Tattoosday Goes to Vegas: The Man in Black

Last month found me in Las Vegas, attending the Punk Rock Bowling and Music Festival. In addition to great music, I was awash in a mass of humanity with great tattoos for the first time in several years. And although the setting wasn't conducive to interviews, I did snap a bunch of photos for Tattoosday, starting with this one, which got the old juices flowing again:

At first glance, I thought it was Clint Eastwood's man with no name from the Spaghetti-western era, but I soon realized that "The man in black fled across the desert," referred to Roland, the protagonist in Stephen King's Dark Tower series.

Thanks to this concert-goer for allowing me to photograph his tattoo!

This entry is ©2023 Tattoosday.

If you are seeing this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.

Where The Starry Night Sidewalk Ends

I met Christopher last summer at the Coney Island Mermaid Parade (@mermaidparade). He shared this cool tattoo:

This familiar-looking imagery is inspired by Vincent Van Gogh's The Starry Night. Christopher told me that, when he was a kid, he used to carry around a Starry Night poster, so he has had an affinity for the artwork for a long time. What's particularly cool about this piece is that, on the inner part of his arm, it merges into other familiar imagery:

That is the cover art from Shel Silverstein's classic book Where the Sidewalk Ends.

Christopher credits the tattoos to an artist named Pee Wee in Manhattan.

Thanks to Christopher for sharing his cool tattoos with us here on Tattoosday!

This entry is ©2018 Tattoosday.

If you are seeing this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.

Sarah and the Sea of Stories

Earlier the summer, I met Sarah outside of the Delacorte Theater in Central Park. We were both there to see a production of Othello, and her colorful tattoo caught my eye:

She explained that the tattoo is inspired by Salman Rushdie's marvelous book Haroun and the Sea of Stories. The artwork depicts Butt the hoopoe, flying out of the golden envelope to take the protagonist, Haroun, back to the Sea of Stories.

The tattoo was created by Georgia Grey (@georgiagreytattoos) and done at Bang Bang Tattoo (@bangbangnyc). She now works at Roses and Rebels Tattoo in Jersey City.

Sarah elaborated on the tattoo:

"I love stories and I love the way [Rushdie] writes about old stories and new stories merging together ... the description of the setting sounded like the most magical place you could ever hope to see if you love stories and I couldn't imagine what it looked like myself ... I loved [Georgia Grey's] work so I asked her to render it for me and now I get to keep it forever."

Thank to Sarah for sharing this lovely tattoo with us here on Tattoosday!

This entry is ©2018 Tattoosday.

If you are seeing this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.

Rita Banerjee on the Tattooed Poets Project

Our final Tattooed Poet for National Poetry Month is Rita Banerjee, who sent us the following photo of her tattoo:

Rita explains how she came by this tattoo:

"By my senior year of college, I had been tapped into a secret society. When dusk fell over New Brunswick, we wore our dark robes long, accompanied by tawny-colored hats, as we tagged skulls and messages on the sidewalks across Rutgers College. Our secret society, which had been modeled after Skull and Bones and Quill and Dagger, had existed in our quiet but peculiar corner of New Jersey for over a hundred years. Paul Robeson, Ozzie Nelson, Al Aronowitz, Dick Standish, and Rebecca Quick were all members. We let our black robes and anonymity guide us. We wore our mystique close to the vest. Only a handful of deans and administrators kept the roster of our names. And so, in senior year, we easily flitted between the worlds of academic and cultural excellence and our shadow selves. But in May, during our graduation ceremony, our identities would officially be revealed to our fellow classmates and graduating seniors. So before we left the banks of the Old Raritan, broke our clay pipes, and signed our names inside the bell tower of Old Queens, we decided to take up one last dare. One evening, between finals and graduation, we took a trip to Montclair at night. I was the designated driver, and I was in charge of transporting my fellow skulls to a rather funky tattoo parlor in town. I was only there to hold hands and offer encouragement. Just half of us were willing to take the plunge and get a tattoo after all. But before the night was over, I, too, had been persuaded. While other members of our secret society got skulls emblazoned on their biceps and buttocks, I got the words 'Spectemur Agendo' inscribed on my lower back. The phrase was from Ovid, from The Metamorphoses. In Book VIII of The Metamorphoses, Ajax the fearless, exclaims: 'Denique (quid verbis opus est?) spectemur agendo!' That is, 'Finally (what is the use of words?), let us be judged by our actions!' A beautiful and terrifying sentiment. The perfect challenge for a writer: What is the power of words, dear poet? Let us be judged by our actions."

