Customizing the Body (PDF file) - Print My Tattoo
Customizing the Body (PDF file) - Print My Tattoo Customizing the Body (PDF file) - Print My Tattoo
215 Notes to Chapter 4 cover up the unscarred tattoo which remained with an ornate oriental dragon. The scar tissue was outlined in the traditional Japanese cloud style. The ugly and uneven scars were used to create part of a unique and beautiful back piece. 7. Tattooists see the ability to apply a piece with minimal pain to the recipient as a mark of expertise. One interviewee spoke of a fellow tattooist with some disdain: [He’s] a funny guy. He thinks that anything he doesn’t do is just adequate. A guy I know went in there with one of my pieces and was saying how good it was. He asked the guy who did it and when he found out that it was mine he said something like, “Well, it’s not TOO BAD.” He doesn’t give you very much. He’s really rough, too. Really likes to hurt’em. He’s still using those paper towels from the Sunoco restrooms—with all the wood chips in them—to wipe with. I went in to have him do this piece and he worked it and worked it. I said, “Hey V——, leave it alone.” And he says, “No, just a little more. I still see white spots.” He just gets off on hurting people. (cf. Richie and Buruma, 1980: 98.) 8. Some psychoanalytic analysts would interpret this kind of distaste as being related to the tattooist’s latent homosexual fears. In the 1934 volume of Psychoanalytic Quarterly Susanna Haigh presented the sexual analysis of tattooing in no uncertain terms: The symbolism of the act of tattooing is pointed out as observing the needle as the penis introducing the tattooing fluid into a cavity. The tattooist is the more or less sadistic aggressor; the person tattooed, the passive recipient. . . . As might be expected the tattoo is used often as an unconscious representation of a penis both by men and women. . . . (There is an) anal element in the tattoo. There is surely a definite relationship between the impulse of the child to smear itself with feces and that of the adult to have himself smeared with indelible paint (quoted in Morse, 1977: 122). 9. Rubber glove manufacturers are enjoying a booming business due to the rising fear of contracting serum communicated diseases, especially AIDS. One manufacturer, Global-Crown Bio-Med Lab in Manchester, Connecticut, for example, reports an 80 percent increase in rubber glove sales (The Hartford Courant, July 17, 1987, p. B3). Dermatologist Gary Brauner emphasized the potential health hazards associated with the tattooist’s contact with clients in a lecture delivered at the 1984 convention of the National Tattoo Association in Philadelphia. He strongly advised attendees to wear surgical gloves during the tattoo process.
216 Notes to Chapter 5 Chapter 5 1. The importance of the social status of the creator in determining whether a product is defined as art or as something else (and consequently inferior) is well illustrated by the ongoing resistance of the art world to certifying material objects typically produced by women as being “real” art. Most commonly, women’s creations are either ignored by the male dominated art world (see Heller, 1987) or relegated to the second-class category of “craft” (see Banks, 1987; Needleman, 1979; Crane, 1987: 60; Becker, 1982: 247–258; Maines, 1985). 2. The class structure of the social system in which the art world exists has been the dominant structural feature of interest in most sociological discussions of art forms and artistic style. See, for example, Hauser, 1982: 94–307; Fischer, 1970; Lomax, 1970; Pellegrini, 1966. 3. The major way in which cultural items created, enjoyed, and consumed by disvalued social groups come to affect the materials and activities of upper-class taste publics is through “bottom-up” cultural diffusion or, to use a less neutral term, cultural imperialism. Much of the innovation that takes place in high fashion and modern dance, for example, comes from the sanitizing appropriation of stylistic elements initiated in “street culture” (see Hirschman, 1981b) and by members of impoverished social groups (see Gans, 1971). 4. Due largely to its physical intrusiveness and historical connections to marginal groups, tattooing is prohibited or the focus of extensive regulation by local governmental agencies in most states. Despite official disapproval and restraint, the tattoo service is readily available throughout the United States. Best’s (1981) discussion of the effectiveness of social control directed at the media points to the reasons why regulation is relatively ineffective in decreasing the availability of tattooing. He maintains that legal restraint is most effective when the cost of production and distribution is high, the number of artifacts and available distribution channels is low, the production industry displays a heavy reliance on advertising, and the audience/consumer group is heterogeneous and includes children. These conditions do not characterize contemporary commercial tattooing. 5. The mass media are the major source of public information about the physical and normative reality of American society. When tattooing is presented in the media it is associated almost exclusively with unconventional, dishonorable, dangerous, and otherwise deviant social types. (See, for example, the mentally disordered character played by Bruce Dern in Bob Brooks’ Tattoo [1981], the heavily tattooed “hero” in Clive Barker’s Hellraiser [1987] and the extensive publicity given to Richard Speck’s “born to raise hell” tattoo.) The disreputable symbolic baggage carried by tattooing is well illustrated in the copy used in a current mailorder catalogue which is intended to entice people to purchase a set of “stick-on” tattoos.
