Tommy Victor of Prong talks new album and tour

To date, Tommy Victor is still the only musician who has done my I-Ching reading.  He is a fabulous musician, appearing in a number of projects, playing regularly with bands like Ministry and Danzig, but his music in Prong has spanned over decades, featuring a number of noteworthy musicians throughout the years.  Though he is a great person to converse with about a number of topics, from conspiracy theories to the apocalyptic feel of the upcoming album, we kept the chat mainly to music... after a bit of catch up chit chatting, as it is easy for us to get off of topic sometimes. 

He surprised me, having had my number programmed in his phone since 2002, and he could identify me by my laugh, even though I had not seen him in a few years.  I remember talking to him back in 2002, and he had asked me what I would like to know about the music industry.  When I told him I wanted to see what being on tour was like, he asked me why, and I said I always heard people talk about it, so I wanted to experience it for myself; within a couple weeks, I joined the Ozzfest tour.

Tommy is the nucleus of Prong, but he's one of those musicians who has had his hands in so many projects that people don't even realize.  Even with as many famous people as he has played with, he still remains humble, totally approachable, and being down to earth sets him apart from the others.  If you ever get a chance to really sit and chat, Tommy's vast knowledge can be mind blowing.

Author Marisa Williams:  It seems like Prong has gone through waves of activity, and with the recent additions of new albums, it seems as if Prong is in a surge cycle right now.  What brought about the resurgence of the band?

Tommy Victor of Prong:  The fact that I haven’t been playing that much in other bands, as I was previously spending time in Ministry, and Glenn hasn’t been that busy, so I’ve actually been able to make records with Prong and tour. 

Marisa:  You have played with so many bands over the years, including Ministry and Danzig.  What other irons do you have in the fire at the moment?

Tommy:  I do have two other projects, very much side projects, that I’ve been working on.  There’s so much, but they’re not completely off the ground yet.  They’re still in the process of getting finished, so I don’t want to talk too much about it.  I’m hoping to finalize the one within six months.  The other one, I don’t know, whenever I have time to do it.  We’re on the road, and the new record is coming out on July 28 for Prong, but I do have two other things; one’s a metal thing, and the other is more electronic.  I don’t know how to explain it, and I don’t want to be all mysterious, but there are two projects that will be forthcoming.

Marisa:  You played with COC’s drummer Reed Mullin in Teenage Time Killers.  Are you still active with that project? 

Tommy:  That was a while ago now.  I worked on it four years ago, so I don’t think I’d get involved again.

Marisa:  As people in the music industry age, some musicians have developed hearing loss.  Is it a challenge working with musicians that have such disabilities, and how do you overcome those difficulties?

Tommy:  I haven’t had that experience.  If anyone, it’s probably me.  In conversation, I’m a little bit deaf.  I haven’t experienced it with others so much.  My bass player of Prong wears ear plugs, so it’s not an issue.

Marisa:  You had previously laughingly described your heritage as having a bit of gypsy in it, and with the popularity of that show My American Gypsy Wedding, would you ever consider having your daughter have a dress made by Sondra Celli for a sweet 16 or wedding?

Tommy:  No, she’s way passed her Sweet 16.  I don’t know.  I disbanded that whole thing.  My brother tried to get the DNA thing going.  It was inconclusive, but I live in CA, and I’m more like a Californian really.  If anything, that’s more East Coast, clinging to some heritage.  In LA, nobody gives a fuck about the past, unless you’re Mexican, and even then, you don’t know if that’s their real heritage either.

Marisa:  You have had a lot of musicians play with you over the years.  Who is on this current tour with you, and how did you decide on this version of Prong?

Tommy:  Art Cruz has been with the band for five years on drums.  Jason Christopher quit, because he didn’t think Prong was big enough.  We got Mike Longworth.  He has been in and out over the years, but we’ve got him back.  Mike can play, and he’s really easy to get along with, which is really important for me these days.  I don’t need any antagonists around.  I just want to get through the day peacefully; that’s one of my priorities.  You can’t control things.  Who knows what will happen, but I don’t need a lot of lip – that is what it comes down to.

Marisa:  What are you doing on this tour, or what can people look forward to on this tour?

