In GQ’s Tattoo Tour, GloRilla talks through tattoos from high school, pieces she chose during difficult periods, and lettering tied to family, faith, friends and important dates. She is frank about cover-ups and mistakes, too, including designs she would like to change.

That candour makes her collection easier to document. The red gorilla is the most recognisable piece, but it covers an earlier “Big Glo” tattoo, and the designs around it each have their own story. The details here follow GloRilla’s explanations and leave visible facts separate from outside guesses.

The red gorilla covers GloRilla’s badly placed “Big Glo” tattoo

GloRilla says she got her first tattoo in 12th grade. She paid about $20 after asking on Facebook if anyone knew a tattoo artist. The design read “Big Glo” with a crown, but the letters were spaced badly: the L and O sat far from the rest, so the name looked more like “Big 6.” She still calls the tattoo ugly and says she chose to cover it.

That cover-up is the large red gorilla face across her chest. GloRilla says it took around five or six hours, and the earlier lettering can still show faintly if you look closely. The gorilla was a deliberate replacement for a lettering job she disliked, not a symbol invented by someone trying to decode her stage name.

She chose red because red is her favourite colour. GloRilla says plenty of women might pick a heart for that spot, but she wanted a gorilla. People criticise the design, yet she calls it one of her favourites and says she has no plans to cover it. Her own explanation carries more weight than guesses that it must stand for aggression, Memphis or fame.

The hand, leg and snake tattoos record pain and impulse

GloRilla says a hand tattoo is among her most painful pieces. She was at the tattoo artist’s apartment after her career had taken off, smoking and drinking while wearing a waist trainer. Near the end of the session she felt woozy, got up to use the bathroom, took two steps and passed out. When she came to, only half the tattoo was done. It remains memorable as a rough session, not just another small design.

The large leg piece shows someone saying “Shh” beside a clock. GloRilla says it took about eight hours, maybe longer, and was the biggest tattoo she had at the time. Numbing cream helped, but the placement near the bone still hurt. She says she could barely walk and spent about a week in a wheelchair afterward.

She feels differently about the snake tattoo. GloRilla says she got it while angry and going through a hard time, when tattoos had become a kind of therapy. She calls the snake ugly, says there was no clear reason for choosing it, and has talked about covering it with something she likes more. In her account, it was an impulsive choice rather than a symbol planned for the long term.

Her comments are also a reminder that photographs capture a moment, not a permanent opinion. A tattoo can still be there after its owner falls out of love with it. And saying she hopes to cover a design does not mean the cover-up has already happened.

Leo, Saint, Olivia and Glo Gang fill the smaller lettering map

Several small tattoos point to GloRilla’s astrology, faith, family and music circle. She identifies the Leo sign on a finger and the word “saint”, joking that she is not actually a saint while still liking the label. Both are easy to record because she names them herself; there is no need to invent a deeper explanation.

Her mother’s name, Olivia, is another confirmed tattoo. GloRilla also points to “Glo Gang,” connecting it to her own name and saying she is a big Chief Keef fan. She let her friend Teez practise the tattooing, describing that choice as a way to support a friend learning the craft. The piece carries both the lettering and the story of who put it there.

There is also a small “faith” tattoo. GloRilla says she got it in the trenches of Memphis, describing the apartment where it was done in blunt terms, and mentions wanting a butterfly on her thigh. The butterfly is a separate design; the two details came up in the same conversation about early tattoos and local experiences.

She and her best friend Gloss have matching tattoos on their thighs. The line reads “Told you I’ll be here forever.” GloRilla says it comes from Rihanna‘s “Love on the Brain,” with each friend carrying part of the phrase. That makes it a shared friendship tattoo, rather than a general inspirational quote.

Family names, Chinese lettering and dates add the personal detail

GloRilla’s family tattoos include her father’s name, Edwin, and the word “woods.” She says her father had seven children at the time, and later eight, with her as number five. The names and wording connect the ink to how she sees her place in the family.

Another design uses Chinese characters to express the idea that she would become a star. GloRilla says a friend who died in 2020 used to praise her music and tell her she would be a superstar, back when she still had what she calls her “baby voice.” She got the phrase to hold onto that encouragement and hopes her friend can see how things turned out. Its meaning comes from her account, not from guessing at the characters.

She also points out “hallelujah” in Arabic, her birth year 1999, the date 7/28/1999 and an AK-47. She says the gun and date tattoos are red because she likes that colour. These small details fill in more of the story than a single chest photograph can show.

One tattoo for a cousin reads “A cousin is a sister destiny forgot to give you.” GloRilla says she no longer speaks to that cousin and wants the design covered. That change is part of this tattoo’s history, but it should not be taken as a statement about all of her family relationships.

GloRilla’s collection holds choices she still loves, choices she regrets and designs connected to people she wants to remember. The red gorilla replaced a badly spaced high-school tattoo; the hand and leg pieces bring back painful sessions; the snake reflects an angry period; and the names, dates, faith words, friendship quote and Chinese lettering keep specific people and milestones close. The collection makes the most sense when those differences stay visible.

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Jacquees does not describe his tattoos as one perfectly planned sleeve. In GQ’s Tattoo Tour, he moves from ink he chose as a teenager to family names, symbols and small jokes that came later. Together, they mark different ages, loyalties and turning points.

Some designs are clear in photographs, while others make most sense through Jacquees’s own account. The guide keeps those kinds of evidence apart so a visible symbol does not get a made-up meaning just because it looks dramatic.

Fear God was the hand tattoo he got at 15

The hand lettering is the most recognisable tattoo in Jacquees’s public record. He says he got “Fear God” at about 15, after being influenced by Lil Wayne’s visible tattoos. The words sit across his hand where they can be read from a distance, but they are one part of a much larger collection.

Jacquees’s explanation is direct. He does not present the phrase as a code or a complicated private philosophy; it is a visible statement he chose young and kept. That timing puts it before the later family portraits, body symbols and career references. It is also one of the tattoos that shows how quickly he moved from experimenting with ink to making it part of his look.

The first neck tattoo was Que with notes and stars

Jacquees says he got his first neck tattoo at 13 because he did not want to be the only kid at school without one. The original design was his nickname, “Que,” with music notes and stars around it. It connected his name with music, though the tattoo was later covered.

