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Speaker 1: Hey, everyone, Chuck here. If you're wondering why you have

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Speaker 1: suddenly ten new episodes in your feed, this is because

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Speaker 1: we thought we might group things together and try a

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Speaker 1: little playlist here for the summer and see how it went.

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Speaker 1: And in this case, we're covering some of our movies

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Speaker 1: or movies in general. And I am setting up our

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Speaker 1: semi recent episode from Oh, I guess it's not that recent.

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Speaker 1: It's from April twenty eleven on exploitation films and how

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Speaker 1: they work. It was a really fun one to do.

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Speaker 1: And if you love cinema and you love movies, and

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Speaker 1: if you love exploitation movies especially, you're gonna love this episode.

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Speaker 1: So please enjoy. Welcome to Stuff you should know from

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Speaker 1: HowStuffWorks dot com.

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Speaker 2: Hang on there, fella, Oh yes, I know what we're doing.

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Speaker 1: Go ahead, get us going here.

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Speaker 2: Well, Chuck, the other night you may have noticed. I

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Speaker 2: know you did, because I watched you watch this just

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Speaker 2: kind of creepy but not really. You and I were

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Speaker 2: on TV, Yeah, on the Science Channel.

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Speaker 1: Yeah, we did the little shorts and we're actually proud

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Speaker 1: of how these turned out, which is a rarity for

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Speaker 1: us when there's a camera.

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Speaker 2: It is, so we have more shorts coming up on

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Speaker 2: Science Channel. They're running Saturdays and Sundays until I think

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Speaker 2: the first week of May or something, right.

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Speaker 1: Yes, and now that they're all running between ten and

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Speaker 1: ten thirty now supposedly during the shows I think on Saturdays,

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Speaker 1: this is Oddities, which is an awesome and weird show

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Speaker 1: it is, and then Sundays, which is Firefly, which is

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Speaker 1: everyone loves Firefly.

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Speaker 2: Yeah, I mean, I actually consider it an honor to

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Speaker 2: be played during Firefly. Yeah, me too, even though the

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Speaker 2: cast of Firefly has no idea that this is going

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Speaker 2: on because it's pre recorded.

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Speaker 1: Exactly, Josh, So this what'sa day Thursday obviously, yeah, Saturday

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Speaker 1: and Sunday night this weekend. Yeah, on the Science Channel.

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Speaker 1: That is the Science Channel, it's part of the Discovery

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Speaker 1: Networks between ten and ten already, set your little DVR

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Speaker 1: and then look, they run during the commercial breaks, or.

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Speaker 2: If you're not so fancy that you have a DVR,

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Speaker 2: you can actually watch it as it happens.

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Speaker 1: That's right. And we are able to run a few

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Speaker 1: of these online. Now I'm not the ones that are

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Speaker 1: on TV, but there are three funny ones if you

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Speaker 1: know how to navigate to the video page of HowStuffWorks

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Speaker 1: dot Com. Do that, or you can just type in

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Speaker 1: how stuff Works video and to Google and it'll take

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Speaker 1: you straight to the video page.

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Speaker 2: You could also search stuff you should know, Colon large

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Speaker 2: hadron collider, stuff you should know, Colon body farms and

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Speaker 2: stuff you should know, Colon mirror, neurons on a search

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Speaker 2: engine and it should take you right there.

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Speaker 1: That's right.

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Speaker 2: And if it doesn't, you tell us and we will

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Speaker 2: talk to those search engines.

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Speaker 1: And if you just get to the video page, you

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Speaker 1: can search stuff you should know in search videos and

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Speaker 1: it'll bring up that in a couple of other little

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Speaker 1: funny things we've done.

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Speaker 2: Yeah, so that's it. We just take like ten minutes

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Speaker 2: onto this episode.

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Speaker 1: I know. We appreciate your support. Who mine, No, oh,

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Speaker 1: everyone that wants to watch these okay.

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Speaker 2: Okay, so are you ready? Okay, hey, and welcome to

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Speaker 2: the podcast. I'm Josh Clark, There's Charles W. Chuck Bryant.

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Speaker 2: This is Stuff you should know the podcast and kind

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Speaker 2: of a special edition. Frankly, I am a little excited, Chuck,

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Speaker 2: I'm a little giddy.

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Speaker 1: Shut your mouth.

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Speaker 2: That's yeah, okay, sure, all right, this is this is

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Speaker 2: our first ever movie centric podcast, right.

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Speaker 1: Movie centric for sure. Yeah, we've mentioned movies of course

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Speaker 1: all the time, but this one is like, this.

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Speaker 2: Is all about movies. So this is by popular request

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Speaker 2: to an extent. People want to see, like, they want

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Speaker 2: to hear us talk about movies and just do a

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Speaker 2: movie podcast. So we decided to focus on exploitation films. Right.

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Speaker 2: This is also probably the first podcast that we're going

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Speaker 2: to say, if you are a teacher of children in

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Speaker 2: eighth grade or younger, and you're using this as a

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Speaker 2: teaching tool, you might want to go to the one

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Speaker 2: before this or the one after. We don't generally try

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Speaker 2: to alienate audiences. We're not attempting to now. It's just

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Speaker 2: a natural byproduct of the exploitation film.

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Speaker 1: Can't talk about exploitation films without talking about some lurid

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Speaker 1: subject matter.

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Speaker 2: Yeah, you can't say exploitation without ploit.

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Speaker 1: Yeah, they weren't exploiting, just people being nice, right, niceploitation.

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Speaker 2: So, Chuck, I went and saw a movie the other

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Speaker 2: day called I Saw the Devil. It's a Korean movie.

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Speaker 2: It's by the guy who did the Tale of Two Sisters.

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Speaker 1: I think Oh, he said more violent than Old Boy.

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Speaker 2: Yeah, the guy old Boy is one of the main characters.

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Speaker 2: And I've seen old Boy. I've seen what's the other

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Speaker 2: one he did, the vampire movie, Yeah, Thirst, So I

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Speaker 2: think it's pretty good. It was okay, this one is

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Speaker 2: it's the most violent thing I've ever seen in my life.

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Speaker 2: It's the most graphically violent movie I've ever seen in

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Speaker 2: my life. The only the only reason, like I was

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Speaker 2: able to complete is because I'm like, this is it's

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Speaker 2: a movie, I know, but I walked out of it

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Speaker 2: like it's so over the top, it's so gory. It's

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Speaker 2: clearly an exploitation film.

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Speaker 1: Yeah.

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Speaker 2: Yeah, but the problem is is, like, really, if you

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Speaker 2: start to look around, John Hughes, films technically are exploitation films.

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Speaker 2: The Breakfast Club is technically an exploitation film.

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Speaker 1: Yeah, there's a big wave of teen exploitation films, and

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Speaker 1: we'll get to that, but yeah, you're right.

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Speaker 2: So one of the broader definitions of exploitation films is

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Speaker 2: basically anything that's really like over the top, that is

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Speaker 2: beyond reality, or that maybe focuses on people's fears, their

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Speaker 2: sexuality and basically just kind of serves it up in

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Speaker 2: a larger than life manner. That's one way of looking

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Speaker 2: at exploitation films.

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Speaker 1: Yeah, you're basically they're exploiting some of the seedier aspects

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Speaker 1: of humanity most times.

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Speaker 2: Sure, like murder or sex, like weird sex, that kind

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Speaker 2: of thing, sexed.

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Speaker 1: Sex, teenagers rebelling against parents.

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Speaker 2: Sure, like a weird science. Have you ever been to

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Speaker 2: a party where a couch shot out of the chimney

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Speaker 2: and into the pond? I mean, it's a pretty nice party.

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Speaker 2: I don't think it's ever really happened, you know. So

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Speaker 2: that's the vast definition of exploitation. But you and I

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Speaker 2: are kind of qualified to teach a cinema class at

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Speaker 2: like maybe a low level community college at this point

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Speaker 2: after the amount of research we've done in this sure,

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Speaker 2: and we found that academically there's a there's a much

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Speaker 2: more distinct definition for exploitation, and it's seemingly interchangeable term grindhouse.

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Speaker 1: Right, Yeah, what's the Is there a definition definition?

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Speaker 2: It's more like a timeframe. Okay, So from like nineteen

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Speaker 2: nineteen when they really first started making movies to I

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Speaker 2: think nineteen sixty nineteen fifty nine when the Hayes Act

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Speaker 2: went away, that was exploitation, and then after that it

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Speaker 2: became Grindhouse. Okay, gotcha, it's my understanding. Okay, so let's

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Speaker 2: do this all right.

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Speaker 1: Well, that's the old joke. Was that in the awesome

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Speaker 1: documentary American Grindhouse, which documents this this era of filmmaking. Yeah,

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Speaker 1: the old joke, one of the guys says, is that

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Speaker 1: exploitation films began five minutes after the camera was invented,

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Speaker 1: the motion picture camera.

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Speaker 2: Because the guy was like the directors like to his girlfriend, hey,

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Speaker 2: would you mind taking your clothes off or the camera exactly?

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Speaker 1: So it says something about the human condition that you

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Speaker 1: invent the film camera, and the first moving images were

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Speaker 1: often lurid Edison's film. It showed clips of like decapitations

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Speaker 1: and violence and guys fighting, yeah, and knit naked women

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Speaker 1: as film tests. So it's just that says a lot

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Speaker 1: about people, like, all right, now we know how to

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Speaker 1: capture things, so let's capture sex and violence right first.

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Speaker 2: Right, And although that really kind of jibed with public tastes,

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Speaker 2: or at least public fascination, it didn't jibe with the

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Speaker 2: prevailing standards. They agreed upon standards, right.

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Speaker 1: Right, I think he said nineteen nineteen. But the first

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Speaker 1: exploitation film was nineteen thirteen. Oh, okay, Trafficking Souls or

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Speaker 1: While New York Sleeps, right, and that, like you said,

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Speaker 1: exploitation often plays into fears. That played into the fear

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Speaker 1: at the time of the white slave trade. Budget of

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Speaker 1: fifty seven grand and gross four hundred and fifty thousand dollars,

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Speaker 1: which nineteen thirteen. It's a lot of dough.

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Speaker 2: That is a ton of though, And.

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Speaker 1: That was Universal Pictures and they went, hey, going on

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Speaker 1: to something here.

