Santaxvideos..com

167Conclusion:SpookyKids&LittleMonsters:DisseminatingtheFreakShowSincetheapexofhisfame,tenaciousrumorshavefollowedMansonaround:suchasonethatclaimsheplayedPaulPfeifferonTheWonderYears;oranotherallegingthathehadhislowerribsremovedsothathecouldperformfellatioonhimself.
LadyGagahasbeenthesubjectofsimilarrumors,mostnotablythatsheisactuallyamanorahermaphro-dite.
AnnTorrusiosaysthat"[t]heperversedesireforthepublictolabelGagaasabnormalormalformedisnotunliketherumorsthatcirculatedaboutMarilynMonroehavingsixtoesononefoot…Itisasifanoglingpublicfeelscompelledtoconjureupfreakishphysicalattributestostarstheyfindespeciallycompelling,perhapsinanattempttocategorizethemas'notlikeus'"(162).
Moreso,Ibelievesuchrumors,inregardtocelebritieslikeMonroe,Manson,andGaga,speaktotheviewingpublic'sneedforauthentication.
Inotherwords,peopleseekbothaconfirma-tionofandanexplanationforanotherwiseunexplainablefreakishness.
MansonandGagamakeviewersuneasyintheirassumedfreakishness,thuswelookforwaystofreakthemmorepermanentlyandauthentically.
Inotherwords,theviewerwantstomakethefreakofcultureafreakofnature.
Here,thespectatorhelpstocreateaprojectionoffreakish-nessthatisnototherwisevisibleortangible.
InthecasesofMansonandGaga,thisimage-forminghasbeenwidespreadandhashadafairlysig-nificantimpactonthewaytheviewingpublic,andnon-fansinparticular,readthetwostars.
Theviewers'interactionwiththecreationoffreakish-nessissignificantasitsuggestsadirectinterplaythathasnotyetbeenovertlypresentintherepresentationsoffreakishnessIhaveexplored.
168CONCLUSION…MansonandGagahavecreatedaperpetualfreakishnessthatismadenewagainandagain.
Forboth,thereisnodifferencebetweentheircre-atedidentityandtheirbehind-the-scenespersonas.
ElizabethBarfootChristiansuggeststhatGagaisthepersonificationof"Baudrillard'sthe-oryofsimulacraandsimulation,wheretheimagehasreplacedtheorigi-nal,"anotionthatholdstrueforMansonaswell(Turnerqt.
Christian190).
Bothhavemadestatementsthatsuggestthattheyaresimultane-ouslyalwaysandneverperforming,suchasManson'sstatementthat"I'mcompletelyunlikealotofotherperformers…becausetheytelleveryonetheirperformanceis'justashow'…It'snotjustashowforme.
It'smylife.
Ilivemyart"(Wiedorhornqt.
Manson),andGaga'sclaimthatsheisn'ta"characterorapersona"butthatsheis"alwaysLadyGaga,"someonewhose"artisnotamask[but]isherlife"(Murfettqt.
GagaandTurnerqt.
Strauss191).
Ontheotherhand,bothalsospeaktotheideathattheiridentitiesarelies.
MansonhassaidthathechosethestagenameMarilynManson,"thefakeststagenameofall,"because"itistosaythatthisiswhatshowbusinessis,fake.
"Heexplains,"MarilynMonroewasn'tevenherrealname,CharlesMansonisn'thisrealname,andnow,I'mtakingthattobemyrealname,butwhat'srealYoucan'tfindthetruth[so]youjustpickthelieyoulikethebest"(MarilynMansonWiki).
Similarly,Gagahassaidthatshewantsto"fightsohardfor[theideaofbeingGaga]everydaythattheliebecomesthetruth"(Turnerqt.
Gaga190–191).
Themeaningofsuchintentional,perpetualperformativitymustbeunderstoodasa"visibleconstruction,aloadedchoice"that"directsattentiontoitself[and]givesitselftoberead"(Hebdige101).
