Category Body Piercing Archives

The Point – Issue 80

Point 80: BPA Fundraising Auction

Gene Gowen
Body Piercing Archives Fundraising Coordinator

I would like to start by thanking everyone who contributed to this year’s Body Piercing Archive Fund- raising Auction. Your donations went towards the preservation of our living history and the history of those who helped us all get here.

Going into this year’s Conference, I again wanted to come up with items that were functional. For the last several years, I have carried my own jewelry in a protective book for safe and easy transport. When brainstorming ideas for this year’s project, I began to think of all the Conference attendees leaving Vegas with their precious new jewelry acquisitions. So with this year’s donations of shirts, we made jewelry travel cases.

Different from last year, this year’s items were conceived to connect us not just with studios and companies but with our jewelry itself. As sort of a self effacing reminder of the inexorable tie that binds us all. Studios can open and close, piercers may move all over the world, companies may fade into obscurity. Come what may, however we find ourselves in this industry, we are all bound and driven by the jewelry.

This year’s BPA exhibit featured gonzo photographer Charles Gatewood. Photos by Kendra Jane B.

Looking ahead, we have already begun the process of creating fundraising donations for the 2018 Conference. The collection of iconic studio and company shirts from this year yielded more than enough material for next year’s project. We’ll be returning with some of the items that were so popular at last year’s Conference, but we will have plenty of other new creations with us as well.


This year’s BPA exhibit featured gonzo photographer Charles Gatewood. Photos by Kendra Jane B.

I am thankful to everyone who has made a purchase or donation on behalf of the BPA. There is no amount of money nor is there any amount of effort that is insignificant in the scramble to save our past before it eludes us. I would like to once again express my gratitude to the Archives Committee for allowing me the opportunity to be of help, however rudimentary it may be, to the APP and its membership.

Yours in service.

Point 80: The BPA Jewelry Exhibit

Matte Erickson
The Body Piercing Archive
(All photos taken by the Author)

In June of 2016 I was tasked with a project. That project was to curate an exhibit of vintage body jewelry companies and designs. I was both excited and terrified at the same time. This was to be the first project that was solely on my shoulders, but I had the confidence, drive, and belief in this project and myself to know I could do a good job. I also knew I would have to rely on people, which is something I am not very good at.

I decided that the APP Conference in 2016 was the best time to put the word out and   try to get people interested. In the following months, there seemed to be little interest, but I pressed on. The Point staff was kind enough to run the advertisement in every issue. At this point I was raiding my own archives; documenting, photographing, and inventorying as much as possible.

In September, I got a message from Paul King about reaching out to Josh Warner from Good Art HLYWD. I emailed Josh and he wanted to gift us with old Good Art items, however, he was moving to a new shop and was going to be unavailable for a few months. This allowed me to start reaching out to anyone I could think of that was involved in manufacturing. In December I got a message from Anne Ott about the Anti-Bling eyelets; seriously one of the “Holy Grail” pieces from Custom Steel.

As January approached, I had booked a flight to Los Angeles and secured an appointment with Josh Warner. While in LA, I was meeting Anne to pick up the Anti-Bling eyelets before heading over to Good Art HLYWD. Upon arrival I was met by a grizzly, bearded man with a cheerful disposition. This is Josh. We jump right into old stories and a quick tour of his new shop. Thankfully, I had my GoPro with me and caught it all on video. After about an hour of him telling stories of how it all evolved and who the key players were, he presents a large folder full of vintage Good Art memorabilia and said, “take what you want”. I was like a kid in a candy store. I managed to fill my carry-on bag and still had to send 2 packages to my shop with all the items.

As I was heading to one of my favorite food destinations (Jerry’s Deli in Studio City), I got a call from John Kittell from NeoMetal. He was sending out some items with my next order for the exhibit. At this point, I felt the momentum growing. I also felt my hunger growing and Jerry’s was getting closer. When I got there I ordered 8 deconstructed Reuben sandwiches. I ate one (minus the cheese and Russian dressing) on the way to LAX. The other seven were packed in my bag. You know something? TSA looks at you really strangely when you are delivering sandwiches from LA to Sacramento.

