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Old 04-03-2008, 11:23 AM
Field Marshal
Join Date: Apr 2005
Location: Atlanta GA
Posts: 7,876

TattooFinder: Why don't we start off with you telling us about your history and how you got into the tattoo industry?

Brandon: I did my first tattoo when I was 13 and it was with my dad's pocket knife. I carved the letters FTW into my leg. It came out great! It was really straight and black and in there. And then I got tattooed when I was 16 and it sucked. It was a drawing I had drawn and it was horrible and they charged me like a bagillion dollars because he knew I was a minor. [Laughing] He was totally like a biker-type guy and I realized, you know, I could probably do this and do it as good or even better. So then I started getting tattooed by a different shop and that shop was Tattoo Zoo in Ft. Walton Beach, Florida where I ended up doing my apprenticeship under Jim Wolfe. He gave me my first tattoo machine, which I still have to this day. I am forever grateful to him and his family for changing my path forever.

TattooFinder: What piqued your initial interest in tattoos?

Brandon: You know, I don't know. I used to draw all over myself. My whole life I always was drawing on myself and on my little sister and my parents hated it. They used to get mad at me, especially when I started drawing stuff like skulls or whatever cause when you're a kid you're not supposed to do that, I guess. But now they don't mind me doing it. [Laughing] The first tattooed guy that I met was this crazy old bastard and he was such a colorful character and he had so much presence in his studio. Talking to him was so cool. "Wow, he's talking to me!" And you know . . . you had to pretend you were cool to hang out there and he always had a big wad of money and hot chicks. I thought, "Wow! This is way better than the carwash I'm working at right now!" When I was 16 I was washing dishes and cars for a living. I had no idea I'd end up that type of person. But it worked out better than I ever could have hoped for.

TattooFinder: On the side you have a pit bull rescue mission. Is that right?

Brandon: Yeah, I own 4 companies and work for one.

TattooFinder: Why Pit Bulls?

Brandon: I think that Pit Bulls get a really bad rap. In the Atlanta area alone 219 dogs every day are euthanized. Every day -- and that includes weekends! [Laughing] They are euthanizing around the clock. I just always liked Pit Bulls. Pit Bulls are awesome and they're the first ones to go. When they get to a shelter they don't even put them up for adoption, they just immediately schedule their euthanization. It's in fact so fast that I've had friends - including my veterinarian who owns a Pit Bull – who have found one without his tags because he got out one day. By the time the veterinarian found his own dog it was dead. He had already been euthanized! That's how fast they kill them down here. So you know, anything we can do to try and help them -- I'm all about it. We just got the Michael Vick dogs, did you hear about that?

TattooFinder: Yes, there were several weren't there?

Brandon: Yeah, 3 of them. I've just been non-stop. If you check out there's all kinds of YouTube movies with all the new stuff that has been happening. And of course being in Atlanta it's an pretty big deal because the state of Georgia only got 3 dogs and we got all 3 of them. They came to me! The justice department released the dogs to the Georgia SPCA [Society for the Prevention of Cruelty to Animals]. They got flooded with all kinds of lunatic calls and asked me for help because they knew that I would be interested. I was, and we did it, and it's awesome. One of them is sitting here right next to me.

TattooFinder: Why don't you tell us about the tattoos you're currently wearing? Where they come from, what are they, etc.

Brandon: Do we have to talk about my tattoos?

TattooFinder: Just for a little color. Some of your favorite's maybe?

Brandon: Well, I would prefer to keep the focus on my work. The stuff I'm wearing is irrelevant compared to the stuff we're creating. My clients have way doper sh*t than I've got. I'm jealous! [Laughing]

Nick: The reason we bring it up is in regards to Guy Aitchison. Do you know Guy?

Brandon: Oh yeah. He's an amazing artist and an innovator.

TattooFinder: Yeah, an amazing story!

Brandon: Yeah!

TattooFinder: It's just interesting that he was so dedicated to have both of his sleeves completely removed so he could re-do them. We're just curious if there are any interesting stories behind your tattoos, but if you don't want to talk about them we don't have to.

Brandon: No, it's cool. I've also had a lot of laser surgery done and so has my wife. We've both had over 100 sessions I'd say, of laser removal.

TattooFinder: Between the two of you or by yourself?

Brandon: Between the two of us. And that's actually what had prompted me to start working with the company Freedom 2, Inc. which is very controversial in the tattoo industry right now. What they're doing is creating more easily removable tattoo ink. I'm their consultant. It's permanent ink but it comes out with only one laser and F2 owns the patent to both the ink and the laser.

