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Since it’s 1989 release, RE/Search Publications’ seminal issue #12 – Modern Primitives – has become one of, if not the most, nodally significant cultural studies of western body modification ever printed. The pantheon of influential body art figures interviewed includes Fakir Musafar, Jim Ward, Ed Hardy, Raelyn Gallina, Lyle Tuttle, Hanky Panky, Leo Zulueta – you could easily get lost following the ripples of influence from any one of them. But Modern Primitives also featured some younger personalities just getting their start in the world of body art; mostly notably Greg Kulz (a pioneer of black graphic industrial tattooing) and Bay Area piercer/tattooist Vaughn, who at the time of publication was trying to make a name in the industry. Thirty years later, and Vaughn’s legacy – the opening of Body Manipulations and the shift to a more diverse clientele – is easily worthy of inclusion with the best of the industry.
In honor of his his birthday, BSTA’s Ari Pimsler interviewed Vaughn, along with friends, former employees, and clients for the new issue of our print project NODAL POINTS. The supporting interviews – Melissa & Joey from Body M’s, Greg Kulz, Duncan Van Luyt, and Blake Perlingieri – are available exclusively in the zine, which can be pre-ordered here:
(special thanks to Bobby Neel Adams for the amazing outtake photos from his Modern Primitives shoot with Vaughn! http://bobbyneeladams.com)
Ari – For an introduction let’s start with where you started piercing, be it business or just experimentation
Vaughn – Probably about 1985. I moved to San Francisco in 1984. What I wanted to do was pierce my lip and I couldn’t find any outlet to do that. I had been pierced down in LA by Jim Ward at The Gauntlet originally because I was living down there. When I got up to San Francisco there was really no one there doing anything. I wanted to pierce my lip, couldn’t find anybody to do it, so eventually I did it myself. But as far as taking on clients I would say, 1986? I just printed up business cards that said, “Vaughn” and had my phone number on it. That was it. If I saw people who had their own piercings I’d approach them like, “hey I can do noses, I can do navels, I can do this kinda deal.” I would have people over to my apartment and pierce them there. I also would set up a little portable kit and go over to peoples houses pierce people in their homes or businesses or wherever. I did that for a couple of years. I can’t remember exactly when I met Esther but she was a big influence as far as pushing me to make it happen as a business. One of the driving forces behind that was we had heard a rumor that Gauntlet was going to try and open up in San Francisco and I wanted to break away from the stigma that Gauntlet had. That stigma was very much in the West Hollywood gay community. I wanted to see piercing move out more into the underground, like the punk scene and the music scenes. That was my main drive. Esther was kind of in the same mindset that drove me – she wasn’t really oriented on the sexual aspect of it but rather the aesthetic orientation. For about three or four years I just pierced privately and did in-home visits and portable visits. In 1989 I ended up getting a little bit of inheritance. I opened Body Manipulations with seven thousand dollars. Rent on the space was like $300 a month – it was super cheap. That all worked out because I knew the tattoo people who were in the space originally – Erno tattoo. They moved upstairs and then I rented from Erno because he still had a lease on the space for a short time. We just sublet it from Erno and turned it into a piercing studio.
I’m still sitting on a few dozen photographs from the awe inspiring IN PURSUIT OF THE SPIRIT exhibit celebrating the life and work of Fakir Musafar that the good folks at the Body Piercing Archive set up at this year’s APP Conference and Expo; when we finally get the new issue of NODAL POINTS sent to print I’m going to try and commit some time to writing a piece about it.
Until then- I bought a brand new go-pro for this year’s APP Conference, and for some reason left it in my hotel room every time I’d go down to the Fakir exhibit; so everything I shot was on my iPhone8+ and as such is lacking in quality. And because of the size of the files… I ran out of space on the first day.
I think the PRESS ribbon I was wearing was a bit of a stretch. Continue reading
Along with Steve Haworth, Ron Garza stands out as one of the most influential artists who’s work contributed to the popularization of aesthetic scarification in the post 1990s body modification scene; with a style informed by time spent piercing at tattoo shops (as well as innate artistic talent) Ron was able to bridge the gap between basic geometric shape cuttings/branding and larger, more intricate representational designs.
