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Mike Tyson's tattoos

May 02, 2024

The American former boxer Mike Tyson has four tattoos of note.[a] Three—at least two of them prison tattoos[b]—are portraits of men he respects: tennis player Arthur Ashe, Marxist revolutionary Che Guevara, and Chinese communist leader Mao Zedong. The fourth, a face tattoo influenced by the Māori style tā moko, was designed and inked by S. Victor Whitmill in 2003. Tyson associates it with the Māori being warriors and has called it his "warrior tattoo", a name that has also been used in the news media.

Tyson's face tattoo quickly proved iconic and has become strongly associated with him. Its Māori influence has been controversial, spurring claims of cultural appropriation. In 2011, Whitmill filed a copyright suit against Warner Bros. for using the design on the character Stu Price in The Hangover Part II. Warner Bros. responded with a number of defenses, including that tattoos are not copyrightable; supporting them, scholar David Nimmer argued that it violated the Thirteenth Amendment to the United States Constitution—which prohibits slavery—to give Whitmill copyright over part of Tyson's body.[7] After initial comments by Judge Catherine D. Perry denying an injunction but affirming that tattoos are copyrightable, Whitmill and Warner Bros. settled for undisclosed terms, without disruption to the release of the film.

The legal action renewed claims of cultural appropriation but also saw some Māori tā moko artists defend Whitmill. Legal scholars have highlighted how the case juxtaposes Maōri and Anglo-American attitudes on ownership of images. Despite never making it to trial, the case has been widely discussed in the context of the copyrightability of tattoos, a matter which has never been fully resolved in the United States.

Portraits of Ashe, Guevara, and Mao edit

 
Tyson's tattoo of Che Guevara is derived from the photograph Guerrillero Heroico by Alberto Korda.
  Ashe and Guevara tattoos[8]
  Mao tattoo[8]

From 1992 to 1995, while in prison for the rape of Desiree Washington, Tyson read a large number of books, including works by Chinese communist leader Mao Zedong.[9] Spike Lee sent Tyson a copy of tennis player Arthur Ashe's deathbed memoir, Days of Grace. Tyson was moved by the book and respected Ashe's ability to be nonconfrontational[10] and admired his political views and his success as a black athlete in a white-dominated world.[11] Tyson got prison tattoos of both men on his biceps: A portrait of Mao, captioned with "Mao" in all-caps, on the left; a portrait of Ashe beneath the words "Days of Grace" on the right.[12] Gerald Early views the Mao and Ashe tattoos as together "symboliz[ing] both [Tyson's] newfound self-control and his revision of black cool", with Mao representing strength and authority.[13] Clifton Brown in The New York Times describes the Ashe tattoo as "a contradiction" with Tyson's "fits of rage".[14] Early and biographer Richard Hoffer cast the two bicep tattoos as an unusual combination of, in Hoffer's words, "alternate icons".[15]

Tyson chose tattoos of Mao and Marxist revolutionary Che Guevara to reflect his anger at society and the government while in prison.[b] The Guevara tattoo, located on the left side of Tyson's abdomen, is derived from Alberto Korda's iconic Guerrillero Heroico photograph.[16] In the 2008 documentary Tyson, Tyson brags that the tattoo predated the widespread commodification of Guevara's image.[3] Tyson maintained positive views of both revolutionaries subsequently: In 1999 he described Guevara as "Someone who had so much but sacrificed it all for the benefit of other people."[17] In 2006 he visited the Chairman Mao Memorial Hall and said that he "felt really insignificant" in the presence of Mao's body.[18]

Face tattoo edit

 
Tyson's face tattoo, photographed in 2013
  Whitmill tattooing Tyson
  Tyson looking in the mirror

Tyson got his face tattoo from artist S. Victor Whitmill[c] of Las Vegas, Nevada, shortly before Tyson's 2003 fight with Clifford Etienne (which would be his 50th and last victory),[20] having previously suggested that he would get a face tattoo if he won Lennox Lewis vs. Mike Tyson.[21] Tyson had originally wanted hearts (which he "just thought ... were cool"[22]), but, according to Tyson, Whitmill refused and worked for a few days on a new design.[23] Whitmill proposed a tribal design[24] inspired by tā moko,[d] a Māori tattoo style.[25] The design is not based on any specific moko[26] and was created directly on Tyson's face.[27] Tyson saw the tattoo as representing the Māori, whom he described as a "warrior tribe", and approved of the design,[28] which consists of monochrome spiral shapes above and below his left eye.[29] According to Tyson, it was his idea to use two curved figures rather than one.[30]

The tattoo drew significant attention before the fight. Tyson took time off of training to get it, which trainer Jeff Fenech would later say was a contributing factor to the fight being rescheduled by a week.[31] Some questioned Tyson's physical and mental fitness to fight.[32] Experts including dermatologist Robert A. Weiss expressed concerns about Tyson boxing while the tattoo healed; Etienne said that he would not go after the tattoo.[33][34] (Tyson ultimately knocked out Etienne in under a minute.[35]) The work—which Tyson[36] and others[37] have referred to as his "warrior tattoo"—was also met with criticism from the outset by Māori activists who saw it as cultural appropriation.[29] In 2006, tā moko artist Mark Kopua in a statement to the Waitangi Tribunal called for "a law that would prevent a Mike Tyson or a Robbie Williams or large non-Māori companies from wearing and exploiting the moko".[38]

Rachael A. Carmen et al. in the Review of General Psychology posit that Tyson's face tattoo may be an example of "body ornamentation as a form of intimidation".[39] Charlie Connell and Edmund Sullivan in Inked describe it as having become "instantly iconic",[35] while Vice's Mitchell Sunderland ranks it as one of the two things Tyson is best known for, alongside biting off part of Evander Holyfield's ear.[22] Marie Hadley, in A History of Intellectual Property in 50 Objects, writes that the tattoo "has been described as one of the most distinctive tattoos in North America".[29] Its stature has increased over time, aided by Tyson and the 2009 comedy The Hangover, in which it is prominent on Tyson, who appears as a fictionalized version of himself.[40] The tattoo has become strongly associated with Tyson and has made his persona more distinctive.[39]

The Hangover Part II copyright suit edit

Whitmill v. Warner Bros. Entertainment Inc.
CourtEastern District of Missouri
Full case nameS. Victor Whitmill v. Warner Bros. Entertainment Inc.
DecidedJune 22, 2011 (dismissed)
Citation(s)4:2011cv00752
Court membership
Judge(s) sittingCatherine D. Perry

When Tyson got the face tattoo, he agreed in writing that all drawings, artwork, and photographs of it belonged to Whitmill's Paradox-Studio of Dermagraphics, an uncommon step in the tattoo industry.[41] In The Hangover's 2011 sequel, The Hangover Part II, the character Stu Price (played by Ed Helms) gets a face tattoo almost identical to Tyson's. After seeing a poster depicting the tattooed Stu, Whitmill registered a copyright for the tattoo[42] and then on April 28, 2011 filed Whitmill v. Warner Bros. Entertainment Inc., seeking to enjoin The Hangover's distributor, Warner Bros., from using the tattoo in the movie or its promotional materials.[43] Describing the face tattoo as "one of the most distinctive tattoos in the nation",[44] Whitmill did not challenge "Tyson's right to use or control his identity"[45] but challenged Warner Bros.' use of the design itself, without having asked his permission or given him credit.[43]

