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No other type of entertainment appealed to such diverse audiences before. New York City was the dime museum capital with an entertainment district that included German beer gardens, theaters, vendors, photography, studios, and a variety of other amusement institutions.

New York also had more dime museums than any place in the world. Freak shows were the main attraction of most dime museums during — with the human oddity as the king of museum entertainment.

Visitors were directed from platform to platform by a lecturer, whose role was to be the master of ceremonies. The lecturer needed to have both charisma and persuasiveness in addition to a loud voice.

His rhetorical style usually was styled after the traditional distorted spiel of carnival barkers, filled with classical and biblical suggestions.

As the nineteenth century ended and the twentieth began there was a shift in popularity of the dime museum and it began its downward turn.

Audiences now had a wide variety of different types of popular entertainment to choose from. Circuses, street fairs, world's fairs, carnivals, and urban amusement parks, all of which exhibited freaks, began to take business away from the dime museums.

In the circus world, freak shows, also called sideshows, were an essential part of the circus. It was a symbol of the peak of the practice and its acceptance in American society.

During the s it was common to see most circuses having freak shows, eventually making the circus a major place for the display of human oddities.

Most of the museums and side shows that had traveled with major circuses were disgracefully owned during most of By human phenomena were now combined with a variety of entertainment acts from the sideshows.

By tent size and the number of sideshow attractions began to increase, with most sideshows in large circuses with twelve to fifteen exhibits plus a band.

Bands typically were made up of black musicians, blackface minstrel bands, and troupes of dancers dressed as Hawaiians.

These entertainers were used to attract crowds and provide a festive atmosphere inside the show tent. By the s the circus was declining as a major form of amusement, due to competition such as amusement parks; movie houses and burlesque tours; and the rise of the radio.

Circuses also saw a large decline in audience during the depression as economic hard times and union demands were making the circus less and less affordable and valuable.

Freak shows were viewed as a normal part of American culture in the late 19th century to the early 20th century. The shows were viewed as a valuable form of amusement for middle-class people and were quite profitable for the showmen.

Some scholars [ who? Other scholars [ who? Changing attitudes about physical differences led to the decline of the freak show as a form of entertainment towards the end of the 19th century.

As previously mysterious anomalies were scientifically explained as genetic mutations or diseases , freaks became the objects of sympathy rather than fear or disdain.

Laws were passed restricting freak shows for these reasons. For example, Michigan law forbids the "exhibition [of] any deformed human being or human monstrosity, except as used for scientific purposes".

People could see similar types of acts and abnormalities from the comfort of their own homes or a nice theater, they no longer needed to pay to see freaks.

Though movies and television played a big part in the decline of the freak show, the rise of disability rights was the true cause of death.

It was finally viewed as wrong to profit from others' misfortune: the days of manipulation were done. Frank Lentini, the three-legged man, was quoted saying, "My limb does not bother me as much as the curious, critical gaze.

Although freak shows were viewed as a place for entertainment, they were also a place of employment for those who could advertise, manage, and perform in its attractions.

In an era before there was welfare or worker's compensation, severely disabled people often found that placing themselves on exhibition was their only choice and opportunity for making a living.

Many freak show performers were lucky and gifted enough to earn a livelihood and have a good life through exhibitions, some becoming celebrities, commanding high salaries and earning far more than acrobats, novelty performers, and actors.

The salaries of dime museum freaks usually varied from twenty-five to five hundred dollars a week, making a lot more money than lecture-room variety performers.

At the height of freak shows' popularity, they were the only job for dwarfs. Many scholars have argued that freak show performers were being exploited by the showmen and managers for profit because of their disabilities.

Many freaks were paid generously but had to deal with museum managers who were often insensitive about the performers' schedules, working them long hours just to make a profit.

This was particularly hard for top performers since the more shows these freaks were in, the more tickets were sold. Individual exhibits were hired for about one to six weeks by dime museums.

The average performer had a schedule that included ten to fifteen shows a day and was shuttled back and forth week after week from one museum to another.

For example: Fedor Jeftichew , known as "Jo-Jo, the Dog-Faced Boy" appeared at the Globe Museum in New York, his manager arranged to have him perform twenty-three shows during a twelve to fourteen hour day.

