MEAGAN AVILA FRANKIE FICARRA TALISMAN BODY ART - PAIN Magazine
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MEAGAN AVILA ★ FRANKIE FICARRA ★ TALISMAN BODY ART
BUYER’S GUIDE FOR BODY MODIFICATION PROFESSIONALS
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APRIL 2020 #215
PAINMAGAZINE 6
onthecover
APRIL
#215
content
Feature
14 The Old(er) School
Ask Angel
What does it take to be Ultimate? Blood, passion
and determination; It’s that simple. It’s in the
DNA. It’s the relentless dedication, the drive to
16 Rings, Studs, & Angles
Company Spotlight
be the absolute. We’re not here because we
19 Stiletto Tattoo Supply
wanted to create another tattoo supply shop.
We’re not here because we thought we could
do it better. We’re here because we did.
Product Spotlight
Over 3000 Products
Whether you're looking for inks, machines, shop
supplies, permanent makeup or anything else
related to the tattoo industry, we have you covered.
26 Metal Mafia
50+ Years
Shop of the Month
Decades of experience and a lifetime of work.
None of that was in vain. It was the driving
force behind the recognition that our industry
27 Talisman Body Art
The PAIN Magazine
was evolving.
1 Website
It's in the name. Everything we do and every
32 Advertising Options
brand we carry, by definition, the creme of the
Music:
40 PAINful
crop, the top of the pile, the best; ultimate.
The cover was designed by Rob Schwager & What’s the deal with coolships?
photograph by Alina Kolberg
Gallery Shows & Expos
Orders@UltimateTattooSupply.com
ultimatetattoosupply.com
866.833.7175
42 2nd Council Bluffs Tattoo Arts Convention
See page Inside Back Cover
PAINMAGAZINE 8Brian Hubis Meagan “Megz” Stevens Frank Ficarra
Artist Profile PAIN FAVS
22
PAIN Favs
20 24
advertisers
3 Wishes Tattoo Supply 18
Body Shock 11
Business for Sale 18
CBD Tattoo Relief 13
CHAMPS Trade Show 44
27 Talisman Body Art
Shop of the Month
Desert Palms Emu Ranch Aftercare 17
Exposed Temptations Tattoo 15
Face and Body 3
Hell City Tattoo Fest 7
Hulk Professional Super Bond 11
Ink Defense All Natural Tattoo Care 18
Ink Mania Tattoo Expo 6
Metal Mafia IFC-1
Neilmed Piercing Aftercare 2
Shining Light Body Jewelry 5
Stiletto Piercing Supply 4, 19, Back Cover
2nd Council Bluffs
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Technical Tattoo Supply
Ultimate Tattoo Supply
13, 41
IBC, COVER,
36 Tattoo Arts Convention
PAINMAG.COMFrank Ficarra (needles) of My Pride Tattoo page 24-25
H
ello and welcome to the April issue, dear painters and
augmenters of the flesh canvas. We hope you’re enjoying
the warming of the air and the lengthening of the days as
much as we are, and that you’ve already jumped through
the necessary hoops to keep the Taxman at bay for another year.
Old Uncle Sammy needs his sugar, so make sure you fork it over.
He gets awfully cranky when his levels drop.
While we’re on the subject of calendar-based pleasantries, happy
Easter and a joyous stoner holiday to all of you. To those of you
who are giving out pot-themed flash tats for $42 on 4/20, we
salute you. To those of you who hadn’t thought of that yet, you’re
welcome. It’s what we’re here for.
We’ve got a fantastic issue put together for you. As always, it’s
chock-full of solid tips and savvy tricks, along with a healthy helping
of tattoo eye candy. And as a bonus for the nerds this month,
we’ve put together a short history piece highlighting some of the
pioneers of tattooing. No, we’re not talking about Lyle Tuttle or
Sailor Jerry. We reached back further—back to the carnival days.
Take a peek, give it a read and add a wrinkle to your brain.
Meanwhile, enjoy your month of April and all the festivities within.