Warner Bros. asserted about 16 defenses.[46] They acknowledged that the tattoos were similar but denied that theirs was a copy. They further argued that "tattoos on the skin are not copyrightable".[47] They reasoned that a human body is a useful article under 17 U.S.C. § 101 and thus not copyrightable.[48] The question of a tattoo's copyrightability had never been determined by the Supreme Court of the United States.[49] Arguments in the alternative included that Tyson, by allowing them to use his likeness and not objecting to the plot device in The Hangover Part II, had given them an implied license,[50] and that their use of the tattoo constituted fair use as parody because it juxtaposed Tyson as "the epitome of male aggression" with the "milquetoast" Price.[51] Scholar David Nimmer, participating an expert witness for Warner Bros., argued that treating tattoos as copyrightable would violate the Thirteenth Amendment to the United States Constitution as a badge of slavery;[52] Nimmer's declaration was then excluded because it was a legal opinion.[53]

Perry's comments; settlement edit

On May 24, 2011, Judge Catherine D. Perry denied Whitmill's request to enjoin the film's release, citing a potential $100 million in damages to Warner Bros. and disruption to related businesses. However, she found that Whitmill had "a strong likelihood of success" on his copyright claim and characterized most of Warner Bros.' arguments as "just silly", saying:[54]

Of course tattoos can be copyrighted. I don't think there is any reasonable dispute about that. They are not copyrighting Mr. Tyson's face, or restricting Mr. Tyson's use of his own face, as the defendant argues, or saying that someone who has a tattoo can't remove the tattoo or change it, but the tattoo itself and the design itself can be copyrighted, and I think it's entirely consistent with the copyright law.

She also described the tattoo used in the movie as "an exact copy" rather than a parody.[50] On June 6, Warner Bros. told the court that, in the event the dispute was not resolved, it would alter the appearance of the tattoo in the movie's home release.[55] On June 20 it announced a settlement with Whitmill under undisclosed terms.[56]

Impact and analysis edit

While the outcome of the case was not precedential,[57] Perry's comments were the first time that a government official commented on the copyrightability of tattoos. They were also significant in drawing a distinction between the tattoo's design and application.[58] Despite the case settling, it prompted further discussion of the topic and speculation as to how the case might have proceeded if it had gone to trial.[59]

Timothy C. Bradley in Entertainment & Sports Lawyer finds Warner Bros.' useful article argument meritless;[48] in the Cardozo Arts & Entertainment Law Journal, Craig P. Bloom similarly notes that Tyson's tattoo has no utilitarian function.[60] Both stress that Tyson's face tattoo is conceptually separable from his body.[61] Bradley concludes that tattoos are copyrightable and that Whitmill owns the copyright to Tyson's face tattoo.[62] Bradley further argues, however, that Tyson has an implied license that mitigates a number of aspects of Whitmill's copyright.[63] Yolanda M. King in the Journal of Intellectual Property Law agrees that there was an implied license for Tyson to appear in various media[64] and invokes Roberta Rosenthal Kwall's proposal of a public display right for people with copyrighted tattoos.[65] King is dismissive of Nimmer's Thirteenth Amendment argument in terms of tattoos' copyrightability, but agrees that it may have relevance to tattoo copyright enforcement.[66]

Bradley and King agree that any license to Tyson would not extend to Warner Bros. recreating the tattoo on another person's face,[67] but Bradley concludes that Warner Bros.' actions were nonetheless likely fair use,[68] while King argues that the replication of the tattoo on Price's face was satire rather than parody and thus not protected by fair use under Campbell v. Acuff-Rose Music, Inc.[69] Ultimately, Bradley writes that, even if a fair use defense failed, Whitmill would not have won significant damages, as he had only registered the copyright after the alleged infringement began and could thus only collect on compensatory damages.[68]

Māori response edit

Many Māori took issue with Whitmill suing for copyright infringement when the work was, in their view, appropriative of moko. Ngahuia Te Awekotuku, an expert on Māori tattoos, told The New Zealand Herald that "[i]t is astounding that a Pākehā tattooist who inscribes an African American's flesh with what he considers to be a Māori design has the gall to claim ... that design as his intellectual property"[70] and accused Whitmill of having "never consulted with Māori" and having "stole[n] the design".[71] Bloom suggests that Te Awekotuku's argument could have formed the basis for a defense that the tattoo fell below the threshold of originality.[72]

Some tā moko artists differed, seeing it not as appropriative of moko but rather a hybrid of several tattoo styles; Rangi Kipa saw no Māori elements at all.[73] The perspective of those like Te Awekotuku highlights the conflict between Māori conception of moko—which reflect a person's genealogy—as collective property and the Anglo-American view of copyright as belonging to a single person.[74] While Warner Bros. initially said they would investigate whether the tattoo was a derivative of any Māori works, there was no further discussion of the matter prior to the case settling.[26]

Notes edit

  1. ^ Tyson also has a tattoo of a tiger on his right forearm and a portrait of his ex-wife Monica Turner on his left.[1] The Los Angeles Times in May 1997 described both as new at that time; however, the Turner tattoo dates to August 1995 at the latest.[2]
  2. ^ a b In Tyson, Tyson says, "When I was in prison, I was so angry at society. I put a tattoo of Mao on me. I put a tattoo of Che on me. Because I just had no faith in our government."[3] In A Savage Business (1998), Tyson's biographer Richard Hoffer affirms that the Mao tattoo (as well as the Ashe tattoo, not mentioned in Tyson) was inked in prison, but makes no mention of the Guevara tattoo.[4] A January 1999 Associated Press article describes the Guevara tattoo as new at that time, but says the same about the tiger tattoo,[5] which was inked no later than May 1997.[6]
  3. ^ Tyson often refers to Whitmill as "Victor Paradox" or similar.[19]
  4. ^ Tā moko is the style of tattoo; the individual tattoos are called moko (both singular and plural).

