Category Lifestyle

Sharing The Wealth

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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.

Looking back at performance art.

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The following pages feature articles from issue 49 of Piercing Fans International Quarterly, 1992. Over 30 years have passed, but the art was as vital then as it is today. Used with the permission of Gauntlet Enterprises.

Cover of PFIQ issue 49 with Spike the Holocaust Girl photographed by Christine Kessler.

Back cover of PFIQ Issue 49 featuring Ron Athey in the “st. Sebastian Enlightened in a Zen Garden” scene of The Casting Out/A Crown of Thorns performance at L.A.C.E. Los Angeles, November 13, 1992. Photo by Dikon Lewis.

Paul King

Image from David Wojnarowicz photo series Silence Through Economics.

In demonic drag Paul King torments Andrew Fucker during the San Francisco performance of Man’s Ruin.

Motivation and presentation may have changed, but the act of the artist using bodily fluids and perforated flesh as a vehicle of expression is nothing new. In the 70s, artist/groups such as Marina Abromovic and Coum Transmissions, later known as Throbbing Gristle, incorporated blood letting in their performances. In the 80s blood performances attracted greater atten tion. The artist Stelarc suspended himself from a crane over the streets of Copenhagen, held by giant hooks through his flesh.

Portraying the human body as “obsolete,” he gained international notoriety. The collaboration team of Ron Athey and Rozz Williams, known as Premature Ejaculation, was filleting and nailing themselves—and a few road kill—for Los Angeles audiences. On the subject of nails, performance artist Bob Flannigan would hammer the head of his dick to a board and then pry the nail out. AIDS activist/writer/ performance artist David Wojnarowicz utilized similar techniques when he stitched his lips shut as a visual testimony to the concept “Silence = Death.”

Through literature, music videos, high fashion, media sensationalism and governmental hysteria, the sub-culture of permanent and performance piercing has penetrated the mainstream. Don’t be surprised when Barbie starts sporting a “belly button ring.” Increased public attention, both negative and positive, has enabled cutting edge artists like Ron Athey to break from the underground circuit to “proper” performance theaters. Performing in established art environments with greater budgets, the artist can more accurately and elaborately bring their vision to stage.

Performance piercing in the 90s originated in the nightclub. At L. A.’s nightclub “Fuck!”, friends of the promoters included S/M practitioners, who started bringing their sex lives to the dance podium. Performers such as Elayne Binnie, Ron Athey and Crystal Cross were at the forefront.

Fetishism and exhibitionism were the primary motivations. Initial responses ranged from shock and revulsion, to admiration and lust. Most of what you see in nightclubs these days has become narrowly focused on shock value.

Don’t get me wrong, I love a good shock more than anyone. However, one cannot rely on sticking needles through flesh to be shocking forever. At some point the shock fades. With repeated exposure even a strong image will lose its power. Just think of TV violence. Unfortunately for most viewers, there’s little variation available. Play pierced lips and ball dances are becoming as passé as navel piercings. It’s difficult to pinpoint where content and progression began to evolve with the individual performer. The process seemed to evolve unconsciously through the repetition of recurring fetish themes.

I was doing shows in nightclubs and as demonstrations for S/M organizations. I became detached; mechanical. The repetitive action of sticking needles through skin had become monotonous; perhaps I had just come to realize that action alone is empty. I began to incorporate my darker feelings into the pieces, creating a sort of psychodrama. Oftentimes I had preexisting relationships with my collaborators and assistants. When I allowed my feelings for the person to fuel the inspiration, the pieces developed depth. My work was now the expression and release of love, obsession, fear, insecurity and vanity. I used images of operating rooms, dungeons and dark basements. Bodily fluids, such as vomit, blood, piss, spit and tears are my favorite medium.

The first work of mine that contained any real substance was “Fuck Art…This is Love.” My partner at the time, Bud Cockerham, was an artist who is HIV positive. I delved into my unconscious fear of watching someone I love being reduced, wasted, and destroyed. I focused my anger at the idea of making love becoming synonymous with cross contamination. Intimacy was death. My anguish materialized. The piece takes place in a plastic-encased operating room. The

audience’s view is clouded and nightmarish. Masked , goggled and garbed head to toe in surgical scrubs, I catheterized him, infused his scrotum to monstrous proportions, sutured his lips shut, carved “HIV+” into his chest, and sprayed him and the enclosed room in his blood. In later performances this image was pushed and the ending changed. I introduced another character who is HIV-. Both drenched in their own blood, they make love through a polyurethane wall.

Mic Rawls in a Paul King performance Halloween night in New York.

“Puff-n-Snuff” is playtime in my darkest fantasies. The piece is a tribute to the bogeyman, killer clowns, Texas Chain Saw Massacre and of course, Dennis Cooper. It’s a snuff (murder) fantasy. The killer clown has two victims in a basement, mummified and tied to ladders. Hundreds of pictures of one of the victims are obsessively scattered all over the walls. One of the pictures is placed over a victim’s face. The clown straps on a dildo harness equipped with a 10” steel knife and proceeds to fuck one of the victims to death. A sterile piercing needle is attached into a battery powered drill which the clown presses through the victims’ cheeks. The clown then uses a circular saw to rip through arms and gut the abdomens of the victims. The lights dim while the clown writhes in organs and masturbates with the intestines. Don’t worry; all mutilations, except the drilling, are  stunts.

