Download for Free 2.6 Million Images from Books Published Over Last 500 Years on Flickr

flickr archive globe

Thanks to Kalev Lee­taru, a Yahoo! Fel­low in Res­i­dence at George­town Uni­ver­si­ty, you can now head over to a new col­lec­tion at Flickr and search through an archive of 2.6 mil­lion pub­lic domain images, all extract­ed from books, mag­a­zines and news­pa­pers pub­lished over a 500 year peri­od. Even­tu­al­ly this archive will grow to 14.6 mil­lion images.

This new Flickr archive accom­plish­es some­thing quite impor­tant. While oth­er projects (e.g., Google Books) have dig­i­tized books and focused on text — on print­ed words — this project con­cen­trates on images. Lee­taru told the BBC, “For all these years all the libraries have been dig­i­tiz­ing their books, but they have been putting them up as PDFs or text search­able works.”  â€śThey have been focus­ing on the books as a col­lec­tion of words. This inverts that.”

flicker reo speedwagon

The Flickr project draws on 600 mil­lion pages that were orig­i­nal­ly scanned by the Inter­net Archive. And it uses spe­cial soft­ware to extract images from those pages, plus the text that sur­rounds the images. I arrived at the image above when I searched for “auto­mo­bile.” The page asso­ci­at­ed with the image tells me that the image comes from an old edi­tion of the icon­ic Amer­i­can news­pa­per, The Sat­ur­day Evening Post. A relat­ed link puts the image in con­text, allow­ing me to see that we’re deal­ing with a 1920 ad for an REO Speed­wag­on. Now you know the ori­gin of the band’s name!

venice flickr

I should prob­a­bly add a note about how to search through the archive, because it’s not entire­ly obvi­ous. From the home page of the archive, you can do a key­word search. As you’re fill­ing in the key­word, Flickr will autopop­u­late the box with the words “Inter­net Archive Book Images’ Pho­to­stream.” Make sure you click on those autopop­u­lat­ed words, or else your search results will include images from oth­er parts of Flickr.

Or here’s an eas­i­er approach: sim­ply go to this inte­ri­or page and con­duct a search. It should yield results from the book image archive, and noth­ing more.

In case you’re won­der­ing, all images can be down­loaded for free. They’re all pub­lic domain.

More infor­ma­tion about the new Flickr project can be found at the Inter­net Archive.

In the relat­eds below, you can find oth­er great image archives that recent­ly went online.

flicker gall

via the BBC and Peter Kauf­man

Relat­ed Con­tent:

Fol­ger Shake­speare Library Puts 80,000 Images of Lit­er­ary Art Online, and They’re All Free to Use

The Met­ro­pol­i­tan Muse­um of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

New York Pub­lic Library Puts 20,000 Hi-Res Maps Online & Makes Them Free to Down­load and Use

The British Library Puts 1,000,000 Images into the Pub­lic Domain, Mak­ing Them Free to Reuse & Remix

The Rijksmu­se­um Puts 125,000 Dutch Mas­ter­pieces Online, and Lets You Remix Its Art

Where to Find Free Art Images & Books from Great Muse­ums, and Free Books from Uni­ver­si­ty Press­es

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Charles Schulz Draws Charlie Brown in 45 Seconds and Exorcises His Demons

Would that we had a dime for every car­toon­ist whose course was chart­ed hap­pi­ly copy­ing Charles Schulz’s sem­i­nal strip, Peanuts, while oth­er, more ath­let­ic chil­dren played togeth­er in the fresh air and sun­shine.

Such admis­sions pro­lif­er­ate in inter­views and blog posts. They’re near­ly as numer­ous as the online tuto­ri­als on draw­ing such beloved Peanuts char­ac­ters as Wood­stock, Linus Van Pelt, and Schulz’ sad sack stand-in Char­lie Brown.

The short video above melds the edu­ca­tion­al ease of a YouTube how-to with the self-direct­ed, per­haps more artis­ti­cal­ly pure aspects of the pre-dig­i­tal expe­ri­ence, as Charles Schulz him­self pen­cils Char­lie Brown seat­ed at Schroeder’s toy piano in well under a minute.

You’ll have to watch close­ly if you want to pick up Sparky’s step-by-step tech­nique. There are no geo­met­ric point­ers, only a spir­i­tu­al dis­clo­sure that “poor old Char­lie Brown” was a scape­goat whose suf­fer­ing was com­men­su­rate with that of his cre­ator.