References edit

Citations edit

  1. ^ Inked 2020; Kawakami 1997.
  2. ^ Gildea 1995.
  3. ^ a b Toback 2008, 58:51.
  4. ^ Hoffer 1998, p. 13.
  5. ^ Schuyler 1999.
  6. ^ Kawakami 1997.
  7. ^ Nimmer 2011, ¶¶ 16, 20.
  8. ^ a b Roche 2020.
  9. ^
    • Hoffer 1998, p. 36. "Of his prison belongings, the only things that returned home to Ohio with him were more than 20 banana boxes full of books—Voltaire, Maya Angelou, Machiavelli, Alexandre Dumas."
    • Cashmore 2005, pp. 91, 242. "[A] newfound appetite for reading literature. Diverse literature too: from the works of Tolstoy to that of Mao Zedong, the latter the inspiration for a new tattoo" (p. 91).
  10. ^ Connell & Sullivan 2022, quoting Tyson: "'I flew through it, then read it again. I felt a kinship to [Ashe]. He was very intelligent and he held back that intelligence, he was just nonconfrontational. I respect that. I wish I could be nonconfrontational but it just wasn't meant to be. I felt a kinship there, so I put a tattoo there.'" Brackets original.
  11. ^ Early 1996, p. 59. Early says that Ashe was, according to Tyson, "not a man [Tyson] would have liked personally".
  12. ^ Hoffer 1998, pp. 13, 36, 266; Roche 2020.
  13. ^ Early 1996, p. 59.
  14. ^ Brown 2005.
  15. ^ Early 1996, p. 59; Hoffer 1998, pp. 36, 266.
  16. ^ Cambre 2012, p. 84.
  17. ^ Williams 1999.
  18. ^ Chicago Tribune 2006.
  19. ^ Reuters 2003, 2:37; Toback 2008, 59:32; Bensinger 2016, 0:22.
  20. ^ Toback 2008; Inked 2020; Connell & Sullivan 2022.
  21. ^ Wellington 2003, citing Saraceno 2002. From the latter: "'If I win the title, I might tattoo my face', [Tyson] said. / I think he was joking, but I'm not sure."
  22. ^ a b Sunderland 2013.
  23. ^ Bensinger 2016; Connell & Sullivan 2022.
  24. ^ Zhitny, Iftekhar & Sombilon 2021, p. 79.
  25. ^ Hadley 2019, p. 401. "In Māori culture, facial moko is a privilege reserved for respected cultural insiders, and it represents and embodies the wearer's sacred genealogy and social status."
  26. ^ a b Hadley 2019, p. 402.
  27. ^ King 2013, p. 140.
  28. ^ Toback 2008, 59:46; Tan 2013, p. 64.
  29. ^ a b c Hadley 2019, p. 401.
  30. ^ Bensinger 2016, 0:52.
  31. ^ AP 2003. Hamdani 2020, quoting Fenech: "'We sat down and spoke and he didn't really want to fight and he wasn't prepared to and that was one of the reasons he got the tattoo. ...'"
  32. ^ Rafael 2003; Wellington 2003.
  33. ^ Glier 2003a; Glier 2003b.
  34. ^ "Mike Tyson's Bodyguard".
  35. ^ a b Connell & Sullivan 2022.
  36. ^ AP 2003.
  37. ^ Anderson 2003; Rea 2009; Choi 2012; Hadley 2019, pp. 401, 407.
  38. ^ Tan 2013, p. 66, quoting Waitangi Tribunal 2011, pp. 69, 101 n. 12.
  39. ^ a b Carmen, Guitar & Dillon 2012, p. 141.
  40. ^ Tan 2013, p. 64; Bradley 2011, Introduction.
  41. ^ King 2014, p. 47.
  42. ^ Bradley 2011, § Damages.
  43. ^ a b Cummings 2013, p. 280; Grassi 2016, pp. 57–58.
  44. ^ Cummings 2013, p. 280, quoting Whitmill complaint 2011, ¶ 1.
  45. ^ Whitmill complaint 2011, ¶ 1.
  46. ^ Cummings 2013, p. 294, citing Whitmill answer 2011, Additional Defenses (pp. 8–9).
  47. ^ Cummings 2013, p. 281, quoting Whitmill answer 2011, Additional Defenses, ¶ 2.
  48. ^ a b Bradley 2011, § "Copyrightability of tattoos".
  49. ^ Cummings 2013, p. 281.
  50. ^ a b McNary 2011.
  51. ^ King 2014, p. 59, quoting counsel to Warner Bros. "'Well, sure. You have got this powerful figure, Mike Tyson, in the original film with the tattoo on his face. What does he do? He knocks someone out when he is angry at them. He is the epitome of male aggression. Instead, now you have this milquetoast character with the same tattoo on his face. It's a real spoof on men and their misadventures.'"
  52. ^ King 2014, pp. 67–68, citing Nimmer 2011, ¶ 16.
  53. ^ King 2013, p. 130.
  54. ^ Cohen 2011.
  55. ^ Labreque 2011, citing Whitmill memo in opposition 2011
  56. ^ Belloni 2011.
  57. ^ King 2013, p. 142. "As a result [of the dismissal], the Whitmill case failed to provide a written precedent in support of the copyrightability of tattoos."
  58. ^ Grassi 2016, p. 59.
  59. ^ Bradley 2011; Cummings 2013; Etter 2014.
  60. ^ Bloom 2013, p. 447.
  61. ^ Bradley 2011, § "Copyrightability of tattoos"; Bloom 2013, pp. 447–448.
  62. ^ Bradley 2011, § "Ownership".
  63. ^ Bradley 2011, § "What rights are covered by tattoo copyright?".
  64. ^ King 2014, p. 63.
  65. ^ King 2014, pp. 55–57, citing Kwall 2010, p. 107.
  66. ^ King 2013, p. 159 n. 184; King 2014, p. 68.
  67. ^ Bradley 2011, § "Warner Brothers' liability"; King 2014, pp. 56–57.
  68. ^ a b Bradley 2011, § "Damages".
  69. ^ King 2014, pp. 58–61.
    • "[B]y its very nature, 'parody must be able to "conjure up" at least enough of [the] original to make the object of its critical wit recognizable.' ... Applying this factor to Whitmill, Warner Bros. took too much—the entire tattoo. Further, the nontransformative use weighs against using any more of the tattoo than necessary to make a parody" (p. 61, second brackets original).
    • "Even without relying on the parody/satire distinction, an analysis of the fair use factors weighs against finding that Warner Bros.' use of the tattoo is fair use" (p. 61 n. 189).
  70. ^ Tan 2013, p. 66, quoting NZ Herald 2011. Ellipses original to Herald.
  71. ^ NZ Herald 2011.
  72. ^ Bloom 2013, p. 438.
  73. ^ Hadley 2019, pp. 402–403.
  74. ^ Tan 2013, pp. 66–67; Hadley 2019, p. 403.

