The alleged piercing-related death of a teen in Canada [The Publisher’s Ring]


BME.com Press Release:
The alleged piercing-related death of a teen in Canada


Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did so. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.

Mark Twain

A seventeen-year-old girl in Newfoundland, Canada (at Booth Memorial High School in St. John’s) arrived at the hospital apparently

  UPDATES:

The unsubstantiated St. John’s rumor-mill is telling me that the teen was pierced
in a questionable envinornment by a non-professional. In addition, I am being told
that she had given birth three months earlier. If this is true, the piercing would
have had very high risks of developing mastitis even in a best case scenario.
Assuming these rumors are true, it underscores the need for teens to be educated
about body piercing in the same way that they are educated about sexuality, and
the need for safe access to piercing by minors.

I have also been asked about the source of the piercing statistics in this article
(ie. “one in a million” chance). These are from comparing known numbers of these
complications to known quantities of initial-piercing jewelry (and needles) sold as
well as national statistics.

suffering from a system-wide infection (“medical problems that were quite complex”). Two days later she died, and the staphylococcus infection that did it is currently being linked to a nipple piercing received some time earlier, even though no evidence of this link has been found yet. Chief Medical Examiner Dr. Simon Avis appears to be implying that the teen deserved what she got and that the Newfoundland government feels that giving pierced people medical care might be a mistake,


“This is health dollars that are essentially wasted treating infections that shouldn’t have occurred because of some desire to have a piece of metal sticking out of your body. It doesn’t make much sense to me.”

An investigation to more conclusively pinpoint piercing as the cause is underway.

Can piercing lead to death and in what circumstances?

It is true that you can get an infection from a piercing that kills you. However, it is also true that you might die from the same type of infection after getting a paper cut — freak accidents do happen, and any minor breach of your skin increases the chances. Piercing jewelry (or sutures in the case of an injury) slightly increase this risk because they give bacteria a place to anchor, but the risk of a fatal infection in body piercing is still less than one in a million. To put that into context (and I will do so in more detail later), a pierced person is significantly more likely to be struck by lightning than to develop a fatal infection from that piercing (and as a point of amusing trivia, there is a case of a pierced woman who was struck by lightning, but was saved from injury by her navel ring which diverted the electrical flow… but I digress).

In addition, if a serious infection does set in, in most cases the infection should be obvious visually around the piercing. Especially in the case of a female nipple piercing, physical symptoms of the infection can be easily seen and felt, so it is very rare for these simple-to-treat infections to progress to something life threatening. The majority of the deaths that have occurred have involved secondary factors such as willful ignorance to recommended aftercare and ongoing complications, or even underlying medical conditions making piercing inadvisable (such as some types of heart defects).

It should also be noted that the bacteria that is usually responsible for these infections lives on everyone’s skin and we come in contact with it daily — while it is theoretically possible to contract an infection at the studio during the initial placement, it is very unusual because all reputable studios have sterility control measures in place. Infections are usually contracted much later, “in the wild”, which is why piercees are given aftercare sheets instructing them on how to minimize these risks.

So yes, it is in extreme cases possible for a piercing to have fatal complications, but it truly requires one-in-a-million bad luck (and usually poor judgement as well), and rarely involves a piercing studio as the cause.

Comparisons and Statistics

According to the US Consumer Product Safety Commission (cpsc.gov), children’s push scooters lead to nearly a hundred thousand hospital visits (mostly fractures) a year, including about twenty deaths. Bicycles add half a million hospital visits and almost a thousand fatalities. The National Athletic Trainer’s Association (nata.org) reports that nearly one in fifty students actually require surgery due to high school sports injuries. The National SAFE KIDS Campaign and the American Academy of Pediatrics point out that three million children fourteen and under are injured at school every year (about one in five). According to a study in Physician and Sportsmedicine, nearly forty students die from immediate injuries sustained during high school sports recreation.

According to the National Highway Traffic Safety Administration (nhtsa.dot.gov), almost four thousand teenage drivers are killed per year (a quarter of them drunk at the time, but the leading cause is simple driver error). Almost half of these crashes involved other teens in the car, and I haven’t included those death numbers… And of course if you include adults in the statistics, you have about fifty thousand corpses.

Or how about circumcision? According to the British Journal of Surgery, between one in fifty and one in ten circumcisions develop complications, and in the US, as many as two hundred and fifty infants die per year from elective circumcisions. Include adult cosmetic surgery and again you add many thousands more injuries and deaths. Where is the government and medical outrage for all of the injuries and deaths resulting from kids on scooters, circumcisions, needless road trips, and football games?

I can go on and on, but the point is that there are many activities which are recreational and optional in nature that are extremely dangerous for both adults and children that we accept because we have been culturally conditioned to do so. We could make them much more safe, or eliminate them entirely, but we don’t. In order to make rational decisions that respect both a reasonable allocation of political time and money, and also the civil rights of the people affected — while still protecting the public from harm — we have to step back and be objective and fair.

Civil rights issues involved

Dr. Avis’s statement that treating the infections that pierced people occasionally get is a waste of tax money is making the statement that pierced people do not deserve the same rights under the law as other Canadians. Dr. Avis is lucky that he’s in Newfoundland rather than Ontario, because if he made that statement in Ontario, he could find himself on the end of a Human Rights lawsuit — I believe his statement is a low-grade hate crime, and certainly very inappropriate for a government official to make.

In general people get piercings because they like them, and because it’s a cultural element of the group they are affiliated with. The Ontario Human Rights Commission points out that “minority group” goes beyond genetic race, and includes “specific traits and attributes, which are connected in some way to racialized people and are deemed to be ‘abnormal’ and of less worth [than the mainstream’s]”, and that these traits include clothing, grooming, leisure, and so on. They go on to warn that government policies and activities include subtle but systematic discrimination, just like we’re seeing in this case.

It is also important to point out that as Canadians we enjoy not just freedom of speech and religion, but literally freedom of expression, which includes the right to be a pierced and tattooed person should you desire it. So not only are the statements (and actions in first demonizing the piercing) of Dr. Avis potentially hate crimes, they are also veiled violations of the Canadian Charter of Rights and Freedoms (Constitution Act, 1982).

In Conclusion

It should go without saying that the freak death of this student is a tragic event that we all wish never happened. But, the truth is that freak accidents do happen all the time, and all we can do is mourn and move on, and be reminded that even though piercing seems safe we always need to stay focused on cleanliness and health both during and after the piercing. Put in context, realizing that these deaths are extremely rare underscores the fact that body piercing is actually incredibly safe, and of all the activities a teen could choose for themselves, is one of the ones we need to worry about least of all.

What is disturbing is the discriminatory response and official commentary. Because this case involves body piercing, an activity that is loved by perhaps one in ten Canadians but not really understood by the rest, the involvement seems to immediately call out the angry pitch-fork wielding crowd seeking to find a monster to scapegoat… all the while forgetting the fact that they ignore (and permit) the risks of radically more dangerous (and also avoidable) activities.

In conclusion, please understand that while deaths can happen from piercing, they can happen from most activities, and looking at things objectively, piercing is one of the safest activities a person can undertake. As Canadians, we have the legal right to do so, and the right to have our government and health services support us. It is my sincere hope that I am misinterpreting Dr. Avis’s statements or that he has been misquoted. As a Canadian, I feel very strongly that it is the responsibiltiy of a government official to work hard to protect all Canadians, even those whose mode of expression and culture they do not understand, or perhaps even find personally repugnant or nonsensical.

I just hope Dr. Avis and the Government of Canada agree.


Shannon Larratt
BME.com

Marked for Life [Guest Column – Stepping Back]


Marked for Life

“Jails and prisons are designed to break human beings, to convert the population into specimens in a zoo — obedient to our keepers, but dangerous to each other.

– Angela Davis

Six federal prisons across Canada are planning on implementing a tattoo service for inmates (see last year’s article Go to prison, get a free tattoo) in hopes of decreasing the possibility of spreading infectious diseases like hepatitis C and HIV. Prison tattoo machines are usually built with motors from hair dryers, fans, or radios, along with ink from pens and regular sewing needles or guitar wires. While there are often steps taken to disinfect materials, sterility control is limited and diseases are still being spread. Finally, someone is doing something about it — and it’s caused a lot of controversy.

This new program, set up by Correctional Service Canada, is a six-year project costing approximately $3.7 million. The program is designed to provide safe tattooing procedures, costing the inmates five dollars for a two-hour tattooing session. Outside of jail, a two-hour tattoo

 


Tattoo done with a sharpened paper clip and an electric motor by a more-talented-than-most prison tattoo artist.

session can as much as five hundred dollars depending on the artist. Jails will set up programs to train inmates to be tattoo artists (if they weren’t already tattoo artists outside of prison) — and yes, tax dollars will be paying for it, at a cost of about $611,000 a year to Canadians.

In reality though, it’s not much compared to the costs of health care for HIV-positive people (about $150,000 in their lifetime), and if this program stops people from contracting HIV or hepatitis C, then it shouldn’t really matter that it costs a measly three million dollars — and saving Canadian taxpayers a great deal of money in the long run, and improving the lives of people after their prison experience, thereby increasing the chances of successful reintegration into society. Canoe.ca reports that, “for years, CSC reports have concluded that a greater percentage of people in the federal prison population have tested positive for AIDS antibodies or other serious blood diseases than in the general Canadian population.

An estimate of the cost to treat a person infected with hepatitis C is not available, but a study of the economic impact of hepatitis C in Canada is currently underway. It is known, however, that treatment with Rebetron, a drug commonly used for hepatitis C, may cost up to $30,000 per course of treatment for an infected individual. A liver transplant may cost up to $250,000.(Health Canada)

You’d think with so much public awareness about these diseases, inmates (and most people in general) would be a lot more wary of cross-contamination. Sadly, the methods used in most jails to “sterilize” tattoo equipment are normally just boiling the components (if even that), which may kill a few germs, but certainly won’t fully protect people from disease.


* * *


There are members of BME who’ve done time and we were able to talk to a few of them (most asked to remain anonymous) about their prison tattoo experiences. Later we’ll also speak to a tattoo artist, Johann Florendo, who has done a lot of cover-up work on men who’ve gotten tattoos while in prison and regretted it.




Bill, who at age 24, did 17 months on a seven year sentence at Garden State Correctional Facility in New Jersey. When in prison, he decided not to be tattooed because of health reasons and a strong lack of quality work.



Jareb has done time at several prisons throughout New Hampshire and Massachusetts when he was 17. He’s got one tattoo from that time, and he was also a tattoo artist in jail.



“Bear” (IAM:Bear151556) served eight years in total, in three different stints when he was in his twenties at the Wisconsin Correctional System. He got his prison number and nickname tattooed on the inside of his wrist during his sentence.



Cam, a personal friend of mine (who isn’t involved with BME), spent a year and a half in an Alberta jail, and got one tattoo while there.

* * *

BME:  You three were tattooed in prison — and you all knew the health risks of getting a tattoo. I know that getting tattooed in prison isn’t just about the artwork — but more for the culture. How long were you in prison before deciding to get a tattoo, and why did you get it done?
CAM:  I waited about three months to get one done. They are in high demand, and I was low on the totem pole to get one. It was prison rules not to get one, as it was considered self mutilation, and it could get you in the hole for a week, and even longer for the artist. It can take time for the artist and their posse to trust you. Trust is earned in jail so I earned it and kept it. I got mine out of respect for some of the guys that watched my back: it proved my loyalty to them.
JAREB:  It wasn’t until my fourth bid, and I got it for safety.

BEAR: 
I got mine because I wanted something permanent to remind myself of where my idiocy had delivered me. I waited until my third sentence, in the fourth year though.
BME:  Inmates don’t usually carry around cash, so there are different kinds of currency in prisons. Just from watching movies, I know you can barter cigarettes, drugs, and sex. In your experience, what did you see traded for a tattoo?
CAM:  A lot of times it would be cigarettes, drugs or favors, like running errands for them or just keeping your alliance and showing your respect.
JAREB:  Price was never much of an issue. You traded whatever you had. A lot of artists were just bored and needed something to do.
BME:  I picture tattoo artists in jail being held in high regard and viewed with great awe and admiration, sort of the “leader of the pack.” Is there any truth to that?
JAREB:  Generally you’re right — we were treated with more respect than anyone else.
BEAR:  They were looked at very highly, but only if they did good work. They weren’t looked at so well if they fucked someone up.
BME:  What were their tattoo machines like? What were they made with, and how did those supplies get into the prison?
CAM:  Proper tattoo ink was brought in either by guards, visitors, or inmates who had work furloughs. The machines on the other hand, were makeshift from blow dryer parts — usually for the motor, and a regular needle in conjunction with empty plastic casing from a Bic pen.
JAREB:  The machines were really shady — usually made from ballpoint pens and motors from cassette players. The “needles” were straightened paperclips or guitar strings. “Ink” was made from burning plastic chess pieces and collecting the ash soot. Pens and everything else were from the commissary.
BILL:  Some machines were made with various items, like pens with motorized parts taken from fans, radios, and other devices, but many used the “pluck” method of using ink with a single needle.
BEAR:  My cellmate had a professional unit. It had been smuggled in and he had kind of inherited it from a guy who got out. In my case, the supplies were smuggled in, but I have seen pen ink used.



Improvised tattoo machine; electric motor, pen, and guitar wire.

BME:  None of those supplies seem that sterile, especially if they’re used over and over on different people — so I’m wondering — what steps were taken to keep things clean, if any? Where were the tattoos done?
CAM:  For me, there was nothing done to sterilize anything. I bled very badly and they used a very dirty needle on me. Tattoos were done in the artist’s cell, and always with a few people keeping watch, as not to get caught in the act.
BILL:  People would boil the equipment in water, and the tattoos would usually be done in the tattoo artist’s cell.

BEAR: 

I worked in the kitchen, so I had access to a pressurized steam kettle which had to be cleaned daily using bleach water. I would take the needles to work with me and then while cleaning the kettle, I would just put the needles in. Then I would wrap them in napkins and sneak them back to our cell. Tattoos were either in the bathroom (I know, it’s scary), or our cell.
BME:  With these very basic supplies, tattoos would be fairly simple designs, right? I mean, how intricate can a tattoo be that’s been done with a guitar string and ink from a pen? What were some common tattoos done in jail?
CAM:  There was a lot of racial or affiliation tattoos or tough stuff like tear drops and other masculine items. My tattoo was pretty unusual as it’s not too “manly.”



Cam’s tattoo, complete with
a heart and rose.

JAREB:  Because of the supplies available, only black and grey work was done, so there were a lot of skulls, gang symbols, names, and spider webs on the elbows.
BILL:  It was the same in my case: I saw a lot of chains, names, teardrops, images of clocks, spider webs and gang symbols.
BEAR:  Actually for some reason, names were popular; you would think that cons would know better. Once in a while, there was some really nice fantasy work done.
BME:  All of those themes are very similar, more than I thought there would be — especially because all of you went to different jails in different states and provinces, but what do they all mean?
BILL:  There’s always your common “done time” pieces, like I said: chains, locks, clocks, hourglasses, and so on. Spider webs on the elbow used to signify that you took a life, but it’s now become fashionable and doesn’t necessarily mean that anymore. Teardrops either mean that you took a life, or lost someone close to you.

Most gangs have there own specific symbols, which can also vary from which branch, hood, or part of the country or world they’re from. Bloods commonly use wolf prints, wolf heads, and other lupine symbols, as well as pentagrams. Crips use the Star of David, as well as a crescent moon, which is also commonly used by Five Percenters. The Latin Kings have a three pointed crown, and Aryans and Bikers use Nazi symbols. Then there’s the obvious symbols used by different Anglo groups, like Shamrocks for the Irish, and national flags for whatever the person’s background is. Memorials, portraits, and banners of loved ones are also very common.