TattooFinder: It's the ink in little gel caplets, correct?

Brandon: Yeah, it's microscopic polymer beads and the ink is actually encapsulated in that. Then when the light hits it the beads are disrupted and the body absorbs the ink particles naturally, as opposed to some inks. Not all inks, but some inks. The body digests through the kidneys and liver and whatever toxicity or compromised chemical base might be in that particular ink will go through those organs.

TattooFinder: You brought up two very interesting points about the tattoo industry being a sub-culture essentially. First, what do you think about the role tattoos have had in the mainstream culture with fashion, T.V., music, etc.? Secondly, do you think that tattoos are still a sub-culture even though they have become so mainstream?

Brandon: The first part… we've got to go one at a time. I'm a little retarded. [Laughing] The first part, I would say that tattoo artistry is, in a sense, taking over. It's inundating all aspects of our life. I was getting a burger at Krystal Burger or Wendy's or McDonalds or whatever, and in the window they had a heart with a banner that said "cheeseburger" on it. It was totally a traditional sacred heart f@#$%&g tattoo. That was like 5 years ago and that's when it really dawned on me that we were sitting on the cusp of a renaissance that turned into a leviathan. That's a good quote, "A renaissance that turned into a leviathan." Hey, pretty fancy!

TattooFinder: Totally!

Brandon: And yeah, fashion . . . you can't go to Kmart or Wal-Mart without seeing tattoo images all over now. We started getting bombarded by companies that wanted to use our art for stuff and we turned down most of it because I do believe that the sanctity and sacredness of tattooing is being diluted. But at the same time there's nothing we can do to avoid it. I mean, what's the alternative? We're going to go back to tattooing in secret locations without any signs and only tattooing the people that we want? That's stupid. The industry is kind of closing in on top of itself but the strong survive! That's for sure! The people that are doing great work will always be doing great work and I think a lot of these shops that are popping up everywhere will come and go pretty quickly. I've seen a lot of it in Atlanta.

TattooFinder: Do you think tattoos are still a sub-culture?

Brandon: Yeah. I do. I think that it's a big difference to a heavily tattooed person and someone who's not. Myself for instance, I have a full body suit. My whole body is tattooed. Somebody with a couple of tattoos thinks they are a tattooed person, but to me they're not. I mean, there are varying levels of it and I do think a very heavily tattooed person is still part of a sub-culture. I think that it's growing and probably will continue to. When I first got into the industry 16 years ago, everybody told me, "Oh, it's a trend and it's a phase. Get the money while you can. Nobody's going to get these stupid piercings and dolphin tattoos two years from now or five years from now." Even after 9/11 when the whole country felt recession -- I packed up my sh*t and went to the ghetto and tattooed in the hood of New Orleans during Mardi Gras. I was as busy as I had ever been in my whole life! You know what I mean? There's always somewhere you can go to do tattoos, no matter how bad the national economy might find itself. It's kind of interesting!

TattooFinder: Why do you think that is?

Brandon: Because it's a selfish gift. Tattooing is generally something that people do for themselves. People working in tattoos shops don't see a lot of sales right before Christmas because people are buying stuff for other people. Of course then they get all of their presents and trade them in for money and bring the money to the tattoo shop. Even with gift certificates being given the truth is that tattooing is something you do for yourself and it has nothing to do with the rest of the world. I got tattooed because I wanted to be tattooed and that's the right reason to get a tattoo. If you're getting a tattoo just so you can cut the sleeves out of your shirt and look cool on the weekends then you're doing it for the wrong reason. But I mean, who are we to judge? I don't judge anybody. I'll f@#$&g slap a tattoo on anybody, I don't give a f$@k.

TattooFinder: Let's talk about the industry and the fine art. You have a gallery, don't you?

Brandon: Yup. It has turned into more of an article gallery than an art gallery, so we call it an article gallery now. There are so many articles that we're running out of space, so we have to hang them all up. We've been published and interviewed in hundreds of magazines so that eats up a lot of wall space.

TattooFinder: Definitely.

Brandon: But when we opened, that was the primary focus. The whole front half of our studio was a gallery and we had receptions . . . and we still do. Now we only do it like once a year, but we used to do it every 60 days. We showed different paintings from artists across the country. We sold a lot of art and it definitely introduced a different dynamic to the Georgia tattoo scene that wasn't there prior to that.

