Sexploitation Movies: Valentine's Day Special (with James Bruno!)

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[00:00:12] We're here tonight with the original Sex Pistol, Jamie Bruno.

[00:01:42] You think you're a bloody wanker, don't you? The original punk. I have a fear you've been very cheated. I was just watching that the other night, The Great Rock and Roll Swindle. It's just this Sex Pistol documentary they did in 1979, 1980.

[00:02:07] Then they did another one called, they did a follow-up to that where it was like the pistols talking about what happened. Same guy, Julian Temple did everything with this one. And it's kind of, it's a little more heartbreaking because you watch Johnny Rotten break down about Sid Vicious. You know, because Sid Vicious was, he was only a teenager when he joined the pistols. You know, and he got involved with Nancy Spungen.

[00:02:33] And Nancy Spungen basically, you know, drove him to be a junkie, you know. Oh, and sadly, that's the thing. Like if all you know is being a rock star, you never really learn maturity unless you learn it first before you get into this business. Yeah. Yeah. And you know, he was this guy basically, first of all, they had an original bass player, Glenn Matlock, who basically could play the bass.

[00:02:57] I don't remember ever hearing about, I don't think, I think supposedly what they would do is they would just tell him, alright, you know, first, like if you play the bass, it's, you know, doo-doo-doo-doo-doo, you know. He was just like boom-boom-boom-boom-boom-boom-boom-boom-boom-boom-boom-boom-boom-boom-boom. You know, like he would do a Dee Dee Ramone bit, you know. Whereas Glenn Matlock was more melodic when he played and stuff like that. But that's getting ahead of myself, so. Hey, it's all good. We're just in time for a Valentine's Day special where we're talking everything spicy.

[00:03:26] Yeah, spicy. Not hardcore. Right. And you were very good at the front. It's like, hey, let's stick to when it was, you know, drive-in era, you know, you know, early cable TV before it gets into, you know, ba-bom-bom, you know, cliche crap. Yeah, we're talking sexploitation films. And since I listen to so many podcasts when I am not editing or watching TV, I didn't have to do much research. I think you'll find this funny.

[00:03:56] Yeah, we all love our Charlie Band, you know, Full Moon and Empire Pictures. What's so funny is he was kind of my introduction. You know, most people were already familiar with like Emmanuel growing up, but like when he did stuff like FEMA alien or just snuck in like sex scenes into stuff like Puppin Master or. Yeah. Any of his other just weird sci-fi horror action mashups. Uh, you'll find this funny.

[00:04:20] He actually finds, you know, pornography very derogatory, but like all the B movie guys, he eventually caves in and just says, well, the market demands it. So I'll make movies for the drive-ins. I'll make it for skin and max. I'll make it for all that. But you'll find this funny. He is actually very shy. So yeah, it comes time to actually asking an actress to this role. He's always like, you don't have a problem with that, do you?

[00:04:47] He wants to be modest, but it's just so funny because when they make it look like clockwork, like it's like it's second nature. That just shows you like he's a human guy first. He's like, because when he wasn't doing, you know, B movies and all these other unusual, you know, supernatural slashers, he was also doing family movies. He was jumping on every bandwagon he could instead of getting shamed over by Laura Mara Paramount.

[00:05:14] And I'm, but yeah, the sexploitation thing, I think was just a good surprise topic for this year because it evolves. It goes from nudie movies, which, you know, I think we all kind of hear our grandparents and, you know, my dad remembers, you know, seeing like nudie, nudie movies. Like, you know, you get a 16, you know, 60 millimeter, you know, suntan bunnies. It would be like a bunch of girls playing volleyball.

[00:05:40] You know, they weren't, they were, you know, they, they kind of, they, it was that, you know, it was that whole, you know, fuller brush man kind of thing, you know? So, you know, and, and the thing was, was that the evolution of it goes from like, you know, this, from this, you know, this little conclave area, you know, this little area where nobody really talks about it. Nobody really says it's there, but nobody says a word about it, you know? And then it goes so funny because nowadays, if you did something like that, the internet would be a clusterfuck, you know?

[00:06:07] Well, it's, it's, it's not only that, but when you think about it too, I mean, the sexual revolution really begins after the, after World War II with Playboy, with Playboy. So Hefner kind of pushes, you know, kicks the door in, but there were guys, there was one guy who kind of brought sexploitation to a fountain, like to, to a new level.