That next week, I received the packages I sent from Good Art and the first Neometal shipment. The next few weeks were filled with photographing, cataloging, organizing, and making museum cards for each piece. During this time, I had sent the Anti-Bling eyelets back to Pat Pruitt for repair and restoration, and kept reaching out to other companies. I had also started teaching myself video editing and how to create intro and outro graphics. Just as I was finishing up with my deliveries, I received another box from Neometal and I got word that I had a box on the way from Body Circle Design. By the time I had receive these next items, I had my process streamlined fairly well. Good thing, because Dallas Suscon was right around the corner. Upon returning from Dallas I started wrapping up all the pieces.

May was filled with building display items and totally stressing out. I also managed to secure (thank you Sean Dowdell) a meeting/interview with Erik Dakota, so off to Santa Cruz I went. During my visit he also presented me with a stack of old catalogs and a few great stories. When I returned to my shop, I spent several days editing video and putting together the graphics. I actually had to redo this four

times! The last time it was all rendered properly and I found a typo. UGH! This project was starting to take its toll on me, but upward I pushed.

June came, there was light at the end of the tunnel. I had reserved a trailer and maintenance on the truck was done. Finally I got word from Becky Dill that the Charles Gatewood exhibit boxes were ready to pick up. I headed down to Concord, CA. It was now a few days before Conference, and during all this I was still receiving little packages here and there. The Friday before Conference I finally heard from Pat Pruitt about the eyelets. He was shipping them directly to Las Vegas!

Saturday, the day before I had to leave for Las Vegas, I had the bright idea to go photograph the Sonoma County Hot Air Balloon Classic. It was being held about an hour away, and I had to be there by 5 a.m. I went and shot the balloons then headed home, picked up the trailer, and was off to work. Most of the day was spent loading the trailer and finishing up details. I finished up at 7:30 p.m. (we close at 8:00 p.m.). My stress levels were at their peak. Did I have enough stuff? Did I do it justice? I ended up getting to bed around midnight.

I was back up at 3:30 a.m. and ready for the road. The trip was as uneventful as usual. A little slower maybe, since I was pulling a trailer, but still uneventful. I finally arrived in Las Vegas at around 3:00 p.m.  Unloading was expedient, which was good because I was exhausted. You know, there is something strange that happens at Conference. I was exhausted and road weary, but once I saw the first few people, I felt a second wind come over me and I was ready to press on into the night.

With Monday came setup  and all was going well. The stress was draining away with every piece I put out. At least until I set the TV up. I had purchased it about a month prior and I told the guy at Best Buy that I needed to  stream  video off a flash drive. He assured me that   it would. Well, when I set it up, it would run pictures off a flash drive but not video. Back to stress mode. After a quick run to Walmart for an HDMI cable, I hooked up my trusty laptop to the TV and it worked. Crisis averted.

Tuesday was the first day of the Expo. I picked up my last package from the business center on the way and the first visitors came by to see what we had for sale. They quickly learned we weren’t selling, just displaying. As the week went on, more and more people came by to see the relics. The enthusiasm was intoxicating! So many people had questions and stories. It was educational on both sides.

The highlight of Conference this year, however, came by text. I was having dinner and Becky texted me and said I had won the “Best Multiple Booth” award. I was blown away. I thought I had done a pretty good job, but obviously I wasn’t the only one. I am so thankful to all those that voted for my exhibit, loaned items for display, and supported me while I put this all together. I would also like to give special thanks to Josh Warner (Good Art HLYWD), John Kittell (NeoMetal), Gale Shub (Body Circle Design), Pat Pruitt (Custom Steel/Pat Pruitt Metalsmith), and Erik Dakota for taking the time and effort to gather and donate items. I would also like to thank my family for putting up with me being stressed and cranky for so long. Hard work always pays off!

Point 80: The BPA Charles Gatewood Exhibit

Kendra Jane B.
Vice-President & The Point Editor
(Unless otherwise noted, photos are by the Author)
A view of the BPA Charles Gatewood exhibit. Visible at the rear is the pavilion containing The Dream Machine

Charles Gatewood holds a special place in the heart of the body piercing industry. He used his camera to bring what was  once  private  to  the  masses. He had a very special ability to capture what others viewed as grotesque in the most beautiful ways. After the passing of Charles last year, the Body Piercing Archive knew how important it was to preserve our history as it intertwined with the photography of Charles Gatewood. From this, the 2017 Body Piercing Archive exhibit at the APP Conference was born. We were fortunate enough to have Eva Marie the “last Gatewood girl” present to lead tours of our exhibit and share her own accounts of her time with Charles. I was able to set some time aside to take one of her docent tours; it was truly the highlight of my Conference week. I have long been a huge fan of Charles’s work and had begun conversing with him regularly just before he passed. Getting the opportunity to listen to someone share their personal accounts of time spent with Charles, beyond what we can read in a book, was absolutely wonderful. Here is what Eva Marie had to say about her experience at Conference.

