowed? Okay, I
Speaker 1: was not allowed to have throwing stars in my own
Speaker 1: Oh I wasn't either. Baptist. No, that was very violent. Nunchucks.
Speaker 1: That transcends like religious back ground. It's like, good parents,
Speaker 1: you shouldn't let your kid have throwing star. It's a
Speaker 1: good point. Uh. And as you point in the article,
Speaker 1: this actually led to another sub genre, which was Bruce
Speaker 1: Lee look alike movies. Yeah. So he made five movies
Speaker 1: and he died at age thirty two in nineteen seventy three.
Speaker 1: So Big Boss released in nineteen seventy one. He dies
Speaker 1: two years later. Everybody's like, no, so let's find some
Speaker 1: guys that look like him, which is really kind of
Speaker 1: stereotypical and racist for the West. But Bruce Lee l
Speaker 1: I or l E or l E or just Eli there, well,
Speaker 1: Bruce l I or Bruce Ellie. Um, I don't think
Speaker 1: there was ever like uh Bruce l E I g H.
Speaker 1: I don't think it ever got that far. But I mean,
Speaker 1: they released dozens of Bruce Lee and I just made
Speaker 1: air quote films there. So Bruce Lee created the martial
Speaker 1: arts exploitation genre and sub genre, and he inadvertently created
Speaker 1: the Bruce Lee exploitation subgenre of the martial arts exploitation
Speaker 1: sub genre by dying young and being very popular. And
Speaker 1: which one was the one he had Kareem until Jabbaran
Speaker 1: the Dragon. Yeah. Yeah, if you've never seen a like
Speaker 1: seven foot plus guy to martial arts, you should check
Speaker 1: that out. And if you can't get enough Bruce Lee
Speaker 1: and you have a good sense of humor, check out
Speaker 1: Kentucky Fried movie made by one Jerry who we met
Speaker 1: in Los Angeles recently, um and who used an expletive
Speaker 1: to me. He did it was one of the high
Speaker 1: points of my life. It is, um, But yeah, Kentucky
Speaker 1: Fried movie awesome. Actually, when we met Jerry Zucker, we
Speaker 1: told him that our little speech we were given that
Speaker 1: night was one of the highlights of our career thus far.
Speaker 1: And he says, well, it doesn't say much about your career,
Speaker 1: does it. Like the first thing to dud does something
Speaker 1: funny and we just like kind of fond over imagine
Speaker 1: we should mention briefly and it's in the article, but
Speaker 1: just as a teaser. Uh. The late seventies we got
Speaker 1: Nazi exploitation movies, not exploitation as a sub genre. Yeah.
Speaker 1: And one of the major players there movie was Ilsa
Speaker 1: she Wolf of the s S Yeah, which led to
Speaker 1: elsa Um Siberian Tigress and Ilsa Harem Keeper of the
Speaker 1: Oil Sheets. Really, there's a whole sex violence franchise, Dominatrix franchise,
Speaker 1: that was based out of the Nazi exploitation film. You know,
Speaker 1: one could argue that qt Mr Tarantino has made nothing
Speaker 1: but exploitation films since pulp fiction because the kill bills
Speaker 1: were definitely martial arts exploitation. Really, the Jackie Brown was
Speaker 1: a riff on on black exploitation death Proof Obviously that
Speaker 1: was what they were trying to do. Their death Proof
Speaker 1: is Carsploitation, which follows in the tradition of Vanishing Point Um,
Speaker 1: which was released the same year as basically its rival
Speaker 1: to the Um, the founder, the founding movie of carsploitation,
Speaker 1: Two Lane Blacktop, which movie. Yeah, if you want to
Speaker 1: start an argument with an exploitation film, buff tell him.
Speaker 1: Vanishing Point was the beginning of cars Floitation. They'll get
Speaker 1: mad at you and then finally Tarantino with The Inglorious Bastards,
Speaker 1: which was clearly a riff on the Nazi exploitation films.
Speaker 1: Beaten Nazis the Death of the Baseball Bat. It's about
Speaker 1: as over the top and lard as it's awesome. Yeah,
Speaker 1: um so uh. And then Machete. I hated it, but
Speaker 1: Robert she is, Um, it's terrible, and of course he
Speaker 1: was the other half of the Rodriguez was the other
Speaker 1: half with his Planet Terror of the Grindhouse double feature. Yeah,
Speaker 1: and Machete was born from one of the little fake
Speaker 1: trailers they made in that movie. Oh was that right? Yeah,
Speaker 1: it was one of the fake movie previews. It is
Speaker 1: even as far as like a purposefully be movie. Not good. No, well,
Speaker 1: Death Proof was okay, but I didn't like Planet Taring
Speaker 1: that much. Um and then Chuck. Well, first of all,
Speaker 1: before we get to today, we also have to give
Speaker 1: a shout out to Porno's Porno came out of the
Speaker 1: exploitation film genre, and it arguably had a lot to
Speaker 1: do with killing um the X or pushing it into
Speaker 1: the mainstream, because once you had the movie Deep Throat
Speaker 1: and all of a sudden, pornography was on the screen,
Speaker 1: it's like, you can't do an exploitation film about it anymore.
