Tattoos For Females Quotes

Seriously though. This female attraction to the alpha-male throws me off a little bit, because I’m not anything like the guys you read about.” Yeah. You’re better. “I could never drive a motorcycle, or fight another man just for fun. And as much as I’ve fantasized about having sex with you this year, I don’t think I could ever say, ‘I own you’, with a straight face. And I’ve always wanted a tattoo, but probably just a small one, because no way in hell I could endure the pain. Overall, the books were interesting but they also made me feel highly inadequate.

So if you’re an introvert like me, especially a female introvert, or a person who is expected to give away your energy to everyone else on the reg, I want to encourage you to find time to be alone. Don’t be afraid to excuse yourself. Recharge for as long as you need. Lean up against a tree and take a break from the other bears. I’ll be there too, but I promise not to bother you.

The female with the tattooed hands

I need you to tell me you're mine, to swear that you are mine, because, damn you, I need to be yours!

I’m of the belief that in most industries, women have to work twice as hard to get half the credit. After putting in so much effort to make a good movie, it felt pretty demeaning when they called it a “female comedy.” This meaningless label painted me into a corner and forced me to speak for all females, because I am the actual FEMALE who wrote the FEMALE comedy and then starred as the lead FEMALE in that FEMALE comedy. They don’t ask Seth Rogen to be ALL MEN! They don’t make “men’s comedies.” They don’t ask Ben Stiller, “Hey, Ben, what was your message for all male-kind when you pretended to have diarrhea and chased that ferret in Along Came Polly?

Feeling Robyn grow still, Shay’s heart stopped for a microsecond. Dread cut through her like ice. She looked at the female and noticed her staring at Shay’s upper thigh. She swallowed hard, afraid of what the woman might be thinking of her now, of the symbol tattooed into her skin. Just under the denim, but poking out enough, was the brand she’d worn her whole life. The dark moon rising out of the clouds. The mark of the Onyx Pack

In Chloe, a great city, the people who move through the streets are all strangers. At each encounter, they imagine a thousand things about one another; meetings which could take place between them, conversations, surprises, caresses, bites. But no one greets anyone; eyes lock for a second, then dart away, seeking other eyes, never stopping. A girl comes along, twirling a parasol on her shoulder, and twirling slightly also her rounded hips. A woman in black comes along, showing her full age, her eyes restless beneath her veil, her lips trembling. At tattooed giant comes along; a young man with white hair; a female dwarf; two girls, twins, dressed in coral. Something runs among them, an exchange of glances link lines that connect one figure with another and draws arrows, stars, triangles, until all combinations are used up in a moment, and other characters come on to the scene: a blind man with a cheetah on a leash, a courtesan with an ostrich-plume fan, an ephebe, a Fat Woman. And thus, when some people happen to find themselves together, taking shelter from the rain under an arcade, or crowding beneath an awning of the bazaar, or stopping to listen to the band in the square, meetings, seductions, copulations, orgies are consummated among them without a word exchanged, without a finger touching anything, almost without an eye raised. A voluptuous vibration constantly stirs Chloe, the most chaste of cities. If men and women began to live their ephemeral dreams, every phantom would become a person with whom to begin a story of pursuits, pretenses, misunderstandings, clashes, oppressions, and the carousel of fantasies would stop.

He said, I won't have one of those things in the house. It gives a young girl a false notion of beauty, not to mention anatomy. If a real woman was built like that she'd fall on her face. She said, If we don't let her have one like all the other girls she'll feel singled out. It'll become an issue. She'll long for one and she'll long to turn into one. Repression breeds sublimation. You know that. He said, It's not just the pointy plastic tits, it's the wardrobes. The wardrobes and that stupid male doll, what's his name, the one with the underwear glued on. She said, Better to get it over with when she's young. He said, All right but don't let me see it. She came whizzing down the stairs, thrown like a dart. She was stark naked. Her hair had been chopped off, her head was turned back to front, she was missing some toes and she'd been tattooed all over her body with purple ink, in a scrollwork design. She hit the potted azalea, trembled there for a moment like a botched angel, and fell. He said, I guess we're safe.

Naked, tattooed men meandered around, lit torches, congregated in groups, spoke in hushed voices. It was like pictures I had seen on the internet of Comic Con, except no one was wearing a cape. And there were no females. So, yes, it was just like Comic Con.