I was first introduced to Charles by his friend Steven Leyba, the painter. Steven had approached me asking if he could use images of me for some of his paintings. Here are my requests he said  ‘I need up close, in focus, hi-resolution photos of your genitals.’ I was excited for the collaboration, but wasn’t sure who to approach for such an intimate photoshoot. Several days later I got an email saying ‘My dear friend Charles Gatewood agreed to the photos. Why don’t you give him a call?’

Charles and I talked on the phone several times and set up a time to meet at his studio. When I arrived, he gave me a lovely tour of his penthouse apartment and made  a pot of tea. We talked for hours discovering we shared similar interests and hobbies. We both loved to make collages from old mag- azines, write short stories, and take kooky self-portraits. ‘This is a direct hit my dear!’ We agreed to meet once a week every Sunday, then more and more frequently until I was a full time “Gatewood Girl”.

Longtime Gatewood companion and archivist Eva Marie with BPA curator Paul King giving another presentation on the photographer at San Franciscos Center for Sex and Culture

Charles liked to create and go into what he called magic space. He would get bored with traditional pose and  shoot  models  and would turn down most offers for photoshoots unless he felt someone had a spark. Sometimes he would create magic space with something as simple as a scrap piece  of fabric, or he’d use the sunlight peeking through the kitchen windows to create patterns of shadow across your face. He would grab an old can of paint and splash some  on a piece of black plywood to create an interesting background. When he got a really killer photograph, he would get a creative high, and his eyes would light up and shine. He always insisted there be a bag of toys, props, and accessories somewhere  nearby whether it be goofy sunglasses, studded leather collars, or fuzzy bunny ears. On his living room table, he kept a fresh bouquet  of stargazer lilies, his favorite flowers. There would usually be whipped cream, chocolate syrup, candy sprinkles, or spaghetti-o’s on hand, not to snack on, but for messy splosh photoshoots. There was an inflatable kiddie pool in the living room at all times!

Charles and I would sit in the living room, drinking cups of tea, and he would tell me these incredible stories behind his photographs. We would flip through pages of his books and he would grab Wall Street say ‘Now this is the time I was out with my camera on New Year’s Eve in Manhattan and I got mugged.’ Or pick up True Blood and say ‘This is when a bunch of vampire blood fetishists called me up at 8am for a wild photoshoot that scared even me!’ He would tell me stories about the first time he met Annie Sprinkle and how through her Sprinkle Salon gatherings, he was introduced to Fakir Musafar.

Eva Marie commenting on one of the exhibits

It was amazing to see such an extensive body of his work in one place during this year’s Association of Professional Piercer’s Conference. I was flooded with memories of Charles telling me stories and filled with immense gratitude that I was able to share these stories with so many people from all over the world. Some folks were very familiar with Charles Gatewood’s books and art, some had stories to share with me of their time with Charles. For those who weren’t as familiar with his work, I think they walked away with a definite idea of the contribution Charles made to the history of body piercing. What I thought was really special was every now and then someone would flip through a book or see one of his collages and say ‘Hey, that’s me!’

I believe Charles was aware of the impact his work had on the Body Piercing Industry. He began photographing pierced people in the ‘70s after his friend and fellow Helllfire club regular tattoo artist Spider Webb told him that one  day  piercing  would be as popular as tattooing. Charles used to say he made the art he did for the ‘True Believers’—the people who choose to live outside societal norms. True Believers for him were the folks who weren’t afraid to be different or original, and held conviction in the unconventional lifestyles they lived. I believed photographing people in the piercing industry was so significant for him because to Charles, he had found a very special community of True Believers.”