Sources edit

Books edit

Academic sources edit

  • Bloom, Craig P. (2013). "Hangover Effect: May I See Your Tattoo, Please?". Cardozo Arts & Entertainment Law Journal. 31 (2): 435–471. EBSCOhost 86957114.
  • Bradley, Timothy C. (Fall 2011). "The Copyright Implications of Tattoos". Entertainment & Sports Lawyer. 29 (3). American Bar Association. EBSCOhost 73342401.
  • Cambre, Carolina (October 1, 2012). "The Efficacy of the Virtual: From Che as Sign to Che as Agent". Public Journal of Semiotics. 4 (1): 83–107. doi:10.37693/pjos.2012.4.8839.
  • Carmen, Rachael A.; Guitar, Amanda E.; Dillon, Haley M. (June 2012). "Ultimate Answers to Proximate Questions: The Evolutionary Motivations Behind Tattoos and Body Piercings in Popular Culture". Review of General Psychology. 16 (2). American Psychological Association: 134–143. doi:10.1037/a0027908. S2CID 8078573.
  • Cummings, David M. (2013). "Creative Expression and the Human Canvas: An Examination of Tattoos as a Copyrightable Art Form" (PDF). University of Illinois Law Review. 2013: 279–318. (PDF) from the original on December 25, 2022. Retrieved March 1, 2023.
  • Early, Gerald (1996). "Mike's Brilliant Career". Transition (71). Indiana University Press: 46–59. doi:10.2307/2935271. JSTOR 2935271.
  • Etter, Lauren (January 2014). "Tattoo Artists Are Asserting Their Copyright Claims". ABA Journal. 100 (1). ProQuest 1477403875. from the original on March 23, 2023. Retrieved March 27, 2023.
  • Grassi, Brayndi (January 1, 2016). "Copyrighting Tattoos: Artist vs. Client in the Battle of the (Waiver) Forms". Mitchell Hamline Law Review. 42 (1): 43–69. from the original on March 1, 2023. Retrieved March 1, 2023.
  • Hadley, Marie (April 17, 2019). "Mike Tyson Tattoo". In Op den Kamp, Claudy; Hunter, Dan (eds.). A History of Intellectual Property in 50 Objects. Cambridge University Press. pp. 400–407. doi:10.1017/9781108325806.050. ISBN 9781108325806. S2CID 198060965. SSRN 3654612.  .
  • King, Yolanda M. (2013). "The Challenges 'Facing' Copyright Protection for Tattoos". Oregon Law Review. 92 (1): 129–162. SSRN 2802292. Retrieved March 24, 2023 – via HeinOnline.
  • King, Yolanda M. (August 2014). "The Enforcement Challenges for Tattoo Copyrights". Journal of Intellectual Property Law. 22 (1). University of Georgia School of Law: 29. from the original on March 24, 2023. Retrieved March 24, 2023.
  • Tan, Leon (May 2013). "Intellectual Property Law and the Globalization of Indigenous Cultural Expressions: Māori Tattoo and the Whitmill versus Warner Bros. Case". Theory, Culture & Society. 30 (3). SAGE: 61–81. doi:10.1177/0263276412474328. S2CID 144418522.
  • Zhitny, Vladislav Pavlovich; Iftekhar, Noama; Sombilon, Elizabeth Viernes (2021). "History, Folklore, and Current Significance of Facial Tattooing". Dermatology. 237 (1). Karger: 79–80. doi:10.1159/000505647. PMID 31972563. S2CID 210883478.

News coverage edit

  • Anderson, Dave (February 24, 2003). "Translating Tyson Raises More Questions". Sports of The Times. The New York Times. ProQuest 432320418. from the original on March 2, 2023. Retrieved March 2, 2023.
  • "Tyson Displays Old Power in First-round KO of Etienne". Boxing. ESPN. Associated Press. February 23, 2003 [February 22, 2003]. from the original on September 15, 2012. Retrieved March 2, 2023.
  • Belloni, Matthew (June 21, 2011). "Hangover Tattoo Lawsuit Settled". Reuters. from the original on March 1, 2023. Retrieved March 1, 2023.
  • Brown, Clifton (June 8, 2005). "Tyson Enters the Fight of His Life". The New York Times. ProQuest 2227423483. from the original on March 23, 2023. Retrieved March 23, 2023.
  • "Chairman Mao Humbles Tyson". Chicago Tribune. April 4, 2006. ProQuest 420426750. from the original on March 2, 2023. Retrieved March 2, 2023.
  • Choi, Christy (September 13, 2012). "Mike Tyson Tells His Tales of Redemption in Hong Kong". South China Morning Post. from the original on March 2, 2023. Retrieved March 2, 2023.
  • Cohen, Noam (May 24, 2011). "Citing Public Interest, Judge Rules for Hangover II". Media Decoder. The New York Times. from the original on March 24, 2023. Retrieved March 24, 2023.
  • Gildea, William (August 17, 1995). "Tyson Talks on Life, Love, Islam". The Washington Post. ProQuest 307893517. Retrieved March 23, 2023.
  • Glier, Ray (February 20, 2003a). "Tattooed Tyson At Center Of Storm". Boxing. The New York Times. ProQuest 92588446. from the original on March 1, 2023. Retrieved March 1, 2023.
  • Glier, Ray (February 22, 2003b). "With Luster Faded, Tyson Places Career On the Line Tonight". Boxing. The New York Times. ProQuest 92692222. from the original on March 1, 2023. Retrieved March 1, 2023.
  • Hamdani, Adam (April 10, 2020). "The Controversial Reason Behind Mike Tyson's Face Tattoo". The Independent. London. from the original on March 2, 2023. Retrieved March 2, 2023.
  • "Mike Tyson's Planning to Tattoo It All". Inked. April 20, 2020. from the original on February 26, 2023. Retrieved February 26, 2023.
  • Kawakami, Tim (May 24, 1997). "Tyson Looks to Be in Fighting Shape". Los Angeles Times. ProQuest 421131987. from the original on March 23, 2023. Retrieved March 23, 2023.
  • Labreque, Jeff (June 10, 2011). "Warner Bros. Plans to Alter Hangover Tattoo for Video". Entertainment Weekly. from the original on March 2, 2023. Retrieved March 2, 2023 – via CNN.
  • McNary, Dave (May 24, 2011). "Judge OKs Release of Hangover 2". Variety. from the original on March 1, 2023. Retrieved March 1, 2023.
  • "Tyson's Moko Draws Fire from Māori". The New Zealand Herald. Auckland. May 24, 2011. from the original on March 1, 2023. Retrieved March 1, 2023.
  • Rafael, Dan (February 19, 2003). "Tyson's Actions Spark Debate: Is He Fit to Get in Ring or Not?". USA Today. ProQuest 408912383.
  • Roche, Calum (November 29, 2020). "Mike Tyson Mao Tattoo: What Does It Mean and Why Did He Get It?". Diario AS. from the original on February 26, 2023. Retrieved February 26, 2023.
  • Saraceno, Jon (June 6, 2002). "Tyson Shows Good-guy Side with Kids". USA Today. ProQuest 408916425. from the original on March 15, 2022. Retrieved March 23, 2023.
  • Schuyler, Ed Jr. (January 14, 1999). "Tyson, Botha Weigh In". Associated Press. from the original on March 23, 2023. Retrieved March 23, 2023.
  • Wellington, Elizabeth (February 22, 2003). "Tyson's Tattoo a Rite of Passage—For the Māori". The Philadelphia Inquirer. ProQuest 1896486110.
  • Williams, Richard (January 13, 1999). "Tyson Does Las Vegas". The Independent. London. from the original on March 2, 2023. Retrieved March 2, 2023.

Interviews and profiles edit

  • Bensinger, Graham (March 3, 2016). "Mike Tyson: The Real Story Behind My Tattoo". In Depth with Graham Bensinger (Video interview). from the original on February 28, 2023. Retrieved February 28, 2023 – via YouTube.
  • Connell, Charlie; Sullivan, Edmund (November 15, 2022). "The Tao of Tyson". Inked (Profile). Photos by Mark Clennon. from the original on February 28, 2023. Retrieved February 28, 2023.
  • "USA: Boxing—Mike Tyson and Clifford Etienne Weigh in for Heavyweight Fight" (Interview and raw footage). Reuters. February 25, 2003. Retrieved February 28, 2023 – via Screenocean.
  • Sunderland, Mitchell (November 22, 2013). "Mike Tyson Is a Living Greek Tragedy". Vice (Interview). from the original on March 23, 2023. Retrieved March 23, 2023.
  • Toback, James (director) (2008). Tyson (Documentary film). Sony Pictures Classics.

