XXXX TATTOO SHOP OFFERS A TWO-HOUR-FORTY FIVE-MINUTE TATTOO SESSION FOR $99

XXXXX tattoo shop, XXXXXXX XXXX XXXXXX XXXXXXX, announces a new promotion in which one of their skilled artists will deliver 165 minutes of pure tattooing pleasure for the low price of $99. This equates to receiving XXXXXXX XXX’s top-of‐the‐line tattoo services for only sixty cents per minute. “This is a price that nobody will find elsewhere,” said XXXXXXX XXX’s Founder, XXXX XXXXXXX. “The tattoo artists that work at XXXXXXX XXX are amongst the top in the nation. They will work on our customers for 2 hours and 45 minutes, giving their all to create beautiful artwork for them.

Best of all, during this promotion they will do it all for less than a hundred bucks. That price is unheard of, especially at a high caliber shop that maintains the reputation and cleanliness that we do.”

When a customer walks into receive the special, they will know instantly that they have entered into a shop with a high degree of sophistication and professionalism. Once they request the service, or show up for their scheduled appointment, they are prepped for the treatment and the countdown begins. 165 minutes later the time has passed and the body is adorned with a whole new work of art.

This special is offered on Tuesdays and Wednesdays only. Customers will experience no scheduling problems, as XXXXXXX XXX is open 24 hours a day, 7 days a week.

In business since 2006… XXXXXXX XXX’s shop is one of the largest tattoo facilities in the nation, and is one of only about thirty in the country to be Better Business Bureau accredited. The artists at XXXXXX XXX are amongst the best in the industry, some of them having over 20 years of experience. They use state‐of‐the‐art tattoo techniques that very few artists even know exist. This is why XXXXXXX XXX has been dubbed “The Tattoo Authority of the XXXXXXXX.”

To my way of thinking, winning customers should be the result of quality work, not slashing prices to the bone. It's like my visit to that much-maligned tattoo convention at the Fairgrounds in Pomona, where attendees would find a tattoo booth they liked, find a design in a tattoo artist's portfolio and snap a photo of it with their cell phone, then commence going booth-to-booth, up one aisle and down the other, asking for the lowest bid. Those people should be tossed out on the ears, and a lot of artists agreed.

Slashing prices by 80 percent is demeaning to the industry and insulting the hard-working tattoo artists who are building a business based on their talent and customer service, not on discount coupons and rock-bottom prices. Yes, some shops charge less than others, because the customer base differs from city to city or they are having a special Halloween promotion, etc., but that is the exception to the rule. I'm lousy at math, but doesn't $99 for 165 minutes work out to $36 an hour! I'm sure those artists with "over 20 years of experience" are thrilled to death when they're given a Tuesday or Wednesday shift. And they are approved by the Better Business Bureau? I'm sure that undercutting every other tattoo business in town with these idiotic prices would not be approved by a properly educated Better Business Bureau.

I'm sure the other shops in the area have something to say about this kind of crap. I'm sure there are readers out there who will say this shop has the right to sell tattoos for whatever price they want. Yes they do, but not by kicking dirt in the faces of the competition, demeaning the standards that legitimate tattoo artists have fought for years to establish. By the way, when I went to this shop's website, there were some stock photos of tattooed models, but no list of artists or their work. I guess you don't get to know who the artist is or see samples of his or her work for $99.

—Bob Baxter

P.S. Please comment. We want to hear your opinion.

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Up to this point, all my columns have been about gear and the technical aspects of photographing tattoos. Now we are going to switch it up a bit and talk about more stylistic stuff, like backdrops and framing. Get your right brain warmed up. Now is when the fun begins. To have your photos look professional, you will need to think about a backdrop, one that will make the subject pop and not fade into the background. A wall is a good backdrop, but, as a tattoo artist (maybe with limited space), you will want to utilize something more portable. That way, you’ll have more control of your final images, whether you are photographing in your shop or at a convention. Painted, cloth backdrops have visual interest, but they are distracting (much like shooting against a crowd of people). Flat, solid-colored ones are best. While dark-colored backgrounds are best for light skin and light backdrops for dark skin, most tattoo magazine photographers use a single, relatively plain backdrop and change colors with additional lighting equipment and colored gels. No need for you to do all that. Simply use a backdrop with contrasting colors, hang it on a frame, tack to a wall or sling it over a door frame. That’s it! ...more