The cover-up belongs in the story, not just in a footnote. A tattoo chosen at 13 can feel like a permanent decision, but changing it later shows how his taste and public image developed. The neck is hard to hide, so putting his nickname there made an early experiment unusually visible. Photos show the location and later layers; Jacquees’s account explains why he got it.

Confidence, Jesus, the rose and doves built the neck sequence

At 17, Jacquees added “Confidence is a stain they can’t wipe off” to his neck. He says the line stayed with him, and its length gives the area a different look from the compact nickname it replaced. The quote is worth keeping intact because it explains the tattoo; it explains the tattoo more clearly than a general claim about confidence would.

The neck later became home to several different ideas. Jacquees names a Jesus tattoo, a rose, the original Atlanta Braves sign, a heart at the back of his neck and doves associated with peace and love. They do not need to fit a single invented theme: the religious image, sports reference, flower and birds can simply sit alongside one another.

The way the neck looks changes across photographs. Hair, camera angle and lighting can hide part of a design or make lettering look heavier. The images establish placement and scale; Jacquees’s interview is what confirms which tattoos he identifies.

FYB, roses, the spaceship and the three wise monkeys fill out the arms

The arms carry more of the collection’s group identity. Jacquees says FYB, short for Fresh Young Boyz, appears more than once, including near his elbow. He also points to three roses on the East side, a spaceship that fits the phrase “I’m outta here,” and the see-no-evil, hear-no-evil and speak-no-evil monkeys.

Those designs do not all carry the same kind of meaning. FYB connects to the people around him, and the roses have a location reference. The spaceship turns a playful phrase into an image. Jacquees says he got the three monkeys around 18, but there is no need to assign a separate private confession to each one.

He also talks about the idea that no one sin is greater than another. That wording belongs with the design he describes; it does not mean every nearby religious or darker image represents the same idea. Keeping the statement tied to its source makes the tattoo record clearer.

Family names, portraits and the symbols on his face

The family tattoos are among the most personal pieces. Jacquees names his grandmother Daisy, his mother Rosy, his sisters and his nephew Little Ray. He also mentions a cartoon version of himself on the back of his arm, a guardian angel and two angels with wings. Together they make the collection feel like a way of keeping people close, not simply a catalogue of fashionable designs.

When asked which tattoos matter most, Jacquees returns to the ones for his grandmother and mother, as well as FYB, long life and family names. That does not mean the mean the other tattoos are unimportant; it tells us which ones he chose to name as favourites. An inventory can identify a portrait or lettering, but the preference comes from his own answer.

Smaller details on his face and ears belong in the record too. Jacquees mentions a star on his ear from ninth grade, a diamond, a cheek tattoo linked to strength and courage, and other small marks. Small facial tattoos can be hard to read in a soft photograph, so it is safest to stick with designs he names instead of guessing at every line near his eye or cheek.

The collection also reaches his legs and torso. Jacquees identifies a king symbol on his leg, which he got at 18, along with CM for Cash Money and Rodriguez, his first name. He describes a triquetra as representing three things that cannot be untied, a design shared with his sisters.

Those pieces add another layer: the king is a statement about self-image, the Cash Money initials connect to his music world, and Rodriguez is direct family identity. The triquetra is the clearest example of a tattoo with a specific reported meaning: he says it stands for the bond between his siblings.

Jacquees says he wants room to grow and does not want to cover his body in ink. That helps explain why the collection can hold many separate designs without turning into one solid field of tattoos. The open skin is part of the look, leaving space for each piece to remain readable and for a future memory to be added.

What the tattoo tour confirms

The tattoo tour follows several stages of Jacquees’s life: a nickname at 13, a hand phrase at 15, a confidence quote at 17, then family names, music references and symbols added as his career developed. The strongest descriptions pair a close photograph with the explanation he gives himself.

His collection is best read as a changing record. Some tattoos remain clearly visible, some have been covered, and some meanings belong to the people who were there when the ink was chosen. That balance keeps the guide specific without filling in stories the photographs and interview do not tell.

Jelly Roll’s tattoos make the most sense when the face, neck, hands and arms are considered as different parts of a long record. His collection is large, but there is no official count that turns it into a neat catalogue. Some designs are named during his GQ tattoo tour, others can be seen in close portraits, and later coverage sometimes describes pieces without enough detail to confirm every feature.

The GQ conversation is his strongest guide because Jelly Roll points to the tattoos: he names designs, explains several personal connections and admits when a tattoo was excessive or poorly planned. Those comments belong beside the designs they describe. When a photograph shows placement but not meaning, the account should stay with what is actually visible.

His tattoo tour shows how concentrated the collection is

Many of Jelly Roll’s most recognisable tattoos sit high on his body. His forehead, cheeks, neck and hands are visible when he performs, while the larger arm pieces show whenever he wears short sleeves. The close photos reveal many separate designs rather than one continuous tattoo, even though the group shapes how people read his appearance.

The photos also differ in clarity. Some lettering can be read immediately; other marks have softened with age or sit beside newer ink. Stage lights can make black tattoos look heavier than they do in a neutral portrait. A careful inventory records the design, its location and where the identification comes from before assigning meaning.

That care matters because Jelly Roll is open about his past. The fact that a tattoo can be connected to his family or recovery does not mean every nearby symbol has the same explanation. The tattoos are personal, but what can be confirmed publicly still has limits.

Music Man, the cheek cross and the smaller face symbols

The most noticeable facial lettering is “Music Man” across Jelly Roll’s forehead. It is written in a large, old-style script above the smaller marks around his eyes and cheeks. The words describe his profession plainly, but their placement makes them one of the first things a viewer sees. They are not hidden in a sleeve or visible only in a private photo.

Below the forehead lettering, portraits show a large cross on the cheek, smaller marks near the eyes, a teardrop and compact symbols around his hairline. In the tattoo-tour conversation, Jelly Roll connects the larger cross with a turning point in his life. That comment speaks to the cross’s importance to him; it does not automatically explain every mark nearby.

The face also carries lettering associated with his mother and other small symbols that come into focus when he is photographed straight on. Some edges have softened, so a blurry shape should not be turned into a confidently named object. The portrait is good evidence of placement and general form; his words are the stronger source for meaning.

