pageantry and antics" with "classic '50s rock-and-roll kitsch classics". Waters' idiosyncratic style also characterized by its "homemade Technicolor" look, the result of high amounts of indoor paint and make-up was dubbed the "Baltimore aesthetic" by art students at Providence. Waters' rough editing added "random Joel-Peter Witkin-esque scratches and Stan Brakhage-moth-wing-like dust marks" to the film, apart from sound delays between shots. Waters has stated that Armando Bo's 1969 Argentine film Fuego influenced not only Pink Flamingos, but his other films: "If you watch some of my films, you can see what a huge influence Fuego was. I forgot how much I stole. ... Look at Isabel's makeup and hairdo in Fuego. Dawn Davenport, Divine's character in Female Trouble, could be her exact twin, only heavier. Isabel, you inspired us all to a life of cheap exhibitionism, exaggerated sexual desires and a love for all that is trash-ridden in cinema." Music The film used a number of mainly single B-sides and a few hits of the late 1950s/early 1960s, sourced from John Waters' record collection, and without obtaining rights. After rights were obtained, a soundtrack CD coincided with the 25th anniversary release of the film on DVD in 1997. "The Swag" – Link Wray and His Ray Men "Intoxica" – The Centurians "Jim Dandy" – LaVern Baker "I'm Not a Juvenile Delinquent" – Frankie Lymon and the Teenagers "The Girl Can't Help It" – Little Richard "Ooh! Look-a-There, Ain't She Pretty?" – Bill Haley & His Comets "Chicken Grabber" – The Nighthawks "Happy, Happy Birthday Baby" – The Tune Weavers "Pink Champagne" – The Tyrones "Surfin' Bird" – The Trashmen "Riot in Cell Block #9" – The Robins "(How Much is) That Doggie in the Window" – Patti Page The song "Happy, Happy Birthday, Baby" is used as a replacement for "Sixteen Candles", by The Crests, which appeared in the original 1972 cut of the film and for which permission could not be obtained. Release The film had its world premiere on March 17, 1972, at a screening sponsored by the Baltimore Film Festival. The event was held on the campus of the University of Baltimore, where it sold out tickets for three successive screenings. The film had aroused particular interest among fans of underground cinema following the success of Multiple Maniacs, which had begun to be screened in cities such as New York, Philadelphia, and San Francisco. Being picked up