Thatsuchspectacleisobviouslyinauthentictosomedegreeis,accordingtoHebdige,essentialinitsdefinitionassubculturalandsubversive.
Suchculturallycodedperformancesmustbefabricated,theymust"displaytheirowncodes…oratleastdemonstratethatcodesaretheretobeusedandabused"(101–102).
Itisclearthatthesecodeshavebeenreceivedandinternalizedbytheviewer.
Thisisnotonlyseeninfans'devoutdedicationtotheartists,butalsointheirappropriationsoftheartists'imagery,andtheirself-prescribedlabelsasLittleMonsters,SpookyKids,andfreaks.
MansonandGagahavehadasignificantgiveandtakewiththeirfansinotherwaysaswell.
Mansonandhisfanshaveahugepresenceontheinternettothisday,thoughManson'sonlinepresencehasdeclinedsincethe1990s.
Attheheightofhisfame,MansonhadanenormousamountCONCLUSION…169ofdirectcontactwithhisfansincludingpersonallywrittennewsletters,journals,andblogs,webcasts,podcasts,andfanconferences.
Gagahasanevenmoresignificantinteractionwithherfans,championingcausesthatareimportanttoherfanbasesuchasLGBTQcausesandAIDSrelief;creatingasocialnetworkingwebsiteforher"superfans,"littlemonsters.
com,onwhichGagaherselfoftenposts;givinghermanager'spersonalemailaddresstoherLittleMonsters;andtakingsuggestionsfromfansoneverythingfromGaga'shaircolorandcostumingtosetlistsandcon-certlighting(Pearson).
Shehasalsodevelopedherownfoundation,calledtheBornThisWayFoundation,whosemissionistocreate"asafecommunitythathelpsconnectyoungpeoplewiththeskillsandopportu-nitiestheyneedtobuildakinder,braverworld"("OurMission").
OneofthefoundationsnewestfeaturesincludestheBornThisWaybusinwhichherfanscanreceiveprofessionalmentalhealthcounselingatherconcerts.
Bothartists'fanshaverenamedthemselvesinhomagetotheiridols(Manson'sSpookyKidsandGaga'sLittleMonsters1)andbothMansonandGagafansareknownforappropriatingsimilarwaysofdress-ingthemselves(seeFig.
A.
1).
Itistheinteractionbetweenperformerandvieweraswellastheblur-ringoftheauthenticandinauthenticfreakidentitythatallowsfanstoconnectsostronglywiththeseartistsandotherslikethem.
ThatMansonandGagaarenotbornfreaksallowsthemanormalcythatcannotbecompletelyhiddenwithcostumes,imitationsofdisability,oreventheself-labeloffreak.
Buyingintofreakculture,ratherthanbeingbornintoit,isachoiceformanythatallowsthemtomarkthemselvesasseparatefromsocietyaswellassimultaneouslybuyintoasocietythatacceptsthem.
Freakishnessiscommodified,then,butitisalsodisseminated.
BecauseMansonandGagabridgethegapbetweenauthenticandinau-thentic,mainstreamandfringe,freakandnorm,comedicandtragic,per-formanceandreallife,and,mostimportantly,perhaps,performerandviewer,theyunderscoreBakhtin'snotionthatcarnival—andbyextensionthefreakshow—makesnodistinctionbetweenperformersandviewers.
AsBakhtinattests:"Carnivalisnotaspectacleseenbythepeople;theyliveinit,andeveryoneparticipatesbecauseitsveryideaembracesallthepeople.
Whilecarnivallasts,thereisnootherlifeoutsideit"(7).
1ItisunclearhowpredominantlythelabelofSpookyKidsstillpersistsintheMansonfanbasethoughitseemstohavedeclinedinpopularitysincethemid-1990s.