Other sources edit

  • Rea, Steven (May 7, 2009). "Engrossing Portrait, Not Entirely Credible". The Philadelphia Inquirer (Film review). from the original on March 2, 2023. Retrieved March 2, 2023.
  • Ko Aotearoa Tēnei: A Report into Claims Concerning New Zealand Law and Policy Affecting Māori Culture and Identity (PDF) (Report). Waitangi Tribunal. 2011. (PDF) from the original on March 25, 2023. Retrieved March 25, 2023.
  • S. Victor Whitmill v. Warner Bros. Entertainment Inc., No. 4:11-CV-752 (E.D. Mo.).
    • "Complaint Verified for Injunctive and Other Relief". April 28, 2011. from the original on March 1, 2023. Retrieved March 1, 2023 – via Justia.
    • "Verified Answer to Complaint". May 20, 2011. from the original on March 2, 2023. Retrieved March 1, 2023 – via Justia.
    • Nimmer, David (May 20, 2011). Declaration of David Nimmer – via Justia: Part 1 March 24, 2023, at the Wayback Machine (pp. 1–14, ¶¶ 1–51); Part 2 March 24, 2023, at the Wayback Machine (pp. 15–24, ¶¶ 52–72).
    • "Warner Bros.' Memorandum in Opposition to Plaintiff's Proposed Scheduling Plan". June 6, 2011. from the original on March 24, 2023. Retrieved March 2, 2023 – via Justia.