My recent work has gotten lighter, even playful. In the piece “Man’s Ruin,” co-creator Brian Murphy and I brought to life the elements of the traditional tattoo flash of the pin-up girl sitting in a martini glass framed with playing cards and dice. The image pays respect to vice and the sorrow it brings. The piece is staged as a game show hosted by a Las Vegas devil boy and devil girl. Flashing lights, blaring trashy rock, outrageous costumes and props set a dream-like mood. We tempt the contestant with the vices of sex, money, drugs, liquor and vanity. Every time he reaches for his desire we “hook” him. The viewers are the game show’s audience. Their cheers and cries egg us on to hurt him more. One by one, fishhooks pierce his finger webs, cheeks, scrotum and legs which are then strung up to a frame in the image of giant dice. The game continues until he dies. The show ends with rock-n-roll drag-queen nurses body bagging and toe-tagging the loser.

Owning my feelings and fantasies, confronting social taboos and phobias is my work’s passion. Catharsis became the mother of invention. The audience doesn’t always understand the artist’s motivation or the message; with art that isn’t always relevant. Whether awe-inspired or repulsed, rarely is one unmoved. v

Changing Myself While Changing Others

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By Jezebel Voulé

What has been your favorite piercing moment? It is a question that has haunted me since the first time I was asked. An echo of this makes the voice in my head always think “maybe this piercing will be the one that defines my piercing career.” Several people have shared their defining moments with me: some of these turning points involved meeting their piercing idol while, for others, it was defined by where they worked, who they worked with (or worked on), and, in some cases, a paycheck. The ways people have been affected by their careers are as unique as the individuals who had the experiences.

Most days there are no moments that change me, or at least affect me in a drastic way. I take a client in, bond with them and then let them go, hoping that we connected enough for them to return to me for their next piercing experience—or, better yet, remember my name to bring me more clients to bond with and release.

However, when asked about my favorite moment there is one I always relive. An older lady, at least seventy years old, came in to get her earlobe pierced. We took a moment chatting but as I started to get set up for the piercing she stopped me. “I need you to know that I have Hep C. I understand if you can’t pierce me.” After asking if she had talked to her physician about getting a piercing I smiled and said “Thank you for telling me but I have no problem piercing you. I take many precautions so that both my safety and yours are taken care of.” She was shocked that I didn’t respond like she had expected. She thought I would react poorly and then proceed to treat her as a leper, sending her on her way. Both she and her wife were overcome with joy. It was something she had wanted to do for a long time but had been afraid to get because she would have to expose a secret that had given her so many other bad experiences. (I later found out how much that experience changed her perception of herself. She, for a moment, felt like she was human rather than a disease and not worth common decency. I had felt like I had changed the world, and for her I had.)

Recently another experience left the same type of lasting impression on me. While at Omega Red Studios a man came in asking questions about his daughter. She had cancer and, as a result, had made a “bucket list.” On that list was a lip piercing. He wanted to help her fulfill her wishes and asked if I would be willing to perform such a task on her. I had replied that I would be willing, after I knew it was okay with her doctor. The next day he came back with a handwritten note. Skeptical that the doctor was in on this idea I Google searched the doctor and found out everything I could about not only her but the entire hospital. I talked to lawyers, her doctors, and parents about what I expected, what they should expect, and the young girl’s expectations. I did not hold back on making demands on what I would need to make a safe and positive environment for her. Many of them were personal things to increase my comfort. After all, my safety is just as important as hers.

It took three days to come to an agreement on piercing her. After speaking with the doctor we decided the nostril would be a more acceptable piercing rather than the lip. I learned that the reason there was so much passion behind her parents getting this one thing done was because she had just received a dire prognosis. The likelihood that she would be alive long enough to even see her piercing heal was slim. She had fifteen things that she wanted to do before she died. Her parents chose this task, as it was most obtainable, and came in search of me. Completing one of her bucket list tasks was important in helping her fight the feeling that all was lost for this fourteen year old whose life was on a count down. The before and after effect on her life was immediate. She went from a child who looked and acted sickly to a young girl who wanted to walk around with her father as she felt a kind of rejuvenation.

***

These moments have stuck with me, as it has been these moments that have pushed me to realize how much I could help the world just with a tiny prick of my needle. Sometimes a navel piercing is more than a belly adornment, it is a story—a celebration—of a woman reclaiming her body. It amazes me how much a person can be changed from something that, for me, is just a way of life: the impact of one life to another. Everyone has different reasons for loving their job. So please take a moment and relish yours.

Originally published January 2nd, 2014 by Jezebel Voulé

What I wish I knew
about opening a
piercing shop.

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about opening a
piercing shop. read Business Practices, Lifestyle


By Lola Slider, Forest Piercing, Glasgow

They say sixty percent of new business fail in the first 3 years. As my
studio approaches it’s 3 year anniversary, I wanted to look back over this
time and compare it to the 9 years prior I spent working in someone
else’s business, and share some of what I’ve learned about that transition from
independent piercing contractor to business owner.

