Slipknot guitarist Mick Thomson’s tattoos are easiest to see in photos where his arms are uncovered. In a fan Q&A, he said the Japanese character on his arm means “hate.” The number 7 is also visible in photographs and connects to his role as #7 in the band.
Masks, gloves and stage clothes hide much of the rest, and many older photos are grainy. The clearest record is Thomson’s answer about the character, the number tied to his band identity and other dark ink whose details remain unclear.
The Japanese character on his arm
A fan asked Thomson about the character on his arm, and he answered that it means “hate” in Japanese. It is the clearest first-hand explanation of one of his tattoos.
The mark appears in older photos of Thomson playing guitar. His answer gives its translation, without adding a broader explanation.
The number seven
The number 7 is tied to Thomson’s place in Slipknot, where he is known as #7. Photos show the number among his arm tattoos.
The tattoo links back to the number fans know him by in Slipknot.
How the ink works with his masked image
Thomson’s mask, long sleeves and stage clothing hide much of his body. A wrist or forearm may come into view as he moves, while a guitar or strap covers other areas.
The photographs show the tattoos in fragments. The character and number offer two clear reference points; the other dark work is harder to map from concert images alone.
Older photographs and the limits of identification
Some older photographs show more dark designs on Thomson’s arms. Their quality varies: low light can merge several lines into one shape, and clothing can obscure the edges.
Those pictures support the presence of additional ink, but they don’t give every piece a reliable name or meaning.
The meaning of hate in context
Thomson gave the translation “hate” in response to a direct question about one character. That answer explains the design; it isn’t a general statement about how he sees himself.
The number seven as a band identity
Slipknot’s members are associated with numbers as well as masks. The number helps distinguish Thomson as #7 within the group, and it appears in photographs of his tattoos.
What the photos can and cannot prove
Photos show where the ink sits on Thomson’s arm, but they don’t always make clear whether nearby marks are one design or several. They also can’t supply a meaning without an interview or another reliable source.
The Japanese character has a first-hand explanation. The number connects to #7. Smaller details should be described only as far as the images allow.
A concise inventory of Mick Thomson’s tattoos
The documented inventory includes the Japanese character on Thomson’s arm that he said means hate, the number 7 tied to his Slipknot identity and additional dark arm work visible in photographs. The names and meanings of smaller pieces aren’t consistently documented.
The tattoo’s place in Slipknot history
Slipknot’s masks create a shared stage identity, while the member numbers help fans tell the musicians apart. For Thomson, #7 links the tattoo to his place in the band.
The Japanese character adds a separate reference with a meaning he has explained himself. Together, the two details show how his tattoos sit alongside the band’s visual history.
Why the arm mark stands out in photographs
Thomson’s arms are visible when he plays, but the view changes as he moves. A guitar strap, sleeve or glove can cover a tattoo in one frame and reveal it in another.
A close-up makes the character or number easier to see; a live shot shows how they appear with his instrument and stage clothing.
The number seven and fan tributes
Fans have used the number 7 in tattoos, clothing and artwork to show their connection to Slipknot. Their versions are tributes; they aren’t necessarily copies of Thomson’s own tattoo.
For him, the number identifies his role in the band. For fans, it can point to years of albums, tours and memories tied to Slipknot.
What remains undocumented
Photographs suggest Thomson has more ink than the two best-known references, but the sources don’t identify every piece consistently. Some designs disappear beneath sleeves or gloves, and older pictures vary in quality.
No other design has a comparable first-hand explanation in the available sources.
Watch Mick Thomson answer fan questions
In this interview clip, Thomson answers questions about his tattoos and his Slipknot identity.
Adele’s best-known tattoos are linked to her son, Angelo. One hand carries the name “Angelo”, while another design is usually described as the letter “A.” She has talked about the tattoos while discussing motherhood, saying they keep her son close and mark how much her life changed when she became a parent. The hand placement means they often show when she is performing or going about her day. She has described the name as a reminder of Angelo, not a fashion detail. There is also a tiny smiley face associated with him. Accounts differ on exactly when it appeared, but the family connection recurs in mainstream coverage. The family link is clearer than the exact count. 