The Nashville skyline covers an earlier neck mistake

At the back of Jelly Roll’s neck is a dark Nashville skyline, shaped to sit beneath his hairline. It fits his connection to the city, but the story behind the cover-up is even more revealing.

Before the skyline, he had the phrase “Surviving the Sruggle.” The spelling was wrong because the second T in “struggle” was missing. Jelly Roll discusses that mistake as part of the tattoo’s history, so it should not be listed as a second design that remains visible. It is what the skyline replaced.

The side photo makes the change easier to see. The skyline follows the area where the old lettering sat and forms a deliberate horizontal shape on the neck. His face and hand tattoos make it look like one part of a larger group, but the city outline has its own placement and correction story.

Mama V’s cross is an early memorial tattoo

Jelly Roll identifies the cross on his upper arm as a memorial to Veda Newcomb, known around his neighbourhood as Mama V. He says he was 14 when she died and that the tattoo became his first arm piece. In the photograph, the shoulder cross and surrounding lettering give the tribute a clear visual anchor rather than leaving it as a vague reference to faith.

The memorial predates much of his highly visible face work. It comes from an earlier period of his life and honours someone important in his neighbourhood. The cross is a familiar shape, but the name and age give this tattoo a specific story.

In photographs, the shoulder piece sits among newer arm tattoos, so its edges can blend into the larger collection. It is still useful to describe it on its own. The memorial explains why he chose this design; other tattoos on the arm do not automatically share that meaning.

The smoking baby is the tattoo he calls excessive

One of the collection’s stranger designs is a baby smoking a blunt on Jelly Roll’s arm. In the tattoo tour, he calls it excessive and treats it as an idea that went too far. That reaction tells us more than an invented symbolic reading would: the tattoo is real, he knows how extreme it looks, and he is not presenting it as a solemn emblem.

A close photo shows the baby’s face, the smoke and enough of the linework to distinguish it from the surrounding arm tattoos. Some reports have suggested it was covered, but the public record does not confirm a finished cover-up. It is accurate to say that he regrets or questions the design, not that it has definitely disappeared.

Tattoos can change in stages. A cover-up may be planned, partially done or shown only in later images. Without a clear before-and-after record, his comment and the photograph are the available evidence.

The quokka tattoo is another design he names. Jelly Roll says he got it with a group in Florida and connects the animal with keeping cheerful when life is difficult. The interview does not make its exact placement clear enough to assign it to his arm based on a distant image, so the location should remain unspecified.

Other arm photos show lettering, numbers, religious designs and family references. It is better to read them one by one than call the whole area an anonymous sleeve. A visible name or word can be recorded, but an unconfirmed story should not be attached just because the tattoo sits near Mama V’s cross or the smoking baby.

The GQ tour also documents The Jesus-on-the-cross tattoo on his back. Jelly Roll calls it a rough pick-and-poke piece and jokes that his wife first thought the face looked like Elvis. The public material used here does not offer a sharp, reliably matched photo of the back design, so the description stays cautious. A generic religious tattoo image would mislead readers about the actual piece.

What the close photographs can and cannot prove

The strongest parts of Jelly Roll’s tattoo record are the ones supported by a clear photo, a specific design and a comment from him. That combination helps describe the forehead “Music Man”, cheek cross, Nashville skyline cover-up, Mama V memorial and smoking baby. It also gives the quokka a reported meaning while leaving its placement open.

The smaller marks around his eyes, fingers and hands need more care. They are real visible tattoos, but a soft concert image is not enough to identify every symbol or claim a private reason for it. The article gets more useful when confirmed details can stand without filler.

Read this way, Jelly Roll’s tattoos form a record of family, place, mistakes, faith and humour. The designs are not all polished or solemn: some honour people, some correct earlier choices, and some are tattoos he now looks back on with regret. That mix is what makes the tattoo tour more revealing than a generic list.

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The Kid LAROI’s tattoos make the most sense through the stories he shared on GQ’s Tattoo Tour. He talks about a friend he lost, his mother, Juice WRLD, Post Malone, tour mates and a few impulsive designs that simply looked good at the time. That mix gives the collection its character.

He also makes clear that not every piece has a precise explanation. Some tattoos have a specific story; others came from a drawing on tour, a birthday-party experiment or a picture someone sent him. This guide keeps the designs separate and uses LAROI’s own account for the meaning instead of trying to assign a symbol to every small mark.

The Saik memorial and the sailor-style “MUM” tattoo start the collection

LAROI says he was 18 when he got his first tattoo, a memorial to his friend Saik, who had died. He wanted his first design to be something he would not regret a few months later, and says he could never regret putting Saik’s name on his skin. That is a much clearer explanation than simply identifying a shape in a fan photo.

He remembers being more nervous about the wait than the needle. People had told him tattoos hurt, so he was surprised to realise the session was already underway while he was still waiting for pain. It is a light story around a serious tattoo: the first piece began his collection and marks a friendship he wanted to keep close.

Beside that memorial story is a sailor-style design that reads “MUM”. LAROI explains the U: he grew up in Australia saying “mum,” while classic American tattoo lettering often reads “MOM.” He picked the Australian spelling without expecting it to become a running joke, then found people noticed it straight away. The word is simple, but the spelling gives the family tattoo an Australian detail.

The Saik memorial and the “MUM” tattoo are separate pieces with different meanings. One honours a friend who died; the other is a direct reference to his mother. They should not be blended into one general family-and-friends tattoo story.

The alien with a cookie, the spider girl and the world for Juice WRLD

One of LAROI’s more unusual designs shows an alien returning a chocolate-chip cookie to its UFO. He says his family has long been interested in aliens, conspiracies and similar subjects. His version of the story is playful: the alien visits Earth, decides it is a terrible place, but finds one good thing—the chocolate-chip cookie—and takes it home.

That explanation keeps the tattoo light rather than solemn. It is a family in-joke built around a short science-fiction scene. The UFO, alien and cookie all belong to the same visual gag; calling it just an “alien tattoo” loses the detail that makes it recognisable.

He also shows a girl holding a spider. LAROI says it is the only tattoo on his arm that has no particular meaning. An ex-girlfriend sent him the picture, he thought it looked cool and chose to put it on his hand. That is the whole story. There is no need to add a hidden meaning, and his lack of a deeper explanation is useful context in itself.

