Category Industry History

Sharing The Wealth

In the 1990’s, Jim Ward observed that there were a lot of body piercing studios opening
up. Over the years since the 1975 establishment of Gauntlet, Jim and his staff had
developed and refined the best in body piercing techniques, with safety and successful
outcomes in mind. Jim decided that that expertise should be shared with the inevitably
expanding body piercing profession. First the Pierce With A Pro videos, and then
Gauntlet’s body piercing seminars – Responsible Body Piercing – made the techniques
widely available.

Go to runningthegauntlet-book.com to get your copies of these
historical looks at what was state of the art.

Creative Innovator Award 2023 Queen Of The Ashes

Queen of the Ashes award winning design “Kwaidan.” Picture by @connorfornow


At this year’s APP Conference, Queen of the Ashes won the Creative Innovators Award for their design “Kwaidan.” We had the opportunity to talk to Hika K, the owner of Queen of the Ashes, to discuss her award winning design and her company.

The Point Blog: Congratulations on your Innovative Award win, Hika! Your company, Queen of the Ashes, has been gaining a lot of popularity lately and your newest earring design was a hit at this years APP Conference. We also saw quite a few folks wearing other pieces from your company during this year’s Conference. How are you feeling?

Queen of the Ashes: Thank you so much! Honestly, I am still quite overwhelmed. Last years APP Conference went already well, but this years positive feedback, especially after winning the Innovators Award, still feels quite surreal. I am incredibly happy that people love my designs and it still makes me giddy every time I see somebody wearing my jewelry.

The Point Blog: Tell us more about your company and when you started designing such interesting pieces.

Queen of the Ashes: I started Queen of the Ashes in 2019, but the first design – The Scavenger Queen – had been on my mind since 2016, as well as a few other pieces. I found it quite hard to find any reputable jewelry company making ear weights representing my more crust-punky taste. The main push I needed was my significant other convincing me to just dive in and bring the punk aesthetics back into the piercing industry.

The Point Blog: Have you had to face many challenges in the industry with your new company right before the pandemic? Did you face other challenges being based in Germany?

Queen of the Ashes: Somewhat yes, somewhat no. I would say, the greatest challenge was starting off right before Covid hit and the world slowed down, so our customer base could not grow as fast as I would have wished. On the other hand, this gave me the opportunity to slow down and carefully perfect the designs I had in my mind. Of course, being located in Europe has been tricky, especially when travel was not an option, which made it impossible to show off my designs besides when being at a guest piercing guest spot; most German studios would not invest in a small, nearly unknown German brand for ear weights, as the top studios we have usually tend to rather invest into gold. And even after the world opened again, having a booth at APP for the first time was probably far more organizational work than it would be for a company from the States or from Canada. But of course I can’t compare how things would have been if I would have started my company in another country.

The Point Blog: Do you find your pieces to be more popular at home than in other parts of the world?

Queen of the Ashes: I definitely noticed that my designs tend to fare better on the US market, not only when it comes to wholesale clients, but also when it comes to orders on the retail side. This seems to be usual with ear weights in general though, as I hear often that ear weights don’t move much in German studios for example – so the pieces my wholesale customers prefer in Germany are those for traditional earrings.

The Point Blog: We’ve noticed that many of your pieces are limited and those limited pieces seem to be in high demand! Do you plan on continuing to keep things exclusive?

Queen of the Ashes: Yes, definitely! I love the idea of exclusivity and the collectability of jewelry, but since I prefer to keep an accessible price point I decided on achieving the first point through the limitation of designs. While I regularly make limited designs like the Hunters and the Aliens, with the former being sold out since this year’s APP Conference, I plan on keeping the amount of designs I offer small, so some pieces from the first year will eventually have to go too. At the same time we have a few one off pieces, as most of the stone combinations for the Feral Children for example will not be repeated.

The Point Blog: Tell us a bit about what gave you the idea to create your winning design.

Queen of the Ashes: I am honestly not sure. I had a loose idea of this design already 10 years ago, but I am pretty sure that the main inspiration had been the J-Horror-Movies I watched as a young teenager, as well as many other Japanese ghost stories I read over the years (and still am reading). I remember staying in a house in Japan years back, and on the ceiling of the closet a board was slid open so we got a glimpse into the attic. I couldn’t shake the idea of waking up in the night and the moonlight shining in, to illuminate hair hanging down through this opening. As I said, watching too many of those movies, and then that image lead to hair hanging on earrings. And of course traditional tatami flooring belonged into every Japanese ghost story in my eyes, which is why I chose that pattern for the brass part of our “Kwaidan” ear weights.

“Kwaidan” designed by Queen of the Ashes. Picture by @connorfornow


The Point Blog: Who knew that one moment in time would inspire the creation such a beautiful earring design! Do you feel that how you find inspiration for your pieces is what separates Queen of the Ashes from other competitors who may be offering comparable designs?

Queen of the Ashes: I would say the main difference would be that many of my designs are quite niche, with many of them being wearable art than designs which fit into a wider audience. I consider Queen of the Ashes my playground, so I don’t always think about what may be selling in big quantities but rather what I think may be cool. I don’t think of other jewelry designers as competitors though; I rather consider us all as fellow artists, many of whom I look up to and whose work I adore.

The Point Blog: Where else does your inspiration come from? Who inspires you?

Queen of the Ashes: I sometimes wonder that myself. Many of my ideas just visualize in front of me, as I tend to think in pictures. So some pieces just seem to have existed in me; some are homages to literature or movies which I love. Some pieces have been requested by customers, with me mainly giving them the shape to make the idea wearable. There is also a small handful of designs either developed by friends or my significant other which are even more fun to work with than the ones I develop alone, since we all share the creative input, we are sticking our heads together to perfect those ones.

