And the difference in wages between male and female cops
Thriving between the 1840s and 1914 as the epitome of Victorian popular culture, this commercial entertainment form began to spread worldwide and capitalize on physiological differences for amusement and profit.
The history of fascination with bodily deformities extends far beyond our time. Stone Age cave drawings depict 'monstrous' births, while ancient Egyptians elevated dwarfs to the status of gods and jesters. Artists like Leonardo da Vinci frequently pondered bodily differences.
In early modern print culture, depictions of unusual bodies became increasingly common. These representations fascinated the public and contributed to a broader understanding of bodily diversity during that time.
By the 18th century, "monster shows" were a common sight in fairs, marketplaces, and taverns across Europe. It was considered entertainment that transcended social classes and brought people together in curiosity and wonder.
Charles I of England and his queen, Henrietta Maria, famously kept a collection of human curiosities, including Jeffrey Hudson, who was just seven years old and 18-inches (45-cm) tall when he was presented to the queen, served in a cold baked pie during a royal banquet in 1626.
Bartholomew Fair gained notoriety as one of London's most infamous fairs, earning the descriptor "Parliament of Monsters." Visitors could encounter those who were back then referred to as hermaphrodites, dwarfs, and giants, as well as "savages" and "cannibals," until it was banned in 1855 due to causing public disturbances.
Following the success of Barnum and Bailey, the Ringling Bros. Circus officially opened its doors in 1884, and for many years the freak show remained its most popular attraction. Many of the individuals featured in the show went on to become some of the most renowned circus performers in the country.
In 1829, 18-year-old conjoined twins Chang and Eng starred in one of the earliest freak shows in Britain. Exhibited in a commercial, permanent venue, they had a manager to introduce their act, as well as visual and textual accounts of their show.
The Siamese Twins, as they were known, performed acrobatics that captivated audiences, who paid half a crown to witness their incredible talents. The show even garnered endorsement from members of the Royal College of Surgeons, who were particularly fascinated by the twins' unique physiology.
In 1841, P. T. Barnum acquired the American Museum, a premier entertainment venue in the heart of New York City. For just 25 cents, visitors could marvel at a myriad of wonders, with the freak show standing as a central highlight.
P. T. Barnum popularized the circus sideshow, showcasing so-called "born freaks" such as dwarfs, giants, skeleton men, and overweight ladies. Barnum famously said: “No one ever made a difference by being like everyone else."
But who were the people in those freak shows, and were their oddities genuine or staged? Robert Bogdan, a professor of sociology at Syracuse University, claims that the undeniable truth is that the performers were often packaged and exaggerated to attract and amaze onlookers.
Sometimes, freak show oddities were simply "manufactured." Clyde Ingalls, manager of the Ringling Bros. and Barnum & Bailey sideshows in the 1930s, famously said, “Freaks are what you make them. Take any peculiar-looking person, play up that peculiarity, add a good spiel and you have a great attraction.”
Of course, there were also performers who found acceptance and financial success within the circus. Some were so well compensated that they outearned not only their audience members, but even their own promoters. These exceptional individuals turned their unique traits into lucrative careers.
Despite the popularity of circuses in the late 19th and early 20th centuries, the freak shows had a sinister side. Some performers were forced to perform against their will; others faced mistreatment from abusive staff members or judgmental audiences who failed to see them as real people.
As science and medicine professionalized in the late 19th century, many freak performers went from the circus stages to laboratories and asylums. Spanning centuries all over the world, freak shows transformed marginalized individuals into extraordinary figures, leading lives marked by both triumph and tragedy.
Sources: (Cult of Weird) (BBC History Magazine) (All That’s Interesting) (Generally Gothic) (Syracuse University)
See also: The dark history of the geisha
By age five, the "Bearded Girl" sported a mustache and sideburns, making her a well-known freak show sensation. Her immense popularity led to ruthless competition among circus recruiters. While in Barnum's care, a New York phrenologist kidnapped Jones, attempting to showcase her in his own sideshow.