Tommy:  We switch the set up every night pretty much.  Some nights play more from Cleansing, other nights, it’s more from Beg to Differ or more from No Absolutes.  We only get 40 minutes on the Testament tour now, but we have headlining shows, which are not in front of me, but Grand Junction, CO, Big Shots in Indiana, and Omaha are headlining shows.  You can check on website, and I think there’s Sioux Falls, too.  Those are long sets.  We had a headlining show last night, and those have everything in there.  We’ve been playing Disbelief on Primitive Origins.  The John St. Pub in Ontario on April 25.  Doing New England Metal Fest Friday.  We have Richmond and New Jersey, then we head to Canada and the Majestic Theatre in Detroit.  In Europe, we’re playing Hellfest, Poland’s Woodstock, Wacken Open Air Festival, and a lot of other festivals this summer.

Marisa:  You have played with all kinds of bands in the past, and you’ve had a number of other members come and go from Prong over the years.  In dealing with all those different musicians, has your approach to writing your own music changed throughout the years?

Tommy:  Yes, I’m more collaborative these days.  There’s only a few instances where I completely wrote something on the last few records; I work with other guys a lot more.  They’re all like friends, so I definitely changed over the years.  I reach out for help a bit more.  Chris Collier played on Zero Days; we work a lot on song writing and arrangements, do the records ourselves nowadays.  Mike Longworth contributed on the new album and other records.  Erie Lock wrote with me on No Absolutes.  There’s one song on the new album that Fred Ziomeck from Darkest Hour wrote with me.  I collaborate a lot, bring people in and out of the band.  Mike’s playing with the band now, but Jason contributed on Ruining Lives.  I put the puzzle together to make the records.  I’ll sit around for a year, so I need help from other people. 

Marisa:  Was it hard to give up the reins to your music, allowing other people to step in to help?

Tommy:  It was easy to give up the reins. I still have the reins for all the vocals and vocal melodies.  On new records, the riffs are mine but with help.  I still have a lot of work, feel unappreciated, and I’ve gotten disgusted with it.  I try not to burn out.  With Rude Awakening, I put everything into that, wrote 50 songs on my own, and the record didn’t come out the way I wanted.  I basically quit for years, burnt myself out on it.  I have a tendency to do that.  Do all this work, expect to come out on me, then it’s not the next thing.  I don’t want to carry that load that much.  Considering how many records I put out over the last five years, it is astonishing.  It’s almost like nobody cares.  People have asked me if I’m going to write a book, and part of me worries that nobody would care.  My typing skills suck, and I tried to strengthen them with a program. 

Marisa:  Can you talk more about the new album coming out?

Tommy:  The new Record, Zero Days, I think it’s the first record I did lyrically that is currently political in a general passion.  It started sinking in.  When I start working on records, I get a lot of sources, read Atlas Shrugged by Ayn Rand and Moby Dick, long books, and they sunk in.  I would read Huffington Post, and I tried to be current, then read thick books, and sort of meshed all this stuff together.  I’m really happy with the lyrics on the records.  It’s eight political, social songs, kinda cool.  I really focused on the lyrics.  Obviously, with a name like Zero Days, it’s apocalyptic, done before the whole North Korean bullshit, but it’s kinda interesting, current with a good metal fashion, kinda dangerous.  We’re still really pushing the No Absolutes record that came out last April.  Zero Days ends the trilogy of Ruining Lives, No Absolute and Zero Days; it’s a trilogy of records over the last three years.

Marisa:  Any final thoughts?

Tommy:  With Testament and Sepultura, it’s a really great bill.  People are really happy with the show.  All the bands are really good, definitely worth the money, definitely a good tour for Prong.  There’s good stuff going on. 

For more on Prong: 

www.prongmusic.com

https://myspace.com/prong/music/songs

www.twitter.com/prongmusic

www.facebook.com/prongmusic

Marisa Williams earned her Master's in Writing at the Johns Hopkins University and is currently teaching at a college in Florida.  For more by Marisa, visit www.lulu.com/spotlight/thorisaz and www.twitter.com/booksnbling.  

