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BACKGROUND AND OVERVIEW: Gunpowder inclusion injuries are rare occurrences in the civilian sector but are more frequently encountered in the military setting. The authors report a case series of 3 active duty military service members treated by an Army hospital's Oral & Maxillofacial Surgery service for the removal of embedded gunpowder particles so as to avoid traumatic tattooing. CASE DESCRIPTION: Three otherwise healthy active duty military service members were treated for gunpowder inclusion injuries incurred while conducting live fire training exercises at a state-side military installation between 2018 and 2019. All 3 males presented with injuries of the same etiology: Their weapons malfunctioned, and while visually inspecting the action, a round exploded close to the face. This peppered the face with gunpowder particles that were both superficially and deeply embedded. Treatment focused on individual removal using fine forceps. The patients were followed up and healed quickly without any complications, specifically without traumatic tattooing from the gunpowder injuries. CONCLUSION AND PRACTICAL IMPLICATIONS: Gunpowder inclusion injuries should be addressed quickly to remove the particles before epidermal healing occurs, thus avoiding the complication of traumatic tattooing. This surgical team recommends meticulous fine forceps removal as the treatment of choice for larger particles.

Die Studie beschreibt zunächst die Entstehung und das "klassische" Schema des Handlungsablaufs der Zapfenstreichzeremonie. Anhand des formalen Ablaufschemas wird das elementare Muster eines Passagerituals herauskristallisiert. Der zweite Abschnitt geht auf die Tradition der soldatischen Rituale in Deutschland ein. Hier wird deutlich, dass die Zeremonie schon immer Anlaß für scharfe kritische Auseinandersetzungen war. Mit der unmittelbaren Vorgeschichte der heutigen Form des Zapfenstreichs beschäftigt sich der dritte Teil. Im letzten Schritt erfolgt die ritualtheoretische Interpretation des kompletten Handlungszusammenhangs. Besondere Berücksichtigung erfahren dabei die antiritualistischen Motive der Zapfenstreichgegner sowie die Repräsentationsfunktionen des Rituals für den soldatischen Alltag. (pre)

Eerste uitgave Amsterdam Tattoo Museum. Rich Mingins (1916-1968) wordt gezien als een van de grootste tattoo-artiesten aller tijden. Over de man zelf is niet veel bekend. Zwijgzaam en rokend deed hij zijn werk in een klein kamertje aan Redfern Road te Londen. Zijn werk was enorm populair in zijn tijd. Mingins' dochter Margaret schonk de nalatenschap van haar vader (fotoboeken, tekeningen, plakboeken etc.) aan het Amsterdam Tattoo Museum. Deze eerste uitgave is een facsimile van een fotoboek van Mingins met door hemzelf verzamelde foto's en handgeschreven bijschriften. Honderden mensen tonen trots hun tattoos op werkelijk alle plaatsen van hun lichaam. De afbeeldingen bieden een prachtig overzicht van de wereld van de tattoo gedurende de eerste helft van de 20e eeuw. De foto's worden voorafgegaan door een korte Engelstalige inleiding over Mingins en zijn werk. Hier blijkt o.a. dat ook in de jaren 30 van de vorige eeuw tattoos steeds populairder werden bij vrouwen en meisjes uit de betere klassen

Der Autor beschäftigt sich mit körperlichen Kennzeichnungen (z.B. Tätowierungen) als Ausdruck von Inklusion und Exklusion. Er weist darauf hin, dass der Körper das ideale Medium darstellt, um sowohl der eigenen Individualität als auch der Zugehörigkeit zu einer Gruppe Ausdruck zu verleihen. Durch die Kennzeichnung des Körpers ändert sich die Stellung des Betroffenen in der sozialen Gemeinschaft. In der Regel ändert sich hierdurch auch das Verhalten der Außenstehenden ihm gegenüber. Abhängig ist dies auch von der Frage, um welche Arten von Symbolen es geht und ob diese eine dauerhafte oder zurücknehmbare Veränderung darstellen. Bei einer Betrachtung des Phänomens der body modification muss man allerdings auch berücksichtigen, dass z.B. Tattoos inzwischen eine Modeerscheinung darstellen, bei der man nicht von einer spezifischen Zeichensetzung reden kann. (GB)

Background Tattoo inks have been reported to elicit allergic contact dermatitis. Objectives To investigate the labels and the contents of metals and pigments in tattoo inks, considering restrictions within the European Union. Methods Seventy-three tattoo inks currently available on the market, either bought or donated (already used), were investigated for trace metals and pigments by inductively coupled plasma mass spectrometry and by matrix-assisted laser desorption/ionization time of flight tandem mass spectrometry. Results Ninety-three percent of the bought tattoo inks violated European, legal requirements on labeling. Fifty percent of the tattoo inks declared at least one pigment ingredient incorrectly. Sixty-one percent of the inks contained pigments of concern, especially red inks. Iron, aluminium, titanium, and copper (most in green/blue inks) were the main metals detected in the inks. The level of metal impurities exceeded current restriction limits in only a few cases. Total chromium (0.35-139 μg/g) and nickel (0.1-41 μg/g) were found in almost all samples. The levels of iron, chromium, manganese, cobalt, nickel, zinc, lead, and arsenic were found to covary significantly. Conclusions To prevent contact allergy and toxic reactions among users it is important for tattoo ink manufacturers to follow the regulations and decrease nickel and chromium impurities.

Background: Tattoo inks have been reported to elicit allergic contact dermatitis. Objectives: To investigate the labels and the contents of metals and pigments in tattoo inks, considering restrictions within the European Union. Methods: 73 tattoo inks currently available on the market, either bought or donated (already used), were investigated for trace metals and pigments by inductively coupled plasma mass spectrometry and by matrix assisted laser desorption/ionization time of flight tandem mass spectrometry. Results: 93% of the bought tattoo inks violated European legal requirements on labeling. 50% of the tattoo inks declared at least one pigment ingredient wrongly. 61% inks contained pigments of concern, especially for red inks. Iron, aluminium, titanium, and copper (most in green/blue inks) were the main metals detected in the inks. The level of metal impurities was only in a few cases exceeding current restriction limits. Total chromium (0.35-139 µg/g) and nickel (0.1-41 µg/g) were found in almost all samples. The levels of iron, chromium, manganese, cobalt, nickel, zinc, lead, and arsenic were found to significantly covary. Conclusions: It is important for tattoo ink manufacturers to follow the regulations and decrease nickel and chromium impurities, to prevent contact allergy and toxic reactions among the users. ; QC 20211124

Tattoo is a work of human art known since ancient times . There is no definitive information aboutthe emergence of this self sculpture. But certainly have become entrenched and people's lifestyles inalmost all corners of the world. Posed artistic beauty wowed some communities , which raises the fancommunity group , to users of this tattoo. Based on the background of the above problems, theformulation of the problem of this research is how the student perception UNTAG against tattoos on thebody. This study used a qualitative descriptive method by distributing questionnaires to a samplewithdrawal . Samples in this study were female students of the Faculty of Social and Political SciencesUniversity August 17, 1945 in Surabaya.Keywords : Tattoo , tattoos perceptions