In 2021, Adele showed a Saturn tattoo on her arm. It appeared around the time she was talking about change, adulthood, and the end of a difficult stretch. Some coverage connected it to her son’s age and to the Saturn return, an astrological period that comes roughly every twenty-nine years and is often linked with reassessment. Adele’s own explanation was more direct: the tattoo reminds her that life has ups and downs. That gives the planet a personal meaning; it need not be read as a prediction. The forearm placement keeps it in view without a mirror, which suits a reminder meant for her as much as for anyone looking at a photo. It is one of the clearest tattoos whose meaning Adele has explained, and it is now the design most associated with her later collection. 
Adele has also been photographed with a mountain tattoo on her wrist or lower arm. She has described it as a symbol of perspective. In interviews, she has talked about looking at a mountain and thinking about life’s climbs, drops, and changing horizons. The image can carry more than one idea without needing a long explanation. Saturn and the mountain make a loose pair: one looks up to the sky, the other to a landscape. Adele has not said she planned them as a matching set. The planet suggests time and cycles; the mountain gives shape to effort and distance. Both connect to keeping going when the view is difficult. Photos differ in the exact outline, so small visual details are hard to pin down. The mountain shape, its wrist or arm placement, and Adele’s explanation are the parts that stay consistent. It is a small tattoo, but she has given it a specific meaning. 
Adele’s known ink also includes the word “Paradise”, which appears in older tattoo roundups. It is usually placed on the side of her hand or arm, though the exact spot is not clear in every photo. The word fits the emotional language around her music, but she has not given one definitive explanation for it. Other lists mention tiny symbols or lettering that can be difficult to distinguish from temporary marks, jewellery shadows, or stage makeup. Adele changes her styling, and a single close-up can be reposted until it looks like several separate pieces of evidence. The more consistent accounts stick to the Angelo lettering, the family-related A, Saturn, the mountain, and Paradise. Some guides count five tattoos; broader lists count more by separating the hand designs or adding small symbols. Different totals do not always mean that someone invented a tattoo; they can reflect different ways of grouping a small collection. 
Most of the reported pieces sit on Adele’s hands, wrists, or lower arms. The family lettering is on her hands, the mountain is around her wrist or lower arm, Saturn is on her forearm, and Paradise is also associated with the hand or arm area. These placements make the tattoos visible in ordinary gestures and easy to cover when she wants a clean look. As a pianist and performer, Adele uses her hands and arms onstage, so the ink can show without changing the outfit. The collection is made up of separate small pieces rather than one large design. The hand tattoos are closest to family; the mountain and Saturn carry the explanations she has shared; Paradise remains less defined. They read first as reminders, then as decoration. 
Adele has explained the 
The documented pieces include the name “Angelo,” a small A connected to her son, a tiny family-related smiley face, Saturn on her forearm, a mountain on or near her wrist, and the word “Paradise” around the hand or arm. Depending on how the small designs are counted, articles put the total at five, seven, or roughly ten. The more stable list is shorter than the largest counts suggest. The tattoos point to family, perspective, time, and getting through difficult periods. They are not all tied to one album or designed as a matching set. The hand lettering is connected to motherhood; Saturn marks a period of change; the mountain is about perspective; Paradise is a softer, less explained detail. The tattoos are small, but their meanings do not depend on size. Taken together, they follow Adele through different parts of her life without turning into a single visual statement. 
The crying-eye tattoo on A Boogie’s hand is the clearest piece in the available photos. The tear makes the design easy to read, but it does not tell us exactly what he meant by it. An eye like this can suggest sadness or pressure; it may also be a style he liked. Without a direct explanation, the safest description is the image itself. The hand placement keeps it in view when A Boogie performs, points to the crowd, or holds a microphone. It appears and disappears as he moves, unlike a chest or back tattoo usually seen only in a shirtless photo. The image suggests an emotion without telling the viewer exactly what it is. 
A Boogie’s arm tattoos include lettering, symbols, and larger images spread across both arms. The photos do not make them look like one planned sleeve; they show separate designs added over time. Older and newer pieces sit together, and not all of them share the same style. A jacket can hide most of the arm. Stage lighting can flatten black ink into a shadow, while a close portrait may reveal small marks that disappear in a video. Placement is easier to verify than a final number. The available photos show what is there, but they do not provide a full timeline or a complete count. 
A Boogie’s tattoos are not all memorials or serious statements. Some look cartoonish, with unexpected placement. That lighter side fits his public style, which moves between romantic songs, humor, and swagger. A funny image may be an inside joke or a favorite character, but he has not explained every design. Some tattoos can simply be funny. The playful pieces sit alongside more polished looks without needing to match them. A striking mark might show when he reaches for a microphone, even if it is not part of the outfit or performance concept. 