Their female family members weren’t offering sex for money, and they had no tattoos or drug habits, so they could conclude that a roving killer was no danger to them.

When, in the course of their march, they came upon a friendly population, these would entertain them with exhibitions of fatted children belonging to the wealthy classes, fed up on boiled chestnuts until they were as white as white can be, of skin plump and delicate, and very nearly as broad as they were long, with their backs variegated and their breasts tattooed with patterns of all sorts of flowers. They sought after the women in the Hellenic army, and would fain have laid with them openly in broad daylight, for that was their custom. The whole community, male and female alike, were fair-complexioned and white-skinned. It was agreed that this was the most barbaric and outlandish people that they had passed through on the whole expedition, and the furthest removed from the Hellenic customs, doing in a crowd precisely what other people would prefer to do in solitude, and when alone behaving exactly as others would behave in company, talking to themselves and laughing at their own expense, standing still and then again capering about, wherever they might chance to be, without rhyme or reason, as if their sole business were to show off to the rest of the world.

The female said quietly to the others, voice flat, almost bored, “I told you earlier: There’s something Made on her. Beyond that sword she carried.” “Made?” Bryce, caution be damned, asked the newcomer—Nesta, she could only assume—at the same time Amren pointed to Bryce’s back and asked, “Is it that tattoo?” Nesta just said, “Yes.

She was free in her wildness. She was a wanderess, a drop of free water. She belonged to no man and to no city. (by Roman Payne, from “The Wanderess.” How this quote became so popular, I have no idea. I wrote it about one woman: The heroine of “The Wanderess,” Saskia; yet I wrote these lines to describe Saskia at her best—praising the qualities of a heroine that all women should strive to have, or keep if they have them. I wrote these lines to make Saskia be like a statue of Psyche or Demeter. The masculine sculptor doesn’t see rock when he carves Aphrodite. He sees before him the carving of the perfect feminine creature. I was creating my ‘perfect feminine creature’ when I wrote about Saskia. She is completely wild and fearless in her dramatic performance of life. She knows that she may only have one life to live and that most people in her society wish to see her fail in her dream of living a fulfilled life. For if a woman acts and lives exactly as society wants her to live, she will never be truly happy, never fulfilled. For societies do not want girls and women to wander. I am surprised that this quote became so famous, since I didn’t spend more than a few seconds writing it. It was written merely as three sentences in a novel. I didn’t write it to be a solitary poem. This quote that touches so many people is no more than an arrangement of twenty-four words in a book of three-hundred pages. What touches me the most is when fans send me photos of tattoos they’ve had done of this quote—either a few words from it or the whole quote. The fact that these wonderful souls are willing to guard words that I’ve written on their precious skin for the rest of their lives makes me feel that what I am writing is worth something and not nothing. When I get depressed and feel the despair that haunts me from time to time, and cripples me, I look at these photos of these tattoos, and it helps me to think that what I am doing is important to some people, and it helps me to start writing again. Am I a masculine version of the wanderess in this quote? Of course I am! I am wild and fearless, I am a wanderer who belongs to no city and to nobody; I am a drop of free water. I am—to cite one of my other quotes—“free as a bird. King of the world and laughing!

A long-time associate, Beth, who likes to refer to herself as the 'Grill Bitch', excelled at putting loudmouths and fools into their proper place. She refused to behave any differently than her male co-workers: she'd change in the same locker area, dropping her pants right alongside them. She was as sexually aggressive, and as vocal about it, as her fellow cooks, but unlikely to suffer behavior she found demeaning. One sorry Moroccan cook who pinched her ass found himself suddenly bent over a cutting board with Beth dry-humping him from behind, saying, 'How do you like it, bitch?' The guy almost died of shame — and never repeated that mistake again. Another female line cook I had the pleasure of working with arrived at work one morning to find that an Ecuadorian pasta cook had decorated her station with some particularly ugly hard-core pornography of pimply-assed women getting penetrated in every orifice by pot-bellied guys with prison tattoos and back hair. She didn't react at all, but a little later, while passing through the pasta man's station, casually remarked. 'Jose, I see you brought in some photos of the family. Mom looks good for her age.