35 Years of Night Ranger with Jack Blades

Jack Blades of Night Ranger took time to talk about his life in music, as well as the upcoming show at the Englewood Event Center in Englewood, FL, on March 22, followed by four shows March 24-27 at the America Gardens Theatre at Disney’s Epcot Theme Park in Orlando.  The band will have numerous appearances at resorts, fairs and other locations across the country throughout the summer.  This tour follows up their live CD and DVD release from Chicago and celebrates 35 years of Night Ranger Music.

Author Marisa Williams:  You have had such a phenomenal career in music, but how did you first get started?  Did you come from a musical family?

Jack Blades of Night Ranger:  I was 8 when my parents gave me a guitar, so I started young.  If anything could really have changed my direction at early age, it was when I heard The Beatles, and I said, “I wanna do that!”  In high school, I had bands.  In college, I was pre-medical, and I left in my fourth year to join a rock band.  I’ve been playing ever since, all of my adult life. My father played guitar, worked his way through college in the 30’s.  He showed me a few chords, and I took it from there. 

Marisa:  Was there ever a point when you looked back and thought what if I chose that other path?

Jack:  I never looked back.  Fortunately enough, I’ve been very successful.  I’m doing what I was meant to do, no questions about it.  Night Ranger and Damn Yankees were very successful.  It’s funny, when I have to go to a doctor.  I go to them, and they just want to talk about music, like when I was writing songs with Aerosmith.  Everyone probably likes to be something else.  When I hang out with sports players, I want to talk about touch downs, and they want to know what guitar strings I use.  Everyone wishes that they were doing something else, but I don’t look back; music is my path.

Marisa:  Having such an extensive career in music, did you ever expect that you would obtain such an exhaustive career when you were first starting out?  I think people are curious if you have any secret to your success.

Jack:  It is a real blessing.  Here we are 35 years later, 35 years since first album Night Ranger album was released, “Dawn Control.”  It’s mind boggling.  I look back and think, “it’s been 35 years?  Wow.”  I think about all the things we have done, along with all the songs I’ve written with other artists, and it’s just great that 35 years later, here were are, playing events.  People come to shows, have a great time, and it’s an amazing blessing.  Here we are, all these years later.  The only secret I can say is persistence.  We were passed on by every record company twice when we first came out, but we just keep pounding away at it; that’s what we did.  All it took was one gate keeper to say, “I’ll give you a shot,” and we did it.  That’s the key: persistence.  Song writing very important.  Kelly, the drummer, and I – of course, I’m the bass player – but those are usually the first to get fired from a band.  We thought, let’s get job security and write a bunch of the songs.  That’s the main thing, having songs and writing songs.

Marisa:  How do you personally go about writing music?  What comes first for you: drums, guitar, bass, a riff, melody, lyrics? 

Jack:  It’s different every time I start.  Sometimes, it’s a melody in my head.  Maybe it’s a chorus melody or a verse melody in my head.  Sometimes, it’s musical, like when I strum the guitar and a riff comes out.  I use all of those facets when I write a song.  When I write and approach a song, I’ll take wherever creativity needs me to go.  When Kelly wrote “Sister Christian,” it was “Don’t Tell Me You Love me” as the chorus first.  With “High Enough,” it was the verses first.  Go where the spirit leads you.  I enjoy working with different artists and different people.  It allows me to hear where their head is coming from.  I can always come up with stuff, but it’s fun with another person, because they might approach it from a different angle, a different side of Rubik’s cube.  I’ll think, “I never thought of that,” or “I wouldn’t have thought of that.”  That only happens with other people, then you get a different perspective.

Marisa:  Having played with so many different musicians over the years, has that approached to writing changed when working with other musicians?

Jack:  I’ve written with a lot of artists over the years.  Each approaches it differently. Kelly, Brad, and I write in a room.  Brad might have a riff, and he sends to me.  With Damn Yankees, Tommy Shaw and myself might jam and bring something to Ted, and he goes on with his guitar, putting that Ted Nugent stamp of approval on it.  Writing with Joe Perry and Steven Tyler, Steven Tyler is very rhythmic, and he’s a musical guy, everything is (scatting a beat) a groove.  When I wrote with him and Joe, it would start with a groove, then he would put lyrics on top of it.  Ozzy is totally different.  We threw cards up in air and put words together.  Ozzy comes up with different ideas.  Alice Cooper is very intellectual and creative; he makes sense with the story.   I enjoy all the angles.  David foster, musically, is a genius.  There’s always a lesson, a lesson learned.  Country artists are different, too, and they approach things in a different way.

