100 Weir noted that even up to the beginning of World War II ‘there were “incubator baby sideshows”, displaying premature and deformed infants for the
curious public who paid to see the shows’. R.F. Weir, Selective Nontreatment of
Handicapped Newborns (New York: Oxford University Press, 1984), p. 21. Also
popular, and of even more recent vintage, were ‘pickled punks’, which were
deformed fetuses that had been preserved in jars and displayed as a curiosity. See
R. West, Pickled Punks and Girlie Shows: A Life Spent on the Midways of America
relationships between members of punk culture in London in the 1970s ( 2011 ). Similarly, Katherine Giles and Melanie Giles’s study of twentieth-century graffiti in rural farmhouses in the Yorkshire Wolds looked at graffiti as the material, as well as textual, indicator of routines and accounts of life experiences ( 2010 ). In the context of an historical institution, Eleanor Casella’s examination of prisoner graffiti in Ireland relating to penal transportation emphasises the act of the inmate in creating graffiti. Casella paints a vivid picture of graffiti ‘painstakingly
.g. Dolan, ‘Taking the Pencil out of God's Hand’; Karim-Cooper, Cosmetics in Shakespearean and Renaissance Drama ; Snook, Women, Beauty and Power .
149 Vickers, ‘Diana Described’.
150 Hobby, ‘The Politics of Gender’, p. 40.
151 Paré, Workes , Qqq4 r .
152 Dunton, Bumography , sig. C4 v .
153 Politick Whore , sig. H1 v ; Williams, Dictionary , pp 326–327. ‘Crack’ is also an updating of the term ‘punk’ in Davenport's original: Davenport, City-Night-Cap , sig. E4r.
154 Ward, London Terræ-filius , sig. D2 r ; original emphasis.
155 Varholy, ‘Rich like a