Image from a scrapbook of Gatewood images
Image from a scrapbook of Gatewood images
Image from a scrapbook of Gatewood images

Indeed, he had many true believers in our community, with myself being one of them. It was an honor and pleasure to be able to speak with Eva Marie, all while looking at a collection to honor the life and works of Charles Gatewood. I would like to add a special thanks to Paul King, Becky Dill, Matte Erickson, Danielle Greenwood, and Jennifer McMahon for their contributions to this exhibit, without which would have been impossible.

Jennifer McMahon was responsible for building a replica of The Dream Machine which was available to view in the archive display. It brought Charles’ vision and the entire display to life. Post conference it was purchased by Steve Joyner and will reside with him as part of his personal collection.

Point 79: BPA: Charles Gatewood

Paul King
APP Treasurer

The 2017 Body Piercing Archive exhibit at the Association of Professional Piercers annual Conference & Exposition in Las Vegas will feature the life’s work of the photographer and videographer Charles Gatewood. With over 250,000 images spanning more than 50 years, almost all of you are aware of his prolific work, whether you realize it or not.

Like most people, I was aware of his work long before I met him. It was in a bookstore in Long Beach, California in 1989, I first saw his photographs of Fakir Musafar’s O-kee-pa suspension and Jim Ward’s Sundance pull in Modern Primitives. Most are unaware that the book’s direction was largely influenced by Charles Gatewood’s contacts provided to V. Vale and Andrea Juno of ReSearch. Although I never personally identified as a “modern primitive,” the book formalized my desire for complete tattoo body coverage with coherent and graphic themes. This book’s influence cannot be overstated; it took fringe individuals and small communities and cohered them into a global movement with a far-reaching cultural impact.

Erl circa early 1990s
(original name of bridge piercing was Erl)
Photo from Paul King’s private collection

Despite the inseparable association with Modern Primitives, these powerful ritual images of Fakir and Jim Ward were not created for the book. These were documentation from an earlier important film collaboration. The film Dances Sacred and Profane (a.k.a. Bizarre Rituals) was released in 1985. Originally, the documentary was to be focused on Charles Gatewood. However, in the process of making Dances Sacred and Profane, the film became much more a documentation of and promotion for Fakir Musafar. The 2003 film Forbidden Photographs is much more representative of Gatewood’s work and story.

Tattoo Mike of NYC, 1994.
Photo from the Paul King private collection

Arguably, the photograph Charles took of Bob Dylan on tour in Sweden in 1966 was his most important. This photo showed Charles he could make money off of his photography. In fact, he continued to make many thousands of dollars in licensing from that single Dylan image over the next fifty years! The photo also opened doors. From this single image, Charles eventually became a staff photographer for Rolling Stone Magazine and made many contributions from 1972 through 1975. He photographed numerous celebrities including: Bob Dylan, David Bowie, Sly and the Family Stone, Carlos Santana, Alice Cooper, Liza Minnelli, Slade, Joan Baez, Stiv Bators and the Dead Boys, Al Green, Ella Fitzgerald, The Hermits, Helen Wheels, Quentin Crisp, Abbie Hoffman, Allen Ginsberg, William Burroughs, Jimmy Page, Robert Palmer, Brian Gysin, Nelson Rockefeller, etc. and he even landed a cover with Rod Stewart. Many of his photos reached iconic status, however, they usually did so without his name being associated with the image. In the late 1970s, Gatewood’s friendships with the tattooist Spider Webb and porn star Annie Sprinkle propelled him into the world of fetish and body art. Both of these wild personalities opened Gatewood’s eyes, further fueling his passion for sexual kink, that at that place and time very much included tattooing and body piercing. Spider and Charles had several tattoo book collaborations and even created a book proposal in the 1980s for the next big trend – “body piercing” – that was rejected by all the publishing houses as ridiculous. Of course, they were ahead of the times. It was through Annie Sprinkle that Charles met Fakir Musafar and Jim Ward.

Michaela Grey, San Francisco, 1991 (before she became APP president).
Photo from the Paul King private collection.

In 1984, Charles Gatewood published Wall Street, a book very uncharacteristic of his salacious and shocking subjects. This political photographic essay juxtaposes architecture against humans circulating the economic heart center of capitalism located in lower Manhattan. For Charles, the decade spent wandering the streets in the daytime capturing images of pedestrians and concrete angles was meditative, even therapeutic. These lone journeys offered some balance to the characters and experiences found in seedy bars, dark dungeons, and shooting galleries of the night. The wild success of the book gained Gatewood greater critical acclaim and prestigious awards as well as future book deals, exhibitions, and lecture opportunities.