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Speaker 2: Right after that was released the Hayes Code. Will Hayes

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Speaker 2: was the Postmaster General and Presbyterian elder and he was

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Speaker 2: making one hundred grand a year during the depression.

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Speaker 1: Unbelievable, right.

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Speaker 2: He basically said, like, look, we need we need to

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Speaker 2: apply some moral standards to filmmaking. There's decapitation, there's naked breast,

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Speaker 2: there's white slavery, Like we need to pure this up, right.

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Speaker 1: Well, actually, there wasn't nudity yet like those early test films.

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Speaker 1: There were, but nudity. We'll get to that later, okay,

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Speaker 1: But yes, that's what Hayes tried to do. And like

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Speaker 1: prohibition didn't exactly quell drinking, the Hayes Code actually sort

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Speaker 1: of gave rise to the exploitation movement.

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Speaker 2: Yeah, it's just like just like prohibition, just like marijuana prohibition,

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Speaker 2: just like well any drug prohibition. Anytime you say you

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Speaker 2: can't do this, you can't have something that you want,

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Speaker 2: the somebody else is going to operate in a black market.

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Speaker 2: A black market's going to bring up simple economics. Yeah,

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Speaker 2: and that's exactly what happened, and that's where exploitation cinema

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Speaker 2: came up. It's like, you can't get this from Hollywood

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Speaker 2: because Hollywood has to play by the rules. But my

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Speaker 2: production studio is my model t and let's go make

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Speaker 2: this movie. Give me some money. I'm going to film

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Speaker 2: a child being born close up and put it in

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Speaker 2: the movies.

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Speaker 1: Yes, you can do that. You can make your movies

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Speaker 1: all day long, but if they're never exhibited, then what

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Speaker 1: good are you doing or not? Like they were trying

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Speaker 1: to do some good, but you're not making any scratch.

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Speaker 1: So the forty thieves they talk about in the documentary

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Speaker 1: were these filmmakers and exhibitors basically that traveled around like carnies,

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Speaker 1: setting up these sort of gorilla film screenings and some

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Speaker 1: places sort of out of the way where they can't

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Speaker 1: get caught. And that was for the first time, you know,

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Speaker 1: they were taking films outside of the main stream.

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Speaker 2: Yeah.

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Speaker 1: Different. Sometimes they weren't even theaters. They would show them

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Speaker 1: like VFW halls if you want to go see Birth

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Speaker 1: of a Baby films. Apparently they were popular.

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Speaker 2: Yeah, that was a whole genre, early genre of exploitation.

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Speaker 1: Well, and so was early on a lot of the

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Speaker 1: film centered around like how to wear a condom in

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Speaker 1: these sex hygiene films.

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Speaker 2: Yeah, because there was no information about that out there,

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Speaker 2: and so exploitation filmmakers, whether disingenuously or genuinely, were ending

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Speaker 2: their stuff like this is a public service. People need

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Speaker 2: to know this, right and making movies about it. But

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Speaker 2: also and people were going on that excuse as well,

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Speaker 2: like well, I need to know about this, But at

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Speaker 2: the same time, it's like I want to see this

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Speaker 2: the craziest thing I'll ever see in my life exactly,

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Speaker 2: you know, on screen.

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Speaker 1: Or they argued a lot of times that they were

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Speaker 1: cautionary tales. If they were about drugs or violence, they

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Speaker 1: would say, hey, this could happen to you. Yeah, so

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Speaker 1: you should educate yourself. But what they really want to

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Speaker 1: do is get.

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Speaker 2: Their movie scene and make some money exactly.

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Speaker 1: Paramount decision of nineteen forty eight. This is pretty big.

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Speaker 1: This Supreme Court voted that movie studios could no longer

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Speaker 1: own their own movie theaters. At the time, you know,

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Speaker 1: there would be like the Paramount Theater in Hollywood from

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Speaker 1: the Paramount Film production Company. They would show their movies.

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Speaker 1: Supreme Court said no more, and all of a sudden,

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Speaker 1: exploitation films became a little bit more legit because the

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Speaker 1: Hayes Code kind of fell apart. Yeah, and this is

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Speaker 1: post World War two, so.

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Speaker 2: People had seen a lot of death recently, well a lot.

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Speaker 1: Of death, and then they thought ladies in suggestive roles

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Speaker 1: were good for morale. And there was a little bit

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Speaker 1: of loosening on the sex thing a little bit post

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Speaker 1: World War two.

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Speaker 2: Enough that led to another subgenre of exploitation film, the

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Speaker 2: nwdest colony film, which were pawned off as documentaries. A

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Speaker 2: lot well most of these were pawned off as document documentaries,

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Speaker 2: which legitimized them, but really it was maybe it actually

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Speaker 2: was film that a news camp. Probably not. Mostly there

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Speaker 2: were actors and actresses just engaged in archery naked or

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Speaker 2: long walks naked.

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Speaker 1: There could be no sex.

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Speaker 2: Still that was still no taboo, but it was just

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Speaker 2: like naked pretty people right at a newdist colony, which

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Speaker 2: is interesting because you're not a nudist, so come learn

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Speaker 2: about them exactly. Yeah.

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Speaker 1: After that, through the history we had things like the

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Speaker 1: teen like you said, the teen Rebellion of the fifties

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Speaker 1: with the rebel thought of Cause and Blackboard Jungle and

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Speaker 1: movies like that all of a sudden were targeted specifically

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Speaker 1: at teens, which was new, and then drive in theaters

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Speaker 1: were built so teenagers could see movies where their parents

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Speaker 1: weren't going to be. Apparently the adults didn't go to

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Speaker 1: drive ins a lot at first. Oh yeah, it's all kids.

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Speaker 2: I didn't know that.

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Speaker 1: So they showed exploitation films and then later the beach films,

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Speaker 1: which were marketed as it's silly, it's Frankie avalon, but

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Speaker 1: they were decidedly weird and overtly sexual sometimes.

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Speaker 2: And then chuck, if you'll notice, we're kind of progressing

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Speaker 2: along in this chronological order, and each thing is kind

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Speaker 2: of being built on the last.

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Speaker 1: It was very much a step process, right.

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Speaker 2: And apparently that was kind of the form that exploitation

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Speaker 2: filmmaking followed until nineteen sixty it was just it was

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Speaker 2: centered around drugs, violence, sex, and in a lot of

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Speaker 2: ways they were presented as documentaries. They might not have

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Speaker 2: a plot, and basically it was one person would make

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Speaker 2: some film and it would just break all the rules,

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Speaker 2: and then a bunch of other people would make similar films,

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Speaker 2: right and the same. That was the way it went.

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Speaker 2: And then in the nineteen sixties things just started to

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Speaker 2: go every which way, all sorts of directions. Right, So

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Speaker 2: nudity nudy films were a long standing thread of exploitation

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Speaker 2: films and then they probably reached their pinnacle with Russ Myers, right,

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Speaker 2: King of the Nudies is what he's called.

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Speaker 1: Yeah, he was the first guy to He's significant because

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Speaker 1: he was the first director to have films featuring nudity

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Speaker 1: that actually were dramatic narratives and had plots and characters,

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Speaker 1: and they weren't classified as documentaries anymore. And then the

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Speaker 1: Roughies came along and they offered up violence for the

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Speaker 1: not first time, but big time for the first time. Right,

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Speaker 1: And that has a lot to do with the fact

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Speaker 1: that there was the sixties and Kennedy was shot and

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Speaker 1: the United States was just becoming increasingly violent.

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Speaker 2: America lost its innocence. Yeah, and the other thing that

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Speaker 2: really happened in the nineteen sixties was the Hayes Coote

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Speaker 2: officially won away, was replaced by the MPAA and the

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Speaker 2: I guess the long standing prohibition on Hollywood producing exploitation

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Speaker 2: films was it was lessened decreased, and so studios were like, oh,

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Speaker 2: we can make money over here too, Well, let's start

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Speaker 2: making exploitation films right, And this is where grindhouse was born.

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Speaker 2: So my cinema professor definition of grindhouse is big budget,

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Speaker 2: studio backed exploitation films. Okay, okay, yeah, that's that's mine.

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Speaker 1: I like it.

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Speaker 2: That's gonna be a quiz question later.

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Speaker 1: Yeah, I'll go with that. Actually, back up one second.

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Speaker 1: We got to mention Herschel Gordon Lewis. He was a

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Speaker 1: director who had a Codre. I can't remember the other

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Speaker 1: guys named you. Anyway, he was a co director and

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Speaker 1: he was one of these exploitation guys that was getting

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Speaker 1: frustrated because there weren't a lot of places to show

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Speaker 1: your movie. So it was a pretty crowded marketplace. So

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Speaker 1: he said, what's the one taboo that like people will

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Speaker 1: pay to see that you're allowed to show in theaters,

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Speaker 1: but that studios won't make. And it was Gore. Oh yeah,

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Speaker 1: he was the first guy to start showing really disgusting

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Speaker 1: bloody scenes in his movie uh, blood Feast, Blood Feast, Yeah,

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Speaker 1: which actually was three years after Psycho, and Psycho also

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Speaker 1: did a lot for the mainstream ushering in of sure,

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Speaker 1: a little bit of Gore in that, but well there's

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Speaker 1: like a.

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Speaker 2: Shot of blood following Janet Lee's murder, you know, which

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Speaker 2: is I imagine it's pretty graphic for Hollywood, and that's what

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Speaker 2: you think of You're like, oh, those stupid sixties, but

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Speaker 2: that's you know, there were so naive like that was controversial,

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Speaker 2: not really though, Like if you stepped just slightly outside

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Speaker 2: of Hollywood, you ran into things like Blood Feast, right,

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Speaker 2: or you know Last House on the Left. Yes, well

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Speaker 2: that's nineteen seventy two, I think.

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Speaker 1: Yeah, Wes Craven. So that was important because all of

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Speaker 1: a sudden, a drugs started, well three things. Political themes

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Speaker 1: started popping up, right, sexual freedom, the youth generation. Drugs

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Speaker 1: started popping up in movies for the first time, drug use,

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Speaker 1: well not for the first time, we'll talk about reefer madness. Yeah,

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Speaker 1: but teenagers were depicted as victims of violence for the

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Speaker 1: first time, like Last House on the Left I believe

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Speaker 1: is kind of regarded as the first teen slasher film.

