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BEST OF ISSUE 2016


Tattoo Artist: Evgeniy Goryachiy

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Dieselboy 96

Fashion: Bandit Brand

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Junker Designs 102

The Beat Goes On: Frank Zummo

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Ash Costello Gets Real

Hollywood’s Breaking Bad Guys

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Interview: Andreea Rosse 120

The Ethereal Paintings of CT Nelson

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Art: Vinny Cheap 128

Interview: Justine Corona

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The Redemption Song of Brent Loveday 134

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GhostCircus Apparel 58

Piercing: Miro Hernandez

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Tattoo Artist: Maksims “Laky” Zotovs

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Music: Unwritten Law

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The Illusionist: Joseph Réohm

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Tattoo Artist: Alexander Yanitskiy

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Positive Spin: Anja Ringgren Lovén

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Editor-in-Chief - Candies Deezy Liu Creative Director - Sean Hartgrove Art Director - David Rossa Piercing Editor - Sean Dowdell European Editor - Ákos Bánfalvi Positive Spin Editor - Kate Monahan Staff Photographers - Radek Photography & Billy Ward

Tattoo Artist: Evgeniy Goryachiy Interview: Ákos Bánfalvi Fashion: Bandit Brand Words: Simone Jane Photos: Michael Schmidt

Tattoo Artist: Maksims “Laky” Zotovs Interview: Ákos Bánfalvi InkSpired Story: The Illusionist Joseph Réohm Words: Simone Jane

Music: The Beat Goes On - Frank Zummo Words: Candies Deezy Liu Photos: Danielle Spires

Positive Spin: Compassion in Action - Anja Ringgren Lovén Words: Kate Monahan

InkSpired Story: Hollywood’s Breaking Bad Guys Words: Candies Deezy Liu

Music: Dieselboy Words: Chad Allen Photos: Sean Hartgrove

The Redemption Song of Brent Loveday Words: Simone Jane Photos: Sean Hartgrove Piercing: Miro Hernandez Interview: Sean Dowdell Tattoo Artist: Alexander Yanitskiy Interview: Ákos Bánfalvi Music: Unwritten Law Words: Candies Deezy Liu Photos: Sean Hartgrove ------------------------------------------------

Art: Ethereal Paintings of CT Nelson Words: Morgan Febrey

Fashion: Junker Designs Words: Simone Jane Photos: Provided by Junker Designs

Interview: Justine Corona Photos: Sean Hartgrove

Music: Ash Costello Gets Real Interview & Photos: Jim Louvau Interview: Andreea Rosse Photos: Mr. Gri

Fashion: GhostCircus Apparel Words: Candies Deezy Liu Photos: Provided by GhostCircus Apparel

Who’s on the cover: Model: Justine Corona Photo: Sean Hartgrove

Art: Vinny Cheap Words: Joseph Findeiss

Issue No. 49 & 50 brings you a double and special edition of InkSpired Magazine’s best of the best in 2016. We have had an incredible year of fashion, music, art, inspiring stories, tattoos, and various other subjects and topics that makes this publication. Choosing features for this “Best of” issue was no easy task because everything we have published holds a special place in our hearts. As we wrap up 2016, we look toward and forward to the new year, which will bring you a new set of editorial that we’re already excited about. We are also launching our new InkSpired Shop in 2017, a collection of tattoo culture and lifestyle’s best apparel and accessories. A new year means a new slate—a fresh start in our crazy, beautiful lives. We can’t wait to share it with you! A massive “thank you” to each reader, fan, and supporter. We wouldn’t be here without you! As we head into the new year on our exploration of tattoo culture and lifestyle evolving, I ask you, “what ‘InkSpires’ you?” Signed, Candies Deezy Liu, Editor-in-Chief

Advertising info: info@InkSpiredMagazine.com

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EVGENIY GORYACHIY Interview: Ákos Bánfalvi Poltava, Ukraine born tattoo artist, Evgeniy Goryachiy aka U-Gene started painting when he was a child but he didn’t think about pursuing this career path seriously. He went to Economic University and later opened his own company. Afterwards, he started tattooing 6 years ago and the now Wroclaw, Poland located artist quickly became a master in realistic tattooing. What made you want to become a tattoo artist and how long have you been tattooing? When I went to make my first tattoo, the tattoo artist saw my paintings and said, “you should try tattooing,” so I tried and this is the beginning of a long story. What did your family and friends think about you getting into the business? My mum was really angry. (Laughs.) They didn’t like this idea but I always went about things my way. What was the first tattoo you ever did? Can you tell us about it? My first tattoo was tribal or something like that. Tell us about your shop, Voice of Ink. We opened the tattoo studio, Voice of Ink in Wroclaw, Poland. It’s a great place with great artists. We wanted to have a place where we can feel like a family and where we can develop ourselves. Describe how you go about creating a tattoo from concept to finished design, as well as how you try to put your own unique touch on your tattoos. It’s always something new for me. I create the drawings the day before I tattoo. I always try to make something new and unique so it takes me some time.

