Thelma & Louise (Erotic 90s, Part 4) / April 17, 2023 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

One of the most controversial movies of the 1990s, Thelma & Louise pushed every hot button of the new decade: date rape, sexual harassment, the failure of the feminist movement to create real change for the working class, and how pissed off women were, or were not, entitled to be about all of the above. Though it made more noise as a media phenomenon than at the box office, Thelma & Louise made so many people so mad that it had the feeling of a turning point. We’ll talk about the anger the movie communicated, the anger it inspired, and debate its lasting legacy.

SHOW NOTES:

Sources:
“Living: Onward, Women! The Superwoman Is Weary, The Young Are Complacent, But Feminism Is Not Dead. And, Baby, There's Still A Long Way To Go” by Claudia Wallis Monday, TIME, Dec. 04, 1989

“The President’s Manhood” by Asa Baber, Playboy, May 1990

“Dealing with Lady Macbeth” by Asa Baber, Playboy, October 1990

“The True Sister Profile” by Asa Baber, Playboy, November 1990

“Driving with Daisy” by Asa Baber, Playboy, December 1990

“Lost in America” Premiere, April 1991

“A Question of Focus” by Asa Baber, Playboy, March 1991

“Thelma and Louise” Review by Henry Sheehan, The Hollywood Reporter, May 6, 1991

Thelma and Louise, Roger Ebert May, 1991

“Thelma & Louise” Variety, May 13, 1991

“Queens of the Road: Thelma and Louise Leave Hollywood in the Dust” by John Powers and Helen Knode, LA Weekly, May 24, 1991

“Ms. Maverick” Profile of Susan Sarandon by Jay Carr, Long Beach Press-Telegram, May 25, 1991

“Borderline” by J. Hoberman, Village Voice, May 28, 1991

“Her Say” by Nancy Randle, Chicago Tribune, c. 1991

“Film: Hollywood-Style Firefighters; Ladies on the Lam” by Julie Salamon, Wall Street Journal, May 30, 1991

“Movies” by Bruce Williamson, Playboy, May 1991

Thelma & Louise By Peter Travers, Rolling Stone, May 24, 1991

Movie Reviews: Smooth Ride For ‘Thelma & Louise’ By Kenneth Turan, La Times, May 24, 1991

“Outlaw Princesses” by Terrence Rafferty, New Yorker, May 26, 1991

“A Postcard From the Edge” by Richard Schickel, TIME May 27, 1991

“True or False: Thelma and Louise or Just Good Ol Boys? side by side editorials by Peter Rainer and Sheila Benson, LA Times, May 31, 1991

“Driving Force” by Lisa Schwarzbaum, Entertainment Weekly, May 31, 1991

“Film: Hollywood-Style Firefighters; Ladies on the Lam” by Julie Salamon, Wall Street Journal, May 30, 1991

“The Current Cinema: Outlaw Princesses” by Terrence Rafferty, New Yorker, June 3, 1991

“The Third Woman of Thelma and Louise” NYTimes, June 6, 1991

“Road Games” Anne Thompson, LA WEEKLY, June 21, 1991

“Films” by Stuart Klawans, The Nation, June 24, 1991

“Toxic Feminism on the Big Screen” U.S. News & World Report; Washington Vol. 110, Iss. 22, Jun 10, 1991

“Thelma, Louise Hit the Road” by Andrew Sarris, NY Observer, June 10, 1991

“Lay Off 'Thelma and Louise'” by Janet Maslin, NYTimes, June 16, 1991

“Women Who Kill Too Much: Is Thelma and Louise Feminism, or Fascism?” Laura Shapiro

Andrew Murr, Karen Springen, Newsweek, June 17, 1991

“Can Thelma and Louise Continue to Defy Gravity?” by Anne Thompson, Variety June 17, 1991

“Films” by Stuart Klaxons, The Nation, June 24, 1991

“Faces Places” US, June 27, 1991

'Thelma And Louise'; It's All In the Context” Letter to the Editor, NYTimes, June 30, 1991

“Gender Bender Over Thelma & Louise, A White-Hot Debate Rages Over Whether Thelma & Louise Celebrates Liberated Females, Male Bashers -- Or Outlaws” By Richard Schickel Monday, Time Magazine, June 24, 1991

“Is This What Feminism is All About?” TIME, Margaret Carlson Monday, June 24, 1991

“Get a Grip Guys: This is Fantasy” by Patt Morrison, LA Times, July 22, 91

“Killer Bimbos” by Richard Grenier, Commentary, Sept 1991

“Their Endless Summer: Which Other Movies March Off to Video, Thelma and Louis Keeps

Rolling Along” LA Times, Sept 15, 1991

“Men” by Asa Baber, Playboy, October 1991

“Guerrilla Feminism” by Asa Baber, Playboy, October 1991

“The Movie Management Of Rape” by Schulman, Sarah, Cineaste, Dec 1991

“The Woes of ‘91” The Ten Most Important Films of a Troubled Year” By John H. Richardson, Premiere, February 1992

“Shorts” The Hollywood Reporter, May 5, 1992

“Thelma and Louise” Screen International, February 26, 1993

“The Mutant Offspring of Thelma and Louise, Mantrack” by Joe Bob Briggs, Playboy, Playboy 41, issue 2 (1994)

How Thelma & Louise Captured a Moment in the History of American Feminism” by Olivia B. Waxman, TIME, May 23, 2016

“Susan Sarandon On ‘Thelma & Louise’: We Didn’t Set Out To Make A Feminist Film” By Christie D’zurilla, LA Times, Dec. 14, 2016

Off the Cliff: How the Making of Thelma & Louise Drove Hollywood to the Edge by Becky Aikman

“'Thelma & Louise' Ending Deleted Scene Shows What Really Happened to Them”

by Safeeyah Kazi, Newsweek, May 24, 2021

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Geena Davis and Susan Sarandon in *Thelma & Louise*, 1991

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

Ewa Valley - Cloud Harbor
Launch Code - Kittyhawk
Vengeful - Warmbody
Floating Whist - Aeronaut
Gaddy - Little Rock
Gusty Hollow - Migration
Jat Poure - The Sweet Hots
Mknt - Simple Machines
Our Only Lark - Bitters
Maisie Dreamer - Nursery
Lick Stick - Nursery
Four Cluster - Fornax
Junca - Orange Cat

Susan Sarandon and Timothy Carhart in *Thelma & Louise*, 1991

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

“The actress everybody wants to fuck”: Theresa Russell and Sondra Locke (Erotic 90s, Part 3) / April 10, 2023 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

An enigmatic sex symbol dating back to the 70s, Theresa Russell made a play for Hollywood stardom in the late 80s and early 90s, making a number of films about the sexual commodification and role playing. Ken Russell’s Whore was marketed as a gritty answer to Pretty Woman, showing the “truth” about Los Angeles street prostitution. In Impulse, a neo-noir romance in which Russell plays an undercover cop posing as a sex working in a hopelessly corrupt LAPD, Russell was directed by Sondra Locke, longtime girlfriend and co-star of Clint Eastwood. When Eastwood dumped Locke while she was directing the movie, she fought back, instigating a series of lawsuits that revealed that Eastwood and his studio had conspired against her.

SHOW NOTES:

Sources:

“Theresa: Tycoon’s other girl: by Bridget Byrne, LA Herald Examiner, Dec 5, 1976

“Sondra Locke, starring with and directed by Clint Eastwood.” Interview Magazine, January 1978

“Taking Up 'The Gauntlet'” by Lois Armstrong, People Magazine, Feb 13, 1978

“Between the Lines: The Story Behind the Story” Sunday Woman, May 20, 1979

“Southern Belle Sondra Locke is Ready to Stand On Her Own” US, Aug 18, 1980

“Return Of An Older, Wiser Bob Rafelson” by Kristine Mckenna, LA Times, Sept. 28, 198

“Locke Turns To 'Ratboy' To Escape Clint's Maze". Roderick Mann, Los Angeles Times, March 23, 1986

“Eastwood’s Moll Shoots a Movie” Irene Borger, Vogue, September 1986

“Female Bonding: The Log Hello” by David Ansen, Newsweek, Feb 16, 1987

“Harlot’s Web” by David Edelstein, Feb 17, 1987

“Widow’s Theresa Russell: I Hate Those Nice Girl Roles” by Kristine McKenna LA Times, Feb 17, 1987

“The Ghost of Alfred Hitchcock, TIME, Feb 18, 1987

“Rafelson Picks up Pace Following Widow” by Bill Desowitz, The Hollywood Reporter, Feb 20, 1987

“Actress Theresa Russell: Still Tracking a Sensual Obsession” by Samir Hachem, The Hollywood Reporter, April 18, 1988

Interview with Theresa Russell, Roger Ebert September 21, 1988

“The Passion of Theresa: In a Chaste Era, Theresa Russell lusts for the old days” by Jeffrey Ressner, American Film, April 1989

“Clint Eastwood Sued for Palimony” Associated Press, April 27, 1989

“Impulse” Variety, April 4, 1990

“Impulse” by Duane Byrge, The Hollywood Reporter, April 5, 1990

“An Officer Become The Other” by Caryn James, New York Times, April 6, 1990

“Thrill Me!” by Claudia Puig, LA Times, April 8, 1990

“Impulse” Helen Knode, LA Weekly, April 13, 1990

“Just for Variety” Variety, Sept 25, 1990

“Unpretty Woman” by Samir Hachem, Village Voice, Oct 30, 1990

“Stocks and the Bonds That Tie” by Amy Taubin, Village Voice, Dec 14, 1990

“Whore” by Duane Byrge, The Hollywood Reporter, Jan 28, 1991

“Street Wise” TIME, April 1, 1991

“Tis Pity She’s A” by James Saynor, Interview, May 1991

“Whore-ing around with Theresa Russell” Joshua Mooney, Movieline, May 1991

Walter Scott’s column in Parade, May 12, 1991

“Whore-ing around with Theresa Russell” Joshua Mooney, Movieline, May 1991

“Movie on Prostitution Still Gets an NC-17 Rating” by David J. Fox, LA Times, Sept. 9, 1991

“An Open Letter to the MPAA” The Hollywood Reporter, Sept 4, 1991

“Ken Russell Looks at a Day in ‘the Life’” by Vincent Canby, New York Times, Oct 4, 1991

“Tricks of the Trade” by Steven Gaydos, Village View, Oct 4. 1991

“Whore” LA Weekly, John Powers, October 4, 1991

“Theresa Russell, Cool in the Heat” by Joy Horowitz, New York Times, Oct 6,1991

“Whore” by Manohla Dargis, Village Voice, October 15, 1991

“Chatter” by Peter Castro, People, Oct 21, 1991

“Whore Going Four Ways on Video” The Hollywood Reporter, Nov 7, 1991

“Expert Witness: Whore” by Zaviera Hollander, Premiere, Feb 1992

Theresa Russell: Hollywood's Darkest Star, The Independent, Dec 6, 2001

“The Monologist and the Fighter: An Interview with Bob Rafelson” by Rainer Knepperges and Franz Müller, Senses of Cinema, April 2009

“Michelle Triola Marvin Dies At 75; Her Legal Fight With Ex-Lover Lee Marvin Added ‘Palimony’ To The Language” by Elaine Woowriter, LA Times, Oct. 31, 2009

“A Conversation with Theresa Russell” by Sam Wasson, Criterion Collection, Jun 22, 2011

Live Jazz: Mike Melvoin & Theresa Russell at Vitello’s

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

Heath - Moon Juice
Ether Variant - Reflection
Lady Lupine - Banana Cream
Cocoon Transit - Origami
Bellow's Hull - Reflections
Cobalt Blue - Marble Run
Eggs and Powder - Muffuletta
Guild Rat - El Baul
Ewa Valley - Cloud Harbor
Even Dreams of Beaches - Resolute
Cobalt Blue - Marble Run
Campanula - Fjell
Mill Wyrm - Potions
Lick Stick - Nursery
Neon Drip - RadioPink

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Pretty Woman, Sleeping with the Enemy and Julia Roberts in the early 90s (Erotic 90s, Part 2) / April 3, 2023 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

The first blockbuster about sex of the 90s, Pretty Woman both reinvigorated Richard Gere’s career, and turned Julia Roberts into the biggest female movie star of the era. We’ll dissect the gender politics of this fantasy about love between a streetwalker and a corporate villain, analyze its lasting appeal, and trace the wild rollercoaster ride of the first few years of Roberts’ movie stardom. Virtually unknown before 1989, within a year of Pretty Woman’s release Roberts was considered the most bankable woman in movies, a controversial icon of 90s womanhood and, eventually, a romantic antihero whose performances and personal life were put on a pedestal by a breathless media, only to be swiftly knocked down.

