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#150
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NOVEMBER • 2014
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★ MILESTONE TATTOO ★ MATT ALLSMAN ★ ELECTRIC HERITAGE ★
issue 150
November
2014
contents
12
Point 2 Point
SOM
16
14
Ask Angel
Milestone Tattoo
Studio
18
20
Electric Heritage
Tattoo Company
28
United Ink Flight 914
25
Get Real Part I
Best Business
Cards Contest
Hunk:
Christian Wall
43, 44
Art Gallery
Artist Profile
46
40
PAINful Music:
Beer Edition
Matt Allsman
advertisers index
32
APT 5th Annual Tattoo Trade Show 2014
42
Bicknee Tattoo Supply Company
26-27
Desert Palms Emu Ranch
17
Domos Tattoo Machines
23
DPS Tattoo Products
7
Dr. Piercing’s Aftercare
21
Eternal Tattoo Supply
52-Inside Back Cover
Friction Tattoo Wholesale
13
Galaxy Tattoo Furniture
29
H2Ocean Natural Aftercare
4
Infinitii Ink
51
Kingpin Tattoo Supply
9, 45
Metal Mafia
Inside Front Cover-1, 31
Micky Sharpz USA
10
PAINMAGAZINE 8
Editor-In-Chief
R Cantu
Art Director
Bill Wetsel
[email protected]
Contributing Writers
Elayne Angel
Jay Cousins
Austin Ray
Darin Burt
Judi Perkins
Tanya Madden
Editor
Sandy Caputo
[email protected]
49
Monster Steel
Back Cover
Needlejig
37
Painful Pleasures
6
Palmero Health Care
24
Pulse Tattoo
5
Rejuvi Labs
33
Salesone Body Vibe
48-49
Tat Soul
2-3, 11, 35
Tatu Derm
24
Tattoo Goo
15, 25, 47
Tommy’s Supplies
19
Tommy’s 3rd Annual Tattoo Convention
33
U.S. Tattoo Supply
50
Welker Tattoo Machines
Inside Back Cover
Microrodermals
Account Executive
Calvin Brown
Steve Butz
30
38-39
APP 20th Annual Conference & Expo 2015
Publisher
Ralph Garza
APP
SOM
Show/Expo
staff
[email protected]
505-292-4011
[email protected]
505-275-7255
Executive Assistant
Richard DePreist
[email protected]
505-275-6049
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contacts
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cover sponsor
Cover courtesy: H2Ocean
Model: Christian Wall
IG: @christianwall
Photographer: Allabam Photography
IG: @allabamphotography__
Tattoo Artists: Mel Keidge & Brendan Griffin
IG: @melzatattoo & @griffotattoos
H2Ocean: Page 4
Copyright 2014 PAIN Magazine. All rights reserved. Published monthly by Pain, Inc.
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herein. Opinions expressed in articles are strictly those of the writer.
A
s the end of the year comes to a close and with only one
remaining issue for the 2014 year, Pain is focusing on
everything that makes Pain Magazine so great…YOU!
This issue, say hello to Matt Allsman from Eternal Tattoo & Body
Piercing. Matt has proved over and over again that he has what it
takes to make it in this industry! Matt humbly answered our questions
and we have been dying to show him to you! Please check out our
Artist Feature this month to see just how well rounded this young man
is! And if you think you have what it takes to be features on the pages
of Pain Magazine, please email us at .
Next, H2Ocean never ceases to amaze Pain Magazine with
their outstanding models! Check out Hunks of Pain this issue and see
what Christian Wall has to show! Stay tuned for next month, because
we are going to warm up the pages of Pain Magazine in the dead
of winter.
United Ink Flight 914 is definitely one of the top shows for the
year! For their first U.S. Show, United Ink Flight 914 flew into the
Cradle of Aviation Museum, in Garden City, New York, for one of the
most unique tattoo convention venues on the planet. Take a look at
everything this show has to offer!
To paraphrase the legendary Sailor Jerry, a tattoo shop and the
work produced by its artists should speak for itself and that is exactly
what Electric Heritage and their artists aim to do. Owner Geremy
Paoletti keeps everything old school and simply does “nice, clean
tattoos in a great environment.” Check out Pain Magazine’s Shop of
the Month!
See you all next month! We have some amazing features lined
up…stay tuned!
