The March issue of Inked Mag is out now and, as Marisa has previously pointed out, along with featuring beautiful heavily tattooed women in lesser and lesser states of undress, there are occasionally some righteous articles written by some or one of these here contributors on N+S.

John Mack is back with another story about getting tattooed by Horiyoshi III over the course of nine years. Check out his previous posts:  Part I Part II, Part III, Part IV, Part V, and Part VI.


During the first years of my visits to Horiyoshi III, all manner of tattoo devotees were constantly present: foreign and domestic apprentices, Horiyoshi's clients, Horitomo and his clients, journalists, even graduate students researching their masters thesis or doctoral dissertation.

Quite a few of the apprentices and clients I recognized from photographs in the various books about Horiyoshi's work. This photo of was taken by Mr. Handa, who appeared in Takahiro Kitamura's book Bushido: Legacies of Japanese Tattoo. This book influenced my tattoo choices, and here was one of the characters from the book taking pictures of my tattoos! What a role reversal. [See a larger image of the above on Flickr.]

Everyone took advantage of the opportunity to brandish their tattoos. Japanese of many occupations change clothes for work, which allowed the apprentices to show more skin, and of course we clients had to expose our tattoos. Outside the studio, tattoos could be displayed only at public baths and once a year at festivals, so this was a welcome respite from the disapproval lurking out there in the real Japan.

Everyone was polite, yet quite interested to see each others tattoos in progress. When I undressed, those present would take the opportunity to scrutinize me. Privacy was not a part of this experience. Nonetheless, I became accustomed to it, and I too was able to observe many superb tattoos.


Around 2007, the scene changed. The hangers-on were gone, and Horiyoshi and I were regularly alone during my appointments. Journalists, sensing the the opportunity to record the end of an era, descended on the studios, where Horiyoshi welcomed them. I found it interesting to listen in on the interviews and even got the opportunity to comment myself.

Once in 2008, I arrived at the tiny Isecho studio to find it jammed with photographic equipment, a columnist for Tattoo Master magazine, an interpreter and a photographer. They took this fine cover photo for the Spring 2009 issue right there in that tiny room.

The mix of clients has changed over the years as well. In the early years of my experience, most appeared to be construction tradesmen, followed by non-Japanese, then Yakuza.

In 2009, I mentioned these changes in clientele to Horiyoshi and asked about the current mix. He gave the following estimate by profession:

• * 60% Craftsmen and tradesmen. I found that many of these clients were themselves tattooists.

• * 10% Yakuza.; Horiyoshi added that there are other tattoo artists whose clientele is almost entirely Yakuza.

• * 30% Other.  "You're in this category, John-san," he told me with a grin.

As for nationality, 30-50% are non-Japanese. "In fact, today all appointments are with foreigners," Horiyoshi commented one Saturday in 2009.

Rather than the mark of the Yakuza, these days a traditional Japanese bodysuit just might be the mark of a "foreigner."

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Horiyoshi's practice is now limited to finishing existing clients' tattoos. As I have repeatedly witnessed, all new clients are politely referred elsewhere.

Last month, I put out a call for skull and heart tattoos for a spread in my next tattoo book, and here's just a taste of what I received:  These Tibetan skulls above tattooed by Bill Canales of Full Circle Tattoo in Ocean Beach, Ca.

I know. Amazing, right?!!

See full size images of the tattoos on Flickr here and here. As an added bonus, the backpiece was documented by Michael Flores, director and cinematographer for Mad Media. Check his video montage below or watch it on Vimeo here. [The Kings of Leon song is an inside joke.]
 


Naturally, I had to find out more about these two pieces created on Bill's clients David and Denny. The images were submitted by Full Circle shop manager and Bill's apprentice James Tran -- who has a kick-ass blog -- so I asked James to tell me more about the tattoos. Here's what he said:

"Both David and Denny are good friends of mine, and after these tattoos, they became close with Bill. The pieces had started in late March of 2009, and both guys wanted to get their pieces done as soon as possible. Because we had planned this venture out a few months ago, Bill was able to schedule David and Denny to be tattooed two weeks between each session with a few sessions only a week a part. David originally wanted a Tibetan skull, while Denny requested a dragon back piece. Yet they also wanted a different element to be included in their work. After some thought and consideration, they had decided to get both a dragon and a Tibetan skull -- of course done differently.

Everyone in this project understood this was going to be a grueling venture. David was already heavily tattooed with his back and arms finished, while Denny only had his first tattoo on his lower leg by Bill, not even an entire year earlier. I was there for every session for both guys. There were no easy days; every session was a test for both David and Denny, and Bill as well.