TattooFinder: Do you have any of your work hanging up in the shop right now?

Brandon: Yes! There always is. We've got probably 300 paintings hanging up.

TattooFinder: Oh wow!

Brandon: They're everywhere. You can't walk around in there and not see a painting anywhere from any point.

TattooFinder: What are some of your favorite paintings in the shop that aren't yours?

Brandon: I steal all of the best ones and put them in my house! [Laughing] So all of my favorite ones are either at my private studio which is where I'm at now. It's amazing. It has a movie theater, waterfalls, Koi ponds, sh*t like that. You can see it at and The studio is amazing. It's like an adult Disneyland with no rules and 90% of our clients fly in to get tattooed here. We shuttle them from the airport and take care of them, so I steal all of the best paintings from the studio and put them either at ANTI Art Elite or at my house.

TattooFinder: Let's shift gears back to the industry. What do you think is an appropriate level of regulation in the tattoo industry?

Brandon: A lot of areas of the country are poorly regulated and a lot of areas are overly regulated. It's amazing because the people that regulate know absolutely nothing about doing it, so they make up a whole bunch of ridiculous rules that don't have anything to do with contamination or blood bourne pathogens, you know what I mean? Totally weird stuff that's just like, "Hey! You need a sink here." Well, what the f$#k does that have to do with anything, you know? A contaminated sink right next to your sterile field?It's really absurd but at the same time, you know, the strong survive and the good shops that are doing amazing work and doing clean work will be here as long as they want to be. The dirty little corner gas station sh*t-hole, disgusting tattoo shops are dying out quickly. I think if the bar is raised the weak are weeded out, and the bar is being raised every day at an exponential rate.

People can see things faster and get into tattooing faster than ever before with the birth of the internet. Now I can see what somebody in Italy did the same afternoon, whereas before, if I wanted to look at a portfolio, I had to get in my car and drive all the way across the country to wherever that guy worked and actually look at his physical portfolio. Now I can browse thousands of artist galleries in a matter of seconds. The result of that is an exponential growth in people's ability to tattoo and the execution of a wider variety of imagery. The imagery itself is being pushed further than ever before and will continue to do so. And cleanliness! Information is more readily available on the internet, you know. When I started tattooing we didn't know half the stuff that we know now. I think it's only getting better. I'm not into the government so I am definitely not for a federal regulation. At the same time, I definitely would like to see some improvements. So we're definitely working towards that goal but it's just not an overnight process. We have grown into a 2.3 billion dollar industry . . . it's gonna take a minute to re-adjust everything.

TattooFinder: You brought up a good point about people learning to tattoo faster than ever before. This ties in with apprenticeships, schools, and scratchers. What do you think is the best way to learn how to tattoo?

Brandon: Definitely 100% apprenticeship. No doubt about it. There is no other way that I accept by means of employment in my studio. Tattoos schools are the worst, most horrible, pathetic exploitation of the sanctity of an apprenticeship in the history of earth. [Laughing] I'm not holding back here.

TattooFinder: How do you really feel Brandon? [Laughter]

Brandon: [Laughing] Yeah, they suck. You might notice that you never see a famous, published, talented, and sought-after artist running a tattoo school. It's always some guy you've never heard of or some chick that doesn't even know how to tattoo and her portfolio is bulls#&t. I look at the sites and I'm like, "Damn, how is this person even convincing people that they even know about tattooing?" That's what really amazes me. And then you go for two weeks or some ridiculously short amount of time and you come out a tattooer?! We have apprentices and we don't even let them touch a tattoo machine for one year. They don't even get to f@#$&%g hold one, you know what I mean? I think it should be that way because there are so many other factors, so many other things to learn that those schools don't and can't even attempt to cover because they don't know themselves!

TattooFinder: There's definitely a lot to know.

Brandon: Scratchers are even worse. What happens is somebody says, "I don't have the time to do an apprenticeship at a well-known studio and get into the industry the right way and I don't have the money to buy an apprenticeship," or whatever kind of lame excuse they have. Or, "I live in the middle of nowhere and there are no tattoo shops around," -- which by the way, is virtually impossible now unless you're in Yellowstone National Park or something. We get asked a lot about this on our message board on What happens next is that they just start tattooing out of their house, giving absolutely no thought to about a billion things. They think, "Oh, well I'll just buy disposable tubes, disposable needles and I'm good to go." We see pictures all the time of some guy like tattooing in his house and we all laugh. They don't think about cross contamination and they don't have a f@#$%&g autoclave and if they did they wouldn't know what to do with it because they didn't do an apprenticeship. All it takes is one or two really publicized transmissions of disease because of one of these retards and all of the sudden we're all affected. Everybody's affected by some jack off in Wisconsin who didn't bother to do an apprenticeship and is tattooing without any knowledge.