What a great story! In addition to that, Rita also shared, as is custom, a poem, as well:

Paper Men

xeroxing epiphanies at 5¢ a page, the messiah standing next to me has
been speaking the word of hope and rage for 37 years. with 4000 books
living in his mind, he’s international, a sage who hands me a song of
California. and anaheim—anaheim—been on my mind for seven straight
minutes. why? 7 for luck and anaheim for memories not mine. brushing
the tattoo of a carnivale, he says there isn’t a circus in the world he hasn’t
been to. and he’d like to be called Nesmith if you don’t mind. and when he
says Nesmith, i think of mike and white out. white out morning after
crash—seven days of meditating Tantric verse and I crashed, crashed for
six long hours at the highest level of understanding and do you
understand me, child, when I say, I cannot describe it to you? the
Supreme spoke to me and I had something to say. and this I’ve said for
years. and when his eyes ask, believe me, i do ’cause there isn’t a story i
haven’t believed in. and when i nod yes, he says, I have found in your
eyes a kindred spirit. and i think of the paper man i once met on an island.
in my back-pocket wallet, the name Yoshida’s inked, hand-pressed on
rice-white paper. Yoshida sighed once, look at the color of our
women—hair the color of the sun—there is no space for dark anymore.
just the shade of this paper store and the wait, the wait for a word-maker
to pass by. and so he tells me of Korea, the blasphemy of emperors
disgraced, and the beauty of his wife when she wakes him. we talk and
talk and talk of the greatness of rome, sartre, and curry. and somehow
beneath the talk, i can hear his heart. and tonight after kissing another
man of verse, i walk down white halls with a book of words on my head,
and think. today, i met a poet.

~ ~ ~

"Paper Men" originally appeared in the literary journal Objet d’Art and is featured in Rita's new collection Echo in Four Beats (Finishing Line Press, March 2018).

Rita Banerjee is the editor of CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing (C&R Press, May 2018) and the author of the poetry collection Echo in Four Beats (Finishing Line Press, March 2018), which was a finalist for the Red Hen Press Benjamin Saltman Award, Three Mile Harbor Poetry Prize, and Aquarius Press / Willow Books Literature Award, the novella “A Night with Kali” in Approaching Footsteps (Spider Road Press, 2016), and the poetry chapbook Cracklers at Night (Finishing Line Press, 2010). She received her doctorate in Comparative Literature from Harvard and her MFA in Creative Writing from the University of Washington, and her writing appears in the Academy of American Poets, Poets & Writers, Nat. Brut., The Rumpus, The Scofield, Hyphen Magazine, Electric Literature, Painted Bride Quarterly, VIDA: Women in Literary Arts, Los Angeles Review of Books, and elsewhere. She is the Executive Creative Director of the Cambridge Writers’ Workshop and an Associate Scholar of Comparative Literature at Harvard University, and teaches on modernism, art-house film, and South Asian literary theory at the Ludwig Maximilian University of Munich in Germany. She is the judge for the 2017 Minerva Rising “Dare to Speak” Poetry Chapbook Contest, and she is currently working on a novel about a Tamil-Jewish American family in crisis during a post-authoritarian regime, a book on South Asian literary modernisms, a documentary film about race and intimacy in the United States and in France, and a collection of essays on race, sex, politics, and everything cool.

