#325 - John Waters: Study in Filth - WatchThis W/RickRamos

<p><strong><span style="font-size: 24pt;">John Waters - Examining the Genre-Bending & Culture-Crashing Art of a Filth Icon</span></strong></p> <p>Has there ever been a figure in popular (or even underground) culture quite like Baltimore's John Waters? I would argue that Mr. Waters is a unique and essential artist in the history of American Cinema. From his early days as an underground filmmaker with such classics as <em><strong>Multiple Maniacs</strong></em> (1970), <strong><em>Female Trouble</em></strong> (1974), and - of course - 1972's <strong><em>Pink Flamingos</em></strong>, thru his mainstream breakthroughs, including <strong><em>Hairspray</em></strong> (1988), <em><strong>Cry-Baby</strong></em> (1990), and <strong><em>Serial Mom</em></strong> (1994), Waters  - over a period of 50 years - has been a truly visionary artist. These are not easy films to watch, but they were never meant to be. Waters' work has always been a kind of litmus test determining "squareness", hypocrisy, and narrow-mindedness. If you have a problem with Waters, then most likely your an uptight prick. John Waters - along with a loyal production crew (Pat Moran, Vincent Peranio, Van Smith) and stable of actors (Mink Stole, David Lochary, Edith Massey, and - later - Ricki Lake, Patty Hearst, Traci Lords) defined the "Midnight Movie" and subversive cinema. All of this was made possible through Waters' culture-challenging attack and his collaboration with the iconic Drag Queen, Harris Glenn Milstead, better known as Divine (1945-1988). A fantastic documentary - <strong><em>I Am Divine</em></strong> - profiles the life and times of the great performer.</p> <p>This was a lot of fun. Take a listen and let us know what you think. Questions, Comments, Complaints, & Suggestions can be directed to <a href= "mailto:gondoramos@yahoo.com">gondoramos@yahoo.com</a>. Many Thanks.</p> <p> </p>