Tattooing is a really easy way to injure somebody, you know what I mean? In order to do a really good tattoo you need to have an incredible foundation in a whole variety of things, not just art. Just because you can draw on paper is irrelevant really. I don't tattoo anything like I used to draw on paper it's all learned and trained. Take one of the most amazing artists in the world, like Cam de Leon for instance. We're collaborating on some things. He did most of Tool's artwork for their CD's and music videos. He's one of the best artists in the world and he's one of my favorite artists. However, he would never try and tattoo without specific supervision. He is one of the most accomplished artists of our time. is his thing. He's drawing it and I'm tattooing it which is pretty cool. We are excited about that project. I got off the train there, sorry, where were we?

TattooFinder: It's ok…we were talking about scratchers.

Brandon: Scratchers and schools suck! Apprenticeships are awesome.

TattooFinder: [Laughing] Period.

Brandon: We offer them at the art studio so if somebody says they can't find an apprenticeship they're lying.

TattooFinder: Let's talk about the different types of flash that you work on and design. The genres, if there's something in particular you like to draw, etc. Also, tell us your thoughts about how fine art is turning into tattoos while tattoos are turning into fine art.

Brandon: I started doing flash 17 years ago right before I started tattooing. At the time it was an invaluable tool for me because as a young tattooer who wasn't well known, things were different then, and I couldn't do whatever I wanted on people. Now I can do whatever I want which is awesome! But back then, you know, I'm sitting there doing tribal armbands and Tasmanian devils all day. I wanted to do some art! So in my free time when I was at home I would experiment with tattoos that I would want to do if somebody would let me do it on them. Then of course if you have it on paper and it looks awesome it's way easier to talk someone into getting it. It opened an avenue where I started tattooing images I was creating in my spare time and then taking pictures of them and then getting them published. So instantly, all the sudden, BAM! I have a whole bunch of clients that want that style of art because they saw it in whatever fill-in-the-blank magazine that it happened to be that month. That was an invaluable tool.

Secondly, the flash itself was a great tool for me when I was a youngster and didn't have much money. Back then if I wanted to travel somewhere I had to work. So instead of working, I would just take a whole bunch of my flash sheets and go shop to shop selling them for whatever they would give to me. Of course this was before all those bootleggers and everything came in. I'd be able to pay for a trip to like, San Diego with my girlfriend just by spending an afternoon selling flash. I wouldn't have to work that whole week. The only other alternative would have been to tattoo all week at one of those shops and then why bother even going anywhere, you know? If you're just going to work that's no fun.

TattooFinder: Understandably.

Brandon: So it became a very good financial tool and once we started becoming well-known and our shop became as successful as it is all of a sudden more and more people wanted to buy our flash. They still do, but all of a sudden flash sales dropped. It seemed like it happened overnight. The whole industry felt it. Tattoo supply companies felt it, I'm sure you guys felt it. All of the sudden no one would buy the printed image anymore because they didn't have to! It's all online! Now it's a whole different world. Flash is a dying art form. I mean, it's still done a lot and it's a great way for young tattooers to kind of explore their own styles. Now we don't even try to do regular tattoo flash. We have a 40 page set, the All or Nothing comprehensive set. It's more of a fine art collection where you know, people can bring it in -- "Hey I bought this on your website, will you sign it?" Then they frame it and hang it up which is very different than the way it used to be where they were all thumb tacked to the wall.

TattooFinder: Let's talk about single sales of flash. Not necessarily bootlegging but the move from the huge posters to individual pieces of flash. What do you think about that?

Brandon: "Thanks Matt! See ya in a little while." . . . Sorry, I missed what was said because I'm in my Jacuzzi and my apprentice just came by to pick up some stuff.

TattooFinder: [Laughing] We brought up single design sales and how people will go to places like to get a single design.