We’ll see you after the showers have brought the flowers, or what-
ever it is they say. v
PAINMAGAZINE 10whoweare
Publisher
Ralph Garza
Editor-In-Chief
R Cantu
Account Executive
Jennifer Orellana
jenn@painmag.com
505-332-3003
Managing Editor
Sandy Caputo
media@painmag.com
Art Director
Ethan Hunt
art@painmag.com
Contributing Writers
Elayne Angel
David Pogge
Austin Ray
Darin Burt
Tanya Madden
Executive Assistant
Richard DePreist
richard@painmag.com
505-275-6049
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Copyright 2020 PAIN Magazine. All rights reserved. Published monthly by Pain, Inc.
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herein. Opinions expressed in articles are strictly those of the writer.
PAINMAGAZINE 12painfeature
The A
Old(er)
lright, kids. Take your seats and pay attention. Today, we’re going to learn a little
history. Tell me, what names come to mind when you think of “old school” tattoo artists?
School
Lyle Tuttle? Ed Hardy? Mike Malone? Sailor Jerry? Fair and respectable choices; by
today’s standards, they are definitely old school. But what about the older school?
Everyone we’ve mentioned worked mostly in the second half of the 20th century, but
anyone with a rudimentary understanding of American tattoo history knows that the traditional style
really came into vogue at the end of the 19th century. Who preceded our great predecessors? Who
influenced our influencers? Obviously, there were hundreds who contributed to the iconic style we
now call American Traditional, but we don’t have room to cover more than a few. Thus, we’ve
curated a small list of three tattoo legends we think you should know about. Enjoy, but please under-
stand that the histories we are providing here are painfully brief. Consider it a move to save paper.
We love trees, etc.
Oh, and one other thing. While we’re on the subject of history, you should know Sailor Jerry spent
most of his life sober—and he definitely never came up with a spiced rum recipe. That’s all. Carry on.
Getting to Cap Coleman
As far as American artists, it really doesn’t get
who by then had already achieved legendary
status. The two parted ways five years later after
much more O.G. than Agustus “Cap” Coleman. the Norfolk City Council banned tattoo parlors
Know Your Hailed as one of America’s best tattoo artists and Rogers moved to Jacksonville, NC, where
throughout the ‘20s, ‘30s and 40s, Coleman he teamed up with Huck Spaulding to form the
was known for his distinctive style, bold lines world-ren owned tattoo supply company,
Roots: A Brief and impressive use of shading. Legend has it Spaulding & Rogers. He moved to Jacksonville,
that he was obsessed with perfection and exhib- FL in 1963, and in 1970, began building his
History Lesson ited a confidence in his own work that bordered
on narcissism. Born in Ohio in 1885, Coleman
now-famous tattoo machines out of a small tin
shack, which he dubbed the “Iron Factory.” It is
is believed to have lived more or less as a carny for this reason that tattoo machines are referred
in his early years, working in a variety of to as “irons” to this very day. Rogers had a stroke
sideshows and traveling festivals, wherein he in 1988, allegedly 60 years to the day that he
began actively collecting tattoos. Back in those began his career. He passed away in a nursing
days, the traveling shows were the primary outlets home two years later, at age 84.
in which the public sought out tattoo artists. In
fact, the term, “flash,” originated in the carnival Bert Grimm
circuit, initially referring to the artwork that carnie Bert Grimm is an icon of America tattooing,
tattooers would post up in hopes of luring festival revered as a pioneer who made countless contri-
goers into their booths. Coleman acquired so butions to the trade and arguably set the standard
many tattoos that he would eventually exhibit of professionality that is still followed today. Born
himself as the “Human Picture Gallery” in a trav- in Greene, MO in 1900, Grimm ran away from
elling carnival called the Sheesly Shows before home at the age of 15 and made his living in the
opening his own tattoo parlor in Norfolk, VA carnival/sideshow circuit. It was during this time
around 1920. He passed away amid mysterious that he first learned to tattoo and began to do it
circumstances in 1973, when he allegedly fell professionally, but he eventually abandoned the
into the Elizabeth River behind his house and carny lifestyle to seek out mentors who could help
drowned, just a few days after his 89th birthday. him hone his craft. This personal pilgrimage took
To this day, Coleman is remembered as one of him from the Midwest to Portland, OR and then
the most important and influential tattoo artists down to Los Angeles, CA, before he returned to
of the early American tradition. Missouri to open a shop of his own in St. Louis.