SHOW NOTES:

Sources:

“Steel Magnolia: Julia Roberts” by Sheryl Kornman, Vogue, Sept 1988

“Julia Roberts: She’s Fahn” by Jack Olsen, Village View, Oct 10, 1988

“Pretty Picture” The Hollywood Reporter, April 2, 1989

“3000 Woos ‘007’” LA Herald Examiner, April 12, 1989

“Steel Belle” by Jan Stuart, ELLE, Nov 1989

“Answered Prayers” by Alan Richman, GQ, Dec 1989

“Pretty Woman” Variety Movie Reviews, Jan 1, 1990, Issue 1

“Julia Roberts Faces a Test Character” by Myra Forsberg, NYTimes, March 18, 1990

“No Gritty Woman” by Pat H. Broeske, LA Times, March 18, 1990

“Pretty Woman” by Henry Sheehan, The Hollywood Reporter, March 19, 1990

Pretty Woman Review by Thomas Doherty, Cineaste, 1990, Vol. 18, Issue 1

“Just for Variety” March 21, 1990

“Julia Roberts — Living Life in the Fast Lane” by Patrick Goldstein, LA Times, March 23, 1990

“High-Rolling Boy Meets Streetwalking Girl” by Janet Maslin, NYTimes, March 23, 1990

“Pretty Woman” by Roger Ebert, March 23, 1990

“Revising a Script” LA Times, March 25, 1990

“Film: Get Rich, Get Happy?” by Julie Salamon, WSJ, March 29, 1990

“Woman of Character” by Tom Christie Vogue, April 1990

“What the Beauty And the Beasts Have in Common” by Vincent Canby, NYTimes, June 3, 1990

“50 Most Beautiful People in the World” People Magazine, Summer 1990

“Suddenly, Julia” by Robert Palmer, AMERICAN FILM July 1990

“Bold Success For Modest Pretty Woman” Variety, July 18, 1990

“Pretty Woman’ Finds Best Friend in Profits” by Geraldine Fabrikant, NY Times, July 21, 1990

“Gross Comparison” People, September 17, 1990

“Stocks and the Bonds That Tie” by Amy Taubin, Village Voice, Dec 14, 1990

“Women in the Dark: of Sex Goddesses, Abuse, and Dreams” by Gloria Steinem, MS. Magazine, January/February 1991

“Barefoot Girl with Cheek” by Johanna Schneller GQ, Feb 1991

“Sleeping with the Enemy” by Kirk Honeycutt, The Hollywood Reporter, Feb 2, 1991

“Sleeping with the Enemy” Variety, Feb 4, 1991

“Passion Prey” by Lawrence Toppman LB Press-Telegram, Feb 8, 1991

“A Sleek, Gorgeous and Empty ‘Enemy” by Sheila Benson, LA Times, Feb 8, 1991

“ShoWest Showers Honoress With Thanks For Strong B.O.” Variety Feb 11, 1991

“New Thrills for Pretty Woman” by Rochard Corliss, TIME, Feb 11, 1991

“Americana Gothic” by Georgia Brown.Village Voice, Feb 21, 1991

“Julia in Love” People Magazine, Feb 25, 1991

“Faces and Places” by Holly Millea, US, March 21, 1991

“Sleeping with the Enemy” by Marilyn Moss, Box Office, April 1991

“Julia, Kiefer Make it Official” by Liz Smith, April 30, 1991

“Miss Roberts Regrets” by Louise Lague, People Magazine, July 1, 1991

“Morning Report: Hold the Champagne” LA Times, June 12, 1991

“Wedding of the Year that Never Was” Press-Telegram wire Services, June 14, 1991

“Morning Report: An Irish Break” Los Angeles Times, June 17, 1991

“Winners, Losers” Variety, June 17, 1991

“The Woes of ‘91” The Ten Most Important Films of a Troubled Year” by John H. Richardson, PREMIERE Feb, 1992

“The 100 dumbest things Hollywood’s done recently” Movieline, July 1993

“Getting in High Gere” by Bruce Fretts, Entertainment Weekly, Oct. 18, 1996

“Primal Gere” by John Powers, Vogue; Vol. 187, Iss. 11, Nov 1, 1997

“Speaking of Roberts” Variety September 27, 2007

“10 Set Secrets You Didn’t Know: Pretty Woman Turns 30” People Magazine, March 2020

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Julia Roberts at the 1990 Golden Globes Awards

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

The Killjoy Brothers - Kittyhawk
Cicle Vascule - Cicle Kadde
Upbeat Hot Hip Hop - Royalty Free Dum Track
Kamilah - Sunflower
Single Still - Vermouth
Waltz for Zakaria - Chocolate
Chai Belltini - Vermouth
Le Marais - The Sweet Hots
Mill Wyrm - Potions
Metropolis Calling - Kittyhawk
Launch Code - Kittyhawk
Junca - Orange Cat
Neon Drip - RadioPink
Will be war soon? - Kosta T
Daymaze - Orange Cat
JoDon - Orange Cat

Julia Roberts in *Sleeping with the Enemy*, 1991

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

1988: Prologue: Porn, Feminism & the folly of NC-17 (Erotic 90s, Part 1) / March 27, 2023 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

Erotic 80s began with a prologue about the short-lived heyday of the X rating, pornography, and feminism. Erotic 90s begins with a prologue about the disastrous rollout of NC-17 –the X rating’s replacement – and the evolving state of both porn and feminism at the dawn of the 90s. Topics include David Lynch, Harvey Weinstein, “pro-porn” feminism, “the new morality,” video stores, Magic Johnson, date rape and much more.

SHOW NOTES:

Sources:

“Burning Desires: Sex in America. Part One: The World’s First Safe-Sex Orgy” by Steve Chapple and David Talbot, Playboy, April 1989

“Movies” by Bruce Williamson, Playboy, April 1989

“How We Play The Game” by Lillian B. Rubin. MS, May 1989

“Ziplash: A Sexual Libertine Recants” by Erica Jong. MS, May 1989

“Nice Girls Do (Or Want To)” by Katie Monagle. MS, May 1989

“Women: It’s now, it’s trendy, it’s codependency!” By Cynthia Heimel. Playboy, May 1990

“Almodovar Film's X Rating Is Challenged in Lawsuit” by Andrew L. Yarrow, NYTimes, May 24, 1990

“Sex is Back! A field report on the end (at last) of the ice age” by Michael Kelly, Playboy, May 1990

“The Death And Rebirth Of Ms.” - The Washington Post, MS, July/August 1990

“Judge Upholds X Rating For Almodovar Film” by Glenn Collins, NYTimes, July 20, 1990

“Businessman With a Nasty Rep: Rap: 2 Live Crew’s Controversial Luther Campbell Says He’s ‘just A Hard-Working Guy Marketing A New Product.’ by Chuck Philips, LA Times, July 25, 1990

“X-Rated ‘June’ Could Ignite Major Revolt Against MPAA” by David Kissinger, Variety, Sept. 10. 1990

“X Film Rating Dropped and Replaced by NC-17 : Movies: Designation Would Bar Children Under 17” by David J. Fox, LA Times, Sept. 27, 1990

“Venice Film Festival Review: Henry & June” Sept. 17, 1990

“A 'No Children' Category To Replace the 'X' Rating by Larry Rohter, Special To the New York Times, Sept. 27, 1990

“Not Quite As Wild”, People Magazine, Sept. 27, 1990

“The First Impact of the New Movie Rating : Film: The New York Times Decides to Publish Advertisements For Adults-only Fare” by David J. Fox, Sept. 28, 1990

“2 Church Groups Condemn NC-17 Rating” LA Times, Sept. 29, 1990

“First Film Rated NC-17 Is Banned Near Boston : Movies: Town officials threaten to revoke theater’s license, LA Times, Oct. 5, 1990

“Taking the Hex out of X” by Richard Corliss, Time Magazine, Oct. 8, 1990

“Sell-Out Crowds for Henry & June” by Jack Matthews, LA Times, Oct. 8, 1990

“Hollywood Report”, Hollywood Reporter, Oct. 10, 1990

“The Playboy Forum: Ratings and Reel Life” Playboy, Oct. 1990

“Date Rape: Does Anyone Really Know What it is?” Stephanie Gutmann, Playboy Oct.1990

“Is NC-17 an X in a Clean Raincoat” by Janet Maslin, NYTimes, Oct. 21, 1990

“Movies” by Bruce Williamson, Playboy, Nov. 1990

“Building Controversy Over NC-17 : MPAA Opposes Attempt to Turn the New Guideline on Adult Fare Into Law” by David J. Fox, LA Times, Nov. 20, 1990

“The Ratings Game” by Pete Travers, US Magazine, August 1992

“Reviewing the NC-17 Film Rating: Clear Guide or an X by a New Name?” by William Grimes, NYTimes, Nov. 30, 1992

“R vs. NC-17--What’s the Difference?: Filmmakers, Exhibitors Are Bewildered by Inconsistent Ratings” by David J. Fox, LA Times, Jan. 18, 1993

“A Strange Justice For All By Judy Mann”, Washington Post, Nov. 9, 1994

“Why Movie Ratings Don't Work” by Benjamin Svetkey, Entertainment Weekly, Updated November 25, 199

“First Major Film With an NC-17 Rating Is Embraced by the Studio” by Bernard Weinraub, NYTimes, July 21, 1995

“NC-17 Gets an F The MPAA has forced "Eyes Wide Shut" to blink, "South Park" to wash its mouth out, and "American Pie" to be less spicy. Now the backlash begins” By Andrew Essex, Entertainment Weekly, August 13, 1999

Ugly Reality in Movie Ratings by Roger Ebert, Sept. 24, 2000

“DGA: Re-Cut Pic Ratings Helmer's Union Calls For Overhaul Of MPAA System” by Dave McNary, Variety, Sept. 15, 2000

“Can’t Get No Satisfaction, Philip Kaufman Thrusts Again with “Quills”, Indiewire, Nov 28, 2000

“The Naked Truth: "Showgirls" and the Fate of the X/NC-17 Rating” by Kevin S. Sandler, Cinema Journal, Vol. 40, No. 3 (Spring, 2001), pp. 69-93 (25 pages) Published By: University of Texas Press

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Erotic 80s archive / July 11, 2022 by Karina Longworth

Here in 2022, there is more public conversation about the nuances of human sexuality–and sexual abuse and harassment–than at any time in modern history. And yet, sex has all but disappeared from mainstream American movies, most of which would pass the sexual standard set by the strict censorship of the Production Code of the 1930s.

This season of You Must Remember This will explore the relatively brief period, beginning in the 1970s and ending around the end of the millennium, when Hollywood movies explored the sexual lives, mores and fantasies of adults with degrees of candor, realism and imagination not seen before or since. Why did genres like the erotic thriller, body horror, neo-noir and the sex comedy flourish in the 80s and 90s, what was happening culturally that made these movies possible and popular, and why did Hollywood stop taking sex seriously?

Each episode of Erotic 80s examines a single year, and one or more films that share a genre, a theme or a star, with topics ranging from the politics of porn, to the first camcorder sex tape scandal, to the sexualization of teens, to Hollywood’s lingering fear of interracial coupling. Some of the stars and filmmakers covered include Tom Cruise, Melanie Griffith, Richard Gere, Glenn Close, Rob Lowe, Mickey Rourke, Kevin Costner, Sean Young, Adrian Lyne, Amy Heckerling, Brian DePalma and much, much more.