PAINMAGAZINE 10
PointToPoint
Jay Cousins
L
VERMONT, VIRGINIA
& WASHINGTON
ast month we looked at the body art regulations from the State of Tennessee, Texas and Utah. This month we look at the
extensively regulated Green Mountain State of Vermont, the extensively regulated Old Dominion State of Virginia and the
minimally regulated Evergreen State of Washington.
The State of Vermont body art ordinance regulates tattooists
and body piercers. The ordinance was written in 1994 and
considered extensive. The law has undergone numerous changes
and amendments since 1994 in order to keep up with new and
emerging pathogens and stricter procedures in tattoo shops.
In the State of Vermont, it is illegal for any person under the
age of 18 to get a tattoo or body piercing without the "expressed"
permission of both parents or legal guardians. Parents or legal
guardians must be present during the procedure, witness the
entire procedure and be present during the aftercare instructions.
With the above provisions met, the youngest age that any shop
in the state will consider a procedure is 16 but it is left up to the
discretion of the shop owner and their willingness to perform a
procedure on a minor.
When tattoo artists register in Vermont, they must provide
proof of an apprenticeship of at least 1,000 hours of experience
obtained within two calendar years. The training must be monitored by a registered tattooist in good standing or has been in
practice for a minimum of three years. The State of Vermont has
an extensive "Unprofessional Conduct" provision. Unacceptable
conduct is defined as dishonest or misleading advertising, addiction to narcotics, habitual drunkenness or rendering services to
a client if the operator is intoxicated.
The State of Virginia wrote their body art ordinance in
2006 and is enforced under the Virginia Board for Barbers and
Cosmetology. Virginia updated the ordinance in 2014. The
updated ordinance includes a section called, "Direct Supervision."
It requires a licensed tattooer to be present in the tattoo shop at
all times when services are being performed by an apprentice.
The Virginia apprentice program requires all applicants to
complete a minimum of 5 hours of health education to include
blood-borne disease, sterilization and aseptic techniques related
to tattooing and pass a first aid and CPR class.
The State of Virginia has tattoo schools where students can
enroll and take a 750 hour tattoo course. A licensed Virginia tattoo
instructor must be present in the tattoo school at all times when
services are being performed by a student. After the instructor signs
off on the paperwork confirming the student has fulfilled the hourly
requirements and performance requirements (1 00 tattoos) the student
may apply to take the tattoo artist exam and apply for licensure.
The State of Virginia prohibits anyone from tattooing a
person under the age of 18. Knowing the client is under 18,
Virginia requires the parent or legal guardian to be present or
the procedure performed under the direct supervision of a medical
doctor, registered nurse or other medical services personnel.
The State of Washington wrote their body art ordinance in
2009. State law requires all tattoo shops and artists to be
licensed. Tattoo shops in Washington must follow very strict
safety and sanitation rules to protect customers from the spread
of disease and infection. Tattoo shops in Washington are
inspected every two years. The State of Washington has a section
called, "Penalties and Violations." If the director of the Washington
Body Art, Body Piercing and Tattooing Division finds that any
person has violated any provision of the ordinance, the director
may deny a license or renewal, revoke or suspend a license,
issue a reprimand or letter of censure, restrict the scope of
practice at a shop, require additional training or fine the violator
up to $100 per violation.
Applying a tattoo to a minor in Washington under the age of 18
is illegal. The ordinance also prohibits anyone from stating that
he or she did not know the minor's age as a defense to prosecution
unless he or she establishes a reasonable attempt was made to
determine the true age of the minor. O
Next month we take a look at the body art regulations from
the State of West Virginia, Wisconsin and Wyoming.
Jay Cousins works for the Albuquerque Environmental Health Department. He started working for the city in 1985. In 1994 he started working
for the restaurant, swimming pool, and body art inspection program. He has approximately 600 facilities in his jurisdiction, including body art
establishments. He started doing body art inspections in 1999 and has conducted over 500 body art facility inspections since then.
Jay is also a high school and college baseball umpire and works as a fill-in umpire for the Albuquerque Isotopes.
PAINMAGAZINE 12
By Tanya Madden
A
tattoo shop like a good tattoo, doesn’t need to be fancy - the true measure of
quality is in the details.
“A good tattoo speaks for itself,” says Jonny Steel, owner of Milestone Tattoo
Studio, in the Baltimore suburb of Dundalk, Maryland.
Jonny is the piercer at Milestone, and was taught by Halo, owner of Black Lotus
Tattoo Gallery, and a participant on the Spike TV series “Ink Master.” He also gives
mad props to his brother Chris Peca, owner/artist at Konkrete Jungle, in nearby
Elkridge, MD.