BME:  So, let’s say that someone goes into jail who’s previously tattooed — all high quality work, and then they get tattooed in jail, and it turns out pretty badly. Are they given a lot of flack from other inmates about their standards?

BEAR:  That they are. If you have good work, and then get some crap, then people give you shit about it. Most people who have tattoos going in are kind of snobbish about jailhouse work.
BME:  Bear, you’ve been in several different jails — did you see much diversity in the tattoo culture between those jails?
BEAR:  In my incarcerations, I did not see a big change from prison to prison unless you are talking about gang related work. With the gang tattoos, if the gang represented was not strong in a particular prison, then the tattoos were downplayed and not on display as much, for obvious reasons. The one other change that I experienced was that as you worked your way down from maximum to medium and then onto minimum security, the quality of the work seemed to go down. I credit this to the fact that when you’re in maximum and someone messes you up in a permanent way, you have less to lose, and are more willing to seek revenge with physical retribution.
BME:  There are lots of people who come out of jail with swastikas and gang symbols that they eventually regret. They may regret them because the symbols don’t have any meaning outside of jail, because it reminds them of a bad time in their life, because they have changed so much and can’t relate to the person they were inside of jail, or just because the tattoo is of such poor quality. Do you regret getting your tattoo?
CAM:  No, not at all.

BEAR: 
No, I do not. In fact, I am going to have it redone as it has faded somewhat.
BME:  Some men go into jail and come out without getting a tattoo, and there are other men who come out with lots of tattoos. If you were in jail for any longer, would you have gotten more?
CAM:  No. I got mine and that was enough. Again, I got it to show my respect to the people who watched my back — I can’t express how much the culture in jail revolves around trust and your word. It’s really all you’ve got. I got one outside of jail as well, but the experience was nothing like it was in jail, not only the procedure, but there were no politics involved with that one.
JAREB:  Yes, I would have.
BEAR:  Probably not, as I had already begun to collect cartoon characters and I did not want to ruin the theme. Besides, even with what we were doing for sterilization, it was dangerous.
 
A tattoo born in prison.
BME:  Did your tattoo provide any safety against violence?
JAREB:  Yes and no. It showed the crew that I rolled with, and that comes with both safety and danger — it all depends on the politics of the gangs at the time.
BEAR:  No, it did not. Being six feet tall and 275 pounds did, I guess. And the old saying holds true: “Convicts do time, an inmate’s time does them.” If you don’t fuck with people, people don’t fuck with you. Usually.
BME:  Guards have enough to worry about — with violence and keeping everyone in check. Was it a priority for them to try to stop inmates from getting tattooed?
CAM:  It depended on the guard. If we were caught, we’d get time in the hole, and then time in the infirmary to have the damaged tissue removed.
JAREB:  The guards generally did nothing. Once in a while there’d be a raid and machines would be taken, but new ones would be made that same day.
   
These tattoos were created by a single-needle machine in a prison in Michigan.
BME:  So, it’s been a while since you’ve gotten out of prison, but you still have your tattoo there to remind you of that time in your life. Bear, what do you think of your tattoo now (especially because your personality has changed so much)?
BEAR:  I used to be a very sick, racist asshole who was completely intolerant of anything or anyone different. It doesn’t make much sense because I am different than other people. One day, I just realized that fact and everything changed. While my tattoos remind me of a really crappy time in my life, they do show me where I was then and how much I’ve changed, and I like them for that.
BME:  As you may have heard, Canada is planning on implementing a “tattoo service,” which allows inmates to receive cheap and sterile tattoos. What do you think of this program? Do you think more inmates will get tattoos because of it? Have you known anyone to get hepatitis C or other illness from getting a tattoo?
CAM:  Cheap and sanitary tattoos are a good idea, but it may take away from that culture in jail. Earning a tattoo or being branded is important to inmates. Maybe they should start a program and let the inmates govern it, as the more they take from them, the worse things can get. I don’t know anyone who has gotten sick from it, but I’m sure it happens a lot — most probably wouldn’t discuss it.
JAREB:  I think more programs like this need to be implemented. Tattooing is never going to stop, and the health risks are too great. Maybe more inmates will get tattooed, maybe not, you can never really tell. I have known a lot of people to get really sick, and yes, get hep. It’s not nice to witness people getting sick from diseases that are not being treated because of where they are.

I think it is hard for people who have never been in jail to make rules for what should happen in jail. How can you tell someone to live a certain way if you yourself are never going to have to live it?

BEAR:  I think it is a very good idea. Prison should be about rehabilitation, not retribution. Part of being rehabilitated is improving your self image, and tattoos do that. I do think that more inmates will get tattoos, which is a shame since most will probably do it for the wrong reasons, and they won’t think it through. Plus, I would imagine that the administration will not allow gang tats, so those will remain underground. And while I’ve heard a few horror stories, I do not know anyone personally who has gotten anything from a tattoo.


Johann Florendo (IAM: Johann) is an extremely talented tattoo artist, and has been in the business for six years. He’s currently working for Mean Street Tattoo Studio in New York City. He’s done a countless number of cover-up tattoos on men who’ve done time. I spoke to Johann about his experience with some of these men.

BME:  How many people have you worked on who’ve been in jail and are looking for cover-up tattoos?
JOHANN:  I can’t recount the many times I have seen and worked on tattoos that originated in jail. I have probably documented at least about thirty or so over the years which were worth photographing. I know for a fact I have done many more than that, I just never took a picture of them (probably because it wasn’t that much of a noteworthy tattoo that they wanted me to cover their tattoo with, or they wanted me to rework the jailhouse line work and I had very little input on the tattoo).
BME:  We’ve heard from these men in this interview that gang related tattoos and other prison-themed work is common. What kinds of tattoos have you seen that people are interested in getting covered up?
JOHANN:  It differs from individual to individual, but most people usually cover up old gang insignia, racist imagery, vulgar or offensive lettering, or just plain ugly tattoos. Sometimes, they want me to rework some of their tattoos that they received on the “inside” and sometimes it’s possible to make it totally new and “cleaned” up. Sometimes the work is so badly scarred or blown out that I would liken the process to “polishing a turd.”
BME:  What should people know who are looking for cover-up work? It must a difficult task sometimes because of the colour of the initial ink and poor quality of the tattoo.
JOHANN:  The general rule of thumb concerning cover-up work is that usually only darker colors mask dark colors; meaning that you can’t put yellow over black line work and expect it to “erase” the black and make it appear yellow. There are factors involved as well, like how old the tattoo that is that’s going to be covered up, for example. You’d have a better chance of success blasting some yellow over some old black line work that has had twenty years to fade, as opposed to black line work from two years ago. Of course, yellow over a grayish faded black ends up being a muddied mix when layered on top of each other, but with the right skill and technique, it can totally be applied in a tattoo correctly without looking like a mistake.

So, with that in mind, darker imagery usually works best: panthers and eagles, and black tribal have been tried and true examples, although a lot of really talented folk out there can do a cover-up with much more lighter colors in the piece. A perfect example would be cover-ups by either THE GRIME or Guy Aitchison. Not to single those two out, as there are tons of talented artists out there, but those two stick out in my mind as masters of their craft and really do well in the cover up department.

BME:  Have you spoken to your customers about the specific reason behind wanting to cover up their tattoos?
JOHANN:  Some do it to rid themselves of a bad tattoo. They probably realized the difference in quality between different artists, as opposed to just having one choice of artist in jail. Others choose to cover it up so that they wont have to be haunted by reminders of their past.
BME:  Do they seem embarrassed about the work that they’ve gotten in jail?
JOHANN:  It’s a mixed bag. Some are regretful, and proceed to get a cover-up or get it lasered off, while others get tattooed around the jailhouse piece to remind themselves of their time inside.
   
Before and after shots: cover-up work by Johann.

BME:  Has anyone mentioned what kind of feedback they’ve gotten from people in the “real world”?
JOHANN:  One particular guy I tattooed, I covered a jailhouse swastika on his leg. Once he got out of jail, he went the straight and narrow and successfully found a job and had a family. Years later, other parents saw his swastika on his leg when he took his daughter to school while he was dressed shorts. Whether or not the swastika symbolized anything negative or positive, he felt that he didn’t want to jeopardize his daughter’s upbringing by other’s cultural views placed on him.
BME:  Did they mention why they got the ink they got (like for protection and so on)?
JOHANN:  Some said it was to pass the time, others said to show allegiance to their gang, whilst others found spirituality and wanted to show their devotion. For whatever reasons, there is some “intimidation” psychologically when one sees a tattooed inmate. It has been said that old sailors used to tattoo the face of Jesus on their backs to save themselves from lashings. Perhaps this mentality is still shared today?
BME:  What is the general quality of the tattoos you’ve seen born in prison?
JOHANN:  Where there is a will, there is a way. I never doubt the power of desire. A lot of talented people exist in all walks of life, including those who are incarcerated. Inasmuch as there are a lot of bad tattoos done in jail, there are also a few artists who are exceptional and do amazing work.

Given the limitations (tattoos are usually illegal to do inside prisons and materials are scarce) and lack of color, I have seen beautiful work done with just a makeshift rotary machine and a single needle.

I have to respect that determination.

 
 
More cover-up work by Johann.

In addition to the health risks, there is the risk of social stigma after release from prison with the popularity of gang symbols and extremist racial views. While behind bars these are overall accepted and respected, once the person completes their sentence, they’ve got something on their bodies that they may not be so proud of any more. They’re “stuck” with a marking on their body that can really only remind them (and the people who see it) of one thing — doing time — and if they’re not proud of that, then there’s an expensive problem. Laser treatment is an option, but people can expect to pay hundreds of dollars per visit, and most need between six and twelve treatments. That’s a lot of money.

Lucky for people like Johann, there’s been a consistent flow of people coming into his studio looking for cover-up work. As far as hiding the work you’ve gotten done in prison, it’s probably the most economical method: a palm sized tattoo by Johann would cost about $150.00.

Overall I agree with the CSC program — I’m a strong believer in avoiding problems rather than attempting to fix them once they happen. Tattooing in jails is unavoidable and I don’t think a lot of the men in prisons necessarily care about the consequences of their actions — I mean, if they did, they likely wouldn’t be in jail in the first place, right? We, the people on the outside, may as well make it as safe for them as we can, if not for their sakes, for ours.

– Gillian Hyde (IAM:typealice)


Gillian Hyde (IAM:typealice) is a vagabond, though her roots run deep into Nova Scotian soil. She’s lived and worked on three continents since 2001, and has never lived anywhere for longer than eight months since the age of 16. She loves fonts, puns, being barefoot, and office supplies. Calm to her is the roar of the ocean.

Online presentation copyright © 2005 BMEzine.com LLC. All cover-up images are © Johann Florendo.Images of tattooed arms are © Patrick Warnement. All other tattoo images are from the BME archives. Requests to republish must be confirmed in writing. For bibliographical purposes this article was first published online April 16, 2005 by BMEzine.com LLC from La Paz, BCS, Mexico.

Luvpain99: Well, it was quite a year [Guest Column]

  


WARNING: This interview contains graphic photos.

LuvPain99:
Well, it was quite a year.


“Practice yourself, for heaven’s sake, in little things; and thence proceed to greater.”

- Epictetus

Matthew A., a 28 year-old network administrator from Warren, MI goes by the handle Luvpain99 both on IAM and elsewhere. Matt lists his hobbies as “model trains and rockets, chatting online and programming.” Matthew is also a very staunch patriot, a born-again Christian, and involved in a long-term relationship.

A quick perusal of either Matthew’s journal, however, reveals some other, more “specialized” interests; his site on IAM in particular outlines a fascinating story of the journey Matthew undertook during the past year: over a period of twelve months, Matthew’s penis was subincised, his glans was split, a scarification project was began on the head of his penis, and three attempts were made to remove Matthew’s testicles, culminating in a successful bilateral orchiectomy (full castration) on April 9th, 2004.

The last attempt at self-castration resulted in a hospitalization, psychiatric commitment, and having to come out as both a homosexual male and a male desiring castration to his parents. He left a note in his apartment in case anything went wrong during the procedure so anyone finding him might have a better idea of what was motivating him.

Matthew epitomizes the “DIY” ethic (Do It Yourself) — although some might say a little recklessly. Aside from the last two operations to remove his testicles, Matthew completed all of these modifications himself, usually alone, with no assistance other than his own knowledge and boundless inner strength. While he still has struggles to face, Matthew is now a happy eunuch who maintains high visibility both on IAM and the Eunuch Archive.

In this interview we briefly cover what Matt’s been through this year — watch out for a full interview with him in one of BMEbooks’ next releases!


BME:  First, why do you perform such intense surgical mods on yourself?
MATTHEW:  Well the reason I do most of my mods myself are many — I’m a little cheap, and I would love to become a piercer or practitioner down the road but I don’t like experimenting or messing up on others. I’d rather make a mistake on myself and learn from that than on someone else. Plus it is a feeling of accomplishment being able to do something on myself.

BME:  I know you had some difficulties with the head split and castration attempt in particular, leading to Emergency Room admissions both times. How did you find the strength to keep going?

MATTHEW:  Well castration was something I have wanted since I was thirteen and I finally knew I was ready and had to do it no matter what. It wasn’t easy — the failed self-attempt was a major setback. I ended up being psychiatrically committed. I knew I would do it again — I tried talking the doctor into finishing it up. I kept telling them I would do it again when I got out. In hindsight, after I completed the headsplit (with a cautery pen), if I had just laid down in bed I’d have been all right, but I was afraid of falling asleep still bleeding. I decided it was better to be safe than sorry and went to the ER for bleeding control.

When I attempted the castration though I was unable to control bleeding and had complications relating to scar tissue in my scrotum from prior experiments and play. Once I saw I would be unable to finish it myself, I tried to do enough damage to both testicles that the doctor treating me would have no choice but to complete the castration. Unfortunately, that wasn’t the case. Later, I had a cutter perform the procedure on both my partner and I. His went off with no problems, but during mine only one testicle was removed as there was equipment failure during the procedure. Again, I was really frustrated. It seemed like I would never be able to achieve my goal.


BME:  Why was castration such a big goal? Is it a turn-on?

MATTHEW:  No — it never was a turn on. The goal was to solve what I considered a problem. I wanted to get rid of my sex drive.

BME:  Why didn’t you want a sex drive? No offense, but you’re a young, physically healthy guy… why eliminate your sex drive?

MATTHEW:  That’s a very difficult question to answer, and over the years there have been many different reasons for my wanting castration. I think that question is more suited for a book than an interview but I’ll try to do my best to summarize some of the key points for this interview.

To start out, castration has been a desire of mine since I was about thirteen years old. My memory is a little fuzzy about the exact time and order of events. I think I should probably give a little background about myself first before proceeding. First, I grew up in a very strong Christian Baptist family that was very active in the church and I went to a Christian school. I had a lot of health problems as a child — heart problems, asthma, allergies, hernias, and so on, so I was in and out of hospitals and doctors offices a lot until about third grade and had a high pain tolerance, as having blood drawn and other tests just didn’t bother me after the first few hundred times.

I believe what really started my interest in castration was realizing I was attracted to other guys — with my Christian upbringing I felt it was wrong at the time (I’m still unsure about it being right or wrong but that’s another story). It was around that time I started CBT (“cock and ball torture”) and using sewing pins to pierce my testicles as a form of atonement, but I soon found out I enjoyed it. I know at that time I wasn’t being sterile as I didn’t have the proper equipment, but I was playing it safe using 99% alcohol to clean a new needle and wipe the skin beforehand. I was very lucky then that I never got an infection or caught something. Being ashamed of being gay was probably my main reason for the longest time. However, that was no longer a reason when I finally did accomplish my goal.