Speaker 1: If there's the real deal going on, it loses all
Speaker 1: its power. And then a little movie called Jaws came along,
Speaker 1: and all of a sudden, a quote unquote B movie
Speaker 1: style movie made gobs and gobs of money, and that
Speaker 1: put a little bit of mainstream respectability on the map
Speaker 1: all of a sudden. And so one might argue, Josh
Speaker 1: that movies like Jaws and Pornography kind of shoved exploitation
Speaker 1: films even though they still exist. They're sort of mainstream
Speaker 1: movies now. Well, yeah, I guess another word for grindhouse
Speaker 1: these days is blockbuster. Jaws was the first blockbuster movie,
Speaker 1: summer blockbuster, and now you have to have summer blockbusters,
Speaker 1: and they're always over the top and exploitative of viewers tastes.
Speaker 1: And not only Tarantino, there's other filmmakers out that are
Speaker 1: trying to capture that seventies vibe with overt exploitation films. Again,
Speaker 1: shot that way, shot him thirty five, I'm sorry, sixteen
Speaker 1: millimeter films, stuff like that. So, um, Chuck, I say,
Speaker 1: our message to everybody is number one, go on to
Speaker 1: the site read ten noteworthy exploitation films, um number two
Speaker 1: if that interests to you. Like even the ten noteworthy
Speaker 1: exploitation films I chose, um don't cover even I think
Speaker 1: a third of the exploitation subgenres. So they'll probably be
Speaker 1: another article forthcoming at some point. If there is, we'll
Speaker 1: let you know and then go watch some exploitation movies
Speaker 1: and enjoy them. Yeah, watch the documentary American Grindhouse too,
Speaker 1: if you're into that. Yeah, that's a great one. It's
Speaker 1: free on Hulu. Actually, um, there's ads, but Hulu dot
Speaker 1: com has American Grindhouse for free. It is not safe
Speaker 1: for work in no way shape or for him. I
Speaker 1: was watching it at work and I was like, WHOA, Okay, Yeah,
Speaker 1: if you are watching it at work, tab browsing is
Speaker 1: what you want to be doing. And keep your your
Speaker 1: finger over the mouse and keep the cursor over the
Speaker 1: other tab right and say for in our case, you
Speaker 1: can just say it's research. But you can't do that
Speaker 1: if you if you're an accountant at uh JP Morgan,
Speaker 1: you're just a sick o, a weirdo, that weird guy
Speaker 1: in accounting. Um, so look up ten noteworthy exploitation films
Speaker 1: you can type that into the handy search bar how
Speaker 1: stuff Works dot com. And now, at long last, it's
Speaker 1: time for a listener mail Josh or Is I'm gonna
Speaker 1: call this It's a small world after all. Dear guys,
Speaker 1: I'm a longtime fan from Minnesota and enjoy spreading stuff.
Speaker 1: You should know goodness wherever I go. My co workers
Speaker 1: at a local coffee shop know me for the trivia
Speaker 1: and information I abound in. But after giving that, he
Speaker 1: he says he abounds in. I guess he's proficient in. Okay,
Speaker 1: did he misuse that? Yeah? I don't know. It sounds hilarious.
Speaker 1: It does um after giving credit where credit is due,
Speaker 1: which means us several of them decided to subscribe your podcast.
Speaker 1: Listening to the podcast is also give me an advantage
Speaker 1: at work for thinking of the coffee shops daily trivia question,
Speaker 1: which saves people ten cents on their drink. After re
Speaker 1: listening to How Legos Work, I set the trivia question
Speaker 1: for which company produces the most tires on the yearly
Speaker 1: basis abridge stone be good year see Lego Bricks. You
Speaker 1: know the answer, John. Most people were surprised and pleased
Speaker 1: to find out it was Lego Bricks, reminding them about
Speaker 1: the little play sets that their kids enjoy. This is
Speaker 1: where it gets weird. One of the customers read the
Speaker 1: trivia question, looked at me and said it's a puncy
Speaker 1: scheme in the best Italian accent he could muster. Everyone
Speaker 1: else gave him an odd look. I started laughing. He
Speaker 1: apologized and then say and said he just heard it
Speaker 1: on a podcast. Um, he had just listened to Legos
Speaker 1: followed by Poncy Schemes. Long story short, we were both
Speaker 1: pleased to find out that we were both fans. We
Speaker 1: are now on a first name basis, eager to discuss
Speaker 1: the most recent episodes. So these dudes in Minneapolis, Daniel,
Speaker 1: that's awesome. Thanks Daniel, and his friend now his new friend,
Speaker 1: his unnamed friend. He didn't name him. You wouldn't know.
Speaker 1: I mean med him at camp. Let's write band camp.
Speaker 1: Thanks Daniel, that's really awesome. Um, wow, that's really cool.
Speaker 1: Let me let us know if you tweet um those
Speaker 1: daily facts for your coffeehouse, because we will start following you. Indeed,
Speaker 1: that'd be very cool. Um, if you want to follow us,
Speaker 1: we have our own Twitter feed and seriously, it's called
Speaker 1: s y s K podcast one word strong plus. Um,
Speaker 1: we're on No, we're up to like eleven and change.
Speaker 1: That's plus ten. That's true. Um, we're also on Facebook, Facebook,
Speaker 1: dot com. Slash stuff. You should know. We have a
Speaker 1: Kiva team. Right, we're trying to get to half a
Speaker 1: million dollars. Right. That's k i v A dot org
Speaker 1: slash team slash stuff you should know. Uh, And then
Speaker 1: you can always send us a good old fashioned email. Um,
Speaker 1: we want to know what your favorite um exploitation film
Speaker 1: of all time is. You can send that in an
Speaker 1: email to Stuff Podcast at how stuff works dot com.
Speaker 1: For more on this and thousands of other topics, visit
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