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215 Notes to Chapter 4<br />
cover up <strong>the</strong> unscarred tattoo which remained with an ornate<br />
oriental dragon. The scar tissue was outlined in <strong>the</strong> traditional<br />
Japanese cloud style. The ugly and uneven scars were used to<br />
create part of a unique and beautiful back piece.<br />
7. <strong>Tattoo</strong>ists see <strong>the</strong> ability to apply a piece with minimal pain to <strong>the</strong><br />
recipient as a mark of expertise. One interviewee spoke of a fellow tattooist<br />
with some disdain:<br />
[He’s] a funny guy. He thinks that anything he doesn’t do is just<br />
adequate. A guy I know went in <strong>the</strong>re with one of my pieces and<br />
was saying how good it was. He asked <strong>the</strong> guy who did it and when<br />
he found out that it was mine he said something like, “Well, it’s not<br />
TOO BAD.” He doesn’t give you very much. He’s really rough, too.<br />
Really likes to hurt’em. He’s still using those paper towels from <strong>the</strong><br />
Sunoco restrooms—with all <strong>the</strong> wood chips in <strong>the</strong>m—to wipe with. I<br />
went in to have him do this piece and he worked it and worked it. I<br />
said, “Hey V——, leave it alone.” And he says, “No, just a little more.<br />
I still see white spots.” He just gets off on hurting people.<br />
(cf. Richie and Buruma, 1980: 98.)<br />
8. Some psychoanalytic analysts would interpret this kind of distaste as<br />
being related to <strong>the</strong> tattooist’s latent homosexual fears. In <strong>the</strong> 1934 volume<br />
of Psychoanalytic Quarterly Susanna Haigh presented <strong>the</strong> sexual<br />
analysis of tattooing in no uncertain terms:<br />
The symbolism of <strong>the</strong> act of tattooing is pointed out as observing<br />
<strong>the</strong> needle as <strong>the</strong> penis introducing <strong>the</strong> tattooing fluid into a cavity.<br />
The tattooist is <strong>the</strong> more or less sadistic aggressor; <strong>the</strong> person<br />
tattooed, <strong>the</strong> passive recipient. . . . As might be expected <strong>the</strong> tattoo<br />
is used often as an unconscious representation of a penis both by<br />
men and women. . . . (There is an) anal element in <strong>the</strong> tattoo. There<br />
is surely a definite relationship between <strong>the</strong> impulse of <strong>the</strong> child to<br />
smear itself with feces and that of <strong>the</strong> adult to have himself smeared<br />
with indelible paint (quoted in Morse, 1977: 122).<br />
9. Rubber glove manufacturers are enjoying a booming business due to<br />
<strong>the</strong> rising fear of contracting serum communicated diseases, especially<br />
AIDS. One manufacturer, Global-Crown Bio-Med Lab in Manchester,<br />
Connecticut, for example, reports an 80 percent increase in rubber glove<br />
sales (The Hartford Courant, July 17, 1987, p. B3). Dermatologist Gary<br />
Brauner emphasized <strong>the</strong> potential health hazards associated with <strong>the</strong> tattooist’s<br />
contact with clients in a lecture delivered at <strong>the</strong> 1984 convention<br />
of <strong>the</strong> National <strong>Tattoo</strong> Association in Philadelphia. He strongly advised<br />
attendees to wear surgical gloves during <strong>the</strong> tattoo process.