Radically new spiritual movements are cropping up, notably the “atheist” practice of Syntheism. And musicians are creating stranger and stranger electrical sounds and rhythms, mixing them with strained voices, as if to underscore just how mysterious, yet peculiarly familiar, it all seems. And fashionable, tattooed young female DJ s play that music on the dance floor, and we dance under flashing lights into the darkness and get high and drunk and make out, as the reality we thought we knew is being torn down and we plunge into the sublime and the unknown. And far out into the desert, under the clear skies of that luminous, open blackness lit by perfect stars, we find each other in an intimate, loving embrace. Without the slightest effort we converse for hours and all of reality melts away as we let go of our inner shields and. become one. In that timeless moment of forgiving embrace we lose ourselves and find ourselves, both at once.

I understand. I’ll call my brother and he’ll come get me.” Gracie’s hand flew up and her eyes went wide. “Wait, what?” “I don’t want to hurt anyone.” After thirteen years, she was used to giving up her desires to do the right thing; she only wished it wasn’t so hard. “You’re right, it’s best if I go home.” “No!” Gracie shouted. She straightened and stepped closer to Maddie. “No! That’s not what I meant. I was only trying to say, ‘be careful.’” The men chose that moment to burst in the door like a bunch of rambunctious puppies, filling the room with chaos and testosterone. Gracie placed her hand over her forehead. “Oh, shit, he’s going to kill me.” Mitch stopped on a dime, his attention going first to Maddie and then to Gracie. A muscle in his jaw jumped. “What did you do?” All three men turned to Gracie. They advanced on her, gleaming with sweat. Alarm stirred. Maddie didn’t need to see their faces. The aggression was clear in their stance. The sheriff crossed his arms over his broad chest, and the muscles in his back rippled with the movement. Like Mitch, he also had a tribal-looking tattoo, although it was on his left shoulder instead of wrapping around his bicep. “You couldn’t keep your mouth shut, huh?” Gracie seemed to regain some of her composure, and her chin tilted. “I was only . . .” She cleared her throat. “Being friendly. And helpful.” Sam pinched the bridge of his nose with his thumb and forefinger. “Didn’t I tell you to leave it alone?” “Yes, but . . .” Gracie glanced at Maddie. “I was worried, and—” Mitch sliced a hand through the air. “What happened?” The men reminded Maddie so much of her brothers and their tactics lit her temper. “That’s enough!” They all swung around. The men’s eyes were sharp, hard with leftover adrenaline. It gave her a moment of pause, before she brushed their daunting presence aside and vaulted off her position by the sink. They tracked her as she stomped around them to stand in front of Gracie. “Stop intimidating her.” Charlie laughed, a wry, amused sound. “Honey, we couldn’t intimidate her if we tried.” His gaze slid over Gracie in a familiar, intimate way. “Although I do think she’s angling for a spanking.” “Ha! You wish.” Gracie placed a hand on Maddie’s shoulder. “Thanks for trying to rescue me. You’re a doll.” She sniffed. “It’s nice to have another female here. I never have anyone on my side.” Sam shook his head. “What did I tell you?” Maddie planted her hands on her hips. “She didn’t do anything, so stop it.” Mitch’s eyes narrowed. “What did she say, Maddie?” “I was just—” Gracie said. “Nothing.” Maddie cut her off as a sudden loyalty toward the woman behind her swelled in her chest. “It has nothing to do with any of you. Now back off.” Charlie’s lips curled into a smile. “Aren’t you a feisty little thing?” “I might be little,” Maddie said, in a righteous tone. “But I’m used to dealing with my brothers, who are all bigger and scarier than you.” Charlie laughed and elbowed Mitch in the ribs. “That sounds like a challenge.” Maddie risked a glance at Mitch to find his expression still hard, not amused at all. He crossed his arms. “I want to talk to Maddie. Alone.” Sam jutted his chin toward the door. “Let’s go.” Gracie squeezed Maddie’s shoulders. “Thanks for sticking up for me. And remember, I’m right next door if you need anything.” “She won’t,” Mitch said, his tone matching the dark expression he wore. Strangely,

A place of a king of quiet villainy and secret lust. A place where the dirty dreams of every twelve-year-old man-child were visible on the bus station’s bathroom walls in hand-scrawled tattoos of ladies with oversized breasts and inappropriate female genitalia, inaccurately portrayed as a singularly dangerous triangle of doom. Those kinds of drawings set me up for a world of confusion.