Thank you so much to Rita for sharing her tattoo and poem with us here on Tattoosday, as we wrap up our tenth installment of the Tattooed Poets Project!

This entry is ©2018 Tattoosday. The poem and tattoo are reprinted with the poet's permission.

If you are reading this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.net and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.

J.P. Grasser on the Tattooed Poets Project

Today's tattooed poet is J.P. Grasser. 

J.P. elaborates on the tattoo, which reads "Our almost-instinct almost true:/What will survive of us is love":

Recently, I read a beautiful little scrap from Rebecca Solnit: 'The self is also a creation, the principal work of your life, the crafting of which makes everyone an artist. This unfinished work of becoming ends only when you do, if then, and the consequences live on' (italics, mine; from The Faraway Nearby). This is wildly out of context, but it holds up just the same, to my ear. The most important phrase in there: 'if then.'

There's the old thinking on tattoos—the permanence, the body-as-canvas, the self-expression. 

There's the old thinking on tattoos—the symbology, the beautiful reversion to atavistic modes of communication: pictographs, etc., where image, meaning, & sound are inexorably bound, are undivorceable from one another. 

There's the old thinking on tattoos—something visible, something totemic, something to reflect the inner-self. (All reflection: distortion.)

The old thinking is good enough. But put in context, wildly so, vis-à-vis Solnit's case, it doesn't hold up as well to my ear. Or, at least, it's not the whole picture. Every/one: an artist—agreed. Every/body's magnum opus: the self—agreed. So the act of tattooing, to my mind, is the act of self-forging (self-forgoing?). They don't conflate, they don't co-exist, they collapse, together. Both. The skin is both canvas and paint, or so the metaphor goes. 

Go listen to Kelly McFarling's "Both." It will help you understand me. 

What I'm trying to get at, however obliquely, is this: neither a tattoo nor a poem is expression. They're experience. They're temporal & atemporal, all at once—they happen in time, but don't live in time. Sounds a bit like Memory, eh? Like Love, almost?

Which is all to say: the tattoo I have now is not the one I got Spring of 2015. It's neither the same to me, nor the same in appearance. When I got it, I remember Jesse saying, with that flair of wily gratitude, Come back any time, he said, touch ups for free. Any time, touch, free. 

But I want the ink-object, the poem-object, like the self, to be of-&-for entropy, to be its own recreation, daily. Let the edges fray; let it bleed. 

The homespun-piece referenced in the poem, that's long gone, just a few little scars now, layered under the one pictured. 

The lines themselves come from Larkin's 'An Arundel Tomb.' The most important phrase in there isn't 'love.' It isn't 'what will survive of us.' It isn't 'true.' There is no finitude to the self—to its gulfs, slash-piles, glaciers, xeric crags, tectonic fissures. We are human-animals. We are reason-beasts. We are hybridity incarnate & as such, if/then, the only phrase that can really matter is: 'almost-instinct almost.' & That—that is the experience of Negative Capability. Isn't Love always a consequence, always? 

J.P. mentions Jesse above, referring to his artist Jesse Kuzniarski (@jessek_tattoos) at Brightside Tattoo Shop (@brightsidetattooshop) in Baltimore. 

He also shared the following poem:

THIRD DATE 

  

for Maggie

  

Remember how we lay, naked, the usual silt

of hardwood floors clinging to our elbows,

our hips? You dipped the needle, dragged

St. Augustine’s symbol for non-linear time

(your idea) into my arm. Didn’t I try to be stoic

for you?—I feel no pain; I feel nothing. I admit,

I was sure once that love meant being jealous

of oneself. I admit it. I wanted to clutch

that instinct for recklessness, to own it & forever,

& I wanted you to hold me the way skin holds

an iron splinter. Remember the perfect sphere

of my blood, balanced on the needle’s tip?

How you licked it clean, returned it to pure

gleaming, without so much as a second thought?

I keep coming back, you said, back to this shape.

~ ~ ~

A current Wallace Stegner Fellow, J.P. Grasser is a PhD candidate in Literature & Creative Writing at the University of Utah, where he serves as Editor-in-Chief for Quarterly West.