The entertainment appeal of the traditional "freak shows" is arguably echoed in numerous programmes made for television.

Extraordinary People on the British television channel Five or BodyShock show the lives of severely disabled or deformed people, and can be seen as the modern equivalent of circus freak shows.

On The Guardian , Chris Shaw however comments that "one man's freak show is another man's portrayal of heroic triumph over medical adversity" and carries on with "call me prejudiced but I suspect your typical twentysomething watched this show with their jaw on the floor rather than a tear in their eye".

The musical Side Show centers around Daisy and Violet Hilton and their lives as conjoined twins on exhibition. American Horror Story: Freak Show also focuses on freak shows.

Some of its characters are played by disabled people, rather than all of the disabilities being created through makeup or effects.

Rowling 's Wizarding World creative universe, the Circus Arcanus is a freak show for individuals with rare magical conditions and deformities, as well as a variety of magical animal species and hominids.

The characters Nagini and Credence Barebone worked here during the s, one, a Maledictus a woman with a magical blood disease that leads to the turning of that individual into an animal for the rest of their life, and the other, an Obscurial a young person who develops a magical parasite that sometimes envelops and controls their body, caused via the suppression of magical powers.

In the Rockstar Games video game, Bully , there is a freak show the player may visit. From Wikipedia, the free encyclopedia.

This article is about an exhibition of biological rarities. For other uses, see Freakshow. This article has multiple issues. Please help improve it or discuss these issues on the talk page.

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Disability Lists. Retrieved April 27, Matthew Buchinger was born in Germany, without hands or feet, on the 3rd of June, He came over to England, from Hanover, in the retinue of George the first, with whom he expected to have ingratiated himself, by presenting to his Majesty a musical instrument of his own invention, resembling, we believe, a flute, and on which he played with considerable skill.

Chicago: Univ. Sideshow U. Chicago [u. New York [u. Freak show: presenting human oddities for amusement and profit Paperback ed.

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One of Barnum's most famous hoaxes was early in his career. He claimed this woman was years old, but she was actually only 80 years old.

This hoax was one of the first, but one of the more convincing. Barnum retired in when his museum burnt to the ground. Some of the acts made the equivalent of what some sports stars make today.

Barnum's English counterpart was Tom Norman , a renowned Victorian showman , whose traveling exhibitions featured Eliza Jenkins, the "Skeleton Woman", a "Balloon Headed Baby" and a woman who bit off the heads of live rats—the "most gruesome" act Norman claimed to have seen.

Most famously, in , Norman came into contact with Joseph Merrick , sometimes called "the Elephant Man", a young man from Leicester who suffered from extreme deformities.

Merrick arrived in London and into Norman's care. Norman, initially shocked by Merrick's appearance and reluctant to display him, nonetheless exhibited him at his penny gaff shop at Whitechapel Road , directly across the road from the London Hospital.

At this time, however, public opinion about freak shows was starting to change and the display of human novelties was beginning to be viewed as distasteful.

After only a few weeks with Norman, the Elephant Man exhibition was shut down by the police, and Norman and Merrick parted ways.

A different way to display a freak show was in a dime museum. In a Dime Museum, freak show performers were exhibited as an educational display of people with different disabilities.

For a cheap admission viewers were awed with its dioramas, panoramas, georamas, cosmoramas, paintings, relics, freaks, stuffed animals, menageries, waxworks, and theatrical performances.

No other type of entertainment appealed to such diverse audiences before. New York City was the dime museum capital with an entertainment district that included German beer gardens, theaters, vendors, photography, studios, and a variety of other amusement institutions.

New York also had more dime museums than any place in the world. Freak shows were the main attraction of most dime museums during — with the human oddity as the king of museum entertainment.

Visitors were directed from platform to platform by a lecturer, whose role was to be the master of ceremonies. The lecturer needed to have both charisma and persuasiveness in addition to a loud voice.

His rhetorical style usually was styled after the traditional distorted spiel of carnival barkers, filled with classical and biblical suggestions. As the nineteenth century ended and the twentieth began there was a shift in popularity of the dime museum and it began its downward turn.