Ron was photographed by his friend and TSD collaborator Allen Falkner in Philadelphia at the first Scar Wars event back in May of 2005.
Ari – Let’s start this off with your introduction to Fakir.
Blake – I got a hold of the ReSearch book in 1989 and it blew me away. Obviously it was the only cultural document at the time for an emerging subculture. There’s a lot of stuff in the book I was “meh” on but Fakir’s chapter really grabbed me. I was already piercing my friends in San Diego; people would go up to LA Gauntlet and buy a needle and barbell and I’d do them up in the park under a tree. My band had finally gotten signed and I came to this crossroad where I really wanted to do something meaningful and I knew I had a lot of learning to do so I quit the band and rolled up to San Francisco. The first time I went up there there was Body Manipulations – they were the first piercing studio in the area, they opened before Gauntlet. I went up and peeked at Body M and didn’t really know who they were but I recognized that the handsome guy out front leaning on his motorcycle having a cigarette was Vaughn. I knew he was the guy from the ReSearch book. I ended up making a couple of trips to San Francisco. My folks took me to the Gauntlet in the Castro and I went in, walked upstairs, and it was the first piercing shop I had ever been in. The term “piercer” didn’t exist yet – you were just a guy who did piercings at this time. I walked up and I said, “hey, my name is Blake and I am looking for Fakir and maybe some earrings!” I got the biggest attitude from the guy behind the counter. He didn’t even have visible piercings! He says “well we don’t have any jewelry in your size, honey.” I was like, “alright, fuck you,” and I started to walk out when I hear Fakir say “excuse me young man, I can help you!” I turn around and there he is with a porcupine quill in his septum. I just looked at him and told him he was the reason I came – but that I felt like this wasn’t a very welcoming place for me. At the time this was either summer or late 1990. Fakir took me to lunch. He put his arm around me and said, “well I have never seen the likes of you, young man., Tell me your story!” At the time I had 2” earlobes with huge dreadlocks- just a jungle kid from Southern California. How weird to walk into my first piercing shop to have some guy with no visible piercings be a dick to me. I was put off from the beginning. I didn’t consider myself professional at this time – I had only done genital and septum work. I had never done a nostril or navel. The stuff I was doing on my friends was all “Genesis P-Orridge” genitalia aesthetic. Fakir and I had an immediate connection and I told him I wanted to be a piercer. The first thing he said was, “well you sure don’t want to work at the Gauntlet, trust me.” I think we ate at Cafe Du Nord and it felt like I was coming home so to speak; he was just so welcoming. This is twenty-nine years ago. He literally says, “I think you’re doing something completely unique.” I didn’t understand his historical importance yet, I just intuitively knew he was the Granddaddy and if I was going to start a career I was going to go to the source. That’s a value that doesn’t exist anymore. There is a tattoo school is Vegas that cost $40,000 and guarantees you an internet following by the time you graduate, and you’ve only done like one tattoo. It shows you how ass backwards this culture is. The thing Fakir instilled in me in our first meeting – there were no personalities then, all I was was just a jungle kid, there was Gauntlet and Body M, that’s it for the whole US; there was no measure of what other people were doing. My experience at Gauntlet was very telling- Im sure they all had 00g PAs but they didn’t have the look I wanted to be a part of or was already doing, the things my grandmother introduced me to on her world travels. Continue reading
Ari conducted this interview at the 2018 APP Conference and Expo in Las Vegas; while speaking to Georgina, Nick Giordano popped over to say hello and joined the conversation. A rare Ari two for one! Photos will be added soon. -SP/SD
Ari – Hey Georgina, thanks so much for talking to me today. I always have everyone do the basic introduction so give us your name and where you work, etc.
Georgina – Of course! My name is Georgina Schiavelli, and I own Black Diamond Body Piercing in West Hartford, Connecticut. I have been piercing since 1997 and I’ve owned Black Diamond since we opened in 2008.
Ari – How did your apprenticeship start?
