John Waters - Böcker

In 1998, TASCHEN introduced the world to the masterful art of Touko Laaksonen with The Art of Pleasure. Prior to that, Laaksonen, better known as Tom of Finland, enjoyed an intense cult following in the international gay community but was largely unknown to a broader audience.In 2009, TASCHEN followed up with the ultimate Tom overview: Tom of Finland XXL, a beautiful big collector’s edition with over 1,000 images, covering six decades of the artist’s career. The work was gathered from collections across the United States and Europe with the help of the Tom of Finland Foundation, featuring many drawings, paintings, and sketches never previously reproduced. Other images had only been seen out of context and were finally presented in the sequential order Tom intended for full artistic appreciation and erotic impact.The elegant oversized volume showed the full range of Tom’s talent, from sensitive portraits to frank sexual pleasure to tender expressions of love and haunting tributes to young men struck down by AIDS, and was completed by eight commissioned essays on Tom’s social and personal impact by Camille Paglia, John Waters, Armistead Maupin, Todd Oldham, and others, plus a scholarly analysis of individual drawings by art historian Edward Lucie-Smith.The only thing missing from Tom of Finland XXL was a widely affordable price tag—until now. The new Tom of Finland XXL is still big enough to work your biceps, and includes all of the original content, but costs a fraction of the original price. You’re welcome.

Known for his outdoor photography of young people cavorting in the nude, McGinley s YEARBOOK ventures into the artist s studio, creating more intimate portraits almost character studies--of his models. The project was initiated in 2010, before the advent of Instagram, which is now the most important platform for sharing his work and connecting with fans. His subjects are often friends or part of his extended community of artists, creatives, and street kids exude candid awareness of the camera, creating powerful, alluring images that define a new-bohemian coterie. As a master chronicler of downtown New York City for two decades, McGinley captures the lives of the young and restless, earning acclaim as the voice of his generation and indelibly capturing the millennial zeitgeist. The book will feature brief interviews with many of the models discussing their lives and what they do. And cult film director John Waters will pen the foreword.

Waters dispenses useful advice: how not to make a movie, how to become famous, how to have a sense of humour even if you've been sentenced to life in prison, and perhaps most appropriately, how to most effectively shock and attract the nation's public. He examines the fashion sense of those on trial, assesses the current state of indie filmmaking, warns us what he'd do if he were President of the United States, and recounts what's been getting on his nerves in the past twenty-four hours. Reading CRACKPOT is slumming in reverse. See trash transformed to art before your very eyes. Watch as lowbrow fixations are elevated shamelessly to a highly original comic manifesto.

On the verge of a suburban mental health crisis, frazzled and wildly unstable housewife Peggy (immortalised by Mink Stole on-screen) runs away from home with her maid and partner in crime, Grizelda (played with spectacular gumption by the sizzling Jean Hill), only to end up in Mortville, a shantytown filled with society’s rejects. Mortville is run by the evil Queen Carlotta, who parades through the cardboard streets taunting and terrorising her subjects.John Waters’ wild and visionary fable lampoons everything from the staid conservatism of the American dream to race and class relations. The New York Times ranked Desperate Living at “the highest peak atop [John Waters’] trash heap of a filmography.” High praise indeed!

In this hilarious, irreverent, pyrotechnic melee of high-trash hijinks, Dawn ruins Christmas, skips town, and embarks on a wild ride that involves hitchhiking, robbery, murder, pregnancy - and, of course, modeling and glamour, too. The second installment of John Waters’ classic Trash Trilogy, Female Trouble explodes conventional norms of good behavior (and art) and is all the proof you’ll ever need that sometimes being bad can feel so, so very good.

Fifteen years after the events of Pink Flamingos, Babs Johnson returns to Baltimore from a life spent largely in bus station lavatories, only to find that she once again has to fight for the right to claim the title of “World’s Filthiest Person.” Her nemesis Connie Marble’s sister, Vera Venninger, and her necrophiliac husband, Wilbur, are in her way. So begins a new battle of filth.This raucous, filthy - and essential! - volume in John Waters’ oeuvre never made it to the screen, so this is readers’ and his legions of fans’ one chance to see how this ghastly and irreverent saga meets its end!