Going it Alone…

Are we ever really alone in our endeavours? Are we ever truly without help and
support? Opening your own business it can feel like nobody understands what
you’re trying to do but each year I look back at that time, I better appreciate
the support I did have. When I quit my old job, my colleagues from Blue Lotus
Body Piercing, Nici and Adam, were right there at my house the next day,
having made the 2 and a half hour drive from Newcastle to offer me a job while
I found my feet.

When licensing delays at my local council created a black hole in my finances,
another local business (that’s no longer operational) let me use their studio
space for a couple of weeks having literally never met me, but taking it on
good faith that I was “OK”. And in the absence of physical help, I had a few
colleagues around the world telling me not to give up. I appreciate now in a
way that I couldn’t back then that when I felt most isolated I wasn’t actually
alone.

First of all you don’t know shit…

For a lot of piercers who held roles like I did in my previous job, managing the
piercing side of a tattoo business, you think you know it all. Trust me because I
say this with love: you don’t know shit. Oh, we know piercing, inside and out.
We know stock management, we know how to work a budget, for those of us
who import stock we understand that process, we understand shipping and
delivery issues and we understand client care.

None of that can prepare you for what’s it’s like to deal with gas, water,
electric, internet, phone lines, council, landlord, surrounding neighbourhood
business issues, insurance and the list goes on.

The administrative side of running a business is massively downplayed,
particularly in a country as tied up in red tape as the UK, and it’s not
something most of us are trained to do, with many of us having no formal
education in business management. So we learn as we go, and learning as you
go is an expensive process.

One of the hardest lessons I learned after opening Forest was that you can’t
work harder than someone else’s incompetence. Business to business
providers are going to perform their services poorly and as a result your
business will suffer. Today alone I dealt with two separate shipping companies
and a clinical waste company, all three of whom have failed to meet their
contractual obligations to my business, none of whom could provide speedy
resolution…and it’s just an average Wednesday.

This is an unavoidable truth and one that’s tough to swallow, because as
piercers we hold ourselves to such a high standard. Our studios are the
biggest manifestations of who we are as professional piercers so when there
are elements we aren’t happy with, that we can’t control, it’s tough for us to
accept it and not see it as a deep personal failing.

Working with others…

Working with others and having someone work for you are very different
things. Possibly one of the hardest parts of that transition from co-worker to
employer is understanding that change. Socially, it’s incredibly difficult to
navigate, particularly seeing as so many of us come from less than perfect
beginnings in this minimally regulated industry.

We should all be working to shed the bad habits and unreasonable
expectations that where imposed on us. But despite our best efforts and
intentions, almost all of us will mess up. And that will be hard. Conversely,
there are times you need to set a standard for yourself that you’re not
prepared to move on. My advice is: give yourself some time to figure out the
direction you want to take. The first year I owned Forest, I felt like a stranger.
You have time.

You can’t compare your business to
other peoples.

Do you rent a room? Do you manage the property outright? Do you work with
other businesses in tow? Businesses face unique financial challenges and
what’s going on on the surface does not always reflect what’s going on in the
engine room. Being in a relationship with an American piercer who owns their
own business, something I’ve had to make peace with is that no matter how
hard I work, we will never be compensated in a comparable way. I will always
have to put in 150% to match their 100% not because of their superiority or
my inadequacy, but because of global economic differences that neither of us
can control.

Owning your own business, you are so much more exposed to sudden
economic hardship. In the 3 brief years I’ve owned Forest, there’s been a
global pandemic, PPE tripled in price, the prime minister tanked the value of
the pound (£) and the cost of living crisis has seen gas and electric bills
increase 400% (so far). When these things happen, business directors of
Limited Liability Companies take fewer dividends or if you’re a Sole Trader like
me, you go back to minimum wage. But at least you can’t get fired! So that’s
something.

You were wrong & You were right.

Owning your own business gives you the insight to appreciate the times in the
past that your demands couldn’t be met and why they couldn’t be met. You
also learn when they totally could have been met, but weren’t. Pulling back
that curtain opens up a world of opportunity but at a world of cost, and the
beauty of owning your own business is really getting the final say in where
money is spent, what precious little of it there is.
In the end though, you grow something that’s yours, and it might not be your
exact vision but it’s a version’s of that vision.

In summary, know this: you don’t have to do everything all at once. You don’t
have to offer everything all at once. Advice from others helps, but you’re the
only one walking in your shoes. There are far more people willing you to
succeed than wishing that you fail. Always pay your taxes, and lastly never
ever pick a fight with a jewellery company

Point 89: The Gay Ear

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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 86: Learning to Love the Taste of Fire: Elitism in Body Piercing

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by Jacob Spjut

Chuk, a fire eater, from Piercing Fans International Quarterly,
Issue 49, 1996. Photo by Billy Douglas, courtesy of
Gauntlet Enterprises

“They’re so cold, these scholars! May lightning strike their food so that their mouths learn how to eat fire!”