The world symbol connected with Juice WRLD has a different role. LAROI says the world shape gives him a way to keep Juice with him without covering his body in portraits of friends. He calls it a symbolic connection to Juice and says it hurt more than tattoos on his hands, knees or ribs. It is both a memorial shorthand and one of the most painful sessions he recalls.

Together, these three designs show the range of his tattoos: a family joke, an image he liked without attaching a particular meaning, and a considered tribute to a mentor and friend. Treating them as if they all carried the same message would flatten their very different stories.

Post Malone’s cowboy and the tour tattoos preserve friendships

One of the most memorable collaborations is a stick-figure cowboy with angel wings, a cowboy hat and clogs. LAROI says Post Malone drew it while the two were hanging out and decided to tattoo each other. Post made it up as he went, adding the hat and clogs to a simple figure. LAROI liked it and asked for an arrow and wording to identify Post as the artist.

That credit is part of the tattoo, not a small afterthought. LAROI says Post was a major inspiration and he wanted the piece to preserve the night as a permanent memory. Its rough look is part of the appeal: it is a freehand drawing between friends, not a polished studio illustration.

LAROI also tattooed Post Malone, but that mark is on Post’s body, not part of LAROI’s inventory. He says Post was in a hurry to use the bathroom, so LAROI drew a sad face on Post’s kneecap with “I have to shit” underneath. It is a funny story, but attributing that tattoo to LAROI would be a factual mistake.

Several other pieces came from touring. Callie drew a design on paper from LAROI’s End of the World Tour merchandise, and he put it on his knee. He says the group then got matching versions. Central Cee tattooed another design during a music-video shoot. LAROI describes both as records of specific friendships and work moments, not symbols that need to be decoded.

His smaller experiments include a thorn-like design found by his friend Dev and a small love heart he got at a birthday party. LAROI says the heart was partly an experiment to find out what a rib tattoo felt like. It is an unusually direct explanation: curiosity and wanting to try the placement were enough of a reason.

On his ribs, LAROI shows a kitten holding a mushroom. He says it came from his first Europe tour, when people in the group got kittens holding different objects. His kitten has the mushroom; another held clothing, and two kittens were shown playing ping pong. The shared format connects the designs, while each object keeps the person’s version distinct.

Finally, LAROI points out the word “towers”, drawn by Callie, which he says reminds him of home. He does not give a longer private explanation, so the clearest account is the one he provides: it is a home reference in lettering made by a friend.

The Kid LAROI’s tattoo record is most useful when it stays this specific. Saik’s memorial, the Australian “MUM,” the alien and cookie, the girl with a spider, the Juice WRLD world, Post Malone’s cowboy, the tour drawings, the mushroom kitten and the word “towers” all have different origins. Some are memorials, some are jokes and others keep a moment with a friend. Keeping those differences intact makes the collection more interesting than a generic list of ink.

Kelly Osbourne’s tattoos range from words on her shaved scalp to small marks on her hands, a colourful anchor on her forearm and older skull designs. Some pieces have a clear public story. Others are visible without a reliable explanation, so designs whose private meaning she hasn’t shared are best described by what can be seen.

She has changed her hair and added tattoos over the years, making older designs difficult to track. Hair can cover the scalp lettering; rings, nail art and camera angles hide marks on her hands. A close-up is more useful than a distant red-carpet photo for details this small.

Stories was written across Kelly Osbourne’s shaved scalp

In 2014, the word “Stories” appeared on the shaved side of Osbourne’s head. Extra identified it as a Dr Woo tattoo from Shamrock Social Club. The lettering is simple, but its placement makes it striking: with one side of her head exposed, the word becomes part of the haircut as well as her tattoo collection.

Osbourne has described the word as personal but has not given a fuller explanation. The available coverage doesn’t turn the tattoo into a story about her childhood or family; it confirms the wording, the artist and the location. The meaning she has shared is enough without building a biography around it.

Hair can hide the scalp tattoo again as it grows back. A red-carpet photo may show her face without revealing the ink; a closer side profile offers a better look at the tattoo than a general portrait. That is why the shaved-side images are easier to read than an ordinary premiere shot.

Solidarity turned the head tattoo into a public tribute

In 2016, Osbourne showed another scalp tattoo reading “Solidarity”. Digital Spy reported that she chose the word in honour of victims of the Pulse nightclub shooting in Orlando. The plain black letters above her ear make the word and its exposed placement the focus.

Osbourne tied the word to the Orlando shooting, giving it a meaning that is unusually clear in her collection. Solidarity is a public tribute to the victims and an expression of grief. The event supplies its context; no further symbolic reading is needed.

Together, the two scalp tattoos show different sides of her. Stories is personal and open to interpretation; Solidarity refers to a specific tragedy. They share a placement, but the words and dates give each a different tone.

The small hand tattoos sit beside rings and nail art

Close-up photos show a pink heart on one of Osbourne’s pinkies, along with other small marks near her fingers. The heart can disappear when she turns her hand, wears jewellery or poses against dark clothing. A hand-specific image is the easiest way to see it.

Osbourne has spoken about adding hand tattoos over time. Reports on her Without You lettering also mention an older pink heart, a small cross and a teardrop. Each is a separate mark, not one continuous hand design. Small tattoos can be added, altered or obscured; a later photo doesn’t date every mark it shows.

Scalp lettering reads from a distance; a pinky heart is easy to see only in a close-up or a particular pose. Rings and nail art can hide the smaller marks, while a hand held toward the camera brings them into view. Osbourne can choose how much of the ink appears in a photo.

The anchor and arm lettering add a traditional tattoo note

PopSugar and Nylon photographs show a colourful anchor on Osbourne’s forearm, beside script and a small clover-like mark. Its compact shape, bold outlines and colour follow traditional tattoo style and stay easy to read in a busy image. It looks very different from her fine scalp lettering or the tiny heart.

The photo shows where the anchor sits and what it looks like; it doesn’t show why Osbourne chose it. Anchors often stand for travel, stability or family, but she hasn’t given this one that explanation. The design can be described simply: a colourful forearm anchor with smaller tattoos around it.

Osbourne’s tattoos do not form one matching sleeve built in a single sitting. They bring together designs from different moods and periods: script next to a traditional picture, with a tiny clover or cross nearby. The variety gives the collection a personal feel, even when photos leave the story behind each shape unclear.