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“FOR ME, EVERYTHING IS INTERESTING THAT I MAKE FOR THE FIRST TIME…” – EVGENIY GORYACHIY InkSpiredMagazine.com

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How would you describe your style? What tattoo style do you like best? I prefer realistic tattoos. I constantly develop myself and try to do a better and better job, but maybe in the future I’ll change styles, you never know. Do you see tattooing as a job or a way to express your creative side? It’s a way to express my creative side and it’s a big responsibility to permanently put something on someone’s skin. Describe how your role models and any other sources of inspiration have affected your tattoo style. I have a lot of inspirations. I am inspired mainly by famous painters, tattoo artists, photographers, et cetera. Do you have a funny tattoo story? Yes I do, but it’s better if I don’t mention it. (Laughs.) What is the most interesting tattoo you have been asked to do? For me everything is interesting that I make for the first time. Every time I try to make it happen, I would like each project to be unique. What is the most shocking tattoo you have done? I have never done anything shocking. Shocking for me is to make tattoos which you often can see on the internet. I always try to make tattoos I like. In the beginning of this road, I tried do my best but I didn’t have any experience. What do you think a client should expect from you as a tattoo artist and what do you, on the other hand, expect from a client to make a successful tattoo and a good collaboration? A good collaboration is when the client knows my work and trusts me. I only need to know what they want and what they like, but I prepare projects myself with my own style and creativity in mind. Are there any positive sides of being an artist? Yes, I can meet great people along the way, as well as great artists and I can learn from them. It allows me to do what I really want to do in life and that’s the best thing about it. Can I ask if there are any negative parts of your job? There are negative parts to every job but I don’t focus on them. How would you describe the current status of tattoos by the general public in your country? It’s more popular than ten years ago. People nowadays have better knowledge of good and bad tattoos. They also have more interesting ideas for tattoos. Have you noticed any changes in the tattoo industry since you started? Yes, we have better equipment, there are more great artists, and tattoos are associated with art instead of prison. How has the tattooing industry changed, in your opinion, since shows like LA, NY, MIAMI and LONDON INK have been broadcasted to the nation? I think thanks to these TV shows, people understand that tattoos are something individual and artistic www.Facebook.com/ugenetattoo www.Facebook.com/goruachiy www.Facebook.com/voiceofinktattoo Instagram: @evgeniy_goryachiy

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F A S H I O N

BANDIT BRAND Words: Simone Jane Photography: Michael Schmidt

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Bandit Brand has the nostalgic feel of 1970s America, reflections that capture and communicate the crude beauty and simplicity of life. A place where people took pride in their advertising, where signs and logos were hand made, and driving through the woods on the weekends on top of your roadster with no destination in mind was a road trippin’ dream. Jennifer Mcmillan is the woman behind Bandit Brand. Her route into fashion design is a somewhat familiar story. Jen owned a boutique 15 years ago that specialized in new and vintage clothing. “I was having trouble finding t-shirts I liked,” she explained, “so I started creating my own designs.” Jen confessed, “I personally can’t draw very well, and I am super picky, so it took a very long time to find the right artist(s) to take what was in my head, translate my crappy sketches, and turn it into the t-shirt art it is today.”

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She began to create a brand out of those drawings. “I wanted them to look and feel vintage and to actually someday become actual vintage,” Jen said. “Something well-made that looks better with age that generations to come can continue to wear,” she added. The results are vintage inspired classic rock tees designed with classic rock Americana in mind. Inspiration behind the designs of Bandit Brand is “mostly America and music,” Jen observes, “road tripping, you see a lot of cool old spots with great signs and listen to a lot of music. There is so much inspiration just everywhere when you’re in that state of mind.” She always took notice of the quality of signs growing up. “People used to take so much pride in their logos and advertising for hotels, bars, restaurants and liquor stores.” Jen explains, “before computers when everything was done by hand. I hate fonts!” she exclaims. “I try not to use them, even if it looks like a font. Virtually all of our lettering is hand drawn.”

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All of Bandit Brand is manufactured in the USA and given the intensive pressure from cheaper goods flooding in from the market overseas, that is impressive, especially when the profit margin can be so appealing. This would go against everything Bandit Brand stands for as a company. As Jen put it, “I wouldn’t do it any other way.” She states, “It’s funny because I could make a fortune off of my Urban Outfitters orders, et cetera, but I barely make anything because my t-shirts are so expensive to make but money isn’t worth it to me to exploit human beings in shitty working conditions.” She feels a duty to subscribe to the whole local economy. She continues, “I even try to eat local foods. It was never an option in my mind.” It certainly results in the quality of the tee that will last into vintage status.

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Does it take a village to make a t-shirt? Well, for Jen, it took buying an entire town. Bandit Town USA cements Bandit Brand’s true roots of “The west, country, and rock and roll,” as Jen describes it. It is an old Western town Jen found for sale two and a half years ago. “We named it Bandit Town when I bought it because it encompassed everything Bandit Brand was already about.” Jen explains. “It was perfect for our photo shoots, and we have a saloon and barn that we invite bands to play in and have small intimate rock and country “festivals.” We’re currently remodeling a bunch of the buildings there to be guest rooms so that people can come and experience life in Bandit Town. We have horses, and lots of other animals, and it’s just a really awesome place to hang out.” Jen says. www.BanditBrand.com www.BanditTownUSA.com www.Facebook.com/BanditBrand Instagram: @Bandit_Brand

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FRANK ZUMMO Words: Candies Deezy Liu / Photography: Danielle Spires Joining Sum 41 in 2015 wasn’t Frank Zummo’s first rodeo, nor his last. The drummer has been a fulltime as well as session member with numerous bands, including Julien-K, Dead By Sunrise, and Mötley Crüe. Drumming is in his blood.