The second reason I can think of would be “bad thoughts that hurt others”. The people that know me know that I’m a caring guy; one that likes to help others. I try to live by the Golden Rule — “do unto others as you would have them to do unto you” — I hate hurting someone intentionally or using them or taking advantage of them. This one is hard to explain but it deals with trying to get rid of urges to do things. I am very good at my controlling urges, but am always afraid of giving into them. I gave into some of those urges as a teen and still regret it today.

That was still a reason at the time of accomplishing my goal, and I’m very glad to say that accomplishing the goal of castration really did help with this issue.

The third reason I can think of is lowering and totally getting rid of my sex drive. I know that might sound strange to most, but for me I really didn’t get any pleasure out of masturbation or sex. I get pleasure from cuddling and being with someone, but not from sex. For me, getting off was just a release my body needed and not a pleasure. I think my body had two settings: normal and pain (with maybe a slight pleasurable sensation here and there). I just got tired of having to get off all the time and work hard at it for basically no enjoyment. I figured without a sex drive there would be no need to get off. That was a major reason for obtaining my goal. It has been seven months now since I have gotten off.

The fourth reason, which never really was a reason for me until after my castration, but many other people have used it as a reason for their castration, is being calmer. I’m not sure if it is just the castration or a combination of the medications I am on right now, but I’m definitely feeling a lot better… more at ease and at peace with myself and others.

The fifth and final reason I can think of, which wasn’t a primary reason, but something I had hoped for and managed to have come true is I was able to be castrated along with my partner. It has always been a dream of mine to have another partner that was a eunuch, as sex is not important to me. I really don’t know how to describe it other than it was awesome having my partner there when I was done, and being there for my partner when he was done. There is so much symbolism there that it is just unbelievable, at least to me, and how I look at things.


BME:  So you’re happy with the castration now? Any downsides, or things you weren’t anticipating? I know you’re taking calcium supplements to prevent osteoporosis.

MATTHEW:  I’ve hardly had any hot flashes — currently I’m trying to figure out what’s causing the severe headaches I’ve been having. I actually think it might actually be the calcium, which brings up a concern. I have no plans to undergo testosterone replacement — I like not having a sex drive too much to change that…

BME:  There are weekly tablets now like Fosamax and Actonel you could investigate…

MATTHEW:  I’ve only been off the calcium for a week, but with being sick lately with the flu it’s tough to tell exactly what’s causing the headaches.


BME:  You mentioned growing up in a conservative Christian environment. I know your faith is very important to you — how does it affect your choice of modifications?

MATTHEW:  My relationship with Jesus does affect mods as I do try and keep my mods positive and displaying my beliefs, as you can see from my tattoos!

BME:  Was coming out to your parents, both in terms of your homosexuality and desire for castration, as hard as it sounds like it would be? I mean, under the circumstances, you were pretty much forced to do so, having just been hospitalized due to doing serious damage to your own testicles…

MATTHEW:  Well, it was done in the hospital, and luckily I had written a letter stating what I had intended to do in case something happened. I just gave it to them to read.

BME:  That had to be a load off your chest at the same time, too.

MATTHEW:  Luckily they have been real supportive. They don’t understand everything but they care and are supportive of me.

BME:  That’s really a fortunate (and rare) thing.

MATTHEW:  Of course the big thing is, even with people outside my family, is people doesn’t understand my reason is more to be “sex-free” — everyone thinks it’s more of a desire to become a female.

BME:  I know just from knowing you as well as I do that you don’t desire feminization; you just want to be a castrated male.

MATTHEW:  Right now things are improving, but it is too soon to say how my situation will be as I’m still fighting for disability and other issues.


BME:  Hopefully there will be fewer ER visits for mods gone wrong! Are you a supporter of doctors and other medical professionals offering these procedures, so people won’t have to continue relying on cutters or doing the job themselves?

MATTHEW:  I’m a supporter of informed people having the right to choose if they want a doctor, cutter, or to do it themselves. That being said, I do think there should be a license for cutters so we can find qualified people into body mods able to do these things, and have access to more supplies than a normal person but not have to take tons of classes.

BME:  Do you have plans for future modifications?

MATTHEW:  I’ve got lots of ideas — I want full genital bifurcation and would like to fill my now empty scrotum with beads.

BME:  Are you planning on doing those mods yourself as well?

MATTHEW:  Yeah, I am!

BME:  So no fear then?

MATTHEW:  Well, I just learned suturing, and got a nice new tool this year that I haven’t tried out on myself yet, but I have tried it out on dead chicken and it works fine for cutting and such…


BME:  I’m guessing that’s a hyfrecator? [A hyfercator is an electric cautery tool somewhat similar to an arc welder for flesh.]

MATTHEW:  Yeah, it’s nice. Also, it doesn’t put out too much smoke like the battery powered cautery pens I’ve used in the past. I’ll see how that works for finishing the glans split and for the penis split hopefully.

BME:  Whom do you admire as far as modifications go?

MATTHEW:  IMG:moddick68 has done some awesome work, and IAM:subcision has a beautiful sub.


BME:  So in your opinion, how was last year for you?

MATTHEW:  It has been a trying year full of ups and downs. I’ve managed to survive it and when I get back on my feet again I’ll be ready to do more mods and support BME and the EA (the Eunuch Archive, located at eunuch.org).

BME:  Were you glad when you found BME? Had you felt isolated before?

MATTHEW:  BME and the EA both help me out a lot and showed me there were others like me. I used to think I was strange and only one like that.

BME:  Are you still involved with the EA?

MATTHEW:  Yeah, a little — I’m trying to get more involved again.


BME:  So how would you sum up where you’re at during this point in your life?

MATTHEW:  Hmmm… it’s hard to say. I’m just a normal behind-the-scenes guy that loves doing mods on himself, wants to become a piercer, wishes he could legally be a cutter, and loves helping others, BME and the EA…

BME:  …and one of the strongest people I know!

MATTHEW:  …and you should probably add “shy” to that… not shy shy, I just don’t talk much.


I’m sure in the coming year Matthew will continue, shy or not, to boldly make his mark in the body modification world…perhaps not with words (although this interview puts that notion to rest) but surely with scalpels, needles, hyfrecators and whatever else he can get his hands on!

Hopefully Matt will talk to us again and fill in the rest of his story, as we’ve only just scraped the surface with this introduction. Matt has been a regular contributor to BME and you can see many of his pictures both in BME/extreme’s castration and genital modifcation sections, and in his bonus gallery in BME/HARD.

– Chris Clark   (iam:serpents)



Chris Clark is a 32 year old farmboy, journalist, and musician actively involved in heavy body modification and ritual. He is also a Parkinson’s Disease survivor (and thirver) and is currently writing Matthew’s biography for BME/Books.

Online presentation copyright © 2005 BME.com LLC. Photos copyright © 2004 Matthew A. and LuvPain99.com. Requests to republish must be confirmed in writing. For bibliographical purposes this article was first published online January 8th, 2005 by BME.com LLC from La Paz, Mexico.



  

Ryan Ouellette: Lord of the Blade [Guest Column]

  

Ryan Ouellette

Lord of the Blade


“I’m tired of all this nonsense about beauty being only skin-deep. That’s deep enough. What do you want — an adorable pancreas?”

- Jean Kerr

There’s something quite profound about scarification that marks it apart from other forms of aesthetic body modification. Whereas tattoos and piercings augment and decorate the body by adding ink or metal, a scar is created merely by interacting with what’s already there, harnessing one of the peculiarities of the skin and channelling it to decorative ends. By using a scalpel, branding iron or cautery pen, it is possible to create intricate patterns in the skin, which, when healed, form distinctive and permanent scars. I really see this as body modification in its purest form — the body itself is producing the artwork, sealing over the inflicted wound and leaving an enduring mark that is actually part of the skin, not an inorganic addition.

Unfortunately, the idiosyncratic nature of an individual’s healing often makes the results of scarification fairly unpredictable, and as such the designs attempted have usually been fairly simplistic. In the West, scarification has tended to be either pieces made up of single line scalpel incisions for fine work or large, heavier scars produced by branding. Over the last few years, however, a number of scarification artists across the globe, feeling artistically constrained by the limited results and narrow range of designs that can be produced by single-line cuttings and the unpredictable and brutal scars left by brands, have begun to experiment with skin removal techniques, using their tools to actually remove areas of the upper layers for skin to produce larger, bolder and more predictable results.

Fresh skin removal scarification Healed skin removal scarification
Fresh and healed skin removal by Ryan Ouellette

Skin-removal really is in its infancy, and this article is in no way intended to be a how-to or instruction manual on the intricacies of this invasive and potentially dangerous procedure. Please do not try this at home. Instead, I hope it will illustrate what it is possible to do with the human body’s largest organ and germinate a few ideas in your head. I’ve been fortunate enough to be able to interview one of this community’s most prominent, prolific and talented scarifiers, and this article is in many ways both a portrait of him and an introduction to his often astonishing work.

Although not the ‘inventor’ of this technique by any means, Ryan Oullette (IAM:The Fog), a twenty-five year old artist working out of Precision Body Arts in Nashua, New Hampshire, is widely regarded by his peers as one of the best scarification artists currently practising skin removal. Photos of his scars were recently showcased in National Geographic magazine, the patterns and motifs he produces are brave and original, and his work — both fresh and healed — is simply stunning. Chatting with other scarification artists, Ryan’s name comes up again and again when they’re asked whose work they particularly admire.

Ryan Ouellette Ryan Ouellette at work
BME:  Where are you from originally, Ryan?
RYAN:  I grew up in a small rural town called Pepperell — it’s just over the border in Massachusetts only about a half hour from the little city I live and work in now, Nashua. BME:  What got you interested in body-modification in the first place?

RYAN:  I have no idea to be honest. It was never a choice, it just felt natural. Like shaving or eating. I ‘play-pierced’ myself a lot when I was younger, with sewing needles and things like that. I used to do crude scarification on myself with needle heads in my bedroom. I never thought it was unusual behaviour and I didn’t see it as ‘self harm’ or anything. It just felt natural. I started getting actual piercings in my mid teens and it just grew from there.

BME:  How long have you been ‘in the business’ as a piercer and practitioner?

RYAN:  I’ve been piercing professionally for about five years. I had hopped around part-time at some shops for another year or so before then but I would say that was more of an amateur thing. I took over my shop about four years ago and I started cutting maybe six months after that.

BME:  Did you apprentice?

RYAN:  I’m completely self-taught as far as technique goes, although I’ve done a lot of formal training for piercing (Association of Professional Piercers anatomy classes, aseptic technique, and so on). I got some little pointers here and there from talking to guys like Lukas Zpira over the internet. I try to soak up all the ideas I can from watching videos and looking at pictures of other artists’ work. But mostly it was just trial and error.

One of the bigger things that sticks out in my head is reading an interview about Blair and his branding. He talked about how a lot of branders were scared to hit the same line multiple times and he said something along the lines of “work it until you’re satisfied”. And that really influenced my cutting style. Instead of trying to get a perfect line in one pass I hit and re-hit the same multiple times until I got it looking exactly how I wanted it. My cuttings are actually influenced most by Blair’s brandings if that makes any sense.

BME:  When did you start doing cuttings, and how did you develop?

RYAN:  Aside from the little chicken scratches I did as a teen I started professional cutting about three-and-a-half years ago, early 2001 I think. Originally I only bought scalpels to do work on myself. I never intended to work on other people at first. I did some small pieces on myself over the course of a few months. After that I did one on a guy I worked with, then my girlfriend. Gradually, it grew to regular customers, and once word got out on the internet I started to get a lot more people coming in asking about it.

BME:  Do you perform other forms of scarification such as branding or electrocautery?

RYAN:  I only do cutting. I’ve never even attempted any form of branding. At first I looked at scarification as the name for any scar procedure and I looked at things like scalpels, cautery pens, hyfrecators, and so on as different brushes used for one kind of art. Now that I’m experienced with a scalpel I see cutting and branding as two completely separate art forms. I might get into branding in the future but right now I feel most comfortable with a blade.

BME:  Why and when would you choose skin removal as a method of scarification as opposed to simple scalpel cutting or any other methods?

RYAN:  It all depends on the design. My earlier work was basic geometric designs — lines and curves. No solid or bold sections. After a while, I got bored and I felt that in order for my designs to evolve I needed to have larger sections, so that’s when I tried out flesh removal. My first one came out terribly. I cut it the way I would a single line piece and it ended up being way too deep and it healed really unevenly and didn’t look good at all. I gave up on flesh removal for about a year and then decided to try it out again, this time on myself. I changed what I thought was wrong with my last one and the piece came out to my satisfaction. After that it just felt as comfortable as anything else, so I incorporate it into most of my designs these days.

BME:  How do the results differ, in your view?

RYAN:  I just like the bold sections more than single line work. There is only so much you can do with single line pieces. After doing single line pieces for a year or two I was getting a lot of requests for designs that just couldn’t be done without flesh removal. Also, it’s easier to get a nice distinctly healed scar with flesh removal. I seem to get more consistency with them. I try to push myself each time. I think I do my best work when it’s something that looks too complicated for me.

Skin removal scarification by Ryan Ouellette Skin removal scarification by Ryan Ouellette Skin removal scarification by Ryan Ouellette
BME:  Can you talk me through the procedure, from start to finish?

RYAN:  Well it’s actually pretty similar to a tattoo for set up. The skin is shaved when needed, cleaned (sometimes with iodine, sometimes with Technicare), and then I put on a stencil. After all the prep stuff I usually make a quick pass over the entire design with a #11 blade scalpel. I basically consider it guide-lining. It’s not very deep, and it looks pretty uneven at first. It’s basically just opening up the skin over the whole piece very shallowly; the depth isn’t evened out until the next step.

    Number 11 scalpel blade
11
Number 15 scalpel blade
15

Next I’ll usually change blades to keep it sharp, and then I’ll go back over the design and slowly even out the depth and width. The depth and width varies depending on the design. If it’s single line I tend to go a bit deeper and wider. If I was doing removal I would go a bit shallower because I’ve learned that if you do flesh removal too deep it tends to blob out and heal unevenly. For removal sections I get my outlining done and then I use some haemostats to basically just pull up a corner. Then I use a #15 blade and slowly separate the tissue up and away while I lift with the clamps. I try to go as even as possible because you obviously want a uniform removed section for good healing. I try to make my removed sections as small as possible because I’ve noticed that if you try to remove too large of an area the center of it tends to be excessively deep. I’ll often split a removed area into smaller sections or strips and remove them individually instead of just on one large hunk.

As far as the depth goes I’ve talked to a lot of very good scarification artists and their techniques all vary. Depth is really just whatever works for the individual. Generally you’re going into the tissue below the cutaneous layer but not through the fascia. And I’d say that good flesh removal is typically slightly shallower than single line scarification. You really want to keep it uniform. You don’t want to see pits and valleys because that means different tissue layers, hence different scar production.

Ryan Ouellette at work

In terms of blood control, basically I just pat my field with paper towels as I work, again similar to tattooing. I really like to keep my lines clean and as dry as possible. Some people bleed more than others, obviously, so sometimes it’s hard to keep things as clean as I like but I generally don’t like blood to leave my immediate field. I don’t just let it drip all over the place like some people tend to do. It’s partially for contamination control but it’s mostly just so I can clearly see the cut depth and width clearly. The bleeding tends to stop within five minutes of finishing a line. So by the time I move on to a new line my previous ones are usually dry.

I’ll occasionally clean the field during the procedure, typically between steps. So maybe once after all the outlining is done, and then again when the piece is completed. I typically clean the field with green soap solution, again like a tattoo. After I’m done I’ll bandage the area with a sterile non-stick dressing. I usually tell the person to keep it bandaged for at least four to six hours. Sometimes, particularly for flesh removal, I’ll just have them keep it bandaged overnight. As for removed skin it’s basically nothing by the time I’m cleaning everything up post-cutting. Without blood supply it shrivels up within just a few minutes.

BME:  What are the benefits of skin removal — what can be done, and what are the limitations — what can’t be done?