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Speaker 2: Yeah, Wes Craven, it was almost a snuff film. It

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Speaker 2: was almost regarded like that.

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Speaker 1: It's pretty hardcore.

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Speaker 2: But yeah, it definitely blood Feasts definitely allowed Last House

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Speaker 2: on the Left to come around, but it also probably

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Speaker 2: more directly formed the foundation for slasher exploitation like Friday

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Speaker 2: the Thirteenth or Nightmare on Elm Street. Absolutely, My Bloody

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Speaker 2: Valentine's another big one. Crazy great, yeah, crazy. Oh yeah,

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Speaker 2: that was an original, right, there's a remake now.

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Speaker 1: I think, Yeah, yeah, remakes. So that brings us We're

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Speaker 1: in the seventies, politically charged movies brought race into the

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Speaker 1: to the mix, and all of a sudden, we had

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Speaker 1: black exploitation or black exploitation movement starting exploiting the civil

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Speaker 1: rights movement basically. But the cool thing about black exploitation

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Speaker 1: films is for the first time you had African Americans

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Speaker 1: as heroes.

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Speaker 2: Yeah, and not heroes in a typical sense, not even

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Speaker 2: anti heroes, but heroes that were like They didn't ride

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Speaker 2: into town on a white horse or wearing a white hat.

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Speaker 2: They very clearly wore black hats. If need be, like

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Speaker 2: they would engage in crime, they would murder people, if

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Speaker 2: nimbi they were. They were basically like the face of

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Speaker 2: black America coming out of the Civil Rights are like,

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Speaker 2: we're ticked off.

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Speaker 1: Yeah, you know, and we're gonna stick it to the

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Speaker 1: white man to get to the man, and we're gonna

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Speaker 1: do it in these movies.

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Speaker 2: Chuck, I know the movie you're about to mention. Let's

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Speaker 2: this is it.

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Speaker 3: You keep the faith in me, You my man, You're

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Speaker 3: my favorite man.

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Speaker 1: Can so Yes. That was a landmark film for a

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Speaker 1: lot of reasons. One because it grows four million bucks

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Speaker 1: and it made the major studio say, hey, you know

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Speaker 1: what the black hero is marketable?

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Speaker 2: Yeah, well you haven't said the title yet.

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Speaker 1: Oh I didn't know.

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Speaker 2: Okay, you gotta say it right too.

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Speaker 1: Melvin Van Peebles film Sweet Sweetback's Badass Song.

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Speaker 2: Nice, That was well done. That was nineteen seventy one.

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Speaker 2: Men Van Peebles, whose last name may sound familiar. He's

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Speaker 2: the father of Mario van Peebles. For your younger cats

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Speaker 2: listening to this one.

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Speaker 1: Cats all right, age actually younger cats because he's kind

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Speaker 1: of like, okay, so cats A, yeah, that's Mario Van

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Speaker 1: Peebles's dad, you know, New Jack City. Yeah, exactly.

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Speaker 2: So Melvin Van Peebles made this movie. He produced it,

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Speaker 2: he raised the money for it, he wrote it, he

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Speaker 2: directed it, he starred in it. And it was the

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Speaker 2: beginning of the blaxploitation subgenre, which is one of the

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Speaker 2: most important genres of any American cinema absolutely ever, absolutely,

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Speaker 2: and so considering how important that subgenre is, this quote

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Speaker 2: from Time Magazine's film critic Richard Corliss should really hit home.

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Speaker 2: Sweet Sweet Back is quote, without question or competition, the

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Speaker 2: most influential movie by a black filmmaker. So this is

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Speaker 2: a really big deal, right, yeah.

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Speaker 1: And it was. It was just quickly on the plot.

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Speaker 1: It was about a black man who was a jiggielow.

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Speaker 2: Who, which is a male prostitute for you younger cats.

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Speaker 1: And he had a deal worked out with the cops

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Speaker 1: where he was he said, you know, you can arrest

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Speaker 1: me as much as you want, release me right after

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Speaker 1: fill your quota. It's all good. And then one day,

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Speaker 1: while the arrest is going down, the cops attack a

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Speaker 1: black panther, and Sweet Sweet Back kills one of the

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Speaker 1: cops and then just says he just goes on a

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Speaker 1: rampage against the white man after that.

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Speaker 4: Yep.

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Speaker 2: So you've got prostitution, tons and tons of nudity and sex,

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Speaker 2: lots of violence, and other crimes all wrapped up into

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Speaker 2: a black power theme.

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Speaker 1: That's right.

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Speaker 2: And then to top it all off, you have what

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Speaker 2: is arguably a child sex scene starring Mario van People's

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00:21:37,840 --> 00:21:43,119
Speaker 2: melvivv People's son at I think age six, having sex

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Speaker 2: as Sweet Sweetback. It's his first sexual encounter with an

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Speaker 2: older person. And in the cult podcast, if he became

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Speaker 2: a cult leader, he would have taken a younger bride. Remember,

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Speaker 2: Oh yeah, that's right. So if you're interested in that

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Speaker 2: movie and you can't get enough of Sweet sweetbacks bad

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Speaker 2: Ass song, you could also check out bad Ass exclamation Point,

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Speaker 2: which is Mario van Peebles's biopic about his father making

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Speaker 2: that movie. That's right.

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Speaker 1: And I have not seen that, but I wanted to

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Speaker 1: at the time, and it just sort of subp at

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Speaker 1: the cracks.

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Speaker 2: There's always Netflix, baby, that's right.

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Speaker 1: And what happened with Sweet Sweetback was that, like I said,

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Speaker 1: that told the studios, hey, that we can market this,

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Speaker 1: and so they got a little more mainstream with movies

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Speaker 1: like Superfly, which were a little safer shaft shaft movies

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Speaker 1: at wide audiences would enjoy as well.

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Speaker 2: Yeah, the ones that didn't scare the man exactly like

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Speaker 2: Scheft's a good guy. He doesn't take any guff from

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Speaker 2: the man, but the people he's not taking guff from,

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Speaker 2: or the cops, who he's really on the same side.

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Speaker 2: Ass that's right. So chuck exploitation obviously huge. It affected

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Speaker 2: everything from you know, Menace to Society to Black Ela.

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Speaker 2: All of that came from Sweet Sweet Back. And we

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Speaker 2: mentioned the guy who directed this next movie, Russ Myers.

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Speaker 2: This is pro probably a seminole work. Let's listen to

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Speaker 2: this clip from the trailer.

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Speaker 3: You walk, Ladies and gentlemen, Gold Gold for a wild,

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Speaker 3: wild ride with the Watusi cats. But beware, the sweetest

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Speaker 3: kittens have the sharpest claw. By your own safety.

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Speaker 5: See faster pussy.

435
00:23:17,080 --> 00:23:22,760
Speaker 3: Cats kill, kill, wild women, wild wheels. Race the fastest

436
00:23:22,760 --> 00:23:27,720
Speaker 3: pussy cats and they'll be Jill to sober woman Fulton,

437
00:23:28,000 --> 00:23:29,000
Speaker 3: wild and cooked.

438
00:23:34,320 --> 00:23:36,920
Speaker 5: You're placing yourself on this kid, then hanging itself for

439
00:23:37,040 --> 00:23:37,879
Speaker 5: nothing by.

440
00:23:37,840 --> 00:23:40,080
Speaker 2: Nothing, got nothing to do with the money.

441
00:23:40,440 --> 00:23:41,399
Speaker 4: Jis the money.

442
00:23:41,800 --> 00:23:46,600
Speaker 1: Jack and Jill. They make a mafia look like Brownie.

443
00:23:47,440 --> 00:23:49,120
Speaker 1: They make the mafia look like Brownie.

444
00:23:49,240 --> 00:23:52,760
Speaker 2: That's right. That says quite a bit about them. So

445
00:23:52,840 --> 00:23:56,000
Speaker 2: this that was faster pussy Cat Kill Kill in nineteen

446
00:23:56,080 --> 00:24:03,200
Speaker 2: sixty five Russ Meers basically women exploitation film NUDI film.

447
00:24:03,680 --> 00:24:06,360
Speaker 2: Remember Russ Meyers was King of the nudies. He made

448
00:24:06,359 --> 00:24:09,160
Speaker 2: twenty six movies. But this is probably at the very

449
00:24:09,280 --> 00:24:13,080
Speaker 2: least is his best known, if not like his masterpiece.

450
00:24:13,240 --> 00:24:16,280
Speaker 1: Yeah, and he hatched a slew of I mean not

451
00:24:16,320 --> 00:24:19,040
Speaker 1: that he wasn't legit, he was, but what mainstream people

452
00:24:19,040 --> 00:24:21,880
Speaker 1: would call legit filmmakers were came up through the russ

453
00:24:21,920 --> 00:24:25,480
Speaker 1: Meyer film camp basically. Yeah, so it's pretty cool.

454
00:24:25,720 --> 00:24:30,240
Speaker 2: Yeah, and russ Meyer also a little known fact. Another

455
00:24:30,320 --> 00:24:32,520
Speaker 2: movie that's mentioned in this article. There's an article on

456
00:24:32,560 --> 00:24:35,560
Speaker 2: the site, by the way, called ten Noteworthy exploitation Films

457
00:24:35,560 --> 00:24:38,040
Speaker 2: that this is based on, Yeah, written by you, Yeah,

458
00:24:38,760 --> 00:24:40,679
Speaker 2: which I showly recommend going to read because it has

459
00:24:40,720 --> 00:24:42,280
Speaker 2: a lot of extra stuff we're not going to cover

460
00:24:42,320 --> 00:24:44,840
Speaker 2: in this one, Yeah, or at least extra movies. But

461
00:24:46,160 --> 00:24:50,359
Speaker 2: russ Meyer directed a movie called Beyond the Valley of

462
00:24:50,400 --> 00:24:54,520
Speaker 2: the Dolls two right, which was the bastard son of

463
00:24:54,600 --> 00:24:57,560
Speaker 2: the legitimate film that Beyond Valley of Dolls is a

464
00:24:57,640 --> 00:25:01,440
Speaker 2: jiggle fest written by none other than Roger Ebert's right, yeah,

465
00:25:01,800 --> 00:25:04,960
Speaker 2: the movie Roger Ebert ever wrote, Yeah, he had a Yeah,

466
00:25:05,000 --> 00:25:06,560
Speaker 2: it was a very brief career. But that's it. That's

467
00:25:06,560 --> 00:25:07,760
Speaker 2: an illustrious one. Really.

