Customizing the Body (PDF file) - Print My Tattoo

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243 Index O’Reilly, Samuel F., 16-17 Orton, James, 39 Outlaw Biker, 69 Pain: scarification and, 8–9; tattooing and, 10–11, 48, 80–81, 119–121, 136–138, 208–209, 214–215, 218–219 Paine, Jocelyn, 9, 10, 11, 13 Paradiso (Amsterdam), 217 Parry, Albert, 15, 16, 17, 38 Peabody Museum (Salem, Mass.), 217 Pearlstein, Howard, 161 Pellegrini, Aldo, 150, 153, 216 Peterson, Richard, 22, 23, 25, 28, 30, 155 Piercing, 7–8, 176–178 Piercing Fans International Quarterly, xxi–xxii Pitts, Victoria, 184 Plastic surgery, 7, 179 Playboy, 85 Pollack, Otakar, 207 Popplestone, John, 38 Popular Mechanics, 69 Post, Richard, 38, 207 Pritchard, Stephen, 182 Production of culture, 21–23 Prueitt, Melvin, 33 Psychoanalytic Quarterly, 215 “Purchase pals,” 43, 127 Razor Gallery (New York), 218 Richie, Donald, 13, 15, 75, 84, 92 201, 207, 210, 211, 215, 217 Richter, Hans, 33 Richter, Stefan, 34, 160 Risk: financial, 120–121, 123–124; physiological, 119–123; reduction of, 126–128; social, 126; time, 124–126 Rochberg-Halton, Eugene, 41, 146, 149 Roebuck, Julian, 133 Rolling Stone, 68, 69, 70 Roman, Paul, 157 Rondinella, Gippi, 13, 34, 160 Roselius, Ted, 124 Rosenberg, Bernard, 29, 102 Rosenberg, Harold, 159, 218 Rosenblatt, Daniel, 182–183 Rosenblum, Barbara, 20, 22, 26, 33, 72, 78, 98, 102 Ross, Ivan, 117 Ross, Robert, 40, 209 Rubin, Arnold, 18, 19 34, 160 Rutherford, John, 15 Sagarin, Edward, 157 St. Clair, Stoney, 45, 137, 171, 209 St. Louis Post-Dispatch, 217 Salmon, Bill, 166 Sanders, Clinton R., 21, 22, 23, 89, 92, 98, 133, 156, 160 San Diego Museum of Photographic Art, 217 San Francisco Museum of Modern Art, 162, 218 Scarification, 8–9 Schjeldahl, Peter, 218 Schoenherr, Richard, 82, 128 Schoepfle, G. M., 189 Schroder, David, 6, 28, 62, 72, 78 82, 87, 89, 102, 132, 211 Schur, Edwin, 150 Schwartz, Dona, 3, 33 Scutt, R. W. B., 40, 47, 70, 88, 92, 207 Shover, Neal, 60, 70, 92, 105, 107 Sinha, Anita, 3, 23, 26, 84, 91, 98, 100 Sirgy, M. J., 117 Sixth Sense Gallery (New York), 217 Skin: “public,” 78, 144; quality, 135-136; substitutes in learning to tattoo, 70–71, 72–74, 211; tattooist’s practice on own, 71, 73–74 Social problems, 35 Solomon, Michael, 41, 117, 149 Sparrow, Phil, 189 Spaulding and Rogers Manufacturing, 69, 70, 73, 77 Speck, Richard, 216
244 Index Spector, Malcolm, 35 Spiggle, Susan, 89, 133 Sprecher, Susan, 1, 7 Stampfl, Ronald, 117 Stone, Gregory, 1 Style: change within, 29; social organization and, 23–25. See also Art Sudnow, David, 133 Sudo, Masato, 217 Suikoden, 12, 217 “Sumptuary laws,” 4 Sykes, Gresham, 40, 189 Symbolic interactionism, xxi “Taste public,” 29, 107 Tattoo, as aesthetic object, x–xi, 47, 207–209; “Dark Art,” 167; decision to aquire,41–43; decision to reveal to others, 54-56; equipment, 166, 167–168; gender differences in body location, 48–50; interactional consequences of, 52–57, 126–127; as “mark of disaffiliation”, 58–60; price, 106, 123–124, 143; quality, 73–76, 126–127, 129–131; self-definition and, 46–47, 51–52; social relationships and, 45–46, 126–127, 209–210, 211; styles, 166–168, symbolizing interests, 47; as “tarnished” product, 60, 107 Tattoo (Robert Brooks), 216 Tattoo Advocate, The, 160, 171 Tattoo Archive, 34 Tattoo Art Museum (San Francisco), 191, 217 Tattoo conventions, 172–174 Tattoo, Mick, 168 Tattooee, 37–61; author’s experience as, 197–201; choice of design and body location, 45–51, 138–139, 144–146, 201, 208; conventional/“scientific” views of, 36–41, 179–181; demographic characteristics of, 193; as deviant, xi–xiii, 18–19, 209, 216; disrespectful, 139–140, 141–142; experience of risk, 117–128; intoxicated, 104–105, 141–142; lack of knowledge, 42, 44–45; regret, 57–58, 90, 129–131, 209, 212–213; tattooist’s typification of, 131–147; typical, 26; unhygienic, 105–106, 140, 144 Tattoo equipment suppliers, 26-27. See also Spaulding and Rogers Manufacturing Tattoo Historian, 15l, 160 Tattooing: AIDS and, 144, 210, 215; ancient, 9–11 appropriate receiving demeanor during, 137–139; as art, 3, 19–20, 32–35, 155–160, 212, 216–217; as “bastard institution,” 107; changes within, 18–20, 25–32, 165–168; contemporary literature on, 179–186; collective response to stigma of, 95–97; as coping mechanism in prison, 39–40; “credence qualities” and, 118; criminality and, 39–40; danger and, 143–144, 192, 196–197, 216; deviance and, vii–viii, xi–xiii,17, 18, 30–31, 41, 149, 156, 157–158, 162–163, 209, 216; diffusion of, vii-x, 9–10; economic uncertainty of, 99–100; Egyptian, 9; equipment suppliers as source of information, 76–77; estimates of prevalence, 207; “experience qualities” and, 118; First Amendment and, 31; history of western, 13–20; interaction surrounding, 41–43, 81–82, 88–90, 131–147; Japanese, 11–13, 19–20, 157, 160, 200–201, 206–207, 209, 211, 215, 217, 219; as “lowbrow” art, x–xi, market structure of, 28–30; media presentation of, 192; “neo-tribal,” 20; occupational stigma of, 91–97 191; as popular cultural fad, viii–x; 186–187; prison experience and, 207, 210,
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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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75 The Tattooist complete tattoo. I
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77 The Tattooist in her kitchen. Ev