Brandon: Gotcha. A new client that is not already heavily tattooed, we call them "civilians." I think it's good because the civilian or client gets to view a library of work and nail down what style they're looking for and stuff like that. What I wish is that all clients would use that as a tool for reference, a lot of our clients do because they're smart and we love them! They bring in a bunch of designs and say, "Here, I like these pieces, I like these colors, I like this style, I like this heart here. Can you guys create something for me BASED on these images?" Then, whammo! You have just communicated to your artist everything he needs to know about the style of art that you're looking for, therefore giving him the opportunity to facilitate you personally and effortlessly.

TattooFinder: This is a great segue into custom tattooing. What do you think the difference is between a civilian taking a piece of flash that you would get on and altering it slightly either by incorporating another element, changing the color, moving something, etc. to pure 100% artist's vision of a design on the body of a tattoo enthusiast? What are the different degrees of customization that you see in the field today?

Brandon: I think that there are definitely varying levels and it's entirely based on two factors. One is the client direction and restriction. The second is the artist or the limitations of whichever artist you're dealing with. If you're dealing with a top of the food chain artist, you're gonna take that flash to him and say, "I want this" and he's not gonna do it. He's gonna say, "Look, let me draw you something up that's very similar to this, but different." And that's the right answer! There are also artists that are functioning in tattoo studios all over the world right now that don't have the ability to successfully execute that situation. When I first started there was no way in hell I could tattoo like the way that I do now. They didn't have stuff like that back then, you know? I think art is an evolutionary journey and a young artist or an old artist who's stuck in his ways is gonna just do that piece of flash and that's never gonna change. But as an artist develops and gets better he's going to lean more towards his own custom style. That's a natural evolutionary step and if you're not doing that as an artist, you're not growing as an artist so, whatever. A lot of shops advertise that they are a custom shop. That doesn't mean that they're actually a custom shop. That means you need to look at their portfolio. It means you want to see some articles about them. I didn't know all of this when I was young which is why I ended up getting all of this laser surgery. I wasn't smart enough to fly somewhere like All Or Nothing and get a good tattoo. I didn't know the importance of a portfolio. Clients don't understand that. A lot of times our clients already have full sleeves and stuff and they haven't figured it out yet. I'll just take them and sit them downand be like, hey man, you want me to put your grandma's name in here, and a Buddha face, and you want wings on a Buddha face, and you want fire behind it, and you've got all these great ideas, but what you're telling me to do is tattoo a bunch of poop on your arm. Why don't you sit down and let me draw you something.

TattooFinder: So what do your services cost?

Brandon: $200 an hour, booked a year in advance, with a $500 deposit. My studio however, All Or Nothing, is very different. There we only have a $40 minimum. My minimum is 5 hours which is $1000. But All Or Nothing does walk-ins and everything. I mean, if you want to print out a tattoo from and get our guys to do it, we will do it. But we will try and talk you into at least modifying it so that other people don't have the exact same tattoo, you know what I mean? It's not like you come in and you want this dagger with a heart in it and we're gonna do a dove, you know? We're just gonna try and work with you to make it a more successful tattooing experience. In there [All Or Nothing] it's only $150 an hour. And you don't even have to have an appointment. Of course having an appointment does help if you want a specific artist.

TattooFinder: What was your thought process behind opening A.N.T.I. Art Elite and spending all that money on a studio that doesn't even allow walk-ins? That doesn't seem very cost effective…

Brandon: I needed a private space to tattoo and focus on art. Business had consumed my life completely, so I needed a place for my artists and I to focus strictly on artwork all day without interruption -- and it is amazing! The work is better, not to mention the waterfalls, movie theaters, etched glass, and total freedom! No restrictions, no distractions! No stupid questions interrupting me, no phone calls… nothing but me and a client in an adult Disney Land.

TattooFinder: How did you come up with the shop names All or Nothing and A.N.T.I. Art Elite?

Brandon: All or Nothing was easy to name because that's exactly what it was going to be. It's how we live, it's how we work, it's how we play, it's how we tour, it's how we exist… in absolutes. A.N.T.I. Art Elite was kind of a joke, playing on the stuck up tattoo artists of the world . . . the elite that are too good to kick it with us hard workin' tattoo type folks.

TattooFinder: If you could tattoo anyone in the world, alive or dead, who would it be? What would you tattoo on them?

Brandon: I would have to tattoo a picture of Tupac [Shakur] on Jesus Christ with an AK-47 under him that says, "M.O.B." (money over b$@ch%s). Either that or I would tattoo Satan with "La Vida Loca." [laughter]

TattooFinder: What else would you like to share with us based on what we've talked about so far?