“For me, it was about being independent,” Jonny says, “and I knew that I could
put together a bad ass shop.”
continued on page 22
PAINMAGAZINE 14
Ask Angel with Jef Saunders
Elayne Angel Author The Piercing Bible—The Definitive Guide to Safe Body Piercing President, Association of Professional Piercers
Going Disposable for
Piercing Studios
I heard about a piercing shop that doesn’t reuse any equipment. It seems like it might be cool to
totally have it all disposable, but I was curious about how that would work.
I decided to contact Jef Saunders, who has written guest columns for me in the past, because this
is an area in which he has professional expertise. Below you will find his words of wisdom on
this topic.
J
ust over a year ago, I was lucky enough to be able to expand
my business to include a second location. I opened Rockstar
Body Piercing West Side, on historic Federal Hill in
Providence, Rhode Island. As anyone who has built a shop
can attest, it’s an expensive, tiresome, and stressful project.
For some shop owners, building an appropriately sized and
equipped instrument reprocessing room is one of the worst parts of
their studio’s construction. I was able to forego that stress altogether.
How? I had decided during the drafting of my business plan
that this second Rockstar location was “going disposable.” Little
did I know how challenging some aspects of that would prove to
be. I also was not prepared for how rewarding it would be once I
became comfortable working in a 100% disposable shop.
Why Bother Going Disposable?
There are several reasons to consider adopting an entirely
disposable workflow for your body piercing studio.
When all instruments used on your premises are sterile
and single use, you eliminate the chance of a mistake occurring in
the instrument reprocessing procedure. Even when the strictest of
protocols are followed, there is absolutely no existing technology
that claims to be one hundred percent effective. As a business
owner, I can rest easy knowing that there is simply no chance of
an error, oversight, or mechanical defect in the instrument
reprocessing procedure resulting in an infection or disease
transmission to my clients.
What many piercers don’t understand is the fact that instrument
processing, in and of itself, is one of the most risky parts of their
jobs. My preferred method of reprocessing piercing tools is the use
of an automated instrument washer: this yields the most thorough
results, and also keeps my employees as safe as possible.
My shop is the exception, though, and not the rule. To my knowledge
most body art studios are using tabletop ultrasonic units, and some
still hand scrub tools. The employees who reprocess contaminated
instruments are performing a risky job, even when wearing proper
Personal Protective Equipment (PPE) and following appropriate
safety protocols. A completely disposable piercing studio effectively
eliminates this risk entirely.
A reprocessing room, or “dirty room,” is expensive to build
and maintain. I know from personal experience that many studios
tend to be short on space. Only a few are able to commit enough
square footage to have a safe, clean, and comfortable workspace
for reprocessing. An all-disposable piercing facility doesn’t need
such a room at all. It is a huge headache that simply disappears
when you commit to running a disposable shop.
Challenges
Figuring out how to go disposable was not without some
hiccups. I messaged friends and colleagues who run disposable
shops for their advice and input, but I wasn’t able to get enough
out of online conversations. I needed real-world experience.
What I discovered quickly was that piercing with fewer tools, or
using disposable analogs to traditional tools, was quite easy.
Jewelry changes, stretch insertions, and piercing recovery on the
other hand: these were almost impossible for me to do without the
use of taper pins and other tools.
My answer to the problem of jewelry insertions was to charge
a jewelry change fee on every insertion, and to charge more for
piercing recovery and stretching. Essentially, I needed to structure
my fees to include the added expense of the tapers and tools. In
my discussions with piercers, this particular part of going disposable
scares them. They are concerned that they will lose business due
to price increases. I was scared, too. My clients, on the other hand,
hardly noticed the difference. It turns out we didn’t lose a single
sale due to the increased cost of the changes we made. On the
PAINMAGAZINE 16
contrary, many of our clients were excited to spend a little extra and
receive their taper pin after the fact. (When giving a client a tool like
a taper pin, I disinfect it thoroughly and give it to them in a sealed
bag, just like I do with worn body jewelry.)
After I figured out the adjustments and tricks I needed to use in
order to pierce effectively in a disposable shop, I had to share that
with my piercing staff. This, in reality, was the hardest part. It’s human
nature to forgive yourself for your own learning curve, but then get
frustrated when those around you take time to get up to speed. I did
my very best to explain my approach one-on-one with each employee,
and let them have the space and tools to figure out what worked best
for them. The only rule I had was, “Pierce people the way you want
to be pierced. If you’d want a tool used on you, use a tool.” There
were times when this seemed expensive, but after a year, my staff of
piercers has risen to the challenge. Most of them figured things out
much faster than I did!
