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Filtering by Tag: tatttoos

Stoney Knows How...

Sean Herman

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Storytelling, specifically of the Southern tradition, is the focus of our project here at Serpents of Bienville.  The craft of tattooing and storytelling work hand in hand, and my love for tattooing directly influenced my love for great story telling.  Tattooers are the greatest at fireside storytelling, having to be able to take the client out of the pain they are experiencing, into one that can have a positive memory about.  Once someone is tattooed, for the rest of their short ride here on earth, they will be looking at that tattoo and having some sort of a memory about it.  They will remember if the tattooist was a condescending jerk, or if the tattoo was horribly painful.  As a tattooist, my hope is that, when they look at that old tattoo, their memory is that of something positive and progressing forward.  Storytelling gives us that opportunity, the chance to have our stories tie directly to a permanent expression on someones body, something they will always remember.  On top of that, tattoos themselves are just stories, with an illustrated vocabulary, written on flesh.  Once the tattoo is applied, if it had meaning or not, a story will eventually tie in with it.  Storytelling and tattooing are essential to each other, so it's only natural for me to share this blog from my website (www.seanherman.com) from an on going series entitled "For the Love of Tattooing:  Documentaries".  In the series "For the Love of Tattooing", I interviewed different tattooists, and clients, asking the same question, "Why are we involved in tattooing?".  The answers were gripping and amazing, you can find those past blogs on my website.  This series is now focusing on documentaries that have influenced my thoughts on tattooing.  With the rise of tattooing in the video media form, I think it's important to look back at earlier documentaries to learn where tattooing has been in modern day, and discover where we may be able to go, if we can keep our heads on straight.  I hope you enjoy this piece on my favorite documentary "Stoney Knows How".


Film still from "Stoney Knows How" of Stoney St. Clair (1980)

Film still from "Stoney Knows How" of Stoney St. Clair (1980)

  Out of the long history of Southern Storytelling rises up the hurricane that was Stoney St. Clair.  Born in West Virginia in 1912, Stoney forged a 50 year tattoo career, one that tied together the importance of storytelling and community, by using the sacred craft of tattooing.  Naturally, he is a huge influence on generations of tattooers, myself being one.  Storytelling and tattooing go hand in hand, both strongly influencing the other.  Tattoos are stories told visually, using recognizable imagery as vocabulary, creating a piece of folklore forged in flesh.  During the process of getting a tattoo, the tattooer is put back into the storyteller position again, but now using storytelling as a way to walk them through getting tattooed.  As a tattooer, a large part of our job is to create an experience for the person experiencing the tattoo process, one that they will always remember when they look at their tattoo, into their old age.  We get the honor of creating something they keep forever, a story of their time on this ride.  The great Southern storyteller Kathryn Tucker Windham said, "Story telling means: I love you enough to tell you something that means a great deal to me.” 

Film still from "Stoney Knows How" of Stoney tattooing the Legendary tattooist Don Ed Hardy (1980)

Film still from "Stoney Knows How" of Stoney tattooing the Legendary tattooist Don Ed Hardy (1980)

In the film Stoney says,   “I am proud that in the past I was able to carry on the oldest art in the world and try to keep it decent.  I am not going to be here all the time… so maybe some day somebody will look at the little daisies growing over me and say “He didn’t butcher it up anyway.” (laughs) “He carried it on and handed it down.  You don’t find us on every street corner.”  In the thirty plus years since Stoney said this, you now can find tattoo shops on many more street corners, but true tattooists, like Stoney St.Clair,  are still a rare breed to find.  

Still from "Stoney Knows How" of local buisness man and neighbor of Stoney (1980)

Still from "Stoney Knows How" of local buisness man and neighbor of Stoney (1980)

When asked about what it’s like to have a tattoo shop next to their business, a local business man, a washing machine sales man to be exact, replied with this,

“I would have two of them if they were like Stoney.  Good neighbor, good business man, and a heck of a good fella.  One of the best.”