Audiences now had a wide variety of different types of popular entertainment to choose from. Circuses, street fairs, world's fairs, carnivals, and urban amusement parks, all of which exhibited freaks, began to take business away from the dime museums.

In the circus world, freak shows, also called sideshows, were an essential part of the circus. It was a symbol of the peak of the practice and its acceptance in American society.

During the s it was common to see most circuses having freak shows, eventually making the circus a major place for the display of human oddities. Most of the museums and side shows that had traveled with major circuses were disgracefully owned during most of By human phenomena were now combined with a variety of entertainment acts from the sideshows.

By tent size and the number of sideshow attractions began to increase, with most sideshows in large circuses with twelve to fifteen exhibits plus a band.

Bands typically were made up of black musicians, blackface minstrel bands, and troupes of dancers dressed as Hawaiians.

These entertainers were used to attract crowds and provide a festive atmosphere inside the show tent. By the s the circus was declining as a major form of amusement, due to competition such as amusement parks; movie houses and burlesque tours; and the rise of the radio.

Circuses also saw a large decline in audience during the depression as economic hard times and union demands were making the circus less and less affordable and valuable.

Freak shows were viewed as a normal part of American culture in the late 19th century to the early 20th century.

The shows were viewed as a valuable form of amusement for middle-class people and were quite profitable for the showmen. Some scholars [ who?

Other scholars [ who? Changing attitudes about physical differences led to the decline of the freak show as a form of entertainment towards the end of the 19th century.

As previously mysterious anomalies were scientifically explained as genetic mutations or diseases , freaks became the objects of sympathy rather than fear or disdain.

Laws were passed restricting freak shows for these reasons. For example, Michigan law forbids the "exhibition [of] any deformed human being or human monstrosity, except as used for scientific purposes".

People could see similar types of acts and abnormalities from the comfort of their own homes or a nice theater, they no longer needed to pay to see freaks.

Though movies and television played a big part in the decline of the freak show, the rise of disability rights was the true cause of death. It was finally viewed as wrong to profit from others' misfortune: the days of manipulation were done.

Frank Lentini, the three-legged man, was quoted saying, "My limb does not bother me as much as the curious, critical gaze.

Although freak shows were viewed as a place for entertainment, they were also a place of employment for those who could advertise, manage, and perform in its attractions.

In an era before there was welfare or worker's compensation, severely disabled people often found that placing themselves on exhibition was their only choice and opportunity for making a living.

Many freak show performers were lucky and gifted enough to earn a livelihood and have a good life through exhibitions, some becoming celebrities, commanding high salaries and earning far more than acrobats, novelty performers, and actors.

The salaries of dime museum freaks usually varied from twenty-five to five hundred dollars a week, making a lot more money than lecture-room variety performers.

At the height of freak shows' popularity, they were the only job for dwarfs. Many scholars have argued that freak show performers were being exploited by the showmen and managers for profit because of their disabilities.

Many freaks were paid generously but had to deal with museum managers who were often insensitive about the performers' schedules, working them long hours just to make a profit.

This was particularly hard for top performers since the more shows these freaks were in, the more tickets were sold. Individual exhibits were hired for about one to six weeks by dime museums.

The average performer had a schedule that included ten to fifteen shows a day and was shuttled back and forth week after week from one museum to another.

For example: Fedor Jeftichew , known as "Jo-Jo, the Dog-Faced Boy" appeared at the Globe Museum in New York, his manager arranged to have him perform twenty-three shows during a twelve to fourteen hour day.

The entertainment appeal of the traditional "freak shows" is arguably echoed in numerous programmes made for television. Extraordinary People on the British television channel Five or BodyShock show the lives of severely disabled or deformed people, and can be seen as the modern equivalent of circus freak shows.

On The Guardian , Chris Shaw however comments that "one man's freak show is another man's portrayal of heroic triumph over medical adversity" and carries on with "call me prejudiced but I suspect your typical twentysomething watched this show with their jaw on the floor rather than a tear in their eye".

The musical Side Show centers around Daisy and Violet Hilton and their lives as conjoined twins on exhibition. American Horror Story: Freak Show also focuses on freak shows.

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