Customizing the Body (PDF file) - Print My Tattoo

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127 The Tattoo Relationship Positive social responses from friends and other members of the novice tattooee's reference group also help decrease feelings of social risk, As described earlier. getting tattooed is a highly social experience for most first-time tattoo recipients. Most initiates enter the studio in the company of close associates who act as "purchase pals" (Bell. 1967). These companions help generally to reduce the risks involved by consulting with the tattooee about design and location. providing social support for the decision, commiserating during the painful application process. and by helping to fill waiting time. Purchase pals also aid the recipient by acting as surrogate social evaluators. They provide risk-reducing support by positively reacting to and thereby validating the tattoo consumer's decision (cf. Ben-Sira, 1976: 6). While a certain level of risk is characteristic of all service interactions. it is particularly intense in settings where marginal or deviant services (for example. illegal abortion. prostitution, tattOOing) are produced an
128 The Tattoo Relationship the flash, the appearance and demeanor of fellow customers, and photos of past work are important sources of information. The customer's interaction with the tattooist is of particular importance, since this is the primary source of the information he or she uses to calculate trust. The literature on patient satisfaction with medical service (for example, Ben-Sira, 1976; Greenley and Schoenherr, 1981) clearly shows that the client's evaluation of the service is, to a major extent, shaped by his or her interactional experience with and relationship to the service deliverer. The tattooee's experience of risk in the tattoo shop and post-purchase satisfaction depend largely upon the psychosocial care provided by the tattooist. Interviewees consistently stated that those tattooists who were friendly, answered their questions patiently, allowed them to playa significant role in planning the tattoo, and behaved in what was often referred to as a "professional" style eased their anxieties and created a tattoo that was a significant source of pride. The key importance of the tattooist's demeanor is especially apparent in these descriptions prOVided by two women interviewees. (The artist) didn't seem to want to get to know me socially. It was very professional. Actually, that was a good attitude that he had. It showed that he was a professional. That was the way our conversation went. He didn't try to persuade me to get anything in particular-like when you go to a hairdresser and they want to cut all your hair off. I expected him to be a little more rugged. He was very nice-answered all my questions and if I would slouch or anything he would just nicely ask me to get back into the position I was in. I was standing there in the studio talking to the artist and said, "Well, I want this kind of curly design but can you do a dragon?" Then we sat down and he began to draw-asking me if I wanted whiskers, did I want it to look sleepy, passive, ferocious, or feminine, things like that. I said that I didn't want it too fierce or too passive. It was really lovely what he drew. He drew it backwards on this paper so I could place it where I wanted it. It was good to be sort of able to preview it. He asked me about the color. That I hadn't really decided.... Mter this
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CUSTOMIZING THE BODY
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Temple University Press 1601 North
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Preface to the Revised and Expanded
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ix Preface to the Revised and Expan
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xi Preface to the Revised and Expan
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xiii Preface to the Revised and Exp
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xv Preface to the Revised and Expan
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xvii Preface to the Revised and Exp
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xix Preface to the Revised and Expa
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Preface to the First Edition xxiii
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Preface to the First Edition xxv Pr
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3 Introduction duction world that r
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5 Introduction Body painting is anc
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7 Introduction erogenous zones and
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9 Introduction painful, it is commo
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11 Introduction for example, Kayan
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13 Introduction underworld (Richie,
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15 Introduction a heavily tattooed
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17 Introduction pain and necessitat
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19 Introduction were typically seen
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21 Introduction the corporeal chang
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23 Introduction ent within worlds o
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25 Introduction surrounding tattoo
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27 Introduction These dominant pers
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29 Introduction style. the occupati
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31 Introduction communicable diseas
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33 Introduction is presented as res
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35 Introduction artistic endeavor.