The conjoined twins were only three when they started performing in vaudeville and burlesque circuits. Their talent led them to Hollywood, starring in films like 'Freaks' (1931) and 'Chained for Life' (1952). However, as interest waned over the decades, they were left penniless by their tour manager.
Known professionally as "The Thin Man" and "The Living Skeleton," Sprague's battle with extreme, progressive muscular dystrophy began at age 12. Although he was never forced into the circus, Sprague's difficult journey led him to become an important part of Barnum’s American Museum.
Earle's condition, acromegalic gigantism, made him known as "The World’s Tallest Man." Although he never wanted to join a freak show, he needed to make a living. On his first day in the circus, a dwarf performer reassured him by saying there were more "freaks" in the audience than in the sideshow.
Corbin entered the freak show circus at the age of 13 as "The Four-Legged Girl from Texas." Her unique condition called dipygus led P.T. Barnum to hire her, and, as a result, Corbin's fame skyrocketed, leading other circuses to feature phony four-legged performers trying to mimic her success.
Bibrowski's condition called hypertrichosis resulted in a body covered in long, mangled hair. "Lionel the Lion-Faced Boy" was known for his pleasant demeanor and intelligence. His freak show career centered around gymnastics routines and showcasing his gentle side to the audience.
While promoting Jeftichew as "Jo-Jo The Dog-Faced Boy," P.T. Barnum claimed that Jeftichew and his father, who shared the same ‘werewolf syndrome’ condition, were captured by a hunter while living in a forest cave. Jeftichew's father had also performed in sideshows, but tragically drank himself to death.
These two Black and albino brothers were kidnapped from their sharecropping community in the Jim Crow South. Despite their remarkable circus performances, the brothers were given only the basics to survive, while their managers pocketed the profits—until they were miraculously freed by their mother!
Afflicted with the rare Milroy's disease ,which caused swelling in her lower limbs, Mills headed to the East Coast where she offered herself up for display. Showmen enthusiastically promoted her as "The Ohio Big Foot Girl." She continued to display her feet until 1892, when she retired from freak show life.
Schlitzie, possibly born Simon Metz, had a condition called microcephaly, which resulted in a small brain, skull, and head, giving him the mental capacity of a four-year-old. In 1932, Schlitzie’s life took a surprising turn when he landed a role in the infamous film 'Freaks,' marking a big break in his unique journey.
Grady Stiles Jr. was the fourth generation in his family to be born with ectrodactyly, a condition that caused their fingers and toes to fuse into claw-like formations. Following in his father’s footsteps, Grady started his career early on as the famous "Lobster Boy" in a traveling carnival freak show.
Her stage name "Hottentot Venus" was a reference to her indigenous South African Khoikhoi ethnicity. Baartman's performances, which included dancing and bending over for mesmerized crowds, were seen as exploitative and dehumanizing, drawing strong criticism from those advocating for the abolition of slavery.
In the golden age of the circus, colorful banners lured curious crowds to witness nature's oddities. Inside those dimly-lit tents, they encountered living legends: conjoined twins, bearded ladies, towering giants, and other such performers. Often ridiculed and outcast, these so-called "circus freaks" were unique individuals who found a livelihood and acceptance of a sort in the circus, where their extraordinary traits became their ticket to a better life. Yet many were forced into being a circus freak for nothing but money and the perverted pleasure of others.In this gallery, step into the tent of sideshow history. Click on to discover the dark side of this form of entertainment.
Circus freak shows: the dark history of entertainment
The truth behind the spectacle
LIFESTYLE Performers
In the golden age of the circus, colorful banners lured curious crowds to witness nature's oddities. Inside those dimly-lit tents, they encountered living legends: conjoined twins, bearded ladies, towering giants, and other such performers. Often ridiculed and outcast, these so-called "circus freaks" were unique individuals who found a livelihood and acceptance of a sort in the circus, where their extraordinary traits became their ticket to a better life. Yet many were forced into being a circus freak for nothing but money and the perverted pleasure of others.In this gallery, step into the tent of sideshow history. Click on to discover the dark side of this form of entertainment.