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79 The Tattooist reer which strongl
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81 The Tattooist does it hurtT "Com
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83 The Tattooist THE TATTOOIST'S CA
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85 The Tattooist me to tattoo the b
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88 The Tattooist like Burger King .
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90 The Tattooist the individual to
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92 The Tattooist Tattooists also ha
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94 The Tattooist tomorrow and let y
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96 The Tattooist that there is a ch
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98 The Tattooist above, tattooists,
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100 The Tattooist and fifty. Those
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102 The Tattooist "totemic" desires
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104 The Tattooist available to them
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106 The Tattooist I refused a guy l
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108 The Tattooist This change in th
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f styles. (Photo by D. Angus Vail)
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above: Tattoo by Filip Leu, The Le
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imi Hendrix and John Coltrane by Fi
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118 The Tattoo Relationship As is t
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120 The Tattoo Relationship he coul
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122 The Tattoo Relationship blouse
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124 The Tattoo Relationship name "R
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127 The Tattoo Relationship Positiv
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129 The Tattoo Relationship experie
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131 The Tattoo Relationship The reg
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133 The Tattoo Relationship Other p
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135 The Tattoo Relationship inexper
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137 The Tattoo Relationship the nee
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140 The Tattoo Relationship Followi
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142 The Tattoo Relationship expecte
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144 The Tattoo Relationship In rece
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146 The Tattoo Relationship tattooi
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148 The Tattoo Relationship the tat
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151 Conclusion tutional theory of a
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153 Conclusion arisen and learn fro
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155 Conclusion and give money to it
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157 Conclusion what are the chances
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159 Conclusion Works of Idea Art fr
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161 Conclusion the artistic redefin
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163 Conclusion symbolic demonstrati
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165 Epilogue 2008 ters, all would l
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167 Epilogue 2008 and the emphasis
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169 Epilogue 2008 The term “colle
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171 Epilogue 2008 design and execut
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173 Epilogue 2008 for three or four
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175 Epilogue 2008 1990s, become an
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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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Page 229 and 230: 202 Methodological Appendix nomenon
Page 231 and 232: 204 Selected Tattoo Artist Websites
Page 233 and 234: 206 Notes to Preface to the Revised
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Page 241 and 242: 214 Notes to Chapter 4 your mother
Page 243 and 244: 216 Notes to Chapter 5 Chapter 5 1.
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Page 247 and 248: 220 Notes to Epilogue 2008 only foo
Page 249 and 250: 222 References ———. 1967. “
Page 251 and 252: 224 References Cummings, William, a
Page 253 and 254: 226 References Gittleson, N., G. Wa
Page 255 and 256: 228 References Research. Hirschman,
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Page 259 and 260: 232 References 6 (May): 18 ff. Parr
Page 261 and 262: 234 References Carl (Shotsie) Gorma
Page 263 and 264: 236 References Investigation of Con
Page 266 and 267: Index Adler, Patricia and Peter, 11
Page 268 and 269: 241 Index Fellman, Sandi, 13, 160,
Page 272: 245 Index 214; process described, 4
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