The Point Blog: What can we expect to see next from Queen of the Ashes?

Queen of the Ashes: First of all, a new website bringing together the retail and wholesale shop with an easier user surface that hopefully we will launch in late autumn or winter. There are also a lot of new designs in production, most of them going more into the direction of mythology, obviously many more pieces with popcultural references, but, what I am mostly excited for, are new alternatives for wearing surfaces to combine with hanging designs. Similar to our Ties that Bind, I am playing around with fun new ways for my customers to make their own individual jewelry combinations.

Find Queen of the Ashes online!
Website: http://queenoftheashesjewelry.de
Instagram: @queenoftheashes_jewelry
Email: queenofashesjewelry@gmail.com

Hika, owner of Queen of the Ashes

Innovator Award 2023 Regalia Jewelry

Regalia’s Innovative Award winning design “Pin Crimp.”

At this year’s APP Conference, Regalia won the Innovator’s Award for their “Pin Crimp” design. We were fortunate enough to have a chat with the owner of Regalia, Derrick Edward R. and asked him about his latest invention and his beginnings in the industry.

The Point: Congratulations on your win in the Innovators Award. You also won the Best Single Booth award at the APP Conference this year. You all must be very excited!

Regalia: Thank you! It was a bit of a surprise when I got a text message saying we won both awards (we didn’t attend the closing party). To be honest, I think we should have won the best booth award last year; Some people might remember the reliquary that the Regalia crew spent weeks working on with “Sadima” the mummy empress. It was a bit of an upset, so this year, we’d intentionally planned a much simpler approach and wanted to focus on sales and operation. We all kind of joked to ourselves because we thought we were thrown a bone this year because whoever felt bad we didn’t win last year. In any case, it feels good to have hard work acknowledged.

The Point: What inspired you to create this concept and how does it set itself apart from similar concepts?

Regalia: We’d always had the thought of, “Ya know it’d be really cool if there was a specific tool that bent our threadless pins in a way that didn’t sacrifice the integrity of the pin itself so there would be less breakage” Then that turned into… “Imagine if we could get customers to be able to change their jewelry out on their own so they can focus on building their jewelry wardrobe without having to wait in line at their local piercing studio just to get something changed out.”

When the pandemic happened, it became, “All these people with threadless jewelry sitting at home that can’t go into their local piercings studios.” During normal times, we can definitely appreciate the human to human interaction and experience of going into a piercing studio to ogle and jewelry, purchase, and have it put in… But we also have found value in turning the ‘necessity’ of piercer assistance vs. ‘convenience’ of piercer assistance when it comes to having jewelry changed out. While we always recommend clients visit their piercers to make sure their piercings have healed correctly and are healthy, there’s something to be said about giving the power and confidence to the client to work with their own accessories. It also helps facilitate the move toward eCommerce as studios become more open to selling threadless jewelry in their online stores.

The design itself is meant to provide a consistent and desired result. We understood that the pliers could be used by an extremely WIDE range of people, whether piercers or “end-wearers” as we like to call them. The brilliance of our first prototype was that no matter how hard you squeezed the pliers, they would bend the pin in same exact way, the same exact amount. There’s only one other pair of pliers that are currently sold as dedicated threadless pin pliers, but we haven’t seen too much success in our industry with the use of them. Ultimately our goal is to make them so easy to use, that they become a no-brainer in needing to have them if preserving threadless jewelry is important! Many people have used other pliers in non-intended ways to bend pins with success, but we want people not to have to figure anything out. We’ll do that for you. ;D

The Point: We think this design is really neat! Is this tool a one-off creation or do you have plans to create more tools in the future?

Regalia: That’s a really good question. I suppose it depends on the success of this tool. I imagine that there will different versions of the final product of our Pin Crimp. Anyone else have any ideas?

The Point: Regalia has been around for some time and is widely known as a body jewelry company. Tell us more about yourself and the history of your company.

Regalia: Haa! I actually started out as a replacement counter-hire. This was in 2014 and at the time I was working in management at a large cosmetics company. No experience in jewelry whatsoever, other than wearing it, of course. One of my regular customers was Lysa Taylor, who at the time was the main piercer at Industrial Tattoo & Piercing in Berkeley. At this point, I’d already gone up and down and plateaued in the company I was with, so one day when Lysa came in to stock up on some facial moisturizer, I said, “Hey, you guy hiring over there?”… I suppose the timing of everything worked out. I am and have always believed that things happen for a reason. To make a long story short… I went from the top of the totem pole at this corporate company to scrubbing toilets, taking out the garbage, and cleaning up after bums outside of this piercing studio off of Dwight and Telegraph in Berkeley. Albeit, one that I’d frequented for years. I’d learned a lot about the industry in those first couple of years. Safe practices, jewelry types, sizes, materials. It was a HUGE growing point for everyone and everything and the studio and the industry in general. Social media wasn’t even a thing, yet. Nobody was taking good photos of jewelry and regularly posting to platforms like Instagram. Shortly after starting, I took over their social media and started experimenting with composition of how to post jewelry to look good and fun. I became fascinated with how light bounced off certain facets and textures of some of the designs. Having a knack for picking up and learning computer software, it wasn’t long before I’d downloaded CAD freeware to begin playing with 3D shapes and realizing my own designs.