His voiceover down­grades the psy­chic pain to the lev­el of lost golf and bridge games, but as car­toon­ist and for­mer Peanuts copy­ist Bill Wat­ter­son, cre­ator of Calvin and Hobbes, point­ed out in a 2007 review of David Michaelis’ Schulz biog­ra­phy, Schulz’s unhap­pi­ness was deep seat­ed:

Schulz always held his par­ents in high regard, but they were emo­tion­al­ly remote and strange­ly inat­ten­tive to their only child. Schulz was shy and alien­at­ed dur­ing his school years, retreat­ing from near­ly every oppor­tu­ni­ty to reveal him­self or his gifts. Teach­ers and stu­dents con­se­quent­ly ignored him, and Schulz nursed a life­long grudge that so few attempt­ed to draw him out or rec­og­nized his tal­ent…

Once he final­ly achieved his child­hood dream of draw­ing a com­ic strip, how­ev­er, he was able to expose and con­front his inner tor­ments through his cre­ative work, mak­ing inse­cu­ri­ty, fail­ure and rejec­tion the cen­tral themes of his humor. Know­ing that his mis­eries fueled his work, he resist­ed help or change, appar­ent­ly pre­fer­ring pro­fes­sion­al suc­cess over per­son­al hap­pi­ness. Des­per­ate­ly lone­ly and sad through­out his life, he saw him­self as “a noth­ing,” yet he was also con­vinced that his artis­tic abil­i­ty made him spe­cial.

Good grief. I have a hunch none of this found its way into the life­long workaholic’s own guide to draw­ing Peanuts char­ac­ters. It’s not a secret, how­ev­er, that a dark side often comes with the ter­ri­to­ry as a slew of recent auto­bi­o­graph­i­cal graph­ic nov­els from those drawn to the pro­fes­sion will attest.

Via Kot­tke

Relat­ed Con­tent:

Watch the First Ani­ma­tions of Peanuts: Com­mer­cials for the Ford Motor Com­pa­ny (1959–1961)

The Con­fes­sions of Robert Crumb: A Por­trait Script­ed by the Under­ground Comics Leg­end Him­self (1987)

New York­er Car­toon Edi­tor Bob Mankoff Reveals the Secret of a Suc­cess­ful New York­er Car­toon

23 Car­toon­ists Unite to Demand Action to Reduce Gun Vio­lence: Watch the Result

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Folger Shakespeare Library Puts 80,000 Images of Literary Art Online, and They’re All Free to Use

TheLondonStage

Has a writer ever inspired as many adap­ta­tions and ref­er­ences as William Shake­speare? In the four hun­dred years since his death, his work has pat­terned much of the fab­ric of world lit­er­a­ture and seen count­less per­mu­ta­tions on stage and screen. Less dis­cussed are the visu­al rep­re­sen­ta­tions of Shake­speare in fine art and illus­tra­tion, but they are mul­ti­tude. In one small sam­pling, Richard Altick notes in his exten­sive study Paint­ings from Books, that “pic­tures from Shake­speare account­ed for about one fifth—some 2,300—of the total num­ber of lit­er­ary paint­ings record­ed between 1760 and 1900” among British artists.

FolgerMidsummer

In the peri­od Altick doc­u­ments, a rapid­ly ris­ing mid­dle class drove a mar­ket for lit­er­ary art­works, which were, “in effect, exten­sions of the books them­selves: they were detached forms of book illus­tra­tion, in which were con­stant­ly assim­i­lat­ed the lit­er­ary and artis­tic tastes of the time.”

These works took the form of humor­ous illustrations—such as the As You Like It-inspired satir­i­cal piece at the top from 1824—and much more seri­ous rep­re­sen­ta­tions, like the undat­ed Cur­ri­er & Ives Midsummer-Night’s Dream lith­o­graph above. Now, thanks to the Fol­ger Shake­speare Library, these images, and tens of thou­sands more from their Dig­i­tal Image Col­lec­tion, are avail­able online. And they’re free to use under a CC BY-SA Cre­ative Com­mons license.