Over his 70-year career, Grimm became a
Paul Rogers legend, having developed his own niche within
Paul Rogers isn’t far behind Cap Coleman on the American traditional style; a less-is-more
the O.G. scale, having begun his tattoo career approach that combined simplified, open designs,
in 1928, just two years after receiving his first a limited color palette and flawless outlines and
ink from a travelling circus artist. Rogers spent shading to achieve unforgettable results.
his early years in the trade working and travelling
in sideshows and carnivals, during which time Article written as a collaboration between staff
he also trained as an acrobat. In 1945, he ended writer, David Pogge and 30-year veteran tattoo
PAINMAGAZINE 14 up in Norfolk, VA working under Cap Coleman, artist, Kevin Hinton. vAsk
Elayne
Angel
Nostril Piercing:
Rings, Studs, & Angles
Dear Ms. Angel,
Do you think that rings are OK for fresh nostril piercings? If so, do you have any suggestions
about the angles, depending on whether they’re wearing a ring or stud (nostril screw or
flatback) for the initial jewelry? What if the client wants to go back and forth between jewelry
styles—after healing, of course?
Many thanks, C.
Dear C.
I think both styles can be safe, though I’ve found that regardless · A curved hoop resting in the straight channel made by
of angle and jewelry size, very thick nostrils often don’t do well the needle can cause irritation resulting in bumps.
with rings. But above-the-neck piercings are no longer my area · A slightly longer healing process is to be expected when
of expertise, so to better respond to your inquiry, I brought in starting with a ring.
Jef Saunders. He is an esteemed colleague who has written a
few previous articles for this column, and he’s also produced Piercers do such consultations all the time: we warn our clients
several incredibly informative blog posts that specifically address about the potential issues tongue piercings can have on their
your questions. I highly suggest you read them and review the teeth and gums. We caution them about the temporary nature
excellent graphics, which help to clarify many of the principles. of surface anchors. We explain that scarring is possible on
every piercing. Following our explanation, we let our clients
Additionally, I’m proud and delighted to say that Jef and I are make an informed decision to get pierced or not. Getting a
working closely together on a thoroughly updated second nostril pierced with hoop-style jewelry is no different.
edition of The Piercing Bible, which is due for release in June
2021! I find that most clients want a snug, thin seam ring for their
nostril piercings; but, the jewelry they must wear for healing
Jef says: would be larger, thicker, and have a captive or fixed bead on
Nostril piercings with rings are different than nostril piercings it. If they are willing to wait for the gratification of wearing a
with studs. Using rings as initial jewelry can be safe and ring without a bead, and follow my suggestions, I will proceed.
appropriate, but the main downside is that their curvature That said, I have found that most of my customers decide to
naturally causes irritation, and on some individuals that triggers start with straight “stud” style pieces, and then segue into
bumps to form. If a client requests a hoop for their new nostril snug, thin seam rings after the healing process.
PLACEMENT
piercing, I think having a consultation and discussion with
them about the pros and cons of different initial jewelry styles
is worthwhile. Optimal placement for a nostril piercing with a ring is essential.
Ideally, it would be placed more toward the tip of the nose, at
The client should be informed about several important points: the front end of the pierceable crest of the nostril. This tissue
both flattens and thins out. It also tends to be the best place on
· Ring and stud piercings are (often) performed at different the nose to achieve a snug, “cuffed” look for the ring.
angles. Sometimes the ridge of a nostril can accommodate several
· The client may not be able to change from one jewelry hoops of the same diameter, but in most cases, as you place
style to the other and have both look equally nice. the ring further back, the diameter must be larger to fit.