[00:06:31] Cause you got to realize back then, you know, it was basically, you know, it was like, or they would, you know, they would do like these shorts, you know, 16 millimeter, you know, borderline pornography movies. Yes. You know, you'd see buttocks, you know, breasts, you know, guys. Even foreign films from Japan and Europe would come in once in a while. Yeah, foreign films. It would be funny how, you know, French films, no one would read the word. French films, French films would show up, it would be like, you know, a foot curling or, you know, you know, a leg going up in the air.

[00:07:01] Someone's, at the top of someone's buttocks as they're getting out of a pool while skinny dipping. It just always. Oh, right. The guy who brought it to a new level was Russ Meyer, in my opinion. Yes. He's the guy, he's the guy that brought a story to what was going to happen. His first movie he ever did was The Immoral Mr. Tease, which was a movie where a guy basically just sees women naked. He just sees women naked all the time.

[00:07:27] And that's not hard to do, but it made a lot of money. And he was making these independent movies which had women as not as sex objects, mind you. But they were sexy. But the thing was, they could outwit the men. I think the one movie that everybody looks at is Faster Pussycat Kill Kill, which is, you know, a movie about three women who are basically, you know, they're outlaws.

[00:07:53] But if you look at the women, they're big, they're busty, they're sexy, they're sexual. And I think that's the thing that happens is that, you know, back then Hollywood was like, they kind of kept, they kind of kept their sexual mores. Because you got to think pre-code Hollywood and then the Hayes Office comes along and everybody changes everything. You know, you can't show this, you can't show that.

[00:08:18] Well, the Hayes Office kind of, you know, went out the window during the, you know, during the 60s. And, you know, there's all this cultural upheaval going on. And so to me, with what was going on is that everybody was, you know, kind of going nuts, ape shit, you know.

[00:08:43] And there were all these movies coming out that were like, you know, oh, come on, you know, you could show, you know, they were showing this, they were showing that. But there was not, there was, there was, there was, I think the audience was growing. Like the sexual revolution was now a full-blown sexual revolution, you know. And we didn't have, you know, the 60s now were becoming the 70s. So now there was more openness towards sexual revolution. It really did blend.

[00:09:08] I mean, I kind of consider maybe not a straight up sexploitation film, but still on the basis of sexuality and preferences, the gay deceivers kind of a mild. That's, that's a movie. I, I'm friends with one of the guys in the movie, Christopher Riordan. No way. Yeah. And I said that movie was kind of like precursing. I've now pronounced you Chuck and Larry.

[00:09:36] I said, it's the same fucking, it's the same storyline. It really is. Two guys pretending to be gay to get out of the, get out of the army. And then it's two, it's two, it's two gay guys forgetting to get married so they can have health insurance for the kids. I mean, but the thing that I love about that is there's a guy, Michael Greer in there who basically he plays the landlord in the movie. He basically told, I think he told the screenwriter, look, this is not how we are in real life.

[00:10:06] You know, we're normal people, but we're just, you know, we're just, you know, we just, we just act, you know, we just, we're just different. That's all, you know. And we're using, we're not succumbing to the prejudice. We're using it to get out of here. We're showing, we're going to show you what our lives are like. I mean, we're normal people. We do have our parties and stuff. We'll always love each other, but there's more to it than that. There's more to it than that. Yeah. And I think, you know, there were movies that were kind of breaking the taboos, so to speak.

[00:10:33] You know, like I can remember watching, you know, like Inga, this movie Inga with, there was this movie made after called The Seduction of Inga. It was Christine, I forgot her name. Jesus. Oh. Yeah. Yeah. Yeah. Yeah. Mary Ligia. Yeah, that's her. That's her. Yeah. Yeah. Holy. And they made two movies.

[00:11:02] I'm getting hot in here. Yeah. And the movie, when you watch the movies, it's like, you're watching, you don't see, see, the thing is with this was that sexploitation showed soft core. It was, it would not show the penetration. It would just, it would just. You would see maybe full frontal, but it says people jumping onto each other. It's not. It wasn't like, you know, it was like. If they had actual sex, again, you didn't see it or you couldn't tell. You didn't see it, but it was implied or, you know, the girl would have her hand down her pants and you're rubbing. Right.