Rewards
I am fortunate enough to travel regularly and pierce outside the
comfort zone I have at my shops in Rhode Island. It’s those times
outside my usual setting when I have learned the most. Jumping right
into the deep end with a fully disposable shop on opening day was
one of the best learning experiences of my career. Learning to pierce
in this environment has made me a better piercer in any kind of shop,
including my original location, which still uses tools, then processes
them in an instrument washer prior to autoclaving.
The time that my staff previously spent on tool reprocessing was
suddenly gone, and that gave my employees more time to focus on
our clients, our jewelry, and our facility. When I consider the money
we’ve saved on medical supplies, the cost of chemicals, and the
man-hours put into safely decontaminating and reprocessing, going
disposable was a bargain.
What the future holds
My experience with owning and operating a “disposable only”
facility has been wonderful. I know that a lot of my missteps could
have been avoided with a bit more hands-on experience before I got
started. With this in mind, I’m developing a class that I can bring to
my colleagues in their own piercing studios. I can work with them in
their own spaces, and show them (for an afternoon at least) how a
disposable facility would work for them.
As interest in going disposable increases, I’m looking forward to
the inevitable technological innovations that will make this step easier
and more affordable for greater numbers of piercers. My expectation
is that in the coming years, many more studios will opt to forego
instrument reprocessing and embrace single-use alternatives. I am
very excited at the prospect of our industry continuing to grow safer
for piercers and clients alike. O
By Elayne Angel; Mérida, Mexico in the Yucatán!
Have questions about piercing? Have Photos? Need info? E-mail her at: [email protected], www.piercingbible.com. Subject Pain Mag. or [email protected]
PAINMAG.COM
Association of Professional Piercers
By Julie Taylor, April Berardi, and Lou Quino
Point #62: The APP Brochures Overview
Article Three : What They Are and How to Use Them
The informational brochures available through the Association of Professional Piercers can be used in a variety of ways to educate
the public about safe piercing. To help you better make use of these resources, we have summarized some of these pamphlets in our
three part series by outlining the numerous ways in which studios have successfully utilized this vital information. (See The Point #60
and #61 for more information.)
I
n this, the last of the series, we will turn our attention to the brochures geared towards minors and to our international users.
Remember: The Outreach Committee supplies these brochures FREE of charge to any member interested in doing outreach at a local
convention or conference. (If you are attending a convention or conference in your area, please contact [email protected].)
Brochures for Minors
The APP has a series of aftercare brochures which are specifically geared toward minors. These brochures provide young
piercees with a simplified, easy-to-read outline on how to take care of their new piercing. These brochures are extremely useful for
piercers working with schools or youth groups, as they have been edited with their young audience in mind. They offer more basic text
and remove any mention of genital piercings—making them acceptable for use in elementary, middle, and high school presentations.
International Brochures
Reaching people in their preferred language can reduce confusion, help bridge communication barriers, and help to serve as a
relationship building tool to gain the trust of varied clientele. For those very reasons, many of the APP’s brochures are also available in
Spanish and French. (The North American population contains not one but three recognized national languages; for this reason it only
makes sense that the APP publish brochures in all three languages.) This increases both the numbers of piercers and piercees who have
access to proper and vital piercing information and allows for more outreach opportunities.
The following brochures were previously discussed in issues 60 and 61:
What is the APP
Picking your Piercer
Jewelry for Initial Piercings
Oral Piercing Aftercare
Oral Piercing Risks
Taking Care of your Piercing (updated from “Suggested Aftercare
Guidelines for Body Piercings”)
Conclusion
Studios are always looking for more ways to get involved in their
community, to spread the word and to support the APP’s mission. We hope
that you have found new ways to use the brochures to promote safe piercing.
The resources provided by the APP are invaluable and, when used by the
entire membership, can impact our communities on a larger scale.
To download these as well as other APP publications, or for more information
about the APP brochures and other resources, visit the APP’s website. You can
place an order on the website or by calling (888) 888-1APP. You can also
access and download web and quality print versions of PDF files for free. O
“The mission of the Association of Professional Piercers is to circulate vital health,
safety, and education information to the professional piercing industry, health care
providers and the general public.”