PAINMAGAZINE 16One suggestion is the use of a handy tool priately placed stud piercings are virtually used in captives. This can make it easier to
called a size placement ring, or SPR for short. the same. Both are perpendicular to the tissue, conceal the closure inside the nose. And, of
I was introduced to them by the Fakir Intensives. and both result in aesthetically pleasing pierc- course, there’s no possibility of losing a bead
SPRs are just niobium captives without the ings on this type of anatomy. But on a nose when it is attached.
beads, in a variety of sizes. You can distinguish that is broader with a more pronounced flare
the SPRs from your inventory by anodizing to the nostril, the angle is significantly different Seam rings: I advise against starting a
each hoop in two different colors. for a ring and a stud. Piercing perpendicular piercing with this style, as the small seam can
to the tissue would cause the hoop to stick be irritating and is a great place for bacteria
When piercing with a ring, I will make a dot out too far. For the best results with a ring, to gather. Some colleagues will use a seam
on the cleaned nostril with a disposable gentian the angle of the piercing for the average ring as initial jewelry with a small sterilized
violet marker, and then place an SPR on the nostril tends to be almost parallel with the O-ring over the seam. This seems like an
mark. In some cases, I will need to open the floor or tilted very slightly downward. elegant solution to the problem, although an
RING-STYLE JEWELRY OPTIONS
SPR larger than the size of the bead. Take this O-ring seems as visible as a captive or fixed
into account, as you may need to go with a bead (if not more obvious).
larger diameter for the jewelry selection. The Captive bead rings: “CBRs” are the old
SPR helps me to determine the appropriate standby and I still like them for nostrils with Nostril nails: After healing, the nostril nail is
diameter, and also helps my client to visualize hoops. l strongly suggest stocking several an excellent option for clients who like to
the size and angle of the piercing beforehand. “half” sizes (9/32” and 11/32”). I prefer change jewelry regularly. It can also be modi-
18 gauge for nostrils with rings, as the curva- fied without the use of tools to be slightly
I find that many clients want a hoop that is ture of the jewelry through the fistula tends to snugger than a traditional ring.
impossibly tight. But the jewelry needs to be even more irritating at 20 gauge. For
accommodate some swelling and provide a some, jewelry as thick as 16 gauge will look When we elect to use a hoop initially we
small amount of space, so it doesn’t rub on appropriate, though the majority of piercees need to acknowledge that the piercing will
the skin of the nostril. Therefore, they must be prefer thinner. Most of my clients opt to wear be more prone to irritation if the angle is not
willing to heal with a ring that is larger than the bead on the inside of their nostril, so it perpendicular to the tissue. That doesn't mean
what they envisioned. isn’t visible. we need to completely avoid it. If the client is
informed and agreeable, and will wear
ANGLE Fixed bead rings: Obviously, these are very appropriate jewelry throughout healing, then
On a few clients with very narrow noses, the similar to CBRs, but they are available with piercing with a ring can be safe and
angles for snug hoop piercings and appro- slightly smaller beads than the ones commonly successful. O
PAINMAG.COMPAINMAGAZINE 18
F
irst let me introduce myself, I’m Patrick McCarthy, I was the first elected President of
the Association of Professional Piercers and have been piercing for over 29 years.
Over these years I have been involved in many aspects of the industry in teaching
both piercers and health officials how to design and inspect body piercing studios.
I have been contacted by health inspectors asking if a piercing studio can open
without an autoclave and still meet state laws and regulations; until now the answer has
always been no. More than a decade ago, the tattoo industry started the switch to
disposable, single use products, and, Stiletto Piercing Supply wants to move the piercing
industry in the same direction. Moving the piercing industry into the 100% disposable
realm has had its own challenges, but I feel confident in the products that we have designed
and tested.
Stiletto has not only designed many new tools to be used in the piercing industry, it offers
many of the industries standard products in pre-sterilized cost effective options. Stiletto
Piercing Supply’s products allow you to perform ALL piercings using an Aseptic Technique
with our pre-sterilized single use products. Stiletto Piercing Supply owns an FDA approved
EO (Ethylene Oxide Gas) sterilization room reassuring you every package comes sterilized
and verifiable with lot numbers. Our primary goal of this new venture is to allow piercing
and/or tattoo studios to open without the need for a sterilization room.
