Posted on Sunday Magazine by David, February 24th, 2011:
From February 26, 1911
In this article, the Magazine explores how the public’s new fascination with music and movies affected the business prospects for the sideshow freak.
Mike the Midget notes, “I’m not blaming the public, only it’s hard on old-time freaks. It takes a top-notch freak now to be able to earn his living in the profession.” Here, the article describes the industry’s gradual decline:
One by one the freaks have been eliminated. The fat woman was the first to go. On every museum platform for years the fat woman sat; the smallest ones were first taken off, leaving only the big ones. Then the tattooed man and the tattooed lady had to seek other employment. In their wake followed the albinos, the living skeletons, and armless and legless wonders.Those able to hold on longest were exceptional freaks such as two-headed boys, the woman with the horse’s mane growing between her shoulders, the elastic-skinned man, the three-legged boy, the elephant-footed man and the lion-faced boy.[...]Where once a good freak commanded $200 a week he can now scarcely get on at $30. It now takes a prodigy of more than passing novelty to draw more than $25 a week. The Tocci twins — boys with two heads, four arms, and two legs — drew $300 a week for years. A regular scale of prices now regulates the pay received by freaks. A living skeleton receives usually about $18 a week; a bearded lady, $12; a fat woman, $10; a fire-eater, $10; a tattooed woman, $8, and a Circassian beauty, $7.In the cities they can no longer find profitable employment. Most of those who are still keeping up professional life are to be found under the show tent of the circus. The outer districts, where the picture show and the mechanical piano have not filled the entertainment wants of the public, are now the havens of refuge of the freaks.
The article does wonder whether the passing of the freak’s popularity might be a good thing:
Is it not a healthier sign of the public mind that it is no longer interested in the sad misfortunes of others? The plea of the museum proprietor that gazing at poor distorted souls was educative can not be defended. No good ever came of staring at the frog-boy, or of questioning the ossified man. In some countries public exhibition of freaks is prohibited. Nothing but morbid curiosity ever sent the public to the dime museum where on one platform could be seen human anomalies from all over the world. Much better is it that a clean moving picture hall where the entertainment is healthful and instructive should supplant the dime museum.
Of course, it wasn’t that much longer before freaks made their way to the movies. In 1932, director Tod Browning (who later directed Bela Lugosi in Dracula) cast several of the most popular sideshow performers of the day in his thriller Freaks, which is available to see in its entirety online at the Internet Archive.
There were still people making livings as sideshow freaks for several more decades, but as medical advances made these sorts of maladies less common, and people became more sensitive to their plights, the sideshow freaks retired. Many of them wound up in Gibsonton, Florida, which was a popular town for sideshow freaks to spend the off-season.
There’s a sad but interesting true crime story that takes place in Gibsonton. Grady “Lobster Boy” Styles, a second generation sideshow performer born with ectrodactyly (which makes the hands and feet look like lobster claws) was convicted of murder in 1978 for shooting his daughter’s fiancé. He eventually got out of jail, and remarried his former wife. But he was a heavy drinker who allegedly abused his family, and in 1992 his wife and son hired a hitman — another sideshow performer — to kill Grady Stiles.
Modern sideshows, like the Coney Island Sideshow by the Seashore are mainly tributes to the sideshows of yore. They feature performances in the tradition of the old sideshows — things like sword swallowing, contortionists, and the human blockhead — and fewer deformities or birth defects, if any.
There is at least one current performer out there I know of who does use his birth defect as a device for his performance art, and that is Mat Fraser, whose defect comes as a result of his mother taking thalidomide while she was pregnant. I first heard of Mat when I saw him at the Coney Island sideshow in the late 90s. He wasn’t there as a performer, but he was talking to some people there about a character he does called the Thalidomide Ninja, and I confess to eavesdropping. I later found out that he made a documentary for the BBC called Born Freak about his condition, and those like him who made their careers in the sideshow business. It doesn’t seem to be available online in is entirety, unfortunatelyhttp://www.sundaymagazine.org/wp-content/uploads/19110226-4-the.pdf