May 02, 2024
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The American former boxer Mike Tyson has four tattoos of note a Three at least two of them prison tattoos b are portraits of men he respects tennis player Arthur Ashe Marxist revolutionary Che Guevara and Chinese communist leader Mao Zedong The fourth a face tattoo influenced by the Maori style ta moko was designed and inked by S Victor Whitmill in 2003 Tyson associates it with the Maori being warriors and has called it his warrior tattoo a name that has also been used in the news media Tyson s face tattoo quickly proved iconic and has become strongly associated with him Its Maori influence has been controversial spurring claims of cultural appropriation In 2011 Whitmill filed a copyright suit against Warner Bros for using the design on the character Stu Price in The Hangover Part II Warner Bros responded with a number of defenses including that tattoos are not copyrightable supporting them scholar David Nimmer argued that it violated the Thirteenth Amendment to the United States Constitution which prohibits slavery to give Whitmill copyright over part of Tyson s body 7 After initial comments by Judge Catherine D Perry denying an injunction but affirming that tattoos are copyrightable Whitmill and Warner Bros settled for undisclosed terms without disruption to the release of the film The legal action renewed claims of cultural appropriation but also saw some Maori ta moko artists defend Whitmill Legal scholars have highlighted how the case juxtaposes Maōri and Anglo American attitudes on ownership of images Despite never making it to trial the case has been widely discussed in the context of the copyrightability of tattoos a matter which has never been fully resolved in the United States Contents 1 Portraits of Ashe Guevara and Mao 2 Face tattoo 2 1 The Hangover Part II copyright suit 2 1 1 Perry s comments settlement 2 1 2 Impact and analysis 2 1 3 Maori response 3 Notes 4 References 4 1 Citations 4 2 Sources 4 2 1 Books 4 2 2 Academic sources 4 2 3 News coverage 4 2 4 Interviews and profiles 4 2 5 Other sourcesPortraits of Ashe Guevara and Mao edit nbsp Tyson s tattoo of Che Guevara is derived from the photograph Guerrillero Heroico by Alberto Korda nbsp Ashe and Guevara tattoos 8 nbsp Mao tattoo 8 From 1992 to 1995 while in prison for the rape of Desiree Washington Tyson read a large number of books including works by Chinese communist leader Mao Zedong 9 Spike Lee sent Tyson a copy of tennis player Arthur Ashe s deathbed memoir Days of Grace Tyson was moved by the book and respected Ashe s ability to be nonconfrontational 10 and admired his political views and his success as a black athlete in a white dominated world 11 Tyson got prison tattoos of both men on his biceps A portrait of Mao captioned with Mao in all caps on the left a portrait of Ashe beneath the words Days of Grace on the right 12 Gerald Early views the Mao and Ashe tattoos as together symboliz ing both Tyson s newfound self control and his revision of black cool with Mao representing strength and authority 13 Clifton Brown in The New York Times describes the Ashe tattoo as a contradiction with Tyson s fits of rage 14 Early and biographer Richard Hoffer cast the two bicep tattoos as an unusual combination of in Hoffer s words alternate icons 15 Tyson chose tattoos of Mao and Marxist revolutionary Che Guevara to reflect his anger at society and the government while in prison b The Guevara tattoo located on the left side of Tyson s abdomen is derived from Alberto Korda s iconic Guerrillero Heroico photograph 16 In the 2008 documentary Tyson Tyson brags that the tattoo predated the widespread commodification of Guevara s image 3 Tyson maintained positive views of both revolutionaries subsequently In 1999 he described Guevara as Someone who had so much but sacrificed it all for the benefit of other people 17 In 2006 he visited the Chairman Mao Memorial Hall and said that he felt really insignificant in the presence of Mao s body 18 Face tattoo edit nbsp Tyson s face tattoo photographed in 2013 nbsp Whitmill tattooing Tyson nbsp Tyson looking in the mirror Tyson got his face tattoo from artist S Victor Whitmill c of Las Vegas Nevada shortly before Tyson s 2003 fight with Clifford Etienne which would be his 50th and last victory 20 having previously suggested that he would get a face tattoo if he won Lennox Lewis vs Mike Tyson 21 Tyson had originally wanted hearts which he just thought were cool 22 but according to Tyson Whitmill refused and worked for a few days on a new design 23 Whitmill proposed a tribal design 24 inspired by ta moko d a Maori tattoo style 25 The design is not based on any specific moko 26 and was created directly on Tyson s face 27 Tyson saw the tattoo as representing the Maori whom he described as a warrior tribe and approved of the design 28 which consists of monochrome spiral shapes above and below his left eye 29 According to Tyson it was his idea to use two curved figures rather than one 30 The tattoo drew significant attention before the fight Tyson took time off of training to get it which trainer Jeff Fenech would later say was a contributing factor to the fight being rescheduled by a week 31 Some questioned Tyson s physical and mental fitness to fight 32 Experts including dermatologist Robert A Weiss expressed concerns about Tyson boxing while the tattoo healed Etienne said that he would not go after the tattoo 33 34 Tyson ultimately knocked out Etienne in under a minute 35 The work which Tyson 36 and others 37 have referred to as his warrior tattoo was also met with criticism from the outset by Maori activists who saw it as cultural appropriation 29 In 2006 ta moko artist Mark Kopua in a statement to the Waitangi Tribunal called for a law that would prevent a Mike Tyson or a Robbie Williams or large non Maori companies from wearing and exploiting the moko 38 Rachael A Carmen et al in the Review of General Psychology posit that Tyson s face tattoo may be an example of body ornamentation as a form of intimidation 39 Charlie Connell and Edmund Sullivan in Inked describe it as having become instantly iconic 35 while Vice s Mitchell Sunderland ranks it as one of the two things Tyson is best known for alongside biting off part of Evander Holyfield s ear 22 Marie Hadley in A History of Intellectual Property in 50 Objects writes that the tattoo has been described as one of the most distinctive tattoos in North America 29 Its stature has increased over time aided by Tyson and the 2009 comedy The Hangover in which it is prominent on Tyson who appears as a fictionalized version of himself 40 The tattoo has become strongly associated with Tyson and has made his persona more distinctive 39 The Hangover Part II copyright suit edit Whitmill v Warner Bros Entertainment Inc CourtEastern District of MissouriFull case nameS Victor Whitmill v Warner Bros Entertainment Inc DecidedJune 22 2011 dismissed Citation s 4 2011cv00752Court membershipJudge s sittingCatherine D Perry When Tyson got the face tattoo he agreed in writing that all drawings artwork and photographs of it belonged to Whitmill s Paradox Studio of Dermagraphics an uncommon step in the tattoo industry 41 In The Hangover s 2011 sequel The Hangover Part II the character Stu Price played by Ed Helms gets a face tattoo almost identical to Tyson s After seeing a poster depicting the tattooed Stu Whitmill registered a copyright for the tattoo 42 and then on April 28 2011 filed Whitmill v Warner Bros Entertainment Inc seeking to enjoin The Hangover s distributor Warner Bros from using the tattoo in the movie or its promotional materials 43 Describing the face tattoo as one of the most distinctive tattoos in the nation 44 Whitmill did not challenge Tyson s right to use or control his identity 45 but challenged Warner Bros use of the design itself without having asked his permission or given him credit 43 Warner Bros asserted about 16 defenses 46 They acknowledged that the tattoos were similar but denied that theirs was a copy They further argued that tattoos on the skin are not copyrightable 47 They reasoned that a human body is a useful article under 17 U S C 101 and thus not copyrightable 48 The question of a tattoo s copyrightability had never been determined by the Supreme Court of the United States 49 Arguments in the alternative included that Tyson by allowing them to use his likeness and not objecting to the plot device in The Hangover Part II had given them an implied license 50 and that their use of the tattoo constituted fair use as parody because it juxtaposed Tyson as the epitome of male aggression with the milquetoast Price 51 Scholar David Nimmer participating an expert witness for Warner Bros argued that treating tattoos as copyrightable would violate the Thirteenth Amendment to the United States Constitution as a badge of slavery 52 Nimmer s declaration was then excluded because it was a legal opinion 53 Perry s comments settlement editOn May 24 2011 Judge Catherine D Perry denied Whitmill s request to enjoin the film s release citing a potential 100 