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38 Becoming and Being a Tattooed Pe
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Figure 3. The Tattoo as Social Symb
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64 The Tattooist been my safe place
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66 The Tattooist and psychologicall
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68 The Tattooist Few tattooists mak
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70 The Tattooist people in the busi
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73 The Tattooist (The tattoo artist
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Page 104 and 105: 77 The Tattooist in her kitchen. Ev
Page 106 and 107: 79 The Tattooist reer which strongl
Page 108 and 109: 81 The Tattooist does it hurtT "Com
Page 110 and 111: 83 The Tattooist THE TATTOOIST'S CA
Page 112: 85 The Tattooist me to tattoo the b
Page 115 and 116: 88 The Tattooist like Burger King .
Page 117 and 118: 90 The Tattooist the individual to
Page 119 and 120: 92 The Tattooist Tattooists also ha
Page 121 and 122: 94 The Tattooist tomorrow and let y
Page 123 and 124: 96 The Tattooist that there is a ch
Page 125 and 126: 98 The Tattooist above, tattooists,
Page 127 and 128: 100 The Tattooist and fifty. Those
Page 129 and 130: 102 The Tattooist "totemic" desires
Page 131 and 132: 104 The Tattooist available to them
Page 133 and 134: 106 The Tattooist I refused a guy l
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Page 138 and 139: f styles. (Photo by D. Angus Vail)
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Page 145 and 146: 118 The Tattoo Relationship As is t
Page 147 and 148: 120 The Tattoo Relationship he coul
Page 149 and 150: 122 The Tattoo Relationship blouse
Page 151 and 152: 124 The Tattoo Relationship name "R
Page 156 and 157: 129 The Tattoo Relationship experie
Page 158 and 159: 131 The Tattoo Relationship The reg
Page 160 and 161: 133 The Tattoo Relationship Other p
Page 162 and 163: 135 The Tattoo Relationship inexper
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Page 171 and 172: 144 The Tattoo Relationship In rece
Page 173 and 174: 146 The Tattoo Relationship tattooi
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Page 178 and 179: 151 Conclusion tutional theory of a
Page 180 and 181: 153 Conclusion arisen and learn fro
Page 182 and 183: 155 Conclusion and give money to it
Page 184 and 185: 157 Conclusion what are the chances
Page 186 and 187: 159 Conclusion Works of Idea Art fr
Page 188 and 189: 161 Conclusion the artistic redefin
Page 190 and 191: 163 Conclusion symbolic demonstrati
Page 192 and 193: 165 Epilogue 2008 ters, all would l
Page 194 and 195: 167 Epilogue 2008 and the emphasis
Page 196 and 197: 169 Epilogue 2008 The term “colle
Page 198 and 199: 171 Epilogue 2008 design and execut
Page 200 and 201: 173 Epilogue 2008 for three or four
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177 Epilogue 2008 eyebrows and “l
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179 Epilogue 2008 The most recent m
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181 Epilogue 2008 distinguish among
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183 Epilogue 2008 supposedly made i
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185 Epilogue 2008 and perceptions o
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187 Epilogue 2008 become more commi
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190 Methodological Appendix Fairly
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192 Methodological Appendix laborer
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194 Methodological Appendix Figure
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196 Methodological Appendix guys wh
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198 Methodological Appendix increas
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200 Methodological Appendix because
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202 Methodological Appendix nomenon
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204 Selected Tattoo Artist Websites
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206 Notes to Preface to the Revised
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208 Notes to Chapter 2 example, “
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210 Notes to Chapter 2 of negative
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212 Notes to Chapter 4 of female cl
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214 Notes to Chapter 4 your mother
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216 Notes to Chapter 5 Chapter 5 1.
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218 Notes to Chapter 5 and resulted
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220 Notes to Epilogue 2008 only foo
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222 References ———. 1967. “
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224 References Cummings, William, a
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226 References Gittleson, N., G. Wa
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228 References Research. Hirschman,
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230 References University Press. Le
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232 References 6 (May): 18 ff. Parr
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234 References Carl (Shotsie) Gorma
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236 References Investigation of Con
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Index Adler, Patricia and Peter, 11
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241 Index Fellman, Sandi, 13, 160,
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243 Index O’Reilly, Samuel F., 16
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245 Index 214; process described, 4
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