[00:11:32] You know, you'd see it, but you wouldn't see, you know, I just watched the movie. Or the camera cut before. Yeah. The camera would be at an angle, you know, it would be like, okay, we can't show, we can't show full Bush, but we can show you what's going to happen. We're letting them go method acting if they really want to, but it's up to them. We'll show, we'll show breasts, but we won't show anything else. I mean, there were movies that were coming out. Like there was a movie called Teenage Mother from 1967, 68.

[00:11:58] It's, you know, about, you know, Cindy Lou was 16, but she knew, you know, but Mary Sue was 16, but she knew how to get all the boys excited. You know? It's on TV now. Oh God. Yeah. And the, the, the freaking preview is like, they play like the NFL music, like that. Oh my God. Come on, honey. We going to go. There's a good time. You know? She know how to get the boys. Teenage mother. You know?

[00:12:27] Yeah. I mean, they, they had, the thing was, is that they would have movies imported too. And like, you know, like there was one that called made in Sweden. Made in Sweden. I think I've heard of it. MAID in Sweden. And it's a, you know, it's a good movie. You know, granted, you'll see, you'll see, you'll see that. They had one called The Babysitter. They had one, you know, there was movies that came out that were like, you know, you know, Emmanuel is a sexploitation movie. Absolutely. But done very tastefully.

[00:12:55] You know, I, I think that what happened was, was that when this stuff was going on, Europe, Europe was the big, Hollywood was doing it. Hollywood was doing it to a point. And that was Grindhouse. Grindhouse had the whole, you know, Joe Amat, Joe D'Amato, you know, those guys, those guys churning out the movies. And it's so funny how all those Italian guys, like that is their bread and butter. Like do a Mad Max knockoff, do a Raiders of the Lost Ark or Jaws knockoff and then do

[00:13:25] a zombie movie. Cause we're getting on the Argento. I mean, Argento, Argento never did a soft core movie, but I'm saying, you know, it was like Italy, Italy would just shuttle stuff over and they'd dub it. And then they, you know, they'd put it over. Oh, they'd have one person in there who was in a Fellini movie. And she used the outtags half the time. I don't think it was outtags. I think it was just like, you know, that person would be in it. They would just be like, here's your check, do a couple of scenes. And then we'll have the scenes wrapped around it, you know.

[00:13:51] But I know it happened with some of the models were like, and what's funny is like, it was one part zombie movie, then one part, like hardcore soft core movie. And yeah, it's so funny how they, they do this continually, but sometimes they mix all three. So then it gets even more complex because some of the theaters before they're outlawed from showing stuff like that and came to political pressure is like, and like earlier in the

[00:14:20] day, they're playing the R-rated version. And at midnight screenings, they're playing the X-rated version. Yeah. And that was the thing because they would show, they'd show an R-rated movie, like there was a movie called I'm Curious Yellow. And they would have, they would have, they would be known as white coat movies because a guy would come out in the beginning in a white coat, maybe a doctor saying, we are going to see human sexuality in the way it's performed in this world. You know, and I, you know, and it was like, it was like, okay, I don't want to know what fucking usher gets.

[00:14:49] Let's go to the, let's go to the, let's get to the movie. You know, I mean, it was like, I can understand why they were doing it because they didn't want to make it sound like they were just shoving a movie down somebody's throat and saying, Hey, look at this, look at this, look at this. You know, I think Russ Meyer did it great because he, he knew the, he knew the, he knew what to put in, you know, and he did a movie called the seven minutes after beyond the Valley of the Dolls, which was his, his 20th century Fox gave him the money.

[00:15:17] He shot under production, under budget. He gave, you know, he shot under budget. Roger Ebert did the script. If anybody remembers that. Yes. And that's funny. Like, that's how you tease people. And it, what's funny is it's so risque and everything. And people think it gets the X rating for that. It actually gets the X rating because of the decapitation at the end. Yeah. And it doesn't, what they did was. People think it's sexual and it's like, it's. That scene was, that scene was done very quickly. Quick cut.

[00:15:46] So it got an X, but then they basically just made it in an R. You know, they made it in an R later, I think. And the movie made a bunch of money. You know, it was like, it made, then he makes the seven minutes, which is about censorship. Yeah. Which is something he was, he was adamantly against, you know. And I can remember he did a, he did that movie. It was about the seven minutes. It was about an author who writes a book about seven minutes when a woman's having sex with

[00:16:13] someone and they got, he got everybody and he got Yvonne DeCarlo, John Carradine, Tom Selleck. We got all. Yeah. And yeah, they got, he got everybody in there and he got big news. He doesn't do well. So then he goes, he goes from that. He does ultra vixen beneath the valve, the ultra vixens, no, this vixen beneath the valley, ultra vixens, super vixen. You know, he makes all these kinds of movies that are like, they're still going to make the money. You know, he puts it out himself. He finally, they make the money back.