David's tattoo was finished earlier than Denny's -- his entire chest and stomach took only 25 painful hours to complete -- while Denny's back lasted 35 hours. Interestingly enough, Denny had almost every session professionally recorded by our talented friend Mike Flores, for what was originally a small side project that is becoming a short documentary about the entire tattoo process.

Denny's back tattoo was actually finished at the Ink-N-Iron Long Beach Convention in June of 2009, a little over 2 months after the tattoo started. This is also where both gentlemen won their first tattoo convention awards:  Denny took home the Best Back Piece award and David claimed the Best Japanese Tattoo award.

For me, the best part about this story was that my close friends became close friends with each other. After so many hours of pain and laughter, blood and ink, a bond is often formed between tattooer and client. And this is true for both David and Denny, who are now great friends bonded by ink with my friend and mentor, Bill Canales. Things like this become a life long endeavor, and to me, the amazing people I meet through tattooing is what makes it all matter."

Here's John Mack with another story about getting tattooed by Horiyoshi III over the course of nine years. Check out his previous posts:  Part I,  Part II, Part III, Part IV, and Part V.


The client before me inspected his freshly colored skin in the mirror while gingerly dabbing it with a tissue. He and Horiyoshi III were discussing the motivation for getting tattooed as I listened with interest. I understood the main idea, but I knew there was more. So the next chance I got, I asked him for clarification. Here is what he said:

We get tattooed for our own self satisfaction, but just like any social animal, people crave having an impact on others.  When your tattoos are recognized by other people, you see their reaction, which in turn makes you feel good.  If you lived alone on a deserted island where nobody else could see your tattoos, then they would be much less interesting.

It's just like anything else in life.  We do things like work primarily to support ourselves, but we also live in a society, where we like to see our career success recognized by others.

This opportunity to ask a master at the top of his craft anything I want has been one of the supreme pleasures of my life.

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Horiyoshi's practice is now limited to finishing existing clients' tattoos.  As I have repeatedly witnessed, all new clients are politely referred elsewhere.

John Mack is back with another story about his experience getting tattooed by Horiyoshi III over the course of nine years. The image above was taken after one of his earlier sessions. Check out his previous posts:  Part I,  Part II, Part III, and Part IV.


As I mention at the end of every post, Horiyoshi III's practice is now limited to finishing existing tattoos. Once it became apparent that the master will be retiring, his clients have come out of the woodwork.

Every time I go to Japan, one or two people show up and display an incomplete tattoo, asking to get on the schedule to have it finished. Most stopped at completion of sujibori, the outline.  I have never seen any of them refused, as long as they make their appointments three to four months in advance.

"They just keep on coming," said Horiyoshi when I asked about it.  "I've tattooed about 2000, no, 3000 people, and there would have not been time to start so many had everyone completed their tattoos." There are lots of unfinished Horiyoshi III tattoos out there.

I nervously asked whether I would be able to finish. "You're fine, John-san,"  he reassured me.  He and I both know what finished means, and I'm going for it.

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Horiyoshi's practice is now limited to finishing existing clients' tattoos.  As I have repeatedly witnessed, all new clients are politely referred elsewhere.

Here's another great tattoo anecdote by guest blogger John Mack, an American who has been getting tattooed by Horiyoshi III for nine years. Check out his previous posts:  Part I,  Part II,
and Part III.


Before sharing these stories here, I first related them to Horiyoshi III to make sure he felt they were accurate and appropriate for blogging. I also suggested topics that would be off limits, but he waived these restrictions and encouraged me to share all my experiences.

Horiyoshi had forgotten, or simply didn't notice, many of the events I found memorable. Telling my Horiyoshi stories to Horiyoshi himself was fun for both of us. Today's anecdote is the one that seemed to amuse him the most.

Around 2006, a foreigner was getting tattooed by Horiyoshi. In the West, it's customary for the client to receive detailed aftercare instructions, and so after his session, the foreigner looked puzzled when Horiyoshi finished without saying anything. Realizing it wasn't going to be offered, the client specifically requested instructions on how to take care of his new tattoo.

Horiyoshi replied in English, "Don't touch." 

It seems the Master (like our Editrix) subscribes to the LITFA school of tattoo aftercare.

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Horiyoshi's practice is now limited to finishing existing clients' tattoos.  As I have repeatedly witnessed, all new clients are politely referred elsewhere.

As a NYC based denizen, I've frequented a few (but not many) tattoo studios in the five boroughs. One of the best studios I feel is Three Kings Tattoo situated at the corner of McCarren Park in Greenpoint, Brooklyn.