One of the biggest bottle necks in A to Z shop operation was the amount of time it took to get jewelry from our manufacturers. We were selling jewelry faster than we could get it in our displays. I told Todd, co-owner of Industrial Tattoo & Piercing, “Dude, why don’t we just MAKE OUR OWN JEWELRY”… So we did. And literally, not knowing anything about production or manufacturing, we knew what we needed for our clients, we knew we wanted to work with gold, and we knew we had the energy to figure out the rest. I incorporated in 2015, and it’s been a huge creative endeavor since then. And definitely the most challenging experience of my life. I’ve worked alongside very talented and industrious people in this industry and have done my best to absorb as much as I possibly can. When people say they put their blood, sweat, and tears into something… I quite literally know exactly what that means. I tell people all the time that the main reason why I started Regalia was because I just wanted to make things… What people don’t see or understand is just how difficult it is to start, run, and maintain a gold body jewelry company that doesn’t outsource production to other countries, in the state of California. Proud to say we’re about 99.9% in-house production at the cost of sleepless nights and sound mind. I’ve gotta say, it does make it worth it when people see, appreciate, and share those values with others and go on to wear our designs.

Pin Crimp tool by Regalia Jewelry.

The Point: Regalia has some very interesting and unique pieces. How do you stay ahead of the game when there are so many similar types of companies?

Regalia: I’ve heard we’ve got a distinct ‘look’ from some of our clients. This is a fun compliment for us, for sure. In my mind, staying “ahead” of the game is a little bit of a trap. It’s a type of hamster wheel that we’ve got one foot on and one foot off. Something that I think Regalia has started to achieve, kind of accidentally, is creating a type of new-classic? If I could say that as cliche as it sounds. When I design something, part of me is concerned that it’ll look cheap or that it may in the future “look like its trying too hard”. Timelessness, in my opinion, is hugely important and probably comes from my own rebellion against a system that feeds off of “Oooh whats the next new thing?”, but how do you create something or a brand that isn’t typecast into someone else’s trash box? I actually think about this a lot and realize I’m overthinking it, I shake it off, and just keep moving forward. What you see in our production line is the result of that thought process. Another thing that I consider is what something will look like at different distances and how different textures break up and distribute light. Many designs don’t translate that well depending on where the observer is observing from. Many don’t know realize this, but the designs we have for sale are literally JUST A FRACTION of the designs that most of which haven’t made it to our production line. I have folders and folders and folders of literally hundreds of design files that are unfinished, or have been finished, but that never made it to cast. 

And while yes, there are a lot of smaller gold body jewelry companies popping up every single year, a part of me naturally experiences concern, but then I remember how we started, our principles, how we make things, where we make them, and why we make them comprises the unique fingerprint that is Regalia. Design-led jewelry purchasing is a big hook, but people need to know that they aren’t just buying something that shines a specific way. They’re buying a brand, they’re buying our crew, and they’re buying our values. When I talk about Regalia I notice that I get very passionate about these things as I believe it’s up to us as manufacturers to enrich our industry and educate our clients and their clients to retain the values of what they adorn themselves with. And while it’s very possible to get washed up in these fickle trends, I’ve never wanted for Regalia to outgrow our principles; This has proven to be one of our biggest challenges, but one that is at the core of who we are. These other companies will experience their own hardships like we have and still do and if they’re still around after all is said and done, and they’ve added value to the industry instead of just profited off of it, what more can be said than, “Welcome to the players circle”. I still feel like we’re outsiders achieving our stripes. Not sure if or when that feeling will ever go away, but whenever I see a beautiful photo taken of someone wearing our jewelry in a different part of the world, those stripes feel tiny.

The Point: Where does your inspiration come from when creating your designs? Is there someone or something that inspires you?

Regalia: My inspirations come from really everywhere… pictures, paintings, architecture, the occasional *cough* video game, nature, and of course suggestions from the Regalia crew and colleagues in or out of the industry… there have even been times that the NAME of the design inspired and came before the finished piece. Imagine that. Philosophy is also a huge inspiration to me. There have been moments where the meaning of words have inspired the look of certain designs. There’s literally no shortage of inspiration or creative energy that can be found in this industry, so a bigger challenge is finding the time to dedicate to bring things to fruition. As far as WHO inspires me? The industrious inspires me. There isn’t even one specific person, but more so the TYPE of person that inspires me is the ‘doer’. Anyone can have the next brilliant idea. Those are all a dime a dozen. The type of person that inspires me is the person that can execute their idea and see it through to its completion with intentional focus and vigor. Focus and dedication are two qualities that I consistently find in the people that I’m inspired by. These kinds of people are rare. I’m sure if you’re reading this, you can think of someone in your life that is like this. Keep them close, learn from them, and if you want to help those around you, BE THAT PERSON.

The Point: Do you have any fresh ideas that we might see around the innovators booth at next year’s APP conference?

Regalia: Currently, I’m focused on getting our Pin Crimp re-designed and manufactured. That said, we might try for the creative innovator’s award if that’s being run again. We’ve got some designs up our sleeves.

The Point: Do you have any other plans for the future? What can we expect to see from Regalia next?

Regalia: We do have plans of more limited drops and one-off designs. So keep an eye open for those!

Find Regalia Jewelry on the web!
Website: https://regalia.jewelry/
Instagram: @regalia.jewelry

Point 89: From the Body Piercing Archive, 2019

Dustin Allor

This past summer we lost a most iconic and beloved member of the body piercing community. It is hard to imagine what the landscape of the piercing industry would look like without Fakir Musafar. He was part of the group who brought body piercing into mainstream western culture from underground society in the 1970s. Fakir inspired countless people to become piercers, taught the skill to approximately 2,000 attendees of his piercing workshop, moved many to try suspension and urged us to claim our bodies as our own, especially through body modification. He firmly believed that piercing was sacred, magical, and could be a special moment for all involved. His life was spent spreading that message and seeking the spirit through exploring and testing the limits of his body. This year’s Body Piercing Archive exhibit unfolded many of the lives, hobbies, jobs, and performances of the multifaceted Fakir Musafar.