468
00:25:08,520 --> 00:25:10,160
Speaker 1: Yeah. So if you're going to talk about the plot,

469
00:25:10,160 --> 00:25:13,639
Speaker 1: a faster pussy cat kill kill, And I say that

470
00:25:13,640 --> 00:25:15,639
Speaker 1: because there's three exclamation.

471
00:25:15,240 --> 00:25:18,359
Speaker 2: Points and a comma exclamation point kill.

472
00:25:19,080 --> 00:25:20,280
Speaker 1: Is it three exclamation points?

473
00:25:20,400 --> 00:25:20,920
Speaker 2: Yeah?

474
00:25:21,200 --> 00:25:23,159
Speaker 1: Okay, I thought it was a common then too. All right,

475
00:25:23,200 --> 00:25:25,560
Speaker 1: either way, that's a lot of punctuation for a film title, right,

476
00:25:25,720 --> 00:25:29,360
Speaker 1: And it was about three bisexual go go dancers. They

477
00:25:29,359 --> 00:25:32,120
Speaker 1: go on a crime spree out in the desert, and

478
00:25:32,440 --> 00:25:34,440
Speaker 1: what do they do? They end up killing a man

479
00:25:34,520 --> 00:25:36,520
Speaker 1: and or no, they kill the man and a couple

480
00:25:36,640 --> 00:25:37,399
Speaker 1: keep the girl.

481
00:25:37,960 --> 00:25:41,520
Speaker 2: They basically empower herme on with it by murdering her boyfriend,

482
00:25:41,560 --> 00:25:43,880
Speaker 2: and she ends up on the crime spree with them.

483
00:25:44,280 --> 00:25:47,640
Speaker 1: And they basically end up going to an isolated house

484
00:25:47,680 --> 00:25:50,080
Speaker 1: with a wheelchair bound old man and his son's.

485
00:25:50,040 --> 00:25:53,040
Speaker 2: Who's a lech? They're all leches, these women.

486
00:25:52,960 --> 00:25:55,119
Speaker 1: Yeah, but they don't know that these women are tough,

487
00:25:55,640 --> 00:25:56,960
Speaker 1: no tough ladies.

488
00:25:56,680 --> 00:25:58,879
Speaker 2: And the men and his son. The man and his

489
00:25:58,920 --> 00:26:02,040
Speaker 2: sons apparently or allegedly have a large amount of cash

490
00:26:02,119 --> 00:26:03,840
Speaker 2: stashed in this house. So it's kind of like a

491
00:26:04,600 --> 00:26:09,800
Speaker 2: standoff of gall to see who will come out on top.

492
00:26:10,080 --> 00:26:11,640
Speaker 1: Well, and you know who comes out on top. Yeah,

493
00:26:12,160 --> 00:26:15,240
Speaker 1: And this film was noteworthy for one big reason was

494
00:26:15,280 --> 00:26:18,479
Speaker 1: that there's a lot of dualism towards gender. So on

495
00:26:18,480 --> 00:26:22,440
Speaker 1: one hand, he's exploiting these women and apparently got women

496
00:26:22,440 --> 00:26:25,159
Speaker 1: in their first trimester of pregnancy, so they were more voluptuous.

497
00:26:25,280 --> 00:26:27,360
Speaker 2: Yeah, not in this film, but in his other folks

498
00:26:27,400 --> 00:26:30,720
Speaker 2: he would hire. I can't remember the lady's name, but

499
00:26:30,840 --> 00:26:32,720
Speaker 2: the star of Festor pussy Cat Kill Kill was in

500
00:26:32,800 --> 00:26:35,840
Speaker 2: other Russ Meyers films, gotcha, and he made sure that

501
00:26:35,920 --> 00:26:39,200
Speaker 2: she was like well into her third first trimester to

502
00:26:40,200 --> 00:26:42,920
Speaker 2: enhance her natural bustiness.

503
00:26:43,000 --> 00:26:46,560
Speaker 1: That's right, yeah, her bosom if you will. But the script,

504
00:26:46,680 --> 00:26:48,479
Speaker 1: like I said, it was dualism because while he did that,

505
00:26:48,560 --> 00:26:51,680
Speaker 1: it also empowered women because the women in his films

506
00:26:51,760 --> 00:26:54,199
Speaker 1: bowed to no man. No, they were the champs. They

507
00:26:54,200 --> 00:26:56,320
Speaker 1: were they were heroines really for the first time.

508
00:26:56,520 --> 00:27:00,440
Speaker 2: They were objectified very clearly. But at the same time,

509
00:27:00,440 --> 00:27:02,800
Speaker 2: if you follow the script and really look at their characters,

510
00:27:03,320 --> 00:27:05,680
Speaker 2: then yeah, they're powerful women.

511
00:27:06,080 --> 00:27:10,440
Speaker 1: And this kind of kicked off a big slew of

512
00:27:10,600 --> 00:27:14,760
Speaker 1: women exploitation films, exploitation films, the women in prison.

513
00:27:14,520 --> 00:27:17,080
Speaker 2: Movies, yes, which we lads sisters very.

514
00:27:16,880 --> 00:27:20,080
Speaker 1: Big at the time. Women were lead actors for the

515
00:27:20,119 --> 00:27:23,359
Speaker 1: first time, they were aggressors for the first time, still

516
00:27:23,560 --> 00:27:26,160
Speaker 1: nude often while they were doing this stuff.

517
00:27:26,040 --> 00:27:30,760
Speaker 2: Spawned the television show The Facts of Life.

518
00:27:31,720 --> 00:27:33,720
Speaker 1: But the interesting thing is they found that these movies

519
00:27:33,720 --> 00:27:35,600
Speaker 1: appealed to men and women because men would go see

520
00:27:35,600 --> 00:27:38,000
Speaker 1: it for obvious reasons. Women would go see it because

521
00:27:38,000 --> 00:27:41,600
Speaker 1: it was empowering and they didn't mind, you know, looking

522
00:27:41,640 --> 00:27:43,679
Speaker 1: at the naked ladies because women are much more grown up,

523
00:27:43,960 --> 00:27:48,040
Speaker 1: sure than men are. Yeah, but josh, the seventies also

524
00:27:48,119 --> 00:27:52,560
Speaker 1: got a little schlocky, which in a sense was true

525
00:27:52,600 --> 00:27:55,520
Speaker 1: to the exploitation model, Like they really went over the top.

526
00:27:55,840 --> 00:28:01,280
Speaker 1: No more political statements, no more advancing of women's gender

527
00:28:02,200 --> 00:28:05,480
Speaker 1: or African marins Americans. It just got really shlocky and

528
00:28:05,480 --> 00:28:06,320
Speaker 1: outrageous at that point.

529
00:28:06,320 --> 00:28:09,120
Speaker 2: Well, what happened starting in the sixth really took hold

530
00:28:09,160 --> 00:28:11,720
Speaker 2: in the seventies, and then from that point on was

531
00:28:11,920 --> 00:28:16,399
Speaker 2: exploitation cinema, early on showing a live birth, nudest camps.

532
00:28:16,480 --> 00:28:19,520
Speaker 2: These are all geared toward adults in the sixties, and

533
00:28:19,560 --> 00:28:22,160
Speaker 2: then later on big time in the seventies, the audience

534
00:28:22,200 --> 00:28:28,440
Speaker 2: became almost exclusively teenagers, like those driving teenagers or well

535
00:28:28,640 --> 00:28:34,880
Speaker 2: teenagers anywhere, who cares, but the audience was teenagers, and

536
00:28:35,240 --> 00:28:38,280
Speaker 2: the cast started to become teenagers, so it had a

537
00:28:38,280 --> 00:28:40,960
Speaker 2: little more of a bent on what teenagers were having

538
00:28:40,960 --> 00:28:44,320
Speaker 2: to deal with, like bullying, like the kid in this

539
00:28:44,480 --> 00:28:46,719
Speaker 2: next clip right, which is I have to say, one

540
00:28:46,760 --> 00:28:48,840
Speaker 2: of my favorite movies from way way back.

541
00:28:49,320 --> 00:28:50,960
Speaker 1: Here we go with Toxic Avenger.

542
00:28:51,160 --> 00:28:56,000
Speaker 5: Yeah, meet little Melvin. He's a ninety pound weekly. Everyone

543
00:28:56,080 --> 00:28:58,520
Speaker 5: hated Melvin. Yeah, I'm gonna take this mop and shove

544
00:28:58,560 --> 00:29:00,760
Speaker 5: it down your throat, me teased him.

545
00:29:00,960 --> 00:29:04,200
Speaker 3: I want to do it with you, podkay.

546
00:29:04,960 --> 00:29:08,600
Speaker 5: They taunted him. They tormented him until he had a

547
00:29:08,720 --> 00:29:12,200
Speaker 5: horrifying accident and fell into a bat of nuclear waste,

548
00:29:13,840 --> 00:29:19,360
Speaker 5: transforming little Melting into a hideously deformed creature of superhuman

549
00:29:19,520 --> 00:29:25,680
Speaker 5: size and strength. The movement became the Toxic Avenger.

550
00:29:28,560 --> 00:29:31,680
Speaker 1: So Josh. The Toxic Avenger movie was unique in that

551
00:29:31,920 --> 00:29:37,440
Speaker 1: its film production company, Trauma, is very popular in their

552
00:29:37,480 --> 00:29:37,840
Speaker 1: own right.

553
00:29:38,000 --> 00:29:39,920
Speaker 2: Have you ever seen surf Nazis Must Die?

554
00:29:40,000 --> 00:29:41,880
Speaker 1: I haven't, but I know about you Trauma. I mean,

555
00:29:41,880 --> 00:29:44,840
Speaker 1: they are master self promoters and marketeers.

556
00:29:45,040 --> 00:29:48,080
Speaker 2: They were one of the first production companies to have

557
00:29:48,120 --> 00:29:51,360
Speaker 2: a website, like a really comprehensive website. You should go

558
00:29:51,360 --> 00:29:55,560
Speaker 2: on their website, their whole catalog. It's really just well done.

559
00:29:56,160 --> 00:29:58,320
Speaker 2: It's schlocky, but it's well done, right.