Hand and finger tattoos move with the performance. A symbol may flash into view and disappear with the next gesture. Rings can cover a finger, and a palm often faces away from the camera. Even the crying eye may be clear in one photo while the rest of the hand is out of frame. It takes several images to see more than one part of the collection. The ink moves with his gestures. Lettering appears across A Boogie’s tattoos, but a crop can make a few letters hard to read. Text might be a name, phrase, place, or reminder; it is not necessarily a lyric or song title. Partial lettering is easy to misread. If a source does not show the whole word, it is better to describe “dark lettering along the arm” than to guess at a name. He writes and performs music, but that alone does not make every tattoo a reference to a song. It is better to leave an unclear word unfinished than to guess. What the available photos show clearly. The pictures document the crying-eye hand tattoo, several arm tattoos with lettering and symbols, smaller hand and finger pieces, and playful designs in portraits and stage photos. A Boogie has also discussed a favorite tattoo in an interview. That is a useful inventory, but not a complete map of his body. New photos can show details that older ones miss. An exact count needs clear, current photos of every tattoo. Fan pages and tattoo-inspired artwork add another complication: a design based on one of A Boogie’s songs or photos is not automatically ink on his own skin. 
What makes the collection feel personal. His tattoos are recognizable without looking like one coordinated design. The crying eye has an open expression, the arm pieces bring together different lettering and symbols, and the playful marks leave room for humor. Some meanings are public; others are not. Not every mark needs a public explanation. New tattoos can change how the collection looks. A small hand piece may become visible in a live clip; a close-up can draw attention to a detail that was hard to see before. Photos show separate marks as well as how they sit together. This is not a finished sleeve or a single theme, and it is safer to describe the images than to guess at each one’s meaning. Stick to what is visible. The tattoos are part of A Boogie’s public image, but the meaning of a specific symbol belongs to him. 
In October 2024, Fivio Foreign showed a Timberland boot tattoo. Complex, HOT 97, and other outlets described it as a nod to a New York icon and the city’s fashion culture. He had it done in London, taking that local reference overseas. Timberlands have been part of New York streetwear, especially in hip-hop, for years; the tattoo makes the connection literal. Reactions online were mixed. Some people joked about the boot, while others understood the reference. Fivio’s answer was that tattoos are for the person wearing them, not everyone else’s approval: people get tattoos for themselves, not for everybody else to like. That is a useful way to read this piece. It can mean something to him without winning over every viewer. 
Fivio showed the back tattoo in 2023. It reads “Stop Talking Behind My Back.” HotNewHipHop and Complex reported it as a response to people discussing him when he was not there. The placement gives the words a visual joke, though they can also read as a serious boundary. The sentence needs no guide or close comparison to understand. The lettering carries the meaning. Instead of posting a long explanation, Fivio let the message sit on his back. 
Before the boot and back phrase became headlines, Fivio already had visible tattoos across his face and upper body. Close portraits show compact lettering and dark marks, but older photos vary in lighting, crop, and resolution. Face tattoos also stay visible in interviews and music videos, unlike a back design that a jacket can cover. That visibility shapes a first impression, but it does not reveal what each mark means. Some may connect to people, places, or beliefs; a photo alone cannot establish which. Describe the design before guessing at its meaning. 
Fivio’s visible ink includes both words and symbols. The back sentence can be quoted, and a clear New York reference is easier to identify than a dark shape in a cropped portrait. A symbol might be a logo, a personal sign, or simply part of the design; without an explanation, it is hard to say. They do not need to share one meaning just because they sit on the same body. Fan pages often assign familiar meanings to crosses, numbers, or other common symbols, but Fivio may use them differently. A design can carry local history that a general tattoo guide would miss. Without his account, leave that possibility open. 
The back piece and Timberland boot 
The letters OTF refer to Only the Family, the collective and label associated with Durk’s career. Photos show the initials on his body, though their placement and style vary. Other designs are sometimes labeled OTF by fans; a blurry crop may not be enough to confirm the lettering. It’s better to name the initials only when the image or a reliable account supports them. OTF is a recurring public reference, but that doesn’t establish the meaning of every tattoo near it. 
Face tattoos stay visible in portraits, unlike arm designs that can disappear under clothing. Photos show small marks around Durk’s eyes, cheeks and forehead, along with lettering that is easier to read in close-ups. Some pieces have been associated with names, phrases, street identity or people he has lost, but each connection needs its own support. Visibility is part of the public image. It still doesn’t give us the full story behind a tattoo. 