RichardIIICostume

As Head of Col­lec­tion Infor­ma­tion Ser­vices Erin Blake explains, “basi­cal­ly this means you can do what­ev­er you want with Fol­ger dig­i­tal images as long as you say that they’re from the Fol­ger, and as long a you keep the cycle of shar­ing going by freely shar­ing what­ev­er you’re mak­ing.” The Folger’s impres­sive repos­i­to­ry has been called “the world’s finest col­lec­tion of Shakespere­an art.” As well as tra­di­tion­al paint­ings and illus­tra­tions, it includes “dozens of cos­tumes and props used in nine­teenth-cen­tu­ry Shake­speare pro­duc­tions,” such as the embroi­dered vel­vet cos­tume above, worn by Edwin Booth as Richard III, cir­ca 1870. You’ll also find pho­tographs and scans of “’extra-illus­trat­ed’ books filled with insert­ed engrav­ings, man­u­script let­ters, and play­bills asso­ci­at­ed with par­tic­u­lar actors or pro­duc­tions; and a great vari­ety of sou­venirs, com­ic books, and oth­er ephemera asso­ci­at­ed with Shake­speare and his works.”

FolgerFuseli

In addi­tion to illus­tra­tions and mem­o­ra­bil­ia, the Fol­ger con­tains “some 200 paint­ings” and draw­ings by fine artists like “Hen­ry Fuseli, Ben­jamin West, George Rom­ney, and Thomas Nast, as well as such Eliz­a­bethan artists as George Gow­er and Nicholas Hilliard.” (The strik­ing print above by Fuseli shows Mac­beth’s three witch­es hov­er­ing over their caul­dron.) Great and var­ied as the Folger’s col­lec­tion of Shake­speare­an art may be, it rep­re­sents only a part of their exten­sive hold­ings. You’ll also find in the Dig­i­tal Images Col­lec­tion images of antique book­bind­ings, like the 1532 vol­ume of a work by Agrip­pa von Nettescheim (Hein­rich Cor­nelius), below.

Folger1532Binding

The col­lec­tion’s enor­mous archive of 19th cen­tu­ry prints is an espe­cial treat. Just below, see a print of that tow­er of 18th cen­tu­ry learn­ing, Samuel John­son, who, in his famous pref­ace to an edi­tion of the Bard’s works declared, “Shake­speare is above all writ­ers.” All in all, the immense dig­i­tal col­lec­tion rep­re­sents, writes The Pub­lic Domain Review, “a huge injec­tion of some won­der­ful mate­r­i­al into the open dig­i­tal com­mons.” Already, the Fol­ger has begun adding images to Wiki­me­dia Com­mons for use free and open use in Wikipedia and else­where on the web. And should you some­how man­age, through some vora­cious feat of dig­i­tal con­sump­tion, to exhaust this trea­sure hold of images, you need not fear—they’ll be adding more and more as time goes on. Enter the col­lec­tion here.

FolgerDrJohnson

via The Pub­lic Domain Review

Relat­ed Con­tent:

Read All of Shakespeare’s Plays Free Online, Cour­tesy of the Fol­ger Shake­speare Library

The Met­ro­pol­i­tan Muse­um of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

Down­load 35,000 Works of Art from the Nation­al Gallery, Includ­ing Mas­ter­pieces by Van Gogh, Gau­guin, Rem­brandt & More

Free Online Shake­speare Cours­es: Primers on the Bard from Oxford, Har­vard, Berke­ley & More

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The ABCs of Dada Explains the Anarchic, Irrational “Anti-Art” Movement of Dadaism

If asked to explain the art move­ment known as Dada, I’d feel tempt­ed to quote Louis Arm­strong on the music move­ment known as jazz: “Man, if you have to ask, you’ll nev­er know.” But maybe I’d do bet­ter to sit them down in front of the half-hour doc­u­men­tary The ABCs of Dada. They may still come away con­fused, but not quite so deeply as before — or maybe they’ll feel more con­fused, but in an enriched way.

Even the video, which gets pret­ty thor­ough about the ori­gins of and con­trib­u­tors to Dada, quotes heav­i­ly from the rel­e­vant Wikipedia arti­cle in its descrip­tion, fram­ing the move­ment as “a protest against the bar­barism of World War I, the bour­geois inter­ests that Dada adher­ents believed inspired the war, and what they believed was an oppres­sive intel­lec­tu­al rigid­i­ty in both art and every­day soci­ety.” They came to the con­clu­sion that “rea­son and log­ic had led peo­ple into the hor­rors of war, so the only route to sal­va­tion was to reject log­ic and embrace anar­chy and irra­tional­i­ty.” So there you have it; don’t try to under­stand.

