Lifestyle
What Dennis Rodman, Kate Moss and a 5,000-year-old Alpine iceman have in common
Book Review
Painted People: 5,000 Years of Tattooed History from Sailors and Socialites to Mummies and Kings
By Matt Lodder
William Collins: 352 pages, $21.99
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One of the most stubborn misconceptions about tattooing is that it was born in Polynesia and imported to the West by Captain Cook in 1768, then trickled down to the masses over the next century, settling into military and criminal subcultures until its late-20th century resurrection in the middle class. It’s not only false but also eclipses a much broader and more complex global heritage.
Matt Lodder’s “Painted People: 5,000 Years of Tattooed History from Sailors and Socialites to Mummies and Kings” brings that truth to life in 21 riveting stories. Lodder, a scholar of tattoo history, doesn’t argue for the artistry or legitimacy of tattoos but rather shows — in lively and accessible language — how they serve as points of entry into so many aspects of culture: history and anthropology, sports and fashion, war and medicine. Lodder examines their material and spiritual origins as well as their cultural impact.
“I want to show you that tattooing connects us across historical time and geographical space, revealing details about human experience in the process,” he writes.
Though it’s organized by period, from the ancient world to the new millennium, “Painted People” is not a chronology. Tattoo history is not linear, and its timelines are always shifting.
The book opens with the story of Ötzi, one of the oldest known tattooed humans, whose more-than-5,000-year-old body was found preserved in the Italian alps in 1991. It also details the recent discovery of 3,000- to 5,000-year-old tattoo tools in Tennessee, which bumped the origins of North American tattooing back a full millennium.
Both cases present tantalizing mysteries: Because most of Ötzi’s dozens of abstract tattoos appear in places where only a right-handed person could reach, it’s possible that he tattooed himself. And when chiseled turkey bones were unearthed on Tennessee land once inhabited by the Cherokee, Chickasaw, Shawnee and Yuchi peoples, archaeologists weren’t sure if they were for tattooing, medicinal uses or leatherworking. In what Lodder calls “an act of gonzo archaeology,” the scientists carved their own needles from turkey bones, dipped them in ink, tattooed themselves and concluded, based on microscopic examination of their “wear patterns,” that the ancient needles only could have been used to tattoo.
(Courtesy of HarperCollins)
“Painted People” is such a robust miscellany that it’s possible to dip in anywhere and find something astonishing: the artist Lucian Freud tattooing swallows on supermodel Kate Moss; a Tang-era Chinese text describing a peacock gallbladder used as tattoo ink; North Korean prisoners of war forcibly marked with anti-communist slogans; Christian and Islamic pilgrimage tattoos thriving in 16th century Jerusalem; and, in a spasm of Cold War anxiety, Indiana schoolchildren tattooed with their blood types under their left armpit, just as Nazi soldiers had been during World War II. The location, Lodder explains, was “least likely to be seriously burned or slashed by flying debris.”
Not every story involves blood and ink: In 1929, following a tattoo craze among young people in the U.S. and Britain, the designer Elsa Schiaparelli created custom swimsuits featuring patterns from an array of classic tattoos copied, she said, “from the manly chests of French mariners.” Knitted into “sunburn”-colored fabric, the garments made beachgoers appear nearly naked but for the mermaids and pierced hearts hugging their torsos. “The hypermasculine associations of tattooing” suited the moment, Lodder writes, “as androgyny and boyishness had become de rigueur.”
Like many folk art and Indigenous practices, says Lodder, tattooing tends to be fundamentally “conservative, preserving imagery and iconography over centuries, if not millennia … often communicating quickly and bluntly rather base and universal emotions about fear, hope, and familial ties.” Even custom tattooing in the West, he notes, “almost inevitably” signifies group rather than individual identity.
The 1990s NBA star Dennis Rodman, by contrast, used his ink — along with his piercings, dresses and technicolor hair — to mark himself as “a true individual in a deeply conservative culture.” Like soldiers and convicts whose individual identities are disguised by uniforms, athletes have few options for creative self-expression. But basketball players’ exposed skin provided an alluring public canvas that Rodman filled with tattoos, inspiring generations of athletes to do the same. His passion for the art form also helped integrate the white-dominated tattoo world, where for too long Black customers had been told their skin was too dark to carry legible designs.
When Rodman sued a company selling T-shirts mimicking his tattooed torso, he prefigured a 21st century tattoo problem: fair use. The appearance of custom tattoo designs in films, fashion and video games has been legally contested. But, Lodder asks, if a finished tattoo itself infringes on a copyright, how can a “cease and desist” order be enforced? Likewise, what are the legal implications of a hacked numeric decryption code tattooed on a man’s body and then photographed and shared online? Though tattooing has changed little technically since ancient times — apart from the 19th century invention of the tattoo machine — modern technology is investing it with thorny new implications.