Marisa:  In mentioning country music, I was curious if there were any musical techniques that you especially appreciated, whether it was something you personally used, or even something in a completely different genre.

Jack:  I appreciate all kinds of music.  There’s some great country music out there right now, like Little Big Town.  There’s a lot of great music in general.  I listen to Taylor Swift, Katie Perry, and Pink; I love their approach, even Black Eyed Peas and funk.  I listen to Tom Petty; he’s a big Beatles fan, too, I think.  When there’s music I like, when I hear it on the radio, I turn it up and think, “who’s that?  I love it.”  I wished I would have thought of when I hear great music.  It goes back to the songs.  It’s always been about songs to me, like Elton John, and even Simon and Garfunkel.  Tom Petty is a great story teller.  Songs are everything.  That’s what is so fun about coming to Englewood, as we are going to play an acoustic show, and that’s what does it for us.  When we do that, we are able to become Night Ranger story tellers.  We get to have so much fun.  That’s about the show we will be doing down there; we dig deep into the songs, play them around, talk about the story behind them, like what we were doing at the time.  We might even tell lies about each other.  Time flies, and we have had so much fun doing it.  I’m really excited about it.

Marisa:  You had mentioned Ozzy, and I know from touring on Ozzfest that he has been known to be quite the jokester at times.  Having been in the music industry for so long, playing with so many tremendous people, do you have any stories that come to mind about being in the band, maybe being on tour, or any silly stories that come to mind that you might care to share?

Jack:  There’s so many stories; it’s hard to begin.  One time, I was left.  I had been on the tour bus on the New Jersey Turn Pike, and this was before cell phones.  It was one in the morning, and I was wearing a tank top, flip flops, and I had my glasses on, as I had taken my contacts out.  We had stopped for somebody to go to the bathroom, and I jumped off.  Brad jumped into the spot where I was and put a blanket over himself, and the manager thought it was me.  They drove to Virginia before they realized that I was not in the bus.  Luckily, I flagged down some cops, who took me to the toll booths, and shortly, I found the crew bus.  I took over the back lounge, and nobody ever knew.  There was a lot of stuff that happened in 80s…. even in the 90s and 2000s for that matter.

Marisa:  Originally, the band was just called Ranger.  Didn’t you have to change the name of the band due to a country band with a similar name?  That even happens nowadays where someone comes up with a name, then they look on the internet only to find another band in another country with the same name, so how did you find out about it back then?

Jack:  Names are tough.  It’s really had to come up with names that everyone agrees on.  If you’re a single artist, or a solo artist, that’s a little different.  If you’re in a band, it’s a democracy.  We threw names in a hat and pulled out Ranger.  None of us really… but we said ok.  We cut the first album, and we had 10,000 album covers printed up.  There was a full-page ad in Billboard of The Rangers, a country band, and their fathers had formed the band and had that name, started after the Civil War, had the name forever.  I thought we were screwed, but I had wrote a song called Night Ranger.  I thought let’s add Night on top of the logo. They said it was terrible, but I said it’d be fine.  I hang up and thought we were going to be screwed, but here we are, 35 years later.

Marisa:  Were you able to save the album covers by just stamping Night on top of Ranger?

Jack:  No, we burned them all.  I think there’s still a few out there, and I would love to get a copy of it somewhere.  I don’t actually have one myself.

Marisa:  You have traveled extensively throughout your career in music.  What’s the scariest part of being on the road, and is there anything that you have to have with you when you’re on the road?

Jack:  The scariest part is always, I think, making sure you get there on time.  Sometimes, we’re flying in the day of the show, sweating bullets to get there on time.  We try to get there the day before, but sometimes, it’s not available.  The crew has been there a long time, so they have it totally under control.  They’re professionals, and we trust them implicitly.  It’s like being in the trenches with somebody, and you have to trust your buddy in the fox hole with your life; that’s how the crew is with us.  There’s nothing I need like a talisman that I carry with me, like a lucky rabbit’s foot; it’s just get up there and play rock and roll.  That’s how we do it.

Marisa:  Having played with so many other people in the past, are you working on any other side projects at the moment?