Names, portraits and symbols connected to friends or family appear in coverage alongside OTF designs. Public accounts don’t always identify the person or story behind each piece, so it’s better not to call every image a memorial without a source. Where a reliable account names the connection, that detail can be included; otherwise, describe what is visible and leave the rest open. Online captions can be incomplete or repeated without a source. The photos show the ink, but the person or meaning behind some marks may remain private. 
Recent photos and posts brought a large tattoo across Durk’s back into view. Coverage describes an extensive full-back session, but the cost and every symbol’s meaning aren’t established by the images alone. When visible, the work takes up most of his back and reads as one composition, unlike the smaller face, hand and arm pieces. Some viewers identify skulls and crossed-out symbols; those are visual readings unless Durk or a reliable report confirms them. The photographs tell us more about size and placement than about private meaning. 
Performance photos often show Durk’s hands and arms, but motion can make the smaller designs hard to identify. A raised hand, microphone, sleeve or change in angle can reveal one mark and hide another. Photos from different years show lettering and symbols added in layers, without giving a complete timeline. A mark that looks like a number in one frame may be lettering in another. A careful inventory names designs that recur clearly or that Durk has identified, and leaves one-off guesses out. 
One of Smith’s best-known designs is the equality sign on their wedding finger. Smith described it as a statement about marriage equality and the right to love openly. The placement keeps it visible in ordinary gestures, but the public message is the part Smith has shared; the private meaning beyond that is theirs to explain. It’s a small mark with a clear stated message. The rest of the collection moves between text, rough lines and simple symbols rather than one coordinated style. 
In 2015, Smith showed two new words on their arms: “honesty” and “alone”. The designs are plain enough to read at a glance. Smith was also speaking publicly about loneliness and love, which gives the words some context without turning them into a diagnosis. “Honesty” is direct; “alone” is more exposed. People can keep a tattoo after the feeling behind it has changed. The ink records a state of mind, not a permanent diagnosis. These words add a personal note to a collection that also includes symbols and music references. 
Smith has described one tattoo as inspired by the markings found on the Iceman, a preserved body with some of the oldest known tattoo marks. Accounts differ on how to describe every line in Smith’s design, so the clearest point is the ancient reference Smith has shared. It adds a historical note to a collection better known for personal words and music references. The connection reaches beyond celebrity culture: people have marked their skin for thousands of years. It is a small design tied to Smith’s interest in tattoo history. 
Smith has many small tattoos on their hands and fingers, including a Venus symbol, Roman-numeral-style marks, crosses and other simple shapes. One story that comes up often is the matching matchstick tattoos Smith got with fans. They have described the matchstick as a sign of potential: something that could be lit or started. The shared design gave fans a small mark connected to the music. Finger tattoos can be hard to document; hands move, and fine lines look different from one photo to another. The hand collection is extensive, but not every mark has a confirmed name or meaning. That is one reason different guides reach different counts. 
Coverage also identifies a Nirvana reference among Smith’s tattoos. It may be a tribute, or simply a design Smith liked. Without a direct explanation, the reference is clear but its private meaning is not. Smith’s collection includes personal words as well as music symbols. Not every tattoo has an official caption. A design can be visible and still mean something private to the person wearing it. 
Public photos show a mix of identity-related symbols, text and music references, but they don’t give a complete chronology. “Alone” can preserve a feeling without defining Smith; the equality sign can express a value without summing up their life. Each tattoo is a marker, not a complete biography. New pieces sit beside older ones, adding to the collection without erasing what came before. 
Public accounts clearly identify the equality sign on Smith’s wedding finger; “honesty” and “alone” on their arms; the ancient-tattoo-inspired design; small Venus and other symbols on their hands; matching matchsticks with fans; and a Nirvana reference. Older guides count more than thirty tattoos, though they differ in how they list the smallest marks. No single photograph shows the full collection. A useful inventory can be detailed without claiming to know what Smith has kept private. The designs range from words to music to small hand symbols; some meanings have been shared, others haven’t. Smith’s description of tattoos as stamps fits the way they talk about the collection: a mark can record a moment even if its meaning shifts later. The images show both rough lines and neater pieces, but not whether each choice was quick or considered. The two styles sit side by side. That mix is the thread running through the collection.