In 1990, I was hanging out with Gauntlet piercers Dan Kopka and Elayne Angel at their condo in West Hollywood. One of them popped in an underground video. I still remember the grainy interview of a punk guy with a lip ring. At that time, such images were extremely rare and exciting stuff! Charles Gatewood’s videos will never be remembered for their crude production  value,  but rather for the rarity of the footage. Charles’ first piercing video, in 1986, Erotic Tattooing and Body Piercing, included a Jim Ward lecture in NYC. Upon release, Charles found there was a lucrative home video market.

Full disclosure, although I had met Charles several times in the 1990s, I was not friendly towards him. At best I was indifferent, but often I was dismissive. In my twenties, I had a very low opinion of fetish photographers. I would see my friends poorly compensated for their modeling and then their images would unknowingly get turned into greeting cards or plastered on buses as advertisement for STD treatment! I viewed fetish and body art photographers as sexual predators and economic exploiters of my community and friends.

However, during one of my countless used bookstore searches for piercing history in the early 2000s, I stumbled upon Charles Gatewood’s fine art photography book Sidetripping from 1975. My mind was blown! All my preconceptions of who Charles Gatewood was as a person and an artist were challenged. This astonishing work rivaled that of my favorite photographer Diane Arbus, except Gatewood’s book was also in collaboration with William Burroughs, a tremendous writer that greatly influenced me in my younger life! A life lesson learned, I reached out to Charles.

He invited me into his home. We had a casual friendship, I would see him maybe four to six times a year and always one on one. He’d make us tea, show me his latest art projects, we’d catch up on news. I’d dig for history lessons and he’d usually sell me something, or at least try to!

We shared the experience of having degrees in anthropology. Something that became apparent to me was at a public level his degree in anthropology was often toted as a strategy to contextualize and legitimize his work, however, his motivations and methods would be viewed as highly problematic by today’s rigorous academic standards. Charles was an experience junkie. He craved  thrills and excitement. In his own words, he was a “gonzo-journalist.” He wanted his pictures to go “POW!”

He was a passionate man, whose art and pursuits were driven by his thirst for excitement found in the new, the unusual, and the sexual. The camera lens allowed him access, power and privilege. Photography seduces many subjects and as a recognized photographer the aphrodisiac of the camera grew stronger. Rather than granting permission, models would actively seek him out!

Jack Yount, San Francisco, 1993.
Photo from the Paul King private collection

Like an old-time wheelin’ and dealin’ carnival barker, Charles drew in individuals and groups with his fantastic life stories and whispered back door offers of his photographic works at “below gallery prices.” He was a self- made and self-employed artist for 50  years! He prided himself on getting by without ever having to have a real job.

Fakir Musafar during the filming of Sundance Ceremony for Dances Sacred and Profane, Wyoming, 1982.
Photo from the Paul King private collection

Charles hoarded and thank God for that. His inability to let things go meant he had crates of magazine and newspaper clippings with jokes, photos, pop culture reviews, etc. referencing body piercing and tattooing. Although far from properly preserved, still, he had them while most of us were throwing these ephemera away. Much of the later  dated material, he simply donated to the APP/BPA.

Charles grew more familiar with my work and involvement with the APP. We agreed it would be amazing if we could put something together for the 20th anniversary of Modern Primitives. In 2009, Charles and V. Vale of Re- Search gave a well-received presentation  at  the APP Conference in Las Vegas. The breadth and quantity of his late 1980s and early 1990s video work is staggering and unique to the body piercing community. He has hundreds of hours of footage that includes Sailor Sid, Jack Yount, Ron Athey, Elayne Angel, Hanky Panky, Allen Falkner, Erl, Annie Sprinkle, Mr. Sebastian, the founders of Body Manipulations, Al D. (yes, the same guy as the APP Scholarship), Raelyn Gallina, and many  early  Gauntlet piercers, some even before they were piercers. While Charles managed to sell his entire photography archive, including personal journals, to the U.C. Berkeley Bancroft Library, their archivists turned down his video catalog. They could not mentally offset the poor production value and the cost of digitization against the historical importance of these recorded histories. Had the APP Board of Directors not stepped in, much of our shared history would have been lost to the dump!