—Friedrich Nietzsche

There can not be a discussion concerning the contemporary history of the piercing industry without elitism entering into it. Elitism is so ingrained—even when there is growing democratization of information and  sharing of knowledge the world over—that the fear it will reveal its serpentine head has weakened the discussions required for the industry to continue to grow. Likely influenced by a culture crippled by the sentiment that it is reasonable to denounce expertise as superfluous, piercers are embracing the view that “my [anecdotal experience] is just as good as your knowledge.”1 Holding these particular beliefs and thinking they are somehow applicable to the entirety  of the industry makes this wholesale denunciation unsurprising. Elitism, which elicits feelings of otherness and exclusion, should no longer be a term thrown carelessly at an individual or group who strives to establish themselves as experts or as elite piercers. Applying disparaging meaning to any word similar to elitism, elite, or expert, for example, has driven  many piercers to reject taking principled stands or engaging in valuable dialogue concerning essential issues to avoid becoming branded  as  a charlatan or worse. The term elite, unfairly marred by its close association with elitism, can and should be used in the field to denote the positive positioning of individuals based on unique and qualifying attributes that can propel the industry forward. Overcoming the natural desire to reject an expert or elite piercer, as though they are an elitist piercer is paramount to the future of body piercing. Overcoming this desire, though, creates a unique challenge for piercers. Ego and a lack of consensus between piercers creates fissures that make the very idea of a group of experts seem intrinsically counterproductive to a growing and marketable industry. With focus, this problem is shown not to be insurmountable.

The existence of a top rung on this field’s ladder is a somewhat nebulous idea. There is little way to judge how “good” a piercer is or whether their ideas merit consideration. The inability to empirically discern what constitutes a qualified expert is true in almost any human intellectual endeavor, as subjectivity is a strong force against which to contend. This is especially true in fields that can reach the same result, like a well-healed piercing, through different means. This dilemma, however, does not make the act of examining and choosing this upper echelon of piercers superfluous.

Discerning who is qualified for the title is further made difficult by the historical justifications for the rejection of expertise. The Puritan “originators” of the United States upheld the idea that no group can preside over any individual; this was foundational to the oppressive nature of these “New World Settlers.” This rejection has carried forward for centuries, the result being expertise is no longer considered adequate; everyone feels entitled, even required, to have an opinion falsely regarded as equally valid as any other. “To reject the advice of experts is to assert autonomy, a way for Americans to insulate their increasingly fragile egos from ever being told they’re wrong about anything […] All things are knowable, and every opinion on any subject is as good as any other.”2

In the piercing field, this dismissal of expertise appears to have origins in hyperbolic discussions between some piercers attempting to absolve themselves of resentment. They likely felt that these other piercers were upholding “elitist” standards that contradicted policies they, the resentful, had practiced for years “without issue.” Many piercers remember this as a rebuff of the APP; the APP was used as a generalized term by many individuals to denote a piercer that maintained a set of standards deemed “unnecessary.” The myth of a group of elitist piercers likely has legitimate beginnings, but there is little reason to believe that for nearly two decades their existence has been the reality. Contrarily, an outpouring of information by a highly educated group of piercers has shown the benefit of learned leaders, as they have helped cultivate an environment of continuing education and progression. However, one can not overlook that history may have reduced the ability of many piercers to counteract the pressure to reject expertise. Regardless of its justification, this rejection continues to occur, though in smaller instances, leading to a distrust between professionals that hinders growth and can de-legitimize those involved.

The irony of this repudiation, whether of APP Members themselves, the Association as a whole, or of piercers dedicated to the highest standards attainable, is that many considered elitists ten years ago have helped to foster online communities that have seen the improvement of throngs of young piercers. The online communities that formed over the last decade are creating a circle of trusted piercers that are approached for their expertise when previously these experts were considered a pernicious influence over body piercing. When looking at the roster of consistently highly ranked teachers at the APP’s Annual Conference, or the moderators in the most notable active learning forums, it is evident that elite piercers exist within the field. It seems piercers have, with some hesitation, exited the cave of ignorance, from rejecting to elevating the rejected, but it is still imperative not to descend back into that cave of dismissal. Prevailing in the light requires admitting that there are more talented practitioners in the piercing room and that, after spending a great deal of time dedicated to garnering information pertaining to specific areas in the field, these piercers have increased the collective understanding of piercing. This is not necessarily accomplishable by all, but many with devotion can contribute significantly to the discourse. The challenge for the industry, however, is not necessarily how to create elite piercers, as they already exist. It is how they are recognized and used to further the industry.

Recognition begins by taking traits that hold universal appeal as being advantageous to intellectual growth and using these as a basis that will inform practitioners as to what separates expert and elite piercers from strictly experienced piercers. Addressing that this subject can invoke preconceived notions of what is meant when using vernacular that is similar is also necessary. “Elitism” is often suggestive of pedantic sterile field fanatics or of contemptible piercers using bully tactics to shame up-and-coming piercers into “hanging up their needles.” One is reminded of piercers using imaginary titles to denote their level of “mastery” in the craft, or those who have allowed their deeply held convictions on any given subject to give them a feeling of self-importance that makes any other “less than” merely because of a differing opinion. These typical instances of an “elitist” should not poison the well of what an expert or elite piercer is.