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I  am clearly not a film critic or member of the press, but I was fortunate enough to get invited to the private screening of the new film, “Tattoo Nation,” at the Arclight Theatre, in Hollywood, California. For a younger tattoo artist like me, it was a pretty big deal. If you have not heard of “Tattoo Nation,” it is a documentary, directed by Eric Schwartz and written by John Corry, about the “true story” of the black-and-gray tattoo revolution, and features several of the tattoo icons, many of whom I was exposed to, as a little boy, with my father, tattooing in Southern California. That is where the film takes place, when three unlikely tattooers—Jack Rudy, Good Time Charlie Cartwright and Freddy Negrete—came together to become the innovators of modern, fine-line, black-and-gray tattooing. The story, narrated by Corey Miller, addresses how the prison style that originated with young Mexican Americans has exploded into a worldwide phenomenon, giving rise to many new styles and pushing the limits of the popularity of tattooing as we know it today.

With just a couple of days planning, I jumped at the opportunity to see the film and interview the cast. I traveled to Los Angeles and met up with the press for the media junket. Right away, Danny Trejo, the actor, walked by me and I said, “Hey Danny,” like I knew him, and he said, “Hey, man,” as if he forgot who I was and didn’t want to seem impolite. Before I knew it, the office was full of tattoo legends and collectors being interviewed by different television and camera crews, while cameras flashed away.

Pretending that I belonged there, I got to rub elbows with the likes of Ed and his son, Doug Hardy, Corey Miller, Freddy Negrete and his son “Boo Boo,” Jack Rudy and his wife Carrie, Tim Hendricks, David Oropeza and, of course, “The Founder” himself, Good Time Charlie Cartwright. It was truly a unique opportunity to have all these stars in one place and to hear their priceless stories, while they candidly conversed with each other. It was all sort of nostalgic for me, as it brought back the feeling of being around my father and uncle, while they tattooed and told tales with other veterans of that era.

I ended up leaving early, in order to make it on time to the premier. I was pleasantly surprised that my wristband from the earlier event granted me access to the red carpet area. It was better than television, as I blended in with the real photographers from tattoo magazines and media outlets. Notable was Shanghai Kate Hellenbrand, the only woman in the movie, and Pat Sinatra, another great female tattoo artist. I cannot explain how I felt, when these greats walked the carpet and were recognized in a positive light, after all of these years, by a media that has, so often, portrayed tattooing in a negative light. To me, it was a vindication, a validation for paving the way in an outlaw time, as newer tattooers ride the wave of success without ever knowing the history that made things the way they are. Without ever caring to learn the names of the artists who made it possible. This was the true innovators' time to shine.

Inside, the screening was packed with tattooists from all over the world. When I turned around and scanned the theater  I saw a who’s who of artists, icons who I had seen in magazines since I first could read. It was awe inspiring for me and, as the movie started, I still couldn't believe I was in Hollywood sharing a part of tattoo history. The room respectfully quieted down, from beginning to end, except for widespread applause anytime anyone present was shown on screen, making the movie that much more powerful. There was cool, old, stock footage, as well as great interviews with celebrity collectors and artists such as Chuck Eldridge, Filip Leu, Henk Schiffmacher, Tennessee Dave, David Ororpaiso, the late, great Chuco, Travis Barker, Danny Trejo, Mister Cartoon, Mark Mahoney, Kore Flatmo, Tim Hendricks, Kate Hellenbrand, and of course Charlie, Jack and Freddy.

The audience was completely captivated. And when it was over, Corey Miller called Charlie, Freddy, Jack, Danny Trejo and Ed Hardy down front, to deliver a few remarks. Every word was thankful, humble and heartfelt. No one demonstrated an ounce of ego, even though their stardom had just risen through the roof. Good Time Charlie closed with a little gem, stating that we were all his real family. For me, it really truly felt like it.