For those of us that own our own studio we understand the time, cost and labor it takes day-
after-day to soak, ultrasonic, wash, package, autoclave and store products. Stiletto Piercing
Supply can put an end to that, allowing you to save money and time. Stiletto Piercing
Supply has invested a lot of time and money in the creation and design all the products
needed to run a studio without the use of an autoclave. Stiletto Piercing Supply produces
single use silicon coated tapers, in press-fit, standard and threaded styles. We have even
produced single use disposable silicon covers and grips for your opening, closing and
bending plyers allowing you to reuse the tools without having to autoclave.
Perhaps Stiletto Piercing Supply’s signature product is our super sharp individually packaged,
pre-sterilized needles with built-in pins allowing you a faster, less painful piercing for your
clients. Also saving you the need to even use a taper pin for many piercings. These needles
will be produced in press-fit, threaded and standard pin styles.
Stiletto Piercing Supply is proud to announce a high-quality line of compliant pre-sterilized,
internally threaded jewelry. All jewelry comes hand polished, double ultrasonic washed,
packaged and autoclaved in boxes of 10 allowing you to again save time and money. We
will continue to add to our jewelry line with the introduction of new pieces every few weeks.
Stiletto produces every product you need to perform, insert, or change jewelry without the need
for an autoclave. Visit our website at www.stilettopiercing.com for a better look at all the
products we produce. O
PAINMAGAZINE 19I have been tattooing 6 years
I hold and keep up to date any certifications necessary to obtain
and keep Tattoo Licenses when and where they are needed,
such as Bloodborne, CPR, First Aid, Massachusetts Skin Course
for Tattoo Artists, etc.
I consider myself very well rounded and although I book out
pretty well, the shop I perform most of my work from is very walk
in heavy and I take them when I can to stay fresh in just about
everything. However, I do have a favorite style to do which is
portraits or anything black and grey realism because it reminds
me of the constant pencil drawing I would do as a kid.
What I find fascinating about today’s tattoo industry is how
much it’s constantly evolving and no matter how much it grows
and shops pop up here or there people stay busy. The world is
definitely a different place and it’s amazing how big the industry
is now and will continue to be going forward. It’s gone from
being a taboo art form to a widely accepted career.
Some parting thoughts I have, might be that, a kid who was an
only child of a single mom and passed time drawing while
being babysat by family, was actually spending that time
preparing myself for a dream career without knowing it. I’ve
had so many jobs since high school that I never was able to
stay with for more than a short time. With tattooing, when I
started it, I knew why I was never satisfied with anything else.
I didn’t need a job tattooing wasn’t one of those. I finally found
what I was meant to do and life is too short to not have that
feeling, no matter how long it takes to find it. I’m thankful every
day that I did. O
Email: brianhubistattoos@gmail.com
Instagram: @brianhubistattoos
PAINMAGAZINE 20PAINMAG.COM
M
egz has been tattooing for three years.
She is BBP certified and holds a current
license to tattoo in the state of
California. Megz specializes in Disney and
Manga Watercolor. When asked what she finds
fascinating about the tattoo industry she replied,
“I find the variety of clients to be fascinating. In
one day you can be tattooing a corrections
officer, then a chief, then a mother of four. You
meet tons of fascinating people with different
perspectives on this beautiful messy thing we
call life.”
“I want to create a tattoo the client will cherish
for a lifetime, and—on top of this—I want the
client to feel safe, appreciated, and respected
when they sit in my chair. I want them to walk
out of the session with pain on their skin and
peace in their heart.” O
Shop Name: Bosco’s Tattoo Shop
Cell: 661-972-8650
Instagram: @tattoozbymegz
PAINMAGAZINE 22PAINMAG.COM
I started tattooing professionally August 2008
Certifications:
Bloodborne pathogens, non laser removal
I recently started learning portraiture. I don’t think I’ve
been tattooing long enough to say I have a specialty.
I still have a lot to learn
What i love about tattoos is.... you dont have to speak
one word to another person, but just look at their
tattoos, and pretty much figure what they’re about.
I will leave on this...
You’re either going to love me or hate me, it’s what
ever, but know you will never forget me. We don’t
fuck around.
