Beatniks? What beatniks? Two-bit punks, a closet rock-&-roll star, and an out-of-his-mind psycho: yes. Beatniks: no. Though The Beatniks was probably a last-minute title change to replace a less exploitable moniker, it didn’t make much of a difference to the audiences of 1960. After all, to a world emerging from the Eisenhower era, bohemian artists and beat-generation poets were seen as little more than socially maladjusted misfits in the same category as junkies, Commies, and teenage hoodlums — or the petty-crime crackpots running loose in this fast, fun, and naively hilarious saga of an overage delinquent who becomes an overnight sensation.

Here’s an odd but nonetheless fascinating time capsule of late- Sixties social unrest filtered through the mind of Florida-based sexploitation producer-director HARRY KERWIN. Yup, the man who made Strange Rampage, My Third Wife George, and Girls Come Too - and who was also the brother of Blood Feast star Bill Kerwin ­ wanted to tap into the same youth market companies Like AlP were so good at exploiting. But lacking the funds to make something along the lines of an Easy Rider or a Wild in the Streets, Kerwin blissfully dispensed with both fiction and actors and, instead, went out and filmed The Real Thing. Combining (rough, raw) authentic footage of bikers, peace protestors, and the crowd at a rock festival, he created the mondoesque It’s a Revolution Mother! a self-described "Documentary of Love" tied together with an exuberant (and often hilarious) anti-government-anti­ establishment-anti-Vietnam-war-pro-rebellion rant -written by TOM CASEY, director of Sometimes Aunt Martha Does Dreadful Things (’71) - delivered by an uncredited narrator who sounds like an AM disk jockey on speed.

Three people on their way to a Dodger game pull over because of some car trouble and find themselves faced with a psychopath and his girlfriend.

Goldilocks and The Three Bares is a 1963 nudie-cutie film from the legendary exploitation team of Herschell Gordon Lewis and David F. Friedman.

A sexy blonde leans over the shoulder of her cigar-smoking boss and purrs, “You’re such a smart guy. To me, you’re the big guy!” At which point the camera pulls back to reveal the boss is a dwarf sitting atop a table. Which is a nice way of opening any carny-noir, especially GIRL ON THE RUN, a hootchy-cootchy whodunit set entirely at a small seedy carnival where the life and death of the characters aren’t as important as periodically stopping the plot to watch a variety of carny girls stop and shake their stuff.

The last heir to the Draculas arrives at the castle of the infamous count.

A juvenile delinquent gets out of the pen and immediately embarks on a rampage of untethered anger, most of it directed at the girlfriend of the journalist who helped send him up.

A nightclub singer refuses to "date" customers, so she's framed for the murder of her aunt, convicted of the killing and sent to prison.

During a hydroplane race, a man rescues a playboy who ran his father down in a previous race.

Frisky frauleins entice their partners to drop their lederhosen and engage in all sorts of sexual shenanigans amid the beauty of Bavaria.

Leather-jacketed thugs corner young LOWELL BROWN (High School Caesar) on the railroad tracks. He is rescued by brooding BRETT HALSEY and the two "boys on a boxcar" head down the lost highway of life. They land in Small Town, U.S.A. Halsey has a chip on his shoulder and a bad-father complex, while runaway rich kid Brown has a hundred bucks in his pocket and everybody wants it. Together, they have to fight off a pool hall full of thugs and a hotel full of really sleazy, rinsed-out blonde, bubble-bath-taking broads

This film is a contemporary U.S. remake of "The Hands of Orlac". A famous pianist's hands are surgically replaced with the hands of a recently executed killer. Unable to play the piano, he goes crazy and seeks revenge on the doctors who performed the operation as well as the cabdriver, now blind, who caused the accident in which he lost his hands.

Join some terrified teens spending a night in a haunted house and get spooked by a mad doctor and his ghoulish gang when the Monsters Crash The Pajama Party, a 1965 spook show theatrical featurette complete with Werewolf, Gorilla in a fur coat, and goofy gimmick! Beware, they might get you.

Hitchhiking con men pose as Hollywood actors in order to help a young woman win a small town beauty contest.

A nuclear scientist starts acting strangely after a plane crash near a test site, claiming he was abducted by aliens plotting world domination.

Leather-jacketed thugs corner young LOWELL BROWN (High School Caesar) on the railroad tracks. He is rescued by brooding BRETT HALSEY and the two "boys on a boxcar" head down the lost highway of life. They land in Small Town, U.S.A. Halsey has a chip on his shoulder and a bad-father complex, while runaway rich kid Brown has a hundred bucks in his pocket and everybody wants it. Together, they have to fight off a pool hall full of thugs and a hotel full of really sleazy, rinsed-out blonde, bubble-bath-taking broads

Bikers, beach parties, body painting, death by dune buggy, and a good old-fashioned catfight all gleefully collide in Savages from Hell, the manic followup to Shanty Tramp from producer K. GORDON MURRAY and director JOSE ("Joseph") PRIETO. And while Savages ain't no Shanty-hell, few films are--it's still an exuberant blast from Florida's past which manages to make the entire Sunshine State seem like one of those scary little rest stops somewhere off the main road.