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and a half, Frank has been with Sum 41 and Krewella, rotating between each band’s on and off cycles. “Our schedules have aligned so perfectly that I’ve been jumping from one to the other. I’ve literally played a show with Sum 41 in America, went right to the airport to fly to Europe, and walked on stage with Krewella,” Frank describes. “They’re both two different beasts [Sum 41 and Krewella]. Playing with Krewella at these EDM festivals is insane, with all the crazy production, the beat doesn’t stop. And being

an official member of Sum 41 has been great. The shows and their fans have been amazing,” he continues. Growing up in New York City made a profound impact on Frank, making him the drummer he is today. His influences weren’t all just rock ‘n’ roll. Dance music played an integral role in the making of his percussion finesse. Frank was born to be a musician. His parents were both musicians—his mother a singer and his father a drummer. “When I was three years old, I walked away from the dinner table and suddenly, my parents heard a beat

In addition to Sum 41, he also performs with EDM duo, Krewella, and Street Drum Corps, an avante-garde percussion project he started with Bobby and Adam Alt in 2004. What started out as a fun experimental project turned into a wildly successful collaborative that exploded in the world of music. They have toured the world with various bands such as Linkin Park and 30 Seconds to Mars. “We built this company into kind of like a stomper Blue Man Group, how they have multiple troops and groups that tour the world,” Frank says. Celebrating their 12th anniversary, Street Drum Corps has grown into a collective of more than 30 drummers that tour all over, including the west and east coast, festivals, and even local theme parks and state fairs. The group also puts on a hell of a Halloween show—Blood Drums, that has also been a part of Rob Zombie’s Halloween event. In addition to three military tours in the last couple of years that included Djibouti in Africa, Bahrain, Guam, and Japan, Street Drum Corps also had a six month residency in Vegas at the Hard Rock Hotel & Casino with various celebrity guests including Tommy Lee and Deryck Whibley from Sum 41. Zummo has also played with musicians such as the Godfather of industrial music—Gary Numan in Europe and America, Scott Weiland when he was with Stone Temple Pilots, and Dhani Harrison with whom he has done movie soundtracks and touring. For the last year 34

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playing from the bedroom in the apartment where my dad had a drum set. They walked in and I was sitting behind it playing a drum beat. Since then, I’ve been hooked,” he remembers. Fast forward to five years old, when his dad took him to his first concert: Ozzy Osbourne and Mötley Crüe. “When I saw Tommy Lee come out and play, I decided that this is what I’m going to do for the rest of my life. When I played with Mötley Crüe, my dad was in the audience,” Frank continues. It was a surreal moment as he watched his son play in the band that changed his life.

Photo: courtesy of Sum 41

For updates, follow Frank at: IG: Frank Zummo Twitter: @FZummo

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Words: Candies Deezy Liu Notorious “bad boys,” Luis and Daniel Moncada have taken Hollywood by storm. The duo appeared together as “The Cousins,” twin assassins in AMC’s hit series, Breaking Bad. Now they are considered household names as Hollywood’s go-to “tough guys.” Though many of their roles could have been mistaken for scenarios in their previous lives, the brothers have come a long ways. Born in Honduras, they were raised in an area where crime and gangs were prevalent, a neighborhood near Hollywood and Echo Park. “We didn’t speak any English when we moved here,” Luis remembers. Growing up and seeking means of acceptance, they began associating with gangs, resulting in criminal activity. “Our characters on Breaking Bad are very similar to us––serious, and we’ve been through a lot of shit. And we can take one look at each other and know automatically what the other is saying,” Luis explains. Both have been to prison, experiences they say have changed their lives for the better. “That’s where we got our ink,” Daniel says. The “fuck you” on Luis eyelids says it all, a tattoo he got when he was eighteen and didn’t think he was going to make it past the age of twenty-one. Acting came as somewhat of an accident for them. Luis was working as a security guard on the set of El Padrino when director, Damian Chapa noticed his neck tattoos. Thinking Luis would be perfect as Jennifer Tilly’s bodyguard in the film, Chapa asked him to play the role. “I was getting off in ten minutes, I didn’t really want to do another eight hour shift,” Luis recalls. Manuel Jimenez–– an ex convict and founder of Suspect Entertainment––a talent agency that turns previous gang members into actors, overheard the conversation and not only convinced Luis to take the role, but signed him to the agency as well. Since then, Luis has landed several “bad guy” roles in television shows and movies alike, such as Californication, Fast & Furious, Collateral, Gang Related, and more.

Enter Breaking Bad. Luis showed up for the audition alone. Daniel’s acting career had not yet begun. “I briefly mentioned I had a brother. They immediately asked if we looked alike. When I said, ‘yes,’ they said, ‘bring him in tomorrow.’ Two days later, we got the phone call. We got it,” Luis says. Since Breaking Bad, Daniel has also continued to land “tough guy” roles in television and film, including Sons of Anarchy, Southland, Chosen, and others. Don’t let their outward appearances fool you. Although they’re definitely not ones to mess with, Luis and Daniel have a funny and friendly side. Acting was the light at the end of the tunnel for their lives that could have ended down a very different and dark path. In his spare time, Luis is a motivational speaker at schools, programs for youth, and prison camps. Daniel trains in boxing and Muay Thai at 818 Boxing Club in Pacoima, CA. Instagram: @Luis_Moncada @DanielMoncada Twitter: @LuisMoncada77 @DanielMoncada80