(frankie needles)
My Pride Tattoo
Mypridetattoo.net
Inked4life2013
PAINMAGAZINE 24PAINMAG.COM
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PAINMAGAZINE 26A spoon, a guitar string, a Sony Walkman, and 20 bucks collected from a day’s worth of panhandling. In the beginning, this
was Kevin Hinton’s admission price into the tattoo world.
Well, it wasn’t exactly the beginning, but it was close. We could go back a few years more and discuss the half-finished chain tattoo
he’d poked into his wrist with a sewing needle he’d stolen from his mom, but there’s only so much space. Let’s start with his first machine.
WWW.PAINMAG.COM“I was 16 when I found out that guys in jail gave
each other tattoos,” he recalls with a laugh. “Of
course, I had no idea how they did it, but I knew this
dude who had gone to jail. Later I found out it was
a drunk in public and he only went to county for
three hours, but whatever . . . he didn’t know how
to make a tattoo machine, but he knew a guy who
did—a scary fucking dude who just got out of San
Quentin.” The guy agreed to help our protagonist,
telling him to bring the aforementioned items. The
first three were to build the machine. The $20? For
his time.
Don’t worry. He was admittedly young and dumb,
and it was the ‘80’s. That’s practically how everyone
started back then. Besides, he’s all grown up now,
with more than thirty years of legitimate tattoo expe-
rience under his belt.
But this story isn’t really about Kevin. Not exactly,
anyway. Technically speaking, it’s about Talisman
Body Art in Santa Fe, New Mexico, the shop in
which Kevin works, alongside fellow tattoo veteran,
Ed Tafoya, recent apprentice-turned-full-fledged-artist,
Jordan Duran, and front of house ninja, Britney Dale.
PAINMAGAZINE 28Typically, when we profile a tattoo parlor, we focus on the owner. But
Talisman’s owner, Phil Montoya has a more hands-off approach to the
shop than what is typical. Not that he’s neglectful of his investment; he
just has three other businesses to look after in Austin, Texas, and there-
fore, leaves the day to day operation of Talisman largely to Ed and
Kevin. Smart move, considering they both have a solid three decades
of experience to their names. The shop is in good hands.
Sadly, prior obligations precluded Ed from joining the interview. In his
absence, he submitted a five-minute pre-recorded monologue in which
he gave a brief summary of his personal history. Spoiler alert: At the
four-and-a-half-minute mark, he admits that everything he’s said prior to
that point was “all bullshit.” It’s a shame, really. When someone talks
about living under a bridge with a runaway Egyptian princess, you just
want it to be true. Bonus points for creativity, in any case. He spun a
helluva yarn.
“The truth is,” he concluded, capping off the first four and a half minutes
of bullshit, “I learned how to tattoo in San Francisco from Erno Szabady.
I stayed there for a long time, moved back to Albuquerque and now I'm
in Santa Fe.”
Let’s be real, though. As badass as the whole bridge/runaway princess
story sounds, it’s not as badass as having Erno Szabady as a mentor.
Truth beats fiction here, at least for our purposes.
PAINMAG.COMThis sort of brings us to the magic that makes Talisman what it is; the fact that
it’s staffed and managed by two multidecade veterans of the trade who
learned from and interacted with the legends and have the chops to prove it.
The corresponding pictorial really says it all. They may shine most in the tradi-
tional varieties, but there really isn’t a category they can’t tackle. Well, except
Kevin insists you shouldn’t ask him for photorealism.
“I don't need some turd that needs to be polished down the street that was
done by me,” he blurts out, laughing. Alright, so maybe not photorealism, but
you’d be hard pressed to find another category they haven’t nailed. The best
part, though, at least for the client, is that they’re sticking with their roots and
staying all walk-in. Yes, that even includes those traditional Japanese pieces.
“The books are open for all three of us—walk-ins every day,” Kevin says.
“No one's walking out without getting tattooed . . . I’ll do tribal arm bands
with a smile on my face. I’ll do whatever. I come from the old school. I loved
it when you could walk in, point at the wall and get the tattoo. Those days
are gone. Now, somebody walks in and shows me something from Pinterest
on their phone, I don't give a shit. Sit down. You're getting it. I love tattooing!”