Erotic 80s Episodes:

PORNO CHIC AND THE BRIEF HEYDAY OF X RATINGS (EROTIC 80S PART 1) : In 1968, the Production Code gave way to the ratings system, and the brief legitimacy of the X-rated movie. Today we’ll focus on two massive, X-rated hits released within a year of one another in 1972-1973: Deep Throat, the first hardcore porn movie to become a mainstream blockbuster; and the international art film sensation Last Tango in Paris. Both of these hits were products of a male-centered sexual revolution, and both of their female stars later described making these movies as equivalent to being raped. We’ll talk about how both films gave Hollywood permission to intermingle sex and violence in the name of both profits and art, and how both have been reassessed as documents of violence against women. Listen
1979: BO DEREK AND 10 (EROTIC 80S PART 2): The sleeper hit of late 1979 was Blake Edwards’s sex farce 10, a comedic vivisection of a male midlife crisis, which turned 23-year-old California girl Bo Derek into a controversial cultural phenomenon. Derek’s early fame was framed in the media through the lens of her marriage to John Derek, who was 30 years her senior and who she met when she was 16. Today we’ll talk about Derek’s reign as a sex-positive bombshell in a time of extreme double standards, 10’s strangely prescient understanding of toxic masculinity, and the problem of how to frame teenage sexuality for adult consumption. Listen
1980: RICHARD GERE AND AMERICAN GIGOLO (EROTIC 80S PART 3): One of the most aesthetically influential movies of the ‘80s, Paul Schrader’s American Gigolo sets a template for much of what we’re going to discuss this season: it’s about sex as a conduit for wealth, masks and double lives, and the role of danger in desire. Today we’ll talk about the sexual persona of Gigolo star Richard Gere in the early 1980s; the ways in which Gigolo and other films from 1980 (Dressed to Kill, Cruising) grapple with straight male anxiety over gay male visibility; and the tension between the promotion of sex-positivity for women and the anti-feminist backlash. Listen
1981: NEONOIR, BODY HEAT AND POSTMAN ALWAYS RINGS TWICE (EROTIC 80S PART 4): The New Hollywood directors of the late 1960s and 70s were the first generation of Hollywood filmmakers to grow up studying Hollywood movies as art. In 1981-1982, a number of those directors made actual or virtual remakes of classic Hollywood noir films, including Lawrence Kasdan’s Body Heat, and Bob Rafelson’s The Postman Always Rings Twice; and Paul Schrader’s Cat People. What was the value of revisiting the tropes and narratives of 1940s noirs in the 80s, beyond the fact that the sexual relationships implied in the original movies could now be depicted graphically? Today we’ll talk about how these films played into the personas of stars Jack Nicholson and Kathleen Turner, how they challenged the standards of what could be shown in movies of the 80s – and how and why they were received extremely differently. Listen
1982: TEEN SEXPLOITATION, FAST TIMES AT RIDGEMONT HIGH, PORKY'S AND THE BLUE LAGOON (EROTIC 80S PART 5): 1982 saw the release of three hit high school-set comedies about sex: Porky’s, The Last American Virgin and Fast Times at Ridgemont High. The only one to survive as a classic, Fast Times turned Phoebe Cates – who also appeared in the Blue Lagoon rip-off Paradise the same year – into a frozen-in-time icon of adolescent sexuality. Today we’ll talk about this sudden explosion of teen sex on movie screens, and compare Cates’s public persona and attitude to on-screen sexuality to that of Blue Lagoon star Brooke Shields. Listen
1983: MTV AESTHETICS, FLASHDANCE AND RISKY BUSINESS (EROTIC 80S PART 6): While the music video was still in its infancy as a cultural phenomenon, two films were released that were accused of aping the “MTV aesthetic”: Adrian Lyne’s Flashdance, and Risky Business, which turned Tom Cruise into a major star. Today we’ll talk about what the “MTV aesthetic” was and why it was considered a big deal for movies to be influenced about it, and we’ll examine how both of these movies treated sex work and race within the context of 80s social mores and Reagan capitalism. Listen
"VIOPORN," BODY DOUBLE AND CRIMES OF PASSION (EROTIC 80S PART 7): In a time of bombastic blockbusters (and Reagan’s re-election), two auteurs defy the norms by releases violent films about sexual obsession, sparking a controversial mini-trend which one critic dubs “Vioporn.” Kathleen Turner, then also starring in a family-friendly blockbuster, plays a sex worker with a double life in Ken Russell’s Crimes of Passion. Brian DePalma, the most talked-about director of the moment, takes his tribute/critique of Hitchcock to the next level by casting Melanie Griffith – daughter of Hitchcock blonde Tippi Hedren – as a porn star in Body Double. Listen
1985: FEAR SEX. JAGGED EDGE & AIDS (EROTIC 80S PART 8) : Just as the AIDS-related death of Rock Hudson was finally forcing straight people – and Hollywood – to acknowledge that epidemic, a film was released that transposed the new climate of sexual fear onto a murder mystery. The sleeper hit of 1985, Jagged Edge turned Glenn Close from a respected actress into a star, and established the brand of screenwriter Joe Eszterhas, who would later write Basic Instinct and Showgirls. Almost a decade after radical feminists began to call for a crackdown on violent sexual imagery, Jagged Edge tried to have its cake and eat it, too: infusing its sex and violence – and its depiction of a career woman – with a fundamentally conservative point of view. Listen
1986: 9 ½ WEEKS, MICKEY ROURKE & ZALMAN KING (EROTIC 80S PART 9): Billed as the hottest Hollywood film since Last Tango, 9 ½ Weeks was considered to have missed the mark by everyone who made it – including director Adrian Lyne, stars Mickey Rourke and Kim Basinger, producer/writer Zalman King and his wife, writer Patricia Knop. Today we’ll talk about why this intoxicating and troubling film is worth a second look, how to square away the arguably feminist finished product from a production process that robbed Basinger of agency, and we’ll explore the film Rourke and King re-teamed on as a re-do, Wild Orchid. We’ll also talk about Rourke’s “bad boy” persona, and his problematic relationship with his second wife and co-star, supermodel Carre Otis. Listen
1987: FATAL ATTRACTION AND DIRTY DANCING (EROTIC 80S PART 10): The erotic thriller goes commercially mainstream with Fatal Attraction, a film which starts a national conversation about whether or not women can “have it all” – “it all” meaning both careers and marriage. Is Fatal Attraction an indictment of working women as “witches” and a call to roll back women’s rights, or a snapshot of extreme toxic masculinity? Plus: Dirty Dancing — is it evil? Listen
1988: KEVIN COSTNER, SEAN YOUNG, NO WAY OUT & BULL DURHAM (EROTIC 80S PART 11) : The 1988 baseball blockbuster Bull Durham confirms Kevin Costner as the ultimate squeaky-clean, all-American hearthrob, building on a sexual persona sparked the year before with the neonoir No Way Out. Today we’ll talk about why Costner was the quintessential safe hunk for the 80s, his alchemic chemistry with co-star Sean Young in No Way Out, and her subsequent rocky road through Hollywood misogyny. Listen
1989: SEX, LIES AND VIDEOTAPE: ROB LOWE AND JAMES SPADER (EROTIC 80S PART 12): American independent film is launched into the mainstream by Steven Soderbergh’s sex, lies and videotape, starring James Spader as an impotent man who gets off on filming women talking about sex. Videotape also plays a role in a Spader film released almost simultaneously, Bad Influence, in which he plays a meek yuppie at the mercy of alpha male Rob Lowe – who was trying to rehabilitate his career after a tape leaked shot by the actor and documenting his real-life threesomes — one with a 16 year-old girl. We close the first half of this season talking about Lowe, Spader and how camcorder mediation of sex changed pop culture forever. Listen

1989: sex, lies and videotape: Rob Lowe and James Spader (Erotic 80s Part 12) / June 20, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

American independent film is launched into the mainstream by Steven Soderbergh’s sex, lies and videotape, starring James Spader as an impotent man who gets off on filming women talking about sex. Videotape also plays a role in a Spader film released almost simultaneously, Bad Influence, in which he plays a meek yuppie at the mercy of alpha male Rob Lowe – who was trying to rehabilitate his career after a tape leaked shot by the actor and documenting his real-life threesomes — one with a 16 year-old girl. We close the first half of this season talking about Lowe, Spader and how camcorder mediation of sex changed pop culture forever.

Andie MacDowell in *Sex, Lies and Videotape*, 1989

SHOW NOTES:

Sources:

Stories I Only Tell My Friends: An Autobiography by Rob Lowe

Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film by Peter Biskind

The Sex Education of James Spader by Trip Gabriel. GQ, October 1990

Saturday Night Live, March 17, 1990

A Dance of Sex and Love, Through a Lens Darkly by Caryn James, New York Times, Aug. 4, 1989

Truth or Consequences, Interview w/ Steven Soderbergh by Harlan Jacobson, Film Comment, July-August 1989

“I Don’t Care If It Never Shows in a Theater”: Steven Soderbergh on sex, lies, and videotape, 4K HDR and the Studio System by Jim Hemphill Filmmaker Magazine, July 20, 2018

Andie MacDowell Remembers How ‘Sex, Lies & Videotape’ Changed Her Career by Diane Garrett, Variety, May 14, 2019

Trading In One's Innocence, Willingly by Vincent Canby, NYTimes, March 9, 1990

Film Is Close To Real Life For Rob Lowe by Bob Strauss Los Angeles Daily News via the Roanoake Times, March 9, 1990

Bad Influence, Roger Ebert March 09, 1990

Bad Influence by Rita Kempley, Washington Post, March 10, 1990

Bad Influence by Owen Gleiberman, Entertainment Weekly, March 16, 1990

Rob Lowe Would Just Like to Erase Atlanta Incident From Memory by Chuck Davis, The Oklahoman, March 18, 1990

Rob Bares All, Cover & Story, People Magazine, March 19, 1990

Now, Slyly, Comes The Yuppie Devil by Janet Maslin, NYTimes, Sunday, March 25, 1990

Life Lessons from Rob Lowe, Interview Magazine revisits March 1990 cover story with Rob Lowe, Photographed by Wayne Maser

Why Rob Lowe Calls His 1988 Sex Tape Scandal 'the Best Thing That Ever Happened to Me' by Natalie Stone, People Magazine, October 21, 2019

“Sex, Lies and Videotape” by Jim Jerome, US Magazine, August 7, 1989

X Film Rating Dropped and Replaced by NC-17 : Movies: Designation would bar children under 17. Move expected to clear the way for strong adult themes by David J. Fox, LA Times, Sept. 27, 1990

How Snow White and Some Coconuts Killed 1989's Oscars by Stuart Heritage Feb 18, 2019

Sex, Lies, and Videotape by Peter Travers, Rolling StoneWhat ‘Brat Pack’ Rob Lowe Asks by Bob Thomas, Chicago Tribune, February 1, 1986

Hollywood’s Brat Pack by David Blum, New York Magazine, Sept 2, 2008

Romeo and Juliet, US Magazine, Dec, 29, 1986

Just For Variety Variety, April 19, 1988

Rob Lowe: The Heartthrob Kid, US Magazine, April 4, 1988

Rob Lowe Tapes: At Long Last, Sexess!” by Henry Sheehan, Los Angeles Reader, July 28, 1989

Sex, Lowe, and Videotape by Elvis Mitchell Village Voice, July 4, 1989

The Movies, Newsweek, August 14, 1989

A Directors’ Psyche, Split Into Four by Amy Nicholson, NY Times, August 25, 2019

Appeals Board Upholds 'Angel Heart' X Rating, New York Times, Feb. 21, 1987

Sex Lies and Videotape” by Kerry Doole, Music Express, October 1989

Ace of Spader by Dennis Hensley Detour Magazine, September 1996

Candid Camera: Sex, Lies and Videotape Director Faces Reality” by Gene Siskel, Chicago Tribune, August 6, 1989

When Humor Meets Heartbreak, TIME, July 31, 1989

Steven Soderbergh, After The Sex And Lies by Martha Sherrill, Washington Post, August 11, 1989

Now, Voyeur, New York Mag, August 7, 1989

The Truth About Sex, Lies by Peter Rainer, Los Angeles Herald Examiner, August 4, 1989