Walking into the exhibit was overwhelming in the best sort of way. There was so much information—so many visuals—that it was hard to know where to look. Each time I went in, there were things I hadn’t noticed previously. It would have taken me a couple of focused hours to take in all the information. The outer walls were lined with banners. The inner walls had four alcoves with various displayed items. Several banners featured large photos of Fakir embodying his different personas. There were other banners that stood out to me: the timeline that shared childhood pictures, some of influential people in his life, covers of his Body Play magazines, and collages of the group photos from nearly every class of the Fakir Intensives.

Visitors enter the exhibit.
Photo by Marina Pecorino

Then there were the alcoves. One held books and images that inspired and guided a young Fakir to try so many unconventional practices. A few items in particular caught my  eye: Fakir’s  yoga  book from the 1950s and National Geographic from Fakir’s childhood where he got the idea to perform his first piercing on himself at age 14. Another area had masks, homemade eyelets for stretching his nipple piercings, some of Fakir’s septum jewelry, and articles he had written. There was a section that had a bed of nails, a bed of blades, a kavadi frame, a suspension frame, and other inventions of Fakir’s that I’m not sure have names. Most of these devices were featured in Fakir’s early self photography. Having been born in a rural area in 1930, out of necessity he developed a resourceful and inventive ability. A large portion of the objects in the exhibit were things he made at home by hand. Rarely disposing of his creations, the BPA was able to acquire or borrow many of them from his wife, Cléo Dubois. It was fabulous to see classic Fakir photos right next to the actual items he made and was wearing in the portrait.

View of the exhibit.
Photo by Marina Pecorino

There was a screen toward the back of the exhibit playing the Mark and Dan Jury film Dances Sacred and Profane starring Fakir, Jim Ward, and Charles Gatewood. Mirroring that was a second screen dedicated to performances he had  done,  featuring video from one of his European performances. Between those was information on RE/Search #12: Modern Primitives, the publication where so many of us discovered Fakir for the first time.

View of the exhibit.
Photo by Marina Pecorino

The last alcove in the exhibit was the most solemn. The exhibit overall celebrated Fakir’s life, but the last alcove honored his death. Fakir felt that altars were important. He would make one at the end of every piercing class, a place to look to for focus, to display images and objects that had meaning to him and to help inspire a particular mindset he was looking for. The last alcove of the exhibit, with bright yellow and red walls, was an altar to Fakir. It displayed a large photo of him, photos of those close to him who had also passed, images of deities he was drawn to, fresh fragrant flowers, candles, and a few personal items like his chest spears. When he announced that he was sick and had limited time left, Fakir asked that instead of emails or phone calls, that people hand write and mail him letters if they had anything they wanted to share with him. Hundreds of letters came in and he read all the words of love and thanks before he left us. A selection of those cards were strung from the center back wall of the alcove, extending to either side of the door, framing the altar and giving the space a sense of depth, layers, and sentiment.

Fakir’s memorial altar at the APP Conference, 2019.
Photo by Marina Pecorino

Fakir was so many people wrapped up in one. It was impossible to know everything and everyone he had been in his life. Depending on how you knew him, you would connect and learn about different aspects of his personality and interests, hearing different stories of his past. In addition to all the visuals in the exhibit, docents who were personally known to Fakir gave tours. Each had unique experiences and insight on who Fakir was, having known him in a variety of circles and points of his life. Several of the instructors from the Fakir Intensives gave tours, as well as friends of Fakir’s including Allen Falkner and Annie Sprinkle. Each offered unique flavors, new insight and things to learn about Fakir. Hearing their stories really brought Fakir’s memory to life in a vivid interactive way and I wish I could have seen all the tours.

Annie Sprinkle conducting a tour of the exhibit.
Photo by Marina Pecorino

Working closely with Fakir’s wife, Cléo, the BPA team put together an amazing and moving exhibit. Fakir was always touched and awed by the gratitude, credit, and honor people extended to him. I think he would be absolutely blown away and speechless by the beautiful display and celebration of his life that portrayed so much of who he was. To Paul King, Becky Dill, Devin Ruiz, and all your behind the scenes helpers, thank you for all your hard work in putting together such a rich and beautiful commemoration of Fakir’s life. It was wonderful to get to celebrate Fakir’s life together with the bulk of the piercing community this year at the APP Conference.

Dustin Allor & Fakir Musafar

Point 89: The Gay Ear

Lynn Loheide & Margo Dellaquilla

In piercing studios around the country the question is still asked today, “Does one side have any special meaning? You know, what ear is the gay ear?” Despite changing times and modern progress many people still associate piercings—particularly a single piercing in the lobe—as a symbol of one’s sexuality. We’ve all given a little internal eye roll when we have to field this question in our studios and most of us have a carefully prescribed response. any of us may not understand the history of this concept. It’s actually quite fascinating to take a look behind how one specific piercing developed such recognition as a gay symbol.

To find out how an ear piercing could carry such symbolism we need to look back to the ‘70s and ‘80s in America. A different time when it was still perilous to be LGBTQIA (lesbian, gay, bisexual, transgender, queer or questioning, intersex, and asexual or allied) and publicly out, and there were no legal or social protections for people who were. Many people lived in fear of losing their jobs, homes, families, or being outright attacked. The AIDs crisis was beginning and both hate and fear concerning anything gay were at an all-time high.