170CONCLUSION…Thus,iftheentertainmentweconsumeattemptstoappropriatetheculturalworkofthefreakshow—asthehorror,realitytelevision,doc-umentary,pornography,musicculture,andliveperformancesthatI'veexploreddo—thencarnivaliseverlastingandever-present,andifweareperpetuallyincarnivalthenwearealsocontinuallyapartfromandFig.
A.
116-year-oldMansonfanandauthorofthisbook(1998)CONCLUSION…171apartofcarnival.
Thefreakhasneverstoppedlookingback,despitethedistancesmediahaveputbetweenthefreakandviewer,butthepowerbehindthatlookhasbeenshifting.
Itcouldbesaidthatthefreak,oncepowerless,nowhasatremendouspowerovertheviewingpublicwhocontinuetolookandseethemselvesreflectedbackmorethanever.
173FilmographyTheBoneCollector,1999.
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Dracula,1931.
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FleshandBlood,2007.
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Sick:TheLifeandDeathofBobFlanaganSupermasochist,1997.
174FilmographySideshow:AliveontheInside!
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37–53.
Sprague,Erik.
OnceMoreThroughtheModifiedLookingGlass.
2003–2009.
Self-published.
Striker,Henri-Jacques.
AHistoryofDisability.
Trns.
WilliamsSayers.
AnnArbor:TheUniversityofMichiganPress,2002.
Sturken,MaritaandLisaCartwright.
PracticesofLooking:AnIntroductiontoVisualCulture.
Oxford:OxfordUP,2004.
SundanceChannel.
"FrequentlyAskedQuestions.
"20June2013.
"SundanceChannelGreenlightsNewOriginalNon-FictionSeries'PushGirls.
'"PressReleases.
SundanceChannel.
14January2012.
30June2012.
Switaj,ElizabethKate.
"LadyGaga'sBodies.
"ThePerformanceIdentitiesofLadyGaga.
Ed.
RichardJ.
GrayII.
Jefferson:McFarland&Co.
,2012.
33–51.
Tibbles,J.
A.
R.
"TheProteusSyndrome:TheElephantManDiagnosed.
"13September1986.
JSTOR.
04Feb2012.
TLC.
ADiscoveryCompany.
3September2012.
Torrusio,AnnT.
"TheFameMonster:TheMonstrousConstructionofLadyGaga.
"ThePerformanceIdentitiesofLadyGaga.
Ed.
RichardJ.
GrayII.
Jefferson:McFarland&Co.
,2012.
160–172.
"TheTranscontinentalDisabilityChoir:DisabilityChic(Temporary)DisabilityinLadyGaga's'Paparazzi.
'"BitchMedia.
20November2009.
6June2012.
Turner,MatthewR.
"PerformingPop:LadyGaga,'WeirdAl'YankovicandParodiedPerformance.
"ThePerformanceIdentitiesofLadyGaga.
Ed.
RichardJ.
GrayII.
Jefferson:McFarland&Co.
,2012.
188–202.
"TheVault"TheCompleteMarilynMansonArchives.
"TheNachtkabarett:MarilynManson,Art,andTheOccult.
21June2012.
Wiederhorn,Jon.
"TheArgument:MarilynMansonistheonlytrueartisttoday.
"MTV.
20December2013.
Williams,Linda.
"FilmBodies:Gender,Genre,andExcess.
"FilmQuarterly.
vol.
44,no.
4,Summer1991,pp.
2–13.
———.
"MelodramaRevised.
"ReconfiguringAmericanFilmGenres.
Ed.
NickBrowne.
Berkeley:UniversityofCaliforniaPress,1998.
42–88.
———.
"Power,Pleasure,andPerversion:SadomasochisticFilmPornography.
"Representations.
27(Summer1989):37–65.
JSTOR.
2June2013.
———.
"'SomethingElseBesidesaMother':StellaDallasandtheMaternalMelodrama.
"CinemaJournal.
24:1(Autumn1984):2–27.
JSTOR.
16October2013.