Tracy Turnblad, a spunky, full-figured Baltimore teen, wants nothing more than to be a featured dancer on The Corny Collins Show. So when she gets chosen to be on the air, it seems like all her dreams are about to come true. But when she and some of the Black cast of the show try to integrate the segregated dancing, things take on a life of their own. A sweet, hopeful parable about the dangers of conformity and segregation, Hairspray is perhaps the one optimistic entry in John Waters’ shocking and delightfully deranged oeuvre. Both a clear-eyed social critique and a celebration of the dizzying aesthetics of Baltimore in the early 1960s, this is another, softer side to the essential John Waters.

The Cavalcade of Perversion is a traveling show run by Lady Divine and a crew of her fellow degenerates. They have to drag suburban housewives into each vile, tasteless performance - only to rob them at gunpoint at the end of each show. When Divine gets bored of the routine and graduates to murdering the attendees one day, it sets her off on a rampage, hunting down her cheating lover, Mr. David, and unleashing a chain of frenzy, a truly blasphemous sex act, and a surreal violation by a giant lobster. Multiple Maniacs is John Waters’ paean to the glories of trash. As Lady Divine chants as she marches proudly into downtown Baltimore at the end of the movie, “I’m a maniac! A maniac that cannot be cured! O Divine, I am Di-vine!”

John Waters takes us back to the scene of his original crime against good taste. Watch as Babs Johnson fights to hold on to her title as “Filthiest Person Alive,“ fending off the craven attempts to dethrone her by her nemeses Connie and Raymond Marble.Read along as Waters takes us on a romp through his camp and filthy vision of Baltimore, from nefarious baby-stealing lesbians to scenes of unspeakable things done to unsuspecting chickens, to the film’s iconic and revolting coup de grace (no spoilers, but it is just as stomach-churning on the page more than fifty years later!). Pink Flamingos is John Waters at his provocative, disgusting, piety-puncturing best, with the hellish and hilarious trash masterpiece that first made him a household name.

Role Models is a wild and witty self-portrait of John Waters, America's 'Pope of Trash', told through intimate profiles of his favourite personalities - some famous, some unknown, some criminal, some surprisingly middle of the road. From Esther Martin, owner of the scariest bar in Baltimore, to the playwright Tennessee Williams; from the atheist leader Madalyn Murray O’Hair to the insane martyr Saint Catherine of Siena; from the English novelist Denton Welch to the timelessly appealing singer Johnny Mathis - these are the extreme figures who helped John Waters form his own brand of neurotic happiness.A paean to the power of subversive inspiration that delights, amuses and happily horrifies in equal measure...

John Waters is putting his life on the line. Armed with wit, a pencil-thin moustache, and a cardboard sign that reads 'I'm Not Psycho', he hitchhikes across America from Baltimore to San Francisco, braving lonely roads and treacherous drivers. But who should we be more worried about, the delicate film director with genteel manners or the unsuspecting travelers transporting the Pope of Trash? Along the way, Waters fantasizes about the best and worst possible scenarios: a friendly drug dealer hands over piles of cash to finance films with no questions asked, a demolition-derby driver makes a filthy sexual request in the middle of a race, a gun-toting drunk terrorizes and holds him hostage, and a Kansas vice squad entraps and throws him in jail. So what really happens when this cult legend sticks out his thumb and faces the open road? Laced with subversive humour and warm intelligence, Carsick is an unforgettable ride with a wickedly funny companion - and a celebration of America's weird, astonishing, and generous citizens.

No one knows more about everything - especially everything rude, clever, and offensively compelling - than John Waters. The man in the pencil-thin mustache, auteur of the transgressive movie classics Pink Flamingos, Polyester, the original Hairspray, Cry-Baby, and A Dirty Shame, is one of the world's great sophisticates, and in Mr. Know-It-All he serves it up raw: how to fail upward in Hollywood; how to develop musical taste from Nervous Norvus to Maria Callas; how to build a home so ugly and trendy that no one but you would dare live in it; more important, how to tell someone you love them without emotional risk; and yes, how to cheat death itself. Through it all, Waters swears by one undeniable truth: "Whatever you might have heard, there is absolutely no downside to being famous. None at all."Studded with cameos of Waters's stars, from Divine and Mink Stole to Johnny Depp, Kathleen Turner, Patricia Hearst, and Tracey Ullman, and illustrated with unseen photos from Waters's personal collection, Mr. Know-It-All is Waters's most hypnotically readable, upsetting, revelatory book - another instant Waters classic.'Waters doesn't kowtow to the received wisdom, he flips it the bird . . . [Waters] has the ability to show humanity at its most ridiculous and make that funny rather than repellent' Jonathan Yardley, The Washington Post'Carsick becomes a portrait not just of America's desolate freeway nodes - though they're brilliantly evoked - but of American fame itself' Lawrence Osborne, The New York Times Book Review