A Video Romp in the Buff Gives Heartbreaker Rob Lowe a Little Too Much Southern Exposure by Steve Dougherty and Joyce Leviton, June 05, 1989

Revisiting the Sex, the Lies and the Videotape” by Ella Taylor, LA Weekly, January 16, 2009

Spader Breaks Out of the Mold with Sex, Lies Daniel Cerone, LA Times, August 9, 1989

Prepped For Stardom by David Pinchbeck, Sept 1990

The Trouble with Jimmy by Stephanie Mansfield, Vogue, November 1990

James Spader’s Image Has Changed, Interview Magazine, Sheila Benson, April 1993

Bad Guy Makes Good, Esquire, Sept 1989

James Spader Made Easy by Jerry Lazar Playboy, April 1990

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

James Spader in *Sex, Lies and Videotape*, 1989

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station

"Even Dreams of Beaches” - Resolute

"Vik Fence Haflak" - The Fence

"JoDon" - Orange Cat

"Four Cluster" - Fornax

"The Kishner Method” - Kajubaa

"Pxl Eventuat” - The Fence

"Kamilah” - Sunflower

“Gemeni City” - Kajubaa

"Pxl Htra” - The Fence

"Trek VX” - Limoncello

"Kind of Regret” - Synapse

"Still Night” -Pglet

"Danse Morialta” - Kevin MacLeod

"Readers Do You Read" - Chris Zabriskie

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

1988: Kevin Costner, Sean Young, No Way Out & Bull Durham (Erotic 80s Part 11) / June 13, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

The 1988 baseball blockbuster Bull Durham confirms Kevin Costner as the ultimate squeaky-clean, all-American hearthrob, building on a sexual persona sparked the year before with the neonoir No Way Out. Today we’ll talk about why Costner was the quintessential safe hunk for the 80s, his alchemic chemistry with co-star Sean Young in No Way Out, and her subsequent rocky road through Hollywood misogyny.

Kevin Costner and Sean Young in *No Way Out*, 1987

SHOW NOTES:

Sources:

A Breakthrough Role in `No Way Out': Newsday, Combined editions; Long Island, N.Y. 09 Aug 1987

NO WAY OUT No Way Out surprise ending arouses unsettling questions Thrills in the Hitchcock tradition by Jay Scott, The Globe and Mail, Aug 14, 1987

Search for a 'Difficult Character' in 'No Way Out' By Lawrence Van Gelder, NYTimes, Aug. 17, 1987

Kevin Costner – The Untouchables' New Ness by Peter Biskind. American Film, June 1, 1987

Will The Real Kevin Costner Please Stand Out? No Way by Jeannine Stein Aug. 19, 1987

GQ Cover & Article, Kevin Costner, May 1987

For 1988: The Sexy, Sexier, Sexiest, Kevin Costner Cover, US Magazine, Oct 17, 1988

Costner In Control, Vanity Fair Cover & Article, January 1992 Edward Klein Annie Leibovitz

Reel Appeal for Women, LA Times, July 10 1988

Kevin Costner A Cool Breeze By Jesse Kornbluth, Vanity Fair, May 1989

Kevin Costner: Pursuing The Dream by Richard Corliss Time Magazine, June 26, 1989

No Way Out Review by Duane Byrge, Hollywood Reporter, August 11, 1987

Hollywood Report Martin A. Grove, July 30, 1987

No Way Out, Variety review, August 1987

”Behind Tinted Windows” LA Herald Examiner, October 20, 1987

Temperature Rising, LA Times, March 1, 1987No Way Out, Box Office, October 1987

Kiss and Tell: They Steam on Screen, But Stars Like Julia Roberts and Patrick Swayze Clutch Up in the Clinches, People Magazine, Spring, 1991

Capital Entertainment by David Denby, New York Magazine, August 17, 1987

Easy Way Out by John Powers, LA Weekly, September 4, 1987

Modern Hero by Andrew Sarris, Village Voice, September 1, 1987

Sean Young, Harpers Bazaar Magazine Pictorial, September 1987

Sean Young Prepares For Upcoming Film by Melina Gerosa, Entertainment Weekly, September 14, 1990

Clawing for Catwoman by Pat H. Broeske and Anne Thompson, Entertainment Weekly, August 09, 1991

Sean Young - an infamous plea to Tim Burton for Catwoman role - Joan Rivers Show 4:27, 3/16/91

Sean Young, Out There Where The Trains Don’t Run, November 11991 Michael Angeli

Sean Young, Seriously : She’s not just a wild spirit, she insists, but a sensitive soul too; certainly she’s brave--her next step is to sing and dance on stage BY Chris Willman, LA Times, MAY 17, 1992

Sean Young: Young at Heart, Interview, Movieline Magazine

The Agony and Ecstasy of Sean Young by Melina Gerosa, Entertainment Weekly, January 30, 2007

Sean Young: The EW profile, by Karen Valby, Entertainment Weekly, January 29, 2008

Blade Runner’s Sean Young: ‘if I Were A Man I’d Have Been Treated Better’ The Guardian, March 26 2015

Actress Sean Young Alleges Harvey Weinstein Exposed Himself to Her by Rebecca Rubin, Variety, Oct 20, 2017

Sean Young on Surviving Hollywood’s Many Toxic Men by Marlow Stern, The Daily Beast, Mar. 22, 2021

What the Hell Happened to Sean Young? Lebeauleblog.com, 2011

Conspiracy, Paranoia, #MeToo, and the Reparative Work of Sean Young’s Catwoman by Dolores McElroy, Film Quarterly, Fall 2020, Volume 74, Number 1

Sean Young Responds to Post-Oscars Arrest: ‘I Was Sober’ by Erin Carlson, Hollywood Reporter, February 28, 2012

Talking With Sean Young: "Crazy" in Hollywood, Supporting Trump, and a Career That's "Mostly Over" by Rich Juzwiak, Gawker.com, April 2016

Sean Young as Catwoman by Jeff Labrecque, Entertainment Weekly, October 05, 2011

Sean Young Begs for Work in Bizarre Late Show Appearance by Matt Cherette, gawker.com, October 2011

Sean Young Carl Reiner Interview 2009, youtube.com, Dec 11, 2019

30 Years After Her Catwoman Costume Stunt, Sean Young Is Ready To Be The Hero Of Her Own Story By Ethan Alter, Yahoo Entertainment March 16, 2021

”No Way Out” reviewed by Pauline Kael in The New Yorkerpbook/096/

Can Orion hit and Run with Bull Durham?” Craig Modderno, LA Times, Jan 10. 1988

Major league movie about the minors by Julie Salamon, Jun 16, 1988, WSJ

Diamonds are a girl’s best friend by David Denby New York Magazine, June 20, 1988

Dark Look at Baseball by Patrick Goldstien, June 21, 1988

Sarandon Talks Baseball, Chess, Life” by Harold Reynolds, Knight Ridder News Service, July, 1988

Durham Duo Flap Proves Pic’s Point, Variety, April 16, 2003

Interview: Lizzie Borden on Love Crimes

Bull Durham Criterion edition special features

Sean Young in her Catwoman costume before appearing on The Joan Rivers Show in 1991 | Photo- Richard Corkery, NY Daily News Archive via Getty Images

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station

"Caveman" - High Horse

"Four Cluster" - Fornax

"Quindi Cavern" - LufaQuest

"Pxl Eventuat" - The Fence

"Pxl Htra" - The Fence

"WestDesert" - LufaQuest

"The Killjoy Brothers" - Kittyhawk

"Of Our Choosing" - LufaQuest

"The Kishner Method" - Kajubaa

"Quindi Cavern" - LufaQuest

"Dimming Circuit" - Limoncello

"Gemeni City" - Kajubaa

"Still Nite" - Hutter

"Readers Do You Read" - Chris Zabriskie

Kevin Costner and Susan Sarandon in *Bull Durham*, 1988

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

1987: Fatal Attraction and Dirty Dancing (Erotic 80s Part 10) / June 6, 2022 by Karina Longworth

Glenn Close and Michael Douglas, *Fatal Attraction*, 1987

Listen to this episode on Apple Podcasts or Spotify.

The erotic thriller goes commercially mainstream with Fatal Attraction, a film which starts a national conversation about whether or not women can “have it all” – “it all” meaning both careers and marriage. Is Fatal Attraction an indictment of working women as “witches” and a call to roll back women’s rights, or a snapshot of extreme toxic masculinity? Plus: Dirty Dancing — is it evil?

Adrian Lyne and Glenn Close on the set of *Fatal Attraction*, 1987

SHOW NOTES:

Sources:

Backlash by Susan Faludi

Leading Lady: Sherry Lansing and the Making of a Hollywood Groundbreaker by Stephen Galloway

Fatal Attraction with Douglas and Close by Janet Maslin, New York Times, Sept. 18, 1987

Commentary: ‘Fatal Attraction' – The Mad Woman’s Case by Nancy Webber And Lowell Alexander Oct. 4, 1987

'Fatal Attraction' Director Analyzes the Success of His Movie, and Rejoices By Aljean Harmetz, Special to the New York Times, Oct. 5, 1987

The Darkside of Love: In Life as in the Seasons Hottest Movie Some Attractions Can be Fatal, People Magazine, October 26, 1987

The Thriller Is Back Fatal Attraction, Time Magazine, Nov 16, 1987

Alternatives Exist to `Fatal Attraction' by Gene Siskel, Sun Sentinel, Jan, 1988

Feminism Might Be Facing Fatal Attraction by Janice Martin, St. Petersburg Times, Jan 6, 1988

Talking To... James Dearden by Edmund White, Vogue, Sep 1, 1988

‘Fatal Attraction’ Oral History: Rejected Stars and a Foul Rabbit by Bruce Fretts, New York Times, Sept. 14, 2017

Dialogue on Film: Adrian Lyne American Film Magazine, Sept 1988

Why Can't A Man Be More Like a Woman? by Arlie Russell Hochschild, New York Times, Nov. 15, 1987

Love and Hate by Joan Smith, The Guardian, Mar 21, 2000

The Attraction of a Storyline by Susan King, LA Herald Examiner, September 20, 1987

One-night Stand with Fatal Repercussions by Joe Baltake, Syndicated to Long Beach Press-Telegram, Sept 18, 1987

A Film that Gives Feminism a Bad Name by Richard Cohen, LA Herald Examiner, October 1987

In Bed with the Zeitguy by Johanna Schneller, GQ, April 1993

Attraction to Close’s Alex Turned Repulsive, LB Herald Examiner, January 30, 1989

Hollywood Report by Martin A. Grove, The Hollywood Reporter, September 23, 1987

Rafelson Picks up Pace Following Widow by Bill Desowitz, The Hollywood Reporter, Feb 20, 1987

Sins of the Fathers by Ellen Willis, Village Voice, December 15, 1987

Fanciful ‘Reality’: When the Reel Thing Ain’t That Real by Sheila Benson, LA Times, November 1, 1987

Home is Where the Handgun Is by Helen Knode, LA Weekly, October 2, 1987

What’s the Attraction Here? by Connie Benesch and Deborah Caulfield, LA Times October 15, 1987

Killer! Fatal Attraction Strikes Gold as a Parable of Sexual Guilt by Richard Corliss TIME, Nov. 16, 1987

Adrian’s Line on Sex by Lynn Hirschman Rolling Stone, November 19, 1987

The Rabbit Died: Eight Capsule Comments on Fatal Attraction, Village Voice, Dec 15, 1987

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station

"The Kishner Method" - Kajubaa

"Dear Myrtle" - Sunflower

"Akonan" - LufaQuest

Gemeni City - Kajubaa

"Hutter" - Piglet

"The Trundle" - Synapse

"Quindi Cavern" - LufaQuest

Vengeful - Warmbody

"Tower of Mirrors" - TinyTiny Trio

"Zeriba Village" - LufaQuest

"Vik Fence Haflak" - The Fence

"Of Our Choosing" - LufaQuest

"Four Cluster" - Fornax

"Readers Do You Read" - Chris Zabriskie

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Jennifer Grey and Patrick Swayze in *Dirty Dancing*, 1987

1986: 9 ½ Weeks, Mickey Rourke & Zalman King (Erotic 80s Part 9) / May 30, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

Billed as the hottest Hollywood film since Last Tango, 9 ½ Weeks was considered to have missed the mark by everyone who made it – including director Adrian Lyne, stars Mickey Rourke and Kim Basinger, producer/writer Zalman King and his wife, writer Patricia Knop. Today we’ll talk about why this intoxicating and troubling film is worth a second look, how to square away the arguably feminist finished product from a production process that robbed Basinger of agency, and we’ll explore the film Rourke and King re-teamed on as a re-do, Wild Orchid. We’ll also talk about Rourke’s “bad boy” persona, and his problematic relationship with his second wife and co-star, supermodel Carre Otis.