million in damages to Warner Bros and disruption to related businesses However she found that Whitmill had a strong likelihood of success on his copyright claim and characterized most of Warner Bros arguments as just silly saying 54 Of course tattoos can be copyrighted I don t think there is any reasonable dispute about that They are not copyrighting Mr Tyson s face or restricting Mr Tyson s use of his own face as the defendant argues or saying that someone who has a tattoo can t remove the tattoo or change it but the tattoo itself and the design itself can be copyrighted and I think it s entirely consistent with the copyright law She also described the tattoo used in the movie as an exact copy rather than a parody 50 On June 6 Warner Bros told the court that in the event the dispute was not resolved it would alter the appearance of the tattoo in the movie s home release 55 On June 20 it announced a settlement with Whitmill under undisclosed terms 56 Impact and analysis edit While the outcome of the case was not precedential 57 Perry s comments were the first time that a government official commented on the copyrightability of tattoos They were also significant in drawing a distinction between the tattoo s design and application 58 Despite the case settling it prompted further discussion of the topic and speculation as to how the case might have proceeded if it had gone to trial 59 Timothy C Bradley in Entertainment amp Sports Lawyer finds Warner Bros useful article argument meritless 48 in the Cardozo Arts amp Entertainment Law Journal Craig P Bloom similarly notes that Tyson s tattoo has no utilitarian function 60 Both stress that Tyson s face tattoo is conceptually separable from his body 61 Bradley concludes that tattoos are copyrightable and that Whitmill owns the copyright to Tyson s face tattoo 62 Bradley further argues however that Tyson has an implied license that mitigates a number of aspects of Whitmill s copyright 63 Yolanda M King in the Journal of Intellectual Property Law agrees that there was an implied license for Tyson to appear in various media 64 and invokes Roberta Rosenthal Kwall s proposal of a public display right for people with copyrighted tattoos 65 King is dismissive of Nimmer s Thirteenth Amendment argument in terms of tattoos copyrightability but agrees that it may have relevance to tattoo copyright enforcement 66 Bradley and King agree that any license to Tyson would not extend to Warner Bros recreating the tattoo on another person s face 67 but Bradley concludes that Warner Bros actions were nonetheless likely fair use 68 while King argues that the replication of the tattoo on Price s face was satire rather than parody and thus not protected by fair use under Campbell v Acuff Rose Music Inc 69 Ultimately Bradley writes that even if a fair use defense failed Whitmill would not have won significant damages as he had only registered the copyright after the alleged infringement began and could thus only collect on compensatory damages 68 Maori response edit Many Maori took issue with Whitmill suing for copyright infringement when the work was in their view appropriative of moko Ngahuia Te Awekotuku an expert on Maori tattoos told The New Zealand Herald that i t is astounding that a Pakeha tattooist who inscribes an African American s flesh with what he considers to be a Maori design has the gall to claim that design as his intellectual property 70 and accused Whitmill of having never consulted with Maori and having stole n the design 71 Bloom suggests that Te Awekotuku s argument could have formed the basis for a defense that the tattoo fell below the threshold of originality 72 Some ta moko artists differed seeing it not as appropriative of moko but rather a hybrid of several tattoo styles Rangi Kipa saw no Maori elements at all 73 The perspective of those like Te Awekotuku highlights the conflict between Maori conception of moko which reflect a person s genealogy as collective property and the Anglo American view of copyright as belonging to a single person 74 While Warner Bros initially said they would investigate whether the tattoo was a derivative of any Maori works there was no further discussion of the matter prior to the case settling 26 Notes edit Tyson also has a tattoo of a tiger on his right forearm and a portrait of his ex wife Monica Turner on his left 1 The Los Angeles Times in May 1997 described both as new at that time however the Turner tattoo dates to August 1995 at the latest 2 a b In Tyson Tyson says When I was in prison I was so angry at society I put a tattoo of Mao on me I put a tattoo of Che on me Because I just had no faith in our government 3 In A Savage Business 1998 Tyson s biographer Richard Hoffer affirms that the Mao tattoo as well as the Ashe tattoo not mentioned in Tyson was inked in prison but makes no mention of the Guevara tattoo 4 A January 1999 Associated Press article describes the Guevara tattoo as new at that time but says the same about the tiger tattoo 5 which was inked no later than May 1997 6 Tyson often refers to Whitmill as Victor Paradox or similar 19 Ta moko is the style of tattoo the individual tattoos are called moko both singular and plural References editCitations edit Inked 2020 Kawakami 1997 Gildea 1995 a b Toback 2008 58 51 Hoffer 1998 p 13 Schuyler 1999 Kawakami 1997 Nimmer 2011 16 20 a b Roche 2020 Hoffer 1998 p 36 Of his prison belongings the only things that returned home to Ohio with him were more than 20 banana boxes full of books Voltaire Maya Angelou Machiavelli Alexandre Dumas Cashmore 2005 pp 91 242 A newfound appetite for reading literature Diverse literature too from the works of Tolstoy to that of Mao Zedong the latter the inspiration for a new tattoo p 91 Connell amp Sullivan 2022 quoting Tyson I flew through it then read it again I felt a kinship to Ashe He was very intelligent and he held back that intelligence he was just nonconfrontational I respect that I wish I could be nonconfrontational but it just wasn t meant to be I felt a kinship there so I put a tattoo there Brackets original Early 1996 p 59 Early says that Ashe was according to Tyson not a man Tyson would have liked personally Hoffer 1998 pp 13 36 266 Roche 2020 Early 1996 p 59 Brown 2005 Early 1996 p 59 Hoffer 1998 pp 36 266 Cambre 2012 p 84 Williams 1999 Chicago Tribune 2006 Reuters 2003 2 37 Toback 2008 59 32 Bensinger 2016 0 22 Toback 2008 Inked 2020 Connell amp Sullivan 2022 Wellington 2003 citing Saraceno 2002 From the latter If I win the title I might tattoo my face Tyson said I think he was joking but I m not sure a b Sunderland 2013 Bensinger 2016 Connell amp Sullivan 2022 Zhitny Iftekhar amp Sombilon 2021 p 79 Hadley 2019 p 401 In Maori culture facial moko is a privilege reserved for respected cultural insiders and it represents and embodies the wearer s sacred genealogy and social status a b Hadley 2019 p 402 King 2013 p 140 Toback 2008 59 46 Tan 2013 p 64 a b c Hadley 2019 p 401 Bensinger 2016 0 52 AP 2003 Hamdani 2020 quoting Fenech We sat down and spoke and he didn t really want to fight and he wasn t prepared to and that was one of the reasons he got the tattoo Rafael 2003 Wellington 2003 Glier 2003a Glier 2003b Mike Tyson s Bodyguard a b Connell amp Sullivan 2022 AP 2003 Anderson 2003 Rea 2009 Choi 2012 Hadley 2019 pp 401 407 Tan 2013 p 66 quoting Waitangi Tribunal 2011 pp 69 101 n 12 a b Carmen Guitar amp Dillon 2012 p 141 Tan 2013 p 64 Bradley 2011 Introduction King 2014 p 47 Bradley 2011 Damages a b Cummings 2013 p 280 Grassi 2016 pp 57 58 Cummings 2013 p 280 quoting Whitmill complaint 2011 1 Whitmill complaint 2011 1 Cummings 2013 p 294 citing Whitmill answer 2011 Additional Defenses pp 8 9 Cummings 2013 p 281 quoting Whitmill answer 2011 Additional Defenses 2 a b Bradley 2011 Copyrightability of tattoos Cummings 2013 p 281 a b McNary 2011 King 2014 p 59 quoting counsel to Warner Bros Well sure You have got this powerful figure Mike Tyson in the original film with the tattoo on his face What does he do He knocks someone out when he is angry at them He is the epitome of male aggression Instead now you have this milquetoast character with the same tattoo on his face It s a real spoof on men and their misadventures King 2014 pp 67 68 citing Nimmer 2011 16 King 2013 p 130 Cohen 2011 Labreque 2011 citing Whitmill memo in opposition 2011 Belloni 2011 King 2013 p 142 As a result of the dismissal the Whitmill case failed to provide a written precedent in support of the copyrightability of tattoos Grassi 2016 p 59 Bradley 2011 Cummings 2013 Etter 2014 Bloom 2013 p 447 Bradley 2011 Copyrightability of tattoos Bloom 2013 pp 447 448 Bradley 2011 Ownership Bradley 2011 What rights are covered by tattoo copyright King 2014 p 63 King 2014 pp 55 57 citing Kwall 2010 p 107 King 2013 p 159 n 184 King 2014 p 68 Bradley 2011 Warner Brothers liability King 2014 pp 56 57 a b Bradley 2011 Damages King 2014 pp 58 61 B y its very nature parody must be able to conjure up at least enough of the original to make the object of its critical wit recognizable Applying this factor to Whitmill Warner Bros took too