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ETHEREAL PAINTINGS OF CT NELSON Words: Morgan Febrey If you were to ask me to describe CT Nelson’s style, I’d be at a loss for words. I’d reach for my phone to show you a photo; so, hopefully you aren’t reading this article on some non-smart flip phone relic. Recently, I visited CT at his studio in Denver to explore this enigmatic quality of his work. As a default conversation backdrop, I brought beers with me. Let’s get the ol’ conversation machine greased a bit, right? But when I arrived, the warm-hearted and grateful CT let me know that he doesn’t drink during the day. While this may seem like a pointless detail to recall, it illustrates a point. We’re talking artistic style. Often, when something is difficult to describe [or simply original] as CT’s art is, “what drugs were they on?” gets tossed around. I mean, even the pope drinks wine, but not everything with vibrant color is psychedelic or in the visionary category. CT uses color in a very fresh and unique way. Is there a need to slap a name tag on it? After the standard pleasantry exchange, we walked back into his studio. It’s unassuming and rudimentary. A table with an art supply store’s worth of oil paints spread across it and zero distractions from focus or flow. We jumped right into the fire. Mind if we start out talking about your style? I’m struggling for descriptors. CT: Sure. You can call it non-objective realism. A lot of abstract painters will start with an actual thing: a person, landscape, bowl of fruit, etc. Something in this physical world. I like to use just the feeling of those objects. To paint those feelings as if they were a tangible thing that had light, shadow, and texture. The title of an important transition painting I did, ‘The Aura of Something That’s Actually Nothing At All,’ opened my eyes to this potential. I’ve painted enough real things and don’t want to look at a thing. It spoils the visual feel that’s in my head. For example, you can communicate ice and how it feels without painting ice. A photo of ice on your computer isn’t very interesting. I’d be obsessed about copying what I was looking at. I never want to do that again. What helps, too, is sometimes I’ll switch direction in the middle of a brush stroke as I’m painting “the feels.” That’s my wild card. Helps with distorting my notions and keeps the work honest and fresh. I also layer paint very thick in strategic parts of each piece. It figuratively and literally jumps off the canvas. This creates a feeling you can jump into the painting. I really enjoy the unexpected and that is a very important to my process. It creates an unrealized, then realized energy that allows painting to be fun and not a drag. Expect the unexpected is my motto. CT has been painting since ’96. He decided it was what he wanted to do and taught himself oils in ’06. Since moving to Denver in 2002, CT has found a worldwide following. “So, Denver. Treating you well?” CT: “I wouldn’t be the artist I am now if it wasn’t for Denver. The West Coast has an established illustrative feel. The East has the conceptual. Denver has a large and growing art community but it hasn’t taken on a specific identity yet. It’s allowed me to go any direction I want and still be received very well.” CT went on to explain that he is actually influenced by every artist and every painting he’s ever seen. Each of his paintings contain not just the art, but every experience he’s ever had. This has helped him grow as an artist. And after speaking with him, his style started making more sense to me. Energy as a subject. The culmination of every moment he’s experienced. Whether I think his painting is a nebula birthing a constellation or some quantum phenomenon at CERN, it’s all true. It’s energy and that’s enough of a description. CT has a show coming up, Sept. 2016, at Last Rites Gallery in NYC. If you’d like to see more of his work, follow him on Facebook: www.Facebook.com/CTNelsonArt or Instagram: @CTNelsonArtist.

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InkSpired Magazine: What else do you do? Justine Corona: I’m a licensed cosmetologist. I have two jobs, one in a medical spa and the other in a vape and wellness shop. InkSpired Magazine: What inspired you to start getting tattooed? Justine Corona: It started with my obsession for the art world. I wanted my tattoos to be cohesive inspirational works of art.

Photography: Sean Hartgrove

JUSTINE CORONA

InkSpired Magazine: Tell us about your favorite tattoo. Justine Corona: It has to be my Lori Earley portrait; she is a contemporary surrealist artist. Many people think it’s a self portrait but it’s actually one of her paintings.

InkSpired Magazine: How and when did your modeling career begin? Justine Corona: I started building my portfolio about five years ago in Grand Junction, Colorado. I mostly did fashion shows in the beginning which lead to alternative modeling. Once I decided to move closer to Denver, more opportunities arose to be published. InkSpired Magazine: Do you have any advice for aspiring models? Justine Corona: Don’t get caught up in the ridicule and judgement. Support your fellow models and always be confident while remaining humble.

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InkSpired Magazine: Who are your tattoo artists? Justine Corona: Justin Nordine from The Raw Canvas in Grand Junction, Colorado InkSpired Magazine: What role do tattoos play in your life? Justine Corona: One of many is being able to have true self-expression. My tattoos are a healthy reminder that I wear on my skin my journey thus far, and my story will continue. InkSpired Magazine: What inspires you? Justine Corona: Inspiration is truly everywhere but some of many would be music, books, art, anything that nourishes my soul and gets my creative juices flowing. 54

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InkSpired Magazine: Do you have any people that you are inspired by? Justine Corona: So many people inspire me musicians, artists, models. The one that tops them all is my mom. She has strength, a kind heart filled with unconditional love, and an open mind. Without her I would be lost. InkSpired Magazine: What is something that many people don’t know about you? Justine Corona: I love all the glitz and glam but I cherish my days with no makeup. I’d rather go on a hike or get my workout on over going out. It’s my sanctuary to decompress from the daily grind of life.

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GHOSTCIRCUS APPAREL Words: Candies Deezy Liu

“WELCOME TO OUR WORLD, A LIFESTYLE WHERE MUSIC AND FASHION COLLIDE.”

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GhostCircus Apparel is a high end, rockstar chic, lifestyle oriented fashion line created by drummer, producer, and designer, Eli James. In his time as a performer, Eli constantly found himself altering his clothes from different designers. As he began customizing clothes for himself and his friends to wear, he quickly gained the attention of fellow musicians who would ask to buy and wear his designs. When it came time to think of a name for his newfound passion, Eli decided to combine his love of the supernatural, ghosts and how he describes his life, “a circus.” And thus, GhostCircus Apparel was born: March 1st, 2015. Though in its early stages, GhostCircus is quickly taking the musician’s fashion world by storm.