Per­haps you remem­ber that vin­tage Onion arti­cle, “Repub­li­cans, Dadaists Declare War on Art,” sat­i­riz­ing, among oth­er things, the way pro­po­nents of Dada called its fruit not art, but “anti-art.” They made it delib­er­ate­ly mean­ing­less where “real” art strove to deliv­er mes­sages, delib­er­ate­ly offen­sive where it strained to appeal to com­mon sen­si­bil­i­ties. The ABCs of Dada exam­ines Dada through a great many of these Dadaists them­selves, such as Sophie Taeu­ber-Arp, a teacher and dancer forced to wear a mask for her Dada activ­i­ties due to the group’s scan­dalous rep­u­ta­tion in the acad­e­my; archi­tect Mar­cel Jan­co, who remem­bers of the group that “among us were nei­ther blasĂ© peo­ple nor cyn­ics, actors nor anar­chists who took the Dada scan­dal seri­ous­ly”; and “Dada-mar­shal” George Grosz, who declared that “if one calls my work art depends on whether one believes that the future belongs to the work­ing class.” You can find fur­ther clar­i­fi­ca­tion among UBUwe­b’s col­lec­tion of Dada, Sur­re­al­ism, & De Sti­jl Mag­a­zines, such as Zurich’s Cabaret Voltaire and Berlin’s Der Dada. Or per­haps you’ll find fur­ther obfus­ca­tion, but that aligns with the Dada spir­it — in a world that has ceased to make sense, so the Dadaists believed, the duty falls to you to make even less.

Relat­ed Con­tent:

William S. Bur­roughs on the Art of Cut-up Writ­ing

Anémic Ciné­ma: Mar­cel Duchamp’s Whirling Avant-Garde Film (1926)

Man Ray and the Ciné­ma Pur: Four Sur­re­al­ist Films From the 1920s

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

5‑Minute Animation Maps 2,600 Years of Western Cultural History

Work­ing with his col­leagues, Max­i­m­il­ian Schich, an art his­to­ri­an at the Uni­ver­si­ty of Texas at Dal­las, took Free­base (Google’s “com­mu­ni­ty-curat­ed data­base of well-known peo­ple, places, and things”) and gath­ered data on 150,000 impor­tant artists and cul­tur­al fig­ures who lived dur­ing the long arc of West­ern his­to­ry (6oo BCE to 2012). The schol­ars then mapped these fig­ures’ births and deaths (blue=birth, red=death) and traced their move­ments through time and place. The result is a 5‑minute ani­ma­tion (above), show­ing how the West­’s great cul­tur­al cen­ters shift­ed from Rome, even­tu­al­ly to Paris (cir­ca 1789), and more recent­ly to New York and Los Ange­les. Maps doc­u­ment­ing the flow of ideas and peo­ple in oth­er geo­gra­phies will come next.

Accord­ing to NPR, “The mod­els [used to cre­ate the videos] are the lat­est appli­ca­tion of a rapid­ly grow­ing field, called net­work sci­ence â€” which uses visu­al­iza­tions to find the under­ly­ing pat­terns and trends in com­plex data sets.” And they could yield some unex­pect­ed insights into the his­to­ry of migra­tion — for exam­ple, even with the advent of planes, trains and auto­mo­biles, mod­ern artists don’t move too much far­ther from their birth­places (an aver­age of 237 miles) rel­a­tive to the art­sy types who lived in the 14th cen­tu­ry (133 miles on aver­age).

A com­plete report on the project was pub­lished in the jour­nal Sci­ence by Schich and his col­leagues. Unfor­tu­nate­ly you’ll need a sub­scrip­tion to read it.

via NPR/Nature

Relat­ed Con­tent:

Social Media in the Age of Enlight­en­ment and Rev­o­lu­tion

Free Online His­to­ry Cours­es

Euro­pean Cul­tur­al His­to­ry in 91 Free Lec­tures by George Mosse

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Learn How Crayons Are Made, Courtesy of 1980s Videos by Sesame Street and Mr. Rogers

Some things are dif­fi­cult to improve upon. Take crayons. The new gen­er­a­tion may be clam­or­ing for shades like â€śman­go tan­go” and “jazzber­ry jam” but the actu­al tech­nol­o­gy appears unchanged since Sesame Street detailed the process in the ear­ly 80s, in the love­ly, non ver­bal doc­u­men­tary above. Not a prod­uct place­ment in sight, I might add, though few can mis­take that famil­iar green and gold box.