[00:16:43] He makes another remix, but that was the thing with him. He, his sex exploitation. The best of all worlds though. Yeah. And because like these actors are all and filmmakers are all risking their careers. And at the same time, the studios are leaving alone because they know how to market stuff like that. They, yeah. It's before they have to cave to pressure and be. Well, it wasn't a cave. It wasn't a caving pressure. Basically. It was just, you know, I just mean later on, like when. Oh yeah. Yeah. Later on. Home video and.

[00:17:12] Home video comes out and then everybody. Channels later. Yeah. We don't need that anymore. You know? I mean, Andy Sedaris was like that too. You know, Andy Sedaris. Yes. Andy Sedaris. Andy Sedaris. Action. But he puts sex in it. Sexploitation. You know? That's the thing. Everybody looks and goes, you know, well, there's a lot of humping, a lot of, you know, it's running and humping and fighting and jumping. You know, that's. That's the way. Babes, boobs, body counts. As Joe Bob says. Yeah. Babes. Babes. He had the four babies. Babes, bullets, bombs.

[00:17:43] And it was babes, bombs, bullets, and. Blood. Blood. Yeah. I think that was the four babies. Either blood or body. I don't know. Yeah. And I think the thing is, is that when you have a sexploitation movie, you have to have it where like you look at something like Coffee with Pam Greer. Great black exploitation movie, but sexploitation movie. And then what happens later? She does. She does one of the best movies I think she ever did, which is Friday Foster. Yeah. Where she shows herself.

[00:18:13] Well, and that's where these genres evolve and they become larger than life B movies. And so it is just so funny how on the surface, on the poster, people are thinking, oh, I'm just getting into a neo-noirish, you know, action crime revenge movie. Detective movie. And it's like, and more. That's the surface, but underneath it, there's a lot of.

[00:18:40] I can remember somebody telling me they went to go see a movie one time and they were sitting in the movie theater and they're like bored out of their minds. And all of a sudden this scene came on when this woman walked across the screen naked. Everybody perked up. And then they were like, they were like, can we see that again? You know, they were like, you know. We didn't have the rewind button. You know. And the thing was, was that sexploitation movies. There's just, there was this point where it hit, you know, Grindhouse had it.

[00:19:10] You know, Grindhouse would have like, you know, like women, you know, the big bird cage, you know, caged heat. Those movies, you know, those were sexploitation. Their exploitation was because they were women in prison. What are we going to see? We're going to see naked women. We're going to see women showering. And Trofant brings up a wonderful point on just because something is an exploitation doesn't mean you're actually exploiting. It gets the name. And other people have talked about this before.

[00:19:35] It gets it just because it's a cheap way of starting a discussion or not fully well thought out. But that's just it. If people like the idea and the content and stuff, they're here for it. You know? Yeah. And I think that's the thing, too, because when you look at it, you know, like you had the movie, there was this movie that Roger Corman did called The Arena, which came out in the late 70s. Also with Greer. Yeah. Also with Greer. And what are we going to see? We're going to see naked chicks fighting dead.

[00:20:05] Naked chicks. But I mean, it's like it's like nowadays. You know, it was nowadays it's so I think it's become pedestrian. Unfortunately, naked. But back then it's like. And now with like to be in prime type stuff for a while, I mean, I've had this with people who do their own like low budget, like slashers and everything, but they're real turn offs for me because like they're deliberately trashy, shitty.

[00:20:33] And it's like, can you just you want to try before you get stupid? You know? Yeah. And this throwing into my face kind of makes it less entertaining. Yeah. It just only makes it more schlocky. Let's let's see a scene where a girl gets stabbed and she's bare breasted. OK, yeah. I've seen it a million times. Yeah. And I think I think the thing was, too, was that the nudity wasn't wasn't gratuitous. All right. It was.