Jack:  Night Ranger is the focus with the 35^th year anniversary.  I’m focused this year on that.  We have a new album this month: “Don’t Let Up.”  We’re really geared into that.  It’s been 35 years.  We’re the survivors, still rocking and rolling.  We will be releasing new videos, doing the whole thing.  I think on the “Don’t Let Up” album, it’s classic in every way, having double harmony guitars, with it being true to form of what Night Ranger is.  It’s 2017, and we’ve been talking about Night Ranger since 1982; it’s a celebration of that. 

Marisa:  Do you have any advice for musicians starting out in the music industry?

Jack:  The music industry has really changed a lot.  It’s not the same as when we first started out, but I think there are a lot more tools available to a person right now.  You can get music instantly from all around with world with social media, Youtube, and everything.  It’s a whole different world now.  One thing always will be true: a good song is a good song.  Any advice?  I’d say keep working on your songs.  It’s a learned ability; the more you write, the better you get.  Keep writing, and one day, you’ll get that great chorus or great melody.  My advice is keep up with song after song after song.

Marisa:  Do you have any hobbies that people might not know about, or do you collect anything?

Jack:  I think pretty much music is my life.  I love history, American History, wartime history and things.  I’m a big fan of Teddy Roosevelt and the Rough Riders.  There was nothing like it when it happened and nothing since then.  I collect anything to do with the Rough Riders. 

Marisa:  Do you have children, and if so, have any of them shown an interest in music?

Jack:  I have two sons in their mid-30s, as well as two grandsons: one is 2 and a half, and the other is 4 months.  It’s all boys in the Blades’ family.  My son James, the oldest, is a manger of a rock band, and he has a really good business mind.  The other is an artist, but he had an album at 20, Colin Blades.  He has been selling a lot of paintings, which is pretty great.  He’s very creative. 

Marisa:  What else can people expect at the show in Englewood?

Jack:  We want to make sure this show in Englewood is going to be great.  We are storytellers, and we will pull from songs that we haven’t played in years.  When you come to a show like this, it’s interactive.  We might take requests from audience, jump into playing a song that we listened to when we were young, might sing “Spirit In the Sky,” might show a few tracks from the new album.  We did a live album around Christmas, “35 Years and A night in Chicago.”  There’s so much material to draw from, who knows what we will play?  It might go on forever.

Marisa:  Why did you choose Chicago as a place to perform the live album?

Jack:  Chicago is in the Midwest, in the middle.  We wanted fans from all over to be able to get to it.  Chicago, at the House of Blues, it’s a great city, and we have great friends there.  I have a friend there, a main radio guy in the loop in Chicago, and he helped us out a lot.  It’s a great thing for the live record and live DVD.

Marisa:  Are you planning any live recordings on this upcoming tour?

Jack:  Probably no live recordings on this tour, but never say never. 

Marisa:  You have had a few members come and go over the years, but yet you’ve held a solid foundation.  How have you evolved over the years?

Jack:  Kelly Keagy, the drummer singer, along with Brad Gillis and I, have played together since 1979.  We are the nucleus of band.  We first played in a band called Rubicon, which was a funk rock band.  We have evolved from where we were, and who we were, to now: Kerry Kelli, who has played with Alice Cooper and Slash – who is a great guitarist and great guy - and Eric Levy, a great guy who has been with us for six years.  We have the best of the bunch.  We can play anything.  Kelli has been with us for a long time, too; both of them are very in tuned to the true nature of the sound of Night Ranger, very much wanting to make sure that this is who we are.  It makes for a very good arrangement.  This band has so much fun.  The way it is right now is the best I’ve been in.  We have so much fun on the road, which people relate to, because the fun is real.  What they’re experiencing is real; nobody just turns one in.

Marisa:  Any final thoughts?

Jack:  I just want to make sure that everyone comes out to the show.

For more information on Night Ranger, visit www.nightranger.com, www.facebook.com/nightranger, www.twitter.com/nightranger, www.vevo.com/artist/night-ranger, and www.pandora.com/night-ranger. 

Marisa Williams earned her Master’s in Writing from the Johns Hopkins University, and she is a professor in Florida.  For more by Marisa, visit www.lulu.com/spotlight/thorisaz and www.twitter.com/booksnbling. 

