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Waters was born April 22, 1946, in Baltimore, Maryland, one of four children born to Patricia Ann (née Whitaker) and John Samuel Waters, a manufacturer of fire-protection equipment. He was raised Roman Catholic by his mother, though his father was not. Through his mother, who immigrated to the United States from Victoria, British Columbia, Canada as a child, he is the great-great-great-grandson of George Price Whitaker of the Whitaker iron family. Waters grew up in Lutherville, Maryland, a suburb of Baltimore. His boyhood friend and muse, Glenn Milstead, later known as Divine, also lived in Lutherville. The film Lili inspired an interest in puppets in the seven-year-old Waters, who proceeded to stage violent versions of Punch and Judy for children's birthday parties. Pela says that Waters's mother believes the puppets in Lili had the greatest influence on Waters's subsequent career (though Pela believes tacky films at a local drive-in, which the young Waters watched from a distance through binoculars, had a greater effect). Ĭry-Baby was also a product of Waters's boyhood, because of his fascination as a seven-year-old with the " drapes" then receiving intense news coverage because of the murder of Carolyn Wasilewski, a young "drapette", and his admiration for a young man living across the street who had a hot rod. Waters was privately educated at the Calvert School in Baltimore. High School in Towson, Maryland, and Calvert Hall College High School in nearby Towson, he graduated from Boys' Latin School of Maryland. While still a teen, he made frequent trips into downtown Baltimore to visit Martick's, a beatnik bar, where he and Milstead met many of their later film collaborators. He was underage and couldn't enter the bar proper, but loitered in the adjacent alley, where he relied on the kindness of patrons to slip him drinks. MGM's The Wizard of Oz (1939) had a profound effect on Waters' creative mind, He said about it: Waters's first short film was Hag in a Black Leather Jacket.
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I was always drawn to forbidden subject matter in the very, very beginning. The Wizard of Oz opened me up because it was one of the first movies I ever saw. It opened me up to villainy, to screenwriting, to costumes. I think the witch has great, great dialogue. Waters has stated that he takes an equal amount of joy and influence from high-brow "art" films and sleazy exploitation films.
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