UNIVERSITY OF WISCONSIN EAU CLAIRE INKED IDENTITY A Social History of the Tattoo in America: 1900-1950 A CAPSTONE PAPER SUBMITTED TO DR. JANE PEDERSON HISTORY DEPARTMENT BY DANIELLE MEYER EAU CLAIRE, WISCONSIN MAY 18, 2010 i CONTENTS Illustrations ii Abstract iii Introduction 1 Identification 4 1900’s……………………………………………………………………………….4 1930’s……………………………………………………………………………….6 Beauty 7 1900’s…………………………………………………………………………….…7 1910’s………………………………………………………………………….……8 1920’s………………………………………………………………………….…....9 1930’s………………………………………………………………………….……9 1940’s………………………………………………….…………………………..10 Circuses and Sideshows 10 1920’s……………………………………………………………………………...10 The Great Depression 12 1930’s………………………………………………………………………………12 Military 16 1910’s………………………………………………………………………………16 1920’s………………………………………………………………………………17 1930’s………………………………………………………………………………19 1940’s………………………………………………………………………………20 Removal 25 1910’s…………………………………………………………………………….. .25 New Tattoo Methods 26 1940’s………………………………………………………………………………26 Conclusion 28 Annotated Bibliography 30 i FIGURES Figures 1. Albert L. Morse, “Electric Tattoo Machine,” The Tattooists……………………………..3 2. Margo Mifflin, “Artoria Gibbons,” Bodies of Subversion………………….12 3. Albert Morse, “Rock of Ages,” The Tattooists ……………………………………….21 4. Albert Morse, “Death Before Dishonor,” The Tattooists……………………………….24 ii Abstract A paper that studies the events between 1900 and 1950 that changed the outlook of the tattoo in America. The paper introduces the reader to the mechanization and modernization of the tattoo through newspaper articles and secondary sources. Cultural aspects including beauty and its advertising campaigns and the circuses and sideshows which introduced Americans from all walks of life to the tattoo are introduced and studied. The military is the largest aspect of tattoos and their identification with the American patriot; the paper includes several photos of the most popular of design. Other factors including a small excerpt on removal and new techniques that evolve from the tattoo are also discussed. iii Introduction P.T. Barnum introduced some of the most fascinating people in the world to the common spectator in small town U.S.A during the 1870’s.1 Not only famous for the circus, his side shows included attractions filled with unforeseen “freaks” from around the world. “Freaks” were not animals but people, with strange or unusual body forms, talents, or people who sat head to toe in ink; tattooing was one of these attractions. Many dispute how the tattoo emerged into popular culture in the United States, however most concluded the sailor to be the first popular figure to proudly adorn himself with the ancient art.2 The Civil War was a starting point for acceptance of the tattoo as a way to demonstrate love for ones country or for a loved one by both soldiers and sailors. The first man to tattoo young soldiers was Martin Hildebrandt who opened his tattoo shop in 1846 in New York City.3 It is noted that Hildebrandt “crossed the lines freely and was welcomed alike by Northerners and Confederates.”4 A note to the fact that tattoos were already accepted universally. Although the sailor seems to have introduced the tattoo to American culture, the side shows, dime shows, and circus attractions allowed the public to view extremely tattooed men and women. P.T. Barnum introduced Americans to such attractions in the 1870’s by bringing 1 Margo DeMello. Encyclopedia of Body Adornment (Westport Connecticut: Greenwood Press, 2007), 5. 2 DeMello, 4. 3 DeMello, 5. 4 George Burchett. Memoirs of a Tattooist: From the Notes Diaries, and Letters of the Late “King of Tattooists,” George Burchett (London: Oldbourne Book Company Ltd, 1958), 26. 1 attractions to people all over the country in small towns and big cities.5 Some of the first tattooed attractions included James F. O’Connel who was thought to be shipwrecked in 1829 in Micronesia; during this time he was tattooed by the native people. O’Connel would return to America on a trading ship in 1833 and would shortly thereafter being his forty year career as a tattooed attraction.6 Soon after, women would enter the profession and names like Betty Broadbent and Artoria Gibbons would become artful attractions. Both tattooed men and women graced the carnival midways beginning in the early 1900’s and were displayed for country and city people alike; oftentimes such interesting displays would persuade men and women to leave their humble countryside upbringings and join the circus as a tattooed person.7 Not until the invention of the electric tattoo machine, did tattooing became a popular art among men and women of all class backgrounds in America. This invention, accredited to Samuel O’Reilly, allowed the tattoo artist to tattoo more quickly and with more precision, and many think that the invention introduced America to the art of tattooing.8 As the tattoo made its popular debut in American culture, the reasons for getting art fixed upon one’s body changed and acquired different meaning throughout the decades. Many American tattooists were thought to be working-class men with no artistic training at all. Many were sign painters who had initial artistic experience but others learned to tattoo at carnivals and circuses. Many other tattoo artists 5 DeMello, 5. 