Tattooing the Ages at Tattoo Ink Life Tour

With the Tattoo Ink Life tour coming to Fort Myers this weekend, having Crowbar and Suicidal Tendencies gracing the stage, the thoughts of getting new ink is filling the southwest Florida air.  Not too many people seem to be thinking about their parents warning them that tattoos will look ridiculous as they age, for south Florida has a number of older people that are still getting ink, proving that art is not a fad. It is more and more common to see people with ink walking down the street, and though some people might get ink for shock value, others have more meaning.

Tattoos used to be something a sailor would get, but as times are changing, so are the connotations about getting tattooed.  People of all ages are going under the needle to create memorable art on their bodies.

“I think 89 is the oldest that I’ve tattooed.  It’s almost more common to see someone with a tattoo than someone without a tattoo.  The taboo has gone away,” commented Tim Lindsey, an artist at Skin Deep Body Art, Inc., a tattoo parlor in Lake Suzy, located on King’s Highway about a mile from Walmart.

Susan Maroney, who will be 72 on March 21, got tattooed by Lindsey a few months ago and returned for another piece of art to memorialize her granddaughter Cassandra Rose Maroney, who died unexpectedly at 25-years-old.  Her entire back is a tribute to her grandchildren, having each of their names with vibrant butterflies and tribal swirls.

“I got my first tattoo when I was in my 30’s.  I had always wanted one.  I get meaningful ones that mean something to me,” said Susan, who has been married to 52 years to her husband John, who is sometimes called Jack by friends.  The couple is active in Elk and Moose, and they know many older people with tattoos.  “There’s a woman in my swim class who is in her 90’s and has tattoos.”

Susan is used to the minor pain involved with getting a tattoo.  “I’d rather have this than go to a dentist,” she laughed.  “My mind is focused somewhere else while he’s doing it.  I’m going to focus on tonight, dancing, having a good time, and my granddaughter watching over what I’m doing.”

Some people choose to wait until later in life to get tattooed, often thinking for years about what design they would want, choosing designs that are symbolic and meaningful.  People grow up hearing the warnings of tattoos that might change as skin sags.  In older people, where the skin has already sagged, they don’t have to worry about these changes, and the colors will remain bright if following proper care instruction.

Some people make the mistake of slathering their tattoos with Vasoline, Neosporin or A&D ointment too often, but leaving a surface film on the skin can suffocate a tattoo, creating bumps that fade color lines.  After a couple days, use these sparingly, opting for lotion if itchy or uncomfortable, and avoid swimming, excess water exposure and direct sunlight for the first week and a half.

“Tattoos are considered a minor abrasion.  If you rode a bike as a kid and crashed, scrapping your knee, you don’t worry about putting Neosporin on every hour.  The healing process is still the same.  Nothing changes but the age,” Lindsey explained.  “All people heal the same, unless there is a skin disease or some other ailment.  I’m diabetic, and as long as I control my sugars, I’m fine to get a tattoo.  Check with your doctor first if you’re concerned, just in case.”

The needles are set at a specific depth, and artists work off the tips of the needle to control how far the needles penetrate the skin.  As people age, skin gets thinner, so artists may set their tattoo guns at a slightly slower speed to deposit more ink and cut the skin less.

“You learn the certain speeds as an artist and realize what creates the best results.  Skin is all different, so there are different speeds of the machine.  It’s all done at the same depth, but you learn how fast to set the machine and how fast to run yourself to learn to apply without damaging the skin,” Lindsey said.

Lindsey is a multimedia artist, who works with other mediums to produce art, such as wood burning, and even created a burned wood mural of a deer for rocker Ted Nugent.  “I sold my first piece at 6-years-old, a fish.  I got into underwater diving photography and original nautical artwork.”

Skin Deep Body Art, Inc., is located at 12569 SW County Rd. 769 in Lake Suzy.  For more information, visit https://www.facebook.com/Skin-Deep-Body-Art-Inc-254789334694593/, or call (941) 766-0131.  Mention this article and receive 25% off of a tattoo.

