Wednesday, January 20, 2016

Session #29: Color! (NYC)

How do you color in a coloring book? How do you choose which areas to do first? What colors?

At today's appointment, after I got changed and walked over to the tattooing area, I saw Shinji had yellow, orange, and red inks in cups, ready to go. "We're doing flames today?" I asked. "Yes!" said Shinji, almost as excited as I was. Today was the day we started with color.

Shinji started straight away right under the left butt cheek. Fuck! I had forgotten how much that area hurts. Less than an hour later he had swing around the whole cheek, and was up by my ribs. He's making great progress, I thought. We'll be done these flames in no time.

It was only when we took a break, and I looked down, that I realized he had just done just the yellow tips of the flames. Crap! It was after that, for the next hour and a half, that he went back over the same area and colored in the reddish orange.

How do you color in a coloring book? I found myself wondering, as he worked. I suppose you do fill in one color, with one crayon, before switching to another color. It doesn't make sense to switch off between each color for each flame, does it....




Session #28 (NYC)

From December, 2015: the last of the black.



Thursday, November 12, 2015

Session #27 (NYC)

"It's been three years." Shinji said as I was getting dressed. This was in answer to the question that is usually asked by one of us, rhetorically (mostly), at the end of my appointments: "How long has it been?" “How long does it usually take other people,” I asked. “Most people do maybe two appointments a month,” Shinji said. “So maybe a year and a half?” So I spent the bus ride home going through the photos on my laptop, organizing my tattoo shots into an album—in part to see how long it’s really been.

The photo at left is dated March 6, 2013, when I first visited Shinji and he drew on my back. The second is from April 26, when he started the tattoo. So it’s been closer to two and a half years.


Today Shinji worked on my left shoulder, and continued farther down my back. I had a longer appointment today—almost three hours—and I have extra time allotted for December’s session too. We’re working to finish the black background by the year’s end. Except for several longer appointments in the beginning, I’ve been averaging one two-hour appointment per month. Since this is my twenty-seventh appointment, that brings the total number of hours to about thirty. Halfway there—maybe?



Wednesday, October 28, 2015

Session #26 (NYC)

"Almost done?" I asked, joking with Shinji at the end of our appointment. "Almost done black," he said, smiling.

As I was dressing, he looked over my back. "Maybe two... two-and-a-half appointments to finish black." We scheduled my next two visits—in November and December—and slotted me in for 2 1/2 hours instead of the normal two. We're going to finish the background this year—and start 2016 with color!



Friday, September 18, 2015

Session #25: "Your Hair is Strong!" (NYC)


"Your hair is... strong!" Shinji said, and laughed. He was shaving my right shoulder, prepping the skin for where he was doing to work today.

When people ask about where I'm "from"—meaning where my ancestors came from—I tell them I'm "7/8 German." Of my great-grandparents, seven out of eight of them were first or second-generation German immigrants, with one marrying a Brit—or so my parents tell me. This means: the older I get, the more hair I get on my back.

I run clippers over the hair on my back before each appointment. (Usually with help to get the hard-to-reach spots.) I can usually guess what areas Shinji will be working on at the next appointment. This time I guessed wrong. Instead of starting to work up from my left hip (where there is still a good bit to do) he continued on my right shoulder, connecting my back to the work on my arm done by Horiyoshi 3.

I do wonder how my dragon will look when my hair grows in, when I'm not as fastidious about maintaining the growth on my Germanic back. I wonder how it looks too; the Japanese half-suit on the blond guy. Cultural appropriation aside: The blond hair, the freckles; how does it look with such heavy black, such solid coverage; the design coming from over a hundred years of Japanese tattooing tradition of being put on less pale, less hairy skin, framed by black body and head hair?

I have a lot of time to ponder thoughts like these as I'm getting tattooed.

Session #24 (NYC)

I'm on my way to an appointment today, and I still haven't uploaded shots from last session, from August 25. I didn't get a lot of coverage on that visit, but Shinji did work his way up my left side working on clouds--and he started to connect the shading in my back with some of the background on my arms. Exciting!


Wednesday, July 15, 2015

Horiyoshi 3 mini-doc, from VICE


VICE magazine recently published a mini-doc on Horiyoshi 3. He's the artist I was tattooed by in Yokohama, Japan. Over several visits and several years he worked on my right arm and chest.

My favorite part of the video is when they ask him about his master, Horiyoshi 1. He says, "When I asked him a question, he'd just reply with 'mmm.' From that 'mmm,' I had to figure out what he was trying to say. 'Mmm?' or 'mmm...' There'd be different tones."