“You’d be surprised who comes in there to get tattooed.  A lot of nurses, doctors, lawyers, church men, clergy men, you’d be surprised at some of the people that come in there.  Most people thinks that the people paying come in riding a motorcycle, a drunken sailor, and this isn’t the truth.  As a matter of fact, I used to think that myself years ago.”

Stoney had an effect on his entire community, an effect created by living honestly and trying to help those around him.  There are a ton of “Stoney-isms” throughout the documentary, here are just a few.

Still of Stoney St. Clair from "Stoney Knows How" (1980)

Still of Stoney St. Clair from "Stoney Knows How" (1980)

Narrator: “Do you feel like when you are tattooing that you are helping people somehow?

Stoney:  “Let me study that over, yes and no.  I must be helping him because he’s craving it, and he is in his right mind, he’s not under the influence of anything, that’s for damn sure.  And he’s paying me to do it.  BUT, I don’t think I am helping him a bit if certain designs he picks…he might smoke pot, which is none of my business, you might have a lot of fun with it, I had a lot of fun with liquor, but why go out and where a badge of ‘I am a drunkard’ ‘I am high as a kite’.  We all know that a baby craps in his diaper, but why pull the diaper out in front of everybody and say ‘My baby does this!’  ya see.  Ya understand what I am talking about?”

 

Another one was this,

“I was raised that you can trust people…if you learn what trust is, that’s a great damn thing.”

Still from "Stoney Knows How" of Stoney tattooing legendary tattooist Don Ed Hardy (1980)

Still from "Stoney Knows How" of Stoney tattooing legendary tattooist Don Ed Hardy (1980)

One of my favorite parts of the documentary is when they ask Stoney to explain what makes a good tattoo.  He says, “A good tattoo?  A good tattoo is something a man studied and thought it out, long before he got it…As an art, it’s the shading, not the color.  You could put a minimal amount of color to real good shading and it will go over and it will stand out.”  As a tattooist today, this is still an idea that I am understanding and applying to my work, an idea that still seems fresh and relevant to everyday life.  I have spent so many hours watching this 29 minute documentary.  With his Southern accent, and quickness of speech, I find myself constantly pausing to process the simple yet amazingly complex ideas that he throws out there.  After watching it for 13 years I still find myself hearing new things from Stoney.

When discussing his life, Stoney states, “Hell, I ain’t never felt like a cripple.  I ain’t walked since I was four years old, whatcha never had you never miss.

Stoney at the stock car races with Don Ed Hardy (1980)

Stoney at the stock car races with Don Ed Hardy (1980)

In 1916 when Stoney was four years old, his tonsils burst and he contracted rheumatoid arthritis.  While being treated at Johns Hopkins Hospital for two year he learned how to draw.  With the same determination you see in the documentary, Stoney stuck a pen between his fingers as much as he could, still dealing with the effects of rheumatoid arthritis and not being able to open his hand, yet he drew non stop.  Even though he lived the rest of his life in pain, and in a wheel chair, he never let that affect his outlook on what he did. Stoney states, 

Still of Stoney St. Clair from "Stoney Knows How" (1980)

Still of Stoney St. Clair from "Stoney Knows How" (1980)

What keeps me going?  Like I told ya before, corn bread and black eyed peas (laughs) Nah, determination buddy, that’s all.  I’m not fighting a battle, its natural for me just to be jolly, get up singing in the morning, saying howdy to somebody that comes in the door.” 

Tattooist or not, everyone can learn from this essential piece of film, one that I am so grateful exists.  Stoney knew how to tattoo, and not only that, but how to live.

 



Hanging in his business was a sign that read:

I, Leonard 'Stoney' St. Clair, am in the business of rendering a service to the community for the small group of people who choose to have their bodies decorated in some way or another. I choose to pursue my profession with intelligence and skill, wishing not to offend anyone, but instead, with my love of mankind, to do what good I can before I die.

Leonard L. “Stoney” St.Clair

Tattooist of the Old School since 1928

Stoney St. Clair (1912-1980)

Stoney St. Clair (1912-1980)

Stoney St. Clair died peacefully in his sleep on December 3rd, 1980 at the age of 68, and never breaking that promise.