On December 8, 2015, Charles Gatewood donated the Flash Video  collection to the APP and Body Piercing Archive (BPA). After he passed away, his estate turned over the remaining personal video archive, including interviews, recorded lectures, b-roll, unedited footage, etc. to the APP and BPA.  To date, the APP and BPA have digitized nearly 250 consumer and professional grade tapes! Charles and I discovered early on that we both had a history with alcohol and had sworn off the bottle decades before.  However, Charles suffered from chronic back pain. He turned to prescrip- tion opioids and cannabinoids for relief. He started cancelling our rendezvous. Eventually, the opioids took over contributing to a growing depression and organic dementia. I expressed my concerns to him, perhaps too little and too late.

Jim Ward doing the Sundance Ritual at Devil’s Tower, Wyoming during the filming of Dances Sacred and Profane, 1982.
Photo from the Paul King private collection

On April 8, 2016, he attempted to take his own life by jumping off his third story apartment balcony. The result was catastrophic injuries putting him in a coma and leading to his death on April 28. He did finally pass in peace, surrounded by folks that loved him. If the details of his death may seem too gruesome, please remember, this is a man that spent his entire career embracing the brutality of life. He would expect no less.

For further exploration of Charles’ career check out these retrospectives: https://www.nytimes.com/2016/05/05/arts/charles-gatewood-photographer-of-extremes-dies-at-73.html?_r=0 https://ww2.kqed.org/arts/2016/04/29/charles-gatewood-groundbreaking-photographer-dead-at-73/ Informative article, despite the author’s naiveté of body modification practices and communities: https://alum- ni.berkeley.edu/california-magazine/spring-2017-virtue-and-vice/finding-his-tribe-charles-gatewood-bancroft

Point 79: BPA: Jewelry Exhibit

Matte Erickson
The Body Piercing Archive

The Body Piercing Archive will celebrate another first at this year’s conference; we are so excited to have an exhibit booth on the Expo floor.

Yes, we will have jewelry—LOTS of it! However, none of it is for sale. The exhibit will consist of steel and titanium jewelry, merchandise, and advertising from past and present manufacturers. Everything we have was released prior to 2007. This provides ten years of history to allow for a distinct perspective of the past.

This exhibit has been a labor of love over this last year. Many emails, Facebook messages, and phone calls have been exchanged. There was even an awesome day trip to LA to visit a jewelry legend! The outpouring of love for this project has been overwhelming with so many companies sending items. Many private collectors have also stepped forward, offering to bring items to Vegas or ship them to me, so I can include them in the exhibit. All of this, for the love of the jewelry and education. For us, the importance of body jewelry styles and innovations cannot be overstated. The jewelry defines much of how we view ourselves as piercers and how the world perceives body piercing.

This jewelry exhibit is just the start. Over time, we expect to grow, develop, and expand this concept into other materials with harder to find items and obscure companies. That being said, we can’t do it without your help. Maybe you have a box from the shop that you haven’t looked in for years? Perhaps you know a shop owner that is also a hoarder? This is where we find historic gold (literally and figuratively). So, please visit the Expo floor booth, ask us questions, give us feedback. This is your history! This is your exhibit.

Point 78: Fundraising for the BPA – Gene Gowan

My name is Gene Gowen. I am a proud Member of the Association of Professional Piercers  and the Manager for Oculo Visitant Gallery, located in Oneonta, NY.  Oculo is a sister studio to Hand Of Glory Tattoo and The End Is Near Body Piercing in Brooklyn, NY.

Like the rest of our membership, my first introduction to the Body Piercing Archive was during the 2015 APP Conference. I spent that week attending classes and the jewelry exposition. However, I continually found myself filling my free time wandering around the BPA exhibit. The Sailor Sid collection – as well as the entire BPA display that year – was a great place for us all to gain a very important historical perspective on the work we do. It was also an incredible expression and display showing our industry’s gratitude for the work, efforts, and struggles of those who did so much to pave the way for the rest of us.