Unfortunately, one of the artists- Matty No Times has been out of commission for the past few months.

From their news section: 'as i think most of you know, matty has been out of commision for the past few months. matt is waiting for a liver transplant and though he has been in and out of the hospital for the past 4 months, his spirits are high. we've all got our fingers crossed that his new liver will arrive soon and he can get back in the chair, but for the time being, he needs some help. like most tattooers, matt didnt have insurance and has a pretty hefty medical bill in front of him right now. he is also engaged to be married to a great woman, who also has an 8 year old daughter, so money is pretty tight for him right now. if you can help at all, you can donate to his paypal address

Mattienottimes00@hotmail.com

and come to his benefit show on january 29th. Gospel is playing for the first time in years, drunkdriver and tournament are both coming out to raise money, and i hope you will too. there will be posters for sale, t-shirts for sale, and hopefully a bunch more benefit shows and art auctions. thanks for all your help

I was lucky enough to be tattooed by Matty during their Friday the 13th Zombie special last March. He was the first artist in the past year to start tattooing my legs.

Every little bit helps- whether it be a small donation, a t-shirt (only $20!) or just coming out to the show...

Editor's Note: In our survey, many of you wanted to read more personal experiences from other tattooed readers:  not the reality show "every tattoo has a meaning" thing but stories on creating the design, choosing the tattooist, the vibe of the shop, the artist's bedside manner, plus any fun anecdotes. Well, I've got something gooood for you. In a weekly series, guest blogger John Mack shares his stories on getting tattooed by Japanese master, Horiyoshi III. Here is Part 1.

By John Mack

I've been getting tattooed by Horiyoshi III for nine years now. Originally attracted by his first class tattooing, I also had the pleasure of getting to know a fascinating and intelligent individual. I've experienced a side of Japanese society that I otherwise would not have encountered. This has been by far the most interesting application of my Japanese language skills.

Getting tattoos all over your body is never boring, but an unexpected bonus has been the amusing anecdotes I've accumulated. I'd like to share some of them with you. I'll start with how I met Horiyoshi III and how I chose him to transform my skin.

I had admired tattoos since I was a boy and had dabbled in hidden tattoos. In 2000, I decided that at last it was time to go big with a backpiece. I began my search for a local San Francisco artist skilled in Japanese style tattooing, but Japanese style was not enough. For me, Japan itself was an essential component of this adventure. I decided to go directly to the source of the art form.

On my next trip to Japan, I interviewed two artists. My first consultation was with Horitoshi, whose art I had long admired. I arrived punctually for my appointment. An apprentice greeted me at the door. I was cordially invited to sit down to discuss to the tattoo. The apprentice brought us tea. I held forth in my most formal Japanese. Horitoshi responded in kind. Now this was first class. They made the people at Brooks Brothers look like fishmongers.

I explained that on my back I wanted a traditional dragon with black scales, red belly and yellow dorsal fins. He examined my back, took careful notes and agreed to tattoo a dragon on me. Horitoshi was not just Japanese style, this man was the real thing--a first class craftsman with impeccable etiquette.

The other consultation was with Horiyoshi III. He told me to just show up any time. Such informality is so uncharacteristic in Japan that I called a few minutes before my arrival to make sure it really was okay. When I arrived at the Noge studio, he was tattooing a client. The client did not seem to mind my intrusion; I myself would later come to welcome the diversion provided by such visitors. Horiyoshi listened to my plans as he worked. During his next break, Horiyoshi took a brief yet thoughtful look at my back and agreed to tattoo me. Horiyoshi had that rare balance of familiarity and formality, confidence and humility possessed only by those few who are accomplished and intelligent, while also managing to be pleasant people.

Success. My top two choices in the world of tattooing had agreed to accept me as a client. Both men were professionals I could trust. I liked both Horitoshi's more muted and traditional work, and also Horiyoshi's louder, evolved yet traditional style. Either way, I was in for a sublime tattoo experience.

In the end, the tiebreaker was not skill or style, but location. Getting tattooed requires a huge time commitment, and Horiyoshi's Yokohama studios were more convenient. The three-hour round trip to Horitoshi's studio from my usual base of operations was too much. Ironically, I once lived just down the street from Horitoshi's studio. Too bad I missed him then.

Having made my decision, it was time for action. I'll tell you about the first tattoo session with Horiyoshi III in my next guest post.

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Horiyoshi's practice is now limited to finishing existing clients' tattoos. People are no longer welcome to just show up at his studio without an invitation. As I have repeatedly witnessed, all new clients are politely referred elsewhere.