RYAN:  I think the main benefit with flesh removal is additional control. With a single line cut you make a cut and basically just widen it out and change the depth. So if you make a slight error all the cuts from that point on are going to have to work around that one mistake or even it out. With flesh removal you can control both the outline and center of all lines and sections. If I want to do a grouping of small tight lines, especially with angles or curves I’ll almost always do it with removal. If you do single line you are basically splitting the skin open so that can sometimes limit what you can do right next to a line. With flesh removal you are going shallower so the skin tends to open less. So I can do tightly compacted lines and feel confident that they’ll heal where I put them. If I tried to do lots of small lines within an eighth of an inch they would tend to scar outward and probably blend together during the healing process. The lines are more straight down and tend to heal in their original location unless they keloid a significant amount.

As far as what can’t be done I guess I would push people away from very large sections of removal. If someone wanted a removed section bigger than maybe two inches wide I would probably try to change their design or flat out turn them down. As far as complexity I’ve never had to turn something down because it’s too complex. I’ve had to rework designs to simplify them slightly in order to be able to cut it into someone. Obviously you can’t do shading, so I have to redraw things to make them bolder, kind of like a solid black tattoo.

There are some areas I would prefer to not work on like hands, wrists, necks, and so on. But I’m sure if someone really wanted a piece there I could figure out a way to do it safely. I’d just have to do it a little shallower than average. I did some flesh removal stars on the side of my girlfriend’s hand and it was very difficult. Two little coin-sized sections took me about two hours because I had to be so careful with my depth and remove the tissue at the exact same shallow level.

Skin removal scarification by iam:The Fog Skin removal scarification by iam:The Fog
BME:  What are the risks?

RYAN:  Risks are similar to any comparable procedure like tattooing or branding. The biggest risk would be infection but I’ve never had a problem with that. I give very clear aftercare instructions so it hasn’t been an issue. That’s the only thing I would call a risk. There are more complications that could come up like uneven healing and scarring mostly. Occasionally a person can get kind of a rash around the piece, depending on aftercare. It’s usually from wrapping it the wrong way or not cleaning it often enough.

BME:  What aftercare do you generally recommend?

RYAN:  My basic aftercare is that they keep it covered with plastic wrap and Vaseline for about seven to ten days. It keeps the body from forming a scab which makes it heal more from the bottom up instead of from the sides inward. It’s just important with wrapping that you keep the piece clean and somewhat dry. So I tell the person to unwrap and clean it throughout the day. I usually just have them use an antimicrobial soap like Satin or Provon. If they don’t clean it often enough the fluid under the wrap can cause irritation or a rash. The rashes are more frequent if I have to shave the person before the cutting.

I basically just worked out my aftercare with trial and error. I also talk to a lot of other artists about technique so I steal a lot of ideas from them. Sometimes I’ll suggest using a mild irritant like lemon juice mixed with the Vaseline. It can tend to make the body heal with either a darker hypertrophic scar or, with a little luck, raised keloid tissue.

BME:  How long is the healing period, generally, and what are the stages of healing?

RYAN:  Complete healing varies on how they take care of it. With the wrap I’d say that the body will form a new layer of skin over the whole design within around two weeks. If they keep it unwrapped the body will scab slowing the healing process to maybe three weeks. If you add in agitation, picking, or scrubbing it could lengthen it out to a month or more.


healing skin removal scarification
2 days old

healing skin removal scarification
5 weeks old

healing skin removal scarification
3.5 months old
BME:  What kind of results does skin removal produce — what do the resulting scars look like compared to other forms of scarification?

RYAN:  With my removal it’s not really making the body heal in a specific way. It’s really just emphasizing the way an individual’s body will heal a cut. I’d say on a whole removals tend to give a better more distinct scar. But it’s very difficult to force the body to heal one way or another. Keloid tissue is more of a raised pinkish tissue. It’s basically what most people hope for with healing but it’s actually not that forthcoming in a lot of pieces. I’ve notice that the body heals more commonly with hypertrophic tissue. This tends to be more of a darker granulated, less raised tissue. What I shoot for with aftercare is either a very dark distinct hypertrophic scar or an evenly raised keloid scar. I never guarantee a certain look though, that would just be impossible.

As for how it looks compared to other scars I’d say flesh removals don’t scar outward as much as some other techniques. Brandings tend to heal outward a lot more due to the heat damaging surrounding tissue. A lot of single line scarification tends to be deeper than removal so the line can heal a little wider due to it having a tendency to heal in more of a V-shape then wide U like some removals.

BME:  Is there anything else you’d like to add?

RYAN: 

Yes! It’s really important that people remember that these procedures can be extremely dangerous if not done by a skilled professional with a decent amount of anatomical knowledge and experience working with skin. If not, people could end up in hospital! The difference between single line and removal can be compared to the difference between punch-and-taper piercing and transdermal implants. They might be similar but the latter is a lot more advanced and dangerous.


If you’re interested in getting work done by Ryan, his shop Precision Body Arts is located at 109 West Pearl Street, Nashua, New Hampshire (or call 603-889-5788). You can also see more of his work in his gallery on BME (and of course you can view other artists working in similar styles in the general scarification galleries as well).

As scarification techniques evolve, designs which previously would not have produced good, clear, dramatic looking scars become possible. The only limits are those of your imagination and of your artist’s skill. Choose wisely.

– Matt Lodder   (iam:volatile)



Matt Lodder is a 24 year old native of London England. He wrote his Masters dissertation for the University of Reading on “The Post-Modified Body: Invasive corporeal transformation and its effects on subjective identity”.

Thanks so much to Ryan for agreeing to be interviewed, and for being so eloquent and forthcoming with information. Thanks also to Quentin (iam:kalima) and Vampy (iam:vampy) for their help in answering my questions, and also to Shell (iam:stunt_girl) for her last-minute assistance!

Online presentation copyright © 2005 BMEzine.com LLC. Requests to republish must be confirmed in writing. For bibliographical purposes this article was first published online January 7th, 2005 by BMEzine.com LLC from La Paz, Mexico.



  

A brief history of BME and reflections on the first ten years [The Publisher’s Ring]


A brief history of BME
and reflections on the first ten years


“Love knows no limit to its endurance, no end to its trust, no fading of its hope; it can outlast anything. Love still stands when all else has fallen.”

– I COR 13:7-8

Ten years have passed since BME was first uploaded. In that time it has gone from being one of the first websites on the Internet to being one of the oldest and most successful, not only in body modification, but of all subjects. I have a pretty bad memory, so it’s possible that some of these things are out of order, but let me try and tell you how BME came to be what it is now.

Following are some of the looks that BME has had over the years; unfortunately no archive that I know of exists for versions of BME prior to 1997. If anyone reading this has earlier versions, please send them my way!



















In the summer of 1994 I was at a turning point in my life. On one hand I was building the world’s first Internet casino, was about to be featured in WIRED magazine for it, and had a flagship telephony product that was being hailed as revolutionary. On the other hand, I was fresh out of psychiatric prison, at odds with my family (it was my mother who had me drugged and locked up after I grew up to be “too weird” for her sensibilities), and had just moved back to Toronto. I was living with a stewardess at the time, which gave me a lot of unattended time to myself as I enjoyed her fancy apartment.

I’d always been “online”, but only via the BBSs I accessed using my text-only DOS-based computer. One of the systems I used had a primitive USENET gateway (newsgroups; now Google Groups) which allowed access to rec.arts.bodyart, a discussion group for all things body modification. The BBS I was using only allowed reading, not posting, so after a week or so of monitoring it in silence I set myself up with a full Internet account and “delurked”. One short week after that — August 15th, 1994 — I made the following post:

Is anyone out there interested in starting an e-zine dedicated to piercing and bodyart? It’s a project I would like to get started... I have access to a 1200dpi scanner, and lots of equipment, and have various piercings of my own I could use, but obiously [sic] I need help... If anyone is interested please email me.

For a first issue I would like to make a sort-of-FAQ with photos (among other stuff) — something that newbies could ftp and would answer a lot of question — but I don’t want to use magazine pictures so I would need people to mail me pictures or email me scans of stuff... not just finished piercings but procedural photos if you have an unusual piece of pierce. (I will probably use photos of having an 8mm dermal punch put through my conch.)

      

Response was not very strong, although I did get a few photos, but I think it was luck that made the biggest difference. My ears were stretched to over an inch using homemade jewelry, but I wanted something better. In my search I happened to walk into Stainless Studios where I met Tom Brazda. He’d just hired Ryan Worden (who now runs BMEshop) to run the counter, and in September 1994 hired me to make jewelry, even though I’d never done it before, let alone even operated a lathe. Also working at Stainless Studios was Ryan O’Brien who would later run BMEbooks. In any case, with the help of their customers and portfolio (and my friend Saira’s computer, which was much better than my own), on the evening of December 7th, 1994 I was able to announce BME’s creation.


Newsgroups: rec.arts.bodyart
Date: Tues, Dec 6 1994 10:02 pm EST
Subject: Body Art Magazine / WWW Site

Ok, well the magazine is much more on its way! The initial pictures from the first issue are available on my WWW site.

http://www.io.org/~glider

There are a bunch of pictures: hand web, large piercings, stretching, implant surgery, eyebrow... they are 1200dpi colour 24bit scans, all 640x480 in .jpg format — check it out. Text will be there soon too...

shannon larratt
[email protected]

It was amazing how quickly the site grew. As soon as it was up, word started to spread and people started sending in their pictures and stories as well. At this point it was nothing but a few text-only menus with links to images which could be downloaded and viewed later, but bandwidth began to spike — by December 15th it was already clear that female genital piercings drew a server-crushing amount of bandwidth!

Within a few months BME was ranked as the 25th most popular site on the fledgling Internet — of all subjects. As the Internet grew, BME normalized to about 850th of the four billion or so sites now online, but bandwidth continued to grow, cracking a million hits in the first month, and then quickly moving up to a million daily and later twenty million daily! Hosting wasn’t cheap back then, but in another “just got lucky” moment that seems to define BME, one of Internex Online’s employees turned out to be a fan of the site and helped convince her bosses that BME deserved free hosting, which they continued to provide until they were bought out by a larger telecom corporation.

That company wasn’t willing to provide me with free hosting, but they understood the business potential of the volume of readership BME was drawing. We had a series of increasingly unpleasant meetings discussing advertising, memberships, and so on. As luck would have it again, an employee of another small hosting company — Quintessential Communications (now Sound Concept) — offered me hosting under their “FreeQ” banner and with their help was able to stall becoming commercial for a few more years.

Eventually bandwidth bills caught up to Gypsy and Brian at Quintessential, and BME did take advertising, getting early support from companies like Anatometal and Unimax which was essential in keeping BME afloat. At about this time we started adding paid membership options as well, which also started to allow me to dedicate more and more time to maintaining the site and building software tools to improve it. Now that we were paying for our bandwidth usage (which was cripplingly expensive back then, and we often ran at a dramatic loss), BME bounced between ISPs a little to keep costs low, including a few more years with a new company owned by Paul Chvostek, the founder of the company who’d offered us hosting back in 1994!

BME also expanded into BME/extreme with the help of Shawn Porter who I met after the death of body modification pioneer Jack Yount — we officially launched BME/extreme on the first anniversary of Jack’s death. A little later BME/HARD was launched using all the images I’d been getting from people for the first few years that I deemed “too dirty” to use in the main sections. I’d resisted adding them because I didn’t want erotic aspects to dominate the site, but the fact is that erotic application of body modification and play is a significant sociocultural demographic, and it would be contrary to BME’s mandate of accurately representing this community to exclude it any longer. With that decision, BME had matured as a commercial entity and began to be able to stand on its own two feet.

However, BME’s financial growth brought its own problems. The first time we offered online memberships we had virtually no fraud control in place (no one did; it was too early). We were later horrified to discover that we had a fraud rate of about 75%, which instantly destroyed that billing system. I later moved on to Online Financial Systems, an early third-party adult processing competitor to companies like Ccbill (no mainstream billing service would take BME, so we had to work with people processing for pornographic sites). As much as the credit card companies “tolerate” adult sites (because they are profitable), they make life hell for them — increased rates, draconian charge-back policies, aggressive security hold-backs, and so on, and that’s if you can even find a bank willing to take on an adult customer. Most will not. Because of this BME found itself processing out of the Bahamas. The site was making enough money to pay its bills, but then the bank started getting slow on their transfers to us… and slower… “sorry, there’s a technical problem down here… you’ll get the money next month, we’re very sorry…

After months of charges (as well as a security deposit and a rolling hold-back) had been sequestered in their tropical holding cells, it became clear they’d defrauded us and we had little to no recourse to reclaim it.

It took a few months of negotiations with new banks but eventually BME was back taking memberships — although this cycle of economic abuse would happen several more times, and I expect it to happen several more times in the future. Sometimes all it takes is the wrong person at corporate headquarters to clue in to what BME represents and we find ourselves on the street. That said, every time this has happened, BME has stayed online and continued to run, almost entirely due to generous support from those who create BME through their images and stories. It’s very important to understand that the reason that BME has worked (or at least why I think it’s worked) is because of those people. BME isn’t a magazine with a mandate of its own to push — it seeks not only to be representative of the voice of the community, but to actually be created cooperatively by the community itself.

As much as BME had tools for this community beforehand — a simple forum system, personal ads, and later even online “beauty pageants” — it’s really October 15th, 2000 that needs to be mentioned. The Net was already way into the blogging phenomenon, and I decided I’d like to have an online diary of my own. I put together a simple system for journals, and since it wasn’t really going to be much more work to do so, made it available for others to play with, posting the following message:


October 15, 2000:  I am so tired! I probably shouldn’t tell you about it yet, but if you want to see what I’ve been working on, go to http://bme.com/iam/ -- Feel free to play with it if you want to, but do realize that we’re talking pre-Alpha stuff here and I’ve only completed about 25% of the programming. If you do play with it, and you experience “odd” behavior, please do tell me though.

As had happened six years before with the main BME site, IAM quickly snowballed and a vibrant community was there within the week! I added features as quickly as I could and started tying parts of the IAM site and BME together. IAM went through a set of growing pains similar to BME and now continues as (I believe) the defining online body modification community (and a pretty nice piece of software as well).

IAM has been able to provide a backbone of communication and introduction for people, and has helped catalyze tens of thousands of intense friendships, dozens of marriages (and some divorces) and now babies as well (including my own I suppose). In-person meets (echoing back to the rab munches of USENET) are common and from them suspension groups, bands, and more have sprouted. BME has grown from my little one-page website idea to a distributed empire given life by the ideas of hundreds of thousands of creators.

Maybe I’m kidding myself and the reason for BME’s success is simply pictures of female genital piercing as I opined in December 1994, but speaking without misery it’s my opinion that the reason this growth happened is because BME was always run first as a devout offering to something we all believe in, and second as a business. BME’s stated goals are as follow:

  • To let people know they are not alone and to help them to understand who they are and what they are going through.
  • To provide a space allowing people to share their experiences with body modification and manipulation.
  • To politically and commercially encourage the ethical growth of body modification and manipulation.
  • To generate revenue and succeed as a traditional business, and to reinvest a part of these profits in body-related projects.
  • To educate the public about body modification and manipulation for the purposes of safety, history, culture, and good will.
  • When possible, to unify people interested in body modification and manipulation subjects.
  • To never judge one body modification or manipulation activity as more “right” than another and never succumb to public (mainstream or non-mainstream) pressure to draw this line.
  • To act as a media liaison to encourage accurate portrayals of body modification and manipulation and to encourage positive mainstream acceptance of body modification and manipulation activities.
  • To work with other body modification and manipulation groups to further our common goals.

While I’ve left a lot out in this brief history — the creation of BMEshop, Uvatiarru (our movie), all the BMEbooks productions, legal fights, HUSTLER offering to buy BME, constant content theft, threats, ModCon, the Church of Body Modification, BME/Japan and much more — but that brings us basically up to date.

