We arrived at Heathrow on Tuesday, March 7th for a week in London prior to moving on to the Continent. Our main reason for this lengthy stay was in order to spend some quality time with Alan Oversby, better know in piercing and tattoo circles as Mr. Sebastian. We also wanted to meet as many other British piercing enthusiasts as possible. -Jim Ward. 1
Among the piercing enthusiasts present during Jim Ward, Sailor Sid and Elizabeth Weinzirl’s 1978 visit to London, England was this gentleman. His septum was pierced but wasn’t stretched; this bone was a gaff. You can read more about Jim’s trip to London in Running the Gauntlet, available here.
The early issues of any print publication go a long way towards defining their overall visual identity; what makes it “it” is honed by the editor’s choice in orchestrating the entire finished product which includes deciding on what you could consider is the most important aspect- the design of the front cover.
Early PFIQ issues, edited by Jim Ward, favored illustrated covers with art primarily provided by Bud Larsen, but with issue four the duties were handled by an illustrator named, simply, Ronin. I did a little digging and couldn’t really find out anything about him, but you have to appreciate Jim’s decision to feature an all female trio of cover “models” in a time where the body piercing demographic heavily skewed towards gay males. While the documentation of the early days of the western piercing scene is, by availability, often very one sided, Jim always featured as diverse a lineup as contributions would allow in PFIQ.
Issue #4 featured a “Who’s Who” article on Alan Oversby, AKA Mister Sebastian.
I’ve spent the last few days reorganizing my archival storage; prints, polaroids, VHS tapes, 8mm tapes, DVC tapes, assorted ephemera and while it’s no means more efficient a filing system it’s at least more consolidated.
That doesn’t really mean much to anyone who doesn’t live with me, but my wife will be pretty happy to have more closet space, much of which has been taken up the tenure of our marriage by Rubbermaid bins full of pictures of naked people.
One of my favorite of said has always been Bud ‘Viking’ Navaro. Ever since seeing him in PFIQ I’ve been fascinated with him, so while I was sorting things I tried to set aside my favorite prints and polaroids of Bud for a project I’m hoping will be done by 2018’s APP Conference in Vegas. Fingers crossed.
In an upcoming interview from the Better Safe than Ari series, former piercer (and current tattoo artist) Ken Dean talks a little bit with Ari about the connection tattooers have with the history of their craft, and the seeming apathy that piercers have for theirs:
Ari- Tattooing is so big on history, such a prevalent part of the culture, even with shitty tattooers! It’s such an embrace your heritage type deal, but piercing is not. Most people don’t give a shit about any of it. Any idea why even the bottom tier of tattooers are all know your roots, but piercers tend to be so apathetic?
Ken – I don’t know. I mean shit, even at the tattoo museum I work at we have a huge picture of Fakir. The shops been there since 1941, like before Pearl Harbor! I don’t know why they don’t care. Could it be because the roots of piercing are in the gay S&M leather underground?
I certainly hope that’s not the case. The intersection of 1970s Leather Culture and the roots of the early Western body piercing industry are inexorably linked. While the makeup of the industry has changed radically since Jim Ward opened the Gauntlet forty years ago, with Leathermen with an interest in piercing being replaced by people interested in body piercing as it’s own subculture, it’s origins should still be celebrated.
When it comes to Leather culture, Drummer Magazine 1 was at the forefront of documenting (and help define archetypes for) the lifestyle. Those early issues were powerhouses of iconic content of interest to the body mod scene; erotic stories by Phil Andros (aka Phil Sparrow, aka Sam Steward) articles with Cliff Raven, illustrations by PFIQ cover artist (and Sacred Debris favorite) Bud Larsen- they’re a treasure trove of awesome. Continue reading →
Dome Karukoski’s TOM OF FINLAND is currently playing in limited release in theaters across the US, exposing the erotic artwork of Touko Laaksonen to a new generation of (hopefully) adoring fans. Over the last few decades there has been a growing appreciation for Tom’s iconic pencil drawings of hunky leather men, bikers and sailors with Finland recently releasing a series of postage stamps and online retailers selling a wide variety of Tom goods including shower curtains, bedding and a wide variety of branded clothing.
While it’s great to see Tom’s work receiving so much attention, it’s heartbreaking that the art of Bud Larsen hasn’t had the same luck. His work for early PFIQ (and Drummer magazine) issues was a mixture of bold, graceful line work and erotic subject matter that helped the magazine establish it’s aesthetic.
This illustration was for Drummer Magazine, 1970s. Bud’s work often included mythological, sci-fi and astrological elements.
The tattoo community was a much different place back in the 1970s when this ad for Cliff Raven’s Sunset Strip Tattoo Studio ran in the pages of the venerable DRUMMER magazine; being an out, gay tattooer was a much bigger deal than it is in 2017. Despite a clear lack of diversity and a culture that was considerably less evolved than I like to think we are these days (though watching the news has me wondering) Cliff was able to maintain the respect of his peers through clean, solid, built to last tattooing. In the last few years I’ve been lucky to see a handful of 30-40 year old Cliff Raven tattoos that have stood the test of time. Attempts have been made to capitalize on his name- including a clothing line and branded wine- but to date, thankfully, nothing has materialized.
While he excelled in tattooing traditional Japanese subject matter, I’ll always have a soft spot for his muscle boys and homoerotic imagery.
Happy New Years from Sacred Debris!
Today marks the start of our 4th year as a blog. I hope that you folks enjoy what we’re doing here. The site is still in a state of semi-hiatus but I’ve got a few new posts in the works so check back (or better yet- subscribe!) soon. As always: likes, shares, comments and tips are appreciated.
This photo dates back to the late 1970s and features a very dashing tattooed/pierced gentleman. No artist/model credit was included with the 35mm print.
From the background it appears to have been taken in the mid-1970s at Cliff Raven’s studio in West Hollywood at or near the completion of my first tattoo. ~ Jim Ward
It’s always a treat when piercing and tattoo history intersect; here we have The Gauntlet/PFIQ’s Jim Ward with a freshly worked on tattoo by Cliff Raven. Inspired by Japanese tattoo designs, Raven’s work was bold, clean and made to last.
Tattoo by Alan Oversby; 1970s. Scanned from the original print.
A few weeks ago I was tagged by multiple friends in a Facebook post from a tattooer who’s been doing male pin-ups; archetypal poses gender swapped with big bearded beefcake. The comments ranged from amused to aggrieved with almost everyone agreeing that it was ‘about time’ that someone was doing them.
Of course, there’s really nothing new under the sun. Male pin-ups, particularly homoerotic ones, have been around for a lot longer than social media. Cliff Raven, Sailor Sid, Phil Sparrow, Alan Oversby… anyone who was tattooing a clientele that appreciated the sexuality of tattoo culture was likely to have done one.
Though they weren’t always as explicit as this amazing piece by Sebastian. It dates back to the late 70s and still packs a punch.
Sacred Debris Sandbox members should check out the FB group for a much raunchier part of the design!