560
00:29:58,400 --> 00:30:01,480
Speaker 1: And Toxic Avenger follows a story of a ninety eight

561
00:30:01,480 --> 00:30:05,600
Speaker 1: pound weekling who was picked on released the same year's Ghostbusters.

562
00:30:06,000 --> 00:30:08,200
Speaker 1: Do you notice that nineteen eighty four?

563
00:30:08,400 --> 00:30:08,560
Speaker 4: Right?

564
00:30:08,800 --> 00:30:10,920
Speaker 2: Yeah, so it was it occurred at zero year.

565
00:30:11,000 --> 00:30:14,400
Speaker 1: It's the year zero. Yeah, we'll just put the null

566
00:30:14,520 --> 00:30:19,040
Speaker 1: set represent that. And this kid gets pushed out of

567
00:30:19,080 --> 00:30:22,360
Speaker 1: a window into a vat of toxic sludge.

568
00:30:21,880 --> 00:30:23,680
Speaker 2: Which that's beyond bullying.

569
00:30:23,760 --> 00:30:26,120
Speaker 1: Really, yeah, I mean, this is basically it's a more

570
00:30:26,120 --> 00:30:28,840
Speaker 1: twisted version of modern problems. The Chevy Chase film from

571
00:30:28,840 --> 00:30:29,720
Speaker 1: a couple of years earlier.

572
00:30:29,880 --> 00:30:31,520
Speaker 2: Okay, I haven't seen that one.

573
00:30:31,760 --> 00:30:34,640
Speaker 1: Oh you never saw a modern problem. No, it's very silly,

574
00:30:34,680 --> 00:30:37,080
Speaker 1: but he got toxic sledge dumped on him and had

575
00:30:37,120 --> 00:30:38,960
Speaker 1: special powers.

576
00:30:38,720 --> 00:30:41,080
Speaker 2: From years earlier, prior after.

577
00:30:42,320 --> 00:30:44,760
Speaker 1: What Win was the movie? Yeah, it was two years

578
00:30:44,800 --> 00:30:48,719
Speaker 1: before Toxic Avenger, But Toxic Avenger took it into a

579
00:30:48,760 --> 00:30:52,800
Speaker 1: gore special effects way that modern Problems never did.

580
00:30:52,920 --> 00:30:58,000
Speaker 2: So the janitor Melvin I believe his name is, becomes toxified,

581
00:30:58,040 --> 00:31:03,040
Speaker 2: it becomes toxic, the tox Avenger who beats the tar

582
00:31:03,200 --> 00:31:05,760
Speaker 2: out of people at the health club where he was

583
00:31:05,840 --> 00:31:11,120
Speaker 2: abused and mutated and has tons of sex as the

584
00:31:11,120 --> 00:31:16,400
Speaker 2: Toxic Avenger because his newfound manhood is just irresistible to women.

585
00:31:16,960 --> 00:31:20,160
Speaker 2: And one of the things that's noteworthy about the Toxic

586
00:31:20,200 --> 00:31:24,720
Speaker 2: Avenger is that they actually tried to make decent effects. Yeah,

587
00:31:25,160 --> 00:31:28,520
Speaker 2: it wasn't just it wasn't horrible. I guess you could say.

588
00:31:28,400 --> 00:31:29,760
Speaker 1: Well for the time, you know, it wasn't bad.

589
00:31:30,120 --> 00:31:34,080
Speaker 2: No, there, they remained bad, and they probably were kind

590
00:31:34,080 --> 00:31:37,960
Speaker 2: of bad even back then. But for for for Grindhouse films,

591
00:31:38,000 --> 00:31:42,120
Speaker 2: yeah they were, they were great, right, And uh, it's

592
00:31:42,200 --> 00:31:44,760
Speaker 2: also noteworthy because it came out of Trauma Productions or

593
00:31:44,800 --> 00:31:49,320
Speaker 2: Trouma Studios, and it led to a whole line of

594
00:31:49,360 --> 00:31:54,040
Speaker 2: Toxic Avenger movies and schlock in general, which is basically

595
00:31:54,080 --> 00:31:57,120
Speaker 2: like some crazy, horrible thing has happened, but we're not

596
00:31:57,120 --> 00:31:58,720
Speaker 2: going to dwell too much on that. Let's see what

597
00:31:58,800 --> 00:32:01,280
Speaker 2: let's let's see where the action takes us exactly. So

598
00:32:01,360 --> 00:32:05,640
Speaker 2: like Bad Taste, Peter Jackson's first film Right is a

599
00:32:05,640 --> 00:32:09,120
Speaker 2: great example of schlock that came out of Toxic Avenger.

600
00:32:08,800 --> 00:32:11,760
Speaker 1: And he had the film that followed, Peter Jackson Dead Alive,

601
00:32:11,800 --> 00:32:15,520
Speaker 1: which was at one point supposedly the gorrist film ever made. Really,

602
00:32:15,560 --> 00:32:19,480
Speaker 1: although it sounds like your new Korean movie has surpassed that, Yeah,

603
00:32:19,560 --> 00:32:20,680
Speaker 1: I think it probably has.

604
00:32:20,720 --> 00:32:22,600
Speaker 2: I haven't seen that Alive's seen Bad Taste and Bad

605
00:32:22,640 --> 00:32:24,600
Speaker 2: Taste it was horribly gory, but I think this has

606
00:32:24,640 --> 00:32:24,960
Speaker 2: it beat.

607
00:32:25,120 --> 00:32:26,760
Speaker 1: Yeah, but I bet you if anything. I mean, I

608
00:32:26,760 --> 00:32:28,600
Speaker 1: haven't seen the one you're talking about. But is it

609
00:32:28,600 --> 00:32:29,680
Speaker 1: more realistic gore?

610
00:32:29,880 --> 00:32:32,440
Speaker 2: Yeah, with bad it's like these are aliens that are

611
00:32:32,480 --> 00:32:34,920
Speaker 2: having their heads blown off. So it definitely takes you

612
00:32:35,080 --> 00:32:40,440
Speaker 2: at least a degree away from caring this is happening

613
00:32:40,480 --> 00:32:44,480
Speaker 2: to human beings. In I saw The Devil, so it

614
00:32:44,560 --> 00:32:47,160
Speaker 2: definitely is driven home a little more well.

615
00:32:47,200 --> 00:32:49,440
Speaker 1: And the violence that even the gore back then, it

616
00:32:49,480 --> 00:32:52,240
Speaker 1: was so over the top, right out of Fangor magazine.

617
00:32:52,240 --> 00:32:55,160
Speaker 2: It's like, you know, dude, Fangory is still around, is it? Yeah?

618
00:32:55,200 --> 00:32:55,880
Speaker 1: I figured it was.

619
00:32:56,120 --> 00:32:58,400
Speaker 2: I'm glad it is. We follow it on our Twitter feed.

620
00:32:58,640 --> 00:33:01,800
Speaker 1: Oh we do. Yep, like a head'll explode in scanners

621
00:33:01,840 --> 00:33:05,080
Speaker 1: and you know, it's not disturbing because it's so clearly

622
00:33:05,120 --> 00:33:07,560
Speaker 1: over the top. But these new movies are much more disturbing.

623
00:33:07,560 --> 00:33:11,960
Speaker 2: If you ask me, I agree wholeheartedly because they're more realistic. Yeah. So,

624
00:33:12,160 --> 00:33:15,360
Speaker 2: carrying on with Chucks and my Cisco and eber Act.

625
00:33:16,560 --> 00:33:20,160
Speaker 2: This is the second to last movie in our little

626
00:33:20,160 --> 00:33:25,560
Speaker 2: list today, and this one's from way back from the thirties.

627
00:33:25,600 --> 00:33:28,120
Speaker 2: So let's talk about reefer madness.

628
00:33:28,960 --> 00:33:31,520
Speaker 4: These high school boys and girls are having a hop

629
00:33:31,600 --> 00:33:36,600
Speaker 4: at the local soda fountain. Innocently they dance, innocent of

630
00:33:36,680 --> 00:33:42,280
Speaker 4: a new and deadly menace lurking behind closed doors. Matrijuana

631
00:33:42,880 --> 00:33:49,640
Speaker 4: the Burning Weed when it's roots in Hell or watchcase

632
00:33:50,320 --> 00:33:54,960
Speaker 4: if you want to be you will meet Bill, who

633
00:33:54,960 --> 00:33:58,160
Speaker 4: wants to pride and his strong will as he takes

634
00:33:58,200 --> 00:34:02,680
Speaker 4: the first step toward and slave undre.

635
00:34:05,760 --> 00:34:08,440
Speaker 1: So that was the excellent reafer Madness, which was an

636
00:34:08,440 --> 00:34:12,879
Speaker 1: exploitation drug exploitation film and very much a cautionary tale.

637
00:34:12,920 --> 00:34:17,040
Speaker 1: It even shaped the drug culture and how people looked

638
00:34:17,040 --> 00:34:19,680
Speaker 1: at drugs. Is you know marijuana at the time, Is

639
00:34:19,719 --> 00:34:21,640
Speaker 1: this really evil thing that can make you crazy and

640
00:34:21,800 --> 00:34:22,320
Speaker 1: kill people?

641
00:34:22,440 --> 00:34:26,520
Speaker 2: Yeah? And actually, in very much the vein of early

642
00:34:26,560 --> 00:34:33,480
Speaker 2: exploitation films, it was produced and distributed as a public service,

643
00:34:33,600 --> 00:34:37,520
Speaker 2: like the alternate title for it was Tell Your Children,

644
00:34:38,360 --> 00:34:41,640
Speaker 2: And the whole thing set in a pta meeting where

645
00:34:41,680 --> 00:34:45,280
Speaker 2: this guy is relating the story, and it's a story

646
00:34:45,320 --> 00:34:50,640
Speaker 2: about lost lives, about murder, about guilt and paranoia, and

647
00:34:50,719 --> 00:34:54,359
Speaker 2: all of it is fed and based on rampant drug use,

648
00:34:54,719 --> 00:34:57,600
Speaker 2: which is really just a lot of pot smoking which

649
00:34:57,680 --> 00:35:01,880
Speaker 2: can turn you into a fiend. And it's apparently the

650
00:35:01,960 --> 00:35:06,160
Speaker 2: director his name is Dwayne Esper. He did other exploitation

651
00:35:06,200 --> 00:35:10,719
Speaker 2: films from the thirties like Sex Madness, Psychotic Connections, and

652
00:35:11,480 --> 00:35:14,680
Speaker 2: he made a name for himself basically taking these things

653
00:35:14,680 --> 00:35:18,840
Speaker 2: that may have originally been written as a public service

654
00:35:19,440 --> 00:35:23,760
Speaker 2: and making them so outlandish that he exploited the people

655
00:35:23,840 --> 00:35:27,799
Speaker 2: who were making these movies and created this legacy of

656
00:35:27,840 --> 00:35:32,280
Speaker 2: like just insanely over the top exploitation films from the thirties.