“When we opened, we had a fundraiser for the Animal Welfare League,” recalled Anna Cusack, bookkeeper at Skin Deep Body Art, Inc.  “We had a lot of people off the golf course wander in, and our first few customers were over 70-years-old.  You’re never too old to get a tattoo.”

 Susan Maroney, who will be 72 on March 21, shows off her back piece, a tattoo that memorializes her family.

 Susan Maroney gets a tattoo by Tim Lindsey to memorialize her granddaughter who passed at 25-years-old, Cassandra Rose Maroney.

Susan Maroney shows off her new tattoo by artist Tim Lindsey at Skin Deep in Lake Suzy.

Tim Lindsey, an artist at Skin Deep in Lake Suzy, works not only with skin, but other artistic outlets, such as wood burning this sign and even portraits of loved ones.

A little history about tattoos...

Tattoos are not new thing.  Humans have been inking their bodies for thousands of years, so it is no wonder that many older people in the area sport decorated skin.

According to the Smithsonian, there is a tattooed Chiribaya mummy at the El Algarrobal Museum in Peru, and the Chiribaya lived from A.D. 900 to 1350.  In 1991, a man frozen in ice with tattoos was carbon dated to be about 5,200-years-old.

In Egypt, c. 4000-3500 B.C., there is evidence of women having tattoos, and bronze tattooing tools dating back to c. 1450 B.C. were found in Gurob in northern Egypt.

In 450 B.C., Greek writer Herodotus noted tattoos amongst Scythians and Thracians.  He observed, “tattoos were a mark of nobility, and not to have them was testimony of low birth.”

Across the globe, the origins of tattoos have been traced to protective or therapeutic markings, and as a symbol of belonging to political, social or religious groups.  Maori women in New Zealand had facial tattoos, insisting tattoos around their chin and lips prevented wrinkles and helped keep them young.

With evidence of tattooing found throughout history across the globe, the phenomenon is not new, so it is not surprising to find older folks with tattoos here in the local area, each having a different meaning.

Terry Witte is a retired prison psychologist.  “I have a 1961 patent on my tattoo,” she chuckled, then became serious.  “The broken wings symbolize going down and surviving a serious motorcycle wreck.”

Roger “Omar” Armfield, 78, has a tattoo of a skunk that he got when serving in the Navy between 1957-1961.  His wife, Chisty Armfield, also has tattoos; she said her husband “has his name on his forearm, because he didn’t want a woman’s name, so he put his own name.”

Roger is currently battling stage four cancer, and says if he survives the battle, he and his son Stevan Brackett plan to get matching tattoos as a memorial of the fight.

“Danger Dave” Kopolovic, 63, who is originally from the Czech Republic has multiple tattoos, such as one that is the logo of his band, Forbidden Fruit Farmers, and another on his forearm that spells out “true love,” whether it is right-side-up or upside-down, like an optical illusion.

Bill Smith, 53, recently finished a tattoo the spans across his back at Tempest Night Tattoo in Port Charlotte; the back piece features a tree with a tribal bull lunging out of it, ravens flying overhead, and a memorial scroll.

Though colors may fade on skin, ink can always be touched up, and few of the aging people with tattoos regret getting them, as they have special meanings and memorialize moments in their lives. 

For those interested in tattoos, there are tattoo conventions coming to the area.  The Tattoo Ink Life Tour will be at the Harborside Event Center, 1375 Monroe St., Fort Myers, March 3-5.  Geeked and Inked Tattoofest will be March 16-19 at the Bradenton Area Convention Center, 1 Haben Rd., Palmetto, and the Tampa Tattoo Arts Convention will be Oct. 6-8 at the Tampa Convention Center, 333 S. Franklin St., Tampa.

At the Tattoo Ink Life Tour in Fort Myers this weekend, there will be human suspensions, tattoo artists from across the country, and a number of bands, including Suicidal Tendencies and Crowbar.

Marisa Williams and Robert Trujillo, formerly the bass player for Black Label Society and Ozzy, who is currently the bass player for Metallica and is on tour with his original band Suicidal Tendencies.

Steve Hunter, 45; Keith “Road Dawg” Perry, 71; Bear, 58; Terry Witte, a retired prison psychologist; Skully, 62; “Danger Dave” Kopolovic, 63; Tim, 61; and Doug Ougle, 75, show off their tattoos at a cancer benefit for Roger “Omar” Armfield, 78, who also has tattoos.