As a busy musician always on the run, Eli wanted to create clothing that would fit his active lifestyle, whether he was practicing with his bands, including Julien K, Skold, and his solo project, the Eli James Experience, traveling, playing shows, going to meetings, hanging with friends, and everything in between. “I don’t want to change five thousand times a day, and I love to layer. Living in Los Angeles, it’s super hot. So it’s nice to wear comfortable clothes that are light and breathable that you can layer wherever you go. That way, you’re not wearing the same thing throughout the day,” says Eli. GhostCircus brilliantly meshes comfort with style fit for any occasion.

Because everything at GhostCircus is designer in all its glory and handcrafted, Eli says that every piece is a little different from the next. When it comes to inspiration, his visions for designs come from the fabric. Eli’s individual style is raw and edgy, with post-apocalyptic influences. Think - Edward Scissorhands meets Star Wars and Mad Max, and had a stylish love child. Though he credits a lot of his stylistic influences to futuristic appeal, Eli also pulls from the trends of the ‘80s, creating a fashion all his own. www.GhostCircusApparel.com www.Facebook.com/GhostCircus Instagram & Twitter: @GhostCircus_

“JUST BE. THE REST WILL FOLLOW.”

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MAKSIMS “LAKY” ZOTOVS Interview: Ákos Bánfalvi Maksims Zotovs aka Laky is from Riga, Latvia. He enjoys spending time with his family, and extreme sports like skateboarding, snowboarding, and mountain biking. Before Laky started tattooing, he worked in the UK in a warehouse as a picker and packer.

“MY STYLE OF TATTOOING IS SPONTANEOUS, I NEVER MAKE ANY TATTOO DESIGNS BEFORE A SESSION…” - LAKY

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What made you want to become a tattoo artist and how long have you been tattooing? I never thought of becoming a tattoo artist. I wanted to be an architect. Always wanted to have a tattoo done by Florian Karg, but unfortunately, I didn’t have enough money to make an appointment. I started to take more interest in tattoos. I watched many “how to” videos and finally bought my first tattoo kit on eBay. Oh man, I still remember how excited I was. (Laughs.) Professionally, I have been tattooing since 2013. What did your family and friends think about you getting into the business? My family thought I was just wasting my time. They told me, “stop fooling around and go get yourself a proper job.” My wife (girlfriend at that time) only encouraged and supported me to become an artist. Tell us about your shop. My shop is almost in the centre of Riga. It has massive windows. The shelves are full of animal skulls and books about art. On the walls, I have paintings from my tattoo artist friends, deer horns, and graffiti that I made myself. Describe how you go about creating a tattoo from concept to finished design, and how you try to put your own unique touch on your tattoos. First of all, I need to meet the person who I’m going to be working with. I need to see this person’s character and only then can I make a unique design. How I try to put my own unique touch into each tattoo I will keep to myself. That is top secret. (Smiles.) What was the first tattoo you ever did? Can you tell us about it? The first tattoo I made was an acorn. My friend who I used to work

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with in the same warehouse wanted a tattoo. He didn’t know what to have and I suggested an acorn on the lower part of his leg. Why? Because his nickname was and still is a Acorn. (Laughs.) How would you describe your style? Which tattoo style do you like best? My style of tattooing is spontaneous, I never make any tattoo designs before a session. I need to meet the person who wants to have a tattoo done by me and then I can make a unique design which perfectly describes this person’s character. I like to experiment with different styles, but horror tattoos are my cup of tea. Do you see tattooing as a job or a way to express your creative side? In my opinion, being a tattoo artist is not a job! For me, to be a tattoo artist is to have my own personality. I do tattoos because it is my passion and I can be creative as much as I can. Describe how your role models and any other sources of inspiration have affected your tattoo style. My role model is Florian Karg. I like his style of tattoos. I find his work full of inspiration. Other sources are my friends from different countries who are tattoo artists as well. We share tricks and tips with each other about tattooing. Do you have a funny tattoo story? There is one story I will never forget. I lied to one girl who was a friend of my friend that I was a professional tattoo artist (I was just

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a beginner who made only two tattoos at that point). She came to me, got tattooed, which was actually pretty good, and left. After the session, I called her and asked if she wanted to meet to show me how her tattoo was feeling. When we met the next day, I asked her if she wanted to go on a date. Now she is my wife. (Laughs.) What is the most interesting tattoo you have been asked to do? Every tattoo I do is very interesting and special to me. I put a lot of effort into each tattoo I do. What do you think a client should expect from you as a tattoo artist and what do you on the other hand expect from a client to make a successful tattoo and a good collaboration? From me, a client should expect professionalism and amiability. From the client, I expect reliability, amiability, and most of all, I expect good aftercare of their tattoo (fresh and healed). Are there any positive sides of being an artist? Yes, there are. I meet a lot of new people including tattoo artists. I like to go to different tattoo studios for guest spots. Can I ask if there are any negative parts of your job? Oh yeah! Since I started to work longer hours, my back started to hurt a lot. After a long day of tattooing, my eyes hurt. What criteria do you think that a tattoo convention shall have to be really successful, both for you as a tattoo artist, but also for the visitors? Can you give some examples of conventions which meet these criteria really well?