That doesn’t mean he won’t give you his honest advice, though. It’s still a
two-way street and he’s still the expert. But in the end, the client gets what
they want (within reason.)
“I did a big watercolor piece on this girl’s ribs,” he offers as an example. “To
me, it looked like a funky outline of a rose with a rash, but she LOVED it and
that’s all that matters. She was like, ‘What do you think?’ and I said, ‘I love
that YOU love it.’ I’m not tattooing for likes on Instagram. I’m tattooing for
the client. You catch more bees with honey, man.” O
PAINMAGAZINE 30PAINMAG.COM
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Photo by Shovey Photography
I
owa in February is the perfect setting for a tattoo show.
With temperatures barely reaching the freezing level,
only the bravest (or craziest) people were showing skin
outside, but inside the Mid America Center the atmos-
phere was warm and welcoming at the 2nd Annual
Council Bluffs Tattoo Arts Convention.
According to event emcee “Dr. Carl Blasphemy,” the
Council Bluffs show, being in mid-America, has a more
“exclusive” feel to it than many of the major shows. Still,
300 artists were in attendance and more than 5,000
tattoo fans visited over the three-day event.
We bring in a bunch of different high caliber artists, not
only from the local area, but from around the country.
We're helping to expose people to tattooing other than
what they see on television,” Carl said. “It was a really
solid show — the artists were busy all the way up until we
shut the doors.”
Tattoo contest winners in the color categories were Adam
Aguas, Jake Pasons and Alexandria Barrett; top spots for
black & gray went to Jae Gomez, Jordi Pla and Pete
Whitlow. Best of Show was awarded to Jake Parsons,
Blackwood, Adam Aguas and Patrick Oleson. All the
winners earned an Axis Rotary Tattoo Machine and of
Holy Water numbing spray by Saint Marq.
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Florida permanent makeup
artist Candy Dunbar is one of
the regulars on the Villain Arts
tour. Not only do she and her
Ink Master husband Kyle tattoo
at the shows, Candy is one of
the official contest judges.
“She has a great eye and
everybody respects her,” Carl
said. “She will straight up tell
you what about your piece put
it over the top or why it didn't
win.”
The convention featured not
only live tattooing, but live acts
inc luding Alakazam the
Human Knot, The Enigma,
Olde City Sideshow and
dynamic human suspension.
One of the new additions to
the Villain Arts shows is a giant
projection screen which literally
added another dimension to
the stage acts and gave people
a judge's eye view of the
tattoos in the daily contests.
“This was a very leisurely, laid
back weekend. Everyone who
came to the show was really
nice. There was a real family
feel,” Carl said. “A lot of those
who came out the first year
were back again and it was
great to see them and say hi.”
If there's a tattoo show
happening it's a good bet it's
put on by Troy Timpel and the
gang at Villain Arts. They're
nearing two dozen shows a
year including events in major
cities including Atlanta,
Chicago, Houston, New
Orleans, Baltimore, Kansas
City, Cincinnati, Cleveland,
Minneapolis and Philadelphia.
They've even expanded west-
ward with shows in Denver and
Portland. The month of April
alone has Villain Arts setting
up shop in Louisville, Asheville
and Baltimore.
“A big part of what we're
about is giving back to the
ar tists and bettering the
industr y,” Carl remarked.
“We’re crazy busy.” O
PAINMAG.COMin Portland, ME is widely cited as the first
to set one up for spontaneously fermented
sour beers, back in 2008. (Anchor
Brewing, it should be noted, has used one
for a while, but not to make sours.) Others,
like Russian River, Anchorage, New
Glarus, and Bluejacket have followed suit
in the years since. Their motives vary, from
lambic admiration, to a thirst for innova-
tion, to a desire to make beer with a sense
of terroir.
Oftentimes, it’s a mix of these and other
factors. Denver’s Crooked Stave Artisan
Ales was born from a dissertation that
owner/brewer Chad Yakobson wrote on
a wild yeast called Brettanomyces.