Because it is in limited release, not a lot of people have seen this film. However, “Tattoo Nation” is being shown in Great Britain and will be released on DVD, on May 9th. No question about it, this is a must for any tattoo artist or collector who wants to learn the history and pay respects to the pioneers who blazed the trail. Pick up a copy. I know I will. Aloha, and thank you for your time.

—Jacob Hanks (Tattoos by Jacob Hanks)

Photos by Karen Criswell (Koncept Films)

P.S. Here’s a short, free YouTube video featuring Shanghai Kate, Corey, Good Time Charlie, Freddy Negrete, Danny Trejo and Ed Hardy.

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AN UNFORGETTABLE TRAVEL ADVENTURE

By Kristin Addis

The sun rises like a red orb in the sky over the rice paddies as the wind whips past the hair and grazes the skin. Hands grip the handles of the motorbike, as the driver weaves between the occasional truck or tuk tuk. The early morning dew, still wet on the blades of grass, bids a glossy good morning at the gates of Wat Bang Phra outside of Bangkok. A statue of Luang Poh Pern, the monk who started the sacred act of tattooing at the wat, smiles just behind the entrance. He is the welcoming party.

A small Thai man notices the pharangs (foreigners) awkwardly lurking in the doorway of the main building. He knows why they have arrived. They seek a magic tattoo from Luang Pi Nunn, the most famous tattooing monk in Thailand, and Luang Poh Pern’s protégé. He guides them to the table where a young monk wrapped in orange sells flowers, cigarettes, and incense. At a cost of 50 thai baht(about USD$1.50), the bundle is the offering to the monk, and the only payment sought for a magic tattoo.

In most cases, the tourists will then wait, sometimes for hours, for a turn to have a magical Sak Yant tattoo performed and then blessed. Tourists from all over the world, as well as numerous local Thais, flock to this particular Buddhist monastery for these tattoos, which serve as protective blessings. When the time comes for the tattoo to be applied, the monk will consider which Sak Yant is the best fit, apply the stamp and get to work without any discussion. While there are over one hundred traditional designs to choose from, there are a handful of common ones that are typically placed on newcomers, and, unless there is no longer room, they are almost always placed on the upper back. The meaning varies from yant to yant, but, for the most part, they are meant to bring luck and happiness to the wearer. 

The tattoo is applied, as two people on either side, help to stretch the skin, while the recipient bends over a triangular pillow. The monk selects his instrument, cleans it with alcohol, dips it into the ink and begins the process. Amazingly, the tattoos are applied in a matter of minutes, as a result of thousands of rapid taps made by the monk wielding a bamboo needle. In situations where he is tattooing a woman, a piece of paper will separate his fingers from the skin, to prevent him from touching female flesh.

Sak Yant tattoos are said to have magical spiritual properties. Drawn with ink often made from snake venom, ash, herbs, and oils, and applied with a bamboo rod, they are meant to ward off evil spirits and bring good luck, but only if the receiver follows a strict set of rules as set forth at each monk’s wat. Each has his own rules for the wearer to abide by, but the usual rules involve not speaking ill of other’s mothers, abstaining from certain things, such as alcohol, drugs or, in some cases, leftovers.

Is it Clean and Safe?The main concern of many who consider receiving a Sak Yant from a monk is the fact that he does not use a new needle on each recipient. The needle is sanitized between each tattoo, however it is not replaced. There have been no reported cases of HIV as a result of Sak Yant tattoos, which is credited to the lack of opening in the needle, compared to that of a typical tattoo needle. As with all tattoos, however, there is certainly risk involved, which should always be a consideration.

How Do I Get There? While one could easily hop in a cab, the real fun is in taking public transport. The best plan of action is to get the earliest mini bus from a roundabout near the Victory Monument in Bangkok. Ask for the bus to Nakhon Chai Si. If you are able to catch the six a.m., you just may be the first person at the wat (as I was) and have the honor of getting the first tattoo of the day. Though the vans leave every half hour (give or take), traffic in the area can get heavy, and the waits at the wat can get long, so the earlier, the better. From there, the drop-off point will be along the highway across from a shopping center. There should be a bridge across the highway, which will take you directly to motorbike taxis and tuk-tuk drivers, all of whom have a pretty good idea of why you have arrived. Ask for Wat Bang Phra, a journey of about twenty to twenty-five minutes. By the time the tattoo is done, busses will likely be running, so catch a bus back to the city. 

