Shocking and tasteless were two of the tamer descriptions that, over the years, were bestowed on the always edgy; always out there filmmaker, John Waters. From his arrival on Baltimore’s scarcely there film scene of the 1960s, the lanky, pencil-line mustached writer-director’s work became a study in outrageousness, as well as an unofficial – and, perhaps, unlikely – emblem of the city’s working class charm. From early films like “Pink Flamingos” (1972) to more mainstream movies like “Hairspray” (1988) and “Serial Mom” (1989), Waters’ career became a prime case of a director and a culture whose