Older inventories also list skull and crossbones on Osbourne’s feet, plus small pieces linked to family, fashion work and changes in her appearance. The dates and visibility of these tattoos vary. Her scalp and hand pieces are easier to place because they appeared in close-up photos and contemporary coverage. The broader collection is a record across time, not one official checklist.

Stories began on her shaved scalp, while Solidarity honours the victims of the Orlando shooting. The pink heart and other hand marks, forearm anchor, script and older skulls round out the collection. Osbourne has shared the story behind some pieces; the rest can be described without assigning meanings she hasn’t given.

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In GQ’s Tattoo Tour, J.I.D says he got his first tattoo at 13. He had watched his older brothers and sisters get tattooed and wanted one too. He picked a spot his mother wouldn’t notice right away.

Across his lower stomach, he had the word “Routeboy”, framed by flames. Route is his family name, so the lettering links the tattoo to both family identity and the name he was building as a young artist.

After Routeboy, the record gets patchier. Photos show dense ink across his chest, stomach, arms and hands, but only some designs can be named with confidence. A close shot can show where a mark sits; it can’t supply an explanation J.I.D hasn’t shared.

The Routeboy stomach tattoo came first

The flames sit above and below the Routeboy lettering, framing it as one broad design. J.I.D chose the lower stomach, where a shirt or jacket could keep it hidden. An early photo that doesn’t show the tattoo can’t establish whether it was already there.

Route is his family name, and Routeboy gave J.I.D a personal label tied to it. The GQ interview confirms that connection; readings about destiny or ambition would go beyond what he said.

The tattoo arrived before his public career, albums and tours. At 13, he was making a decision that felt grown-up; now he says it looks childish. His change in taste doesn’t undo the tattoo’s place in his story.

The flames belong to the same first composition

Flames are a familiar tattoo motif, but J.I.D’s own account treats them as part of the original Routeboy design. There’s no reliable explanation that they stand for anger, rebirth, danger or a particular event. The tattoo meanings other people attach to fire don’t tell us what he meant. Visually, the flames simply frame the word.

In the GQ close-up, the flames make a border around the lettering and widen the design. Its linework looks rougher than the detailed chest and arm tattoos visible in later photos, fitting a tattoo made at 13. The first piece feels like a young person’s statement of identity, rather than an attempt to match a later sleeve.

Routeboy’s appeal is its simplicity: one word, a family reference and flames. His later tattoos are denser and more varied, but this first piece is straightforward to describe on its own. The rest of the collection is harder to map mark by mark.

Later photographs show a much larger chest and arm collection

Later work spreads from his chest to his shoulders and arms. Photos show dense linework, script, small figures, abstract shapes and religious imagery close together. Some lines overlap, but differences in scale and weight make the tattoos look like separate designs added over time rather than one sleeve.

The chest is hard to document from one photo. Dreadlocks, necklaces and the angle of the torso can hide the upper edge; clothing may cover the lower stomach. A portrait can reveal the extent of the work without enough detail to name every mark. That’s why the Routeboy tattoo should not be merged with the later chest pieces just because both occupy the same broad area.

His arms carry black-and-grey linework, lettering and small illustrations. No published source gives a complete official list. The photos show extensive work, but they don’t support borrowing a meaning from another rapper’s tattoo collection or naming every shape.

The arm tattoos are visible, but not all are individually named

Public portraits show tattoos from J.I.D’s shoulders down his forearms and onto his hands. Some sections have repeated curves and flame-like outlines; others use lettering or small illustrations. The work is extensive, though a wide shot rarely shows where one tattoo ends and another begins.

The hand tattoos are easy to misread: fingers bend, jewellery covers skin and shadows gather around the knuckles. A mark that looks like a letter in one photo may be a small symbol from another angle. If a word isn’t legible and J.I.D hasn’t identified it, the rest is best described as linework.

Routeboy began as a tattoo J.I.D could hide under a shirt. The later work on his arms and hands is visible in photos, performances and fashion portraits. That shift puts more of the collection into public view, though no precise date is available for every addition.

Chest lettering and religious motifs form separate visual groups

Close torso photos reveal lettering near the shoulders, smaller symbols around the chest’s centre and larger decorative designs reaching toward the stomach. Some portraits also show cross pendants. Those are jewellery, even when they sit close to the tattooed chest.

J.I.D hasn’t given a public meaning for every cross, figure or ornamental mark. When a design is clear, it can be described as religious or symbolic; beyond that, the photographs don’t tell us the personal story.

The first tattoo is a word framed by flames; the later chest work layers many smaller designs across the torso. The photographs show the collection growing over time, and J.I.D has described that gradual buildup himself.

The clearest part of J.I.D’s tattoo story is still where it began.

What the tattoo photographs can and cannot prove

The first tattoo is the best documented: J.I.D has described getting Routeboy at 13, choosing the lower stomach for privacy and taking inspiration from older siblings. Later images clearly show his chest and arm work, but published accounts are thinner on individual names and meanings.

J.I.D’s first-person account anchors the Routeboy story; later photos show how the collection grew. That keeps a useful distinction between a documented tattoo and a guess. Readers can follow the design from age 13 without being told that every line has a private meaning.

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Lil Peep’s tattoos were never a carefully planned image. In GQ’s 2017 Tattoo Tour, he names family pieces, spooky images, music references, a broken heart, a horseshoe and the word “crybaby.” He tells stories about some designs; others were spontaneous or chosen for the joke.

In the footage, Peep often explains the tattoos himself. A photograph shows where the ink sits; his comments tell us whether it was a family reminder, a joke or an impulse. Some designs only make sense once he tells the story.

“Get cake, die young” and the Halloween details made the face a record

Peep says he sometimes woke with face tattoos and no memory of getting them. One phrase reads “get cake, die young.” After a night of heavy drinking, he woke to find it on his face and accepted it. It’s an absurd story, and shows how some of his face tattoos happened without a plan.

He says “11 1” marks his birthday, November 1, around Halloween. Around that theme are bats and a pumpkin. He also got a centipede after noticing how often they seemed to turn up around him. It bothered him so much that he put one on his body.

The bats and pumpkin point to Halloween. The centipede has its own story: Peep said they kept turning up around him and bothering him, so he put one on his body. The images don’t all belong to one vague “dark” theme.