182References———.
"WhentheWomanLooks.
"TheDreadofDifference:GenderandtheHorrorFilm.
Ed.
BarryKeithGrant.
Austin:UniversityofTexasPress,1996.
15–24.
"TheYearinStyle:LadyGaga.
"TheNewYorkTimes.
24December2009.
31May2012.
Young,Stella.
"GoingGagaOverWheels.
"RampUp.
15July2011.
2June2012.
Zimmerman,DavidandChetCooper.
"PushGirls:TheRealSpokeswomenofLA.
"AbilityMagazine.
Aug/Sept,2012.
30June2012.
183IndexAAbbyandBrittany,85,86Absence/Presence,33–34Accordino,Michael,56Acrotomophile.
SeePornography,amputeepornAdams,Rachel,4,18,22,24,30,39,40,46,75,76,90,91,105,111,114AfricanSavages.
SeeRacialFreakAllen,James,26Althusser,Louis,33AmericanMuseum,17–19AmputeePorn.
SeePornographyAnimalExhibits,2Annandale,David,155Auslander,Philip,35BBaartman,Saartjie(Sara),118Baddeley,Gavin,143–146Bakhtin,Mikhail,7–8,15–17,82,114,147,149,155,163,169Barnum,P.
T.
,8,17–20,27,76,111Barounis,Cynthia,96–98,100,101,103,104Barthes,Roland,33Baudrillard,Jean,168Baudry,Jean-Louis,33Bazin,André,80,126,132BDSM,115,123,128–132,134–136Bellour,Raymond,33Betcher,SharonV.
,159BlackFemaleBody.
SeeFreak(s)exoticBodyModification,9Bogdan,Robert,6,8–10,17,19–22,31,32,39,48,79,137,139BoneCollector,The(1999),68Bourdieu,Pierre,35Browning,Tod.
SeeFreaks(1932)Burton,Laini,147,156,157,159,161CCandyman(1992),50Carroll,Noel,51CartedeVisite,20,26,31–33Cartwright,Lisa,3,23,28,30184IndexChandler,Daniel,33,36ChangandEng,81CharityModel.
SeeDisabilityCherney,JamesL.
,100–102Christian,ElizabethBarfoot,168Church,David,37,38Cinema.
SeeFilmTheoryCircassianBeauties,20,137,139Clover,Carol,49,55,71ConeyIsland,22,85,141ConjoinedTwins,20,81,82,86,117,137,149Corona,VictorP.
,155,159–161DDePoy,Elizabeth,13–15DimeMuseums,19Disability,29charityModel,14anddating,109–111definitionof,6feminizationof,55–56,58,61,70–72,107–111historyof,13–15inhorror,48asinspiration,66–74,90,113–114,126–128andmasculinity,96–104medicalizationof,14,22,43,87–91asmonstrosity,58–59moralitymodel,39,42,45,65andpornography,116–128posterchild,66–67pregnancyas,55andreligion,13representationincinema,37sexualattractionto,116,119–120andsexuality.
SeeSexualitysupercrip,41,67,74,75,85,127DisabilityMelodrama,67–68Documentary,2,11,35,37,39–41,69,79,83–85,87–93,95–98,100,103–105,112,116,124,132,135,142,170Dracula(1931),51,173Dunn,Katherine.
SeeGeekLoveDurbach,Nadja,69EElephantMan.
SeeJosephMerrickElephantMan,The(1980),10,38,69–75,91,99Elman,R.
Amy,119–121,123,124EthnographicFreak,29Ethnographic.
SeeRacialFreakFFahy,Thomas,4,5,17,26–27,29,39,89,117FeejeeMermaid,8,19,137Fetveit,Arild,83Fiedler,Leslie,4,5,7,8,13–15,21,23,24,27,29,39,40,42,51–53,65,81FilmTheory,33–35FischerLucy,54Flanagan,Bob,11,128–136FleshandBlood(2007),142Foucault,Michel,33Frankenstein,63–65,136,173Frankenstein(1931),51,62Freakish.