PAINMAGAZINE 18
1-888-888-1277
www.safepiercing.org
By Darin Burt
T
o paraphrase the legendary Sailor Jerry, a tattoo shop
and the work
produced by its
artists should
speak for itself.
Electric Heritage is not only elegantly furnished with wood
floors and handcrafted wood cabinetry and
antiques, it’s also, of course, decorated
with museum-quality
vintage tattoo flash
and memorabilia.
“What I’ve learn
from the old-timers is
to put hard work
and dedication into
what you do,” says
Geremy Paoletti,
owner and lead artist at Electric
Heritage Tattoo Company, in Port
Richey, Florida.
Paoletti’s goal with Electric Heritage
is simply to do “nice, solid, clean tattoos in
a great environment.” He and friend and
fellow tattooer Richard Arent teamed up to
create a shop that was rich in heritage – thus
the name Electric Heritage – paying homage to
tattooing forefathers, like Sailor Jerry, Bert Grimm,
and Bob Shaw, that paved the way for the art form and
industry as it is today.
“We wanted to
open a shop that was very
classy and high-end, but that
catered to working-class
pricing. Tattoos used to be for
regular, blue-collar people –
bikers, construction workers, and
sailors, but when an artist is charging
$150-$200 an hour, the common
person can’t afford it,” Paoletti says.
Paoletti started his tattoo career with
a formal apprenticeship from Chris
Quidgeon. He later worked at and managed
Quidgeon’s Bearded Lady Tattoo Parlor in Mount
Vernon, Illinois. It was under Quidgeon’s tutelage
that Paoletti learned the importance of maintaining a high
level of professionalism as both a businessperson and artist.
continued on page 36
PAINMAGAZINE 20
PAINMAGAZINE 22
Getting to that high standard of bad-assness didn’t happen
overnight. Jonny opened his venture in a space previously home to
a less than quality tattoo shop. Even with a giant “Under New
Management – All New Artists” banner, it took a solid year of hard
work to overcome that lingering bad reputation. Not only did Jonny
update the studio with a modern look with bright colors, comfortable
furniture and attractive lighting, but the artists committed to turning
out consistent “solid ass work.” The guys also became involved with
community events and charities for everything from animal shelters
to fallen firefighters.
“You’ve got to give back,” Jonny says.
“You can’t always take in and not give out.”
Milestone caters to a working-class demographic, and their
pricing is mindful of those customers. Still, prices reflect the quality
of work and the commitment to client satisfaction and safety.
“I didn’t want it to be just about making money,” Jonny says. “I
wanted it to be about good quality tattoos.”
“I set a high standard,” he says. “I don’t put up with any games.
I’m from North Jersey – there’s one boss and that’s me.”
Being a shop that’s owned by a piercer, you might think
Milestone is all about making holes. Actually, it’s just the opposite.
“I make sure that the tattoos are the priority – my piercings are
an added plus,” Jonny says. “I may not know how to tattoo, and this
might seem weird, but I can tell you how to tattoo. I know what
makes a great quality tattoo; some of it is almost common sense.”
Whatever comes through the door, tattoo artists Mike Dolch
and Brad Newlin, can handle it.
“We only have one book of flash, and we have never had to pull
out any flash sheets and use them – knock on wood,” Jonny adds.
“Doing custom work sets us apart from the s*** shops that are doing
two-hundred dollar tap-out sessions. . . to me that shows desperation.”
Piercings at Milestone tend to be more of a common variety,
but Jonny loves doing surface anchors. “They’re not new, but there
are so many inventive things you can do with them,” he says. “We’ll
do tattoos and incorporate colored stones in dermals and place
them into the tattoo – like a hummingbird tattoo with a dermal on the
end of its beak, or a black and grey owl with dermals in its eyes.”
Jonny admits to having made mistakes early on in life. He was
a street hustler and spent time behind bars, but turned things around,
earning college degrees in business administration and mathematics.
He made a few errors as a first-time business owner too, but learned
from those lessons, and now feels that Milestone has the perfect mix
of talent, technique and determination.
“In this industry, you have to stay relevant whether
it’s staying on top of your game as an artist,
hitting the conventions or using the latest
marketing methods,” he says.