Family names, Lisa, Meep and Hellboy sit beside the early work

At 14, Peep got a large tattoo connected to his mother’s birthday and initials. He said he wanted something that wouldn’t make her angry about his first tattoo. He also mentions tattoos of his grandfather, his mother and a friend, and says family meant more to him than a traditional family tree.

The Lisa shouting “Mom” tattoo captures one of their habits. When Peep felt overwhelmed or things were going wrong, he says, he called his mother and stressed her out. The tattoo is therefore a visual joke about a real family dynamic, not just her name or a portrait.

His leg tattoo of Meep recalls a doll he bought with a former girlfriend. He called the doll his son and wanted the character on his body. It’s playful, but the attachment made it personal to him.

Below Meep, he points out “Hellboy,” the name of his first mixtape to attract wider attention. He also loved the comics and their main character, so the lettering nods to both music and comics.

The broken heart and “crybaby” tattoos turned pain into identity

Peep got the broken heart beneath his eye in 2015 during a period when he wasn’t feeling well. He said he had to succeed in music because visible face tattoos could make ordinary jobs harder to get. The placement was emotional, but it also pointed him toward a career.

The large “crybaby” tattoo came from something Peep noticed about himself. He said he complained often and felt ungrateful despite having opportunities many people wanted. He chose the word to remind himself to appreciate what he had and remember that other people faced harder circumstances. He called it one of his favourites, even knowing some people would regret such visible ink.

He described “mood” as his eternal mood and joked that the image was low quality because his mood was, too. The tattoo does not need a grand explanation; the joke already says a lot about how he viewed the imperfect piece.

The “homesick.” tattoo on his fingers reflected touring while he was young and missing his mother. He carried the word with him whenever he was away from home.

Pink Panther, anarchy, horseshoe and Ed Hardy pieces show his restless style

Peep says he got the Pink Panther after staying awake on mushrooms, taking an Uber to Venice Beach and deciding he should make the night memorable. He walked into a random shop and had the character tattooed. It was an impulsive choice tied to the story of that night.

The red anarchy symbol came from his urge to change his look whenever he felt punk or rebellious. He said his style was hard to pin down and recalled growing frustrated when people copied what he wore in high school on Long Island. The mark fits a shifting visual identity, but the interview gives no reason to read it as a fixed political statement.

Peep called the horseshoe a lucky charm, then joked it worked only sometimes. He also said Ed Hardy drew a design for a London exhibition; after shaving his head, Peep had it tattooed. Together, the artist, place and timing make the design identifiable without requiring a speculative meaning.

Arm and body tattoos complete the Long Island collection

Peep described the collection as a work in progress and planned to cover as much of his body as he could tolerate. He talked about how different placements felt, including the back of his head. Over time, the ink became part of his face rather than an accessory he kept evaluating.

Close portraits reveal designs that a performance photo can hide under hair, clothes or a camera angle. Peep’s own list gives names to some of them: Hellboy, Crybaby, homesick, the broken heart, anarchy, horseshoe, bats, pumpkin, centipede and Pink Panther. Some had a story; others were chosen for the image or the moment.

Peep’s tattoo language mixes family, humour, music, horror and deliberate discomfort. The face ink could make conventional work harder to get; other pieces tied him to Hellboy and Crybaby or turned private jokes into words on his skin. He never said every tattoo carried a noble explanation.

Some pieces remembered family. Others reminded him to appreciate what he had; still others came from jokes, sudden ideas or intoxicated nights. Together they chart a young artist who treated tattooing as biography, armour and experiment.

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Anthony Kiedis’s tattoos built up over several decades, so they do not fit neatly into a quick list. The best-known pieces spread across his upper arms, forearms, wrists, back and torso. There are Red Hot Chili Peppers references, portraits, animals and broad black patterns. Kiedis has also spoken about his interest in Native American imagery, though he has not explained every tattoo.
To follow the collection, look at one design at a time. Photos show where a tattoo sits and how it looks; an interview may explain why he chose it. When there is no clear account, a plain description beats a dramatic story Kiedis never told.

The named chief portraits anchor Kiedis’s upper arms

Kiedis’s tattoo history usually starts with Chief Sitting Bull, on his upper right arm. The portrait takes up much of the arm, more like a large face study than a small symbol. Older photos show lines and shapes around it, but the face still reads as its own piece, with distinct outline and shading.
The portrait work around his upper arms is often described through Native American imagery; it is separate from the tribal bands on his forearms. A face tattoo and an armband work differently on the body. The portrait draws the eye to a person’s features, while bands and daggers carry it around the limb.
Tattoo guides connect Sitting Bull’s name and image, but Kiedis has not publicly laid out every reason he chose him. What is clear is the portrait’s identity, its place as an early tattoo in his collection, and where it sits.

The tiger gives the inner forearm a completely different subject

Photos place a tiger on Kiedis’s right inner forearm, though the boundary between inner forearm and upper arm can be hard to judge from one shot to another. In close-up, the animal is separate from the portraits above the biceps; its curved stripes and face make it easy to pick out.
The tiger breaks up the portrait-heavy sleeve. The chiefs rise vertically along the arm; the tiger spreads wider, with its stripes following the limb. A close shot brings out the shape better than a distant full-body photo, where it gets lost among the surrounding ink.
Kiedis has not given a clear public explanation for the tiger, but its place among the other designs is easy to see. It breaks up the faces and dark bands, adding an animal to a collection otherwise dominated by portraits and patterns.

Tribal daggers and armbands run down the forearms

Bold black ink covers much of each forearm, including tribal daggers, armbands and angular shapes. The designs run from elbow toward wrist, with pointed ends and gaps of bare skin. In sharper photos, you can see how they are built from separate pieces rather than one solid sleeve.
The broad black bands are easiest to pick out, even when Kiedis bends his arms. Onstage, they show up again and again because they are hard to miss against bare skin. Some are thick and solid; others taper to points, with skin showing between the lines.
Online accounts sometimes attach cultural stories to these designs, but the photos do not establish a link to ancestry, spirituality or a private event. What they clearly show is black, tribal-style work: bands, angular motifs and dagger-like shapes running down the forearms.