657
00:35:32,320 --> 00:35:36,359
Speaker 1: Well, and ironically, Reefer Madness years later, would become not

658
00:35:36,440 --> 00:35:39,120
Speaker 1: so much an anti drug propaganda film how should I

659
00:35:39,160 --> 00:35:42,960
Speaker 1: say this, but a film that college students would sit

660
00:35:42,960 --> 00:35:47,080
Speaker 1: around and watch while partaking and laughing at this whole thing. Yeah,

661
00:35:47,160 --> 00:35:47,920
Speaker 1: and a cult film.

662
00:35:48,040 --> 00:35:51,000
Speaker 2: Yeah, because it puts drugs so far out there that

663
00:35:51,880 --> 00:35:55,400
Speaker 2: if you, despite all the warnings, take drugs anyway and

664
00:35:55,440 --> 00:35:57,920
Speaker 2: you realize that you don't turn into a fiend and

665
00:35:58,000 --> 00:36:03,960
Speaker 2: murder somebody, you uh, refer Madness basically dares you to

666
00:36:04,040 --> 00:36:07,320
Speaker 2: go further. So it's kind of an it's the opposite.

667
00:36:07,360 --> 00:36:09,120
Speaker 2: It has the opposite effect of what I think its

668
00:36:09,120 --> 00:36:12,160
Speaker 2: original intent was before Duanne Osberg got its hands on it.

669
00:36:12,360 --> 00:36:15,720
Speaker 2: And as a side note, I had trouble deciding between

670
00:36:15,760 --> 00:36:19,040
Speaker 2: Reefer Madness and another nineteen thirties film by a guy

671
00:36:19,080 --> 00:36:21,720
Speaker 2: named Todd Browning called Freaks.

672
00:36:21,920 --> 00:36:25,239
Speaker 1: Oh yeah, well that was that was huge because it

673
00:36:25,360 --> 00:36:30,480
Speaker 1: was the first big exploitation film pre Hayes Code and.

674
00:36:30,400 --> 00:36:32,640
Speaker 2: Last, Yeah and last, and it was it was an

675
00:36:32,719 --> 00:36:36,320
Speaker 2: MGM film. Yeah, and it's widely considered a masterpiece.

676
00:36:35,880 --> 00:36:37,600
Speaker 1: Yeah, I mean it looks great. It's it's not it

677
00:36:37,640 --> 00:36:38,320
Speaker 1: was well done.

678
00:36:38,600 --> 00:36:41,640
Speaker 2: It's a huge it's a it's a revenge movie, which

679
00:36:41,680 --> 00:36:46,000
Speaker 2: is a very common theme in exploitation films. Yeah, especially

680
00:36:46,080 --> 00:36:50,759
Speaker 2: violent ones. But it's it featured Browning dared to have

681
00:36:50,840 --> 00:36:54,240
Speaker 2: real freaks. I guess if you're yes, circus side show freaks,

682
00:36:54,320 --> 00:36:58,319
Speaker 2: yeah star in this. Uh, and they basically exact their

683
00:36:58,320 --> 00:37:01,880
Speaker 2: revenge on people who've misstreat them. And I have not

684
00:37:02,000 --> 00:37:04,759
Speaker 2: seen it really Yeah, yeah, I want to. I hear

685
00:37:04,800 --> 00:37:06,080
Speaker 2: it's just awesome. I can't wait.

686
00:37:06,320 --> 00:37:09,920
Speaker 1: It ended his career though, unfortunately. Yeah, and he was

687
00:37:10,760 --> 00:37:12,319
Speaker 1: a popular filmmaker at the time.

688
00:37:12,640 --> 00:37:16,120
Speaker 2: Well, hats off to him for staying true to his art.

689
00:37:16,480 --> 00:37:17,719
Speaker 2: Chuck just took his hat off.

690
00:37:18,040 --> 00:37:18,680
Speaker 1: Don the old cap.

691
00:37:18,719 --> 00:37:20,640
Speaker 2: All right, Chuck, here's the last one that we've got

692
00:37:20,640 --> 00:37:24,360
Speaker 2: a clip for which I think everybody will notice or

693
00:37:24,440 --> 00:37:28,279
Speaker 2: recognize without even a word. There's not even a word

694
00:37:28,280 --> 00:37:30,759
Speaker 2: in this clip, and you will understand what's going on.

695
00:37:30,800 --> 00:37:39,400
Speaker 2: So here we go.

696
00:38:00,719 --> 00:38:04,120
Speaker 1: So, Josh, those are the unmistakable sounds of fist of

697
00:38:04,200 --> 00:38:06,480
Speaker 1: fury of mister one, mister Bruce.

698
00:38:06,280 --> 00:38:10,279
Speaker 2: Lee, Bruce Lee kicking bottom. This first movie, Yeah, which

699
00:38:10,640 --> 00:38:13,200
Speaker 2: was originally titled, well, it's still title I think in

700
00:38:13,239 --> 00:38:18,440
Speaker 2: Asia The Big Boss, and in America it is it's

701
00:38:18,600 --> 00:38:19,640
Speaker 2: titled Fists of Fury.

702
00:38:19,680 --> 00:38:21,000
Speaker 1: Yeah, it was on the other night. Okay, Well I

703
00:38:21,080 --> 00:38:22,839
Speaker 1: saw part of it. Oh yeah, yeah, I didn't realize

704
00:38:22,880 --> 00:38:24,399
Speaker 1: it was his first one, though I would have tuned in.

705
00:38:24,560 --> 00:38:28,600
Speaker 2: Yeah, And it was first of what five five major films, right,

706
00:38:29,120 --> 00:38:31,960
Speaker 2: And basically it's the story of a martial arts student

707
00:38:31,960 --> 00:38:36,760
Speaker 2: who's investigating the murder of his teacher, and it began

708
00:38:37,640 --> 00:38:41,680
Speaker 2: the martial arts exploitation sub genre, which.

709
00:38:41,640 --> 00:38:43,680
Speaker 1: Later would become just martial arts films. Right or was

710
00:38:43,719 --> 00:38:45,000
Speaker 1: it still considered exploitation.

711
00:38:45,120 --> 00:38:46,759
Speaker 2: It's all the same, Okay, they're one and the same.

712
00:38:46,840 --> 00:38:50,759
Speaker 2: Anything that even remotely resembles a Bruce Lee movie, specifically

713
00:38:50,760 --> 00:38:53,960
Speaker 2: The Big Boss or any of them, is martial arts

714
00:38:53,960 --> 00:38:58,600
Speaker 2: exploitation technically, because again we arrive at that one definition.

715
00:38:58,640 --> 00:39:02,680
Speaker 2: It's over the top. Bruce Lee's taking on scores of

716
00:39:03,000 --> 00:39:06,680
Speaker 2: anonymous thugs for two hours, one after the other, for

717
00:39:06,719 --> 00:39:08,799
Speaker 2: two hours, just beating the tar out of all these

718
00:39:08,840 --> 00:39:13,120
Speaker 2: people without tiring. Really, everybody's kind of waiting their turn

719
00:39:13,200 --> 00:39:15,440
Speaker 2: politely in a circle around him, and he has to

720
00:39:15,480 --> 00:39:18,080
Speaker 2: beat everybody right, and then he works his way up

721
00:39:18,120 --> 00:39:20,520
Speaker 2: and it's over the top. So it is exploitation. But

722
00:39:21,520 --> 00:39:25,400
Speaker 2: it led to other films like Samurai exploitation. Remember American Ninja.

723
00:39:25,440 --> 00:39:27,799
Speaker 2: Remember the whole ninja film thing that came out in

724
00:39:27,800 --> 00:39:31,239
Speaker 2: the mid eighties. Uh uh, that's from Bruce Lee's that's

725
00:39:31,280 --> 00:39:32,359
Speaker 2: Bruce Lee's doing well.

726
00:39:32,440 --> 00:39:34,080
Speaker 1: Yeah, and you go to these at the time when

727
00:39:34,120 --> 00:39:36,239
Speaker 1: I was first going to New York many years ago,

728
00:39:36,320 --> 00:39:38,359
Speaker 1: that would be you know, you got a Times Square

729
00:39:38,360 --> 00:39:40,040
Speaker 1: and this is still when Time Square was kind of gross,

730
00:39:40,520 --> 00:39:43,520
Speaker 1: and that would be just the martial Arts movie store

731
00:39:43,840 --> 00:39:46,279
Speaker 1: where it was all that stuff, mane, like thousands of

732
00:39:46,320 --> 00:39:51,120
Speaker 1: movies about ninja's and samuraiz and martial artists and very big. Yeah.

733
00:39:51,440 --> 00:39:54,040
Speaker 2: I was inspired by American Ninja to become a ninja.

734
00:39:54,080 --> 00:39:57,839
Speaker 2: Remember I entered a ninja training with Tommy Roper, who

735
00:39:57,880 --> 00:40:00,520
Speaker 2: had like more throwing stars than any kid I've ever known.

736
00:40:00,880 --> 00:40:02,160
Speaker 1: What did you have? Like one throwing star?

737
00:40:02,360 --> 00:40:04,640
Speaker 2: I borrowed his. Okay, I was not allowed to have

738
00:40:04,680 --> 00:40:05,680
Speaker 2: throwing stars on my own.

739
00:40:06,560 --> 00:40:09,640
Speaker 1: Oh I wasn't either, Yeah, Baptist, No, No, that was

740
00:40:10,120 --> 00:40:10,680
Speaker 1: very violent.

741
00:40:10,920 --> 00:40:14,440
Speaker 2: No numb chuck, not even thought that transcends like religious background.

742
00:40:14,440 --> 00:40:16,640
Speaker 2: It's like, you're a good parent, you shouldn't let your

743
00:40:16,719 --> 00:40:17,680
Speaker 2: kid have a throwing star.

