Customizing the Body (PDF file) - Print My Tattoo

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Preface to the First Edition xxv Preface "Drill and Fill: Client Choice, Client Typologies, and Interactional Control in Commercial Tattoo Settings," from Arnold Rubin, ed., Marks qf Civilization: Artistic 1ransJormations qf the Human Body (Los Angeles: UCLA Museum of Cultural History, 19881, with the permission of the UCLA Museum of Cultural History.
Page 2: CUSTOMIZING THE BODY
Page 5 and 6: Temple University Press 1601 North
Page 8 and 9: Preface to the Revised and Expanded
Page 10 and 11: ix Preface to the Revised and Expan
Page 12 and 13: xi Preface to the Revised and Expan
Page 14 and 15: xiii Preface to the Revised and Exp
Page 16 and 17: xv Preface to the Revised and Expan
Page 18 and 19: xvii Preface to the Revised and Exp
Page 20: xix Preface to the Revised and Expa
Page 24 and 25: Preface to the First Edition xxiii
Page 29 and 30: 2 Introduction Attractiveness. then
Page 31 and 32: 4 Introduction prospects. At the si
Page 33 and 34: 6 Introduction authority, and mains
Page 35 and 36: 8 Introduction Piercing and Scarifi
Page 37 and 38: 10 Introduction western travels. It
Page 39 and 40: 12 Introduction the nature and geog
Page 41 and 42: 14 Introduction crucifix or other r
Page 43 and 44: 16 Introduction Soon the tattoo rag
Page 45 and 46: 18 Introduction Prompted by the ove
Page 47 and 48: 20 Introduction art. Their social a
Page 49 and 50: 22 Introduction "production of cult
Page 51 and 52: 24 Introduction theory of art" rega
Page 53 and 54: 26 Introduction than the homogeneou
Page 55 and 56: 28 Introduction (Clients usually) d
Page 57 and 58: 30 Introduction and bureaucratized
Page 59 and 60: 32 Introduction not required in ord
Page 61 and 62: 34 Introduction worked in a variety
Page 64 and 65: 37 Becoming and Being a Tattooed Pe
Page 77 and 78:
50 Becoming and Being a Tattooed Pe
Page 79 and 80:
Page 81 and 82:
Page 83 and 84:
Page 85 and 86:
Page 87 and 88:
Page 90 and 91:
63 The Tattooist individual drifts
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65 The Tattooist He must have been
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67 The Tattooist selves and friends
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69 The Tattooist ACQUIRING EQUIPMEN
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71 The Tattooist did. I had these t
Page 101 and 102:
74 The Tattooist The next stage in
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76 The Tattooist But the ideal pers
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78 The Tattooist DEVELOPING SOCIAL
Page 107 and 108:
80 The Tattooist didn't trust my ow
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82 The Tattooist or misinformed and
Page 111 and 112:
84 The Tattooist with the apparent
Page 114 and 115:
87 The Tattooist Finally, being the
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89 The Tattooist feeling their plea
Page 118 and 119:
91 The Tattooist socially rewarding
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93 The Tattooist "scratchers" turne
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95 The Tattooist your baby because
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97 The Tattooist There are so many
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99 The Tattooist The demand for the
Page 128 and 129:
101 The Tattooist tenance work enco
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103 The Tattooist tattooists. as we
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105 The Tattooist There is a common
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107 The Tattooist CONCLUSION The ta
Page 137 and 138:
left: Black panther claws by Mike N
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tive tattoo by (l-r) Horitoshi, Bil
Page 141 and 142:
ary Japanese aesthetics, as practic
Page 143:
Leo Zulueta. Photo by Nelson. So-ca
Page 146 and 147:
119 The Tattoo Relationship RISK, R
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121 The Tattoo Relationship going t
Page 150 and 151:
123 The Tattoo Relationship dio. Th
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125 The Tattoo Relationship pace of
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128 The Tattoo Relationship the fla
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130 The Tattoo Relationship As seen
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132 The Tattoo Relationship of know
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134 The Tattoo Relationship tattoo
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136 The Tattoo Relationship Clients
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139 The Tattoo Relationship body si
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141 The Tattoo Relationship the bus
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143 The Tattoo Relationship that th
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145 The Tattoo Relationship reputab
Page 174 and 175:
147 The Tattoo Relationship recipie
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150 Conclusion about through the co
Page 179 and 180:
152 Conclusion ular cultural themes
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154 Conclusion attributed to these
Page 183 and 184:
156 Conclusion Figure 4. Factors Af
Page 185 and 186:
158 Conclusion uate the negative re
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160 Conclusion ticipants with conve
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162 Conclusion "The Aesthetics of G
Page 191 and 192:
Epilogue 2008: Body Modification Th
Page 193 and 194:
166 Epilogue 2008 duced by people w
Page 195 and 196:
168 Epilogue 2008 scale work easier
Page 197 and 198:
170 Epilogue 2008 nents of a full-b
Page 199 and 200:
172 Epilogue 2008 known as a center
Page 201 and 202:
174 Epilogue 2008 sponsored by peop
Page 203 and 204:
176 Epilogue 2008 apprenticeship sy
Page 205 and 206:
178 Epilogue 2008 in pairs), and th
Page 207 and 208:
180 Epilogue 2008 psychologically a
Page 209 and 210:
182 Epilogue 2008 body modification
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184 Epilogue 2008 and to disrupt th
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186 Epilogue 2008 street-shop socia
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188 Epilogue 2008 ited by the blind
Page 218 and 219:
191 Methodological Appendix America
Page 220 and 221:
193 Methodological Appendix a tatto
Page 222 and 223:
195 Methodological Appendix it was
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197 Methodological Appendix times b
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199 Methodological Appendix ment wi
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201 Methodological Appendix realize
Page 230 and 231:
Selected Tattoo Artist Websites Bio
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Notes Preface to the Revised and Ex
Page 234 and 235:
207 Notes to Chapter 2 Tattooists a
Page 236 and 237:
209 Notes to Chapter 2 which five m
Page 238 and 239:
211 Notes to Chapter 4 6. Of the ni
Page 240 and 241:
213 Notes to Chapter 4 increases th
Page 242 and 243:
215 Notes to Chapter 4 cover up the
Page 244 and 245:
217 Notes to Chapter 5 Painless Tat
Page 246 and 247:
219 Notes to Epilogue 2008 standard
Page 248 and 249:
References Adler, Patricia, and Pet
Page 250 and 251:
223 References Briggs, J. 1958. “
Page 252 and 253:
225 References Farina, A., E. Fisch
Page 254 and 255:
227 References Hambly, W. D. 1974 [
Page 256 and 257:
229 References Relationships. New Y
Page 258 and 259:
231 References Jacobs. 30-40. Palo
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233 References Richter, Stefan. 198
Page 262 and 263:
235 References Association for Cons
Page 264:
237 References Young, T. R. 1981.
Page 267 and 268:
240 Index Body suit: construction o
Page 269 and 270:
242 Index Jackobson, Yehuda, 181 Ja
Page 271 and 272:
244 Index Spector, Malcolm, 35 Spig
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