Every time I visited the BPA exhibit that week, I saw the importance and purpose for an official archive. While sitting in the Member’s Meeting, and after talking with Paul King, I began to understand the challenges this fledgling non-profit organization would face, even falling under the umbrella of the APP.  Not knowing what, if anything I could do to contribute, I hesitated to volunteer.  After a week of pondering the idea I finally mustered up the courage to ask Paul if there was anything I could do to help the efforts for the Archive. After many conversations back and forth I am proud to announce that I am now responsible for generating fundraising items, to be used on behalf of the Body Piercing Archive.

I spent the remainder of 2015 and the first few months of 2016 working on gathering items that we could use in our fundraising. The idea was simply to create something that would be historically relevant to our industry, while still being something that the  average Conference attendee would be interested in and be able to afford.

Our first tangible  products were a series of memory quilts, bags, and cases. To make these items, we used shirts from piercing studios, jewelry manufacturers, and past Conferences that had been collected or donated. These items were made in a collaborative effort between my mother and myself. This project became a way to contribute to the APP and also a way for my mother and I to work together on something.  These were presented at the 21st APP Conference in July of 2016.

As the 2016 Conference drew to a close, I once again approached Paul King. This time to ask if I could continue to generate fundraising donations for the BPA. He was kind enough to not only allow me to continue my work, but also invited me to become a permanent committee member for the Body Piercing Archive.

I am so proud to serve as the current Fundraising Coordinator for the Body Piercing Archives Committee. As we approach the 2017 Conference, I am once again back to work on our fundraising projects. Just as with last year’s donations, I will be using iconic shirts from within our industry as the source material for our fundraising items, but this time I’ll be doing things a little differently. Throughout the inevitable new evolution of the BPA our fundraising efforts, and our end goal remains the same; the best way to honor our past is to never forget it! Where we come from has its place in our world today and we will continue to collect, celebrate, and share this collective history. Always remembering that where we came from, has its place in our world today!

 

Point 78: BPA: Silver Anchor – Shawn Porter

Editor’s Note: This article was compiled by Kendra Jane Berndt from existing sources written by Shawn Porter. In addition to writing for Modblog, Shawn also edits the Scarwars site, the more frequently updated Occult Vibrations tattoo blog as well as his personal diary at Sacred Debris. Without his collection of writings, photographs, and personal accounts much of the history of body piercing would not be documented and archived as it currently is. I would like to thank Shawn for his continued work, as I was only able to compile the following information because of his work.

Zephyrhills, Florida was first incorporated as a city in 1914. According to the 2000 Census it was home to 10,833 residents, many of whom were over 65 and retired. It’s close to Tampa and to my hometown of Plant City, and can boast to being the birthplace of several famous NASCAR drivers, an American Idol finalist, and notorious Ghoul Carl Tanzier.

It was also, for a few years at least, the Body Modification capital of the world.

Far from the cultural meccas of the West Coast, Zephryhills was where advanced body modification pioneer Mr. Jay (Jack Yount) settled after his wife passed away and he retired from American Standard Plumbing, where his only full apprentice Mike Natali lived and where famed ‘Modification Doctor’ Ronald Brown made frequent visits for underground surgery. It  was also the home base of Big Ed Fenster and the Silver Anchor Body Jewelry Company.

At the time finding body piercing jewelry was no easy task. In the 1980s and early 1990s manufacturing companies were few and far between. It was not available at every mall or website, and most tattoo shops didn’t have piercers to buy it from/install it for you. The Gauntlet, Spain’s Customs, Pleasurable Piercing, The Good Art Company, Toucan for gold, Wildcat in the UK, and Fenster’s Silver Anchor were the big names at the time. Pre-internet. Some had catalogs while others had stapled and xeroxed price sheets, included with your order. When I first started buying from Silver Anchor they didn’t even have a retail price list since they only served wholesale clients. Big Ed Fenster – a nudist, swinger, and friend of both Jack and Sailor Sid Diller – owned the business. Silver Anchor shared its name with Sid’s Ft. Lauderdale tattoo studio and was located in a small house that served as the office and Ed’s living quarters. There were a few satellite trailers where the jewelry was manufactured.

A jeweler at Silver Anchor, circa 1980s.