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First of all, zero corruption! Professionalism and people who are organizing tattoo conventions need to think about entertainment for visitors, so they don’t leave as soon as they have seen every booth with a tattoo artist in it. In my opinion, the best conventions which meet these criteria are the London Tattoo Convention, Amsterdam Tattoo Convention, and Milano Tattoo Convention. How would you describe the current status of tattoo by the general public in your country? In Latvia, there are different opinions about tattoos. Some people like them, some people don’t. Personally, I don’t listen to those who are saying mean things towards me. They don’t deserve my attention. Have you noticed any changes in the tattooing industry since you started? In the tattoo industry, everything changes very quickly. In my opinion, that is a very good thing because at the end of the day, tattoo artists can choose the most appropriate equipment for them. I am really happy that I can use tattoo cartridges instead of needles. Is there anything else you wish to say? I want to say thank you to all my friends, family members, my sponsors: Turanium Tattoo Machines and Radiant Colors USA. Special thanks to my wife who took a big part of who I am now. www.Facebook.com/TattoosbyMaksimsZotovs www.Facebook.com/TattoosLaky Instagram: @Laky_Tattoo

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JOSEPH RÉOHM Story: Simone Jane The belief in magic and magical powers dates back to the earliest recorded history. The same ingenuity behind the trickery of the Trojan horse could have been used for entertainment purposes, modern magicians perform this art with illusions that distract, amaze, and mystify audiences. These prestidigitators try to sway the audience into believing the impossible has been achieved right before their very eyes. Yet, most magicians tend to use fancy props and beautiful assistants to divert attention, but not illusionist Joseph RÊohm; he relies purely on emotion, confidence, and unique innovation.

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Joseph knew he needed to explore the magical realm at a very young age. It was almost a compulsory, passionate, vital emotion. When Joseph was a child, he sat in his room getting frustrated at not being able to shut off his light without touching it physically; racking his brain at ways in which he could achieve such a feat. His dad walked in, and with his son’s explanation simply flipped the wall switch which did nothing but fuel Joseph’s urge to find a way to achieve the magical exploit on his own. This was the beginning of, as Joseph describes it, catching the “buzz” of illusionist craft, and pushing himself to find ways in which to create the next exceptional trick.

Photo: Eli James Assistant: Robin Lynn

Creativity runs in Joseph’s family, his father is a musician, his younger brother Eli is a drummer, producer, and a clothing designer. Joseph himself is a musician, playing bass in the school jazz band, and later, everything from punk to metal, while honing his craft as a magician. His family and his creativity also has an analytical side, physics and math were his favorite subjects in school, and his grandfather, an engineer, assisted him in bringing his illusionary ideas into reality with his skills. He describes weekends in the garage with his grandfather bringing to life ideas he had in his head only days or hours before, which gave him a close relationship and the necessary aptitude to bring a dreamscape goal to reality.

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Photo: Eli James Assistant: Robin Lynn

Once Joseph made his decision to become a magician, he was completely focused. Fortunately, he had the support of his father who allowed him to be home schooled so he could pursue his dream. In addition to continually concocting new ideas, Joseph also worked hundreds of children’s birthday parties that were a fertile testing ground for his technicolor imagination. Joseph began to tour with his act at the age of 15. He worked on perfecting his skills with corporate gigs for Macy’s, Microsoft, and Costco and continued to grow, evolve, and develop his own style. Two of his favorite pieces of advice while at lunch with famed Las Vegas performer, Lance Burton at the age of 20, to his elevating protégé, “A magician that does the most shows is the magician that wins,” and “Don’t worry about the money, just get the experience and the cash will come.” The relationship between audience and illusionist is a precarious one. There is an unspoken agreement that there is something going on, a sleight of hand, a trickery, misdirection, and deception. The illusionist seeks to present an effect so adept and cunning that the audience cannot believe what they are witnessing, and cannot offer with any kind of explanation on how it occurred. The sense of confusion and bafflement is part of the fun. In turn, the audience willfully agrees to suspend their disbelief. The audience trusts the illusionist not to exploit this and is one of the few situations in which people permit themselves to be lied to. Through pretext, they are thoroughly regaled…and they love it.

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“I am into the visual component of life,” says Joseph, who admits to receive his inspirations from all around him. “I don’t outsource much. I keep my own counsel. I believe in myself as an artist. If I was writing a song or painting a picture, I wouldn’t get anyone’s input on how to paint the painting.” His inspirations run the gamut of music to traveling to his love of camping. When he needs a few days or a week to reset and unplug, Joseph just packs up and heads to the Grand Canyon, Big Sur, or the Cascades. Rest replenishes his inventiveness and motivation and he comes back to his Hollywood home base ready to spring into action.

Photo: Tammy Newcomer

One point of pride for Joseph is NOT looking to other magicians for ideas. He wants to stand alone in his brand and style. The same can be said for being competitive. If there is a muse in Joseph’s life, it is himself. He is always looking within to rise to the next level. When looking back at some of the competitions he has participated in, though the experiences are treasured, Joseph realizes there are politics involved, just as in any other professional contest. However, his tenaciousness has yielded results such as being awarded the finale winner of Wizard Wars on SyFy. This is validation. Joseph does not avoid much when it comes to his act. The only illusions he shies away from are escapism tricks. Underwater in a straightjacket, locked in a box, Houdini style will not be found in Joseph’s routine. It is a safety issue, sure, but mainly, Joseph does not want to create a stressful experience for the audience. He wants the event to be overwhelmingly uplifting and entertaining overall. There can be suspense and a sense of awe, but hopefully an experience of such perceptual vastness, the audience will literally have to reconfigure their mental models of the magical world to assimilate what they have seen.