Brandon: I think it's important that we talk about a couple of topics. One is my publishing company, Stranglehold Productions, which is Im not trying to plug it, but it relates to what we're talking about. I just put out a seminar DVD that is for advanced tattooers. It's expensive . . .it's $357 a disc. But at the same time, it is everything we are talking about, only in a much more exponential form. I think that a lot of artists are going in that direction now. Information used to be secret, and you know, nobody wanted to share any secrets unless they knew you and stuff like that. Now, in order to purchase the DVD we actually have my staff review your portfolio and everything to make sure that you're ready for the information that we're gonna give you. A lot of it is very advanced and very complicated and if you're still struggling with being able to do a flash piece, you're not going to understand what we're talking about. You know what I mean? But I talk a lot about this in that DVD seminar and in that, we discuss how to talk to a client and how to get cooler tattoos, bigger tattoos, custom tattoos based on their ideas. That's not the whole video, but that's one part that directly pertains to it. Of course, in a video like this, we don't even cover stuff like blood-bourne pathogens and cross-contamination. You have to have a license to order the video.

TattooFinder: You were on both seasons of LA Ink. How was that for you?

Brandon: Oh horrible. You know, I have a lot of respect for Hannah Aitchison. She has been a friend of mine for a long time. And I have a lot of respect for Corey and Kim AND Kat -- but at the same time it just blew my mind. I'm sure you got a different answer from Guy than you'll get from me on this because he filmed that too. I don't know if you knew that . . . but it's so weird. I've been in tattoo shops for 20 years now, every day of my life. It's the only tattoo studio that first of all, you walk into, and there's no music playing because they're filming. So it has to be quiet enough to hear a pin drop. It's like a library in there. There are cameras everywhere and everyone's telling you what to do and what to say and it's really bizarre being an artist in that environment. I got tattooed on this season by Bob Tyrrell who was doing a guest spot. Me and him flew out together and had a big party and it was fun. But at the same time it was so weird laying there for like 6 hours or 8 hours or however long it was, and actually not being able to talk to each other. It's just like little personal interviews happening and its fake as hell. It was weird cuz while I was getting tattooed there was some chick getting tattooed right across the room from me, and she was crying and stuff, talking about her dead grandma or something and I'm like, man! Tattoo guys aren't psychologists, and I think that we're giving the world a false sense of security. I've noticed that even my own clients all of a sudden will start telling me these really long, weird stories like a Miami Ink story, and it's like, what the f*ck do I care man? I'm just drawing here! I'm providing a service. I don't really need to know that your wife ran off with a football guy! You know? It's too much information bro!

TattooFinder: It's interesting that you bring this up because a lot of civilians, as you call them, want to be best friends with you once they get their first tattoo.

Brandon: Oh that's a constant. That has been that way for 16 years. But it's ok, you know, I work so much, I still work 17 hours a day, 7 days a week. There were years there where I didn't have one day off. I don't have time to go off and meet new people anyways, so all my friends and all the people I hang out with are people that get tattooed at my studio. As I get older the amount of people I tattoo becomes less and less because I'm doing all these other businesses. All of my friends have tattoos from All Or Nothing. It is kind of creepy sometimes, but usually it's not. Usually it's totally cool. It's just like, whatever. Like the guy I did the Darth Vader back piece on for example, I didn't even know that guy. He has won, I don't know, like 200 awards for that tattoo? It has been in a billion languages and a billion countries all over the world and magazines. He's kind of famous in his own way now. Like when he goes places, people recognize him and stuff. Tattooing him for that 40 hours or whatever it was, you can't help by the end of it either loving the guy or hating the guy. Luckily, we became friends and we hang out and drink beer and wreck my golf cart regularly. [Laughter] Other clients you just don't click with. That happens a lot too. You spend that much time with somebody, you're gonna get to know them whether you want to or not. So you gotta just hope for the best.

TattooFinder: Totally. Well, we appreciate your time for this interview, Brandon -- you enjoy the rest of your Jacuzzi, ok?

Brandon: Alright, I appreciate your time. Congratulations by the way on all your success!

Brandon Bond


CEO/Stranglehold INC.

CEO/Double Or Nothing LLC

2569 South Cobb Dr. Suite A

Smyrna, GA 30080

(770) 435-9966
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Old 10-21-2008, 11:25 PM
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Cure Dusk Cure Dusk is offline
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Good Interview!
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| StrangleHold Merch | TattooingAtlanta | Brandon Bond | Dave Mf Tedder |
Matt Dunlap |

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