744
00:40:17,800 --> 00:40:20,240
Speaker 1: It's a good point. And as you point in the article,

745
00:40:20,280 --> 00:40:23,960
Speaker 1: this actually led to another subgenre, which was Bruce Lee

746
00:40:24,239 --> 00:40:25,919
Speaker 1: lookalike movies. Yeah.

747
00:40:25,960 --> 00:40:28,719
Speaker 2: So he made five movies and then died at age

748
00:40:28,760 --> 00:40:32,439
Speaker 2: thirty two. Yeah, and nineteen seventy three. So Big Boss

749
00:40:32,480 --> 00:40:34,920
Speaker 2: released in nineteen seventy one, he dies two years later.

750
00:40:35,040 --> 00:40:38,879
Speaker 2: Everybody's like, no, so let's find some guys that look

751
00:40:39,000 --> 00:40:43,320
Speaker 2: like him, which is really kind of stereotypical and racist

752
00:40:43,400 --> 00:40:47,000
Speaker 2: for the West. But Bruce Leeve l I or le

753
00:40:47,040 --> 00:40:50,480
Speaker 2: ee or l E or just l E. Well, Bruce

754
00:40:50,719 --> 00:40:54,080
Speaker 2: l I or Bruce el E. I don't think there

755
00:40:54,160 --> 00:40:56,279
Speaker 2: was ever like Bruce l e I.

756
00:40:56,400 --> 00:40:57,160
Speaker 1: G H.

757
00:40:57,239 --> 00:40:59,200
Speaker 2: I don't think it ever got that far. But I

758
00:40:59,239 --> 00:41:02,040
Speaker 2: mean they released dozens of Bruce Lee and I just

759
00:41:02,080 --> 00:41:03,280
Speaker 2: made air quote films.

760
00:41:03,400 --> 00:41:03,600
Speaker 4: Yeah.

761
00:41:04,000 --> 00:41:08,799
Speaker 2: So Bruce Lee created the martial arts exploitation genre and subgenre,

762
00:41:09,160 --> 00:41:14,120
Speaker 2: and he inadvertently created the Bruce Lee exploitation subgenre of

763
00:41:14,200 --> 00:41:16,640
Speaker 2: the martial arts exploitation subgenre.

764
00:41:16,280 --> 00:41:19,600
Speaker 1: By dying young, Yeah and being very popular. Yeah, And

765
00:41:19,920 --> 00:41:22,240
Speaker 1: which one was the one he had Kareem Mental Jabbarian

766
00:41:22,920 --> 00:41:25,400
Speaker 1: Enter the Dragon. Yeah. Yeah, if you've never seen a

767
00:41:25,719 --> 00:41:28,000
Speaker 1: like seven foot plus guy to martial arts, you should

768
00:41:28,080 --> 00:41:28,640
Speaker 1: check that out.

769
00:41:28,719 --> 00:41:31,360
Speaker 2: And if you can't get enough Bruce Lee and you

770
00:41:31,440 --> 00:41:34,799
Speaker 2: have a good sense of humor, check out Kentucky Fried

771
00:41:34,880 --> 00:41:39,000
Speaker 2: movie made by one Jerry's Rucker, who we met in

772
00:41:39,320 --> 00:41:43,360
Speaker 2: Los Angeles recently and who used an exploitive to me.

773
00:41:43,680 --> 00:41:45,440
Speaker 2: He did it was one of the high points of

774
00:41:45,440 --> 00:41:48,840
Speaker 2: my life, it is. But yeah, Kentucky Fry movie awesome.

775
00:41:49,080 --> 00:41:51,319
Speaker 1: Actually, when we met Jerry Zucker, we told him that

776
00:41:51,360 --> 00:41:52,920
Speaker 1: our little speech we were given that night was one

777
00:41:52,920 --> 00:41:55,440
Speaker 1: of the highlights of our career thus far. And he says, well,

778
00:41:55,440 --> 00:41:58,200
Speaker 1: it doesn't say much about your career, does it? Like

779
00:41:58,239 --> 00:41:59,160
Speaker 1: the first thing to do does?

780
00:41:59,320 --> 00:42:01,600
Speaker 2: Yeah? Something funny and we just like kind of fawned

781
00:42:01,640 --> 00:42:02,480
Speaker 2: over the man.

782
00:42:02,960 --> 00:42:05,160
Speaker 1: We should mention briefly and it's in the article, but

783
00:42:05,440 --> 00:42:09,080
Speaker 1: just as a teaser. The late seventies we got Nazi

784
00:42:09,080 --> 00:42:12,799
Speaker 1: exploitation movies, Nazi exploitation as a subgenre, yeah, And one

785
00:42:12,800 --> 00:42:15,200
Speaker 1: of the major players there movie wise was Ilsa she

786
00:42:15,360 --> 00:42:16,799
Speaker 1: Wolf of the SS.

787
00:42:16,560 --> 00:42:22,720
Speaker 2: Yeah, which led to Ilsa Siberian Tigris and Ilsa harm

788
00:42:22,800 --> 00:42:25,920
Speaker 2: keeper of the oil sheeks. Really, there's a whole sex

789
00:42:26,080 --> 00:42:29,840
Speaker 2: violence franchise, Dominatrix franchise, that was based out of the

790
00:42:29,920 --> 00:42:31,240
Speaker 2: Nazi exploitation film.

791
00:42:31,400 --> 00:42:35,000
Speaker 1: You know, one could argue that qt mister Tarantino has

792
00:42:35,000 --> 00:42:41,240
Speaker 1: made nothing but exploitation films. Yeah, since pulp fiction, because

793
00:42:41,680 --> 00:42:46,120
Speaker 1: the kill bills were definitely martial arts exploitation. The Jackie

794
00:42:46,160 --> 00:42:51,640
Speaker 1: Brown was a riff on black exploitation. Sure, death Proof

795
00:42:51,680 --> 00:42:53,680
Speaker 1: obviously that was what they were trying to do there.

796
00:42:53,800 --> 00:42:56,640
Speaker 2: Death Proof is Carsploitation, which follows in the tradition of

797
00:42:56,719 --> 00:43:00,840
Speaker 2: Vanishing Point, which was released the same year, is basically

798
00:43:00,840 --> 00:43:05,879
Speaker 2: it's rival to the the founder, the founding movie of carsploitation,

799
00:43:05,960 --> 00:43:08,680
Speaker 2: Two Lane Black Top, right, which movie. Yeah, if you

800
00:43:08,719 --> 00:43:11,759
Speaker 2: want to start an argument with an exploitation film, buff

801
00:43:11,840 --> 00:43:15,919
Speaker 2: tell him Vanishing Point was the beginning of carsploitation. They'll

802
00:43:15,920 --> 00:43:16,560
Speaker 2: get mad at you.

803
00:43:16,960 --> 00:43:20,160
Speaker 1: And then finally Tarantina with The Inglorious Bastards, which is

804
00:43:20,200 --> 00:43:22,719
Speaker 1: clearly a riff on the Nazi exploitation films.

805
00:43:22,800 --> 00:43:23,160
Speaker 2: Yeah.

806
00:43:23,640 --> 00:43:25,480
Speaker 1: Beaten nazis the Death of the Baseball Bat.

807
00:43:25,560 --> 00:43:29,040
Speaker 2: Yeah, about as over the top and lurt as it's awesome. Yeah. So,

808
00:43:30,080 --> 00:43:35,080
Speaker 2: and then Machete. I hated it. But Robert Rodriguez it's terrible.

809
00:43:34,760 --> 00:43:36,359
Speaker 1: And of course he was the other half of the

810
00:43:36,760 --> 00:43:38,719
Speaker 1: Rodriguez was the other half with his Planet Terra of

811
00:43:38,719 --> 00:43:39,880
Speaker 1: the Grindhouse double feature.

812
00:43:40,239 --> 00:43:41,239
Speaker 2: Yeah, okay, and.

813
00:43:41,280 --> 00:43:43,560
Speaker 1: Machete was born from one of the little fake trailers

814
00:43:43,560 --> 00:43:44,319
Speaker 1: they made in that movie.

815
00:43:44,360 --> 00:43:44,960
Speaker 2: Oh is that right?

816
00:43:45,040 --> 00:43:47,400
Speaker 1: Yeah, it was one of the fake movie previews.

817
00:43:47,520 --> 00:43:50,279
Speaker 2: It is even as far as like a purposefully B

818
00:43:50,600 --> 00:43:53,160
Speaker 2: movie not good. No, well, Death Proof was okay, but

819
00:43:53,200 --> 00:43:57,200
Speaker 2: I didn't like Planetear that much. Yeah, and then Chuck. Well,

820
00:43:57,239 --> 00:43:59,319
Speaker 2: first of all, before we get to today, we also

821
00:43:59,400 --> 00:44:02,959
Speaker 2: have to give a shout out to Porno's Porno came

822
00:44:03,000 --> 00:44:05,439
Speaker 2: out of the exploitation film genre.

823
00:44:05,440 --> 00:44:07,840
Speaker 1: And it arguably had a lot to do with killing

824
00:44:08,920 --> 00:44:11,879
Speaker 1: the X or pushing it into the mainstream, because once

825
00:44:11,920 --> 00:44:13,680
Speaker 1: you had the movie Deep Throat and all of a sudden,

826
00:44:14,239 --> 00:44:18,000
Speaker 1: pornography was on the screen, it's like, you can't do

827
00:44:18,040 --> 00:44:20,319
Speaker 1: an exploitation film about it anymore. If there's the real

828
00:44:20,360 --> 00:44:23,560
Speaker 1: deal going on, it loses all its power. And then

829
00:44:23,600 --> 00:44:26,200
Speaker 1: a little movie called Jaws came along, and all of

830
00:44:26,239 --> 00:44:30,080
Speaker 1: a sudden, a quote unquote B movie style movie made

831
00:44:30,400 --> 00:44:34,239
Speaker 1: gobs and gobs of money, and that put a little

832
00:44:34,280 --> 00:44:37,400
Speaker 1: bit of mainstream respectability on the map all of a sudden,

833
00:44:37,480 --> 00:44:42,000
Speaker 1: And so one might argue, Josh that movies like Jaws

834
00:44:42,040 --> 00:44:46,000
Speaker 1: and Pornography kind of shoved exploitation films even though they

835
00:44:46,000 --> 00:44:48,080
Speaker 1: still exist. They're sort of mainstream movies now.