In comparison, an elite piercer has a deeper and more full understanding of a given subject or area of focus, and assert that they should not only disseminate that learning, but must expand upon their knowledge indefinitely. Elite piercers should be helpful, while being open to discussion and the pursuit of innovative ideas. They should always work hard to develop themselves as educators and maintain the philosophy that complacency is the death song of a good leader. They use their skill and understanding to advance the field in its totality, and they do not use it to amass “internet cool points.” When discussing ideas, they hold fast to their opinions, yet are accepting of provocation without being inexorable when presented with a valid argument. They are not from any single group, and one can not befriend themselves into their ranks. These are essential semantic distinctions and must be understood.

Piercers who are working towards developing these traits, and the elevation of those individuals who possess them, can be used to benefit everyone; creating opportunities for anyone who wishes to better the industry by instigating positive changes that vivify and encourage the culture that should be fostered. Creating an outlet for positive change will benefit the practitioners who are a part of this group, those who strive to be a part of it, and the clients assisted with the craft. Together, these changes will bring about a better experience for anyone who enters into the orbit of a piercer. This position of earned power requires a great deal of courage and demands a certain level of humility. This humility should not come at the expense of the critical need for depth of conviction, however. This is increasingly more important as a growing crisis of trusted piercers softening their positions rises in learning settings where they avoid conflict with others that may not agree with their ideas. By denying that some piercers are better or more knowledgeable, the bar of competence is deeply lowered, to a point where demonstrably inadequate piercers are  given the same weighted influence as their more educated peers. Weakening informed opinions, coupled with the growing focus towards educating new or struggling piercers, will be catastrophic.

This tendency is seen, more and more, in the classroom at the annual Association of Professional Piercers educational conference. Teachers, selected  because of their expertise concerning a subject, often concede points that may be contentious between practitioners. Sterile gloves, touted as an essential step forward by many, are rejected as just past the line of necessary by others. Surface finish, a subject that does not, at face value, seem like a position open to controversy, brings about inimical arguments where the ethical foundation in opposition is built on nothing more than“having not killed anyone.” Even standards adopted from other industries are cherry-picked to not further complicate established practices in one studio or another. What is an attendee to learn from exchanges that offer nothing more than “this is just how we do it?” It is ascertained that there is no reason to believe that any single idea is authoritative and that any position is equal as long as it falls within one’s “experience.” This should not be tolerable. The teacher, or any attendee with a reasoned argument to make, should not concede to an idea they disagree with unless they have been convinced they are, indeed, wrong. It is easy to say this concession is made only to avoid ostracizing a piercer who practices different standards. After all, there is room for differing approaches to piercing. There is merit to this, but it misses the point of reasoned dialog. One is to come to an opinion based on defensible points of reference. Which one of these positions is correct is debatable, thus refusing to debate is detrimental. Sterile gloves or surface finish may seem like silly and arbitrary examples, but it is analogous of many, more serious disagreements that plague the industry.

Potential problems that can arise when the industry embraces a perceived shadowy network of super piercers dictating what type of piercings will trend or how best to pierce a navel must be considered, as well. Piercers are not above being ego-driven and closed to critical evaluation. The fact that being open to critique is hailed as something special in the aforementioned online communities is telling. Experts on any given subject in the industry can also be wrong, biased, or they may be unable to see the nuance to a given idea.

Some, though not many, may even fall into the classification of “elitist,” making the need to be able to distinguish them even more critical. Regardless, allowing uninformed piercers to postulate ignorant ideas that go unchallenged can influence leadership within the APP or the online communities to implement policy or suggest ideas that hinder growth. This is the antithesis of what is essential to piercing’s future.

Thankfully, the piercing industry benefits from its interconnectedness, and delving into oligarchical ruin is not likely. Not only is it unlikely, but the structures already in place—structures that have led to a trusted network of expert piercers, such as the vetting process in the online forums—will make the problem an improbability. Piercers who, through hard work, rise to high positions will be accountable to every other piercer, at least to those working towards increasing the field’s prestige themselves. There is little room for ego-driven self-importance, especially when piercers looking to leadership for change are relentless in exposing muddied thinking and promoting good ideas. Critical examination of any proposition, regardless of whom it is coming from, is the mechanism by which the industry will flourish, and it must be encouraged.

It can not be denied that elitism has damaged the piercing industry. It has created fear. In this culture of fear, piercers have begun to turn inward, allowing subjectivity to be the essential consideration when ideas are posited. Many are rejecting, consciously or not, that there are those who are presenting more informed positions. They are labeling these other piercers inaccurately, using stigmatized terms to create ad hominem attacks and stifling required debate. This is a failure in need of reform. There are opinions that hold more water than others, and these opinions, though entirely open to challenge, are going to be presented by piercers that have spent the time to hone and expand on them. It is crucial to accept that an elite group of piercers exists, that this group’s roster is in constant flux, and that this is good for the industry. The acceptance of this fact will cause a shift that will make more widely applicable ideas resulting in the highest good for the industry. It must also be accepted that conviction to an opinion and being receptive to those who challenge it are two sides of the same coin of advancement. The industry must not fall for the false narrative that expertise is a prelude to elitism. Instead, the industry and its practitioners should embrace the title of “elite” as a call to responsible action, and work to earn that title every day.