Kim Basinger and Mickey Rourke in *9½ Weeks* (1986)

SHOW NOTES:

Sources:
Nine and a Half Weeks: A Memoir of a Love Affair by Elizabeth McNeill

Beauty, Disrupted: The Carre Otis Story, by Carre Otis

People Are Talking About: Kim Basinger by David Denby, Vogue, April 1986

Making it Big in 9 ½ Weeks, Interview Magazine, March 1985, Vol 15 Iss 3

Mickey Rourke, Playboy, February 1987

Vision Skeds Wild Orchid as ‘High-Class Erotic Pic by Hy Hollinger, Variety, May 12, 1988

Paradise Lust, People Magazine, June 15, 1992

King Comments, Hollywood Reporter, May 9, 1988

Just for Variety, Variety, Feb 11, 1994

The Cutting Edge by Pat H. Broeske, LA Times, Feb. 16, 1986

Profile of Zalman King by Nancy Griffin, Premiere Magazine, September 1991

Former French Models Come Forward With Abuse Allegations Against Gerald Marie, NPR Morning Edition, Sept. 10, 2021

Who Was the Real Woman Behind “Nine and a Half Weeks? by Sarah Weinman, The New Yorker, Nov 30, 2012

Leading Man Named Zalman, New York Times, Feb 28, 1971

This Lady-Killer Bites by Janet Maslin, New York Times, April 28, 1990

‘Wild Orchid’ Makes Its Sex Seem Ludicrous by Michael Wilmington, LA Times, April 30, 1990

Hollywood Report by Martin A. Grove, The Hollywood Reporter, May 2, 1990

Before ‘Fifty Shades,’ How ‘9 1/2 Weeks’ Director Put S&M Onscreen by Seth Abramovitch, Feb 12, 2015

How '9 1/2 Weeks' Pushed An Actress To The Edge by Nina Darnton, New York Times, March 9, 1986

Orchid Sex Scenes Might Be Pirated by James Ulmer, The Hollywood Reporter, August 10, 1989

Take One, People Magazine, May 1, 1989

X Marks it Hot, Variety, March 28, 1990

True Love, Newsweek, April 23, 1990

Kim Basinger Cover & Interview, Interview Magazine, Feb 1986

Orchid Producers Sue Rourke, Otis, The Hollywood Reporter, June 20, 1990

The Last Anti-Hero, By Patrick Goldstein, LA Times, Feb. 24, 1991

Patricia Louisiana Knop Dies: Screenwriter For ‘9 1/2 Weeks’ And ‘Wild Orchid’ Was 78 By Bruce Haring, Deadline, August 16, 2019

‘Wild Orchid’ Star Carré Sutton Sues Former Elite Modeling Agency Execs Over Rape Accusations by Daniel Goldblatt, August 12, 2021

Mickey Rourke ex Carré Sutton sues Former Elite Models Boss Over Alleged Rape by Ben Feuerherd, NY Post, August 13, 2021

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station

"Quindi Cavern" - LufaQuest

"Tower of Mirrors" - TinyTiny Trio

"Kestral" - Kajubaa

"Pxl Cray" - The Fence

"Gruman's Thorn" - Kajubaa

"The Kishner Method" - Kajubaa

"Pxl Eventuat" - The Fence

"Gamboler" - Pglet

"Kamilah" - Sunflower

"Nightride" - Kajubaa

"WestDesert" - LufaQuest

"Zeriba Village" - LufaQuest

"Kind of Regret" - Synapse

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Mickey Rourke, photographed by Helmut Newton, c. 1980’s

1985: Fear Sex. Jagged Edge & AIDS (Erotic 80s Part 8) / May 23, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

Just as the AIDS-related death of Rock Hudson was finally forcing straight people – and Hollywood – to acknowledge that epidemic, a film was released that transposed the new climate of sexual fear onto a murder mystery. The sleeper hit of 1985, Jagged Edge turned Glenn Close from a respected actress into a star, and established the brand of screenwriter Joe Eszterhas, who would later write Basic Instinct and Showgirls. Almost a decade after radical feminists began to call for a crackdown on violent sexual imagery, Jagged Edge tried to have its cake and eat it, too: infusing its sex and violence – and its depiction of a career woman – with a fundamentally conservative point of view.

SHOW NOTES:

Sources:

Hollywood Animal by Joe Eszterhas

Murdering Women For Entertainment by Rita Kempley, aliciapatterson.org, 2002

Hudson Has Aids, Spokesman Says, AP via New York Times, July 26, 1985

40 Years Later: How Hollywood Has Shaped the Story of HIV, Until Very Recently, TV And Film Whitewashed HIV/AIDS. That’s Starting to Change, by Naveen Kumar, them.us, Oct 22, 2021

Rock Hudson: On Camera and Off by Jeff Yarbrough, People Magazine, Aug 12, 1985

Jagged Edge, Variety, Jan 1, 1985, Issue 1

'Jagged Edge' by Kirk Ellis, The Hollywood Reporter, Vol. 288, Iss. 31, Sep 9, 1985

Pictures: Twisty 'Edge' Plot No Accident; Directing 'Up' To The Audience by Gold, Richard. Variety Vol. 320, Iss. 8, Sep 18, 1985

Glenn Close: The Next Step; Years Of Work Have Finally Paid Off In Career Options And Security by Blowen, Michael, Boston Globe, Sep 17, 1985

Toplining Two New Movies? It's Great--Sort Of--Says Glenn Close by Smith, Sid. Chicago Tribune, Sep 29, 1985

Film: Glenn Close As Attorney In 'Jagged Edge' by Janet Maslin Oct. 4, 1985

Jagged Edge Review by Roger Ebert, Oct 4, 1985 A Gripping Ride In `Jagged Edge' by Benson, Sheila, Los Angeles Times, Oct 4, 1985

Jagged Edge: Son of `Fatal Vision': By Carl Pisano, Newsday, Oct 4, 1985

'The Jagged Edge': An All-American Killer? ny Blowen, Michael. Boston Globe, Oct 4, 1985

The Men Who Round Out The Jagged Edge: Ron Base Toronto Star, 05 Oct 1985Watchable Year For Actresses by Champlin, Charles, Los Angeles Times, Oct 12, 1985

In Films, It's A Season For Strong Women Sterritt, David. The Christian Science Monitor; Oct 18, 1985

Film View; Are 'New' Women's Movies Guilty Of Sexism In Reverse? By Vincent Canby Nov. 10, 1985

Ragged Ending To `Jagged Edge' Many Moviegoers Have Been Confused About The Identity Of The Killer After Seeing This Non-Gruesome, Genuinely Scary Thriller. And They Have Reason To Be Confused, Even Though The Film Is Good by Siskel, Gene, Sun Sentinel via Chicago Tribune, Nov 15, 1985

Is Glenn Close The Ideal Heroine? by Maureen Dowd Dec. 22, 1985

Dateline Hollywood by Steve Pond, Washington Post, Oct 10, 1985

'Jagged Edge': Cut and Run by Rita Kempley, Washington Post, Oct 4, 1985

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Glenn Close and Jeff Bridges in *Jagged Edge*, 1985

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station

"Pxl Cray" - The Fence

"Gamboler" - Pglet

"Pxl Deter" - The Fence

"Dimming Circuit" - Limoncello

"Vengeful" - Warmbody

"Ion Cruiser" - Kokura Station

"Quindi Cavern" - LufaQuest

"Hutter" - Piglet

"Dear Myrtle" - Sunflower

"Akonan" - LufaQuest

"Kamilah" - Sunflower

"Readers Do You Read" - Chris Zabriskie

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

"Vioporn," Body Double and Crimes of Passion (Erotic 80s Part 7) / May 16, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

In a time of bombastic blockbusters (and Reagan’s re-election), two auteurs defy the norms by releases violent films about sexual obsession, sparking a controversial mini-trend which one critic dubs “Vioporn.” Kathleen Turner, then also starring in a family-friendly blockbuster, plays a sex worker with a double life in Ken Russell’s Crimes of Passion. Brian DePalma, the most talked-about director of the moment, takes his tribute/critique of Hitchcock to the next level by casting Melanie Griffith – daughter of Hitchcock blonde Tippi Hedren – as a porn star in Body Double.

SHOW NOTES:

Sources:

Make My Day: Movie Culture in the Age of Reagan by J. Hoberman

Altered States by Ken Russell

Double DePalma by Susan Dworkin

Tippi by Tippi Hedren

A Paper Life by Tatum O’Neal

Brian de Palma’s Death Wish by Lynn Hirschberg, Esquire Magazine, January 1, 1984

Body Double' Is Creepy Crud By Rita Kempley, Washington Post, October 26, 1984,

Film: Depalma Evokes 'Vertigo' In Body Double by Vincent Canby, The New York Times, Oct. 26, 1984

Brian De Palma As Son Of Hitchcock by Paul Attanasio, Washington Post, November 4, 1984

On Brian De Palma-Crossing The Line Between Art and Pornography? by Nina Darnton, The New York Times, Nov. 18, 1984

The Fans Are Showing No Taste For Turkeys by Joe Baltake, Philadelphia Daily News, Nov 24, 1984

How Two Directors Confront 'Vioporn' by Jay Carr, Boston Globe, Nov 30, 1984

A Movie is a Work of Art: An Interview with Brian De Palma by Matt Zoller Seitz, June 09, 2016

Melanie Says ‘It’s No Big Deal’ The Indianapolis Star, April 29, 1975

Growing Up Too Fast? Daily News, April 1975

Melanie Griffith's Nightmare Has Ended by Michael Landon, Philadelphia Inquirer, Jan 3, 1984

People Are Talking About: Movies: Body by Brian by Deborah Mason, Vogue, 174, Iss. 11, Nov 1, 1984

Noel Marshall’s “Roar”: Humans Were Harmed in the Making of This Film, by Richard Brody. April 22, 2020

Ratings Rile Studio Head, New York Magazine, Oct 1, 1984

Sex Films Without X Rating by Joe Baltake, Philadelphia Daily News, Oct 23, 1984

Her Brilliant Career by Christine Doudna, American Film, Vol. 10, Iss. 2, Nov 1, 1984

Mystery Woman: Kathleen Turner by Richard Schickel. Film Comment; New York Vol. 21, Iss. 2, Mar/Apr 1985

Interview with Brian De Palma by Marcia Pally, Film Comment, October 1984

The Many Lives of Kathleen Turner by Keaton Bell, Vogue Magazine, December 13, 2021

Kathleen Turner Meets Her Monster by Jesse Green, New York Times, March 20, 2005

Kathleen Turner: The Last Movie Star by Tim Appelo and Gregg Kilday, Entertainment Weekly, August 02, 1991

In Conversation: Kathleen Turner, Vulture, Aug 7, 2018

Kathleen Turner: ‘Decades after Body Heat I Am Still Referred to as a Sexual Icon’ by Ruth Huntman, The Guardian, Apr 14, 2018

Barry Sandler | Crimes Of Passion, by Ian White, Starburst Magazine, August 8, 2016

Bad Boys of Cinema Ken Russell, Barry Sandler Will Screen Cult Classic 'Crimes of Passion' by Roger Moore, Orlando Sentinel, Mar 27, 2009

Don Johnson & Melanie Griffith At Home and In Love, US Magazine, November 1991

Fast Starter, Playboy, October 1976

The Dark Side of the Moon by Joe Queenan, Movieline Magazine, October 1990

'Psycho' Altered Ideas On Censorship, All Things Considered, June 18, 2010

De Palma, 2015, https://www.imdb.com/title/tt1683048/

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Melanie Griffith and Craig Wasson in *Body Double* (1984)

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station
"Pxl Cray" - The Fence
"Hutter" - Pglet
"The Killjoy Brothers" - Kittyhawk
"Divider" - Chris Zabriskie
"Pxl Htra" - The Fence
"Pxl Eventuat" - The Fence
"Single Still" - Vermouth
"Four Cluster" - Fornax
"Still Nite" - Pglet
"Tower of Mirrors" - TinyTiny Trio
"Valley VX" - Limoncello
"Kovd" - Fjell
"Vik Fence Haflak" - The Fence
"Trek VX" - Limoncello
"Readers Do You Read" - Chris Zabriskie

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Kathleen Turner as China Blue / Joanna Crane in *Crimes of Passion*, 1984

1983: MTV Aesthetics, Flashdance and Risky Business (Erotic 80s Part 6) / May 9, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

While the music video was still in its infancy as a cultural phenomenon, two films were released that were accused of aping the “MTV aesthetic”: Adrian Lyne’s Flashdance, and Risky Business, which turned Tom Cruise into a major star. Today we’ll talk about what the “MTV aesthetic” was and why it was considered a big deal for movies to be influenced about it, and we’ll examine how both of these movies treated sex work and race within the context of 80s social mores and Reagan capitalism.

