This cultural history of the travelling freak show in America chronicles the rise and fall of the industry as attitudes about disability evolved. From 1840 until 1940, hundreds of freak shows crisscrossed the United States, from the smallest towns to the largest cities, exhibiting their casts of dwarfs, giants, Siamese twins, bearded ladies, savages, snake charmers, fire eaters, and other oddities. By today’s standards such displays would be considered cruel and exploitative—the pornography of disability. Yet for one hundred years the freak show was widely accepted as one of America’s most popular forms of entertainment. Robert Bogdan’s fascinating social history brings to life the world of the freak show and explores the culture that nurtured and, later, abandoned it. In uncovering this neglected chapter of show business, he describes in detail the flimflam artistry behind the shows, the promoters and the audiences, and the gradual evolution of public opinion from awe to embarrassment. Freaks were not born, Bogdan reveals; they were manufactured by the amusement world, usually with the active participation of the freaks themselves. Many of the "human curiosities" found fame and fortune, until the ascent of professional medicine transformed them from marvels into pathological specimens.

This is not the first book written about quantum mechanics, but it just might be the last. The theory presented inside these pages is so revolutionary that it has stunned the scientific community into reconsidering centuries of thought about the behavior of energy and matter. Prepare to have your mind blown. Sorry, that's the introduction to Willie Geist's next book--the culmination of his life's work. Look for it next spring, just in time for Mother's Day. This book is about his other passion: freaks. When he's not in the lab, Geist spends his time on MSNBC's Morning Joe sifting through the wreckage of American politics and popular culture. These days, that's a big job. With an Alaska hockey mom turning, almost overnight, into a national icon and threatening to move from Wasilla to the White House, with the world's most famous athlete now associated less with the Masters and more with the strippers, and with reality TV working around the clock to ensure the constitutional right of every man, woman, and child to fifteen minutes of fame, Geist's business is thriving. In his hilarious first book, American Freak Show, Geist takes the smart, biting observation loved by his television audience to new satirical extremes. The real-life characters who now haunt our daily lives are cast as stars in completely made-up scenes that, frankly, are not all that far from reality. Geist treats us to the first look at President Sarah Palin's unconventional inaugural address, performed live on WWE's Monday Night Raw after her renegade victory in the 2012 election. We go inside the ballroom for a Dean Martin-style welcome roast of Bernie Madoff upon his arrival in Hell, with Pol Pot serving as sidesplitting roastmaster. Geist provides us with never-before-seen FBI wiretap transcripts of the more mundane, but equally profane, telephone conversations of former Illinois governor Rod Blagojevich. And George W. Bush's batting-cage-and-waterslide-themed plans for a presidential library are laid out publicly for the first time. From Obama to Oprah, Afghanistan to Lohan, and Snooki to the Salahis, Willie Geist spares no one as our host of this wild American Freak Show. You'll laugh out loud while weeping for the future of America.

Soon to be a major motion picture with Bette Midler, Laverne Cox, Abigail Breslin, and Alex Lawther starring as Billy Bloom "Freak Show has it all. It's hilarious, sad, sexy, and glamorous—just the way life should be."--Perez Hilton "Gutsy, funny, over-the-top Billy Bloom is a profile in courage."--The Washington Post Meet Billy Bloom, new student at the ultra-white, ultra-rich, ultra-conservative Dwight D. Eisenhower Academy and drag queen extraordinaire. Actually, ?drag queen? does not begin to describe Billy and his fabulousness. Any way you slice it, Billy is not a typical seventeen-year-old, and the Bible Belles, Aberzombies, and Football Heroes at the academy have never seen anyone quite like him before. But thanks to the help and support of one good friend, Billy?s able to take a stand for outcasts and underdogs everywhere in his own outrageous, over-thetop, sad, funny, brilliant, and unique way.

"The Victorian freak show was at once mainstream and subversive. Spectacles of strange, exotic, and titillating bodies drew large middle-class audiences in England throughout much of the nineteenth century, and souvenir portraits of performing freaks even found their way into Victorian family albums. At the same time, the imagery and practices of the freak show shocked Victorian sensibilities and sparked controversy about both the boundaries of physical normalcy and morality in entertainment. Marketing tactics for the freak show often made use of common ideological assumptions - compulsory female domesticity and British imperial authority, for instance - but reflected these ideas with the surreal distortion of a fun-house mirror. Not surprisingly, the popular fiction written for middle-class Victorian readers also calls upon imagery of extreme physical difference, and the odd-bodied characters that people nineteenth-century fiction raise meaningful questions about the relationships between physical difference and the social expectations that shaped Victorian life." "This book is primarily an aesthetic analysis of freak show imagery as it appears in Victorian popular fiction, including the works of Charles Dickens, Wilkie Collins, Guy de Maupassant, Florence Marryat, and Lewis Carroll. It argues that, in spite of a strong nineteenth-century impulse to define and defend normalcy, images of radical physical difference are often framed in surprisingly positive ways in Victorian fiction. The dwarves, fat people, and bearded ladies who intrude on the more conventional imagery of Victorian novels serve to shift the meaning of those works' main plots and characters, sometimes sharpening satires of the nineteenth-century treatment of the poor or disabled, sometimes offering new traits and behaviors as supplements for restrictive social norms." --Book Jacket.

Society has long been fascinated with the freakish, shocking and strange. In this book Gary Cross shows how freakish elements have been embedded in modern popular culture over the course of the 20th century despite the evident disenchantment with this once widespread cultural outlet. Exploring how the spectacle of freakishness conflicted with genteel culture, he shows how the condemnation of the freak show by middle-class America led to a transformation and merging of genteel and freak culture through the cute, the camp and the creepy. Though the carnival and circus freak was marginalised by the 1960s and had largely disappeared by the 1980s, forms of freakish culture survived and today appear in reality TV, horror movies, dark comedies and the popularity of tattoos. Freak Show Legacies will focus less on the individual 'freak' as 'the other' in society, and more on the audience for the freakish and the transformation of wonder, sensibility and sensitivity that this phenomenon entailed. It will use the phenomenon of 'the freak' to understand the transformation of American popular culture across the 20th century, identify elements of 'the freak' in popular culture both past and present, and ask how it has prevailed despite its apparent unpopularity.

This book traces how the American freak show has re-emerged in new visual forms in the 21st century. It explores the ways in which moving image media transmits and contextualizes, reinterprets and appropriates, the freak show model into a “new American freak show.” It investigates how new freak representations introduce narratives about sex, gender, and cultural perceptions of people with disabilities. The chapters examine such representations found in horror films, including a prolonged look at Freaks (1932) and The Texas Chainsaw Massacre (1974), documentaries such as Murderball (2005) and TLC’s Push Girls (2012-2013), disability pornography including the pornographic documentary Sick: The Life and Death of Bob Flanagan Supermasochist (1997), and the music icons Marilyn Manson and Lady Gaga in their portrayals of disability and freakishness. Through this book we learn that the visual culture that has emerged takes the place of the traditional freak show but opens new channels of interpretation and identification through its use of mediated images as well as the altered freak-norm relationship that it has fostered. In its illumination of the relationship between normal and freakish bodies through different media, this book will appeal to students and academics interested in disability studies, gender studies, film theory, critical race theory, and cultural studies.

A magic circus by the name of Shadow Carnival comes to the city of New Wayton and begins wreaking havoc on the city by kidnapping people and turning them into super-powered, crazy circus performers known as Freaks. Saved by ghost, the responsibility of getting rid of Shadow Carnival falls onto the shoulders of a high school student by the name of Peggie, but will it be enough?