“Even though this thing that we do has been around for centuries,
it’s still so unexplored in what we can do. This is the one art form
and business that has no limitations – the only limit is with you.” O
Milestone Tattoo Studio
Dundalk, Maryland www.facebook.com/MilestoneTattooStudio
PAINMAG.COM
PAINMAGAZINE 24
ParT I
Get Real
By Darin Burt
The true cost of fake tattoo ink is higher than you think
I
t’s likely you’re not going to come across a shady character on a street
corner selling tattoo ink from inside his trench coat – but don’t think there’s
not a problem with counterfeit tattoo pigments infiltrating the market.
“The fakes are a multi-million dollar business,” says Lou Rubino Jr.,
owner of Tattoo Lou’s, World Famous Tattoo Supply, and Kuro Sumi
tattoo ink. “(Counterfeiters) are making garbage tattoo ink, and putting
it in the same bottles as the American brand tattoo ink. It’s very illegal,
because everything is trademarked and copyrighted, and then they’re
putting something in the bottle that’s not what it’s labeled to be.”
Much of the trade in bogus tattoo ink can be traced back to China,
where the United Nations reports that counterfeit goods, including shoes,
clothing and electronics, have become as profitable for Asia’s criminal
gangs as illegal drug trafficking.
Rubino has spotted fake inks being used in professional tattoo
studios and sold at conventions and industry trade shows. Tom Ringwalt,
owner of Tommy’s Supplies, producers of Starbrite brand tattoo inks,
was horrified to learn from a friend that while on a trip to China, he was
walking down the street and spotted a sign – Starbrite Colors Made
Here. What he discovered was shocking to say the least.
“There were piles of dry pigment on the ground!” Tom says. “
. . . stupidest thing I’ve ever seen!”
Quality, legit tattoo ink manufacturers make their pigments in clean,
safe and sterile conditions with tried and tested ingredients. Fake ink will
undoubtedly be of lesser quality, so colors will likely be inconsistent and
fade more quickly, and may present health risks by containing contaminants
that could cause severe skin reactions and infections.
What ingredients are actually in the bootleg ink?
Rubino says there’s no way of knowing for certain. But tests
have revealed high levels of heavy metals, such as lead and mercury, as
well as synthetic (and often toxic) azos dyes, plastic polymers, ammonia,
formaldehyde and a host of other harmful, if not life threatening, additives.
“None of (the counterfeit inks) are near the quality that we’re
manufacturing in the U.S.,” states Rubino. “We do a huge amount of
quality control tests on our tattoo inks, even though there are no
regulations on tattoo ink. But since we sell in Europe as well, we have to
be very stringent on testing because their regulations are very strict.”
The FDA has the right to regulate tattoo ink, but they don’t worry
too much about it because there aren’t enough reported cases of adverse
reactions, Rubino says. He adds, though, that in a worst case scenario,
if enough bootleg tattoo ink found its way into the workplace and caused
major health issues, the federal government could effectively put its boot
to the neck of tattooing.
“If there were enough problems, it would open up the eyes of the
FDA, and they could cause trouble for the tattoo industry altogether,” he
says. “They have the right to say no tattoo ink is allowed to be used until
it is proven safe and worthy of FDA approval.” O
PAINMAG.COM
TattooExpo
By Darin Burt
P
in-up pageants, classic cars, live music, burlesque shows,
and suspension performances – all common elements
at tattoo conventions. But when was the last time you
saw artists tattooing surrounded by bombers, fighter
planes and experimental aircraft?
United Ink Flight 914 flew into the Cradle of Aviation
Museum, in Garden City, New York, for the one of the most
unique tattoo convention venues on the planet. 914 stands for
September 2014 with the show spanning three days from
September 12-14.
“It’s awesome because people are tattooing literally in the
exhibits,” says Jackie Rubino, who with her husband and partner
Lou Rubino, of World Famous Tattoo Ink, were the pilots for
event. “We had people climbing in and out of planes; we did
our pinup contest based on the theme of American Pride, with
girls dressed in aviation inspired costumes, and posing in front
of one of the museum’s bombers. For the art fusion contests, the
museum donated old airplane parts for the artists to decorate.”
At the same time, the museum was open to the general
public, so visitors who’d never been exposed to tattoo art got to
PAINMAGAZINE 28
experience it up close. There was also Skindicate suspension
performances, graffiti painters, wheelchair basketball, a break
dancing contest, and headline music acts including rapper and
beatboxer Biz Markie. Jackie even officiated a wedding ceremony
amidst the tattooing.
“Our shows are always family friendly, and the Cradle of
Aviation is great venue for that,” Jackie says.