Summary of the film:

“Stoney Knows How is a visit with a master of the oldest art in the world - Tattooing. Disabled by rheumatoid arthritis since the age of four, and forced to use a wheelchair, his growth stunted, Stoney St. Clair (1912 - 1980) joined the circus at 15 as a sword-swallower. A year later, he learned to tattoo, and for the next 50 years, he continued to work as a tattooist traveling with circus and carnivals across the country. As we watch him at work, we see the determination which led Stoney to overcome his handicap to heal himself and others with the magic of symbols. The film ends with a visit by master tattoo artist Don Ed Hardy who pays Stoney the highest compliment by asking him for a souvenier tattoo. For more information on the life of Leonard L. "Stoney" St. Clair, see Alan Govenar, Stoney Knows How: Life as a Sideshow Tattoo Artist", Schiffer Publishing, 2003.”

"Stoney Knows How is an extended interview with 'Stoney' St. Clair, an ebullient little man with the gift of gab of a circus tout and a fund of bizarre stories about tattooing and other matters. One of these is the tale of a Florida snake handler and tattoo artist who was squeezed to death by his own python. His widow made a fortune touring the South with the guilty snake. "After all," says Stoney, "how often do you get a chance to see a snake that's squeezed a man to death?" Not often, nor does one often have the opportunity to meet a man like Stoney. The film makers treat him with respect, fondness and appreciation, and he responds in kind."

- Vincent Canby, The New York Times


You can watch the film below, enjoy!  As always, remember that this was a time before the knowledge of cross contamination was where it is today.  So there will be tattooing without gloves or barriers, and definitely not how we do it today.  It captures a moment in time, and that should always be kept in mind.  Now enjoy the film!

For a DVD copy of this film contact www.docfilm.com

Film by Alan Govenar, Bruce "Pacho" Lane

Camera by Les Blank

Bienville's Sacred Oath

Sean Herman

This is the first blog in a special series I am doing for the Halloween season, once a week, with the last blog being on Friday, November 13th.  Each blog will be based around one of the illustrations I drew for The Serpents of Bienville Collection, telling the story behind the illustration, and including some ideas to ponder on.  I hope you enjoy reading these stories as much as I enjoyed researching and writing them.  

“Alabama has many ghosts.  Stop in almost any town in the state and if you inquire around, the chances are that you will find a ghost story.  Old residents will point out a dilapidated structure known locally as a haunted house or will give you directions to a run-down decaying mansion or to the overgrown site where once stood ‘the grandest plantation house in the county’-a real haunted house.”
Kathryn Tucker Windham, 13 Alabama Ghosts and Jeffrey 
Illustration entitled "The Serpents of Bienville" 11"x17" Ink on Illustration board by Sean Herman

Illustration entitled "The Serpents of Bienville" 11"x17" Ink on Illustration board by Sean Herman

Sweat glistened from the explorers’ brows.  The heavy salts were constantly dripping into their eyes, and with the intense glare coming off the glassy waters from which their canoes were floating, their vision was completely obscured.  They would have no time to prepare for the force that was approaching.  As they would row, wiping their salt crusted brows to gain back perception, the travelers detected a dark and distinct movement in the distance.   A mass of ghosts were coming directly toward them.  It seemed the haints were slowly gliding their way, but almost as if they were going to go through, and past them. Suddenly, all movement ceases.  The men are haunted by complete stillness, complete silence.  Both parties are frozen—the explorers watching in fear, the ghosts staring emotionless.  From the clear reflection of the bay, one canoe glides to the front of the idle fleet.  A man in uniform rode forward, his canoe parting the waters.  As he glided across, his uniform fell off his skin and shattered the glass of the bay.  What arose from his flesh was a body of serpents, intertwined and becoming one.  The explorer was covered, from head to toe, in the marks of serpents, tattoos wrapping around his body, down his arms, guiding this canoe, guiding him toward the native ghosts that lie in the distance.  The explorer made the choice to become one with the ghosts, become lost in the mist, to disappear forever.  Bienville and his serpents sealed their fate with the sacred oath forged in flesh, ink and blood.  From the initial prick of his skin, he swore to share their future, to have their remains forever lost and deprived honor and recognition, to fall and disappear into obscurity in flames and ashes.  These were the Serpents of Bienville.