Like hamadryas baboons, the females in the troop were herded and controlled. Worse. They were pimped and swapped, tattooed and burned, beaten and killed. And yet they stayed.

It’s no big deal. It’s kind of like a tattoo. It won’t hurt, not too much, just a few stitches and it’ll be all over. It’s really interesting how it’s done. You won’t believe where your soul hides. Go on, take a guess. Where do you think it is?

Do you want to make more money and increase your attractive mojo? In a 2012 study published in the Journal of Hospitality and Tourism Research, waitresses who wore red received 15 to 26% more in tips from male customers. In a different study, when women wore a red t-shirt, it increased a female hitchhiker’s chances of getting a ride.

Captivity of the Oatman Girls was published at a perfect moment for success—particularly for a female audience. It appeared at the height of the industrial revolution, when women were reading more because of increased education for girls, lower birthrates, and lighter domestic workloads, thanks to new technology. Middle-class women were becoming voracious readers not only because they were better schooled but also because they were trapped: their domestic responsibilities were reduced by manufacturing, yet they were confined to the home.

Since the 1970s, feminist academics have revisited the story in their explorations of women-in-captivity literature and examinations of the female body in nineteenth-century writing.

Standing now astride two cultures, Olive had unwittingly made history: she was the first known tattooed white female in the United States.

There were men whose dating profiles had read like rules at a public pool: No tattoos. No couch potatoes. No heavy drinkers. No picky eaters. No taking oneself too seriously. NO DRAMA! Men who demanded a woman have a sense of humor but showed no signs of being funny. Men who posted photos alongside striking female acquaintances, as if to say, “just so you have a sense.” Men whose insecurities ran so deep, they came out as accusations: “How do you not have a boyfriend? What’s wrong with you?” I went out with them anyway,

Being lonely was a female sickness for which the cure was the tattoo freak & the tattoo freak was also the sickness.

These young people didn’t live in a world of ladies and gentlemen. They were allowed to dress like slobs and curse like gangsters. To drink like tosspots. To tattoo and pierce their bodies like primitives. To listen to songs with animal rhythms and vulgar lyrics. They had no curfews, no chaperones, no guidance that applied to real-life male and female behavior. Indeed, they were told that gender was mutable and sex an irrelevance. And then the young men—only the men—were held to rules of behavior that would have been restrictive when Victoria was queen.

It’d been difficult to make it as a female tattoo artist in the 1990s, but at that point, she wouldn’t have known what to do if she didn’t have to fight for her place in the world. Every taunt and incredulous look thrown her way was powder in the keg. She wasn’t going to be good. She was going to be explosive.

Most of the females got nervous around him—even the toughest ones. Ehlena? Not so much. Yes, the guy had some Godfather in him, those black pin-striped suits and his cropped mohawk and his amethyst eyes throwing off a don’t-f-with-me-if-you-want-to-keep-breathing vibe. And it was true, when you were shut into an exam room with him, there was the impulse to keep your eye on the exit in case you needed to use it. And there were those tattoos on his chest…and the fact that he kept his cane with him as if it were not just an aid for walking, but a weapon. And… Okay, so the guy made Ehlena nervous, too.

2010 Pew Research Center poll found that 84 percent of Egyptian Muslims believe those who leave Islam should be killed.63 Nor is death for apostasy in Egypt a phenomenon of recent years. E. W. Lane, an Arabist who traveled around Egypt in the 1820s disguised as a Muslim, was one of the first modern Europeans to witness the execution of an apostate—in this case, a female convert to Christianity who was exposed by her Coptic cross tattoo.

TATTOOED NUMBERS, AS BLOOM had already established, were used to identify prisoners at just one concentration camp—the Auschwitz complex in Upper Silesia—and then just from 1941 onward. Only prisoners selected for work received a serial number, Epstein explained. Those who were sent directly to the gas chambers—including the elderly, the weak, and children—were not tattooed, although in the early days of the camp those who were in the infirmary or marked for execution were also tattooed on the chest using a metal stamp made up of interchangeable centimeter-long needles that allowed the tattoo to be created using a single blow, after which ink was rubbed into the wound. The digits were generally tattooed on the outer side of the left forearm, although some prisoners from transports in 1943 received tattoos on the inner forearm. The numbering sequences used varied over time, according to intake and the nature of the prisoners involved. An AU series denoted a Soviet prisoner, a Z series a Gypsy. A and B sequences up to 20,000 were used to identify male and female prisoners arriving at the camp after 1944, although an administrative error resulted in the B series exceeding 20,000. The Nazis’ original intention was to get as far as the final letter of the alphabet if required.