The museum contains over 60 aircraft including Charles
Lindbergh’s Curtiss Jenny, the A-10 Thunderbolt II and Grumman
F-14 Tomcat and an actual unused Apollo Lunar Module, LM-13.
continued on page 34
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TattooExpo
Of the 140 booths, there were some 225 artists; many from
places like Spain, Italy, United Kingdom, Russia, Nepal and
Sweden. The remainder of the booths were devoted to vendors
selling everything from artwork to custom jewelry and tattoo
clothing lines.
Among the tattoo talent was Master Mike, Myke Chambers,
Cris Gherman, Big Gus and Jasmine Rodriguez from Tattoo
Nightmare, Ink Master’s Lydia Bruno, Al Fliction, Sarah Miller
and Halo, Jose Perez, and Zhang Po from China. Shanghai Kate,
“the godmother of tattooing” held court as well.
One of the highlights of the show was a screening of Troma
Films’ “Escape from Nukem High” (featuring most of the cast
members of the movie in person) in the IMAX Theater.
Additionally, Sara Blades’ Artist Hanger exhibit showcased
works from both local and international artists; such as Francisco
Poblet, the 82-year-old world-renowned painter from Italy who
spent time under the tutelage of Salvador Dali and several other
famous artists in his lifetime.
“After doing the Milano Tattoo Convention, in Italy last year,
and seeing how tattoo artists in Europe get along so much better
and collaborate with each other, we really wanted to bring that
feeling to the United States where everybody tends to be so secretive,”
Jackie says. “We structured the show more like a European show
where they do single artist spaces and mix and match; we just
wanted to give people the opportunity to share ideas and do things
differently than we commonly do in this country.” O
United Ink Flight 914
September 12-14, 2014
Garden City, NY
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“What I learned most from Chris was
how to portray the tattoo industry in the proper
way to customers by treating them in a
respectful way,” Paoletti says. “You have to
provide something to your clients that they
don’t expect. There are a lot of things that
happen in a tattoo shop about which customers
don’t know – like the level of cleanliness and
sterility you have to maintain to make sure that
they get a safe tattoo; it can also be as simple
as having framed pictures on the walls rather
than tackily taping them up.”
Another thing that Paoletti picked up
while working with Quidgeon is tattoo machine
building. All of the machines used at Electric
Heritage are completely handmade.
“When I build a machine, I can make it
look how I want and fine tune it to run exactly
how I need it to,” Paoletti says. “You get
better results when you’re comfortable and
know your tools inside and out.”
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Paoletti and Arent are both inspired
by traditional tattoos – not only in the
style of artwork, but also in the process
—hard lines and solid shading and color
saturation that can be applied to most
any design or style requested.
“We’re basically a street shop – we
do everything from the flash on the walls
to custom tattoos,” Paoletti says. “We’re
one of the few traditional shops in our
area, and people are coming in for the
Sailor Jerry and Bert Grimm kind of stuff.”
That doesn’t mean Electric Heritage
doesn’t get the common requests for tribal
and Japanese writing.
“It would be a perfect world if you
could do whatever you want all the time,
but the reality is that you have to do the
small stuff because if you’re on your high
horse and don’t then you’re going to push
a lot of potential customers away,” Paoletti
says. “Despite what anyone says, if you’re
doing (basic everyday tattoos) you’re
paying the bills.”
“There’s a lot more to tattooing than
just doing a tattoo,” he adds.
“I feel that we owe a debt to the
industry,” Paoletti insists. “If we’re not
making steps forward, I feel that we’re
not only letting ourselves down, but also
taking for granted all the people who go
back a hundred years who’ve tried and
struggled to make advancements in the
tattoo industry.” O
Electric Heritage Tattoo Company
Port Richey, Florida
www.facebook.com/ElectricHeritage
PAINMAG.COM
IG: @christianwall
Photographer:
Allabam Photography
IG: @allabamphotography__
Tattoo Artists:
Mel Keidge &
Brendan Griffin
IG: @melzatattoo &
@griffotattoos
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What did you like about the best shop you have ever worked with?
The things that I like best about that shop are the same things that I love about
my current shop… The artist friendly environment, free flowing ideas and
discussions. No rock stars just a bunch of people who really love what they
do and are committed to continually learning and bettering themselves.
There is a healthy level of competition between the artists…I love that and I
think it makes us better for it!
What makes a good tattoo artist?