Thursday, July 02, 2015

Session #23 (NYC)


When I arrived for this month's appointment, Shinji was listening to NPR streaming radio when I arrived—at least it sounded like NPR, with the smooth "mentholated" voice reporting the news; it turned out to be WNYC, reporting on national and local news. As I undressed, donned my fundoshi, and laid down on the table, the broadcast focused on the political situation around the Confederate flag, the actions and debate around it’s removal from capital buildings in several Southern states, and what that means for race relations in this country.

Much like when Shinji and I talked about American jazz after one of my earlier appointments, as I was getting tattooed I began to think about what he would think about this debate, as someone from Japan? The long history of race issues in this country are difficult to contextualize for someone from outside this country—or would it be easier for someone from outside the U.S., with no preconceived ideas or… prejudices?

Historically, the Japanese have had their own screwed-up ideas about race. (The historical treatment of the Burakumin are one example.) It has traditionally been the opinion of the Japanese that, unlike us here in the United States, they don’t deal with racial tension, as their population is uniquely homogenous. This has long been a popularly-held belief, despite time and again being shown to not be the case. How does coming from that history frame an understanding of what we, as a country, are dealing with?

After a while, the talk about the confederate flag went to discussing Obama’s recently-televised eulogy of Reverend Pinckney, slain at the Charleston church shooting. “It seems Obama spends more time addressing his congregation than his constituents,” pondered one of the guests. “Well he was giving a eulogy, in a church….” replied the host. Unless you’re familiar with the sermons of the South, and traditionally Black churches in particular, how would someone know when Obama was code-switching between his black and white audience?

The program then went on to cover Chris Christie’s announcement that he will be campaigning for President. How do you explain Christie? His Blue-collar message of “work hard, and you will succeed” message, coupled with references to how “runaway entitlements” are crippling the country financially; the discussion of him in the “Guiliani” model, and how that may be a hard image to sell outside the Northeastern U.S. How do you give that a context?

After this was an interview with presidential once-hopeful Gary Hart, discussing his new book and lamenting the current state of politics—and lobbying, in particular. “I’m a student of history, but I’m no Arthur Schlesinger,” he said, when discussing the sense of disappointment that he felt Jefferson, Madison, and Adams would have toward our current, corrupt political system. “Well, I’m a student of Japan, but I’m no Donald Richie,” I thought, as I pondered more about what Shinji must think about American politics.

After that was in interview with the director of the new documentary Cartel Land, about vigilante groups from the U.S. going after the drug cartels in Mexico. What would a Japanese person think of all this, coming from a country that doesn’t have a drug problem—because they don’t really have a culture of illegal, recreational drug use? 

In the end, it really wasn’t, or isn’t, about what Shinji thought about all this, but about how hard it is to really make sense of it all with context—but especially without.

And my tattooing sucked today. The ribs were worse than expected. And there was a woman with rage-fueled Tourette's on the bus on the way back, which made the ride home all the more interesting.

Sunday, June 07, 2015

Session #22 (May 19 in NYC)





Session #21 (April 15 in NYC)



I really need to write my updates on the day of my appointments. It’s just true they are all starting to blur together, one is very much similar to the next.

Not too much new on this session: YoBus cancelled most of their service (except for weekends), so I’m back to taking the regular Chinatown bus. It’s pretty much the same, except for the absence of Wi-Fi service—making timely updates even more difficult to accomplish.

After my appointment, I raced over to the New Museum in Brooklyn to see the 2015 Triennial exhibit—acttually, it wasn’t the exhibit I really wanted to see; it was specifically the Juliana Huxtable sculpture. The museum was close to my appointment, so I decided to head over there before my other meeting in the city.

I didn’t realize it was such a large exhibit, in such a large space. I only had about 15 minutes to spare—30, if I was ok with being late to my appointment—which was a shame, as the museum was large enough to spend the afternoon in, browsing the rough the exhibits. Regardless, I paid for a ticket, and searched out the piece I wanted to see.

I won’t go into detail describing Juliana or her work, as you can read much better analysis elsewhere What resonated with me was, through her work on presentation and identity, she was able to create herself, to build herself. This is (to a lesser extent, admittedly), what I’m doing—building the person I want to be.


In other news, I asked Shinji if he would tattoo my upper left arm, if I got the VU tattoo lazer-lightened. He said yes, without any real hesitation. When I asked him about this years ago, he was much less encouraging. Progress?