SHOW NOTES:

Sources:

Hollywood Animal by Joe Esterhas

They Can Kill You But They Can’t Eat You by Dawn Steel

Imagining the Mulatta: Blackness in U.S. and Brazilian Media Paperback by Jasmine Mitchell, May 25, 2020

Pittsburgh And Dance, by Janet Maslin, the New York Times, April 15, 1983

Movie Review: When The Plot Is Just A 'Flashdance' In The Pan by Sheila Benson, Los Angeles Times, April 15, 1983

Ok, Jennifer, Who Did The Dancing? by Deborah Caulfield, Los Angeles Times, April 1983

Truth In Dancing by Marvin Jones, Los Angeles Times, May 1, 1983

Sure-footed Beals, Screen International, Issue 402, July 9, 1983

The Real Flashdancer Finally Gets Her Due, by Fawn Vrazo, Philadelphia Inquirer, August 8, 1983

High Concept: Don Simpson and the Hollywood Culture of Excess by Charles Fleming, apnews.com

Flashdance, by Roger Ebert April 19, 1983

Film Reviews: Flashdance, Variety, Apr 20, 1983

Film View; Under The 1983 Chic, Movies Still Leer At Women by Janet Maslin, May 22, 1983 the New York Times

'Invisible Marketing' Helps 'Flashdance' Sell by Aljean Harmetz, Special To the New York Times June 4, 1983

MTV Aesthetics At The Movies: Interrogating A Film Criticism Fallacy, Journal of Film and Video, Vol. 59, No. 3, Fall 2007, pp. 15-31, Published By: University of Illinois Press

Beals Would Prefer Yale to Stardom, Los Angeles Times, Oct 8, 1982

Flashdance' Star Taps Her Own Beat London, Michael. Los Angeles Times, May 8, 1983

Flashdance, The Dead End Kid by Kathryn Kalinak, Jump Cut: A Review of Contemporary Media, no. 29, February 1984, pp. 3-5

Bein’s Believing by Gary Susman, Time Magazine, April 14, 2013

‘Flashdance,’ 30 Years Later: B-Boy Recalls Girling Up for Final Scene, Yahoo.com, April 15, 2013

What Hurt Feelings: The Untold Story Of The 31-Year Battle Over "Flashdance" Buzzfeed.com, Aug 14, 2014

‘I’ve Had Letters From Klansmen’: Jennifer Beals on Flashdance, The L Word and fighting to get Diverse Stories Told by Zoe Williams, The Guardian, Mon Feb 7, 2022

The Flashdance Phenomenon When 'Flashdance' Premiered 17 Years Ago, Movies and Music Were Welded Together by Rebecca Ascher-Walsh, Entertainment Weekly, April 21, 2000

Jennifer Beals: Sultry Student Strikes Stardom In 'Flashdance', Jet Magazine, June 6, 1983

Risky Business by Duane Byrge, The Hollywood Reporter, Vol. 277, Iss. 45, Jul 25, 1983

Film Reviews: Risky Business CART.Variety (Archive: 1905-2000); Los Angeles Vol. 311, Iss. 13, (Jul 27, 1983): 21

Film: Paul Brickman's 'Risky Business' by Janet Maslin, The New York Times, Aug. 5, 1983

He Coos And She Bills In 'Risky Business': 'Risky Business' by Sheila Benson, Los Angeles Times, Aug 5, 1983

Risky Business: Kid Cruise Critiques Capitalism, In honor of the Drafthouse's Summer of '83 screening, resident Tom Cruise expert Amy Nicholson talks RISKY BUSINESS! by Amy Nicholson, birthmoviesdeath.com, May. 31, 2013

Cameron Crowe on Tom Cruise, Interview Magazine via theuncool.com, May, 1986

My Wild Summer With Tom Cruise: Women, Sean Penn and the Making of ‘Risky Business’ By Curtis Armstrong, The Hollywood Reporter, June 21, 2017

"Risky Business" Director: “Some People Like The Visibility. I Don't", The Reclusive Director Of The 1983 Hit Talks To Salon About The Film, Tom Cruise, And Turning Down "Forrest Gump by Jake Malooley, Salon.com, September 2, 2013

Why It Took So Long For MTV To Play Black Music Videos by Margena A. Christian, Jet Magazine, October 9, 2006

Flashback: David Bowie Rips Into MTV for Not Spotlighting Black Artists, Interview from MTV, 1983, Rollingstone.com

The 500 Greatest Songs Since You Were Born: Number 1, Blender, October 2005

How the 'Billie Jean' Video Changed MTV by Tamara Palmer, theroot.com, March 10, 2013

Jets, Jeans and Hovis by Sam Delaney, The Guardian, Aug 23, 2007

Special Section on MTV, Film Comment, July/August 1983

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station
"Dimming Circuit" - Limoncello
"Pxl Htra" - The Fence
"Kovd" - Fjell
"Even Dreams of Beaches" - Resolute
"Trek VX" - Limoncello
"Pxl Deter" - The Fence
"Hutter" - Pglet
"Still Nite" - Pglet
"Pxl Cray" - The Fence
"The Killjoy Brothers" - Kittyhawk
"Gamboler" - Pglet
"Readers Do You Read" - Chris Zabriskie

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Rebecca de Mornay and Tom Cruise, *Risky Business*, 1983

1982: Teen Sexploitation, Fast Times at Ridgemont High, Porky's and The Blue Lagoon (Erotic 80s Part 5) / May 2, 2022 by Karina Longworth

Phoebe Cates and Jennifer Jason Leigh in *Fast Times at Ridgemont High*, 1982

Listen to this episode on Apple Podcasts or Spotify.

1982 saw the release of three hit high school-set comedies about sex: Porky’s, The Last American Virgin and Fast Times at Ridgemont High. The only one to survive as a classic, Fast Times turned Phoebe Cates – who also appeared in the Blue Lagoon rip-off Paradise the same year – into a frozen-in-time icon of adolescent sexuality. Today we’ll talk about this sudden explosion of teen sex on movie screens, and compare Cates’s public persona and attitude to on-screen sexuality to that of Blue Lagoon star Brooke Shields.

Brooke Shields in a 1980s Calvin Klein ad

SHOW NOTES:

Sources:

Long Live the New Flesh! Or, Why Video Stores With Real Employees Will Always Win, By Ross Scarano, Matt Barone, Complex.com, Nov 06, 2013

Teen Sexploitation --The Young Girls Talk: Movies by Kristine Mckenna, Laura Daltry Los Angeles Times, Sep 25, 1983

’They Want us to Look’ Through the Lens of the Teen Sex Comedies of the Early 1980’s by Andy Selsberg, believermag.com, May 1, 2006

In ’80s Comedies, Boys Had It Made. Girls Were the Joke. by Wesley Morris, New York Times, Oct. 4, 2018

The 'R' Rating-A Lure Or A Barrier by Susan Heller Anderson, New York Times, May 2, 1982

The Movie No Theaters Thought Worth Showing; Rationale Explained Atkins Used Alone in Publicity Focus on Scantily Clad Youths Some Controversy Stirred by by Aljean Harmetz, New York Times, Nov. 4, 1980

Brooke Shields Tells the Story Behind Her 80's Calvin Klein Jeans Campaign, Vogue.com, October 28, 2021

Joseph Cates, 74, a Producer Of Innovative Specials for TV by Robert Mcg. Thomas Jr., New York Times, Oct. 12, 1998

Audio discussion from 1982 with Amy Heckerling at the American Film Institute, from the Fast Times at Ridgemont High Criterion Edition

New Talent Featured in ‘Fast Times' by Kevin Thomas, Los Angeles Times, August 13, 1982

The Life and Times of ‘Fast Times’” Dale Pollack, Los Angeles Times

Watching Innocence Take Wing by Charles Champlin, LA Times, September 2, 1982

Jennifer Leigh and Her Trip Trom X to R, New York Times, September 3, 1982

Fast Times' Director On Fast Track To Fame by Lawrence O’Toole, The Globe and Mail, 10 Sep 1982

Fast Times at Ridgemont High 1 Star Review by Roger Ebert, January 01, 1982

The Test Screening That Almost Killed Fast Times at Ridgemont High by Dana Stevens, Slate.com, May 27, 2021

Pheobe Cates Cover & Story, Interview Magazine, June 1982, Vol 12 Iss 6

Jennifer Jason Leigh Can Be Fearless Because it’s Pretend by Phoebe Cates, Photographed by Eli Russell Linnetz, Interview, September 14, 2018

Film Reviews: Paradise, Variety Vol. 307, Iss. 2, May 12, 1982

Paradise Review Box Office Vol. 118, Iss. 7, Jul 15, 1982

‘Paradise': A Lovers' Oasis Revisited by Kevin Thomas, Los Angeles Times, May 7, 1982

A Suitful Of Trouble In 'Paradise': Film Clips by Deborah Caulfield, Los Angeles Times, May 19, 1982

Judge Rejects Attempt to Block Advertisement for 'Paradise' Los Angeles Times, May 20 1982

Paradise Star Phoebe Cates Hangs Her Own Film with a One-Word Review—'Rip-Off' by Josh Hammer, People Magazine, June 14, 1982

Film Review: Blue Lagoon, Variety, Jun 11, 1980

Despite Success, a Tough Fight for Backing” The Philadelphia Inquirer, July 7, 1980

The Blue Lagoon, The Director A Common Denominator, The Cincinnati Post, July 11, 1980

Brooke Shields Cover & Fashion Spread, Vogue Magazine, October 1980

Brooke Shields, US Magazine, May 15, 1979

The Day Blue Jeans Became Sexual; Those TV Ads Anger Some - But They Sell by Julie Hatfield Globe Staff, Boston Globe, October 16, 1980

WNBC Also Bans Sultry Jeans Ads, New York Times, Nov. 21, 1980

Brooke Shields on Barbara Walters c. 1980/81

Brooke Shields Calls Her 1980 Interview With Barbara Walters “Practically Criminal” By Emily Kirkpatrick,Vanity Fair, December, 7, 2021

There Was a Little Girl: The Real Story of My Mother and Me by Brooke Shields

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

1981: Neonoir, Body Heat and Postman Always Rings Twice (Erotic 80s Part 4) / April 25, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

The New Hollywood directors of the late 1960s and 70s were the first generation of Hollywood filmmakers to grow up studying Hollywood movies as art. In 1981-1982, a number of those directors made actual or virtual remakes of classic Hollywood noir films, including Lawrence Kasdan’s Body Heat, and Bob Rafelson’s The Postman Always Rings Twice; and Paul Schrader’s Cat People. What was the value of revisiting the tropes and narratives of 1940s noirs in the 80s, beyond the fact that the sexual relationships implied in the original movies could now be depicted graphically? Today we’ll talk about how these films played into the personas of stars Jack Nicholson and Kathleen Turner, how they challenged the standards of what could be shown in movies of the 80s – and how and why they were received extremely differently.