Twenty something years later I still contend that Silver Anchor produced the finest quality body jewelry of all of the companies that were around back then. Open to interpretation I know, but during their “good years” with Mike Natali as GM and his partner Chuck as shop manager they put out top notch large gauge jewelry that had a mirror finish that I’ve never seen rivaled. Chuck was one of the few jewelers who, by hand, could produce a ring for a P.A. in 1/2” stock with an inner diameter of 1/2” with a threaded 5/8” ball that fit perfectly. Sure, some of their output would make a devoted APP acolyte cringe; the 00g externally threaded barbells I had made as a present to myself on my 17th birthday would likely cause a panic, but the threads were buffed for easy insertion and years later when I finally gifted them to a friend they had retained a perfect finish.

In my time visiting the shop – with Jack at first and then later to spend time with Mike and Chuck – it was always an adventure. My brother and I would meet up with Brian Skellie, Kevin Covella, and Rob Moore, maybe pack a few orders (when I first started going I was 16) and be in awe that we finally found people who ‘got’ it. Sometimes we’d continue on to Jack’s house and document a modification procedure, meet some of his out of town friends, or just sit in the pool or hot tub and enjoy the company. The shift was taking place quickly from an older gay demographic to younger people who were taking on modification as a culture and not a kink and Jack was grooming us to help bridge the gap. Visits to Silver Anchor had them asking us questions about making ‘earlets’ since more people were stretching their lobes and despite having made custom 1/2 question mark shaped nipple jewelry they had never seen a stretched earlobe before mine.

You have to appreciate dealing with Ed – whose entire history was with piercing as a sexual thing being able to make some of the most complicated “u-tubes” imaginable, but being completely vexed by the mechanics of a plug for stretched ear lobes. U-tubes were urethra tubes, which later went on to be universally referred to as ‘Prince’s Wands’ and Ed specialized in them. I remember sitting at the desk one day packing orders and seeing this MONSTER of a tube in his inbox (back when the inbox was actually a box and not an email account) that he had made for himself. At the thickest it was a full 5/8″ with 1″ balls and 4g posts for his apadravya. I remember thinking that it looked more like a billy club than a dick accessory. Ed looked at me sheepishly and said “my girlfriend likes me to wear this when I fuck her.”

Emil Gundelach, Big Ed Fenster, and Mev Chapman (seated)

Ultimately, under Mike’s direction Silver Anchor became a powerhouse of a company. At the time it was a seller’s market, and with body jewelry being as rare as it was, paying over $20 wholesale for a 12g ring wasn’t uncommon. When things got too big the stresses started to appear and eventually Mike and his partner moved on to start Bravo! Body Jewelry. Several of the jewelers Ed had hired did the same, and before long over saturation of a niche product flooded a small area. Tattoo shops started selling body jewelry. Tampa, the nearest major city to Zephryhills, saw a piercing only shop open under the name of Leather Tiger – that’s a story in and of itself, with a ‘head piercer’ who had to have PFIQ’s “Pierce with a Pro” open when he’d do a piercing. Once Jack Yount passed away things mostly fell apart.

In time Silver Anchor closed it’s doors. I’m not sure what happened to it’s back stock or employees. I’m not even sure what happened to Ed Fenster. But I still have a handful of my Silver Anchor jewelry in their original bags that I keep for old times’ sakes.

Here’s a video featuring Ed (with very little clothing, sterile or aseptic technique, or gloves – remember when it was filmed) that I posted on Modblog back in 2008. It’ll hopefully give you a glimpse into the sexual nature of pre-1990s body piercing/modification.

It must have been about 1991 when I first met Mike Natali; two decades later and we’ve taken to calling our first meeting ‘guiche day’ as both of us were at Jack Yount’s Zephyrhills, Florida house to have ours pierced when we were introduced and became fast friends. Mike became an older brother/uncle figure to my brother and I. Under his leadership, Ed Fenster’s Silver Anchor body jewelry company experienced massive growth and his own Bravo! Body Jewelry set a high bar for the companies that followed.

In late August I traveled down to Tampa to reconnect with Mike and to record an oral history with him about his introduction to Jack and Ed Fenster, his time at SA and Bravo and his career as a body piercer. The videos need to be edited and a transcript made, but it was really great to spend the afternoon with him and get his story told.

Editor’s note: When I spoke with Shawn in February of 2017, these items still required transcribing.

The Point – Issue 78

 

Table of ContentsAlicia Cardenas at the 2016 APP Conference & Exposition

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