Reflecting on Ten Years

So… ten years of my life have been used on this project. I estimate I’ve spent at least 30,000 hours of time building and maintaining the site (and that’s my “lower limit” estimate). Was it worth it? Absolutely. As time has gone by I have become convinced of one thing:


“We are right.”

That is, the way that we live is the right way for us to be living (I make no claim that there aren’t other paths up the mountain, but for me, and many people reading this, this is the right path for us). The things we do and the things we document on BME, almost universally, are good, in the purest sense of the word. They bring us joy, they expand and enrich our lives and horizons, they help us view the universe through larger eyes, they feel good and make us feel good about ourselves, they teach us and they help us talk — and all without hurting anyone else. Yet millions of dollars in resources are dedicated to enacting laws to ban our practices and to ban us from even talking about them, and trillion-dollar corporations do everything they can to make operating businesses on the subject hellish. My wife and I even risk prosecution and imprisonment in countries close to our hearts due to being BME’s publishers.

Why would the power players of modern society so resist the oldest form of human art and expression? It’s simple and disturbing: we are an affront to conformity, the conformity they need to maintain their power structure.

Let’s be real clear on something. The average person is an idiot. So blank and malleable in fact that the stranger telling them for a few seconds what to do — or what to buy — will be heeded. Don’t believe me? Explain advertising. The simple fact that advertising exists is all the proof you need to know that the vast majority of people are sheep. If this were not true, advertising would be based exclusively on the comparative merits of the product, which we all know is not the case. It’s one of those “can’t see the forest for the trees” scenarios — because of the abundance of ads, most of us don’t see their real message revealing the pathetic nature of most humans.

By definition, a person with piercings or tattoos — or who likes to shove a football up their rectum (damn near killed ’em!) — is breaking the rules and unable to believe that the status quo applies to them. The more they engage in body modification and play the more they realize that the status quo is a myth, that happiness really does come from within, and that life is what you make it — not what you pay someone else to make it. Thus we, the modified, are dangerous to them. It’s no lie that many of us have experimented with “risky behavior” as we are accused — because we don’t accept their rules. Because we want to know for ourselves. Because we desire to take an active role — or an active roll — in life.

I could go on and on with statistics to prove it (and have done so on my IAM page), but one of the things that has been revealed within the last four years of political turmoil is how far removed the average person’s worldview is from reality. At this point not much over 10% of Americans believe in the concept of evolution any more, and polling has showed that adherence to these views are deeply linked to political allegiance — or, to put it another way, the average person believes what they’re told to believe, not what they observe or understand to be true. Not only that, but the average person not only does not want to discover the truth for themselves, but they become openly hostile when that truth is expressed to them, and violent if it is presented alongside difficult to refute evidence.

People who “break the rules” by doing things like abnormally* modifying their physical form take a step toward rejecting this idealogical control structure. Because of this we have ridiculous and hypocritical laws restricting body modification,

* Abnormal: Not typical, usual, or regular; not normal. Much greater than the normal; “abnormal profits”; “abnormal ambition”. Syn. Exceptional, Rare.
Normal: Conforming with, adhering to, or constituting a norm, standard, pattern, level, or type. Syn. Routine, run-of-the-mill, obvious, mediocre.

Below are a few photos of abnormal people attending some of the earlier BME BBQs:







or pushing it back far enough into adulthood that it is less able to be a formative experience. Those at the upper end of the power structure do not want those below them realizing the power structure is illusory — so they combine a two pronged attack of restricting growth at the edges while dumbing down and bulk-marketing that which they can’t stop. Body modification and other fringe lifestyles are treated with a mix of derision, restrictive legislation, lampoonery, and finally watered-down price-slashed mainstreaming.

Society is made up of 99% sheep, 0.9% goats, and 0.1% wolves. Before I get into that though, let me just rewind to the Janet Jackson nipple piercing fiasco and the other recent obscenity fines in America. What you may not know about these is that as much as obscenity is defined by “community standards”, only a handful of people actually find these materials obscene — in the $1.2 million dollar fine handed to FOX over Married by America, only three letters were written to the FCC complaining. Three.

Maybe right now you’re asking yourself why FOX would accept the largest fine in broadcasting history for something that offended only three people out of millions of viewers (I’m quite certain that everything on TV offends at least three people). Simple answer — it was a $1.2 million campaign contribution to help convince Middle America that we — the freaks — were closing in on them. And it worked — they had a knee jerk reaction, called for “moral values”, and TV censorship is at an all time high in America, and liberties are being rolled back across the nation… including a reconsideration of whether tattooing and piercing should be legal — including even documenting it as on BME. Sometimes they do this with outright bans, but normally they do it with soft bans involving ridiculous and unfeasible health or zoning requirements. What’s happening is clear though — a tiny number of people are manipulating the group mind in order to suppress the vocal minority who aren’t connected to the enslaved and unquestioning Borg Collective paying the richest people in the world to stay rich.

 

But getting back to animal land, it is the job of the goats to have fun, explore the borders, occasionally eat a tin can, and try and let the sheep know that just because “sheep” and “sheep herd” use the same spelling on their root word doesn’t mean that they’re conceptually the same thing. Sure, you’re a tribe member, but you’re also an individual. Then you’ve got the wolves, who live off the sheep. The job of the wolves is to keep the heard healthy but beat down enough to make easy victims, while killing any goat that gets too uppity.

Speaking as a lunatic who buys this metaphor, I’d like to think that BME reminds the wolves that the goats actually enjoy kicking, don’t really mind if their lip gets pierced by that risky tin can, and point out to some of the sheep that if they’d like to take on the goat role, they’re perfectly welcome to do so. I’m looking forward to ten more years of kicking wolves, and partying with risk-enamored converted sheep and all my goat friends. If a wolf kills me, which is certainly quite likely, at least I’ve died honorably… but I’d like to keep telling everyone that it’s OK to break the rules because the rules are a myth. I’d like to keep telling people that any way you want to live is fine and the more doors inside yourself you want to open the better. I want to keep broadcasting everyone’s transformative stories so they can reach as many people as possible.

Before I finish, I have one last — and most important — thing to say to everyone: Thank you for your help. I think we have done a good job together, and have expressed something wonderful. Here’s to ten (thousand) more.


Shannon Larratt
BME.com



Overdone: Why Do People Get Star Tattoos? [The Publisher’s Ring]


Overdone:

Why Do People Get Star Tattoos?


“Quod est ante pedes nemo spectat: coeli scrutantur plagas.”

(No one sees what is before his feet: we all gaze at the stars.)

– Marcus Tullius Cicero

Bod mod elitists have always made fun of people with modifications they feel have become “common” and moved into the mainstream. In the past (and still now), the legions of people wandering about with kanji symbols tattooed on them became objects of derision, accused of wearing what they didn’t understand or relate to because someone told them it was the cool thing to do. Similar accusations of mutilatory exercises in conformity have been leveled at those with star tattoos, as over the past five years stars have become perhaps the single most common piece of tattoo iconography.

Can star tattoos still have meaning — or did they ever? Why do people get star tattoos anyway? Are they just going with the flow? Have they devalued over time like a Right Said Fred CD? Earlier this year I started asking people why they got their star tattoos; below are some of the answers I got in their own words, along with the tattoos those people wear (click to view them). Decide for yourself if they took their skin seriously enough for you to judge them from your ivory tower.

Sarah W

Sarah is “an artist of sorts” from the UK who draws lots of flash for friends and has an online clothing store. She’s been getting tattooed since she was fifteen and loves being part of such a rich and varied community. She’s also a vegetarian, involved in animal rights, and (surprised?) loves travel and music. She’s still deciding whether she wants to be a tattoo artist or a bag lady when she finally grows up.



I have earlier star tattoos, but they are just simple ones, more for decoration and to fill space. But I’ve always liked stars for their aesthetic qualities — they look very neat and clean. They can be endlessly changed and altered in almost any way to suit any tastes. I also love the idea of tattooed stars relating to real stars, and the relation to the universe and space. It’s a reminder of how small we are within everything that exists and gives me a certain amount of peace of mind that what I do is ultimately unimportant.

This star you’re asking me about was designed by Alison Manners at Ultimate Skin in Leeds. I found a basic star design with an oldschool rose inside it; she redrew it perfectly for me. I chose the color because I love pink and am a bit of a girly-girl, and leopard print because I relate it to pin up girls (something I love), and also to nature. My boyfriend suggested getting it on the front of my shoulder, at the far side of my chest, but I felt it wouldn’t really fit with the chest piece which I have designed. I had always wanted a rose on my sternum, right in my cleavage because it would be very private, and also very suggestive, to show that I am a sexual person. A star with a rose in it would fit perfectly, so it was pretty easy to place it.

Not too many people have seen it because of its location, but obviously I’ve shown it to my friends. They all really liked it when they first saw it, and expected that it was pretty painful to get done. The biggest reaction was from myself, because I was surprised at how different I felt after having it done. It’s the first tattoo I’ve had which I can see when I look at myself face-on in the mirror, as most of my tattooing is on my back. I had a great feeling of satisfaction being able to see it all the time, and comfort within myself after it was done. It was like I was becoming more like me. It’s changed the way I think about my body and myself, giving me more confidence and making me more secure with who I am.

Sarah F

Sarah is a twenty year old hairstylist, a profession she chose because it allows her to look how she wants. She also hopes that because the job lets her interact with the public so often that she can change people’s opinions of the modified, because, as she puts it, “I’m such a nice girl!”



It’s not that I specifically liked star tattoos, I just liked stars. When I started high school I would doodle them everywhere and when I was sixteen I drew up the design for my first tattoo, a star with black and white checkers inside it. That design waited, tacked up on my bulletin board until I was almost nineteen and had the opportunity to get it. So now it sits on my left forearm just below the bend of my elbow, and I absolutely love it. I chose to put it on my arm because I didn’t want it to be hidden, I wanted it to be a part of me that people could see.

I have had my checkered star for over a year and a half and I still love it just as much as the first day I got it. I recently got another star tattoo on my back between my shoulder blades. Sometimes people notice the top point of the star coming up the back of my neck and they are curious to find out what it’s connected too. I always show them if they are truly interested and not being rude. I am happy to show them off.

I don’t care what’s popular and what isn’t. I got my star tattoos because I like them and that’s that. Things that other people do rarely affect my decisions on anything, and my tattoos are no different. I think it’s fairly obvious that I do not follow the crowd anyway. Most likely I will be getting more star themed pieces — how could I not? I never worry about them going out of style. It’s never even crossed my mind. As for the way other people see them, I don’t think that in twenty years people will be saying, “Oh, star tattoos are soooo 1998” or whatever. And if they do, well, I just don’t care.

I think it’s really sad that people make fun of star tattoos just because they are popular. Especially in this community where you think people would be more open minded
it’s sad to hear that people get all elitest about it and think “oh she’s not cool, she must have gotten that because everyone else does.” I know it’s been said before but don’t judge people for anything! You don’t ever know where they are coming from and the reasons behind their actions and decisions.

Claudinne


Claudinne is twenty and an officer in the Dominican Republic Army (a Caribbean nation next to Cuba and Jamaica, and bordering Haiti).



I love stars, ever since I was a baby, so, when it was time to decide on a design for my first tattoo, I had no doubt it would be a star. I did some research, drew a couple myself, and then decided to have it put on my back. Everybody just loves it! Here in the Dominiccan Republic I’ve had girls on the street just going crazy over it! I don’t regret doing it at all.

What other people think about star tattoos doesn’t change my feelings. I’m keeping this one and I’m getting more stars as well. Star tattoos will never look outdated, especially when you add details from your own imagination.

Melissa


Melissa is a nanny by day and Italian photo charm entrepreneur by night with a short fuse for people who don’t use common sense.



I have always loved stars. I love science, and stars are awesome heavenly bodies. To figure out my design I just looked around at some tattoo web sites. I found one that I liked and made it a little more special for me. I wansn’t really sure where to place it, but I always wanted tattoos on my chest, so I took the dive. Didn’t tear up once during it!

My mom hates my tattoos, and a lot of people think where I put them was a bad idea, but I love them and wouldn’t change a thing about them! I don’t care what everyone one else has as tattoos. A lot of people have star tattoos, but they aren’t all the same. There are so many different ones that I don’t think it matters that a lot of people have them.

Darren


Darren is an 18 year old living in the small middle of nowhere town of Tipton, California, where he’s lived all his life. He’s been playing guitar for the past five years, and music is something that makes him tick, along with hobbies like restoring muscle cars.



I’ve always been a tattoo person. I like hearing stories about people’s meanings behind the tattoos, and I like it when someone is able to put a meaning behind something that that put on their bodies. I thought about my design and actually going through with it for two years, and decided to have it done on my 18th birthday. Stars are also kind of an attractive shape. They always somehow seem to catch my eye when someone has one tattooed on them. In life I run into some troubled moments. I would sometimes stop my car and pull over on the side of the road on late nights coming home from hanging out with my friends, if something was on my mind. I would stop and get out, and just look into the sky. It’s almost always overcast here and the stars and clouds were just a design that kinda went together, and I figured if I tattooed it on me, it would always remind me of the things I do and why I do them.

I knew that I wanted the stars and clouds, but I wasn’t absolutely sure. I met Keith Duggan from Tiger Rose over in Pismo Beach who helped me work on the design. I chose to put in on my chest pallet and shoulder, just because I figured it’d be a good place to start, and Keith figured it’d probably look better there. My friends thought I was absolutely crazy. It’s just about ten inches in length and covers a pretty good sized area, and none of them have tattoos. They liked how good it looked and they thought that it was really cool, since it wasn’t just a plain star. A lot of people have said that it suits me just because of my personality. I absolutely love the damn thing. I don’t stop getting complimented on it. I’m actually thinking about making it it bigger and maybe even adding some stuff too.

Each and every tattoo I have and will get will be different in some way. Stars tattoos have been around forever. If you like a design that has stars in it, and feel like later on it’ll be out dated, don’t worry about it. If that star means something to you, then by all means go for it. There are some designs that people feel are “played out”. The nautical star for example, is something I hear about all the time. People say it’s played out, some say it’s cool. It all just depends on how you feel. I don’t regret one minute of choosing to put stars in my tattoo though!

Danica


Danica is a 29 year old administrative assistant to five oncologists at Vanderbilt University’s Medical Center (so all of her tattoos are in places she can hide). She loves her job but dreams of being a concert photographer. Like many others with star tattoos, she lives her life for music and travel, the most important things in her life other than her friends and family.



When I was ten I got my first telescope and fully intended to be an astronaut or astronomer when I grew up. For years I studied the stars, the sky, the moon, and the planets. It was such an awesome feeling for me to know that there are so many things up there that we’ll never know about. As I grew up I bought material items with stars on them. Star frames, jewelry, pillows, hair pins, and so on. I still do this, but I’m a little more picky now about the style of it.

The second tattoo that I ever got was a fairy sitting on a crescent moon holding a star in her hands. The star was never the main focus of the tattoo, but somehow it became the centerpiece. It was my favorite thing about the tattoo. Some years later, my best friend and I decided to get matching tattoos in which we would design from something I had previously seen on a temporary tattoo template. It was a spiral of stars circling around each other with some lyrics that read “gonna twinkle” (a line from a Tori Amos song). It was special to us in that cheesy way, thinking that no matter where we were (as we live hundreds of miles apart) we’s always be there for each other, somewhere under the same star, twinkling. I know, it’s complete cheese. But it’s cute cheese at least!

My biggest tattoo to date (the one pictured above) has 90 stars in it and one line of lyrics set between each star. I wanted it to look like the Milky Way. I remember in the summer, laying under the stars in my back yard just staring at the Milky Way and thinking how incredible it was. I couldn’t (and still can’t) even put into words what looking at that does to me. So my tattoo artist took into consideration what I wanted and he drew it to paper brilliantly. The lyrics go along with the star theme — “billowing out to somewhere”.