The tattooist Ed Hardy once said that tattoos are like “little vents” into the wearer’s psyche. Lodder presents them as portals to whole peoples. Some of their practices were canceled by colonialism; others, preserved in ice as Ötzi was, are dissolving with the melting permafrost, taking the visual keys to ancient cosmologies with them. Deeply researched and elegantly written, “Painted People” is a moving, entertaining tribute to the people — and peoples — behind this underexamined medium.
Margot Mifflin is a professor at the City University of New York and the author of “The Blue Tattoo: The Life of Olive Oatman.”
Lifestyle
‘Wait Wait’ for December 13, 2025: With Not My Job guest Lucy Dacus
Lucy Dacus performs at Spotlight: Lucy Dacus at GRAMMY Museum L.A. Live on October 08, 2025 in Los Angeles, California. (Photo by Rebecca Sapp/Getty Images for The Recording Academy)
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This week’s show was recorded in Chicago with host Peter Sagal, guest judge and scorekeeper Alzo Slade, Not My Job guest Lucy Dacus and panelists Adam Burke, Helen Hong, and Tom Bodett. Click the audio link above to hear the whole show.
Who’s Alzo This Time
Mega Media Merger; Cars, They’re Just Like Us; The Swag Gap
Panel Questions
An Hourly Marriage
Bluff The Listener
Our panelists tell three stories about a new TV show making headlines, only one of which is true.
Not My Job: Lucy Dacus answers our questions about boy geniuses
Singer-songwriter Lucy Dacus, one third of the supergroup boygenius, plays our game called, “boygenius, meet Boy Geniuses” Three questions about child prodigies.
Panel Questions
Bedroom Rules; Japan Solves its Bear Problem
Limericks
Alzo Slade reads three news-related limericks: NHL Superlatives; Terrible Mouthwash; The Most Holy and Most Stylish
Lightning Fill In The Blank
All the news we couldn’t fit anywhere else
Predictions
Our panelists predict what will be the next big merger in the news.
Lifestyle
L.A. Affairs: I had casually known her for 5 years. Was I finally ready to make a move?
In Fairfax, nestled on Beverly Boulevard near Pan Pacific Park, I ran a modest yet beloved pan-Asian restaurant called Buddha’s Belly. More than a place to eat, it was a gathering spot where our team and loyal regulars created an atmosphere of warmth and community. Every day, we exchanged stories about our guests, the generous, the quirky and the kind souls whose smiles lit up our little corner of L.A.
For five years, one regular stood out. The Buddha’s Belly team referred to her as “Aloha.” She had a familiar and beautiful face and she adored our shao bing finger sandwiches and pad Thai. During those five years, all I ever said to her was: “How’s your pad Thai?,” “Nice to see you” and “Thanks for coming in!” Her friendly smile and presence were the highlights of our routine interactions.
Then one hectic afternoon changed everything. Rushing to a meeting and about to leap into my car, I caught a glimpse of Lynda sitting at Table 64, smiling at me through our bamboo-lined patio (a.k.a. “bamboo forest”). I went over to say a quick hi.
“How’s your pad Thai?” I asked, and then I was off.
A couple blocks from the restaurant, I was struck by the feeling that our brief encounter was different this time. There was a spark — a look in her eye. So I did something out of character: I called the manager on duty and asked him to go to Table 64, Seat 3, and ask for her number.
The next day, I found a business card on my desk with Lynda’s cell number. It was on! That small gesture signaled the start of something extraordinary.
Eager to seize the moment, I called and invited her out for a date that same weekend. However, it was her birthday month, and that meant her calendar was booked solid for the next three to four weekends. Not wanting to let time slip away, I proposed an unconventional plan: to join me and an octogenarian friend at our annual opening night at the Hollywood Bowl. Little did I know this would turn out to be equal parts amazing and mortifying. My friend was so excited — she had no filter.
Shortly after picking up our dinner at Joan’s on Third, my friend started asking Lynda questions, first light questions like “Where are you from?” and “What do you do?” Then once seated at the Bowl, her questions continued. But now they were more pointed questions: “Have you ever been married?” and “Do you have kids?”
Amazingly, Lynda didn’t flinch, and her honesty, unfiltered yet graceful, was refreshing and alluring. She had been through life’s fires and knew that when it’s a fit, it should not be based on any false pretense. Although I did manage to get a few questions in that evening, I still chuckle at the memory of myself, sitting back, legs extended with a note pad in hand taking notes!