People gathered in secret bars, hung around dark trails in local parks, and used various forms of code based on location to subtly tell people they were gay. These codes were a form of protection, a small way to tell people in-the-know what their preferences were without outing themselves and potentially changing, or even ending, their lives. We, as piercers, generally know and love the hanky code (raise your hand if you own a purple one!) This same philosophy also helped to coin“The Gay Ear”. Born from these codes is a phrase few now remember as familiar, “Left is right and right is wrong” (“wrong” here meaning gay). This cultural phrase spread across communities in an era when piercing was just blossoming. Women were daring to wear second and third earlobe piercings and a particularly rebellious person may pierce their cartilage. This phrase cemented in many minds that the singular right lobe piercing on a man was synonymous with being gay. We can even look at this New York Times article from 19911 that mentions a piercing in the right ear as a “discreet symbol”    of one’s sexuality. We must remember this was a time when discretion was, for some, life or death. Like a game of  telephone,  this  phrase  spread,  and small changes happened along the way. In some areas, it was reversed, and the left ear was  a signifier. Others changed the script  entirely:  both ears could signify one was bi or trans, and a few on one ear had specific meanings in a local scene. As the phrase became  more  widespread  and used as a way of outing folks, some opted to pierce the opposite ear associated in their area to remain hidden. All of this served to muddle the waters until no one  could  agree  which  ear  was, in fact, “the gay ear”.

It wasn’t long before that phrase became lost, and many people forgot which ear meant what, as if any ear ever meant anything. The internet, and even before that the “Ask x” columns and library question cards, were filled with men agonizing over which was the ear they were “supposed” to pierce. How could they wear the adornments they desired while maintaining their heterosexuality; or, perhaps, secretly inquiring which they could pierce to flaunt their homosexuality. Over time the meaning seemed to matter less and less as piercings became more popular and many folks cared not what anyone else thought. Their adornments were for them and them alone. As early as the ‘90s people had forgotten the meaning as piercings were now more about punk rock and youthful rebellion than an underground symbol. Time passed and it became ok to be out. We didn’t need to hide behind antiquated codes or symbols; we could be out and proud!

While discrimination still exists in many shapes and forms, even now in 2020, fortunately, we don’t need to hide as much as we did then. That being said, education and reclamation of what was once used to hurt or oppress us can be a powerful way to stand in the face of discrimination. This is a great piece of history to share with other piercers, clients, and friends, to help remove the stigma and keep our history alive. After all, given our shared history, all piercings are a little bit gay!

Photos of Gauntlet founder and out gay man Jim Ward from issue 24 of Piercing Fans International Quarterly (1985). Jim acquired his first ear piercing in 1969 when the right ear was very much the traditional “gay” ear. Like many gay men of that time, he still opted to pierce the left ear. The initial piercing was a bit low; sometime in Gauntlet’s early years, he did a second one above it for which he designed these unique jewelry pieces. Sadly, they disappeared when Gauntlet closed in 1998. After he moved to San Francisco in the early 1990s, he finally had his right ear pierced.

Point 88: BPA: Fakir Musafar, In Pursuit of the Spirit

From Inside the Archive: by Devin Ruiz-Altamura

I wasn’t prepared for the magic I felt when entering the completed exhibit room for the first time. I had probably handled each object in that room more than a dozen times over the past nine months, and written down their item numbers or descriptions just as many times. It didn’t make this collection any less powerful for me. I hope everyone else who got a chance to see the exhibit found it as moving as I did. This year’s  Body Piercing Archive exhibit, “Fakir Musafar: In Pursuit of the Spirit,” was our most ambitious to date. It was also the most comprehensive exhibit that has ever been seen on Fakir Musafar’s life and legacy. Featured were over 2,000 square feet of original images, digital media, and fabricated items, many of which had not been collected or displayed together under one roof since their creation. Visitors were led through the exhibit by a diverse crew of docents, all who had unique and personal experiences with Fakir himself and the Fakir Intensives School.

Fakir memorial altar, photo by John Balk

The exhibit opened with a timeline of the life of Roland Loomis, also known as Fakir Musafar. The timeline acted as a guide through the room and the objects. Next, a series of banners displaying all of the various personas that Fakir inhabited: Roland Loomis, Yogi Ankora, Fakiki, The Perfect Gentleman, Ibitoe, Golden Apollo, etc. Some of the first items displayed were examples of early corseting inspiration, and original National Geographic issues that planted seeds in a young Roland’s mind. It was extremely gratifying to see what parts of Fakir’s history were a surprise to the various docents and speakers. These little surprises really showed the amount of dedication that Paul King and Becky Dill put into their research, and the generosity that Cléo Dubios showed us in sharing some never before seen photos and artifacts. From there was a chance to see many of the various handmade masks, devices, jewelry, and tools that Fakir designed and fabricated for his own use in photoshoots and personal play.

Part of the Exhibit, photo by Devin Ruiz-Altamura

The transitional space between the first and second half of the exhibit held some of the work that served as an introduction to Fakir for many people, myself included. The film Dances Sacred and Profane could be viewed here alongside a performance Fakir did with Cléo Dubois, his wife and partner.

Photo by Paul King

Standing amongst the tour group for Paul King’s first guided tour of the exhibit, seeing Fakir on screen taking Kavadi, was another truly surreal moment for me. I remembered  being 12 or 13 watching that clip for the first time and thinking this was exactly what interested me the most. All these years later with half a decade of counter work at Cold Steel under my belt and a relatively new position with the Body Piercing Archive, I couldn’t help but be so thankful for Fakir’s unexpected influence on my life.

Photo by Paul King

The second half of the exhibit highlight ed Body Play Magazine and the Fakir Intensives School. Printed media, photography, and graphic design were all large parts of Fakir’s life; Body Play Magazine was the culmination of all of these passions and interests. Original working layouts of the magazine could be seen alongside their completed counterparts and final editions.