Georgina – Like so many people back in the 90s – totally by accident! I was an enthusiast and a college student – it’s how I ended up in Connecticut after growing up on Long Island. I went to University of Hartford, which is in West Hartford, and I walked into Green Man Tattoo. I actually got pierced by one of the tattoo artists first- they didn’t have a piercer yet- the tattooer did a terrible job on my piercing in case you were wondering – it was a hideously off-center labret. Other then that I had started to become friends with one of the owners, John, who did my right sleeve. I started just popping into the shop here and there. I was really interested in tattoos and piercings. Within a few months of that Jeff Goldblatt, my mentor, started working there. He had previously worked in Millford (I believe), which is around 45 minutes away from us. I walked in and was like, “oh, who’s this guy?” and when I found out he was a piercer I thought, “oh, you’re like an actual piercer and not just a tattooer!” I got a bunch of work from him and we became very fast friends. My sheer interest in the general business of it was why he pretty much offered me an apprenticeship; I was in there almost every day. I just always wanted to hang out there and learn everything- I thought it was all so cool. He saw my passion for it, I was about 19 at the time, took me under his wing, and that was 21 years ago! Continue reading
We’ve finally got the second collected volume of Better Safe than Ari interviews ready to be sent off to the printers; this double size black and white books features interviews with:
– and for this edition, a never before published interview with retired piercer Sean Christian.
It comes wrapped in a cover featuring a vintage Gauntlet NYC photo by iconic community photographer/documentarian Efrain Gonzalez and should be ready to ship before Christmas.
Support print media, support Sacred Debris!
Available for pre-order here: https://hexappeal.storenvy.com/products/24016416-better-safe-than-ari-collected-interviews-vol-2
Ari – Where did you first meet Ron (Athey)?
Divinity – I met Ron at Cuffs – it was the premier leather spot, a dark little place but not very big. It was very macho and leather, and I was drawn to that masculinity. I was just hanging out and Terry, my drag mother, it’s where he went out, so one night I went with him, and then after a while I went on my own. One night Ron came in and we met each other and started talking. We were both reading Dennis Cooper at the time.
Ari – Can you tell us about Dennis Cooper?
Divinity – Dennis Cooper was a gay writer- he did a lot of writing about being gay and how to maneuver in society and being true to yourself. He did a lot of really cool exposé on gay life. He was from California and that was interesting to me because for some strange reason I’d always found the idea of going to California really attractive. Something was always telling me to go there but I didn’t know what it was. Once I got there I realized what it was; it was a place I needed to be. All the places I’d been before like New Orleans and Michigan were conservative and moving out to California was really freeing for me. It was like, “oh, possibilities are endless out here!” It was a lot of good reading for me. I read a lot of Brion Gysin as well. A lot of people were like, “you’re black, why are you reading that?” I was like “I don’t know!” It was just really interesting to me. Continue reading
In late August, 2018, I presented a multimedia discussion for the members of Death Party Philadelphia with the catchy title of “Where do we go when we die?” The group, some three years old now, hosts monthly events relating to death positivity 1 and death adjacent subject matter so I worked my particular niche (the presentation may have alluded to me being a one trick pony) into it by discussing human taxidermy of tattooed skin and the fluid concept of “forever” when it comes to the human body. The central focus of the discussion were photographs and video from museums and institutions that house and exhibit preserved, tattooed, human skin- the Wellcome Collection, the Muséum national d’Histoire naturelle (MNHN), Philadelphia’s Mütter Museum and Japan’s famous Medical Pathology Museum at Tokyo University were represented alongside pop culture ephemera and some deep dives into the semiotics of tattoo culture. Continue reading
I was chatting with Blake Perlingieri about Fakir and his impact on the body modification community; Blake is someone who very much embodies the spirit of Fakir’s Modern Primitives and we’re excited that he’s going to be spending some time with Ari for a BSTA interview soon. With that in mind, to celebrate what would have been Fakir’s 88th birthday, I thought this photo of the two of them, borrowed from Nomad’s Instagram account, would be a nice way to remember him.
We tried to do a lot of cleaning up on this video that a friend of Blake’s shot at the APP Conference in Las Vegas a few years back, but the sound just didn’t want to cooperate. Still, it’s worth checking out for those of us who want to soak up as much of our history as possible.
Enjoy, and happy birthday, Fakir.