Bill Smith, 53, recently finished his tattoo at Tempest Night Tattoo in Port Charlotte.

Janice Wilson displays her tattoo at TT’s (The Tiki) at the Four Points by Sheraton in Punta Gorda.

“Danger Dave” Kopolovic of the Forbidden Fruit Farmers, who is originally from the Czech Republic, shows off his band tattoo.

For more on the Ink Life Tour, visit www.inklifetour.com.

Marisa Williams earned her Master's in Writing at the Johns Hopkins University and is a professor in Florida.  For more by Marisa, visit www.lulu.com/spotlight/thorisaz.

Wynonna and the Big Noise playing Englewood, FL, on Thursday

Through trials and tribulations that have shaped her life, Wynonna Judd talks candidly about her life, including horrific accidents and her latest album on her website, www.wynonna.com. 

Wynonna Judd and her band the Big Noise will be playing the Englewood Event Center in Englewood, FL, at 5:30 p.m. Thursday, March 2, as part of the Roots and Revival Tour, featuring nostalgia, comedy, soulful music.  After her tour will reach other areas of the country, proving that she is still a force to be reckoned with, even with a slight change in musical style.

“My roots are firmly planted in country,” said Judd, “but I was given wings, and I’m grateful that my fans have allowed me to sing the music that I love.”

Wynonna & The Big Noise, led by husband/drummer/producer, Cactus Moser, who had to have his leg amputated after an accident only a couple months after marrying Judd, released their debut full-length album last February on Curb Records. Judd described the new sound as “vintage yet modern” and a “return to the well,” a rootsy work encompassing country, Americana, blues, soul and rock.

When recording the new album, Judd sang as the band played, giving the album a more organic feel, and the album features a number of guests, including Jason Isbell, as well as Susan Tedeschi and her husband Derek Trucks. 

Judd has sold over 30 million albums worldwide, being a five-time Grammy winner and New York Times best-selling author.  Judd received more than 60 industry awards, with countless charting singles, including 20 number one hits, such as “Mama He’s Crazy,” “Why Not Me,” and “Grandpa, (Tell Me ‘Bout The Good Ole Days).”  She was also a contestant on “Dancing With The Stars.”

Judd described the new album as being a very personal journey, as it delves into the moments she has shared with her husband, who she has known since she was 20-years-old.  “He took me down a path I’d not been down before.  Now, I just want to interpret these words as honestly and transparent as I can.  I think you hear that.  There are moments in the record that I cried, because I knew I was crying when I was singing it.”

Judd is not a stranger to sharing her life’s story.  “I wrote a book about how to have everything and have nothing at all.  It propelled me to be on Oprah 18 times, more than any other person, because I have a story.  And when I tell the story between the songs, I think people relate to me, because I was raised in country music.  I worked with all the legends.  We’re losing them, by the way.”

Judd faced a brush with death by falling off a horse, resulting in surgery, and with her husband’s accident resulting in the loss of his leg, it gave the couple a new perspective on life.  “We’ve turned our mess into a message to tell other people, ‘don’t give up.’  They said he’d never play drums again.  Now, we have a new band and a new record, and he produced it – and he’s playing better than ever.  I think there are things that happen to you that make you either better or bitter, and you have to make a choice.”

The Kentucky native was heavily influenced by blues and bluegrass.  She performed alongside her mother, as well as having a prolific solo career, but now she is sharing the stage with her husband with an album that serves as a release to her past. 

“It’s being in a darkness that is so dark that your soul cries out to get relief.  Because of where I’ve been, and the hell I’ve been through, and just the primal, guttural cry with which I have shed many a tear over children, death, divorce, being in the music business for 37 years as part of my journey.  I think this record is my musical coming out party, where I’m just letting everything come to the surface,” Judd said.

For more information on Wynonna Judd and the Big Noise, visit www.wynonna.com, and for tour dates: http://www.wynonna.com/tour.  For other upcoming events at the Englewood Event Center:  www.englewoodeventcenter.com. 

Marisa Williams earned her Master's in Writing at the Johns Hopkins University and works as a professor in Florida.  For more my Marisa, visit www.lulu.com/spotlight/thorisaz.