Photo by Paul King

The Fakir Intensives School was many people’s first hand experience with Fakir, and the foundation of so many memories. It was great photos or even be able to see themselves evolve over the many years they had attended or been an instructor. I love knowing that Fakir got to spend the second half of his life immersed in the community he desperately searched for in his early years. He got to witness first hand the impact he had on our industry, and on so many people’s lives—not something many get to experience in their lifetime.

Photo by Paul King

The backdrop for this more recent history was a grand display of the most iconic hand fabricated objects and sculpture associated with Fakir. The Bed of Blades and Bed of Nails from his first public performance at the 1977 international tattoo convention in Reno, Nevada, the Sword Swing and wooden and aluminum “encumberments” seen in various photoshoots, the horizontal suspension rig used for countless people’s spiritual flights, the Witches Cradle seen in Body Play Magazine, and the Kavadi featured on the poster for Dances Sacred and Profane. The sheer amount of work and devotion Fakir put into his spiritual endeavors and “body play” was inspiring.

Photo by Paul King

The culmination of the exhibit was a small curtained room that, once entered, dazzled the viewer with a bright display of red and gold. Before this room had even been filled, the impact of the change of color and tone brought those of us there to tears. The alter that was set up within was lovingly curated by Grin, a Fakir Intensives instructor and close friend of Fakir and Cléo. Flowers, candles, and sentimental objects were all present and served as a beautiful tribute to a person whose vast career and extraordinary life could hardly be contained within any exhibit walls.

The Body Piercing Archive would like to thank all docents, speakers, and volunteers that gave their energy, love, and time.

Special Thanks to: Cléo Dubois, Jim Ward, Annie Sprinkle, Veronica Vera, Ken Coyote, Paul King, Becky Dill, Ian Bishop, Allen Falkner, Dustin Allor, Cody Vaughn, Betty Ann Peed, Jef Saunders, Cynthia Wright, Yossi Silverman, Grin, Paul Fox, Jamie Biggers, Matte Erikson, John Balk, Theo Williams, Jenna Dittrich, Rafael Diaz, Pablo Perelmuter, Danny Greenwood

Point 87: Tiny

Piercing and Photos by Fakir Musafar

Meet Tiny, the first African-American to appear in Piercing Fans International Quarterly. She was featured in issues 12 (1981) and 14 (1982). Fakir performed the nostril piercing using a pin vice, his tool of choice in the early days before super sharp, disposable piercing needles.

As I recall, the labret piercing was faked. A gold bead was glued to her lower lip, and a gold back of my own fabrication placed inside. The back design would never have been satisfactory.

It would take over a decade of trial and error before the best placement would be worked out and appropriate jewelry designed.—Jim Ward


Point 87: Walk on the Wild Side with Annie Sprinkle

by Paul King, Body Piercing Archive

On the cover of Piercing Fans International Quarterly (PFIQ)
Annie in the Mobilia Chair
Shopping for photo lights with Fakir Musafar in the early 1980s.

Having Dr. Annie Sprinkle speak at our conference has been a personal dream of mine for years. For those familiar with our community’s history, she needs no introduction or explanation for her importance, not to mention her greater celebrity within the performance art and adult entertainment worlds. She will be sharing her-story Wednesday May 16, 2019, at 12:30pm.

Don’t miss this unique opportunity to see an original lecture created just for the APP Conference:

Take a Walk on the Wild Side: an Exploration of Annie Sprinkle’s NYC Underground Piercing Scene.

Most often our piercing history has been told from a Westcoast male perspective. For the first time, Annie will take us deep inside the East Coast piercing scene: the parties, publications, films, and crazy personalities of the 1970s’ and 1980s’ New York.

Annie Sprinkle was a NYC prostitute and porn star for twenty-two years, then morphed into an artist and sexologist. She has passionately explored sexuality for over forty years, sharing her experiences through making her own unique brand of feminist sex films, writing books and articles, visual art making, creating theater performances, and teaching. Annie has consistently championed sex worker rights and health care and was one of the pivotal players of the Sex Positive Movement of the 1980’s. She got her BFA at School of Visual Arts in NYC was the first porn star to earn a Ph.D..

She’s a popular lecturer whose work is studied in many colleges and Universities. For the past seventeen years she has been collaborating on art projects with her partner, an artist and UCSC professor, Elizabeth Stephens. They are movers and shakers in the new “ecosex movement,” committed to making environmentalism more sexy, fun and diverse. In 2013, Sprinkle proudly received the Artist/Activist/ Scholar Award from Performance Studies International at Stanford and was awarded the Acker Award for Excellence in the Avant Garde. –Annie Sprinkle

Point 87: Fakir Musafar — In Pursuit of the Spirit

On August 1, 2018, the piercing community grieved the passing of one of its greatest piercing pioneers, Roland Loomis aka Fakir Musafar. Just nine days shy of his 88th birthday, vibrant, and productive until very near the end, it is difficult to wrap one’s head around the breadth of his cultural contributions!

In honor and celebration of Fakir Musafar’s life, the Body Piercing Archive (BPA) will present, Fakir Musafar: In Pursuit of the Spirit. This will be the most  comprehensive  exhibit  that  has ever been seen on Fakir’s art and legacy.  Over 2,000 square feet will be staged with his original iconic images and  fabricated  sculptures made famous over eight decades of accumulated artwork and Body Play. Many items have never been on public display.  The  show will run from Monday May 13 through Thursday May 17, 2019, at Planet Hollywood, in Las Vegas, from 10 am to 6 pm.

Specially selected docents were chosen to lead tours. Each guide has known Fakir for decades and in different contexts. We encourage you to attend as many of the tours as you can for new information and differing perspectives. Docents bring the material to life, so don’t miss out!