The Red Hot Chili Peppers asterisk is a band mark on the wrist

The Red Hot Chili Peppers’ asterisk logo is often identified as a wrist tattoo. Unlike the larger portraits and bands, it points directly to Kiedis’s work with the group: the asterisk is the Chili Peppers’ best-known visual mark. It is small, but its connection is clear.
The wrist gives the logo a different kind of visibility. It shows in everyday hand movements and during performances, while a shirt can hide the portraits higher on the arm. Some of Kiedis’s tattoos stay close to the body; others read from across a stage.
The asterisk and forearm daggers may appear in the same photo, but they are separate parts of the collection: one compact band emblem, one set of larger patterns. That distinction makes the tattoo map easier to follow.

The back piece spreads across the shoulder blades in a broad geometric field

Kiedis’s back carries one of the collection’s largest designs. Photos show dark geometric, tribal-inspired work spreading across the shoulder blades. Repeated shapes make it read as a wide panel rather than a single emblem, and clothing hides nearly all of it.
The design uses the full width of his back: lines fan across the shoulders and draw the eye toward the spine. Its repeated geometry gives it an architectural feel, unlike the tiger or the two chief portraits.
Some tattoo catalogues describe it as Aztec-inspired or tribal, but those labels speak to its visual style, not Kiedis’s heritage or the source of every symbol. Photos show a large black design across his upper back; the private meaning of the individual marks has not been clearly documented.

The torso and shoulder photographs show how the collection changed around the main pieces

Photos also show small marks across Kiedis’s shoulders, chest and torso, though many have not been named in published accounts. Some look like short bands, others like small emblems; movement and stage lighting can hide their edges. Without a clear identification, it is hard to count them as named tattoos.
New work filled in around the older portraits over time. What looks like one continuous sleeve may be several pieces—a chief, a tiger, an armband and smaller filler designs—with gaps between them. Those breaks help show where one tattoo stops and the next begins.
The collection also looks denser in later photos. Older shots show the portraits and arm work before additions filled out the limbs. Concert lighting can hide thin lines or make black ink look heavier, so dated photos give a clearer timeline than trying to count everything from a single image.
Clothing and movement reveal different parts of the collection. A short sleeve may cover the upper-arm portraits; the tiger sits near the inner arm, while the forearm bands show when Kiedis raises a microphone. His back piece disappears under a shirt, even though it spans the shoulder blades.
Photos from different years and settings fill in the gaps. Stage shots, studio portraits and older shirtless interviews each reveal another section; no single image catches every tattoo. Together, they show how the collection grew around its original pieces.

What can be confirmed without inventing meanings

The clearest identifications are Chief Sitting Bull, Chief Joseph, the tiger, the forearm daggers and bands, the Red Hot Chili Peppers asterisk, and the broad back piece. Those can be named and placed from available photos and accounts. Smaller marks across the shoulders, chest and hands are harder to identify without a clear source.
The collection mixes portraits, animals, band history and large graphic patterns. The chiefs give the arms recognisable faces; the tiger adds another subject; the asterisk points to Kiedis’s career. The daggers and back work widen the design into a larger body map.
One blurry concert shot cannot settle the full count. The named pieces already show how Kiedis’s collection brings together portraits, band history and bold blackwork; any smaller mark needs a clearer photo or a first-person explanation.

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Ariana Grande’s fine-line tattoos have changed over the years. New work appears on her hands, older relationship designs get covered, and sleeves, gloves or stage styling can hide tattoos in photos. Depending on when a picture was taken and what she is wearing, her collection can look quite different.
Her tattoos include butterflies, a Manchester bee, moons and stars, tiny hand lettering, dog tributes, botanical work, matching Wicked tattoos and several cover-ups. Some older designs have changed, so one photograph cannot tell the whole story. Grande or her tattoo artists have explained some pieces; the public record does not provide a private meaning for every small mark.

The butterfly tattoos became a visible marker of Grande’s changing style

The butterfly tattoo on Grande’s upper arm stands out in performance photos and portraits. It is fine-lined black ink, set high enough to show when she wears sleeveless clothes. She revealed a new butterfly around the 2020 Grammys, but public reports did not include her own explanation for it.
Fans often read the butterfly as a fresh-start symbol, but Grande has not said that publicly. The photos show where it sits, not what it meant to her. She has more than one butterfly tattoo, so several wings in a picture may belong to separate designs.
Her small Eevee tattoo is a character tribute linked to her interest in Pokémon: Let’s Go, Eevee!. It often appears beside the butterflies in photos; both are fine-line arm tattoos, but one is a Pokémon character and the others are butterfly designs.

The Manchester bee sits behind the ear beside the moon

Grande’s small Manchester bee appears behind her ear, one of the tattoos with the clearest memorial story. She got it after the 2017 Manchester Arena attack and shared the design with a short message of remembrance. The bee is a familiar Manchester symbol, and she connected the tattoo to the city and the people affected by the bombing.
It is easy to miss in a straight-on photo. The bee sits behind the ear and is close to a crescent moon tattoo, so a front view may catch the moon and hide the insect. A side-on shot shows the bee’s body and wings against her hairline.
The crescent moon has its own, less settled story. Moonlight was the working title and emotional backdrop to Grande’s 2016 album; fans have also linked the tattoo to an old nickname and a past relationship. Those are different theories. The bee has a documented connection to Manchester, while Grande has not explained the moon in the same way.

Sun, moon and stars turn the hand into a small celestial map

Across the back of Grande’s hand and fingers, the celestial hand work groups a sun, crescent moon and small stars into one fine-line cluster. Reports also place her grandmother at the tattoo session and connect a matching family moment to the nickname Ciccio.
Other hand tattoos often appear together in close-ups: H2GKMO (“honest to God, knock me out”), small symbols and words from earlier relationships, and lettering Grande has since changed. The cluster can look busy because it mixes original pieces, cover-ups and very fine marks that disappear in low-resolution images.
The 7 Rings palm tattoo shows how a design can change. Grande chose Japanese characters meant to reference the song; early coverage said the first version was wrong, and she later altered it. Photos of the original should not be treated as its final form or a reliable translation.

Vines and daisies are the newest layer of Grande’s hand tattoos

Recent photos show a run of botanical additions by tattoo artist Mira Mariah, also known as Girl Knew York. The new work includes a vine and daisy group from the thumb toward the palm, daisies on the index and ring fingers, and a smaller flower near the pinky. These fine-line pieces cover more of her hand than the isolated symbols she had before.
Grande called the session an “art girl tattoo party,” and Mariah posted about the vines and flowers. Her comments and the artist’s photos give a direct account of the designs; there is no need to assign a separate story to every flower.
These fine lines can be hard to follow from one photo to another. Rings, nail length, hand position and lighting hide parts of the palm, while stage shots often lose the lighter ink. A close image helps distinguish the new vine from old lettering and a small flower from a faded mark.