1) Asimov, Isaac, “A Cult of Ignorance.” Newsweek, January 21,1980, 19.

2) Kakutani, Michiko, “‘The Death of Expertise’ Explores How Ignorance Became a Virtue,” The New York Times, March 21, 2017, https://www.nytimes.com/2017/03/21/books/the-death-of-expertise-explores-how-ignorance-became-a-virtue.html

Point 81: From the Editors: Kendra Jane B.

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Kendra Jane B.
The Point Editor

“Let the improvement of yourself keep you so busy that you have no time to criticize others.”

—Roy T. Bennett, The Light in the Heart

Many piercers will tell you that once you are an apprentice you are always an apprentice; that there is always something to be learned or improved upon. Yet our career choice has an odd dichotomy that sees many of us not only as the student, but as the teacher as well, sometimes in the same day.

From our earliest school days, most of us can recall specific teachers or mentors that had a profound effect on not only our learning, but on what is the core of who we are and what we believe. Some people were simply meant to teach others, to give the knowledge that they have to the masses. The need to share what they know is in the core of who they are and how they go about their day to day business. It is their archetype.

The psychologist, Carl Gustav Jung, used the concept of archetype in his theory of the human psyche. He believed that universal, mythic characters—archetypes—are contained within the collective unconscious. Jung defined twelve primary types that symbolize basic human motivations. Each type has its own set of values, meanings, and personality traits. The ones I am most interested in currently are those that further our learning; The Mentor, The Teacher, and The Student. What I hope is that I can get each of you reading this to find the parts of yourself that identify with each of those three archetypes; embrace them. If you identify the most with the mentor, nurture that – use those traits to enhance your life and career and those around you. If you identify as the student, open your mind to all that is around you and think outside of the box to become the best that you can be.

The Mentor

The mentor archetype not only invests in the student learning certain material, but takes interest in the route the student goes with the knowledge. By definition, the mentor imparts advice.

The mentor is the person you go to for help in making a decision. An empowered mentor artfully guides the student to an authentic resolution without getting in the way. The student not only attains their answer, but understands how to get there on their own the next time.

Intimately tied with wisdom, the mentor archetype uses their experience as a teacher, showing rather than telling. They consistently encourage their mentees to try things for themselves. The enlightened mentor is able to stand aside and watch mistakes happen, because they know that their role is not to control every move made by their student. A mentor feels that their job is to help the mentee learn how to think for themselves.

The relationship between mentor and student is one-on-one. The mentor dedicates a great amount of time to taking one student under their wing, accepting responsibility for them. Thus fostering that student through the entire process of learning a craft or skill. The goal is to see students fully fledged in the world, a master in their own right and no longer in need of advice.

The Teacher

On the other hand, the teacher archetype has to do with a classroom full of students. Thus, the teaching style is more generalized than customized. This is a common point of struggle for the teacher – wanting to reach every student, but not being able to given the constraints of working with so many personalities at once.

Teachers commonly  take  students  through  a specific phase of a learning process (such as a school year), unlike the mentor who covers the beginning, middle, and end of a topic. With the teacher archetype, the focus is shifted from mastery of a subject to measurable progress in ability. Like the mentor, the teacher also prefers to teach through experience, but understands that no two students learn alike. Some students need hands on activities, others need time to read information, and others still need to talk through things.

However it is very important to remember that the teacher is a constant student in their own way. They are always learning how to read their students needs and how to better meet them. For example: learning how to manage the classroom and teach life skills alongside algebra. The balanced teacher understands that lessons of conscience are as important as grammar lectures.

The Student

The student archetype is primarily interested in learning, period. Sure, if someone wants to hear what has been learned, they will be glad to share, but they often lack the patience needed to wait for someone else to get it. The student relishes acquiring new knowledge.

For the student, good grades and being the top of the class can be everything, leaning towards being a perfectionist. The enlightened student accepts oneself as a work in progress and knows when they have enough knowledge to stand on their own two feet. A true student sees everyone as an equal regardless of who may know more or less than them. It is important for the student to understand that there are many kinds of intelligence – including emotional intelligence, common sense, and intuition – and to be open  to learning on all levels. The student must walk in the world with equal doses of confidence and humility, understanding the difference between knowledge and knowing; the difference between wisdom and information.

So whether you identify more with the student, teacher, or mentor, we are positive that this issue will hold something to grab your attention and make you want to learn something new.

Point 79: The 90s

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…FORGET THE REST THERE’S NOTHING ELSE BEYOND THE BODY…
Brian Skellie

THE NINETIES
COMPILATION BY KENDRA JANE B
The Point Editor

“What can I say about the nineties? Those ten years shaped and influenced the rest of my life more than any other decade I have experienced. I graduated high school, had my first serious boyfriend, went to university, lost my virginity, found my fem- inist voice and became a regis- tered voter, lived on my own for the first time, and got my first body piercings.” —Kendra Jane B.  