The highlights of the BPA program occurs on Wednesday, May 16. The day’s program begins at 10 am with the world premiere presentation by Jim Ward, Fakir & Me, a one and a half hour lecture that gives an overview to their historically important, yet complex, personal relationship. Then at 12:30 pm, the legendary Annie Sprinkle will give her inaugural APP presentation, Take a Walk on the Wild Side, in which Annie discusses the impact their meeting had on both of their personal lives and careers. The day wraps up with Fakir Musafar: an Evening of Remembrance and Celebration, with presentations by Ken Coyote and Dustin Allor of the Fakir Intensives, Allen Falkner, and the keynote speaker, Fakir’s life partner for more than 30 years, Cleo Dubois. The evening program runs from 6 pm to 8:30 pm and is open to all.

Exhibit Hours:

  • Monday 10 am–6 pm
  • Tuesday 10 am–6 pm
  • Wednesday 10 am–6 pm
  • Thursday 10 am–6 pm

“To not have encumberments, to not have
holes in your body, to not have tattoos may be
debilitating—this is something people have to
consider…being comfortable isn’t necessarily
living a “good” life—that’s the myth, but
it’s not true. Living an uncomfortable life is
sometimes far more satisfactory that a placid,
bovine existence…People may be missing
beautiful, rich experiences because of cultural
biases and conceit.”
—V. Vale and Andrea Juno,
Modern Primitives, 1989, 15.

Monday Docent Tours:
Paul King 11:30 am–12:30 pm
Ian Bishop 1 pm–2 pm
Allen Falkner 2:30 pm–3:30 pm
Dustin Allor 4 pm–5 pm

Adolescent Roland — his birth name — with neck ropes and stenciled on tattoos
Standing on a bed of red cutlass blades, 1963
Dressed with posture collar, stretched nipples, and tight belt.

Tuesday Docent Tours:
Cody Vaughn 10 am–11 am
Paul King 11:30 am–12:30 pm
Ian Bishop 1 pm–2 pm
Betty Ann Peed 2:30 pm–3:30 pm
Jef Saunders 4 pm–5 pm

“Body Play is a process that courts unusual feelings and states of consciousness which,
in the end, result in elevated consciousness (we know something we didn’t know before).
In practice, Body Play is aimed at increasing ‘body awareness.’ That is to make one
increasingly aware of one or more distinct body parts. You pierce an ear, you are aware that
it exists. You constrict the torso with a tight corset and you are constantly aware that it
exists. When the new ‘body state’ feels ‘natural’, the effect is heightened to again bring
back the desired state of ‘body awareness’ (the ear piercing is stretched larger, the corset
tightened). Finally, no matter how extreme you apply the ‘change of state’ that change
feels natural and you are empowered.”—Fakir Musafar, Body Play, v. 1 no. 1, 1992.

Fakir experimenting with breast clamp O-Kee-Pa
Fakir lies on a bed of nails while Sailor Sid hammers a wooden block on his back as a part of the entertainment at the Reno ITTA tattoo convention in 1977 photo by Doug Malloy

Wednesday Docent Tours:
Cynthia Wright 10 am–11 am
Ken Coyote 11:30 am–12:30 pm
Yossi Silverman 1 pm–2 pm
Grin 2:30 pm–3:30 pm
Annie Sprinkle 4 pm–5 pm
An Evening of Remembrance & Celebration
6 pm–8:30 pm with Ken Coyote, Dustin Allor,
Allen Falkner, and keynote speaker, Cleo
Dubois presenting Fakir, the Bigger Picture.

An illustration Fakir created for the fetish magazine Bizarre
Fakir stretching his nipples

Thursday Docent Tours:
Grin 10 am–11 am
Paul King 11:30 am–12:30 pm
Allen Falkner 1 pm–2 pm
Cynthia Wright 2:30 pm–3:30 pm
Ken Coyote 4 pm–5 pm

Fakir and his wife Cleo on a Princess Cruise in 2014

Point 85: APP Board Members & Officers History

April 13, 1994—The first APP meeting participants (Listed as “founders” in The Point 1): (standing l-r) Irwin Kane (Gauntlet,Inc.), Raelyn Gallina, Vaughn (Body Manipulations), Michaela Grey and Jim Ward (Gauntlet, Inc.), Melisa Kaye (Body Manipulations), Richard White [Carter] (Primeval
Body), Joann Wyman (Body Manipulations), Elizabeth Brassil (Body Manipulations), Drew Ward (Gauntlet, Inc.) -(kneeling l-r) Blake Perlingieri (Nomad), Kristian White (Nomad) at Gauntlet corporate offices in San Francisco

2017–2020

  • Luis Garcia—International Liaison
  • Ryan Ouellette—Outreach
  • Brian Skellie—Medical Liaison
  • Kendra Jane—Vice President
  • Jef Saunders—President

2014–2017

  • Cody Vaughn—Vice President
  • Christopher Glunt—Medical Liaison
  • Steve Joyner—Legislation Liaison
  • Miro Hernandez—Public Relations Director
  • Jef Saunders—Membership Liaison
  • Aaron Pollack—Secretary (Board Appointed)

2013-2016

  • Brian Skellie—Global Media
    • Transitioned to President Q2 2014
  • Ashley Misako—Outreach

2011–2014

  • Elayne Angel—President
  • John Johnson—Vice President
  • Richard Frueh—Medical Liaison
  • Mike Martin—Legislation Liaison
    • Stepped down April 2013
  • Steve Joyner—Legislation Liaison
    • Appointed Legislative Chair June 2013
  • Sarvas Berry—Membership Liaison 2010–2013
  • Brian Skellie—International Liaison
  • Dana Dinius—Outreach Coordinator
    • Stepped down Q1 2012
  • Ashley Misako—Outreach
    • Appointed Q1 2012

