For more than 50 years John Waters has been staging a coup against the good taste of the American public. From the ultimate gross-out in Pink Flamingos to the amazing general-audience rating of his biggest hit Hairspray, Waters has been subverting viewers' expectations with comedies that stretch past the boundaries of even today's jaded audiences. A provocateur of bad taste in a glorious way, Waters started out as an outsider with a camera and a small circle of fellow delinquents. In tearing down icons of the silver screen, Waters would create his own that are used still by others in movies and television. And that's only part of the tale. John Waters FAQ looks at how a nice boy from the right side of the tracks would end up becoming a demon of society and the influences that drove his ambition in moviemaking. Also featured are biographical information of the Dreamlanders -- the actors and crew members who would join Waters on his adventures in filmland over the years, including Waters's best-remembered find Divine. Beyond chapters dedicated to the making of each of his films -- from Hag in a Black Leather Jacket to his most recent A Dirty Shame -- there are those covering his career as a writer and artist. Also reviewed are his acting career in other people's television shows and movies over the years, Water's interest in music, and projects that never were to be. John Waters FAQ covers it all in the career of a man who started out with a dream of becoming an underground filmmaker and became so much more.

So what if you have talent? Then what? When John Waters delivered his gleefully subversive advice to the graduates of the Rhode Island School of Design, the speech went viral, in part because it was so brilliantly on point about making a living as a creative person. Now we can all enjoy his sly wisdom in a manifesto that reminds us, no matter what field we choose, to embrace chaos, be nosy, and outrage our critics. Anyone embarking on a creative path, he tells us, would do well to realize that pragmatism and discipline are as important as talent and that rejection is nothing to fear. Waters advises young people to eavesdrop, listen to their enemies, and horrify us with new ideas. In other words, MAKE TROUBLE! Illustrated with slightly demented line drawings by Eric Hanson, Make Trouble is a one-of-a-kind gift, the perfect playbook for gaming the system by making the system work for you.

Mankind has been predicting its own demise through various methods from fables and religious scriptures to hard-core scientific studies since the dawn of time. And if there is one thing Hollywood knows how to exploit it is the fears of Things to Come. Movies about the end of the world have been around since the early days of cinema and ÊArmageddon Film FAQÊ is a look into the various methods we have destroyed ourselves over the years: zombies mad computers uptight aliens plunging objects from space crazed animals Satan God Contagions the ever-popular atomic bomb sometimes even a combination of these in the same movie! ÊArmageddon Films FAQÊ goes from the silent days of filmmaking to the most recent (literally) earth-shattering epics from cinema to television and even the novels from comedies to dramas from supernatural to scientific. It also explores other aspects of the genre such as iconic but unfilmable apocalyptic novels postnuclear car-racing flicks domestic dramas disguised as end-of-the-world actioners and more ä from the most depressing to the happiest Armageddons ever!

The ultimate user's guide to Facebook, Twitter, Flickr, and more! Don't know a tweet from a tweep? Wondering how to get a Second Life? Curious about creating a Facebook profile? Join the social media movement! With The Everything Guide to Social Media, you'll master the lingo, tools, and techniques you need to use all forms of social media. Written in friendly, non-technical language by acclaimed reporter John K. Waters, this highly accessible handbook covers the full range of social media services, including: Messaging and communication (Blogger, Twitter) Communities and social groups (Facebook, MySpace, Friendster) Location-based social networking (Foursquare) News and tagging (Digg, StumbleUpon) Collaboration and cooperation (Wikipedia, Wikispaces) Photos and video sharing (Flickr, YouTube) Opinion and reviews (Yelp, Epinions) With this guide, you'll become comfortable with social media--and learn how to expand your presence online. With a special section on leveraging the power of social networks to build or grow a business, this up-to-the-minute guide is everything you need to walk the talk online--one wiki at a time!

The films of John Waters (b. 1946) are some of the most powerful send-ups of conventional film forms and expectations since Luis Buñuel and Salvador Dali's Un Chien Andalou. In attempting to reinvigorate the experience of movie-going with his shock comedy, Waters has been willing to take the chance of offending nearly everyone. His characters have great dignity and resourcefulness, taking what's different or unacceptable or grotesque about themselves, heightening it and turning it into a handmade personal style. The interviews collected here span Waters's career from 1965 to 2010 and include a new one exclusive to this edition. Waters began making films in his hometown of Baltimore in 1964. Demonstrating an innate talent at capturing the hideous and crude and elevating it to art, he reached international acclaim with his outrageous shock comedy Pink Flamingos. This landmark film redefined cinema and became a cult classic. Appearing in this and many of Waters's early films, his star Divine would consistently challenge gender definitions. With Polyester, Waters entered the mainstream. The film starred Divine as an unhappy housewife who romances a former teen idol played by Tab Hunter. Waters's commercial breakthrough, Hairspray, told the story of Baltimore's televised sock-hop program, The Corny Collins Show, and how one brave girl (Ricki Lake) used her platform as a dancer to end segregation in her town. From Serial Mom and Pecker to Cecil B. Demented, Waters continued to infiltrate the mainstream with his unique approach to filmmaking. As a visual artist, he was given a retrospective at the New Museum of Contemporary Art in 2004, which was shown at galleries around the world.

An outrageous collection from the uniquely legendary John Waters, updated with new material—including Waters’s 2002 New York Times article, “Finally, Footlights on the Fat Girls.” Crackpot, originally released in 1986, is John Waters’s brilliantly entertaining litany of odd and fascinating people, places, and things. From Baltimore to Los Angeles, from William Castle to Pia Zadora, from the National Enquirer to Ronald Reagan’s colon, Waters explores the depths of our culture. And he dispenses useful advice along the way: how not to make a movie, how to become famous (read: infamous), and of course, how to most effectively shock and make our nation’s public laugh at the same time. Loaded with bonus features, this special edition is guaranteed to leave you totally mental.

It has been more than fifty years since John Waters filmed his first short on the roof of his parents’ Baltimore home. Over the following decades, Waters has developed a reputation as an uncompromising cultural force not only in cinema, but also in visual art, writing, and performance. This major retrospective examines the artist’s influential career through more than 160 photographs, sculptures, soundworks, and videos he has made since the early 1990s. These works deploy Waters’s renegade humor to reveal the ways that mass media and celebrity embody cultural attitudes, moral codes, and shared tragedy. Waters has broadened our understanding of American individualism, particularly as it relates to queer identity, racial equality, and freedom of expression. In bringing “bad taste” to the walls of galleries and museums, he tugs at the curtain of exclusivity that can divide art from human experience. Waters freely manipulates an image bank of less-than-sacred, low-brow references—Elizabeth Taylor’s hairstyles, his own self-portraits, and pictures of individuals brought into the limelight through his films, including his counterculture muse Divine—to entice viewers to engage with his astute and provocative observations about society. This richly illustrated book explores themes including the artist’s childhood and identity; Pop culture and the movie business; Waters’s satirical take on the contemporary art world; and the transgressive power of images. The catalogue features essays by BMA Senior Curator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; critic, curator, and artist Robert Storr; as well as an interview with Waters by photographer Wolfgang Tillmans. Published in association with the Baltimore Museum of Art. Exhibition dates: The Baltimore Museum of Art: October 7, 2018–January 6, 2019 Wexner Center for the Arts: February 2–April 28, 2019