![]() ![]() Some of the era’s most brilliant artists lent their gifts to these cheap films: Marvin Gaye and Curtis Mayfield arranged entire scores for Trouble Man and Super Fly, respectively, while the theme songs by Bobby Womack and Isaac Hayes were easily the most enduring elements of the respective Across 110th Street and Shaft. ![]() Though significant at the time for putting black protagonists onscreen, and occasionally in the director’s chair, the movies were often made by cynics who thought their audience couldn’t tell good scripts and acting from bad, and would buy anything containing a few surefire plot ingredients (guns, cash, naked ladies) and music by big stars. For many of us who discovered blaxploitation decades after its brief heyday, the appeal was not cinematic but musical.
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