Thanks to J.P. for sharing his tattoo and poem with us here on the Tattooed Poets Project on Tattoosday!

This entry is ©2018 Tattoosday. The poem and tattoo are reprinted with the poet's permission.

If you are reading this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.net and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.

Jordan Windholz and Frank O'Hara on the Tattooed Poets Project

Our next tattooed poet is Jordan Windholz, who shared this photo of his tattoo:

The tattoos reads,

"Grace
to be born and live as variously as possible."

Jordan told us a little bit about this work:

"I wish I could remember the name of the artist or the shop that did the tattoo. It was a small shop, and it doesn't look to be in business anymore. I remember that the artist was quite skilled. I had asked another shop in town to do it, but they insisted it was impossible, given the font and layout. The artist that did it laughed at that.

The story of the tattoo is this: I was finishing my MFA in literature and creative writing at the University of Colorado, Boulder. I was becoming, or realizing I was becoming, a poet. Like so many poets, I was taken with the work of Frank O'Hara (I still am). But while I was writing poetry, and interested in contemporary poetry, I found myself turning toward literary scholarship and earlier British literature--to the work of John Donne and John Milton, but also Shakespeare. I was about to head to New York to do my PhD at Fordham, where I would focus on literature of the sixteenth and seventeenth centuries. I was worried this kind of work, which I loved, would overtake my time to write poetry, which I also loved. I didn't have a lot of models at the time for writers who did both literary scholarship and creative writing (though I did have some, most notably Julie Carr, my MFA advisor).

The tattoo comes from O'Hara's 'In Memory of My Feelings,' and it's also his epitaph.

Because I was at what I felt was a crossroads in my life, I got it to remind me that I should never succumb to the notion that a life should be defined by one thing or one practice, that it's a kind of gift to have a life in which one can pursue various interests against and within a variety of pressures and obligations. The meanings of the tattoo have changed for me as I've grown, moved, had children. It's all grace. It's all variety."

Jordan also shared the following poem, which appeared previously in Boston Review. He offered it "because it's about love, life, grace, and change."

Why Sorrow Is Important

It isn’t about boredom. We have names

for birds, but don’t know what to call
the brown ones flitting by the sill

except here. Even the sky is not so simple. The hot
halo around cumulus
makes blue

a difficult thing to talk about.
Sunlight is not so troubling, but for what

it reveals, and darkness, well,
no one wants to shut their eyes for too long.
Some people think watching others

sleep is romantic and heartfelt,
but remember this is what

corpses look like. To die in sleep is terrifying

for those who try to wake you. But for the sleeper
the dream will end as it always has, except
for the waking part, the panted breathing

in a painted room. And so,

I tell her I love her, and she
tells me she loves me too. 

This is how we say goodnight.
Careful breezes swell the curtains

when we leave the windows open,
the tumble of air says this is season, this is.

The days are long, and we are tired
of them. We are sleeping, and we are
waking, and we are sitting. Today, I wanted
to write an ode
to October because, well, Keats. 

Despite the calendar, the leaves are so surprising.

~ ~ ~

Jordan Windholz is an assistant professor of English at Shippensburg University of Pennsylvania, where he teaches Shakespeare and early modern literature. He is the author of Other Psalms, winner of the 2014 Vassar Miller Prize in Poetry. You can find him online at jordanwindholz.com.

Thanks to Jordan for sharing his tattoo and poem with us here on the Tattooed Poets Project on Tattoosday!

This entry is ©2018 Tattoosday. The poem and tattoo are reprinted with the poet's permission.

If you are reading this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.net and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.

Adam Clay & Ashbery (The Tattooed Poets Project)

Our next tattooed poet is Adam Clay, who shared this colorful literary tattoo:

How is this a literary tattoo? We'll let Adam explain:

"My tattoo was done by Stephanie White (@stephanietattoos) at Deluxe Tattoo (@deluxetattoochicago) in Chicago. I’ve always loved John Ashbery’s Three Poems and decided to adapt a tattoo from the cover art by Trevor Winkfield. 