I hope she isn’t like that with dudes when she grows up. Or chicks. Or maybe she won’t identify as female. Whatever she does will be fine. Or he. Damn, it’s hard to write a book and not get yelled at.

I hadn’t realized they’d have individualized starlight. I always thought mine was only … brighter than yours.” She frowned at Ruhn. “I guess it makes sense that there could be nuances to the light amongst the Fae that got interbred. Theia’s elder daughter, Helena, had the gift—and married Prince Pelias. Your ancestor.” “He’s your ancestor, too,” Ruhn muttered. “Pelias was no true prince,” Aidas spat, fangs bared. “He was Theia’s high general and appointed himself prince after he forcibly wed Helena.” “I’m sorry,” Ithan said, scrubbing at his face, “but what the fuck is this about?” He glanced at the pizza on the table, as if wondering whether it had been spiked with something. Welcome to our lives, Hunt wanted to say. But Bryce’s face had gone pale. “Queen Theia allowed this?” “Theia was dead by that point,” Aidas said flatly. “Pelias slew her.” He nodded to the Starsword in Ruhn’s hand. “And stole her blade when he’d finished.” He snarled. “That sword belongs to Theia’s female heir. Not the male offspring who corrupted her line.” Bryce swallowed audibly, and Ruhn gaped at his blade. “I’ve never heard any of this,” the Fae Prince protested. Aidas laughed coldly. “Your celebrated Prince Pelias, the so-called first Starborn Prince, was an impostor. Theia’s other daughter got away—vanished into the night. I never learned of her fate. Pelias used the Starsword and the Horn to set himself up as a prince, and passed them on to his offspring, the children Helena bore him through rape.” That very Horn that was now tattooed into Bryce’s back. A chill went down Hunt’s spine, and his wings twitched. “Pelias’s craven blood runs through both of your veins,” Aidas said to Ruhn.

Ember at last pulled away from Nesta. But she gently put a hand to the female’s cheek and whispered, “You’ll find your way,” before walking to the portal. Bryce could have sworn there were tears in Nesta’s eyes as her mother stepped back into Midgard. But those tears were gone when Nesta met Bryce’s stare. And Cassian, like any good mate, sensed when he wasn’t wanted, and walked over to the fireplace to pretend to read some sort of old-looking manuscript. Bryce knew that, also like any good mate, if she made one wrong move, he’d rip her to shreds. Which was precisely why Hunt had come back into the room, and was watching Nesta carefully. “Alphaholes,” Nesta echoed, eyes gleaming with amusement. Bryce chuckled and drew the Starsword. Again, Cassian tensed, but Bryce just offered it to Nesta. The female took it, blinking. “You said you had an eight-pointed star tattooed on you,” Bryce explained. “And you found the chamber with the eight-pointed star in the Prison, too.” Nesta lifted her head. “So?” “So I want you to take the Starsword.” Bryce held the blade between them. “Gwydion—whatever you call it here. The age of the Starborn is over on Midgard. It ends with me.” “I don’t understand.” But Bryce began backing toward the portal, taking Hunt’s hand, and smiled again at the female, at her mate, at their world, as the Northern Rift began to close. “I think that the eight-pointed star was tattooed on you for a reason. Take that sword and go figure out why.

You said you had an eight-pointed star tattooed on you,” Bryce explained. “And you found the chamber with the eight-pointed star in the Prison, too.” Nesta lifted her head. “So?” “So I want you to take the Starsword.” Bryce held the blade between them. “Gwydion—whatever you call it here. The age of the Starborn is over on Midgard. It ends with me.” “I don’t understand.” But Bryce began backing toward the portal, taking Hunt’s hand, and smiled again at the female, at her mate, at their world, as the Northern Rift began to close. “I think that eight-pointed star was tattooed on you for a reason. Take that sword and go figure out why.