“The early 90s were the golden years of ‘celebrity piercer.‘ Recognized piercers were treated like rock stars. These ‘good ol’ days’ weren’t ‘better times,’ but they were certainly more wild.”—Paul King

“The 90s were my coming of age in several ways; both as a young man and as a piercer.”—Luis Garcia

“The 90s was when I first discovered music, sex, and body piercing (in that order). I saw pierced nipples on MTV in 1995, and here I am now.”—Cody Vaughn

“My formative years were in the 90s. In 7th grade I heard “Smells like Teen Spirit,” and it’s impossible to explain how much influence that one song had on the rest of my life. By 1999 I had graduated high school and begun my career as a body piercer.”—Jef Saunders

“It was anarchy really? No rules, just putting needles anywhere you could grab. It was equal parts awesome and ridiculous.”-Ryan Ouellette

Whether showing off by the pool or volunteering for the APP, Brian Skellie’s passion for our industry hasn’t changed since the 90s.

Conference has come along way since the 90s but if you look hard enough you might see some familiar faces, ones that still make our Conference great, decades later.

Point 78: Confessions of a Funeral Director – Angie van Dijken

1 Comment read Issue 78, Lifestyle

While I was growing up, my parents started their own funeral business. My dad was a sacristan and had several jobs to make it happen. In those times, we were stereotyped as crows who wore top hats and long, black frocks. My mom was the one with all the necessary licensing and qualifications, but she wasn’t allowed to perform funerals. The industry was accustomed to funeral directors being men, so initially my mother worked mostly behind the scenes. In this farmer’s region, change is not accepted quickly. Being the first female funeral director in the area, it was difficult for my mother to prove herself to others in the funeral business locally. We were viewed as the competition, rather than colleagues or friends. As an example, a group of pallbearers were shared between several undertakers; we were often last when it came to planning. As a result, we were often short on people when pallbearers were needed. It was a constant struggle and respect was not easily earned. Yet, my parents persevered and built a name for themselves in the region.


As a kid, I always helped out after school to earn extra allowance, so I already knew the ropes. When my parents expanded the business with a new hearse, my dad asked me to become the driver. At the time, I had no formal education and was working as a bartender; I took his offer. Despite my past involvement with the industry, I had to prove myself to the men who drove hearses for other directors, similar to what my mother had to do. As a young woman in the role normally assumed by men, I worked hard to earn that respect. They saw how well I could handle the car – I could turn, twist it in any corner or small road. The competition was still intense between funeral directors. No one would offer any guidance, and even though people are free to choose their funeral homes, if rival directors noticed you were encroaching on their territory they would go so far as to slander you to potential clients.

After over eighteen years of working as a licensed care and body restorator and manager of the company, when the time came my brother and I didn’t want to take over the business. We grew up in the field, but it was never the career either of us would have chosen. We stayed at our jobs until our mother retired in 2012. In preparation for her retirement, I started to seek a new career path and began an apprenticeship at a local tattoo shop in 2010. Tattoos and piercings always inspired me. Even though I had to hide my body art, I loved having it and always dreamt about owning my own shop. It might be weird to say considering my previous line of work, but I guess I have always had an interested in working with bodies.

So I started to seek and absorb every piece of information that I could find on piercing in an attempt to gain as much knowledge about it as possible. I quickly established that I couldn’t find much about it in Holland. Thankfully, the world seems a whole lot smaller thanks to things like the internet and Facebook. I started to read all kinds of educational forums and websites, as well as befriend other piercers via social media. The longer I dug around, the more amazed I became in regards to this industry. Colleagues have been very friendly, taking time to answer any questions I have. I’ve sent countless messages through Facebook and gotten many helpful answers from so many people. I was nervous to attend my first BMXnet Conference because I didn’t know anyone, but again, people were friendly and caring, right from the start. Piercers are genuinely interested in you and open for a conversation, which is so much different than what I was used to from the funeral industry.

After almost seven years of piercing, meeting many more people, and learning what they all do to help the industry, I’m still impressed by it. Colleagues work together, educate each other, and share information, no matter who you are. Whether you’re just getting started or you’ve been a piercer for years, there’s always someone that will cheer for you or push you harder to reach your goals. In our industry, people will make you feel at home while reminding you that if you stand still, you don’t get anywhere. If you really want to get somewhere you need to work hard and fight for it. However, most piercers understand that it’s a whole lot easier if you have help. I know there are many different industries out there and competition can be hard, but after comparing my experiences in these industries, I’m happy and proud to be a piercer!

 

Point 78: Reducing Your Carbon Footprint in the Piercing Industry – Kendra Jane B

1 Comment read Business Practices, Issue 78, Lifestyle

The idea of being a more environmentally conscientious business is not new, although it is not necessarily the first thing you think of in reference to tattoo and piercing shops. At home maybe you are already living a greener life; upcycling, sorting your curbside recyclables, and buying your food locally. Meanwhile at work, the computer stays on all night, you use only one side of printer paper and the climate controls keep it a constant 68 degrees all year long. It’s easy to let the green routine slide at work, since it’s not technically your space. However, you may fall on the other end of the spectrum, being the shop’s outspoken green warrior. The nicest thing about working towards more sustainable business practices is that these changes can be eco-friendly while potentially reducing overhead costs. So even if the benefits to the planet are hard to see, those benefits to your bottom line may be more visible.