William Hurt and Kathleen Turner in *Body Heat*, 1981

SHOW NOTES:

Sources:

Easy Riders Raging Bulls: How the Sex-Drugs-And Rock 'N Roll Generation by Peter Biskind

Send Yourself Roses: Thoughts on My Life, Love, and Leading Roles Kindle Edition by Kathleen Turner

Lawrence Kasdan Knows How To Listen, Hear Him Talk by F.X. Feeney. Written By Magazine, August 2001

Detours and Lost Highways: A Map of Neo-Noir by Hirsch Foster

Pictures: Hurt And Turner For 'Body Heat' Leads Variety, Los Angeles Vol. 300, Iss. 13, Oct 29, 1980

Body Heat by Arthur Knight, The Hollywood Reporter; Hollywood Vol. 268, Iss. 7, Aug 17, 1981

Film review: Body Heat, Variety; Los Angeles Vol. 304, Iss. 3, Aug 19, 1981

Cinema: Torrid Movie, Hot New Star TIME Magazine By Richard Corliss Monday, Aug. 24, 1981

Reviews: BODY HEAT by David Linck, Boxoffice; New York Vol. 10, Iss. 117, Oct 1, 1981

Film View; THE PLEASURES OF 'BODY HEAT' New York Times, By Vincent Canby Oct. 25, 1981

'Body Heat' at 40: Kathleen Turner recalls 'misguided' decision to film all-nude sex scene on the first day Yahoo Movies Kevin Polowy·Senior Correspondent, Yahoo Entertainment August 27, 2021

Kathleen Turner, Playboy, May 1986

Kathleen Turner, Cover & The Queen Of Curves, Vanity Fair, September 1986, Brad Gooch Annie Leibovitz

Body Heat Review by Pauline Kael, New Yorker, Nov 11, 1981

The Postman Always Rings Twice by Roger Ebert, January 01, 1981

The Postman Always Rings Twice by Robert Osborne, The Hollywood Reporter, Hollywood Vol. 265, Iss. 47, Mar 13, 1981

Film review: The Postman Always Rings Twice, Variety, Los Angeles Vol. 302, Iss. 7, Mar 18, 1981

A New 'Postman Always Rings Twice' By Vincent Canby, New York Times March 20, 1981

Jack Nicholson, GQ Magazine, March 1981

Jack Nicholson, Film Comment, March-April 1981

Jack Nicholson, Rolling Stone, April 16, 1981

The Story Is The Same But Hollywood Has Changed By Janet Maslin, New York Times, April 26, 1981

Jessica Lange Life with Barishnikov and Baby, People Magazine, June 15, 1981

Jessica Lange Blond Obsession, Rolling Stone Magazine, March 1983

Jessica Lange: From King Kong to The Postman, New York Magazine, April 1981

Jessica Lange, Naturally by David Richards, Washington Post, October 5, 1984

The Postman Always Rings Twice, AFI Catalogue of Feature Films

The Monologist and the Fighter: An Interview with Bob Rafelson Rainer Knepperges and Franz Müller, April 2009, Senses of Cinema, Conversations on Film Issue 50

"Let Me Put It This Way: It Works for Me": An Interview with Bob Rafelson by Monika Raesch, Journal of Film and Video (2013) 65 (3): 49–55

Bob Rafelson Emerges to Reflect on His Feud-and-Brawl-Filled CareerRafelson profile, Esquire by Josh Karp, Apr 2, 2019

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Production still on set of American Gigolo 1980) with Paul Schrader and Richard Gere | Photo Courtesy of The University of Texas at Austin

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station

"Pxl Htra" - The Fence

"Even Dreams of Beaches" - Resolute

"The Killjoy Brothers" - Kittyhawk

"Pxl Eventuat" - The Fence

"Four Cluster" - Fornax

"Vik Fence Haflak" - The Fence

"Vengeful" - Warmbody

"Tower of Mirrors" - TinyTiny Trio

"Pxl Cray" - The Fence

"Ion Cruiser" - Kokura Station

"Pxl Deter" - The Fence

"Readers Do You Read" - Chris Zabriskie

Jack Nicholson and Jessica Lange in *The Postman Always Rings Twice*, 1981

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

1980: Richard Gere and American Gigolo (Erotic 80s Part 3) / April 18, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

One of the most aesthetically influential movies of the ‘80s, Paul Schrader’s American Gigolo sets a template for much of what we’re going to discuss this season: it’s about sex as a conduit for wealth, masks and double lives, and the role of danger in desire. Today we’ll talk about the sexual persona of Gigolo star Richard Gere in the early 1980s; the ways in which Gigolo and other films from 1980 (Dressed to Kill, Cruising) grapple with straight male anxiety over gay male visibility; and the tension between the promotion of sex-positivity for women and the anti-feminist backlash.

SHOW NOTES:

Sources:

Film Reviews: American Gigolo, Variety, Jan 30, 1980

American Gigolo, Films in Review, March 1980, Vol 31 Iss 3

American Gigolo Review, by Arthur Knight, The Hollywood Reporter, 1980
Schrader Deep In 'Gigolo', Variety; Vol. 298, Iss. 4, Feb 27, 1980

Screen: 'American Gigolo,' a Southern California Melodrama: Gauging the Glitter By Vincent Canby, The New York Times, Feb 1, 1980

WET Magazine – Vol. 4, No. 4, Issue 22, Jan/Feb 1980

“The Male Idols” Newsweek, May 23,1983

GQ Magazine September 1979

Playgirl, June 1985

"Richard Gere: Stripped Down and Sexy" Rolling Stone, March 6, 1980

Call Me! American Gigolo swaggered into theaters 40 years ago this month and forever rocked the worlds of film, fashion, music, and sex. An oral history by Lili Anolik, Feb 8, 2020

Schrader by Schrader & Other Writings, edited by Kevin Jackson

Easy Riders Raging Bulls: How the Sex-Drugs-And Rock 'N Roll Generation by Peter Biskind

Was Hemingway Gay? There's More to His Story By Christopher Lehmann-Haupt, The New York Times, November 10, 1994

The Rise of Richard Gere by Hollis Alpert. American Film, October 1979

On the Make with American Gigolo by Steven M. Silverman. American Film October 1979

As Hollywood Gigolo or Broadway Gay, Richard Gere Slouches Toward Stardom, People Magazine, April 7, 1980

Playboy Viewpoint: The New Puritans, Playboy, November 1980

Playboy Isn’t Playing: An Interview with Judith Bat-Ada

Travolta to leave the starring role of 'American Gigolo', The Hollywood Reporter, Vol. 255, Iss. 5, Jan 23, 1979

Stateside: All for the good of 'Gigolo' by Tony Crawly, Screen International Iss. 209, Sep 29, 1979

The Rise Of Richard Gere by Hollis Alpert, American Film Vol. 5, Iss. 1, Oct 1, 1979

Please note: as an Amazon Associate Karina earns from qualifying purchases made when you click the links above. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station

"Pxl Htra" - The Fence

"Even Dreams of Beaches" - Resolute

"The Killjoy Brothers" - Kittyhawk

"Pxl Eventuat" - The Fence

"Four Cluster" - Fornax

"Vik Fence Haflak" - The Fence

"Vengeful" - Warmbody

"Tower of Mirrors" - TinyTiny Trio

"Pxl Cray" - The Fence

"Ion Cruiser" - Kokura Station

"Pxl Deter" - The Fence

"Readers Do You Read" - Chris Zabriskie

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

1979: Bo Derek and 10 (Erotic 80s Part 2) / April 11, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

The sleeper hit of late 1979 was Blake Edwards’s sex farce 10, a comedic vivisection of a male midlife crisis, which turned 23-year-old California girl Bo Derek into a controversial cultural phenomenon. Derek’s early fame was framed in the media through the lens of her marriage to John Derek, who was 30 years her senior and who she met when she was 16. Today we’ll talk about Derek’s reign as a sex-positive bombshell in a time of extreme double standards, 10’s strangely prescient understanding of toxic masculinity, and the problem of how to frame teenage sexuality for adult consumption.

SHOW NOTES:

Sources:

Riding Lessons by Bo Derek

“Bo Derek”, People Magazine, December 24, 1979

“The Most Beautiful Girl In The World” Newsweek, October 15, 1979

“John Derek created a '9' in his own image and called her Bo: Bo Derek--The making of a 10” Jeff Silverman, Chicago Tribune, Nov 18, 1979

“Heating Up With John and Bo Derek by Henry Allen, Washington Post, January 29, 1980

“Agents Are Paid 10%, But Husbands Get More” by Judy Mann, Washington Post, January 30, 1980

“Bolero: An exclusive, on-location preview of –¡Caramba!--Bo Derek’s hot new movie. By David Lewin, US Magazine November 21, 1983.

“Fantasies Uncovered” by Pat H. Broeske, Peter H. Brown And Jim Pinkston, LA Times, Aug. 31, 1986

“Bo Derek” by Hayley Phelan, Photographed by Stas Komarovski Interview Magazine, February 23, 2016

“Here's Why Kim Kardashian Crediting Her Fulani Braids To Bo Derek Is Problematic” by Samantha Callender, Essence.com, October 24, 2020

Please note: as an Amazon Associate Karina earns from qualifying purchases made when you click the links above. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station

"Pxl Htra" - The Fence

"Even Dreams of Beaches" - Resolute

"The Killjoy Brothers" - Kittyhawk

"Pxl Eventuat" - The Fence

"Four Cluster" - Fornax

"Vik Fence Haflak" - The Fence

"Vengeful" - Warmbody

"Tower of Mirrors" - TinyTiny Trio

"Pxl Cray" - The Fence

"Ion Cruiser" - Kokura Station

"Pxl Deter" - The Fence

"Readers Do You Read" - Chris Zabriskie

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Porno Chic and The Brief Heyday of X Ratings (Erotic 80s Part 1) / April 4, 2022 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

This season will unfold in two parts: Erotic 80s, beginning today, and after a brief summer hiatus, Erotic 90s in the fall. Each episode will examine a single year, and one or more films that share a genre, a theme or a star, with topics ranging from the politics of porn, to the first camcorder sex tape scandal, to the sexualization of teens to Hollywood’s lingering fear of interracial coupling. Some of the stars and filmmakers whose work we’ll explore include Tom Cruise, Richard Gere, Sharon Stone, Julia Roberts, Stanley Kubrick, Brian DePalma, and much, much more.

In 1968, the Production Code gave way to the ratings system, and the brief legitimacy of the X-rated movie. Today we’ll focus on two massive, X-rated hits released within a year of one another in 1972-1973: Deep Throat, the first hardcore porn movie to become a mainstream blockbuster; and the international art film sensation Last Tango in Paris. Both of these hits were products of a male-centered sexual revolution, and both of their female stars later described making these movies as equivalent to being raped. We’ll talk about how both films gave Hollywood permission to intermingle sex and violence in the name of both profits and art, and how both have been reassessed as documents of violence against women.

Deep Throat at the Rialto Theater, Minneapolis, MN.