SeeFreak(s)Freak/NormRelationship,3–6,16,29,37–39,48,50,66,75,82,84,169Freak(s)authenticityof,3,19,80,93,137,138,141,155,156,159bodiesof,8ofculture,8,11,137,153,154,161,167definitionof,7,9,17exhibitionof,1–2Index185exotic,20,21,88–91,117,118,139–143ofgender,8,20,27,29lookingat,24,75,140ofnature,8,11,17,137,139,149,154,167,169ofrace.
SeeRacialFreakFreaks(1932),10,35,61,65,74–77,79,94criticalresponse,39–40,45–48andsexuality,43–44,76andvieweridentification,44–45FreakShow,6disappearanceof,4–5,21–23historyof,15–20institutionalizationof,17livenessof,4monikersof,6NewAmericanFreakShow,5–6,10,17,115returnto,2–3andscience,22staging,20,29,117Freakshow,AMCseries,1–3,5FridaytheThirteenthI(1980),55Friedberg,Anne,28,36Fries,Kenny,94–96Funhouse,The(1981),10,38,62–66,71GGaga.
SeeLadyGagaGarland-Thomson,Rosemarie,23–24,104Gaze,The,24,25,28–31,31,33,36,47–49,57,63,71–73,75,77,88,90,104,134,165GeekLove,52–53,81–82,86,140–141,149Genest,Rick.
SeeZombieBoyGermanotta,Stefani.
SeeLadyGagaGilson,StephenFrench,13–15Grierson,John,92Grosz,Elizabeth,118,119Grue,Jan,126,127HHagin,Boaz,80Haller,Beth,40,43,46,48Halnon,KarenBettez,146,147Harris,Neil,18,19Heasley,Shaun,162HeavyMetal,144–145Hebdige,Dick,142,163,168Henderson,Carol,118Heth,Joice,8,18Hilton,DaisyandViolet,40,79,116Hooper,Tobe,56,58,62,63,65,66Horror,5,8,10,17,35,37–40,46–58,62,63,65–67,70,71,74,76,77,116,118–120,122,123,126,131,138,139,142,143,145,146,149,170attractionto,49,51genre,51redundancyof,49HorseWhisperer,The(1998),68HottentotVenus.
SeeBaartman,Saartjie(Sara)HunchbackofNotreDame,The(1923),51,173IIndexicality,83,92InspirationPorn,74,126–128Ishi,"TheLastWildIndian",22JJuno,Andrea,131,134–136KKafer,Alison,120,123186IndexKing,Stephen,49LLacan,Jacques,33,34LadyGaga,6,11,94,114,138–139,154–171"BornThisWay",157–159anddepictionsofdisability,165andmonstrosity,159–161asMotherMonster,157"Paparazzi",163–165Larsen,Nella.
SeeQuicksandLarsen,Robin,25,40,43,46,48Lewis,Bradley,132Lindemann,Kurt,98,100–102Lindfors,Bernth,118LittleMonsters,158,160,167–169LittlePeople,BigWorld,84,85,87Lizardman,141LususNaturae.
SeeFreak(s)ofNatureLynchingPhotography,26–27,89,117,118MMairs,Nancy,94,95Manson,Charles,146,168Manson.
SeeMarilynMansonManWithoutaFace,The(1993),24MarilynManson,6,11,94,104,114,139,153,155,163,171"mOBSCENE",149–152"TheBeautifulPeople",147–149Masculinity,55,61,64,95,97,98,100–103,107,114,144–146,152McRuer,Robert,95,128,131,132,134–136Mediation,2–4,6,11,23,28–36,39,75,115,116,138,163MedievalCarnival.
