Exploitation movies in the original sense continued to appear: 1961's "Damaged Goods", a cautionary tale about a young lady whose boyfriend's promiscuity leads to venereal disease, comes complete with enormous, grotesque closeups of VD's physical effects. At the same time, the concept of fringe exploitation was merging with a related, similarly venerable tradition: "nudie" films featuring nudist-camp footage or striptease artists like Bettie Page had simply been the softcore pornography of previous decades. As far back as 1933, "This Nude World" was "Guaranteed the Most Educational Film Ever Produced!" In the late 1950s, as more of the old grindhouse theaters devoted themselves specifically to "adult" product, a few filmmakers began making nudies with greater attention to plot. Best known was Russ Meyer, who released his first successful narrative nudie, the comic "Immoral Mr. Teas", in 1959. Five years later, Meyer came out with his breakthrough film, "Lorna", which combined sex, violence, and a dramatic storyline. "Faster, Pussycat! Kill! Kill!" (1965), made for about $45,000, ultimately became the most famous of Meyer's sexploitation pictures. Crafted for constant titillation but containing no nudity, it was aimed at the same "passion pit" drive-in circuit that screened AIP teen movies with wink-wink titles like "Beach Blanket Bingo" (1965) and "How to Stuff a Wild Bikini" (1966), starring Annette Funicello and Frankie Avalon. Roger Corman's "The Trip" (1967) for American International, written by veteran AIP/Corman actor Jack Nicholson, never shows a fully bared, unpainted breast, but flirts with nudity throughout. The Meyer and Corman lines were drawing closer.