At first it felt strange to only use part of the work, but I was reminded of the opening from Ashbery’s 'The New Spirit': I thought that if I could put it all down, that would be one way. And next the thought came to me that to leave all out, would be another, and truer, way. The partial omission seemed right in line with Ashbery.

Adam also shared the opening poem from his latest book, Stranger (Milkweed Editions, 2016). He told us the poem "speaks directly to Ashbery's poem 'The Room."

To Take Note of Where We Are

Plainly spoken, I am responding to you.

Despite our best efforts to will it shut,

the proof of the world’s existence

can best be seen in its insistence,

in its opening up. Should we get lost,

let us be lost in a familiar space, surrounded

by every motion of the unnamed and unseen

until the moment they appear. With the sofa

in a slightly different place this morning,

the room resembles a dream of the room:

the details remain present and realistic

while everything bends toward one wall

in particular. I know what you want,

but the wind will not concern itself with us.

~ ~ ~

Adam Clay’s most recent book is Stranger (Milkweed Editions, 2016). A fourth book, To Make Room for the Sea, is forthcoming from Milkweed Editions. His poems have appeared or are forthcoming in Ploughshares, Denver Quarterly, The Georgia Review, Tin House, Boston Review, jubilat, The Iowa Review, The Pinch, and elsewhere. He is editor-in-chief of Mississippi Review, a co-editor of TYPO Magazine, and a Book Review Editor for Kenyon Review. He teaches creative writing and literature at the University of Southern Mississippi. His website is http://www.adamclay.org

Thanks to Adam for sharing his tattoo and poem with us here on Tattoosday and the Tattooed Poets Project!

This entry is ©2018 Tattoosday. The poem and tattoo are reprinted with the poet's permission.

If you are reading this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.net and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.

Jeevika Verma - dark, darker (The Tattooed Poets Project)

Our next tattooed poet is Jeevika Verma (@_jeevika), who generously shared several tattoos with us. 

Photo via Instagram

 Jeevika tells us:

"I wrote a poem titled 'dark, darker' in Rome. It was the summer of 2016, and I was part of an intensive one-month creative writing program organized by the University of Washington. I’d spent the month thinking deeply about what it meant to delve deeper into the unknown, and how the truth often exists in what cannot be seen. Plus, I was one of the only POC in my program, and I was constantly aware of how my brownness played into my relationship with my classmates, and my relationship with Europe. I got this tattoo to commemorate my last day in Rome."

She also shared this shot from Instagram above her knee, "alluding to the bray of Sylvia Plath’s heart 'I am, I am, I am' ”:

Photo via Instagram

Jeevika also sent us this photo of her arm, which has several tattoos:

Jeevika elaborates about the four tattoos seen on her left arm above:

" 'this,' is the first tattoo I got. I got it at a shop in Mumbai when I was 18, and just about to start college. I designed it to make it look like it’s part of a larger sentence, like there’s something more to be said before and after the word. 'this,' reminds me to stay in the present. Plus, I love playing with the word 'this'. When people ask me what my favorite tattoo is, I point to it, and say 'this.'

Surrounded by 'this,' are all the the things that help me remember who I am. A full moon rules my zodiac sign, in Cancer. A prickly pear is my soul-plant. Two hands open like wings, together, but each a separate entity."

She credited Randi Ftizpatrick (@probmchild) at Osprey Tattoo (@ospreytattoo) in Seattle with the hands, MKNZ (@ruffenough) from Valentine's Tattoo (@valentinestattoo) in Seattle with the cactus, and Gia (@giactattoo) at Fatty's Tattoos (@fattystattoosandpiercings) in Washington, DC, with the moon tattoo.