People love this tattoo. I get so many compliments on it several times a week. I haven’t had a negative thing said about it since I’ve had it. As for myself, I am in love with this work of art and I’m very proud to carry it around with me. I’m never going to change the tattoo or get rid of it. All my tattoos are bits of my life embedded into my skin. They represent a time and meaning in my life. If I got rid of them, it would be like erasing my memories.

Ali


Ali is a nineteen year old and was working at Burger King when I interviewed her, and assuming her plans went as expected, is just starting college now. Her boyfriend is currently serving in the Army, and Ali looks forward to his return next July.



I’m not sure why I like stars so much. I have stars and moons all over my room and seem to have them everywhere else I can put them! I looked for a long time before I had decided where I wanted it and what I wanted for my first star, a basic pink star with a black outline. When I went to Warped Tour a few days ago a majority of the tattoos I saw were stars — which was cool — but they seemed to be more on guys.

My “American” star was done in honor of my boyfriend and the rest of the people that I know personaly in the military, and is my own design. I’ve never had anyone comment that stars are overrated, but even if they did, I got them because I like them and wouldn’t care what others thought. I think most people have had positive reactions to my stars, and I do plan on getting more.

Janis


Janis is a 28 year old South African working at an accounting and auditing firm. While on a two year working holiday in the UK she was bitten by the “tattoo bug.”



My baby sister originally went overseas with me, but didn’t stay long. Once home, we would send each other text messages all the time and one night she said something about the brightest star in the sky and how it was me “watching over her” from far away. From then on, I was her star.

I got my first star, the larger one in the middle of my back, as a birthday present to myself in 2001. Then when I went home for my sister’s 21st birthday in 2002 I twisted her arm to have the same one done.

I got the other three done last year, here in Cape Town as a sort of “new beginning” phase of my life. People’s reactions are mostly “why stars” or just, “shit, that’s awesome”. I don’t always explain the full story to strangers — I just say “because I am a star!” which seems to work.

I only noticed recently how popular stars are, and it makes me feel kind of crappy because I wonder if their stars mean as much to them as mine do to me. When I’m seventy and can just barely turn my body to see my wrinkly stars they will still mean something to me. I’m not going to change them at all, but I am getting the Chinese symbol for star done in a week or so.

Melanie


Melanie is a twenty year old now in her third year of an English major. She’s still young, mostly just concerned with living a good life, having fun, and effecting some sort of positive change on the world. She’s asked me to point out first that her tattoo is a snowflake that just happens to be star shaped, not a star per se (“dammit!”).



I originally thought of getting a star tattoo on my foot because I liked the look of it, but I held off on it because a star really had no personal meaning for me. I think stars are very strong looking, and they come off as bold on the wearer. Star designs have been around for an awfully long time, and I don’t think they’re going anywhere. I guess I vote that they’re “eternal”. Also, I am a big fan of black tattoos as opposed to color (just on me! color on other people is cool!) and star designs have a tendency to look very sharp and sexy in black. However, I decided to wait and think on the idea, because I just didn’t feel personally connected to stars.

Later, I was flipping through one of my favorite books, called Principia Discordia, when I saw the design. It was a picture of the snowflake, and scrawled next to it were the words “Look for this snowflake — it has magic properties.” Principia Discordia is a funny book about an “anti-religion” called Discordianism, which kind of mocks the concepts of organized religion. It was written in the 60s by a couple of stoners, and it has grown into a sort of sub-culture. It’s hard to tell whether or not the whole so called religion is one big joke or not, but it basically advocates living life your own way with a sense of humor and not taking things too seriously.

I discovered the book when I was in high school, and it was really important because it took up a lot of my time then, and I was really involved in researching the sub-culture aspect of it, and its origins. It helped me to realize a lot of my own beliefs, and understand my opinions a bit better. I always knew I wanted a tattoo from that book (it’s filled with funny pictures and random designs) and when I saw the snowflake, I knew that was it. It had a star-like quality to it, but it wasn’t a star. And according to the book, it had magic properties to boot, so how could I beat that? It was very meaningful to me, so that was it!

Most of my friends aren’t really into tattoos, so they just tell me it’s hot and it looks good, and that’s about the end of it. To me it continues to represent a really cool book and the memory of a period in my life where I experienced a lot of personal growth.

Sarah S

Sarah (I’m beginning to think that name is more popular than star tattoos) is a twenty five year old into music and works for a music label. She’s mostly into things like Fear Factory, Perfect Circle, Tool, Pantera, and so on, and loves dancing — everything from belly dancing classes to going out clubbing. She loves art, is constantly reading and learning, and gets a kick from all things weird and wonderful.



I’ve always had a thing about the star shape. All my doodles were stars. I’m a pagan, so the pentacle-pentagram and other symbolic star styles are important to me. I wear stars in my jewelery, on my clothes, they are all around where I live. You can see it as a symbol of the five elements or as distant planets, balls of gas that cast such a spell over anyone who looks up and realizes how small they are. They’re my shape and my symbol, and that’s why I had a version of one done and will have more versions ingrained on me.

This star is based on a favorite necklace — like a talisman for me but it broke… It was in a mehndi style and looked a lot like a flower, and I added the swirls from some flash — I wouldn’t usually choose flash unless I could change it enough to make it my own. I have only had good comments, and people have liked the fact that it’s not one that is seen a lot. That’s what makes them comment, that it was unusual. I still love it, but I want to add to it now.

I going to expand it and have it trailing into my future designs, which will keep with the celestial, goth, and mehndi themes, because those are styles that I have been drawn to since I was a child and they have personal meaning behind them. I’m not worried about them becoming dated, since fashion goes round in a huge circle. If I worried that any design I was going to have wasn’t eternal for me, I wouldn’t have it done. The tattoos that last are the ones that are imagined from the heart, not from society.

Natalie


Natalie is twenty years old and helps manage a Hot Topic. She enjoys her work, and is also passionate about photography, describing herself as a sentimental person who enjoys getting tattoos, whether they mean something or not.


As a child, I always enjoyed stars in general. They make me happy and are beautiful. I chose to make my first star tattoo a rainbow pride shooting star to show my support of gay rights and gay marriage. My second star tattoos are located around my areolas. I thought my nipples were a tad too ordinary, so I decided to decorate them. The tattoos around my nipples were simply for show and enjoyment. They don’t have any specific meaning, like my rainbow pride star tattoo.

After getting my first tattoo, I gathered a lot of opinions from friends and the tattoo artist himself, as far as placement went. As far as design, I compiled three or four pictures and the tattoo artist went to town with them, and it looked perfect for me. My boyfriend loves them! As for people who say they’re overdone, I don’t give two shits about what others think of my tattoos. My tattoos are my tattoos. I didn’t do it for anyone else but myself.

Ronda


Ronda is a seventeen year old that’s been interested in tattoos and body modification for far longer than she could find someone willing to work on her.



I liked tattoo stars at first because I just thought they were beautiful, and then I realized that they kind of symbolize a few things in my life. They mean something to me, and I loved that they were simple at the same time. I got my stars scattered because the points in my life were somewhat scattered, and not exactly in a perfect line. I decided I wanted them on my back because I want to make them part of my backpiece in the future.

As I’ve had it, I’ve loved it more and more because when I see it I’m happy and I can remember something by it. People who see it say it looks beautiful, cool, or interesting, but of course they don’t know that it stands for something. When I decided a year ago to get tattooed, I didn’t notice that stars were a popular design. It bothers me because I think people automatically think I got them done because they were just “cool” or whatever they really think. I assume things like that sometimes as well, because I know people do things because everyone else is doing them, but I am not one of those people.

To me these stars feel eternal. Real stars are always up the sky, they’re always burning and shining bright, and so are many things in my life. As far as what other people think, basically I just don’t care too much about what other people think.

I hope this helps clarify, that, in the simplest of terms, that if you speak ill of someone simply because they’ve chosen a star or a kanji symbol to express themselves, that you’re a moron. It’s not relevant what language a person is speaking — what’s relevant is what they’re saying and if anyone else is listening. The people I talked to here were speaking with stars. There should be no question left as to what they’re trying to say. The question now is whether anyone heard it.


Shannon Larratt
BME.com

TransVision 2004 Coverage: Part One [The Publisher’s Ring]


TransVision 2004 Coverage
PART ONE: A RAMBLING OVERVIEW OF TV2004

“Transhumanism is a way of thinking about the future that is based on the premise that the human species in its current form does not represent the end of our development but rather a comparatively early phase.”

– Prof. Nick Bostrom, Oxford University

   

IMAGE SIDEBAR


Below are a few photos we took at TransVision. I felt a little bit like a “science groupie” asking people to let me take a photo with them, but hey, it was exciting for me! I should also note that in this article I’ve barely skimmed the surface of most of these brilliant minds — I strongly encourage you to check out their websites and google them for more.


Steve Mann (wearcam.org) speaking about wearable computing, glogging, and sousveillance. I really urge you to visit his websites to learn more about how he’s augmenting and mediating the human experience using a cyborg body.


João Pedro de Magalhães of Harvard Medical School talking about his work in trying to find — and one day cure — the genetic causes of aging. You can see in this picture how unfortunately empty the event was.




Dr. Rafal Smigrodski (Gencia Corporation) talking about his work on mtDNA replacement which could cure diseases such as Parkinson’s, Alzheimers, and diabetes, as well as dramatically extending lifespans.




Biogerontologist Aubrey de Grey talking about life extension by “cleaning” our cells of the toxic aggregates that our bodies are currently unable to deal with. Great beard, great mind.


Allen Randall’s talk on “Quantum Miracles and Immortality” included discussion of a number of amusing thought experiments. In simple terms, quantum theory suggests that all possible states exist at once (ie. there are multiple worlds, like in that show Quantum Leap). Therefore, if you try to kill yourself in a way that has an (impossibly high) high chance of success in every one of these worlds, only the immortals survive — thus creating a quantum state that favors your immortality. I’m not really sure if this talk was supposed to be serious or just really funny, but I enjoyed it and I’ve always been a sucker for philosopher mathematicians.


Torsten Nahm from Bonn, Germany talking about aging, and arguing that being biological (wetware) sucks because of that aging. By moving into a digital form, we can become immortal, make backups of ourselves, experiment with different lives, and anything else we’d like. However, we need to decide whether the transition from one form of being to another involves not only rebirth, but death.


Ben Hyink’s talk on preserving network integrity during the process of uploading. That is, how do you keep an entity alive and conscious as it transitions into a new body? Unfortunately like many of the plenary talks, Ben was not able to fit all of his interesting ideas into the allotted time.


Anders Sandberg introducing Nick Bostrom’s closing talk. I first interviewed Anders for BME back in I think 1996. Anders’s enthusiastic online promotion of transhumanism has introduced thousands and thousands of people to a more forward-leaning way of thinking. I really liked Anders, although I only got to speak to him briefly. Super nice guy… actually, everyone I met at the event was really nice.




Nick Bostrom of Oxford University and the WTA puts transhumanism — and our need to embrace it — in simple and convincing terms in his closing talk. Nick is also the author of the transhumanism FAQ which is an excellent introduction to the subject along with Anders’s pages.

With George Dvorsky of Betterhumans, one of my hosts (Simon had already slipped out; I’d hoped to include both of them). As well as his work with Betterhumans, you may also want to check out his personal site and blog.


With Rudi Hoffman, “Cryonics Insurance Specialist”. I really got a kick out of Rudi — as much as he’s a real cliché of a salesman, he’s a a lot of fun and an incredibly enthusiastic spokesman for jumping into the future by jumping into a vat of liquid nitrogen. Contact Rudi if you’re trying to find an affordable way to have your brain — or entire body — frozen Futurama-style.


A group photo taken near the end of the event. Shannon Bell is on the far left (when I mentioned that Shannon had joined us to friends, they were extremely excited — she has a reputation for being one of the best professors you can have at York University, as well as being a distinguished author and researcher). In the middle of the front row is Stelarc who you’ll meet in more detail in part two of this article, and between them is José Luis Cordeiro who will be hosting TransVision 2004 in Caracas, Venezuela.


Transhumanism, at its simplest, is a way of thinking and being that embraces the idea that our experience as homo sapiens is just one small step in an ongoing evolution, and that we should take an active rather than passive role in “making ourselves better”. Transhumanists are a mix of philosophers, futurists, sci-fi buffs, and bona fide scientists advocating ideas such as uploading (the transfer of consciousness into computers), genetic enhancement, immortality, machine-human integration, and nanotechnology. Body modification culture lies on a related path and represents a real-world application of breaking the biological mold and transforming ourselves into something we perceive as “better” than what nature gave us.

TransVision, the yearly convention of the World Transhumanist Association, took place in Toronto, Canada for 2004 and BME was there thanks to an invitation from our friends over at BetterHumans. It took me a moment to actually figure out where it was being held, because nowhere on their website did it list an address or even the name of the building that was being used — but, after a bit of googling for the JRR McLeod Auditorium, we made our way to the University of Toronto Medical Sciences Building.

The conference had drawn speakers from all over the world — a sizable European and Scandinavian contingent, South Americans, and of course plenty of Canadians and Americans. It seemed to touch on every demographic from young fashionable cyberpunk kids, übergeeks, scientists, artists, and one seeming half-wit conspiracy nut that asked “how many methods of human improvement are there”, besides “chemical augmentation” (which he certainly seemed to be enjoying) at every talk he attended. One thing that surprised me was how empty the event was and how few people other than the speakers seemed to be there — many of the talks I would attend had less than twenty people sitting in the auditorium, with most of the seats empty.

After picking up our press passes, Phil Barbosa (who’d joined me to help film the event) and I went to the front row to wait for the opening talk by Steve Mann to begin. Steve Mann is the real deal. A genuine geek that looks every bit the part, Steve Mann has lived with wearable computing and camera technology since the mid 1970s and is a leading — and seed — researcher in these fields. He’s vehemently anti-corporation, is a political activist on surveillance issues, as well as being an environmentalist using guerrilla installations of solar cells and wind turbines.

Mann concentrated his talk on what he’s best known for: glogging, or “cyborg logging”, a form of literature (if that’s the right word) that predates but closely resembles blogging and moblogging and mandates that the glogger extend their body and consciousness into artificial and reconfigurable appendages. Using his wearable computing and media system, sometimes in collaboration with other cyborgs, he explores, documents, and shares his view of the world he sees. His inverse surveillance or sousveillance (“watching from below”) regularly brings him in conflict with those watching from above — he observes that those who run their own surveillance cameras are usually those most offended at his sousveillance of them in return. Mann went on to talk about “dusting”, a slightly improved version of an additive compositing technique that’s been in common use since the beginning of photography, which he seemed to think was important. This illustrated one of the pitfalls about becoming so engrossed in personalized technology while being heralded as the primogenitor — a difficulty in recognizing or taking seriously work done by other researchers.

As much as Steve Mann gave a largely brilliant talk, it also illustrated a fundamental problem in passing knowledge and ideas from hardcore geek culture to the mainstream: it’s not that charismatic (Reason magazine described Mann as “rather creepy” and spoke of him derisively in their event report). Steve displays a sense of humor that’s highly personal and a difficulty in communicating with other humans, which is genuinely ironic given the amazing tools he’s helped developed to facilitate these communications. His websites are ugly and primitive, the photos of him wearing his inventions are “unflattering” to say the least, and he uses common terms in ways that are awkward and unconventional (such as his insistence that Linux and other open source programs are not software, because wares are items of commerce — better tell that to the open source software movement). The best chefs understand that the way they present their dish greatly affects diners perception of it… Scientists need to embrace the reality of human interaction and start to include marketing as an important part of transhumanist dialog. Body modification for example is successful not just because it’s “right”, but also because it’s cool and accessible.

