The Good, the Bad, and the Ugly: Springtime Aromas in Baltimore

A long time ago, I attended a college screening of the John Waters' film Polyester. Waters is an auteur of high camp, a teller of trashy tales and black comedy. His films celebrate Baltimore as a caricature of itself: lewd, loud, and, by turns, melodramatic, maudlin, comedic, and horrific. Waters is a Baltimore fixture, hanging out at the City Cafe with his pencil thin mustache, just as he appeared in the trailer to Polyester, explaining the no-smoking policy of the theater while inhaling copious amounts of his own cigarette smoke: Many of his films are deemed classics, or at least cult classics, and frequently pushed boundaries in innovative ways. For example, Waters' muse for many of his f

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