Illustration of Jean-Baptiste Le Moyne, Sieur de Bienville

Illustration of Jean-Baptiste Le Moyne, Sieur de Bienville

The le Moyne brothers were of French Canadian descent with the elder, Iberville, already earning a name as a sea-fighter in the French wars with England.  His younger brother Bienville, a boy of twelve years, had been officer of a battery on board the ship which Iberville commanded.  Once the wars ended, the brothers were sent into the gulf of the Americas to continue further conquest for France.  Bienville was just sixteen years old when he saw the ominous mountain of bones, glistening on the slick, misty water, that would be darkly dubbed “Massacre Island”, present day Dauphin Island. 

After exploring and founding settlements all along the Gulf Coast, Bienville eventually decided to stay in the New World to handle the affairs of the fledgeling areas for France, and his brother Iberville returned to Paris as a voice for the colony.  This now left Bienville as the leading Le Moyne in the colonizing of French Louisiana, having already founded Mobile in 1702 and continuing expansion to establish New Orleans in 1718. 

Close up of Illustration by Sean Herman

Close up of Illustration by Sean Herman

In becoming the founder of Mobile, New Orleans, and other surrounding cities, Bienville became an icon in history.  He became the subject of hero mythology and folklore, though some truth definitely could be found in these stories.  “Bienville had the reputation of knowing the Indians well. Mastering the lingua franca of the lower Mississippi, called mobilien, he was without doubt the only governor of a colony in New France to speak to the Indians without an interpreter. He pushed indianization so far as to tattoo himself with a serpent, which wrapped around his body.”1

The explorer Bertet de la Clue noted how the southern Amerindians “have their skins covered with figures of snakes which they make with the point of a needle.  Mr. de Bienville who is the general of the country has all of his body covered in this way and when he is obliged to march to war with them he makes himself nude like them.  They like him very much but they also fear him.”2

According to several historic sources, Bienville had gotten heavily tattooed by a local tribe.  Some believe it to be the legendary lost Mauville Indians, in order to become closer with the Indian population and earn their valuable trust.   Fellow explorer Henri de Tonti went so far as to say, “An officer (Bienville), a man of breeding whose name you would recognize, who, as well as an image of the Virgin and the baby Jesus, a large cross on his stomach with the miraculous words which appeared to Constantine and an endless number of marks in the savage style, had a snake which passed around his body and whose tongue pointed toward an extremity which I will leave you to guess.”3

Henri de Tonti went on to give descriptions of these tattooing practices.

“These ornaments or marks of honor are not printed without pain; for a start they draw the pattern on the skin; then, with a needle or a small well-sharpened bone, they prick to blood, following the pattern; after which, they rub on the pricked place with a powder of the color asked by the one who gets that mark.” 4

Bienville's disc tattoo is seen in Julian Rayford's 1974 sculpture which hangs on the entrance to the George Wallace tunnel

Bienville's disc tattoo is seen in Julian Rayford's 1974 sculpture which hangs on the entrance to the George Wallace tunnel

Captain Bossu wrote of his experience as an explorer getting tattooed around the same time as Bienville, offering some insight to the experience Bienville may have had.  Captain Bossu recounted, 

“I sat on a wildcat skin while an Indian burned some straw.  He put the ashes in water and used this simple mixture to draw the deer.  He then traced the drawing with big needles, pricking me until I bled.  The blood mixed with the ashes of the straw formed a tattoo which can never be removed.  After that I smoked a pipe and walked on white skins which were spread under my feet.  They danced for me and shouted with joy.  They then told me that if I traveled among the tribes allied to them, all that I had to do to receive a warm welcome was to smoke a peace pipe and show my tattoo.  They also said that I was their brother and that if I were killed they would avenge my death. . . . I cannot tell you how much I suffered and how great an effort I made to remain impassive.  I even joked with the Arkansas women who were present.  The spectators, surprised by my stoicism, cried out with joy, danced, and told me that I was a real man. I was truly in great pain and ran a fever for almost a week.  You would never believe how attached to me these people have become since then.” 5

Years passed, colonies were established, and alliances were made.  Bienville and his armies fought in war after war, allying with native tribes against the English.  The English made alliances with other native tribes as well, causing a warring between natives that had never happened in such a way before, permanently mutating that native landscape.  When the warring subsided, Bienville was left tired, worn, and alone.  