much the entire tattoo Further the nontransformative use weighs against using any more of the tattoo than necessary to make a parody p 61 second brackets original Even without relying on the parody satire distinction an analysis of the fair use factors weighs against finding that Warner Bros use of the tattoo is fair use p 61 n 189 Tan 2013 p 66 quoting NZ Herald 2011 Ellipses original to Herald NZ Herald 2011 Bloom 2013 p 438 Hadley 2019 pp 402 403 Tan 2013 pp 66 67 Hadley 2019 p 403 Sources edit Books edit Cashmore Ellis 2005 Tyson Nurture of the Beast Cambridge England Polity ISBN 9780745630700 OL 3434892M Hoffer Richard 1998 A Savage Business The Comeback and Comedown of Mike Tyson New York City Simon amp Schuster ISBN 9780684809083 OL 689533M Kwall Roberta Rosenthal 2010 The Soul of Creativity Forging a Moral Rights Law for the United States Stanford University Press ISBN 9780804773416 Academic sources edit Bloom Craig P 2013 Hangover Effect May I See Your Tattoo Please Cardozo Arts amp Entertainment Law Journal 31 2 435 471 EBSCOhost 86957114 Bradley Timothy C Fall 2011 The Copyright Implications of Tattoos Entertainment amp Sports Lawyer 29 3 American Bar Association EBSCOhost 73342401 Cambre Carolina October 1 2012 The Efficacy of the Virtual From Che as Sign to Che as Agent Public Journal of Semiotics 4 1 83 107 doi 10 37693 pjos 2012 4 8839 Carmen Rachael A Guitar Amanda E Dillon Haley M June 2012 Ultimate Answers to Proximate Questions The Evolutionary Motivations Behind Tattoos and Body Piercings in Popular Culture Review of General Psychology 16 2 American Psychological Association 134 143 doi 10 1037 a0027908 S2CID 8078573 Cummings David M 2013 Creative Expression and the Human Canvas An Examination of Tattoos as a Copyrightable Art Form PDF University of Illinois Law Review 2013 279 318 Archived PDF from the original on December 25 2022 Retrieved March 1 2023 Early Gerald 1996 Mike s Brilliant Career Transition 71 Indiana University Press 46 59 doi 10 2307 2935271 JSTOR 2935271 Etter Lauren January 2014 Tattoo Artists Are Asserting Their Copyright Claims ABA Journal 100 1 ProQuest 1477403875 Archived from the original on March 23 2023 Retrieved March 27 2023 Grassi Brayndi January 1 2016 Copyrighting Tattoos Artist vs Client in the Battle of the Waiver Forms Mitchell Hamline Law Review 42 1 43 69 Archived from the original on March 1 2023 Retrieved March 1 2023 Hadley Marie April 17 2019 Mike Tyson Tattoo In Op den Kamp Claudy Hunter Dan eds A History of Intellectual Property in 50 Objects Cambridge University Press pp 400 407 doi 10 1017 9781108325806 050 ISBN 9781108325806 S2CID 198060965 SSRN 3654612 nbsp King Yolanda M 2013 The Challenges Facing Copyright Protection for Tattoos Oregon Law Review 92 1 129 162 SSRN 2802292 Retrieved March 24 2023 via HeinOnline King Yolanda M August 2014 The Enforcement Challenges for Tattoo Copyrights Journal of Intellectual Property Law 22 1 University of Georgia School of Law 29 Archived from the original on March 24 2023 Retrieved March 24 2023 Tan Leon May 2013 Intellectual Property Law and the Globalization of Indigenous Cultural Expressions Maori Tattoo and the Whitmill versus Warner Bros Case Theory Culture amp Society 30 3 SAGE 61 81 doi 10 1177 0263276412474328 S2CID 144418522 Zhitny Vladislav Pavlovich Iftekhar Noama Sombilon Elizabeth Viernes 2021 History Folklore and Current Significance of Facial Tattooing Dermatology 237 1 Karger 79 80 doi 10 1159 000505647 PMID 31972563 S2CID 210883478 News coverage edit Anderson Dave February 24 2003 Translating Tyson Raises More Questions Sports of The Times The New York Times ProQuest 432320418 Archived from the original on March 2 2023 Retrieved March 2 2023 Tyson Displays Old Power in First round KO of Etienne Boxing ESPN Associated Press February 23 2003 February 22 2003 Archived from the original on September 15 2012 Retrieved March 2 2023 Belloni Matthew June 21 2011 Hangover Tattoo Lawsuit Settled Reuters Archived from the original on March 1 2023 Retrieved March 1 2023 Brown Clifton June 8 2005 Tyson Enters the Fight of His Life The New York Times ProQuest 2227423483 Archived from the original on March 23 2023 Retrieved March 23 2023 Chairman Mao Humbles Tyson Chicago Tribune April 4 2006 ProQuest 420426750 Archived from the original on March 2 2023 Retrieved March 2 2023 Choi Christy September 13 2012 Mike Tyson Tells His Tales of Redemption in Hong Kong South China Morning Post Archived from the original on March 2 2023 Retrieved March 2 2023 Cohen Noam May 24 2011 Citing Public Interest Judge Rules for Hangover II Media Decoder The New York Times Archived from the original on March 24 2023 Retrieved March 24 2023 Gildea William August 17 1995 Tyson Talks on Life Love Islam The Washington Post ProQuest 307893517 Retrieved March 23 2023 Glier Ray February 20 2003a Tattooed Tyson At Center Of Storm Boxing The New York Times ProQuest 92588446 Archived from the original on March 1 2023 Retrieved March 1 2023 Glier Ray February 22 2003b With Luster Faded Tyson Places Career On the Line Tonight Boxing The New York Times ProQuest 92692222 Archived from the original on March 1 2023 Retrieved March 1 2023 Hamdani Adam April 10 2020 The Controversial Reason Behind Mike Tyson s Face Tattoo The Independent London Archived from the original on March 2 2023 Retrieved March 2 2023 Mike Tyson s Planning to Tattoo It All Inked April 20 2020 Archived from the original on February 26 2023 Retrieved February 26 2023 Kawakami Tim May 24 1997 Tyson Looks to Be in Fighting Shape Los Angeles Times ProQuest 421131987 Archived from the original on March 23 2023 Retrieved March 23 2023 Labreque Jeff June 10 2011 Warner Bros Plans to Alter Hangover Tattoo for Video Entertainment Weekly Archived from the original on March 2 2023 Retrieved March 2 2023 via CNN McNary Dave May 24 2011 Judge OKs Release of Hangover 2 Variety Archived from the original on March 1 2023 Retrieved March 1 2023 Tyson s Moko Draws Fire from Maori The New Zealand Herald Auckland May 24 2011 Archived from the original on March 1 2023 Retrieved March 1 2023 Rafael Dan February 19 2003 Tyson s Actions Spark Debate Is He Fit to Get in Ring or Not USA Today ProQuest 408912383 Roche Calum November 29 2020 Mike Tyson Mao Tattoo What Does It Mean and Why Did He Get It Diario AS Archived from the original on February 26 2023 Retrieved February 26 2023 Saraceno Jon June 6 2002 Tyson Shows Good guy Side with Kids USA Today ProQuest 408916425 Archived from the original on March 15 2022 Retrieved March 23 2023 Schuyler Ed Jr January 14 1999 Tyson Botha Weigh In Associated Press Archived from the original on March 23 2023 Retrieved March 23 2023 Wellington Elizabeth February 22 2003 Tyson s Tattoo a Rite of Passage For the Maori The Philadelphia Inquirer ProQuest 1896486110 Williams Richard January 13 1999 Tyson Does Las Vegas The Independent London Archived from the original on March 2 2023 Retrieved March 2 2023 Interviews and profiles edit Bensinger Graham March 3 2016 Mike Tyson The Real Story Behind My Tattoo In Depth with Graham Bensinger Video interview Archived from the original on February 28 2023 Retrieved February 28 2023 via YouTube Connell Charlie Sullivan Edmund November 15 2022 The Tao of Tyson Inked Profile Photos by Mark Clennon Archived from the original on February 28 2023 Retrieved February 28 2023 USA Boxing Mike Tyson and Clifford Etienne Weigh in for Heavyweight Fight Interview and raw footage Reuters February 25 2003 Retrieved February 28 2023 via Screenocean Sunderland Mitchell November 22 2013 Mike Tyson Is a Living Greek Tragedy Vice Interview Archived from the original on March 23 2023 Retrieved March 23 2023 Toback James director 2008 Tyson Documentary film Sony Pictures Classics Other sources edit Rea Steven May 7 2009 Engrossing Portrait Not Entirely Credible The Philadelphia Inquirer Film review Archived from the original on March 2 2023 Retrieved March 2 2023 Ko Aotearoa Tenei A Report into Claims Concerning New Zealand Law and Policy Affecting Maori Culture and Identity PDF Report Waitangi Tribunal 2011 Archived PDF from the original on March 25 2023 Retrieved March 25 2023 S Victor Whitmill v Warner Bros Entertainment Inc No 4 11 CV 752 E D Mo Complaint Verified for Injunctive and Other Relief April 28 2011 Archived from the original on March 1 2023 Retrieved March 1 2023 via Justia Verified Answer to Complaint May 20 2011 Archived from the original on March 2 2023 Retrieved March 1 2023 via Justia Nimmer David May 20 2011 Declaration of David Nimmer via Justia Part 1 Archived March 24 2023 at the Wayback Machine pp 1 14 1 51 Part 2 Archived March 24 2023 at the Wayback Machine pp 15 24 52 72 Warner Bros Memorandum in Opposition to Plaintiff s Proposed Scheduling Plan June 6 2011 Archived from the original on March 24 2023 Retrieved March 2 2023 via Justia Retrieved from https en wikipedia org w index php title Mike Tyson 27s tattoos amp oldid 1216596979 The Hangover Part II copyright suit, wikipedia, wiki, book, books, library,

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