At first glance, this photo, taken April of 1978, is a still life featuring a penis and a bouquet of flowers. I’d flipped past it dozens of times when looking through stacks of photos that need to be scanned without noticing that the model was wearing a ‘frenum loop’ – that little glint of gold behind his coronal ridge. Photographed some two years before PFIQ’s Pierce with a Pro 1 article gave step by step instructions for would-be piercers to try their hand at piercing a frenum, this slightly blurry and water damaged forty-plus year old print highlights the sexual functionality of a pierced frenum as an ad hoc cock ring. 2 Continue reading
Illustrator Bud Larsen’s iconic black and white line drawings helped establish the visual aesthetic for the early issues of both PFIQ and DRUMMER magazine; like a kinky Al Hirschfeld his style was light on color/shading and heavy on technique, line weight, and overall badassedness. These illustrations from early Drummer 1 issues could easily go toe to toe with other more well-known 1970s magazines cartoonists like Bill Ward, Jack Davis, or Gahan Wilson.
Images © Bud Larsen/Drummer
I don’t have much information on this image other than that it was sourced from a newly acquired Kodachrome slide that dates back to the late 1970s and features Sailor Sid Diller at an unnamed San Francisco tattoo show. Photographer, event organizer, (convention? show? his name tag turns to a blur when the image is enlarged) and all other relevant data may be lost to the ages, but at least the image, some forty plus years old now, survives.
Early tattoo conventions were an integral part of the tattoo community developing and expanding before the rise and eventual decline of the tattoo magazine and the ubiquity of the internet, but they often ostracized attendees who were also in the emerging body piercing scene. Still, they provided a space where devotees could meet at local (often gay leather) bars near the convention or in hotel suites to share their passions, and slowly but surely the two subcultures merged and became part of a bigger community.
Ari: I always like to kick these off with an introduction, so tell us a little about you, Mama.
Vidra: My introduction to the industry was 1978. I met a gentleman by the name of Linus Herrell and he owned a store in Cleveland called Body Language and that store, how do you explain it? It’s like one of the first alternative bookstores. We didn’t sell any porn, nothing like that, but it had a rubber room and a leather room, where there were all different types of books and little novelties and stuff like that. Also, he had a piercing room. He had magazines like PFIQ, the whole nine yards and I was like, “OK, this is fascinating.” I met him when he was a bartender at one of the little leather bars in Cleveland, in fact the oldest one in Ohio. He had a huge bull’s tether in his septum, and I was just staring at him, because number one it was very attractive and number two I was like, “hmm, how did you do that? How did he get something that thick into his septum?” I asked him a couple of questions. He explained it to me, explained the process of stretching and piercing. When I asked him where do you get something like that done he said he’d gotten work done at the Gauntlet in L.A. by a gentlemen called Jim Ward. That was my first introduction to Gauntlet, and even that was through Linus. He told me about PFIQ and the new shop he’d be opening, etc etc, and then in his psychotic manner he said, “So what are you doing tonight? I get off in two hours.” I said, “eh, probably just going home” and he said, “Well let’s go home and fuck”, and I’m like, “okay.” Now realize back then I was working for a Catholic Church. I was the rectory cook, as well as directing theatre for the deaf and blind and just about any other handicap you can imagine and normal people all on the same stage. It was a lot of work, it was a lot of fun, and I loved doing it. That’s what I did for a living back then. Cooking for a church rectory for the priests and the nuns who ran the Hunger Center in a pretty impoverished area of Cleveland, but it was also the deaf and the blind center for the Diocese of Cleveland. I had worked with almost all types of disabilities really from the time I was 13. Continue reading
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.
- Running the Gauntlet by Jim Ward; BME NEWS July 15th, 2005. https://news.bme.com/2005/07/15/a-visit-to-london-and-remembering-mr-sebastian-running-the-gauntlet-by-jim-ward/ ↩
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.
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!
I could be wrong, but I think that the heavily tattooed gentleman in this (amazingly candid and charming) photo is Rufus from Rochester who’s made a few appearances here on SD. It’s hard to tell. Either way, the black graphic back piece blast-over caught my attention and put the print on the fast track to the Sacred Debris update queue. Continue reading