A statue of Bienville showing an example of some of his tattoos on display at Fort Conde museum.

A statue of Bienville showing an example of some of his tattoos on display at Fort Conde museum.

Going back to 1702, England and France were at war, the War of Spanish Succession.  Some say that D'Iberville had contracted malaria while on the Gulf coast, others say it was yellow fever, and both his health and judgment were deteriorating quickly.  Early in 1706, he left France in command of twelve vessels that then devastated the island of Nevis, taking the entire island population prisoner.  He was working Havana, where he was planning to halt English colony settlement in Carolina, when he died suddenly in July of 1706.  Most claim he passed due to yellow fever.  After his death, questions began to arise about his estate, many rumoring D'Iberville had acquired a large fortune by uncertain means.  The accounts of the West Indian expedition were hopelessly disorganized, furthered by accusations of embezzlement.  His widow, Marie Thérèse Pollet was forced to pay back a large portion of his estate bestowed to her upon his passing.  Due to these claims an actions, France had lost trust in the younger LeMoyne brother.  Bienville was broken and forlorn.  By 1740, Bienville’s health declined, and he begged his ministers for leave to France, which was granted in 1742.  Bienville had made political enemies with other administrators in Mobile, creating animosity amongst the Louisiana colonies.  Years of unreliable troops, faulty timing, and mishaps in planning had taken it’s toll over the past four decades on Bienville.  When looking back on his life, Bienville exhaustedly reflected, “a sort of fatality [has been] set for sometime upon wrecking most of my best-planned projects.”6  Bienville never became the head of a new nation, the trophy he always craved.  He lived to see his Louisiana pass under Spanish rule in 1766 despite petitions to Versailles by its French inhabitants.

Bienville died in 1767 in Paris, at the age of 88.  Records of his funeral and burial were lost through pillage and fire, thus depriving his mortal remains of honoured recognition to this day. 

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We are brought back to the bay, back to the standoff between the men he arrived with and the spirits with whom he is bound to return.  A lonely, isolated explorer, gliding across the glassy waters of the bay, heads towards the ghosts that forged sacred marks on his flesh, scars that would connect him to them, by promise or by curse.  The damned explorer proceeds with haste, consigned to his fate.  In his sight are roaring flames, growing and engulfing the ghosts that the men so feared, until finally our explorer too disappears, immersed in a blinding blaze.  This fate is shared by an entire nation native to that beautiful land, to fall and fadeaway in the inferno, with nothing but embers left where a strong people once lie.  

1.”France in America: Jean-Baptiste Le Moyne de Bienvillehttp://international.loc.gov/intldl/fiahtml/fiatheme2c4.html

2.Jean-François Bertet de la Clue Sabran, A Voyage to Dauphin Island in 1720: The Journal of Bertet de la Clue, trans. and ed. Francis Escoffier and Jay Higginbotham (Mobile, AL: Museum of the City of Mobile, 1974), 63–64. 

3.https://virtudesigns.wordpress.com/2012/04/28/louisiana-history-portrait-1-jean-baptiste-lemoyne-sieur-de-bienville/

4.Balvay Tattooing essay, [Henri de Tonti], “Relation de la Louisianne ou Mississipi Ecrite à une Dame par un Officier de Marine,” in Jean-Frédéric Bernard, Recueil des voyages au Nord contenant divers mémoires très utiles au commerce et à la navigation, tome 5, Relation de la Louisiane et du Mississippi (Amsterdam, 1724), 12. 

5.Balvay tattooing essay, Bossu, Nouveaux voyages aux Indes, 122–224.