No one knows more about everything - especially everything rude, clever, and offensively compelling - than John Waters. The man in the pencil-thin mustache, auteur of the transgressive movie classics Pink Flamingos, Polyester, the original Hairspray, Cry-Baby, and A Dirty Shame, is one of the world's great sophisticates, and in Mr. Know-It-All he serves it up raw: how to fail upward in Hollywood; how to develop musical taste from Nervous Norvus to Maria Callas; how to build a home so ugly and trendy that no one but you would dare live in it; more important, how to tell someone you love them without emotional risk; and yes, how to cheat death itself. Through it all, Waters swears by one undeniable truth: "Whatever you might have heard, there is absolutely no downside to being famous. None at all."Studded with cameos of Waters's stars, from Divine and Mink Stole to Johnny Depp, Kathleen Turner, Patricia Hearst, and Tracey Ullman, and illustrated with unseen photos from Waters's personal collection, Mr. Know-It-All is Waters's most hypnotically readable, upsetting, revelatory book - another instant Waters classic.'Waters doesn't kowtow to the received wisdom, he flips it the bird . . . [Waters] has the ability to show humanity at its most ridiculous and make that funny rather than repellent' Jonathan Yardley, The Washington Post'Carsick becomes a portrait not just of America's desolate freeway nodes - though they're brilliantly evoked - but of American fame itself' Lawrence Osborne, The New York Times Book Review

'It's just as deliciously witty and delightfully deviant as you'd expect from the man William Burroughs called the "Pope of Trash"' Independent 'Waters is undoubtedly among the greatest American comedians of all time' Far OutA hilariously filthy tale of sex, crime, and family dysfunction from the brilliantly twisted mind of John Waters, the legendary filmmaker and bestselling author of Mr. Know-It-All.Marsha Sprinkle: Suitcase thief. Scammer. Master of disguise. Dogs and children hate her. Her own family wants her dead. She's smart, she's desperate, she's disturbed, and she's on the run with a big chip on her shoulder. They call her "Liarmouth" - until one insane man makes her tell the truth.John Waters's first novel, Liarmouth, is a perfectly perverted "feel-bad romance," and the reader will thrill to hop aboard this delirious road trip of riotous revenge.

The films of John Waters (b. 1946) are some of the most powerful send-ups of conventional film forms and expectations since Luis Bu-uel 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.

Irreverent, heartfelt, shocking and laugh-out-loud funny—a colorful celebration of the work of subversive auteur John WatersPublished with Academy Museum of Motion Pictures.Known for pushing the boundaries of good taste, John Waters (born 1946) has created a canon of high-shock-value, high-entertainment movies that have cemented his position as one of the most revered and subversive auteurs in American independent cinema. Featuring misfit muses, tributes to his hometown of Baltimore and themes of fetish, obsession and celebrity culture, his renegade films—including Pink Flamingos (1972), Female Trouble (1974), Desperate Living (1977), Hairspray (1988), Serial Mom (1994) and A Dirty Shame (2004)—are irreverent, laugh-out-loud comedies that lovingly draw inspiration from William Castle, Herschell Gordon Lewis, Russ Meyer, Andy Warhol and Pier Paolo Pasolini alike. John Waters: Pope of Trash accompanies a landmark exhibition at the Academy Museum of Motion Pictures, the first dedicated solely to Waters’ films. The book presents costumes, props, handwritten scripts, concept drawings, correspondence, promotional gimmicks, production photography and other original materials from all of the filmmaker’s features and shorts. Spotlighting many of his longtime collaborators, it also features a new interview with Waters and texts by curators Jenny He and Dara Jaffe, film historian Jeanine Basinger, film critic and cultural theorist B. Ruby Rich, and author-writer-producer David Simon that explore how Waters’ movies have redefined the possibilities of independent cinema.