[00:21:02] OK, part of it. We got it. We got it. We got it. We got you watch Valley of the Dolls. Right. When when what's your face? Martin. Dolly Martin takes her bra off at one point. Right. I think so. Yes. And she's talking. All right. You're looking at her breasts, but she should bring the dialogue. You're like, oh, OK. That's you know. Or when what's your Cynthia Myers and Eric Gavin make out as lesbians?

[00:21:31] We're we're we're we're watching that scene and we're not going. Oh, we're going. Oh, he's doing it tastefully. Instead of very well. Like any other movie which just. Goes berserk and you don't know what I mean. And I and I kind of blame that on the 80s, like every other Joe Esterhaus, you know, basically can steam type movie. People aren't getting any satire. They tried. They tried to do that with showgirls.

[00:21:58] They tried to bring it was a quotation of showgirls. Too many cooks. That was just fucking awful. Well, that's why I didn't like it, because like they did their research, but they're not speaking the same language. But Verhoeven wants more absurd and Osterhoth wants more gritty. And it's like, well, you can't have both. You got two. You got a guy who's basically showing you, OK, tits, ass, maybe a little bush. You know, I saw the VH1 version. So I know already there wasn't much there.

[00:22:27] If there was the content away. And it's just the it's like, you know, Oh, the girl from Saved by the Bell is in it. Yay. She's naked. She's not quite there yet as an actress. Oh, yeah. It's like, oh, Jesus Christ. I remember being so hyped up, you know, and then people were going there and they were like, just going, this is fucking awful. People were riffing it in the fucking movie theater. I bet they were. I remember somebody told me there's that one.

[00:22:56] She says, I'm not a whore. I'm a dancer. And somebody yelled out, and you're not an actress neither. And they just start cracking up, you know. But I can remember that. There was like this thing where like, you know, it was like the 80s kind of came along. And, you know, of course, we had AIDS and, you know, Reagan. And, you know, that kind of all like took a, you know, curbed it off.

[00:23:19] But the 70s, there's this big chunk of sexploitation movies where people were going, you know, the freedom of cinema was now becoming. And Rodney Corman even wanted to expand himself. He wanted to do even less known protests that became riots that were about racial segregation. And unfortunately, he never could find time for it. It was always the closest he got was the intruder with Shatner. Yeah. A bigot in a small town. But like he even.

[00:23:49] It's so funny seeing him in all those documentaries saying how he couldn't get through half the women in prison genre. It was just too unpleasant for him. But he played to that market because he let whoever was good at it. He gave the thing to Denny. And then he was like, OK, I'll do it. No problem. Yeah. And that's the thing. I mean, you know, independent directors were making these movies that were so good. I mean, you know, you could have it where, you know, it was like there was one where they had a female chain gang. Right. Correct.

[00:24:17] And like it was it was all that it was the girl. The girl goes to be like a defiant ones meets some other buddy. But it was like it was like it was like this girl. She's in the wrong place the wrong time. She's sent to prison. She falls in with a gang of people. You know, there's the lesbian, the black chick, you know, the psycho chick. And, you know, there's this one scene where she makes out with another woman. And there's a scene where, you know, they screw some, you know, some guys, you know, try to rape her. You know, and granted, you know, that's the thing.

[00:24:48] Everybody thinks it was like just sex. There's a lot of disturbing images. You know, I can remember watching a couple of movies where I was just like, oh, my God, I can't believe this. I'll tell you the biggest thing that brought sex. No, thanks. Jesus. No, the one that brought everybody down. Everything kind of went like like a millstone. Boom. Was Caligula. Yep. Caligula was going to was a sexploitation movie. It really was.

[00:25:16] And when you think about Guccione, excuse me, wanting to make a movie. And he went and he said, OK, I don't like what I see. I'm going to bring in my own. My heart. You know, it was it was like, OK, we'll just show, you know, some hermaphrodites. I love Roger Ebert's review. And it says a lot for a man like him when he's been part of that whole thing is like so much nudity and none of it sexy. Yeah, but it's still even I want to know more about it, even though I don't want to endure it again.

[00:25:45] I'm still because I like how there's probably is a good movie in there. It's just, again, too many cooks. It started out as a historical Roman epic and then it becomes a sex movie. And then what they did was they redid it. Now it's called The Ultimate Cut. Right. It's it's it's it's come out and they basically have said this is what this is what we wanted to see. We don't want to see this. I will. Yeah, it's it's coming out, I think soon.