6.http://www.biographi.ca/en/bio/le_moyne_de_bienville_jean_baptiste_3E.html

The Serpents of Bienville

Sean Herman

I love where I live, where I have grown up.  Huge live oaks, with arms outstretched, spinning to the ground, with moss hanging town, creating canopies, shading all from the harsh summer sun.  There are sunsets on the bay that you can never explain to people, you have to see it, the colors fading down to nothing.  Natives considered this land sacred land, and I can see why, with the bay giving up jubilees that to this day cause families to gather early in the morning and scoop up all different kinds of sea life that wash ashore.   We are one of only two places in the world that this happens.  It took me 33 years to finally understand that though you may disagree with a history, with actions, with wars and conquests, you can still love the place you live, love the community you walk with, and learn from all of these things to create something new and sacred again.

I started The Serpents of Bienville project in January of 2015, but it is really something that I have been thinking about for a long time.  Growing up on the Alabama Gulf Coast, I would hear little stories here or there revolving around long gone eras in this area.  After moving away at 17, and coming back at 26, I began to really have an appreciation for the history and folklore that resides here.  In May of 2014, we opened a new shop and were trying to decided on a name, which is never an easy task.  This is where my research into the folklore of the area really started.  One of the things I found that fascinated me was the story of the founder of Mobile, Jean-Baptiste Le Moyne Sieur de Bienville.  The story revolved around Bienville getting tattooed by local native tribes in order to gain their trust.  I was amazed that this story was in my area and I never really knew about it.  I became obsessed with the idea of tattooing being a sacred oath that Bienville took with this native tribe.  I began to research deeper into the topic, and found out that this oath may have been more real that I ever could have thought, with both participants stories ending in the same dark way.

I continued researching and reading, and finding more stories that tied to other stories, that tied to other people, that tied to other myths.  Some of these myths and stories had elements that I was proud of and some had elements that I was completely opposed to.  Growing up in a DIY Punk Rock community, I spent so much time focusing on all of the things I was against, all of the people that I thought were doing wrongs.  Protests, boycotts, rallies, all fighting a clear enemy, something that is very black and white.  The older I have gotten I have learned that grey is thrown in there, and things may be more complicated than I had previously thought.  This doesn’t mean to give up like we hear about movements time and time again, but to research more, and to learn from the things that cause anger in our hearts.  Researching these myths and stories showed me that more and more, also that I have a lot to learn.  There was more grey, more questions, more varying answers.  In taking on the things that turned me off so badly at the beginning, and continuing my research, I began to find lessons in these stories that I had never seen before, lessons I would have missed at a younger age because of wanting to throw away everything that was ugly to me.  No longer looking at people as good or evil, and their actions not being for a greater cause, I began to find the humanity in all of these stories.  Humanity can be beautiful, but sometimes it is the ugliness in humanity that we can truly learn from. Finally, at the age of 33 I am starting to accept my ignorance and my need to learn, and these stories have been a door way for me to do that.

The Serpents of Bienville has become a labor of love, reflecting that fondness for where I grew up, along with the hard lessons learned.  Now, the final vision of the project has come into focus, and the first phase is starting.  I am taking thirteen myths, stories, or folklore, and breaking them down.  I create a representation of each story on 11”x17” boards.  Each piece corresponds with a story, with each story having an essay explaining it in a historical context, and then taking a sociological look at how it applies to present day lives.  Thirteen stories will be presented, eventually leading up to a book containing all of the prints and essays collected in one place.  Starting July 7th, and then every following quarter a new set of three limited edition prints will be released (along with shirts, buttons, stickers, and more), leading up to the final release of the book in 2016.  I am only releasing 30 packages on this first run.  Prints, apparel, and more can be purchased at www.thebellrosetattoo.com/sean-merch.  Portions of the essays will be published here at www.seanherman.com.  Each print will include a short exert about the the piece, with the final full essay being available in the final book release.  I hope you enjoy learning about these stories, and the lessons learned from them as much as I have.  This project is one that will continue growing, and I will probably be working on for the rest of my life.  Keep checking back for more releases and essays to be published.