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A fascination with the macabre -

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.

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Anomalies in early modern times -

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.

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Human curiosities -

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.

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The evolution of the freak show -

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.

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Victorian-era entertainment -

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.

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Pioneers of the British freak show -

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.

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The incredible twins -

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.

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The infamous Bartholomew Fair -

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.

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Barnum's American Museum -

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.

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"The Greatest Show on Earth" -

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."

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A spectacle of the extreme -

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.

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The truth behind freak shows -

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.

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The manufactured marvels -

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.”

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Exploitation and abuse -

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.

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Performers who prospered -

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.

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Annie Jones -

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.

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Daisy and Violet Hilton -

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.

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Isaac W. Sprague -

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.

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Sarah Baartman -

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.

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Jack Earle -

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.

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Myrtle Corbin -

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.

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Stephan Bibrowski -

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.

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Fedor Jeftichew -

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.

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George and Willie Muse -

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!

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Fanny Mills -

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.

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Schlitzie the Pinhead -

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.

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The Lobster Boy -

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.

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The decline of the freak show -

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

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