After dropping her off, she didn’t know if she would hear from me, as she didn’t know anything about me. But I didn’t wait three days to contact Lynda. I called her the next day to make plans to see her again. With it still being her birthday month, I asked her to join me that night for a surf film at the Ford with my best buddy. She said yes, and there we were on another chaperoned date.
By our third date, we were finally alone. We ventured to an underground gem affectionately dubbed the “Blade Runner” restaurant. Hidden on Pico Boulevard behind no obvious sign and characterized by hood-free mesquite grills and stacked wine crates, the place exuded a secret charm. Sharing a bottle of wine with the owner, our conversation deepened, and the electricity between Lynda and me became undeniable.
Our story took another turn when I was opening a new bar named Copa d’Oro (or Cup of Gold) in Santa Monica that was similar to a bar down the street called Bar Copa. The owner of Bar Copa invited me to discuss whether the concept was going to be too like his own. While we waited in the packed room, I instinctively put my hand around the small of Lynda’s back to steady us from the ebb and flow of the crowd of people around us. The intensity of our closeness and the energy between us was palpable, and we soon found ourselves at a quieter bar called Schatzi on Main where we had our first kiss.
Our courtship continued, and it would be defined by ease and grace. There were no mind games or calculations. One of us would ask whether the other was free, and it was an easy yes. Our desire was to be together.
I fondly remember being at a Fatburger not far from where Lynda lived, and I phoned her to ask if she wanted to sit with me as I scarfed down a Double Kingburger with chili and egg (yum!), and she said yes. By the time she arrived, I was halfway through eating the sandwich. But I was practicing a new way of eating a sloppy burger that my brother taught me. Why bother to continuously wipe your mouth when you’re only going to mess it up with the next bite? To save time and energy, wipe your mouth once at the end.
I was practicing this new technique with a smear of sauce on my face, and it didn’t faze her one bit. I could only imagine what her internal monologue was!
After six months of effortless companionship, I asked Lynda to move in, and a year later, while at Zephyr’s Bench, a serene and cherished hiking spot in the Santa Monica Mountains behind Bel-Air, I asked her to marry me.
Now, more than 17 years later, with two beautiful boys and our pandemic dog in tow, I can say I found my own aloha right here in the vibrant chaos of Los Angeles.
The author lives in Santa Monica with his wife and two children. They go to the Hollywood Bowl every chance they can. He’s also aspiring to make it into the Guinness World Records book.
L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.
Lifestyle
‘The Mask’ and ‘Pulp Fiction’ actor Peter Greene dies at 60
Actor Peter Greene at a press conference in New York City in 2010.
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Actor Peter Greene, known for playing villains in movies including Pulp Fiction and The Mask, has died. Greene was found dead in his apartment in New York City on Friday, his manager and friend, Gregg Edwards, told NPR. The cause of death was not immediately provided. He was 60 years old.
The tall, angular character actor’s most famous bad guy roles were in slapstick and gritty comedies. He brought a hammy quality to his turn as Dorian Tyrell, Jim Carrey’s nemesis in the 1994 superhero movie The Mask, and, that same year, played a ruthless security guard with evil elan in the gangster movie Pulp Fiction.
“Peter was one of the most brilliant character actors on the planet,” Edwards said.
He went on to work steadily, earning dozens of credits in movies and on TV, such as the features Judgment Night, Blue Streak and Training Day, a 2001 episode of Law & Order, and, in 2023, an episode of The Continental, the John Wick prequel series.
At the time of his death, the actor was planning to co-narrate the in-progress documentary From the American People: The Withdrawal of USAID, alongside Jason Alexander and Kathleen Turner. “He was passionate about this project,” Edwards said.
Greene was also scheduled to begin shooting Mickey Rourke’s upcoming thriller Mascots next year.
Rourke posted a close-up portrait of Greene on his Instagram account Friday night accompanied by a prayer emoji, but no words. NPR has reached out to the actor’s representatives for further comment.
Peter Greene was born in New Jersey in 1965. He started pursuing acting in his 20s, and landed his first film role in Laws of Gravity alongside Edie Falco in 1992.
The actor battled drug addiction through much of his adult life. But according to Edwards, Greene had been sober for at least a couple of years.
Edwards added that Greene had a tendency to fall for conspiracy theories. “He had interesting opinions and we differed a lot on many things,” said Edwards. “But he was loyal to a fault and was like a brother to me.”
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