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One of the ways Joseph pushes himself is to tell an executive producer, or a judge in a competition an idea or concept he has, a visual trick down to the very last detail, one that he has never done. If the individual loves it (which they always do), he commits to it. This means invention of the concept, engineering the creation, and having it blossom into fruition just under the wire. Joseph’s motto? He chuckles, “Spit it out, and then figure it out.” Often when practicing a run through of a visual illusion, some things may go awry and there may be nerves at play, but as soon as you bring a live audience in, something happens. An energy is introduced and Joseph can play off of that dynamic. “The audience just makes it complete,” Joseph says. “As soon as I get in front of a live audience, I feel a calm come over me and it just works,” he continues.

Photo: Franky Pecoraro

Joseph has one tattoo, a bass clef on his forearm. When asked if he desired a larger piece, what would it be, and what artist would he have tattoo the piece, Joseph immediately named Volka Merschky & Simone Pfaff of TrashPolka Tattoos from Würzburg, Germany. Joseph describes “a tattoo as a vintage looking hand sketch circa 1800’s of a woman being sawed in half with a large circular saw. It would be an expanded view like that you would see in a car booklet with the engine pulled apart where you see all of the pieces and parts. It would have handwritten notes about the workings of the apparatus and the design all around the saw. It would have almost a steampunk feel to it.” Joseph is not quite sure of the placement but definitely on his back and maybe coming around his ribs and down his torso. So what is next for the 35 year old evolving artist? “My goal is to reach the maximum amount of people in the shortest amount of time, and in order to attain this goal, it is through television.” A taping was just completed for America’s Got Talent, so we can look forward to seeing Joseph in the very near future on the television competition. In addition, there are two pilots that Joseph is working on, one for television, and one for a live show. One is called “Escape,” which is based on Joseph’s life and it is an invitation for the audience to escape with Joseph into his world of magic and illusion. Who would turn down an invitation into such a world full of awe, bursting forth our parameters of our previous limits of what is possible? What is Joseph’s long term goal? Joseph laughs and says, “I would love to have a Vegas show. Just not in Vegas, maybe in London or Paris. We shall see!” www.JosephReohm.com www.Facebook.com/JosephReohmOfficial Instagram & Twitter: @JosephReohm

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Kate Monahan: How would you describe the service work you’re doing in Nigeria? Anja Ringgren Lovén: DINNødhjælps work on the human nature that every child in the world has the right to food and education, and to live a dignified life. Our values consist of showing sheer compassion, care, and love for those who need it the most and through that create confidence. DINNødhjælp also believes that we as a NGO have a responsibility to provide information about the problems in Nigeria regarding the growing superstition, and also to provide education in the local communities in which we operate, and to educate the children we take under our wings. In particular, we have a huge responsibility to the children and thereby the community by showing that we are present, following our projects to the end but also that we hold them accountable to train and develop themselves and make the community a safe environment for the children. When children are being tortured and abused and left alone on the street, it gives a child a lot of terrible trauma they carry around inside. Being rejected by your own family must be the loneliest feeling a child can experience, and I don’t believe that anyone can imagine how that must feel like. Our project aims to ensure that all children in Akwa Ibom State accused of being witches have the opportunity to go to school. Parallel to the orphanage and to get the children to school. Our project is also working to promote the importance of

ANJA RINGGREN LOVÉN COMPASSION IN ACTION Words: Kate Monahan Anja Ringgren Lovén, the founder of the African Children’s Aid Education & Development Foundation (ACAEDF) has been working in Nigeria for three years to help fight the battle of the superstition of witchcraft and the children accused of it. Hope is one of the several children Anja has rescued. When she received information of the less than a year old boy abandoned and badly malnourished, she did not hesitate to come to his aid. Hope is now in stable condition due to Anja’s courageous rescue mission. He is but one of the many children Anja has rescued and taken under her wing in the past 3 years since beginning her service work to save, aid, and educate the abandoned, abused, and malnourished children in Nigeria accused of witchcraft. Having multiple children in her care, Anja is dedicated to saving lives and bringing awareness to the world of this great problem that hangs over Nigeria like a dark cloud.

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It’s hard to believe that in this modern day and age, superstitions such as witchcraft and the abuse of those accused still carries on, especially in children. Most think it died out after the Salem Witch Trials in America and those in Europe, but the issue remains strong in many third world countries. We find ourselves wrapped up in current events, such as celebrity gossip or what’s going on in our own community and fail to see what kind of tragedies are happening around the globe. Anja’s work and story illustrate that while we all have our own issues at home, there are still many around the world that desperately need help. In an interview, Anja talks about her service work and aid in helping the neglected and abused children of Nigeria. While it may be disturbing to think of such brutality, the work she has done and continues to do is heartwarming.

education. We believe that education is the key in the fight against superstition. We use a lot of our time developing our advocacy work. We believe that it’s our responsibility to meet the villagers and create a platform of communication. We rescue and we give love and support to the vulnerable children accused of witchcraft in Akwa Ibom. But to put an end to superstition, exorcism, and black magic performed by pastors and the so-called witchdoctors, advocacy work must be carried out. Kate Monahan: How did you come to find out about the crisis you’re battling in Nigeria of the children being tormented/ abused due to accusations of witchcraft? Anja Ringgren Lovén: In 2008, I saw a documentary on Danish television that showed how children in Nigeria was being accused of being witches. I was literally in shock because it was something I had never heard about. I cried and cried because it was so horrifying to see children being tortured due to a very old belief, so I decided that if I would ever establish my own NGO our work should be in Nigeria, helping children being accused of witchcraft. Kate Monahan: What drove you to take action and help? Anja Ringgren Lovén: Since I was a child, I have always been fascinated about children in Africa. My mom worked in an elderly home, and my whole childhood, I saw how she took care of old people. My mom always told me that hopefully, all