2008–2011

  • James Weber—President
  • Didier Suarez—Vice-President
  • Elayne Angel—Medical Liaison
  • Eduardo Chavarria—Membership Liaison
  • Bethrah Szumski—Secretary
    • Stepped down Q2 2010
  • Paul King—Treasurer (Board Appointed Officer)

2007–2010

  • Danny Yerna—International Outreach Coordinator
  • Eric “Sque3z” Anderson—Outreach Coordinator

2005–2008

  • Alicia Cardenas—President
  • April Johnson—Vice President
  • James Weber—Medical Liaison
  • Luis Garcia—International Liaison

2005–2007

  • Christina Shull—Secretary
    • Stepped down Q3 2007

2005–2006

  • Jeffrey “Phish” Goldblatt—Outreach Coordinator
    • Stepped down Q2 2006
  • Schane Gross—Treasurer
    • Stepped down Q1 2006

2002–2005

  • Bethrah Szumski—President
  • Jason King—Vice-President
  • Crystal Sims—Secretary
  • Paul King—Treasurer
  • Elayne Angel—Medical Coordinator
  • Megg Mass—Outreach Coordinator
  • Alicia Cardenas—International Liaison

1999–2002 Second Election [The Point—Issue 15, May]

  • Patrick McCarthy—President
    • Elected to replace Gahdi Elias after he finished his Board term
  • April Williams-Warner—International Liaison
    • Elected to replace Al D. after he finished his Board term
  • Scott Brewer—Treasurer
    • Appointed by Pat McCarthy as interim Treasurer after Brian Skellie finished Board term June 1999. Later duly elected and stepped down Q1 2002

From The Point—Issue 16:

Many changes took place to the APP over the last year; one of the most important things was the election of a new Board. In September a new Vice President, Secretary, and Outreach Coordinator were elected. Then, in April a new President and International Liaison were introduced. During the meeting the new Board members were introduced to the membership.

APP Board Members as of October, 1999

  • Pat McCarthy—President
  • Steve Joyner—Vice President
  • Bethrah Szumski —Secretary
  • Scott Brewer—Treasurer
  • Elayne Angel —Outreach Coordinator
  • April Williams-Warner—International Liaison
  • Dr. Jack Ward—Medical Liaison

1999–2001 First APP Elected Board [The Point—Issue 14, April]

  • Steve Joyner—Vice President 1999
  • Bethrah Szumski—Secretary
  • Elayne Angel—Outreach Coordinator
  • Jeff Martin—Outreach Coordinator
    • Stepped down December 1999

From The Point—Issue 14:

The past year has seen Board member installment go from an appointment to an electoral process.

The first such election installed: Steve Joyner as Vice Chair, Elayne Angel as Outreach Coordinator, Bethrah Szumski as Secretary

As people come so do they go: Dave Vidra served as OSHA Liaison until Nov 1998, Derek Lowe served as Secretary until Nov 1998.

Jeff Martin served as Outreach Coordinator until Dec 1999.

1998 [The Point—Issue 13, Summer]

Stepped down:

  • David Vidra resigned November 1998 after multiple Board terms
  • Derek Lowe resigned November 1998

1998 Board of Directors [The Point—Issue 12, First Quarter]

  • Gahdi Elias (Mastodon)—Chair
    • Brian Skellie appointed to serve the duties of Chair while Gahdi traveled abroad
  • Kent Fazekas—Chair
    • Stepped down
  • Elizabeth Getschal—appointed Board Liaison under Chair

1997 Transitions [The Point—Issue 11, Fall]

  • David Vidra (BodyWork Productions)—OSHA /Legislative Liaison
    • Exchanged positions with Al D. Sowers
  • Al D. Sowers (Playspace Ltd./ Sin)—International Liaison
  • Michaela Grey finished her Board term and continued as a Business Member in good standing
  • Dr. John Ward—Medical Liaison

1997–1999 [The Point—Issue 10, June]

  • Kent Fazekas—Chair
    • Transitioned from Treasurer
  • Brian Skellie—Treasurer
  • Michaela Grey—International Liaison
    • Transitioned from Chair
  • Crystal Cross
    • Stepped down
  • Curt Warren (Koi)—Coordinator
  • Rob Petroff
    • Stepped down
  • Jeff Martin (Obscurities)—Outreach coordinator
  • Tracy Faraca
    • Stepped down
  • Derek Lowe (Steve’s Tattoo and Body Piercing)—Secretary
  • Allen Falkner
    • Stepped down

1996 Two new Board Members [The Point—Issue 8, August]

  • David Vidra (BodyWork Productions)—Medical Liaison
  • Al D. Sowers (Playspace Ltd./ Sin)—OSHA /Legislative Liaison
  • Crystal Cross (Primeval Body)—New Title: International Liaison
  • Blake Perlingieri and Maria Tashjian finish their Board terms and continue as Business Members in good standing
  • Rev. Drew Lewis started APP archives [Not Board Member (Media Committee)]

1995 Initial Appointed Board [The Point—Issue 6, November]

  • Crystal Cross & Richard White (Primeval Body)
  • Ahna Edwards (Attitudes, Inc.)—Outreach Coordinator
  • Position taken over by Tracy Faraca (Attitudes, Inc.)
  • Kent Fazekas (Body Accents)—Treasurer
  • Gahdi (Mastodon)—Vice Chair
  • Michaela Grey (Gauntlet, Inc.)—Chair
  • Blake Perlingieri & Kristian White (Nomad)
  • Rob Petroff (Insane Creations)—Coordinating Board Member
  • Maria Tashjian (Venus Modern Body Arts)
  • Allen Falkner (Obscurities)—Secretary