The title of Steve Mann’s talk had been Glogging: Sousveillance, Cyborglogs, and the right to self-modification. The right to self-modification is of course something that I’m very concerned about since it affects the readers of BME (and myself) on a daily basis, and is one of the key points where transhumanism and body modification intersect. Ultimately if we’re going to leap forward from these dirty ape fleshbag bodies of ours, we have to embrace the right of every individual to transform themselves in any way they see fit, be it a split tongue or be it a robotic tongue. Unfortunately, Mann hadn’t mentioned a word about it in the talk, which I found odd given that it was part of the title, so I asked him about it afterwards — given that in many parts of the Western world, even traditional “self-modification” like tattooing is illegal, was there any movement inside transhumanist circles to politically fight for the right to self-modification?

While Mann didn’t know of any such battle, he does have an interesting counter-attack to those who tell him he has to remove the electronic parts of his body — he says “sure, but only if you sign this form assuming liability if I’m injured due to not having them.” It’s a curious idea — if an augmented human is “more” than an unaugmented human, does that mean that in relative terms a normal human is handicapped? Is taking a cyborg’s electronics away the same as telling someone they can’t wear their glasses, or can’t ride on their electric wheelchair? Since we can always improve, where does one draw the line — and should one draw such a line at all? If we’re thinking along such paths, is not genetically improving your child a modern form of child abuse? Or will political correctness force us to define “human” as “stupid and limited, and that’s how we like it?”

Later in the conference I attended a talk by Dr. Rafal Smigrodski, a specialist in mitochondrial genome manipulation. In how to buy new mitochondria for your old body he describes what he believes could add a decade or more to people’s lifespans, as well as curing many mitochondrial disorders using a technique not so different from the Keith Richards urban legend in which he solves his heroin addiction by flying to Switzerland where all of his blood is removed and completely replaced with new, healthy, and unaddicted blood. Dr. Smigrodski touched on the right to self-modify issue as well, pointing out that he’s been forced to concentrate his research on those with diseases or otherwise improperly functioning physical forms — and that convincing governments that aging is a disease will be far from an easy thing, even though aging appears to be a terminal condition that we all suffer from. I think it was Nick Bostrom that would say later in his closing remarks that most people have a Stockholm Syndrome type relationship with aging, whereby they give artificial value to that which has imprisoned them.

From my point of view, the right to self-modify is something that transhumanist researchers should be embracing. It’s all well and good to develop technologies that ease the suffering from extremely rare disorders, and maybe that gives us “expendable” people to experiment on (it’s a terrible way to put it, but if we use the ill as fair game to do our early experiments on, that is what we’re doing), but until these technologies are available in unrestricted form to the general public, they’re not particularly transhumanist. Perhaps I’m speaking callously, but in my opinion, if we’re to move humanity forward, we should be concentrating on transforming the best of humanity into something even more, rather than trying to alleviate suffering in that tiny, tiny minority of people who are born with terminal or crippling diseases.

Aubrey de Grey as well gave a fascinating talk on removing toxic aggregates that our cells can’t break down, but he as well must face these same issues — how do you start using these technologies to enhance humans, rather than just fixing them when they break? I don’t want to keep repairing my old Ford Escort… I want an upgrade to a flying Lamborghini.

I’d come into the conference assuming that most transhumanists shared my own views: that we should be aggressively transforming humans into the things we dreamed of as children slumbering after spending the day reading science fiction, beings with far more power and options than we have as humans. However, there’s certainly no agreement inside transhumanism that this is the right goal. Mark Walker, editor of the Journal of Evolution and Technology and research fellow at Trinity College, spoke on the Genetic Virtue Program which he proposes is “the only hope on the horizon that humans might remove themselves from the slaughter bench of history.

The basic idea is that since behavior is at least thirty to forty percent inherited (so you will act like your parents) and thus genetic in nature, that by using genetic manipulation we can, in time, breed a race of humans that are more compassionate and loving, and less aggressive, greedy, and prone to lying (and presumably sinning). While there is a certain truth to Walker’s proposals, the idea of using science to limit humans rather than expand them wasn’t really received that well by the audience. I pointed out that historically progress tends to be made by selfish, aggressive, and sometimes even “evil” people, and that breeding a society of well behaved losers might not be in our best interests as a species. One neurologist in the crowd pointed out that the ability to lie was an important part of an advanced mind, closely linked to the ability to consider different variations on the same idea, and that attempts to genetically force moral behavior might have to sacrifice intelligence in exchange — but Walker’s ideas certainly underscore the fact that there are a myriad of ways to move humanity forward (as well as many definitions of “forward”), and that transhumanism covers a very broad range of politics and faiths.

As is probably clear, I enjoy the hard science, and I believe that we must embrace the absolute right to use that science to better ourselves. To me, that’s the whole point — if all science does for us is fix people who are born “broken”, then we’re actually moving in the wrong direction. While I certainly hope that we can care for all people, if resources are going to be poured into improving humanity, I’d like to see it poured into improving the best humans, thereby moving us into the future. Because of this, I was looking forward to seeing Natasha Vita-More’s posthuman prototypes debate their own design.

When Natasha got on stage, more flash bulbs went off than at any other talk I’d been to. With zoom lenses fully erect, an army of transhumanist men showed they were still slaves to testosterone — Natasha lives in a transhumanist body herself with obviously “augmented” mammalian features and a clear attention to fitness and form. I don’t say this to be crass — the mass appeal of extreme cosmetic surgery is very relevant to transhumanist bodies and I was looking forward to hearing her thoughts on it. Unfortunately her talk was rubbish and full of sloppy thinking and inadequate research. She’d “interviewed” a number of fictional and non-fictional post humans, including her own imaginary creation “Primo”, Agent Smith from The Matrix, and Honda’s Asimo robot.

She “asked” these entities what they thought about themselves, humans, and so on, and in her answers made it clear that she had little comprehension of the technology involved, and was primarily interested in making her own sadly uninformed comments. Most obviously she claimed that Asimo was a primitive machine that could do no more than walk up and down stairs, a foolish statement to put it politely. Her commentary on the other technologies was equally ignorant, and her own “Primo” creation showed that she couldn’t even use the terminology correctly (ever get annoyed at the technobabble in Star Trek?) let alone illustrate it in a way that anyone can take that seriously — even if you’re just an “artist”, you still have the responsibility to understand the language you’re speaking. This saddened me, because Natasha is clearly a brilliant and creative women, but she disgraces herself when she speaks so foolishly.

Unfortunately Natasha was not the only person speaking this way at TransVision. I suppose that’s to be expected when you have a wide range of people commenting on such a diverse subject, but what disturbed me about it was that few inside transhumanism seem to have the courage to shout out “the emperor wears no clothes”, but instead seem to prefer a circle-jerk where everyone congratulates each other on how clever they are with little willingness to look at the thoughts critically — although they’ll galdly rip to shreds outsiders who criticize them.

In my opinion, transhumanism doesn’t need ill-informed people who go off on flights of “what if” fancy. You know what? All of us have been doing that since we were five years old. What transhumanism needs is transhumanists. Not people who talk about. People who do it. I have enormous respect for people like Steve Mann and Stelarc (or Todd Huffman with his magnetic vision) who are actually out there living transhuman lives and having transhumanist experiences, rather than just talking about them without any first-hand knowledge, as well as the scientists doing the foundation research that will make it possible. I am not convinced that the philosophers and artists are any different from science fiction authors — an important element in inspiring people to live as transhumanists, but no more than that.

As much as the conference was utterly unpromoted and almost unattended, there was an abundance of fascinating characters. Sitting next to me at several of the events was the boisterous and friendly Rudi Hoffman who was there selling life insurance for those seeking cryogenic suspension with Alcor — for about $40 a month you can buy an insurance policy ensuring that upon death you’ll be frozen a la Han Solo. Unfortunately the insurance doesn’t cover the cost of bringing you back to life — it’s hoped that future generations will do so for you. But still, your chances for reincarnation, as slim as they may be, are a lot better if you’re preserved in a vat of liquid nitrogen than if you’re rotting in a pine box buried in the ground.

Also sitting next to me — in the front row — for several of the talks was a tall, slender Asian man with a big bag of groceries. Oblivious to those around him, he prepared and ate several salads and fruit dishes, carefully weighing them and then entering them into a spreadsheet on his laptop as he ate, afterwards spending ten minutes loudly flossing his teeth. This seemed to me to be a strange thing to do, and by their strained glances at him, I think some of the speakers were debating whether or not they were being insulted. Later I discovered that he believed that in order to best achieve longevity one should adopt a paleolithic diet, since that’s what our bodies are presumably evolved to survive on.

Meeting José Luis Cordeiro, the host of TransVision 2005 (to be held in Caracas, Venezuela) was rewarding as well. Cordeiro has written extensively on both transhumanism and the socio-political future of Latin America, but even though his books sell well from Mexico southward, he’s had little luck reaching the North American market — as he opined in a seminar on writing transhumanist books (moderated by Simon Smith) information flows out of America, but rarely in. I believe that Cordeiro is exactly what transhumanism needs — an optimist (but a realist) with a technical background, and with a sense of humor and the charisma required to present far-out ideas to the general public.

All this said, I really must encourage readers to take advantage of events like TransVision when they happen in your area. Don’t underestimate the value of getting to meet world class thinkers — even the ones you disagree with — in person. Don’t underestimate the value of introducing yourself into dialogs you might otherwise not be able to have. As much as I didn’t think much of a few of the presenters, the ones I disagreed with the most are also the ones that got me thinking aggressively about where humanity is going and how we should take it there.

Finally, if I could say one thing to transhumanists in general, it is to follow Steve Mann and Stelarc’s example and make it real. Don’t just talk about far future fantasies. Taking the first step may not be as fantastical as masturbating over the year 3000, but it’s the only way that we can force transhuman evolution without being restricted by governments and corporations, who will act in the best interests of nationalism and capitalism, rather than humanity’s future. While it’s true that we’ll see the occasional Mr. Hyde as a result, I call out to Bruce Banner: it’s time to irradiate yourself.


Shannon Larratt
BME.com

Suspensions & Tensions: Today, Part II – Fakir Rants & Raves

Suspensions & Tensions:
Today, Part II


CONGRATULATIONS O-KEE-PA GRADUATES!

In the past few months I’ve become aware that many others (photos, stories) beside me have tried and succeeded in being suspended vertically by two piercings in the chest — in essence, doing O-Kee-Pa the hard way.

I’ve seen your photos on the BME site. But I am not quite sure you had the depth of experience the Mandans (or I) had. Please tell me. I’ve sent feelers out to several suspension groups, but so far gotten no feedback. As the guy who kind of started all this in the first place (by example and photos) I truly feel responsible for what happens to you. I am very eager to hear from you if you have ever done an O-Kee-Pa style suspension. How long did you hang? Under what circumstances? Where did you go? What were the after effects? Please send Fakir an email about your experience.

Most of the suspensions I have facilitated and witnessed during the past thirty years resulted in unusual and often fantastic out-of-the-body adventures. One of the most interesting was that of a Catholic woman, Sharon C., who pleaded with me for several years to facilitate her suspension and be her shaman Ka-See-Ka guide/protector. Ten years ago, we made it happen. About seventy of us were gathered in Northern California at a place called Kenton Mine. We were there for two weeks so there was plenty of time to prepare for a special ritual. Since I had hung horizontally for long periods of time in years prior, we decided that a horizontal suspension by multiple piercings was the best way for Sharon to have the prolonged experience she desired. We wanted at least several hours up. Back then, none of us had ever heard of or tried doing this with modified fish hooks. That came several years later. So we settled on piercing the front side of her body with 22 long sterile piano wire loops as I had done several times.

On a sunny afternoon in a deep canyon filled with redwood trees, I pierced her body with the wires, bent them into loops and attached them to the frame I had devised for my own suspensions. The tribe assembled. We beat drums, burned sage, and chanted for beneficial spirits to guide Sharon on her journey. Slowly we inched her pierced body up off the mats on which it laid. Up under the branches of the thousand year old sacred Redwood Tree which seemed to murmur, “let me take this body to its source.” We were hushed and within several minutes, Sharon left her body. It was inanimate “meat” hanging high in the air beneath the branches of the tree.

While suspended in a thousand year old redwood tree for several hours, Sharon C. went on a guided trip to her own private heaven and hell.
While suspended in a thousand year old redwood tree for several hours,

Sharon C. went on a guided trip to her own private heaven and hell.

As the Ka-See-Ka who assumed responsibility for her journey, I was able to see what she saw in her disconnected state. First, she traveled to her private hell (a barren place with no signs of life) and them to her private heaven. I was able to communicate with her lifeless body, and, most unusual, she was able to speak through it! When lost in despair in her “hell” space, I suggested she turn around, look over her shoulder, and see what was behind her. There it was, her private heaven: a verdant forest filled with trees, birds, flowers, and fuzzy buffalos who smiled and wanted to play with her. I told Sharon she could fly and should go down and circle the forest below. She did and soon rested in a comfortable nest in the top of a tree. I told her she could go play with the animals below if she wanted.

“But they are smelly and dirty,” she said.

“That’s ok,” I told her. “You don’t have to step in their shit. You can fly now so just go down and fly above their heads.”

Sharon giggled and I saw her do this and tease the animals as she flew over them. There were many other odd adventures during her journey but finally, as she despaired for company, a luminous being who appeared as an animated blue infinity symbol, spoke to her and then buried itself deep in her heart center. It said to her, “Peace… Be Still”.

But this is not the end of the chapter and book for Sharon. The memory and lesson it held stayed with her to the end. Two years ago, Sharon developed ever worsening kidney failure. On dialysis, she felt the time had come to leave her body permanently. She called me. She was glowing, happy, radiant, as she announced her decision to disconnect from machines. She was not frightened of passing over into the unseen world. She had been there before. Sharon thanked me for my love and guidance. And she parted this world joyously.

JOURNEYS OF OTHER SEEKERS

Another dear friend of mine, Puma (see Body Play #9), had undergone a severe personal crisis in which he had been taken over by an extremely self-destructive (read suicidal) dark side, the “shadow side” which we all have. He went on barely functioning and seemingly headed for a bitter end. A year later, still troubled, he asked me to hang him up by two deep chest piercings. He pleaded to do the O-Kee-Pa seriously and privately so he could resolve this on-going power struggle with the negative energy that was controlling his life. This was to be an attempt to chase the “shadow” away once and for all.

In the absolute quiet of an indoor chamber, Puma was compelled to engage in a long and painful combat (his private hell) before he could let go and surrender; submit his mind and body to what was actually a “shamanic death”. He groaned and fought to stay in conscious control as I slowly inched his body upward against the chest piercings. When he finally let go, suspended, he appeared to be physically dead. His lover pleaded with me to let him down. But I saw Puma’s other electric body shape floating weightless and smiling at me from a remote corner of the room. He was ok. So I let his physical body hang motionless for another ten minutes.

When I finally let Puma’s lifeless form down, just as light flickered back into his eyes, I saw the “shadow” inside them screaming in agony. A voice behind these fiery eyes seemed to say, “If this is what you are going to do to me, I’ll leave!

Woosh!

And within ten minutes the Puma we know and loved was back in those eyes — exhausted, happy and free. Characteristic of a truly transformative experience, the effect lingers on years later. Puma told me just a few days ago, “I’ll never forget what happened. This was a truly spiritual experience for me and I continue to draw strength from it every day.”


But not every suspension ends with such beneficial results as Sharon’s and Puma’s. Sometimes things go sour when our expectations or approach to the suspension is off-key. I have attended a bunch of these and that is why I am so fussy about having clear intent, inner guidance, and not being swayed by ego when I am advising or helping someone do a suspension. Several suspensions that went wrong come to mind as I write this column. The first was done several years ago by Idexa, the San Francisco tattoo artist. I asked her to write about her vertical suspension that went wrong for Body Play magazine. In her own words, here is what she wrote for Body Play #14:


My last trip on a spiritual path, in early 1995, consisted of borrowed and modified rituals of other cultures. I did a vertical suspension by flesh hooks. Raelyn Gallina did the piercing and suspended me by elastic cords.

