Posts tagged bpa

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 80: The BPA Jewelry Exhibit

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Point 80: The BPA Charles Gatewood Exhibit

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

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

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

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

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

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

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

Eva Marie commenting on one of the exhibits

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

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

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

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

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

Point 78: Fundraising for the BPA – Gene Gowan

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

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

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

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

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

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

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

 

Point 78: BPA: Silver Anchor – Shawn Porter

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

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

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

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

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

A jeweler at Silver Anchor, circa 1980s.

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

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

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

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

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

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

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

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

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

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