Jeevika shared the following poem, "dark, darker," alluded to in the first tattoo above. It was first published in Cleaver Magazine on March 22, 2017:

dark, darker

when I frown

into this mirror

a depth takes

my forehead

inside there is a little white man

sitting straight

working hard

flipping through

pages used unused

these are records

of me fighting gravity

like that one time

I did not kneel before

him

should I find a floor that will not reflect

how my teeth have shattered against it for centuries

like that one time

should I lay a drape over my upright head

the white in my eye has grown very yellow anyway

but the shadow of the obelisk is bent this way

I could grab that neck

twist it so

all the white drips

out

folds

into my lap

and collects

like the sweat

on my bare brown back

away from the mirror

there is no white here

I know

~ ~ ~

Jeevika says we "can also find poet Nikesh Murali's beautiful reading of [the] poem here."

Jeevika Verma is a poet from India with a passion for radical honesty. She graduated from the University of Washington in December 2016 with a B.A. in Creative Writing. Before college, she lived in Cameroon (Yaoundé), which is where she founded her own creative-literary journal Creative Chaos. Her work has been featured in NPR, Kajal Magazine, Sentinel Literary Quarterly, Cleaver Magazine, Susie Magazine, and more. She also curated and edited the “Loving” Anthology, as well as five short zines, titled Turns, Cuts, Grate, Long Distance Newsletters, and Scale(s). Find Jeevika’s complete portfolio at jeevikav.com.

Thanks to Jeevika Verma for her contribution to the Tattooed Poets Project on Tattoosday!

This entry is ©2018 Tattoosday. The poem and tattoo are reprinted with the poet's permission.

If you are reading this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.net and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.

Helen's Reminder for One Wild and Precious Life

Earlier this year, I spotted a new tattoo on my friend Helen's Facebook feed. She was kind enough to share it with us:

The phrase "one wild and precious life" are the final five words in Mary Oliver's poem "The Summer Day":

The Summer Day

Who made the world?
Who made the swan, and the black bear?
Who made the grasshopper?
This grasshopper, I mean-
the one who has flung herself out of the grass,
the one who is eating sugar out of my hand,
who is moving her jaws back and forth instead of up and down-
who is gazing around with her enormous and complicated eyes.
Now she lifts her pale forearms and thoroughly washes her face.
Now she snaps her wings open, and floats away.
I don't know exactly what a prayer is.
I do know how to pay attention, how to fall down
into the grass, how to kneel down in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn't everything die at last, and too soon?
Tell me, what is it you plan to do
with your one wild and precious life?

~~~

from New and Selected Poems, 1992
Beacon Press, Boston, MA

Copyright 1992 by Mary Oliver.
All rights reserved

Poetry speaks to everyone differently, so I asked Helen why she chose to inscribe these words on her body. She replied:

"I really wanted to remind myself – to have a permanent reminder readily in view – to be present, to be grateful, to be living in the moment. These are things that I regularly do anyway, but I’ve ended up in a number of quite challenging circumstances recently and was VERY depressed and really losing perspective...and it just came to me one afternoon that having this on me, in that type of font, right in the place where my pulse is taken, would be the perfect thing. Also, I had it done right before the Spring Equinox – I wanted to start new, like spring, like growth, like hope, like guess what everything comes back around and it’s all there even when you can’t see it, like seeds buried beneath the snow and the frozen ground... everything is not dead, there’s still hope, and time is fleeting and you better effing rise up and live again."

The font used is Courier and the words were inked by Berger (@tattooingbyberger) at Artful Dodger Tattoo and Comics (@adtcseattle) in Seattle.

You can hear Mary Oliver read in the recording below:

Thanks to Helen for sharing her awesome literary tattoo with us here on Tattoosday!

This entry is ©2017 Tattoosday.

If you are seeing this on another website other than Tattoosday, without attribution, please note that it has been copied without the author's permission and is in violation of copyright laws. Please feel free to visit http://tattoosday.blogspot.com and read our original content. Please let me know if you saw this elsewhere so I contact the webmaster of the offending site and advise them of this violation in their Terms of Use Agreement.