Long before television and radio commercials beckoned to potential buyers, the medicine show provided free entertainment and promised cures for everything from corns to cancer. Combining elements of the circus, theater, vaudeville, and good old-fashioned entrepreneurship, the showmen of the American medicine show sold tonics, ointments, pills, extracts and a host of other "wonder-cures, " guaranteed to "cure what ails you." While the cures were seldom miraculous, the medicine show was an important part of American culture and of performance history. Harry Houdini, Buster Keaton, and P.T. Barnum all took a turn upon the medicine show stage. This study of the medicine show phenomenon surveys nineteenth century popular entertainment and provides insight into the ways in which show business, advertising, and medicine manufacture developed in concert. The colorful world of the medicine show, with its Wild West shows, pie-eating contests, clowns, and menageries, is fully explored. Photographs of performers and of the fascinating handbills and posters used to promote the medicine show are included.

Long before television and radio commercials beckoned to potential buyers, the medicine show provided free entertainment and promised cures for everything from corns to cancer. Combining elements of the circus, theater, vaudeville, and good old-fashioned entrepreneurship, the showmen of the American medicine show sold tonics, ointments, pills, extracts and a host of other "wonder-cures," guaranteed to "cure what ails you." While the cures were seldom miraculous, the medicine show was an important part of American culture and of performance history. Harry Houdini, Buster Keaton, and P.T. Barnum all took a turn upon the medicine show stage. This study of the medicine show phenomenon surveys nineteenth century popular entertainment and provides insight into the ways in which show business, advertising, and medicine manufacture developed in concert. The colorful world of the medicine show, with its Wild West shows, pie-eating contests, clowns, and menageries, is fully explored. Photographs of performers and of the fascinating handbills and posters used to promote the medicine show are included.

Miners, loggers, railroad men, and others flooded into the American West after the discovery of gold in 1848, and entertainers seeking to fill the demand for distraction from the workers' daily toil soon followed. Actors, actresses and traveling troupes crisscrossed the American frontier, performing in tents, saloons, fancy theaters, and the open air. This exploration of the heyday of popular theater in the Old West chronicles its emergence and growth from 1850 to the early twentieth century. Here is the story of the men and women who provided myriad types of entertainment in the Old West, and brought excitement, laughter and tears to generations of pioneers.

In this book, Susan Edmunds explores he relationship between modernist domestic fiction and the rise of the U.S. welfare state. This relationship, which began in the Progressive era, emerged as maternalist reformers developed an inverted discourse of social housekeeping in order to call for state protection and regulation of the home. Modernists followed suit, turning the genre of domestic fiction inside out in order to represent new struggles on the border between home, market and state. Edmunds uses the work of Djuna Barnes, Jean Toomer, Tillie Olsen, Edna Ferber, Nathanael West, and Flannery O'Connor to trace the significance of modernists' radical reconstitution of the genre of domestic fiction. Using a grotesque aesthetic of revolutionary inversion, these writers looped their depictions of the domestic sphere through revolutionary discourses associated with socialism, consumerism and the avant-garde. These authors used their grotesque discourses to deal with issues of social conflict ranging from domestic abuse and racial violence to educational reform, public health care, eugenics, and social security. With the New Deal, the U.S. welfare state realized maternalist ambitions to disseminate a modern sentimental version of the home to all white citizens, successfully translating radical bids for collective social security into a racialized order of selective and detached domestic security. The book argues that modernists engaged and contested this historical trajectory from the start. In the process, they forged an enduring set of terms for understanding and negotiating the systemic forms of ambivalence, alienation and conflict that accompany Americans' contemporary investments in "family values."

When a 10-foot tall purported "petrified man" is unearthed from a backyard in upstate New York in 1869, the discovery immediately turns into a spectacle of epic proportions. News of the giant spreads like wildfire, and well over a thousand people come to view him in the first five days alone!Everyone has their own idea of his true origin: Is he an ancient member of the local Onandaga Indian tribe? Is he a biblical giant like Goliath? Soon the interests of world-renowned scientists and people from around the globe are piqued as arguments flare over who he is, where he came from, and if he is real--or just a hoax. In a riveting account of how the Cardiff Giant mystery snowballed into one of America’s biggest money-making spectacles--and scams--Jim Murphy masterfully explores the power of 19th-century media and the unexpected ripple effect that a single corrupt mastermind can produce when given a stage.

The spellbinding tale of hustler Edgar Laplante—the king of Jazz Age con artists—who becomes the victim of his own dangerous game. Edgar Laplante was a smalltime grifter, an erstwhile vaudeville performer, and an unabashed charmer. But after years of playing thankless gigs and traveling with medicine shows, he decided to undertake the most demanding and bravura performance of his life. In the fall of 1917, Laplante reinvented himself as Chief White Elk: war hero, sports star, civil rights campaigner, Cherokee nation leader—and total fraud. Under the pretenses of raising money for struggling Native American reservations, Laplante dressed in buckskins and a feathered headdress and traveled throughout the American West, narrowly escaping exposure and arrest each time he left town. When the heat became too much, he embarked upon a lucrative continent-hopping tour that attracted even more enormous crowds, his cons growing in proportion to the adulation of his audience. As he moved through Europe, he spied his biggest mark on the Riviera: a prodigiously rich Hungarian countess, who was instantly smitten with the con man. The countess bankrolled a lavish trip through Italy that made Laplante a darling of the Mussolini regime and a worldwide celebrity, soaring to unimaginable heights on the wings of his lies. But then, at the pinnacle of his improbable success, Laplante’s overreaching threatened to destroy him… In King Con, Paul Willetts brings this previously untold story to life in all its surprising absurdity, showing us how our tremendous capacity for belief and our longstanding obsession with celebrity can make fools of us all—and proving that sometimes truth is stranger than fiction.

This anthology explores how theatre and performance use home as the prism through which we reconcile shifts in national, cultural, and personal identity. Whether examining parlor dramas and kitchen sink realism, site-specific theatre, travelling tent shows, domestic labor, border performances, fences, or front yards, these essays demonstrate how dreams of home are enmeshed with notions of neighborhood, community, politics, and memory. Recognizing the family home as a symbolic space that extends far beyond its walls, the nine contributors to this collection study diverse English-language performances from the US, Ireland, and Canada. These scholars of theatre history, dramaturgy, performance, cultural studies, feminist and gender studies, and critical race studies also consider the value of home at a time increasingly defined by crises of homelessness — a moment when major cities face affordable housing shortages, when debates about homeland and citizenship have dominated international elections, and when conflicts and natural disasters have displaced millions. Global struggles over immigration, sanctuary, refugee status and migrant labor make the stakes of home and homelessness ever more urgent and visible, as this timely collection reveals.

In Hey Presto! Swift and the Quacks, Hugh Ormsby-Lennon reveals how medicine shows, both ancient and modern, galvanized Jonathan Swift's imagination and inspired his wittiest satiric voices. Swift dubbed these multifaceted traveling entertainments his Stage-itinerant or "Mountebank's Stage." In the course of arguing that the stage-itinerant formed an irresistible model for A Tale of a Tub, Ormsby-Lennon also surmises that the mountebank's stage will disclose that missing link, long sought, that connects the dual objects of Swift's ire: gross corruptions in both Religion and Learning.

This study of late 19th-century American literature uses the period's rural fiction to reveal the increasingly intricate and sometimes problematic connections between urban and rural life.