836
00:44:48,160 --> 00:44:51,600
Speaker 2: Yeah, well, yeah, I guess another word for grindhouse these

837
00:44:51,640 --> 00:44:56,080
Speaker 2: days is blockbuster. Jaws was the first blockbuster movie, summer blockbuster,

838
00:44:56,640 --> 00:44:59,040
Speaker 2: and now you have to have summer blockbusters, and they're

839
00:44:59,080 --> 00:45:02,680
Speaker 2: always over the top and exploitive of viewers tastes.

840
00:45:02,920 --> 00:45:05,319
Speaker 1: And not only Tarantino, those other filmmakers out that are

841
00:45:05,560 --> 00:45:10,160
Speaker 1: trying to capture that seventies vibe with overt exploitation films again,

842
00:45:10,280 --> 00:45:14,120
Speaker 1: shot that way, shot on thirty five or I'm sorry, yeah,

843
00:45:14,600 --> 00:45:16,200
Speaker 1: sixteen millimeter film, stuff like that.

844
00:45:16,320 --> 00:45:21,799
Speaker 2: Yeah, so, Chuck, I say, our message to everybody is

845
00:45:22,000 --> 00:45:24,880
Speaker 2: number one, go on to the site, read ten noteworthy

846
00:45:24,960 --> 00:45:31,000
Speaker 2: exploitation films. Number two if that interests you. Like, even

847
00:45:31,040 --> 00:45:36,160
Speaker 2: the ten noteworthy exploitation films they chose don't cover even

848
00:45:36,680 --> 00:45:40,239
Speaker 2: I think a third of the exploitation subgenres. So there'll

849
00:45:40,239 --> 00:45:42,840
Speaker 2: probably be another article forthcoming at some point if there is.

850
00:45:42,880 --> 00:45:45,319
Speaker 2: We'll let you know and then go watch some exploitation

851
00:45:45,440 --> 00:45:46,759
Speaker 2: movies and enjoy them.

852
00:45:47,160 --> 00:45:50,000
Speaker 1: Yeah, watch the documentary American Grindhouse too, if you're into that.

853
00:45:50,200 --> 00:45:52,880
Speaker 2: Yeah, it's a great one. It's free on Hulu. Actually

854
00:45:53,280 --> 00:45:57,080
Speaker 2: there's ads, but Hulu dot com has American Grindhouse for free.

855
00:45:57,280 --> 00:45:59,879
Speaker 2: It is not safe for work now, in no way,

856
00:46:00,040 --> 00:46:01,719
Speaker 2: shape or form. I was watching it at work and

857
00:46:01,760 --> 00:46:04,759
Speaker 2: I was like, WHOA, Okay, really, yeah, if you are

858
00:46:04,800 --> 00:46:07,439
Speaker 2: watching it at work, tab browsing is what you want

859
00:46:07,440 --> 00:46:09,879
Speaker 2: to be doing, right, and keep your your finger over

860
00:46:09,920 --> 00:46:13,080
Speaker 2: the mouse and keep the cursor over the other tab

861
00:46:13,200 --> 00:46:14,319
Speaker 2: right and stay sharp.

862
00:46:14,480 --> 00:46:17,120
Speaker 1: Or in our case, you can just say it's research.

863
00:46:17,760 --> 00:46:19,800
Speaker 1: But you can't do that. If you're an accountant in

864
00:46:20,440 --> 00:46:21,480
Speaker 1: JP Morgan.

865
00:46:21,239 --> 00:46:24,680
Speaker 2: You're just a cicico, a weirdo, that weird guy in accounting.

866
00:46:25,400 --> 00:46:29,919
Speaker 2: So look up ten noteworthy exploitation films. You can type

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00:46:29,960 --> 00:46:33,160
Speaker 2: that into the handy search bar at HowStuffWorks dot com.

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00:46:33,560 --> 00:46:36,560
Speaker 2: And now, at long last, it's time for listener mail.

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00:46:37,200 --> 00:46:40,399
Speaker 1: Joshua's I'm gonna call this It's a small world after all.

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00:46:41,400 --> 00:46:45,280
Speaker 1: Dear guys, I'm a longtime fan from Minnesota and enjoy

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00:46:45,400 --> 00:46:47,560
Speaker 1: spreading stuff you should know goodness wherever I go. My

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00:46:47,640 --> 00:46:50,040
Speaker 1: co workers at a local coffee shop know me for

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00:46:50,080 --> 00:46:53,400
Speaker 1: the trivia and information I abound in. But if forget

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00:46:53,440 --> 00:46:56,440
Speaker 1: tell you what that he says he abounds in, I

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00:46:56,480 --> 00:47:01,040
Speaker 1: guess he's proficient in. Okay, did he misuse that? Yeah?

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00:47:01,120 --> 00:47:03,759
Speaker 2: I don't know. It sounds hilarious.

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00:47:03,800 --> 00:47:06,359
Speaker 1: It does after giving credit where credit is due, which

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00:47:06,360 --> 00:47:09,400
Speaker 1: means us several of them decided to subscribe your podcast.

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00:47:10,280 --> 00:47:12,560
Speaker 1: Listening to the podcast has also given me an advantage

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00:47:12,600 --> 00:47:16,400
Speaker 1: at work for thinking of the coffee shop's daily trivia question,

881
00:47:16,840 --> 00:47:19,279
Speaker 1: which saves people ten cents on their drink if I

882
00:47:19,440 --> 00:47:23,520
Speaker 1: know it. After relstening to how legos work, I set

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00:47:23,560 --> 00:47:27,000
Speaker 1: the trivia question for which company produces the most tires

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00:47:27,000 --> 00:47:30,240
Speaker 1: on a yearly basis? Abridge stone be goodyear see Lego Bricks.

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00:47:31,280 --> 00:47:34,920
Speaker 1: You know the answer, John. Most people were surprised and

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00:47:34,920 --> 00:47:37,719
Speaker 1: pleased to find out it was Lego Bricks, reminding me

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00:47:37,760 --> 00:47:42,000
Speaker 1: of about the little playsets that their kids enjoy. This

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00:47:42,040 --> 00:47:44,120
Speaker 1: is where it gets weird. One of the customers read

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00:47:44,160 --> 00:47:47,080
Speaker 1: the trivia question, looked at me and said, it's a

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00:47:47,160 --> 00:47:48,040
Speaker 1: Puonsi scheme.

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00:47:48,239 --> 00:47:49,959
Speaker 2: Nice, that's awesome.

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00:47:49,640 --> 00:47:51,799
Speaker 1: And the best Italian accent he could muster. Everyone else

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00:47:51,800 --> 00:47:55,120
Speaker 1: gave him an odd look. I started laughing. He apologized

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00:47:55,480 --> 00:47:57,279
Speaker 1: and then say and said he just heard it on

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00:47:57,320 --> 00:48:00,000
Speaker 1: a podcast. He had just listened to Legos follow up

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00:48:00,040 --> 00:48:02,920
Speaker 1: by Ponzi Schemes. Long story short, we were both pleased

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00:48:02,920 --> 00:48:05,200
Speaker 1: to find out that we were both fans. We are

898
00:48:05,200 --> 00:48:07,680
Speaker 1: now on a first name basis, eager to discuss the

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00:48:07,719 --> 00:48:11,680
Speaker 1: most recent episodes. So these dudes in Minneapolis.

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00:48:11,200 --> 00:48:12,920
Speaker 2: Daniel, that's awesome, thanks Daniel.

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00:48:12,920 --> 00:48:15,600
Speaker 1: And his friend now his new friend.

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00:48:15,920 --> 00:48:16,839
Speaker 2: His unnamed friend.

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00:48:17,200 --> 00:48:18,040
Speaker 1: Yeah, he didn't name him.

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00:48:18,120 --> 00:48:19,640
Speaker 2: You wouldn't know him. He made him at camp.

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Speaker 1: That's right, band camp.

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00:48:21,760 --> 00:48:27,279
Speaker 2: Thanks Daniel, that's really awesome. Wow, that's really cool. Let

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00:48:27,320 --> 00:48:32,080
Speaker 2: us know if you tweet those daily facts for your coffeehouse,

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00:48:32,120 --> 00:48:34,600
Speaker 2: because we will start following you. Indeed, that'd be very

909
00:48:34,600 --> 00:48:37,759
Speaker 2: cool if you want to follow us. We have our

910
00:48:37,760 --> 00:48:40,560
Speaker 2: own Twitter feed. Seriously, it's called s Y s K

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00:48:40,800 --> 00:48:45,239
Speaker 2: Podcast one word ten thousand strong plus Yeah, we're on

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00:48:45,520 --> 00:48:47,680
Speaker 2: uh no, we're up to like eleven and change.

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00:48:48,120 --> 00:48:48,839
Speaker 1: That's plus ten.

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00:48:49,000 --> 00:48:52,480
Speaker 2: That's true. We're also on Facebook, Facebook, dot com, slash stuff.

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00:48:52,480 --> 00:48:54,600
Speaker 2: You should know. Yep, we have a Kiva team, right,

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00:48:54,640 --> 00:48:56,920
Speaker 2: we're trying to get to half a million dollars. That's right,

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00:48:57,440 --> 00:49:02,719
Speaker 2: that's Kiva dot org, slash team slash stuff you should know,

918
00:49:03,520 --> 00:49:05,160
Speaker 2: And then you can always send us a good old

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00:49:05,200 --> 00:49:10,239
Speaker 2: fashioned email. We want to know what your favorite exploitation

920
00:49:10,360 --> 00:49:13,719
Speaker 2: film of all time is. You can send that in

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00:49:13,760 --> 00:49:22,280
Speaker 2: an email to Stuff podcast at HowStuffWorks dot com.

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Speaker 1: For more on this and thousands of other topics, visit

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00:49:24,920 --> 00:49:28,240
Speaker 1: HowStuffWorks dot com. To learn more about the podcast, click

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00:49:28,280 --> 00:49:30,600
Speaker 1: on the podcast icon in the upper right corner of

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00:49:30,640 --> 00:49:34,120
Speaker 1: our homepage. The house Stuffworks iPhone app has arrived.

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Speaker 2: Download it today on iTunes