(Crooked Stave has a coolship, but hasn’t
put it to use yet.) Jester King in Austin, TX
i ncorporates local yeasts from the
surrounding Texas Hill Country into its
I
t doesn’t look like much Unlike the tall, producing stunningly complex flavors coolship batches. Allagash is experi-
gleaming fermenters you have likely under the right circumstances. The catch menting with different blends and aging
seen on a brewery tour, the device is that you can only control the process so with cherries and raspberries—a tradi-
consists of a simple metal pan, usually much; mostly, you just have to sit back tional technique used to balance out sour-
longer than it is wide and only a foot and let nature take its course. ness with natural sweetness from fruit.
or two deep. No one knows exactly where
the coolship originated (there is evidence Cantillon wasn’t first brewery to make These beers, collected under the nebulous
of shallow, uncovered brewing vessels spontaneously fermented sour ales, but it umbrella of “American wild ales” by the
dating back to at least medieval times), may be the best. microbrewing community, are still very
but its practical application is clear to much a small niche in an exploding craft
anyone who didn’t sleep through physics It’s hard to pinpoint which brewery first scene that for years has been dominated
in high school. started making spontaneously fermented by the arms race to make bigger, hoppier
sour ales, but Cantillon in Brussels is the IPAs. But breweries like Boulevard, Surly,
“I would imagine someone was boiling most commonly cited reference point— The Lost Abbey, and Wicked Weed are
that liquid a millennium ago, adding both because it’s been around for a while taking home Great American Beer Festival
spices or hops, and they said, ‘Well, it’s (since 1900), and also because it feels medals in various sour-leaning/wild beer
not going to ferment until it cools down,'” like every U.S. craft brewer interested in categories, and there are more and more
says Dan Carey, co-owner and brew- wild ales worships at the feet of its tippling, events cropping up to celebrate this funky
master of Wisconsin’s coolship-rocking chair-tipping label mascot. Cantillon corner of the brew world, like Chicago’s
New Glarus Brewing. “And then some- wasn’t first, but it may be the best. annual Festival of Wood and Barrel Aged
body had the bright idea, ‘Let’s increase Beer and the roving, collaborative bottle-
the surface area by putting it in a pan.'” Jean-Pierre van Roy, Cantillon’s fourth- sharing meet-up, Where the Wild Beers
generation brewer, has owned the Brussels Are. All signs point to a continued rise in
As the years went by and technology institution since 2011. He says very little the production of complex, tart beers in
advanced, coolships as old-fashioned heat has changed in Cantillon’s 114 year years to come.
exchangers were no longer necessary. history aside from the bottling line, and
Most modern breweries—adopting the that time and patience are simply part of In the meantime, the proliferation of cool-
cleanliness-is-next-to-godliness mantra you the process when it comes to making these ships around the country is a testament to
see in most commercial spaces today— carefully crafted sour brews. “We don’t the mouth-puckering, refreshing appeal of
eschewed these shallow pans in favor of control our fermentation, so some beers lambics; the maturing craft-beer market,
more modern refrigeration techniques. could take less than one year to be ready which is looking for a break from hop
for a blend, and some even two years,” bombs and imperial stouts; and the
But not everyone. van Roy says. “Patience [is important for enduring influence of old-world breweries
brewers considering a coolship] because like Cantillon. Asked if it’s fulfilling to see
The Belgians realized that, in addition to a brewery has to build its own natural this movement happening in the states,
speeding up the cooling process, these environment, and it takes a lot of time. van Roy seems pleased, if modest. “Yes,
open vessels also exposed wort (the Love and passion are very important for for sure, but I don’t consider it a success
sugary liquid that ferments into beer) to me, as [they are for] a lot of craft brewers.” for Cantillon itself,” he says. “More as a
naturally occurring yeasts and bacteria in success for traditional lambic.” O
the atmosphere. While these microorgan- Inspired by forefathers like Cantillon, U.S.
isms can easily spoil a brew through cont- breweries have caught coolship fever in
amination, they are also capable of recent years. Allagash Brewing Company
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