It is hard to know where you can improve if you don’t take a measure of where you are currently. Some areas of your shop may be very green, while you may have room for improvement in other areas.  Rather than just going into this with guesswork, I would encourage you to keep measurable data on how well you are doing in the sustainability realm. The simplest way is to use any one of many online carbon footprint calculators. Once you have done the calculations you will have a great baseline to work from. Although some of the ideas listed are small and easily implemented, others are larger and much more in depth undertakings. This means that it is important to remember this is not an all or nothing scenario and in fact each small thing you do to create a more sustainable shop environment will add up over time.

Let’s start with the physical environment and structure of the studios we work in and own. This can be as easy or in-depth as you want it to be. On the simple and easily accomplished end of the list you can start with switching to LED and other energy-saving light bulbs; even a small change like this can create a measurable difference in your building’s energy usage. The shop can purchase energy-saving models of office equipment, such as Energy Star-approved computers, LCD monitors, printers, and photocopiers. When your electronics have reached the end of their life, make sure to recycle them through e-recycling companies or manufacturer take-back programs. Make sure the option you choose has some sound data-wiping procedures in place to keep your data secure.

You aren’t working all hours of the night (at least I hope not), so why does your computer need to be on? Turn off everything you possibly can before you leave the office each day. Make sure to keep lights off in unused rooms throughout the day and turn off all lights when leaving. This can be simplified by installing motion sensor light switches where applicable, or consolidating electronic plugs so you are able to turn off minimal power strips or switches at the end of the day. Make use of power management options on electronics, such as programming the computer to turn off automatically at a certain time each night, just in case it is forgotten. You can also set your monitor to turn off after a few minutes of inactivity. And never leave things like cell phone chargers plugged in when you’re not using them. They still draw energy, regardless of whether there’s anything plugged into them.

One of the easiest things an office can do to reduce waste is to keep an eye on paper. Paper makes up about 35% of the waste stream – even though it’s one of the easiest materials to re-use and recycle. You don’t need to print every e-mail. Just organize your inbox to make e-mails easier to find and reference. You can encourage others not to print unnecessary paperwork as well. Make back-up copies of important files and keep them on an external drive or cloud storage, instead of storing boxes of paper files. When you do need to print important documents, make sure you use a sustainable paper, and set your printer or copier to print on both sides of the page.

The idea of going paperless is still a future reality for many places. That being said, many shops throughout the world have successfully gone to paperless options for waivers and aftercare. There are well known programs which will allow you to sign PDF files digitally, as well as create PDF documents with signature fields for clients to sign. There are also different digital programs made specifically for tattoo and piercing shops. In fact we even offered a class taught by Alicia Cardenas at our 2015 APP Conference about going paperless.

Second to the paperwork we create in our shops is the paper that just shows up. Junk mail may be one of the most wasteful things known to man. There are free services that will remove you from mailing lists, in hopes of eliminating waste before it starts. If recycling bins are not already easily accessible, this can be another quick, easy office upgrade. Put them near water coolers and next to the photocopier.

Another super easy addition to your sustainable shop arsenal is a digital thermostat with program functionality to lower the temperature when no one is in the shop. Take your heat conservation the extra step if your shop is located in a climate that would benefit from some winterizing; seal windows and doors so heat or cold air is not escaping and seal gaps in floorboards.

If studio structure improvements are possible, there are many things that can be done to increase the building’s energy efficiency. Install insulated windows for better temperature regulation. Look into a tune up for the heating/cooling systems to make sure they are operating at peak efficiency. Buy energy-saving appliances that are Energy Star-rated or look into upgrading old equipment like inefficient boilers or furnaces. If you’re lucky enough to be able to afford a shop remodel, go green from the floor to the skylights. Use eco-friendly flooring options made from renewable or recycled materials. Use sustainable fabrics made from hemp or bamboo for window coverings, or get them second hand. Lengths of bamboo make great curtain rods, too. The sustainable options are only as limited as your imagination.

Now that we have looked at a few simple things (and a couple more involved as well) let’s step outside of our own shop and look at what our neighborhoods and cities offer. Working with other like minded businesses to support and cross promote one another is a great way to not only decrease your carbon footprint, but to increase your business. As an added bonus, you’ll be building great relationships. Chances are, there are businesses in your area that are also trying to improve their sustainability. Network with them and use their services when you can. Part of being a green business is ensuring that your supply chain is green too. Seek out green vendors for your business needs, whether it is printing business cards, hosting your website, or manufacturing the products you sell.

Of course there are always additional steps you can take to make any shop more sustainable, and the only way to make progress is to know where you’re headed. It is important to keep up with environmental news and green business trends to identify areas you can improve on. Making checklists of green business practices to implement and setting deadlines can ensure that things get completed in a timely manner. As you make changes, small or large, it is important to keep measuring this progress. As you make a major change, review energy consumption reports of the building and re-evaluate using carbon footprint calculators. It’s easy to get gung-ho about being greener, only to have the efforts fall by the wayside when a busy time hits. Create a positive environment where positive change and growth towards sustainability is embraced even in an industry where being disposable is encouraged! Revel in the many ways we can work to reduce our carbon footprint.