6 "American Circus (1793-1993)." Tattoo Archive: Tattoo History. http://www.tattooarchive.com/history/american_circus.htm (accessed May 11, 2010). 7 DeMello, 5. 8 DeMello, 5. 2 would learn by paying elder tattoo artists with far more experience to teach them, while still others would take low paying apprenticeships to learn the craft of tattooing.9 Figure 1. Albert L. Morse, The Tattooists (1977), p.103. Hundreds of new tattoo artists would emerge during the first half of the Twentieth Century and with so many new tattoo artists, there were hundreds of new tattoo shops that were 9 DeMello, 6. 3 also emerging. As tattoo artists used the electric tattoo machine to create beautiful works of art the tattoo would be used not only as a sign of military service, but also in the beauty industry and as a form of identification most notably following the Great Depression. With new forms of self expression, the years between 1900 and 1950 provided a platform for the tattoo and its emotional and physical significance for people. The tattoo’s popularity wavered whether through war, entertainment, vanity, or public opinion; but would never lose its significance as a form of self- expression on the body. Identification 1900’s An article in The Pittsburgh Press focused on a bank that took to tattooing quite well. The 1903 article “Use for Tattooing” noted how a bank worker found tattoos very helpful in identifying their customers when they would come to withdraw money. The worker noted that tattoos and scars are far more convenient than a signature that can easily be altered. When an account is opened at the bank, an identifying mark is found and in turn is placed on an identification slip for future reference for the rest of the bank employees.10 A tattooer by the name of Louis Morgan wrote: 10 "Use For Tattooing." The Pittsburgh Press, 12 April 1903, Vol. 20, No. 101 ed.: 42, in Google News Archive, accessed February 5, 2010. 4 A man traveling through Idaho recently had occasion to cash a check, but could find no one to identify him at the bank. After trying fruitlessly for some time to get proper identification he was about to give up when he remembered his name and home address were tattooed on his arm. He went back to the bank and showed the tattooing to the cashier, who then called the manager. It was then decided that no other person than he, who owned the name, would have had it tattooed on his arm so long before the check had been written, and so the money was paid over.11 The “fad” as it was known in the early 20th century was also popular with young school boys, most notably on the east side of New York City. The New York Times article “East Side Boys Tattooed” published in 1902 noted that young boys on the east side were using their lunch money to get tattoos. Many would have small ones done, a dragon for $3.00 or liberty for $5.00. The boys were often given installment plans at five or ten cents a payment which discouraged them far less than having to pay up front.12 Some would claim that parents, not youth, were to blame for the explosion of young people getting tattooed. Albert Parry noted that parents became excited about tattooing after seeing “the Greek” at circus side shows and dime shows. Parents would often tattoo their children for better identification.13 A woman from Milwaukee was noted in the St. Petersburg Times for having her two young daughter’s names tattooed on their legs.14 11 Parry, 115. 12 "East Side Boys Tattooed." New York Times, 26 September 1902, Vol. LII, No. 16,450 ed.: 7. in Access Newspaper Archives, accessed January 26, 2010. 13 Parry, 30. 14 Ernie Pyle. "New Tattooing Machine Makes Whirling Noises Very Much Like A Rattlesnake." St. Petersburg Times, 4 June 1941, Vol. 57, No. 313 ed.: 6, in Google News Archive, accessed February 5, 2010. 5 1930’s The new Social Security law enacted in 1937 provided each American citizen with a social security number that was rather long and for many, hard to memorize. The Ellensburg Capital reported in 1937, the Social Security Law caused a boom in the tattoo business. Many people had the number tattooed in an easily accessible place with the most popular design being the spread eagle with the social security number floating from its beak. The article noted that tattoos would “simplify for those careless people.”15 Sir George Burchett, one of the most renowned tattoo artists in the world from Britain made note of the tattooing of social security numbers in the United States: When ‘Social Security’ was introduced in the United States many people did not rely on their memory.