How Much Will It Cost? The only compulsory cost is the donation to the wat of 50 Baht, in exchange for the flowers, incense, and cigarettes, which are then recycled and sold again. One can certainly donate more in provided envelopes (which I elected to). The cost of transport totals about 250 baht, for the day (under USD$10).

Kristin Addis writes bemytravelmuse.com, a website geared towards independent female travelers, who like to head off the beaten path in Asia. A native Californian and former investment banker, she has dedicated her foreseeable future to seeking off-beat travel and a better understanding of cultures around the world.

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When I was hired by Larry Flynt to edit Skin&Ink magazine, back in 1967, Chuck Eldridge was one of the first people I contacted. Wanting to do the best job possible, I was told that, in order to gain support from the tattoo industry’s “old guard,” I had to pass muster with C.W. “Chuck” Eldridge. Chuck, at the time, worked out of a shop in Berkeley, California, called Tattoo Archive (he’s now in Winston-Salem, North Carolina). Eldridge was thought by many to be the leading historian in the business.

Chuck was very cordial to me on the phone, but made a condition regarding his support: He told me that I had to do away with those full-page tattoo supplier advertisements that appeared on SKIN&INK’S back-outside cover. At that time, the ads featured dreaded “starter kits,” the all-in-one collections of mediocre tattoo equipment any kid with his mom’s credit card could purchase for rock-bottom prices. Jack Rudy once told me that, “Even if all my tattoo equipment were destroyed in a fire, I would never get a starter kit. It’s junk.” The main drawback, besides the inferior products, was the lack of an autoclave sterilizing device. Anyone could buy these kits and not have a clue about what Zeke Owen referred to as “the Sterile Chain of Events.” The fact is, an autoclave costs a couple grand, and working without one is a disaster waiting to happen.

So there I was, working less than seventy-two hours for one of the major publishers in the world, and I had to march into Flynt’s twelfth-floor Beverly Hills office and tell him I couldn’t be the editor unless he banished supplier ads from his magazine. There I was, offering to trash my job as editor, all on the say-so of a complete stranger, Chuck Eldridge.

Well, it worked, because Flynt understood and said, “If that’s what it takes, let’s do it.” I found out later that this decision cost LFP (Larry Flynt Publications) over sixty grand a year. Next thing I know, Eldridge signed on with his regular “Living History” column, while I incurred the wrath of the old-school tattoo suppliers all over the U.S. I especially remember the hour-long harangue left on my telephone answering machine by one especially angry supplier (the one who bought the back-pages on most of the tattoo publications). He called me (and my mother) names I had never heard before.

Skipping ahead: Chuck became a regular and we continued to fight the good fight. I even enlisted industry heavyweights like Henk “Hanky Panky” Schiffmacher and Jack Rudy (who bought full-page ads declaring our message). After a couple years or so, Chuck told me that, “Your greatest accomplishment is that there are no starter kit ads on the back of any tattoo magazines anymore.” And he was right.

Chuck diligently worked as a columnist and feature writer until, several years later, we began accepting supplier ads (under the condition that they featured no starter kits). It was either that or not having enough money to publish. Eldridge told me, under those conditions, he couldn’t continue. I guess I admire his view on the issue, but it was uncomfortable to see him go.

I continue to refer people to Chuck, whenever a question arises that requires a solid knowledge of tattoo history. In fact, based on our last phone conversation, Chuck’s Winston-Salem shop and museum is “doing quite well,” and even has a second artist to handle walk-ins. Along with running a shop, curating the Paul Rogers Tattoo Research Center, tattooing authentic old-school tattoos and offering for sale his Tattoo Archive books and collectibles at various conventions, C.W. continues to win the industry’s respect for and understanding of the amazing world of tattoo.

—Bob Baxter

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