[00:26:15] I think it came out already. But that movie kind of brought everybody, you know, you know, it kind of was like, oh, this is why we still got to be physical media guys. We will always have multiple cuts that streaming won't allow. And, you know, I mean, I've watched I've watched every sort of movie under the sun. And I'll say this, you know, I mean, you've got. You know, the thing with sexploitation movies is that everybody thinks it's, you know, people having sex all the time.

[00:26:43] No, it's beautiful. It's beautiful women. Basically, in skinfully quiet clothes, but they're doing something. They're changing their good. They're redefining. I remember there was one where they had like a female commando unit. Right. Yeah. So many of those. Even into the 80s. There's so many of them. They go in. Granted, you know, they're they're all wearing like, you know, the shirts on button, you know, and you're just like. But then you watch it again when you're older, you're like, oh, it's a good freaking movie, you know.

[00:27:13] Well, unlike any of these movies, again, like they start off as either a legit movie that either happens to be be movie themed or a detective movie, if you will. Or a stalker film. And it just got whatever rating because. You know, there's just three, very intense moments. And that's it. Like it was. Well, they they did one where they did one called Annie's Girls. I remember this one that came out like 76, 77 where they were.

[00:27:40] Yeah, it's it's it's two girls who become bank robbers. Yeah. Yeah. And one with Candace Virgin that I would kind of put in there. It's a. It's a Western. Oh, bite the bullet. No, no, no. Not what you got. And Scott. Actually. Soldier Blue. OK, Soldier Blue, I would do it. My bad. It's Raquel Welsh.

[00:28:11] One Thousand Rifles. Yes. Yeah. There's that. And then there's Hanny Calder. That's what I'm thinking. Same kind of. I call it Death Wish, but in a Western. But this is three years before that. But yeah. Just. You watch you watch One Thousand Rifles. The scene was taking a shower. Every guy under the age of like 30 was gone. I bet everyone was that way with James Bond movies. You know. Oh, I. You know.

[00:28:41] Just like just the intros alone. You'd be like. Oh, the intros. The intros. Try watching those when your parents. Yeah. Yeah. I don't recommend it. You know, you're like 10 years old. You're like, why are all the women naked? Why are all the women naked? You can thank Maurice Binder for all that shit. You know. I have a great idea. That's all the women naked and all the men have an old and have boddened clothing. And then when he shoots them, they all fall down her erotically onto the ground.

[00:29:10] Like one part of the girl falls down, her legs are spread and he's looking at her. Yes. Yes. We'll do that. Yes. But then like at some point, you're just like, this doesn't feel right. You know, this is like now they do the titles. Now they're totally different. You know, they do. But those Binder titles. Oh, my God. You know. Yeah. You know, like the spy. You'd be watching the spy. I love me. You'd be like, I got to leave the room. You know, I got to go to the restroom. I got to go. I got to leave the room. What's the matter? Jay.

[00:29:39] I got to go to the bathroom. You know, you know, you got that. You got that little voice. You're going. No, no, no, no. Stroke a wall is good. Yeah. I think that's the thing. I think that's the thing. I think. I think that's the thing with sexploitation. It was like it was this genre of movies that was showing the reality of the 70s.

[00:30:03] Then you look at Jane Mansfield or Marilyn Monroe types who are getting risque or even in nudie magazines. Off screen. But on screen, they're only risque. Okay. Not. There's a difference. There's a difference between Monroe and Mansfield was that the two of them. Right. They were sex, but they didn't show it. Okay. Sex icons. Yeah.

[00:30:32] They were sex icons, but they didn't show it. Versus today's sex icons where you look at the likes of like a Holly Berry, Charlie Sleron or Angelina Jolie and just like, well, different kind of sex. Yeah. But you think about back then, you know, Mansfield made a couple of movies and she kind of like, you know, she kind of had a downturn after Monroe died and then she started making movies in Italy and shit like that. And yeah, she was kind of reliant.

[00:30:59] Like she was the knockoff kind of she wasn't trying to be, but that's how they marketed her. There was her and there was maybe the endor and I think maybe the endor was a better actress. You know? Yep. Maybe even during. Yeah. Let me tell you about that. Maybe. Oh, baby. Yeah. Let me tell you about that. Maybe even during the best. But Dolores doesn't find me whether you know what I mean? This is Bob. Boy, I got a big one in my pants.