Those who pre­fer a bit more expla­na­tion might pre­fer Fred Rogers’ hyp­not­ic step-by-step guide, play­ing in per­pe­tu­ity on Pic­ture Pic­ture.

By the time the indus­try’s giant goril­la got around to weigh­ing in, the wood­en col­lec­tion box­es and ana­log coun­ters had been replaced, but oth­er­wise, it’s still busi­ness as usu­al on the ol’ cray­on-man­u­fac­tur­ing floor. Don’t expect to find the recipe for the “secret pro­pri­etary blend of pig­ments and oth­er ingre­di­ents” any time soon. Just know they’re capa­ble of crank­ing out 8500 crayons per minute. For those play­ing along at home, that’s enough to encir­cle the globe 6 times per cal­en­dar year, with a full third owing their exis­tence to solar ener­gy.

There’s a Home­land Secu­ri­ty-ish vibe to some of the dia­logue, but the Life of an Amer­i­can Cray­on, above, does our native assem­bly lines proud. Proud­er than the Amer­i­can slaugh­ter­house, any­way, or some oth­er fac­to­ry floors, I could name. The work­ers seem con­tent enough to stay in their posi­tions for decades, hap­pi­ly declar­ing alle­giance to this or that hue.

Relat­ed Con­tent:

Philip Glass Com­pos­es for Sesame Street (1979)

Mr. Rogers Intro­duces Kids to Exper­i­men­tal Elec­tron­ic Music by Bruce Haack & Esther Nel­son (1968)

How Ani­mat­ed Car­toons Are Made: Watch a Short, Charm­ing Primer from 1919

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

 

Dante’s Divine Comedy Illustrated in a Remarkable Illuminated Medieval Manuscript (c. 1450)

YT 36

Few writ­ers have inspired so many artists, so deeply and for so long, as Dante Alighieri. His epic poem the Divine Com­e­dy (find in our col­lec­tion of Free eBooks) has received strik­ing illu­mi­na­tions at the hands of Gus­tave DorĂ©, San­dro Bot­ti­cel­li, Alber­to Mar­ti­ni, and Sal­vador DalĂ­ — to name only those we’ve fea­tured before here on Open Cul­ture. The names Pri­amo del­la Quer­cia and Gio­van­ni di Pao­lo may mean rel­a­tive­ly lit­tle to you right now, but they’ll mean much more once you’ve tak­en a look at the illus­tra­tions fea­tured here and at The World of Dante, which come from an illu­mi­nat­ed man­u­script of the Divine Com­e­dy at the British Library known as Yates Thomp­son 36. Pro­duced in Siena around 1450 for an unknown orig­i­nal patron, “the codex belonged to Alfon­so V, king of Aragon, Naples, and Sici­ly,” and includes “110 large minia­tures and three his­to­ri­at­ed ini­tials.” (See all here.) Del­la Quer­cia illus­trat­ed the Infer­no and Pur­ga­to­rio and all three his­to­ri­at­ed ini­tials; di Pao­lo illus­trat­ed Par­adiso.

YatesDante2

“This makes for two dis­tinct­ly dif­fer­ent styles,” con­tin­ues The World of Dan­te’s page. “Pri­amo’s work reflects the more real­is­tic style of late fif­teenth-cen­tu­ry Flo­ren­tine paint­ing, an influ­ence which is par­tic­u­lar­ly notice­able in his use of con­tours and out­lines in the depic­tion of nudes. Gio­van­ni di Paolo’s style is clos­er to that of late four­teenth-cen­tu­ry Sienese artists,” pro­duc­ing results “great­ly admired for their visu­al inter­pre­ta­tion of the poem: the artist does­n’t just tran­scribe Dan­te’s words but seeks to ren­der their mean­ing.”