SHOW NOTES:

Sources:

The Other Hollywood by Legs McNeil

What Wild Ecstasy by John Heidenry

Screening Sex by Linda Williams

Ordeal and Out of Bondage by Linda Lovelace

Backlash by Susan Faludi

Last Tango in Paris (BFI Modern Classics) by David Thompson

Playboy, February 1980 and July 1980

From the June Mazer Lesbian Archives: WAVAW

“The Controversial (And Lampooned) Bondage-Themed Billboard For The Rolling Stones’ ‘Black And Blue’”

“How a Rolling Stones Ad Spawned a Music Industry Revolution” by Annie Zaleski April 23, 2016

“Black, Blue and Very Bad Taste: the Rolling Stones Billboard That Still Sparks Controversy” by Edward Helmore, The Guardian, April 19 2020

“Last Tango In Paris: Why The Rape Scene Involving Maria Schneider Is Only Generating An Outcry Now” by Elahe Izadi, The Independent, December 5 2016

Interview with Maria Schneider by Jackie Buet, Elisabeth Jenny.Créteil Films de Films, 2001

“I felt raped by Brando” The Daily Mail, July 2007

“Real Sex: Aesthetics And Economics Of Art-House Porn” by Jon Lewis, Jumpcut

“Stanley Kubrick Wanted a Taste of Terry Southern’s Lamb-Pit” by Christopher Forsley January 16, 2013, Vice.com

Please note: as an Amazon Associate Karina earns from qualifying purchases made when you click the links above. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

"Rumoi Night" - Kokura Station

"Ion Cruiser" - Kokura Station

"Pxl Htra" - The Fence

"The Killjoy Brothers" - Kittyhawk

"Four Cluster" - Fornax

"Single Still" - Vermouth

"Levander Crest" - Reflections

"Readers Do You Read" - Chris Zabriskie

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Sammy & Dino archive / December 21, 2021 by Karina Longworth

This season, we look at the movies, music and lives of Sammy Davis Jr and Dean Martin. Singers, actors, TV stars and nightclub performers, Davis and Martin became rich and famous selling versions of mid-20th-century hipness as the biggest stars in the Rat Pack who weren’t Frank Sinatra. The standard-setter for masculine cool in the second half of the twentieth century -- as well as a nexus where Hollywood power, political power and mafia power came together -- the Rat Pack feels uniquely uncool today. As its mystique recedes, it’s the perfect time to begin to unpack its allure, and take a cold hard look at the art it produced.

But Sammy and Dino were both more than the Rat Pack, and examining their lives and careers in tandem reveals tons, about the evolution of racial attitudes from the beginning of the 20th century -- when Italians and Italian-Americans like Dean were widely considered to be non-white; about how Hollywood responded to, and influenced, changing ideas about masculinity and “the man” from World War II to Vietnam and beyond; and above all, about the differences and similarities between mainstream capitalism and underground criminal economies, which is laid bare by the intersection of the music industry and the mafia.

Episodes:

SAMMY AND DINO EPISODE 1: THE HUSTLE: Today, we’ll talk about Sammy and Dino’s childhoods and early years as entertainers -- years which formed their talent, their stage personas, and taught them their first lessons in the racket that was, and is, the music business. Both grew up in marginalized communities where they learned an ethos of success based on hustle. We’ll track both Dean and Sammy to major coming-of-age moments in the middle of World War II. Coming up in industrial Ohio as both a card dealer and a nightclub singer, Dean learns how and why the house always wins. As a child, Sammy joins his father’s touring dance act, and eventually becomes the main attraction -- before the war forces him to encounter racism at a level he’d never experienced before. Listen
SAMMY AND DINO EPISODE 2: MARTIN AND LEWIS, SAMMY AND MICKEY AND FRANK: Dean Martin meets and begins collaborating with Jerry Lewis. Martin and Lewis — an Italian and a Jew — become the most successful nightclub act in the country, and transition to Hollywood. Meanwhile, Sammy Davis Jr, determined to get the attention of the white entertainment world, starts working impressions of white stars into his act. Listen
SAMMY AND DINO EPISODE 3: NOTHING BUT A DOLLAR SIGN: In the first half of the 1950s, Martin and Lewis mint money as movie stars--and find unique ways to make their access to gangsters payoff--but stardom tears them apart. During this period, Sammy tries to prove himself to a Hollywood that still has little use for Black performers. Then, a horrible accident changes Sammy’s life--and changes his perceived value to the gate-keepers of the entertainment industry. Listen
SAMMY AND DINO EPISODE 4: MR. WONDERFUL: Sammy tests the power of his new celebrity, on Broadway and in Hollywood, where he stars in the most controversial movie musical with an all-Black cast of all time -- a movie which is still being suppressed today. Listen
SAMMY AND DINO EPISODE 5: A SERIOUS MAN: After the breakup of Martin and Lewis, Dino has to figure out how to stand on his own as a solo act. He ends up developing an on-stage persona as a happy drunk, while at the same time, developing a resume as a serious actor in some of the biggest hits of the late 1950s, such as Some Came Running and Rio Bravo, through which he emerged as a kind of icon for the white masculinity crisis of the 1950s. How did Dino pull this off, and why was his interest in being taken seriously so apparently short-lived? Listen
SAMMY AND DINO EPISODE 6: THE RAT PACK: In the early 40s, both Dean and Sammy idolized Frank Sinatra. 20 years later, they became Sinatra’s cohorts in the Rat Pack, and, through Vegas gigs and increasingly disposable movies, the trio set a standard for grown men behaving badly that’s still influential today. In this episode, we’ll reveal what the Rat Pack’s Vegas shows were really like -- racist, homophobic, misogynist warts and all. We’ll also discuss the web of corruption linking these performers to the Mafia and the Kennedys, culminating in the death of an actress, and the death of the pretense that the Rat Pack racket was all innocent fun. Listen
SAMMY AND DINO EPISODE 7: YES I CAN: Released in 1965, Sammy Davis Jr.'s autobiography became an instant classic, one of the most dynamic celebrity memoirs ever published and a testament to Davis’s barrier-breaking success as a black man in America. But the story behind the book, which was conceived and developed by two white ghostwriters -- and the racial and sexual dynamics of Davis's life during the years leading up to its release, which included two marriages and one relationship with a white movie star which almost got him killed -- are even more fascinating. Listen
SAMMY AND DINO EPISODE 8: GENERATION GAP: In the mid-1960s, 47-year-old Dean Martin proves he's still got it by knocking the Beatles off the top of the pop charts, and by launching his long-running TV show, which brought a version of his nightclub act into America’s living rooms every week. But his middle-aged drunk schtick sours as the decade of hippies and Vietnam wears on. Sammy Davis Jr has his own challenges, living up to the expectations of a new generation of activists--and he only makes matters worse by embracing Richard Nixon. After disastrously dabbling with Motown, Sammy records “The Candy Man” -- a silly novelty single that he hated, but which ended up saving his career. Listen
SAMMY AND DINO EPISODE 9: IS THAT ALL THERE IS?: Desperate to be seen as cool and not a relic of an earlier age in 70s America, Sammy gets into porn and drugs. A Rat Pack reunion gives him renewed purpose, but causes Dean to alienate himself further. As their time begins to run out, both Sammy and Dino are forced to contemplate what it was all for. By the late ‘90s, they’re both gone. We’ll try to sort out the incredibly murky legacies they left behind. Listen

Sammy and Dino Episode 9: Is That All There Is? / December 20, 2021 by Karina Longworth

Frank Dean Sammy Together Again Together Again National Concert Tour, 1988

Listen to this episode on Apple Podcasts or Spotify.

Desperate to be seen as cool and not a relic of an earlier age in 70s America, Sammy gets into porn and drugs. A Rat Pack reunion gives him renewed purpose, but causes Dean to alienate himself further. As their time begins to run out, both Sammy and Dino are forced to contemplate what it was all for. By the late ‘90s, they’re both gone. We’ll try to sort out the incredibly murky legacies they left behind.

Dean Martin and Sammy Davis Jr., 1974 Celebrity Roast

SHOW NOTES:

Sources for the entire season:

Dino by Nick Tosches

Jerry Lewis In Person by Jerry Lewis and Herb Gluck

In Black and White: The Life of Sammy Davis Jr. by Will Haygood

Yes I Can: The Autobiography of Sammy Davis Jr. by Sammy Davis Jr., Burt Boyar and Jane Boyar

Sammy: An Autobiography by Sammy Davis Jr. and Jane and Burt Boyar

Rat Pack Confidential by Shawn Levy

His Way: The Unauthorized Biography of Frank Sinatra by Kitty Kelley

Deconstructing Sammy: Music, Money, Madness, and the Mob by Matt Birkbeck

Sinatra: The Voice by James Kaplan

Sinatra: The Chairman by James Kaplan

Memories are Made of This by Deana Martin

Brothers: The Hidden History of the Kennedy Years by David Talbot

Making Movies Black by Thomas Cripps

My Song by Harry Belafonte

Mafia Spies: The Inside Story of the CIA, Gangsters, JFK, and Castro by Thomas Maier

My Lucky Stars by Shirley Maclaine

Sources specific to this episode:

The Other Hollywood by Legs McNeill

Ordeal by Linda Lovelace

“Actor, Athlete and Dashing Pilot, Dean Paul Martin Dies When His Jet Crashes on a Mountainside” by Ron Arias, People Magazine, April 13, 1987

“Yo, Is This Racist? Oscar Analysis: How Many People Had to Approve Billy Crystal in Blackface?” by Andrew Ti, Grantland.com, February 27, 2012

“Howard Hughes changed Vegas” by Tim O’Reiley, Las Vegas Review-Journal, December 28, 2013

“Inquiry reveals I.R.S. Master List” by Eileen Shanahan The New York Times June 21, 1975

“Black Supporters of President Under Fire” The New York Times, October 17, 1972

Please note: as an Amazon Associate Karina earns from qualifying purchases made when you click the clinks above. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

Lowball - Vermouth

Glass Stopper - Vermouth

Dakota - Unheard Music Concepts

Monkeys Spinning Monkeys - Kevin MacLeod

Single Still - Vermouth

Spot Peter - The Sweet Hots

Our Only Lark - Bitters

Latecomer (Bass Face) - Cafe Nostro

Chaunce Libertine - Vermouth

On the Passing of Time - Kevin MacLeod

Luka 75 - Vermouth

Gra Landsby - Fjell

Chai Belltini - Vermouth

Cran Ras - Vermouth

The Big Ten - Warmbody

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Sammy and Dino Episode 8: Generation Gap / December 14, 2021 by Karina Longworth

Listen to this episode on Apple Podcasts or Spotify.

In the mid-1960s, 47 year-old Dean Martin proves he's still got it by knocking the Beatles off the top of the pop charts, and by launching his long-running TV show, which brought a version of his nightclub act into America’s living rooms every week. But his middle-aged drunk schtick sours as the decade of hippies and Vietnam wears on. Sammy Davis Jr has his own challenges, living up to the expectations of a new generation of activists--and he only makes matters worse by embracing Richard Nixon. After disastrously dabbling with Motown, Sammy records “The Candy Man” -- a silly novelty single that he hated, but which ended up saving his career.

Dean Martin and the Golddiggers on the Dean Martin Show, c. 1972

SHOW NOTES:

Sources for the entire season:

Dino by Nick Tosches

Jerry Lewis In Person by Jerry Lewis and Herb Gluck

In Black and White: The Life of Sammy Davis Jr. by Will Haygood

Yes I Can: The Autobiography of Sammy Davis Jr. by Sammy Davis Jr., Burt Boyar and Jane Boyar

Sammy: An Autobiography by Sammy Davis Jr. and Jane and Burt Boyar

Rat Pack Confidential by Shawn Levy

His Way: The Unauthorized Biography of Frank Sinatra by Kitty Kelley

Deconstructing Sammy: Music, Money, Madness, and the Mob by Matt Birkbeck

Sinatra: The Voice by James Kaplan

Sinatra: The Chairman by James Kaplan

Memories are Made of This by Deana Martin

Brothers: The Hidden History of the Kennedy Years by David Talbot

Making Movies Black by Thomas Cripps

My Song by Harry Belafonte

Mafia Spies: The Inside Story of the CIA, Gangsters, JFK, and Castro by Thomas Maier

My Lucky Stars by Shirley Maclaine

Sources specific to this episode:

“Before Trump and West, There Was Nixon and Davis” by Bené Viera, timeline.com, April 30, 2018

Please note: as an Amazon Associate Karina earns from qualifying purchases made when you click the clinks above. #ad

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.

Excerpts from the following songs were used throughout the episode:

Calgary Sweeps - Vermouth

Chai Belltini - Vermouth

Gin Boheme - Vermouth

Gagool - Kevin MacLeod

Two Dollar Token - Warmbody

Glass Stopper - Vermouth

Thumbscrew - Sketchbook 2

Gaddy - Little Rock

Easy Listening in Jazz - Musique Libre de Droit Club

Lovers Hollow - Bitters

Chicken Steak - Truck Stop

Entrance Shaft 11 - The Depot

Latecomer (Bass Face) - Cafe Nostro

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Our editor this season is Evan Viola.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

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The podcast about the secret and/or forgotten history of Hollywood's first century

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