Paul King is so handsome it takes a continued effort not to rip the skin off my own face.
Now that we’ve got that out of the way, let’s be frank; Paul is a motherfucking national treasure. I honestly don’t know if I can write a proper introduction without it slipping into something so masturbatory that becomes unreadable, so I’ll just say that he is one of the most revered and respected people in this industry, and deserving of every bit of that. We spoke about Paul’s introduction to body piercing, some of the Master Piercers, cultural appropriation, and the Body Piercing Archives. Don’t forget after all of this to reach out and thank Paul for being who he is, saying what he says, and doing what he does. Also, while you’re at it, thank him for being really, really hot.
Ari- I always have everyone do the standard introductions, so tell us your name and how long you’ve been piercing and where you’re currently at.
Paul- My name is Paul King and I’ve been a professional body piercer since 1991. I was inspired and trained at a company called the Gauntlet; it was the first piercing shop in the Western world. I served a one-and-a-half-year apprenticeship under Elayne Angel. I then went on to manage Gauntlet Los Angeles, worked in the San Francisco store, and also managed Gauntlet New York. Gauntlet closed in 1998. In 1999, Grant Dempsey and I (Dempsey of Cold Steel International in London), opened up two tattooing and piercing shops in San Francisco called Cold Steel America (www.coldsteelpiercing.com). One was in the old San Francisco Gauntlet location, the other was in the upper Haight. We briefly attempted to do wholesale and decided to open in 2001. You can imagine how well that went. Wholesale didn’t last so long. So after that we parted ways in 2008. He was moving to Australia with his family and I was heading back to school. We let go of the Market street location, and I now have one shop on Haight street in the old Haight-Ashbury district. Continue reading →
Red(head) in Tooth and Claw A night shmoozing with the sweetest hooker in the biz.
Dana and I actually talked about how nice Dana is. Renowned not just for his piercing and suspension work, but for being all around such a fucking nice guy. From his early come-ups in California to veering off into being one of the most notable suspension practitioners, taking his skills all over the world at suscons, Dana is truly one of those old heads that’s seen some dynamic shifts the industry has taken and rolled with the punches. We sat down to talk about his introduction to suspension, the ebb of ritual, and why age helps lock down the sweet spot of professionalism in the piercing room.
Ari – Let’s do the really generic usual intro, except I want you to do it for both piercing and suspension.
Dana – The beginning of my piercing career was pretty straightforward, I was able to start an apprenticeship and attend the Gauntlet beginning training seminars the second year I believe they were offered, 1993. I don’t remember if it was the second year or not. I took the Gauntlet seminars at 17. Sharrin was running the seminar, Sharrin from the NY Gauntlet, she was a real awesome old school Psychic TV head. I “never really finished my apprenticeship” according to Jerry Metzler (Shiva) but as far as all purposes were concerned I was piercing full time by myself, with Julian Ganesha in and out of the shop because he had another full time job to pay his bills. This was in Fresno at a shop called Spear of Shiva. In 1999 I made the move to San Diego to work at Superfly, and then got an offer to move up to Portland and I was there for a few years. My introduction to suspension started a little bit more in 1999/2000, when I got involved with the San Diego crew, and once I got to Portland it was really heavy, I moved to Portland, walked into doing performances once a month at Fetish Night for five or six years straight. Continue reading →
More memories from Allen Falkner’s 2009 Dallas Suscon, this time featuring a ‘suicide’ suspension from Mr. Ho, suspending from the dome that was, I believe, supplied by Ohio’s Ihung Suspension group.
During his suspension he decided to flip himself upside down, resembling the X11 card of the Tarot, the Hanged Man. Thankfully no one decided to ‘name’ the suspension, instead focusing on how rad Ho looked while pulling it off and supporting him as Allen used him as a punching bag.
Over the course of the three Scarwars events- two in Philadelphia and our Los Angeles outing in 2006- thousands of photographs were taken by our incredible staff of photographers that captured every aspect of the shows; procedurals, portraits, candids and even after hours hotel chicanery and there are probably still dozens if not hundreds of photographs from attendees that even I haven’t seen. It’s almost impossible to pick a single favorite but I always said that if/when we ever do a Scarwars book this 2006 photo by Rachel Larratt of Richmond, Virginia’s Josh Burgh 1 would end up on the cover.
I’m not sure if that makes it my favorite, but if not it’s damn close.
I went to ScarWars for a lot of reasons. I went because friends I don’t get to see all that often would be there. I went because I’d never been to a modded convention and I was curious to learn what they were about. One reason I chose to go to ScarWars specifically had a lot to do with the fact that scarification has meant a lot to me individually, and I wanted to see scarification as a basis of a community. Beyond the intense amounts of fun to be had with the artists, organizers, participants and spectators, I think the thing I really loved about ScarWars was the sense of acceptance that took me in from the minute I arrived. I’ve always believed that preps, punks and hipsters are much more discriminatory toward the non-conforming than certain subcultures are to the mainstream. This was undoubtedly true of the people I met at ScarWars. The simple fact that I showed up and was interested in the work was all that was necessary for me to feel like I had every right and everything to gain from being there. My own experience with scarification gave me something to love about my body. Beyond that, it gave me a focus for graduate work. And at ScarWars, it gave me a community.- J.L.
We always did our best to make the events about more than just modification; the sense of community was equally important and letting everyone know that they were on equal standing- from artists to clients to the volunteers who made sure that the event went smoothly- was always our top priority and is why when I go back through the stacks of photographs (digital, which is never quite as satisfying as analog) my eye is most frequently drawn to the candid moments of the Scarwars guests and artists casually chatting, sharing a story and a laugh before blood was drawn. A decade later and that’s what I remember most; the Storm Trooper (in full Imperial White with a blaster ready for action) guarding the door, “Coop fishing” using our friend Walnut as bait, sitting around the complex bar after the event ended of the night and raising hell… all of that stands out more than a cutting or two.
Thanks to the staff, artists and clients who made the event what it was- I truly couldn’t and wouldn’t have done it without them.
Another highlight from the February 2006 Scarwars event in Los Angeles was meeting and getting to know a piercer named Samantha from Northern California. She had a collaborative cutting done on her chest that was documented by photographer Atom Moore while it was in progress, but this portrait by Rachel Larratt, while significantly less bloody, is still my favorite of her from that weekend.