[00:31:30] Thanks for the memories. Oh, sorry. Is that joke? Okay. I think the thing that gets me the most, though, is like when you watch it, you know, there was there was there was. There was movies that were showing, you know, men, too, as sexual beings, you know, as, you know, the gay deceivers. Yeah. But you did have, you know, you had where men, you know, were, you know, becoming more aware of who they were. You know, they were breaking themselves out of that.

[00:31:58] I'm still not surprised when I see it nowadays. And like so and so, like you would see you still see women wrestlers who do porn on the side. And now in an OnlyFans thing, it's even more rampant. But same thing with guys like they'll do that on the side. And their day job is doing either modeling or being a fitness guy or workout consultant. There's one.

[00:32:21] There's a movie that came out in 1971, 72 called Some of My Best Friends Are, which was a movie about it was about a night in a gay bar. Right. Wow. McClanahan is in it. Oh, shit. You know, and Gil Gerard is in it. That's supposedly the rumor, you know, so we said, oh, Gil Gerard's gay. He was in a gay movie. No, it was a movie about, you know, there was a movie called The Boys. Golden Girls. Wow. Yeah. Yeah. Blanche was hot when she was younger.

[00:32:51] You should see it. Um, there was, uh, there was a movie, The Boys in the Band. Which took place. I ain't really freaking. So, yeah, you know. He wouldn't have done cruising had he not done that. He does that. Then he does cruising, you know. Um, you know, and that kind of brought a lot of people, you know, to the, to the, you know, the, the, oh, there's a, there's a subculture.

[00:33:13] So, you got to think, sexploitation is, is not, is, is, you know, I kind of say, you know, it, it comes in many forms, but there's a good one. It comes in many forms, but it's not exploiting sometimes. Right. Exploiting is when you just show tits and ass on the screen, you know. But there's this point where, you know, we were showing, they were showing the subcultures, you know, like, you know, gay people, lesbian people, the trans, you know, there were, you know, Victor Victoria was the first one I can remember people talking about being trans, you know. Yeah.

[00:33:41] A guy, a girl playing guy who's pretending to be a woman, you know, and that's, that's great. Julie Andrews, you know, you know. There was this other gal who was like a transgendered model and she did some of those like overseas, like adventure movies or fight to the death stuff. And you're like, well, howdy. I don't know how they did that transition back then, but she really is just dropped. There was Tula. Remember Tula? I think, I think that's who I'm thinking of. She was a playboy Tula. Yeah.

[00:34:09] And it's like, was she Indonesian or French Vietnamese? No, no, no, no. She was British. Okay. I think I'm thinking of someone else. This gal was more like indigenous. Like she was. It'll come to me probably after this. Yeah. But like you're saying, there's so many different forms to do it versus. But, but there's still a right way to do it versus like. And yeah, I look at soap operas today. Those are risky as fuck.

[00:34:38] But like as close as you get to. But then you look at some of these other drive-in movies and the same kind of deal is like, it's a melodrama. There's free love scenes, but it's overall an excuse for soapy drama and love. That's, that's, that's the gist of it. And so, I mean, how many times did you see your grandparents? Everyone's had this, but I'm sure it's just always wows me how it is such a common trend.

[00:35:04] It's so funny when they just roll their eyes, when they see someone reading something they should. And then they go and read something like Daniel Still or a hard-boiled spy novel. No, no, no, no, no, no. I'll tell you. I'll tell you what got me was my, my mother. My mother took my aunt B, my great aunt B, my grandmother. I forgot who else. And they went to see Midnight Cowboy, John Schlesinger's Midnight Cowboy. You have told me this, but I'll be honest.

[00:35:31] My grandmother and my aunt B were giggling the whole time, you know, when he's walking around naked or, you know, he walks around naked or, you know, he's just, you know, I wouldn't really call it a sex. But you have to realize my grandparents, my, my grandmother and my aunt B, they were part of that generation. You don't talk about sex at the table. You know, we don't talk about this stuff. You know, this stuff was not talked about.

[00:35:55] It was after when World War II happened and, you know, when Playboy hit, you know, Mansfield, Monroe, you know, all that, you know, women, you know, Betty for Dan and all that shit. You know, that's when my, my, my grandmother couldn't understand, you know, that's when, now this is the thing. My generation, Gen X was the ones that were kind of, I'm going to put this, put this, we were, we were more sexually aware of who we were.

