is especially missed. “It was right in the hall when you came in, so there were books planted there,” he says. “It’s something that on Christmas we decorate like the tree.” A religious totem as only he could do.
“John Waters: Pope of Trash,” an exhibition that showcases some 400 items alongside accompanying screenings, borrows William S. Burroughs’ epithet for the pencil-mustached director. Embedded in the nickname is a spirit of communion: all the misfits and outsiders that Waters has welcomed into his congregation.
The two curators each have a long-standing love of Waters’s work. Jaffe’s middle school slumber parties hadin the theater—never mind the R rating—and had aposter on her college dorm wall. Their off-piste investigative methods suited a renegade subject. In digging into’s lore, they kept hearing about a yard sale held after filming wrapped at the fictional Fishpaw residence, dispersing props into the surrounding Baltimore neighborhood.
Waters, who finally received his star on the Hollywood Walk of Fame this week, is a generous steward of his legacy. During screenings of early short films, he’d spout off live commentary for the curators. “He’d tell us very personal stories like, ‘That was my mom’s wedding dress—she was furious that we used it as a costume!’” He recalls. His correspondence etiquette is unparalleled, adds Jaffe: “We are lucky enough to be on his Christmas card list, which is quite an honor.
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