The British Library’s medieval man­u­scripts blog describes it as “cer­tain­ly a lav­ish pro­duc­tion” that “must have been an expen­sive under­tak­ing,” giv­en the sta­tus of the men doing the illu­mi­nat­ing as “two of the pre­em­i­nent artists of the day.” But when it came to visu­al­iz­ing Dan­te’s jour­ney, quite lit­er­al­ly, to hell and back in 15th-cen­tu­ry Italy, no artist ranked too high­ly. Even today, I can’t imag­ine any artist read­ing the Divine Com­e­dy, illu­mi­nat­ed or no, with­out get­ting a few vivid ideas of their own.

Untitled 107.tif

More images can be found on the British Library web site (scroll down the page). A Yale course entire­ly ded­i­cat­ed to Dante appears in our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Botticelli’s 92 Illus­tra­tions of Dante’s Divine Com­e­dy

Gus­tave Doré’s Dra­mat­ic Illus­tra­tions of Dante’s Divine Com­e­dy

Alber­to Martini’s Haunt­ing Illus­tra­tions of Dante’s Divine Com­e­dy (1901–1944)

Sal­vador Dalí’s 100 Illus­tra­tions of Dante’s The Divine Com­e­dy

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Why Tattoos Are Permanent? New TED Ed Video Explains with Animation

For the last three decades my right ankle has been the site of a deeply botched tat­too. It was sup­posed to be a yin yang, but with every pass­ing year, it looks more and more like a can­cer­ous mole. The drunk­en Viet­nam Vet who admin­is­tered it bare­ly glanced at the design tak­ing shape on my once vir­gin skin as he chat­ted with a pal. I was too intim­i­dat­ed to say, “Um…is it just me or are you fill­ing in the white cir­cle?” (I con­vinced myself that he knew what he was doing, and the ink would recede as it healed. Need­less to say…)

My pathet­ic, lit­tle yin-ya’ is an embar­rass­ment in an era of intri­cate four-col­or sleeves and souped up rock­a­bil­ly gor­geous­ness, but I con­fess, I’ve grown fond of it. The fact that I have an out-of-bal­ance sym­bol for bal­ance per­ma­nent­ly engraved onto my body is far more appro­pri­ate than the poor­ly grasped  flash art could have been. It’ll be with me til the day I die.

Longer, actu­al­ly, to judge by the dec­o­ra­tive mark­ings of an 8000 ‑year-old Peru­vian mum­my.

I feel for­tu­nate to have devel­oped ten­der feel­ings for my bush league mod­i­fi­ca­tion. Clau­dia Aguir­re’s TED-Ed les­son “What Makes Tat­toos Per­ma­nent,” above, does not make an easy case for removal.

In the words of your grand­ma, don’t embell­ish your birth­day suit with any old junk.

Your gang affil­i­a­tion may feel like a for­ev­er-thing now, but what if you decide to switch gangs in a few years? Eras­ing those mem­o­ries can be painful. Ask John­ny “Winona For­ev­er” Depp.

Dol­phins may strike you as peace­ful, spir­i­tu­al crea­tures, but I’ll bet there are ways to appre­ci­ate them that don’t involve hav­ing one punc­tured through your epi­der­mis at 50–3000 micro-wounds per minute. 

Choose wise­ly! If you’re veer­ing toward a Tas­man­ian dev­il or a rose, do your­self a favor and browse the Muse­um of Online Muse­ums. Feel a kin­ship with any­thing there? Good! Once you’ve fig­ured out how to best fea­ture it on your hide, take Aguir­re’s anato­my-based quiz. See if it’s true that you’ll be barred from bur­ial in a Jew­ish ceme­tery. Your tat­too artist will like­ly be impressed that you cared enough to do some research. Watch a cou­ple of episodes of the Smith­so­ni­an’s Tat­too Odyssey for good mea­sure.

Then lay in a tube of Prepa­ra­tion H, and pre­pare to love what­ev­er you wind up with. It’s a lot eas­i­er than the pain of regret.

Relat­ed Con­tent:

Get Ancient Advice on Los­ing Weight, Sober­ing Up, Remov­ing a Tat­too & More at Ask The Past

TED ED Ani­ma­tion Gives You a Glimpse of What Life Was Like for Teenagers in Ancient Rome

Ayun Hal­l­i­day is up to her eye­balls in Bye Bye Birdie and so should you be. Fol­low her @AyunHalliday

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