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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.
Many people are shocked upon discovering that tens of thousands of innocent persons in the United States were involuntarily sterilized, forced into institutions, and otherwise maltreated within the course of the eugenic movement (1900–30). Such social control efforts are easier to understand when we consider the variety of dehumanizing and fear-inducing rhetoric propagandists invoke to frame their potential victims. This book details the major rhetorical themes employed within the context of eugenic propaganda, drawing largely on original sources of the period. Early in the twentieth century the term “moron” was developed to describe the primary targets of eugenic control. This book demonstrates how the image of moronity in the United States was shaped by eugenicists. This book will be of interest not only to disability and eugenic scholars and historians, but to anyone who wants to explore the means by which pejorative metaphors are used to support social control efforts against vulnerable community groups.
This book provides insight into the instances in which wildlife species can create problems. Some species trigger problems for human activities, but many others need humans to save them and to continue to exist. The text addresses issues faced by economists and politicians dealing with laws involving actions undertaken to resolve the problems of the interaction between humans and wildlife. Here, the words ‘problematic species’ are used in their broadest sense, as may be appreciated in the short introductions to the various sections. At times, the authors discuss special cases while always extending the discussion into a more general and broad vision. At others, they present real cutting-edge analysis of ecological topics and issues. The book will be of interest to biologists, ecologists and wildlife managers involved in research on wildlife, parks, and environmental management, as well as to government departments and agencies, NGOs and conservation wildlife organizations. Even those in contact with nature, such as hunters, herders, and farmers, will be able to find a great deal of important information. Specific case studies are selected from among the most significant and prevalent cases throughout the world. A total of 26 papers have been selected for this book, written by zoologists, biologists and ecologists. Many have an interdisciplinary approach, with contributions by economists, criminologists, technical specialists, and engineers.
This is a colourful history of the carnival sideshow and its distinctive banner art. With one hundred colour photographs, the book lovingly surveys this now vanished icon of early rural America, counterpointing classic freak show art with contemporary interpretations. Fifty archival black-and-white photos of sideshows provide a historical context for the banner illustrations.
Barnaby delivers a striking historical fiction YA debut about a wayward girl amid the freaks and sideshows of a late 1930's traveling circus.
Circuses and film are a natural pairing, and the new essays making up this volume begin the exploration of how these two forms of entertainment have often worked together to create a spectacle of onscreen alchemy. The films discussed herein are an eclectic group, ranging from early silent comedies to animated, 21st century examples, in which circuses serve as liminal or carnivalesque spaces wherein characters--and by extension audience members--can confront issues as far-reaching as labor relations, sensuality, identity, ethics, and more. The circus as discussed in these essays encompasses the big top, the midway, the sideshow and the freak show; it becomes backdrop, character, catalyst and setting; and it is welcoming, malicious or terrifying. Circus performers are family, friends, foe or all of the above. And film is the medium that brings it all together. This volume starts the conversation about how circuses and film can combine to form productive, exciting spaces where almost anything can happen.
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.
Step down a little closer; you don't want to miss a thing. Join fifty-year sideshow veteran, Rick West, on a strange and wonderful trip through behind-the-scenes tales of his life as a showman. The strange, the bizarre, the unusual comprise this engaging memoir bursting at the seams with rare images of two-headed cows, Bigfoot creatures, pickled punks, showgirls, humongous hogs, 3,500-pound steers, and much, much more. From attending the Ozark Empire Fair at age five to revealing the true story behind Frank Hansen's infamous Minnesota Iceman, the author takes the reader into the world of America's sideshows and midway grind shows. It's all here; it's all on the inside. See it now or miss it forever. It's showtime!
The story of the audacious showman who built the greatest carnival dynasty in North America. Enter the realm of the carnie king, Patty Conklin, the flamboyant founder of what would become the world’s largest carnival company. Patty started on the mean streets of New York selling peanuts before becoming a a small-time operator. Willing to try anything to promote his show, he established himself as a carnie celebrity. Winning the midway contract for the Canadian National Exhibition in 1937, he made it his personal world’s fair. It became the foundation for his son and grandson to expand Conklin Shows until they were playing the biggest fairs and exhibitions throughout North America. Carnie King begins with the birth of Joseph Renker to German immigrant parents, tells of his personal transformation into Patty Conklin, and follows his incredible life through to his death in 1970. It covers his company's history after Jim Conklin took over, expanded it beyond recognition, then handed it on to his own son. Not only a history of Conklin Shows, Carnie King explores how midways work and their commercial and popular presence in North America The story it tells is based on dozens of interviews with carnies and access to the Conklin archives. It includes anecdotes about a range of characters and insights about life on the midway. Carnie King is at once a revealing look at a unique part of twentieth-century culture and a vivid account of three generations of showmen and their dominance of midways across the continent.
The follow-up to Seeing is Believing (ECW Press, 2002) tells the fascinating story of the carnival in words and pictures. Circus and Carnival Ballyhoo follows the development of the circus sideshow with interviews and stories from sideshow workers that explain the role of freaks, working acts, managers and talkers and explores how important grift was to circuses and how it became located inside the sideshow.