[00:36:25] But we still, but there were the, there were the people that just didn't really talk about it. There were the people that. Isn't it funny though? You can be a chill person, but you're still afraid to like engage because it was still. So even if you didn't think it was taboo, it was just kind of, I don't want to risk being uncomfortable, you know? No, you know, to me, to me, it was like this. It's like, I always suspect sex quotation. It opened a lot of eyes. It opened a lot of ears.

[00:36:51] It made you think, you know, and it made you wonder what was going on around in the world around you. Sometimes it's just about how people live. It's not necessarily all about someone's got a naughty fantasy that is a 90 minute movie. You know, it's, it's, it's basically, it was basically, you know, your senses begin to, you know, go, you know, like the eyes open up more and everything like that. So that's what happens.

[00:37:18] I might call Zabriskie point, like on the surface, it's just a Vietnam revolt movie with a bunch of dream sequences. Yeah. If you want to, you could maybe call it a quarter of a sexploitation because that's what part of the shocking moments in it. But yeah, it's a mess of a movie, but I still recommend people watch it just because it's just so fucking weird. Yeah.

[00:37:46] And Antonini probably was like high on, well, the guy who played the main character. You know what happened with Hitler? Orson Ford has a walk-on extra role. I actually don't know what happened with Antonini. No, no. Franchette. Peter Franchette. Peter Franchette. He got, he got busted. He got, they were in a bank, he was in a bank robbery. He got busted. Oh, the league. Yeah.

[00:38:09] And he was imprisoned and he basically was, they found him one day in the weight room with a barbell around his neck. Jeez. Yeah. Yeah. He really was a rebel. Yeah. Yeah. I, I kind of look and I go, no, no, no, no, no, no, no, no, no, no. But yeah, I mean, it, these movies were. And that lead gal, she was married to Dennis Hopper for four years. Yeah. Yep.

[00:38:39] Yeah. Sorry. Talk about your, talk about your great, your great husbands. I mean, easy rider in the last, in the, in the last movie, what are you going to do? You know, I'm going to be, I'm going to be in a movie. Blue Velvet. It is Hopper. I promise we'll do a special on him later. I love the man, but it is just so funny how he's that rare example of much like him and Brando.

[00:39:07] They did everything wrong and yet they could still somehow give a performance, even though they weren't. They didn't ever know any of their lines. They didn't. The only thing I would say about Hopper is he's a genius for doing what he did. But yes, he, what most geniuses, he slips into, he slips into madness and then he comes back into the light again, you know? And that's the thing with Hopper.

[00:39:29] I always loved, you know, he was an IQ, he's an icon, but he's just so, you know, he was, remember, you gotta remember, he was, he was a, he was one of those kids brought in through the studio system. Mm-hmm. And then the minute he gets into the 60s hit, he's done. That's it. I'm growing my hair along. I'm going to do this. I'm going to do that. You know, me, I'm going to ride a movie about, you know, motorcycles and shit like that.

[00:39:52] You know, all these cool cats, they are at that point where they, they real, even though they're in similar, you know, genre movies, you know, biker stuff after school. Yeah. Yeah. And special equivalents. They, they really are kind of living wildly and they don't know how to process all the fame and fortune half the time or when their next meal will be.

[00:40:14] And they're finding the brilliance half the time, reciting lines or getting suggestions from their friends who they're sometimes casually close with or sexual with and getting told the most unusual advice that you just cannot make up. We'll return after these messages.

[00:40:36] If you like small town mystery, crazy news and wild history, then the Florida Men on Florida Man podcast is for you. Each week, Josh Mills and Wayne McCarty bring you the absolute best Florida has to offer. So if you're looking for a show that's safe for the family, but funny enough to help you escape everyday life, then listen to the Florida Men on Florida Man podcast. That's Florida Men plural on Florida Man podcast. Hey, it's Brent Pope, the host of Breakfast with Brent Pope.

[00:41:06] You've seen me on some of your favorite TV shows saying things like, give it up, Jimmy. You got to sink this putt to win. On Breakfast with Brent Pope, I sit down with guests from the entertainment world and we do it all over breakfast. Or should I say breakfast? Every week on Breakfast, you get inside Hollywood info and tips, great breakfast wrecks and booty debates. Most of all, you get the most delightful 30 minutes of your week. So dig in. It's breakfast time. Listen at breakfast.com, Apple Podcasts or wherever fine podcasts are found.

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