I wouldn’t claim to know what makes
a good tattoo artist..I would imagine there are an infinite amount of answers
to this question.. I think an artist should be driven. You have to be forever a
student, never thinking you know it all... of course practice, practice, and some
more practice and then more practice after that.
Do you attend tattoo conventions? If so, which are your favorites?!
I love to attend conventions... I try to travel some 8 - 12 times a year or so...
as for my favorites, that’s a tough one... I love the Villain Arts shows, Ink Life
Tour is generally a lot of fun, Mario Barth’s and Shane Oneil’s shows haven’t
let me down yet. I love to be surrounded by great talent and great attitudes
and conventions almost always provide that...I’m not sure anything can motivate an artist better than a convention... Choosing a favorite is almost impossible...!
What is your favorite type of tattoo art?! It’s again hard to pick just
one.. I’m a big fan or the realism side of tattooing which is where my focus
as an artist is, but to be real honest I love the new school style probably
just as much. I have so much respect for those guys that have it mastered!
Eternal Tattoo & Body Piercing
Columbus, Nebraska [email protected]
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Clint Morrison
Mitchell Curtis
Carved In Stone Tattoo
Nova Scotia, Canada
Brooklyn Rob
South Florida Tattoo Co.
Fort Pierce, FL
Rocky Hughes
Texas Angel Tattoo
Copperas Cove, TX
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Mark Savaikis
Tattoo International
Wallingford, CT
Jo. Swigart
Ink Addiction Tattoo
Yukon, OK
Jenn Bannon
Tattoo International
Wallingford, CT
Alex Inostroza
Pumping Ink Tattoo El Paso,TX
PAINMAGAZINE 44
W
Beer Edition
ait, what’s that? You don’t like beer? Ok, ok, it’s fine, everyone’s got a character flaw. Tell you what:
Come back next month and we’ll discuss something that’s maybe not beer. In the meantime, let’s
talk about Chicago, and how you should go there as soon as possible to drink some tasty craft brews.
Indeed, the Windy City has become quite the beer destination in recent years. Below are merely five
reasons why.
Goose Island
The Publican
Might as well get this one out of the way first. Goose
Island Beer Company dubs itself “Chicago’s Craft Beer,”
and though the slogan might strike you as a tad
pompous, Goose Island is undoubtedly the Craft Beer
Kingpin of the city. Started as a humble brewpub in
1988, back when the Midwest was more or less a vast
wasteland of mass-produced brews, Goose Island now
boasts more than 50 different beers at its two brewpubs,
many of which are available across the U.S. They also
make a few craft sodas. Now, some folks are upset with
them for selling to Anheuser-Busch InBev a few years
back, and that’s certainly up for discussion. For now,
they still make some damn good beer. Have yourself a
Bourbon County Stout, then we’ll discuss.
Featuring intriguing draft selections from Chicago,
Indiana, and Michigan, a pretty ridiculous Belgian
selection and myriad brews from around the rest of the
world, the only thing you really have to worry about
when drinking here is remembering to eat as well. Oh,
and they love pork. Eat the pork. Pair the pork with some
beer, just don’t put the pork in the beer, you heard?
Hopleaf
As an Atlanta resident, I’m pretty spoiled when it
comes to beer bars, thanks in no small part to Brick
Store, the Decatur bar that has my loyalty and many
of my dollars. But shortly after entering this Uptown
Chicago establishment, I began having some rather
unfaithful thoughts. Hopleaf is cozy as hell, stocks
fantastic beer and far-better-than-simply-pub-fare food
to boot. My mouth is watering as I type this. Get some
mussels, ask them for the freshest Midwest beer on tap,
and then drink three. Maybe get some more mussels
after that, too.
Half Acre
Wander into this quaint storefront most any day between
noon and 8pm and you’ll be treated to warm smiles and
a taste of every beer these folks have on draft. Wander
further into the brewery and you might see enormous
towers of cans like the one pictured above. Wander
around longer and you’ll no doubt purchase a beer or
six. Might I suggest the Daisy Cutter Pale Ale or the
Gossamer Golden Ale? I might, indeed.
Two Brothers
Don’t let this brewery’s primitive website fool you; Two
Brothers is a class act craft brewer. Located in Warrenville,
a western suburb of Chicago, Two Brothers is a little off the
beaten path, but worth the trip. Enjoy lunch or dinner in
the brewery’s Tap House, then tour the brewery, which ends
with a free three-beer sampling. I recommend the Cane &
Ebel Red Rye Ale and the Resistance IPA for starters.
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