SeeBakhtin,MikhailMelodrama,10,37,38,67–70,74,76,87,89,122,123Mendel,Gregor,21Merrick,Joseph,31–32,54,69,74Metz,Christian,33–34,50Miller,Toby,82,83MiracleWorker,The(1962),68Mollow,Anna,95Monroe,Marilyn,146,167,168Monster(s),7,51–53.
SeealsoMonstrousBodyHuman,10,13,17,51–66MonstrousBody,8,55–57,59Moore,Ryan,144MoralityModel.
SeeDisabilityMulvey,Laura,33,34,104Murderball,11,93,95–104,106,109,112,114Murfett,Andrew,168MyLeftFoot(1989),68MythofPhotographicTruth,3NNegra,Diane,56,63NewAmericanFreakShow.
SeeFreakShowNichols,Bill,92,93Nord,Derek,120NormanBates.
SeePsycho(1960)NoveltyActs,8,9,20,21,85,140,141,159OOtaBenga,22,91PPaglia,Camille,156Pearson,Lisa,169PerformativeIdentity,6–10,139Phillips,KendallR.
,50,59Index187Photography,3,31–33Playboy,121Pornography,11,79–81,114,160,170amputeeporn,123–126anddeath,126asinspirationpornography,126–128andrepresentationofdisability,120–122midgetporn,81stumpporn,81PosterChild.
SeeDisabilityPozner,JenniferL.
,82Preira,Matt,147PrideoftheYankees,The(1942),,68Psycho(1960),38,47,53,56,62,131,173PushGirls,11,93,95,98,104–114,123QQuicksand,NellaLarsen,25–26RRabelaisandhisWorld.
SeeBakhtin,MikhailRacialFreak,8,9,21,22,25–27,90,91,137RealityTelevision,1,11,36,79,83,84,93,95,104,105,111,115,170RenaissanceCarnival.
SeeBakhtin,MikhailReynolds,Dawn,129,130,133–135Richardson,Niall,117,119,123,124Robbins,Tod.
SeeFreaks(1932)Rosemary'sBaby(1968),10,38,53–56Rosen,Philip,34Russo,Mary,140SSadomasochism.
SeeBDSMSchriempf,Alexa,119,121Sexuality,11,27,34,43,71,75,76,79,81,82,93–96,98,105,106,108,112,115–119,131,136,138,142,159Shapiro,JosephP.
,41,67,74Sick,theLifeandDeathofBobFlanagan,Supermasochist.
SeeFlanagan,BobSideshowAliveontheInside!
(1996),69,112Siebers,Tobin,44,95,119Snuff(1976),80SnuffFilms,80–81SpectatatorIdentificationinFilm,33–35SpookyKids,143,167,169Sprague,Erik.
SeeLizardmanSpurs.
SeeFreaks(1932)Striker,Henri-Jacques,15Sturken,Marita,3,23,28,30Sturken,MaritaandLisaCartwright,3–4SundanceChannel,11,95,104,105Supercrip.
SeeDisabilitySwitaj,ElizabethKate,156TTelevisionTheory,36,82–84Teratophilia.
SeeDisability,sexualattractiontoTexasChainsawMassacre,The(1974),10,38,62,71,91,99,141,146TheManWhoLostHisFace,87–91TheManwiththe200LBTumor,87–91TheMummy(1932),51,173ThePhantomoftheOpera(1925),51,173188IndexTibbles,J.
A.
R.
,69Tiptoes(2003),39TLCNetwork,11,84,85,87,91–93,114TomThumb,18Torrusio,Ann,167Turner,MatthewR.
,168UUniversalMonsters,48,51VVale,V.
,131,134–136Viewer/ObjectDynamic,3,4,29–31,37,39,40,44,80,114,115,132Voyeurism,33,36,83,119WWarner,Brian.
SeeMarilynMansonWiedorhorn,Jon,168Williams,Linda,34–35,70–71,80–81,122–123,126,130,132,136YYoung,Stella,126,127,162ZZombieBoy,158,159Zupan,Mark.
SeeMurderball