The original plan was to have a small private gathering. But it eventually became a huge event with about a hundred people, mainly women. It took place at night in a big building and in that setting I just couldn’t visualize enough to break through the ceiling and roof — where in past body rites trees and birds have helped me to travel. I liked the sensation of hooks going under my skin (except for the ones below my breasts). I loved stepping off the ladder to hang by my flesh. It was a wonderful challenge and a body high.

But with so many people around, and the scattered energy in such a limited space, I really didn’t get to have the visions I was hoping for. What I see today in many of these borrowed rituals is a lot of “white people” doing it as entertainment, even money, for a bunch of spectators. It (suspensions) being so popular, so obviously a “white thing” (non-traditional), has opened my eyes. I feel the movement is taking part in a continuing genocide of indigenous cultures that started here with Columbus.

Idexa

Idexa is pierced and rigged for her vertical suspension by Raelyn Gallina.

Above: Idexa is pierced and rigged for her vertical suspension by Raelyn Gallina.

Right: Idexa steps off short ladder and hangs freely, but her ability to journey is hindered by physical and psychic distractions.

  Idexa steps off short ladder and hangs freely, but her ability to journey is hindered by physical and psychic distractions.

Another “sour” suspension I witnessed in the last few years was Paul Stolz’s first attempt to do an O-Kee-Pa. On previous occasions I had seen him do several horizontal suspensions facilitated by Vaughn of Body Manipulations. These were sweet — no problems (read the description that follows). But, apparently overcome with self-confidence by them, he decided it would be “no sweat” to hang by two piercings in the chest like I had done. He talked to me several weeks prior.

I warned that this would be different, many magnitudes harder and could not be done without surrendering ego. I told him that after about one minute he would have to go through all the symptoms of drowning or suffocating. Was he ready for that? I asked if he wanted me to “Ka-See-Ka” him. “No, just come and witness,” he said.

So that’s what I did. No rescue offered.

The suspension got off to a good start. Joey Wyman did an expert, shamanic job of piercing two hooks in Paul’s chest, deep and just above the nipples. He took the piercings with a stoic smile. With the same bravado, he stood on a platform dressed in tight black pants and silver boots. This was his moment of glory. He motioned for Vaughn to lift him up with the vertical crane to which he was fastened. Up he went clear to the ceiling. But, as I had warned, the stoic smile and bravado only lasted about two minutes. Then Paul was in obvious distress. His breathing became difficult, rapid. He panicked. His arms flailed about wildly as he gave Vaughn the prearranged signal to bring him down immediately. Paul lay limp on the floor in shock, eyes glazed and pupils dilated. He didn’t quite know where he was or what had happed in those few brief minutes. They helped him upstairs and laid him on a bed like a rag doll. I sat by his side for half an hour moving energy and bringing him back to center. He was ill for about a week. I understand Paul has said the O-Kee-Pa was harder than he ever imagined and he will never try it again.

PAUL FLIES LIKE A BIRD

Unlike his negative experience above, Paul has also had his magical suspensions too. Not everyone has a “White Light” experience like Fakir. There seems to be a different “trip” each time and for each person. Sometimes it is only a heightened sense of body awareness made possible by dissociation (the observer state). And sometimes the strongest effects of a suspension are only felt hours, days, or weeks after the experience. And sometimes nothing much happens except an unusual or adverse set of body sensations because of unfavorable physical or psychic conditions (like with Idexa or Paul above).

Paul Stolz belongs to a group of Modern Primitive explorers. I first met Paul in 1996. Paul invited me to his first “flying suspension” in which he would be moved about freely in three axis by a 3-ton crane inside a huge warehouse building. He knew very little about traditional body suspensions like the O-Kee-Pa of the Mandans or Chidi Mari suspensions of the Hindus. I asked about his intentions, his expectations. He was unclear about them. Seemed like he was satisfied just to do something new, novel, experimental. He wanted to “fly”. Ok, that was a good enough reason. So on evening of March 22, I went to the San Francisco warehouse which had been converted into a performance and play space called The Sand Box (the floor was ankle deep in beach sand).

Paul Stolz is pierced and rigged by Vaughn and Joey Wyman for a “flying” horizontal suspension.   Paul is zoomed up and down, back and forth, and rotated by Vaughn inside a huge warehouse space.  I felt “electric” rain falling from his suspended body.

Left: Paul Stolz is pierced and rigged by Vaughn and Joey Wyman for a “flying” horizontal suspension.  Right: Paul is zoomed up and down, back and forth, and rotated by Vaughn inside a huge warehouse space. I felt “electric” rain falling from his suspended body.

I entered just as Paul was being lifted up in a horizontal, face-up suspension by multiple hooks. As he floated twenty feet above our heads, then gently moved about the cavernous space by Vaughn, it felt like “electric rain” was showering down on me from his suspended body. There were only a few friends present. The general feeling in the space was peaceful, tingling. Paul was on a trip and in an altered state. The suspension lasted for about an hour. In his own words, here is Paul’s account of his Sandbox suspension (from Body Play #14):


For as long as I can remember, I have wanted to fly. I have dreamt of finding myself between planes of reality. I thought that in that “space” I could get a clearer view, a better perspective of myself and its reality. Once that view has taught me something, I can continue on my quest for my dreams.

Now I have found ways to slip into that alternate plane where possibilities are limitless. I call that place “Dreamland”. I got there mainly by using my physical self, my body. It usually requires some sort of pain or challenge.

I have wanted to do a full body suspension for four years. I thought the sensation against my body must be amazingly different than anything I could ever feel. Still, a full body suspension could be even more for me if I could fly — move around once I am off the ground. In fact, a non-mobile suspension seemed a little lacking to me. On March 22, 1996, I held a live performance in which I hung horizontally from a mobile 3-ton crane. The crane was driven by Vaughn (Body Manipulations body piercing studio) who also worked with Joey Wyman to put the hooks in and hang me. Vaughn drove me out above and throughout audience (about 25). I went way up to the ceiling, low to the ground. I was spun around, rocked back and forth and bounced up and down.

The combination of flying and the sensation of my skin pulling evenly through me was overwhelming. I had gotten to the most amazing version of “Dreamland”. The tension altered in intensity levels with the different movements we would try. I had found that, in fact, the sensations were completely adjustable based on far off the ground I was, what direction I was moving, or even the speed of the movement.

To me this was a very spiritual event but not a very religious one. I gained more contact with myself and my reality. I used my physical body as a tool to enter my psychological and spiritual self. Once I opened doors to this “Dreamland”. Other dreams found in day-to-day life have fallen into place. I find that as I continue exploring my reality in relations to “Dreamland”, my real life becomes more and more charmed.

Paul Stolz

So here are just a few examples and accounts of what has happened to contemporary seekers who have experienced suspensions. How about yours? There are so many experiences I wish to share with you that there will have to be a Part 3 and maybe even a Part 4 to this edition of Fakir Rants & Raves. See you next time for “Swimming With Dolphins” and more.

Yours for safe and enlightened body rites,


Fakir Musafar
fakir at bodyplay dot com



Fakir Musafar is the undisputed father of the Modern Primitives movement and through his work over the past 50 years with PFIQ, Gauntlet, Body Play, and more, he has been one of the key figures in bringing body modification out of the closet in an enlightened and aware fashion.

For much more information on Fakir and the subjects discussed in this column, be sure to check out his website at www.bodyplay.com. While you’re there you should consider whipping out your PayPal account and getting yourself a signed copy of his amazing book, SPIRIT AND FLESH (now).

Copyright © 2004 BMEzine.com LLC Requests to republish must be confirmed in writing. For bibliographical purposes this article was first published May 8th, 2004 by BMEzine.com LLC in Tweed, Ontario, Canada.

If tattoos are cool, DIY tattoos are even cooler, right? [The Publisher’s Ring]


If tattoos are cool,
DIY tattoos are even cooler, right?

“All men are frauds. The only difference between them is that some admit it. I myself deny it.”

– H.L. Mencken

The media has been full of stories recently warning parents and teens about the dangers of home-made tattoos, but they fail to realize what’s going through the minds of teens when they see these stories. Instead of discouraging do-it-yourself tattoos, these articles make them even more desirable.


The man: Do-it-yourself tattoos are dangerous and look bad.


Teen: Tattoos? Cool!


The man: Maybe you didn’t hear me. They’re dangerous.


Teen: My middle name is danger. Bring it on!


The man: They look bad though. Look at this tattoo!


Teen: If by “bad”, you mean “BAD ASS!” See you later dad, I’m going to my room… to get a tattoo.

So basically these articles tell kids that tattoos, especially DIY tattoos, have an underground or outlaw status, and then top it off by showing the kids a super-cute skull and crossbones tatty as a “warning”. If I was still a teen, articles like these would make me head out to the garage and take file to coat hanger to make myself an impromptu tattoo torture device and then scrawl out some hip little icon on myself.

But lets look at the truth of it instead.

When I was a teen I was enamored with tattoos. While he was in college, my father won a panther tattoo in a wrestling match and I remember how proud I was to show it off to all my friends at school. As a teen I thought tattoos were tough — signs of manhood — and they appealed to my sense of rebellion and individualism. After little to no planning I went to a pharmacy and bought a small box of insulin syringes, after which I went to an art store and bought some India Ink. Sitting on my bed, I drew a one inch by five inch “tribal” design on my bicep with a blue ballpoint pen. I filled up one of the syringes, pushed the plunger a little to form a bead of ink on the tip of the needle, and began poking the tattoo into my arm. Every time the ink was used up I wiped my arm clean, pushed some fresh ink from the syringe, and kept going. Within half an hour the small tattoo was complete. Within a week I also had a small Eye of Horus on my shoulder and a cat skull on my calf.


Good, bad, and terrible tattoos. Which do you want?

After a brief period of showing off though, the coolness was gone and I was left with three crappy tattoos. The first still takes up valuable real estate on my bicep (you can see it above-right), and is complicating getting a proper sleeve done. After taking a high school art course as rehabilitation made him consider a career as a tattoo artist, the second was covered up with a dragon by a friend who had recently been released from prison. That cover up was later covered up again, and I now have a huge blob of scarred up color on my shoulder that I don’t know what to do with. The third was covered up with a thick black band around my calf and shin.

The problem with teens’ thinking isn’t that they’re ignorant or short-sighted. The problem is that teens are excited and full of life and tend to be impulsive, especially when adults dangle carrots of cool in front of their noses like these articles do (and like buddies with needles and ink, as well as unscrupulous scratchers, are more than willing to facilitate). Now, personally I have an agenda to see as many tattooed people in this world as possible, but really, I’d rather if they had good tattoos that they’re happy with in the long run!

So here’s my advice to young people who want tattoos:

1. Your tattoo is a reflection on you.

Not only is the subject matter of your tattoo going to communicate with the rest of the world what you stand for and who you are, but so is the quality. A bad tattoo is like dirty unwashed clothes that don’t quite fit right, but are stuck on you for life — or like an essay that hasn’t been properly proofed for spelling and grammar… It just doesn’t communicate its message well. The effort you put into getting a high quality tattoo is a direct reflection of what you think about yourself and how much you care about yourself.

A bad tattoo might make you look tough to people who are suffering under the stereotype that criminals and tattoos go together — in fact, the worse the tattoo is, the more likely they are to assume you’ve “done time”. But is this really something you want? Some sort of mock balls? All that’s going to do is make you look like a fool to people who actually have been in prison, and make the rest of the world look down on you (especially when they realize that you’re faking it).


2. If you’re too young, suck it up and deal with it.

The unfortunate truth is that if you’re under 18, the vast majority of reputable tattoo artists on this planet will not tattoo you. That’s not because they don’t think you’re ready for it, or because they have some sort of uppity over-30 attitude toward teens — it’s because they own a business and can’t risk losing it over a violation of some stupid law.

Yes, you will find artists willing to bend the rules. They are out there. But the truth is that they’re not the best artists, and they’re not the artist you should be going to if you want the best tattoo. If you’re underage, take the time to search out the best artists, and when you’ve found one, you can make an appointment for your 18th birthday and work with them on the perfect design beforehand.

3. Save your money and do it right. Go big!

One of the most common regrets people have with tattoos, as with many things, is “I wish it was bigger.” Too many people make the mistake of getting a small tattoo on a large piece of skin. Common mistakes are a small logo on the shoulder, or a band around the arm which later interferes with getting a full-sleeve piece.

A large tattoo is bolder in a graphic design sense, and moves with your body — it becomes a part of you far more than any “patch” could. Additionally, it forces you to think about what you’re doing on a more profound level, and the result is almost always far more satisfactory to both the person wearing the tattoo, and the general public viewing the tattoo.


4. Think about it; what do you want to say? Who are you?

If you had to wear one outfit of clothing for the rest of your life, and it had to suit you in all situations that life throws at you, what would you choose? That’s basically what you have to decide when you’re selecting a tattoo.

Try to articulate why you want a given image tattooed on you for the rest of your life. If “because it looks cool” is a good enough answer for you (and it surely is for some tattoos), please consider that “cool” has a radically different definition now than it did in 1975, and you can bet it’ll be different again in 2025… Just remember that your tattoo should be cool in relation to who you are, rather than in relation to what society is at that moment.

5. Educate yourself.

Knowledge really is power. A lot of people make the mistake of getting tattooed at the first tattoo shop they step into, without ever seeing another. This is inexcusable in my opinion. Absolutely inexcusable. Of all the things you buy in your life, a tattoo is one you should definitely do your research on, for one simple reason:


There are a lot of bad tattoo artists out there!

Even ruling out the artists that don’t meet health board approval (want to find someone who will tattoo minors? look for the shop without an autoclave!), there are a multitude of dudes with tattoo machines that are anything but artists. So go to every studio you can and look through the portfolios. Buy tattoo magazines and browse online portfolios and see just how good a tattoo can look.

Looking at the tattoos in this article, can you tell which ones are good and which ones are not? If you can’t, then you’re not ready to be tattooed yet.


6. Resist the impulse buy.

There are exceptions to all of these rules, but if you want to have a good tattoo that you’re going to be happy with for the rest of your life, here’s how you can be fairly sure you’re making the right decision: don’t get it the day you think of it.

If you can get the artist (or a friend, or yourself) to stencil the tattoo onto you or paint it on, take a picture of yourself with it. You can also do this by drawing it on yourself in a paint program or sketching it onto a photo of yourself. Put this picture by your mirror or by your computer or somewhere that you’ll see it every day — how do you feel about yourself with this tattoo? If it still looks as good to you at the end of six months (or whatever you feel is a good time), then you can be a lot more sure that you’ve come up with something with meaning that you’ll appreciate for life.

The suggestions above are far from teen-specific. If people of all ages listened to them, we’d have a world with a lot better looking tattoos. Perhaps I’m betraying my art school background here, but I really believe the value of a society can be gauged by the diversity and perfection of its aesthetic landscape — so in my world anyway, when you put effort into tattoos, you are being patriotic.

In a twisted sort of way, teens are at a huge advantage when it comes to tattoos — they have a forced waiting period. Certainly many don’t take advantage of this and end up with bad hand poked tattoos followed up by poorly done tattoos by sub-par scratchers like I did… but more and more teens are using this time period to save up the money for a good tattoo (they are expensive after all — $500-$1000 is a good starter budget for a mid-sized tattoo), plan the perfect one for themselves, and go to the best artists. The 21st century is going to be a colorful one, so I hope everyone does their part in making sure the future is as beautiful as possible.


Shannon Larratt
BMEzine.com

Next column: COINTELPRO tactics in eliminating the tattoo menace.