Dog tributes and small symbols give the collection its personal details

Grande has several tattoos tied to her dogs, including small portraits and lettering associated with Toulouse and other pets. Some sit on her hands and fingers beside older symbols. They are affectionate personal tributes, scattered among the smaller pieces rather than part of one large design.
Other reported tattoos include an olive branch, a tiny heart, the French phrase Mille Tendresse, Hebrew lettering and a black heart. The record varies: Grande showed some designs herself, the artist identified others, and the rest have been catalogued from photographs.
Grande’s Hebrew and Japanese tattoos are easy to misreport: the characters can be visible while the intended wording remains disputed, especially after a cover-up or a quick social-media reveal. It helps to separate what the photo shows from the translation attributed to it.

Wicked tattoos and cover-ups changed the map over time

During Wicked, Grande and Cynthia Erivo revealed matching For Good tattoos tied to the film’s closing duet. Reports also connect them with poppies from the story. These pieces belong to the film period and were added later in Grande’s tattoo timeline.

Matching poppies mark the friendship behind the film

The matching poppy tattoos are separate from the words For Good. The women showed matching flowers on their hands, drawn from the poppy fields in the Wicked story. In a photo, the blooms may sit beside the palm lettering, but they are a different design.
Before that, Grande and Pete Davidson got matching symbols and phrases during their engagement, including tattoos tied to the number 9¾. After they split, some were covered or changed. Those earlier versions remain part of the timeline even though they no longer look the same.
Dates make a difference with Grande’s tattoos. The collection runs from small early pieces to denser hand work, from relationship designs that later changed to newer family and dog tributes, and from one-off symbols to matching work with collaborators. Photos show how the mix developed; interviews and posts fill in some of the stories.
The short version: Grande’s tattoos are a changing mix of fine-line hand work, memorial, family and dog tributes, music and film references, and cover-ups. The butterfly, Manchester bee, celestial cluster and newer vines are distinct designs, visible in different photos and at different points in her life.

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Dua Lipa’s tattoos are mostly small, but many point to places and memories. Some lead back to Pristina or Los Angeles; others are short phrases, personal references or shapes chosen for how they look on the skin. Rather than one large style statement, the collection reads like a little travel diary.
Published tattoo coverage names the designs and their placements; a later Allure report adds the matching star she got with Seth Meyers. The photos and interviews fill in some of the story, though not every tiny mark comes with an explanation.

Sunny Hill puts Dua Lipa’s family home on her arm

The Sunny Hill lettering is on the inside Dua Lipa’s right arm. ELLE Australia translates it as the name of the Pristina district where her family is from. Born in London, she wears the words as a direct link to Kosovo and the place her family calls home.
It is small text, without an elaborate illustration around it. “Sunny Hill” does not need extra decoration to suggest home. And unlike a flag or abstract symbol, the words point to a particular place.
Photos of the inner arm vary; angle and focus can make the lettering look faint. What stays constant is the wording and where it sits. There is no firm source for a particular font or the date of the appointment.
Sunny Hill is not a tour stop or a date. It names the Pristina neighborhood tied to her family. That gives four small words more weight than a souvenir tattoo.

The words This Means Nothing keep the early collection deliberately blunt

Dua reportedly got This Means Nothing on her left forearm as her second tattoo. The joke is right there in the words: they refuse the usual demand that a celebrity tattoo come with a grand explanation. The published account does not add a deeper meaning.
A close-up shows the capital letters and their placement; a wider portrait shows how the phrase sits among her other tattoos. Each view gives a different sense of scale.
A single phrase does not make every other tattoo in the collection ironic. This one is deliberately plain, and it sits apart from family references elsewhere in her collection.
The four words are readable and almost conversational. Their dry tone is the point; they leave little room for a grand interpretation.

A barbed-wire heart became one of Dua’s most recognisable designs

The barbed-wire heart on Dua’s left forearm is one of the tattoos most likely to appear in everyday photos. ELLE Australia calls it one of her iconic designs, and its outline still reads from a distance.
The shape pairs a familiar heart with a jagged wire border. The contrast is easy to see, even though published sources do not tie every loop of wire to a personal story.
The forearm often faces the camera, but lighting can flatten the heart or make the wire look heavier. A full shot shows the design better than a cropped portrait.
It may not be her largest tattoo, but its forearm placement keeps it in view. The heart shows up often enough that many fans recognize it before they notice the smaller lettering.

The rose and angel show two different kinds of arm placement

A rose outline sits on the inner side of Dua’s right bicep. Published coverage links it to a late-night Paris visit with tattoo artist Madame Buraka. It is easier to miss than the forearm lettering, so it appears more often in tattoo photos than on red carpets.
An angel sits higher, on her right shoulder; reports tie it to a 2016 session with Sean From Texas. Both designs use delicate lines, but they occupy different spots: the rose is tucked inside the bicep and the angel sits near the shoulder.
Reports identify the rose and angel but do not name every mark nearby. Their locations are visible in the photos, so each is easier to pick out when the description says where to look.
The rose is tucked inside her bicep, while the angel sits near her shoulder; calling them simply “arm tattoos” would blur that difference. Their locations also make it easier to identify each design in later photos.

A small matching star arrived during Dua’s Late Night appearance

In January 2024, Dua and Seth Meyers got matching small star tattoos during a Late Night appearance. Allure and Uproxx report that Bang Bang did the work. Dua’s star is on her ankle; Meyers’s is on his calf.
Unlike Sunny Hill or the barbed-wire heart, the star came out of a shared TV moment. They got the same small design on camera, so its date, artist and counterpart are unusually clear.
Together, the small tattoos tell different stories: a family place, deadpan words, simple symbols and a friendship marked on TV. You do not need a sleeve to make the collection personal.
The star is easier to date than the older designs: it was done in front of a studio audience, and reports name both Bang Bang and Seth Meyers. That does not make it more important than Sunny Hill. It simply comes with a clearer origin story.

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