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human beings will have a good and long life, and that we all have a responsibility to help each other, and most importantly, help those in need. She gave me that sense of taking care of others. She also talked about the African children who were starving. The stories of those African children fascinated me, and combined with that knowledge of the importance of helping people in need, I decided in a very young age that one day I would establish my own NGO so I could travel to Africa to make a difference for the children. Later on in life, I found out that children was not only starving, but also being tortured due to superstition!

making it illegal to accuse a child of being a witch. But just because a law is being passed does not mean that people will follow the law. But the government in our state (Akwa Ibom) is trying hard to stop the belief in witchcraft through advocacy and we work closely with the government. Kate Monahan: Have you faced any personal threats or harm while tackling this issue? Anja Ringgren Lovén: When we go out on rescue mission we always face a lot of danger and threats from the local communities. Most of them are friendly but when it comes to the issue of the belief in witchcraft, they will become very hostile. They don’t want an international organization to come and interfere with their “problems.” Most of them don’t even want us to rescue the children who has run away from abuse and torture. They want to “handle” it themselves. So, we face a lot of danger.

Kate Monahan: How long have you been working over there to help stop the abuse? Anja Ringgren Lovén: I have worked in Nigeria and helped children in Nigeria for 3 years now. Kate Monahan: How long has the maltreatment of children due to accusations of witchcraft been going on in Nigeria? Anja Ringgren Lovén: It’s very important to explain that superstition is not an “African thing” - it´s not only happening in Africa! And the belief in witchcraft only takes place where people are extremely poor and ignorant. The belief in witchcraft also took place in Europe and the rest of the world during the 1500s and 1600s. In Denmark, we killed more than 2000

Kate Monahan: What would you like to see happen moving forward in your service work and charity? Anja Ringgren Lovén: We work to ensure that all children in Akwa Ibom are free of any kind of abuse due to superstition. Right now, we are building a new and very big children’s home in collaboration with Engineers Without Borders and we will build a health clinic as well. Our project is a long term project and we also work to promote the importance of education. Education is the best weapon to end the superstition.

women in the 1500s and 1600s, and we burned those women alive because we thought they were witches. But in Denmark and in Europe, we don’t believe in witchcraft anymore. Why? Because we have been educated and enlightened. The belief in witchcraft is because of: POVERTY AND IGNORANCE! So, to say how long it has been going on is difficult because it’s something that has been going on all over the world many years ago. It’s not a new phenomenon. It happens where people don’t have the chance to go to school and be educated. Where people are being indoctrinated by fake pastors and where poverty is very extreme. Kate Monahan: What is the name of your charity and how can others contribute? Anja Ringgren Lovén: The name of my organization is: “DINNødhjælp” and people can donate through my website: www.dinnoedhjaelp.dk. In Nigeria, our name is: African Children’s Aid Education And Development Foundation but we only have one website (the one above). Kate Monahan: How much of a battle has it been going up against the Nigerian government to get this abuse recognized as a serious issue and try to put a stop to it? Anja Ringgren Lovén: We work very closely with the Nigerian government. They have really done a tremendous job trying to get rid of this superstition. In 2010 a new law was passed—”Child’s Right Law”— 94

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Kate Monahan: What has been the most touching moment thus far in your time spent fighting to help the maltreated children in Nigeria? Anja Ringgren Lovén: I have been on many rescue missions and I have seen a lot of children who have been tortured. All those moments has been devastating and hard to tackle. The rescue of Hope stands out to be one of the most touching. I became a mother myself only one and a half years ago, so to see Hope, a child almost the same age as my own son was very touching and went straight to my bones. Kate Monahan: What would you describe as your personal mantra/ mission statement for your service work and aid? Anja Ringgren Lovén: This is my utmost personal mission in life: To work on the human nature that every child in the world has the right to food and education, and to live a dignified life. Kate Monahan: What social networks can readers find you on? Anja Ringgren Lovén: Facebook: www.Facebook.com/Anja.Loven and Instagram: @dinnoedhjaelp. Anja’s dedication and cause is a true, shining beacon of hope and love. Few people have the stamina, dedication, and compassion to take on such a task as she has. Anja is a shining example of how one person can make a tremendous impact and difference in the world and lives of others.

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Reload’s seventeen year anniversary was a true night to remember. The crowd was alive, the energy was electric, and with a lineup like the one Reload had that night, it’s no wonder all heads were in attendance. It was a roster with some of the biggest names in the business, including one of the most recognized names in American DnB history, DJ/producer: Dieselboy. If American Drum’n’Bass was the moon, Dieselboy is its Lance Armstrong. Holding the moniker, “The Destroyer” and reigning as one the very first DnB DJs in the US to make a name for himself, Dieselboy truly helped pave the way for Drum’n’Bass, not only in America, but all over the world. Known for his unique cinematic mixes with intense yet complex performances, he embodies a pioneer of the music to this day. Since the 90s, Dieselboy has found huge success. In 2000, he was the first Drum’n’Bass artist to chart the Billboards Dance chart with the single, Invid. In 2002, he founded an all DnB music label, Human Imprint, and in 2010, he went on to help build the sublabel, Sub-Human, focusing more on dubstep and electro. In 2004, he was the first American to get voted into the UK’s Drum’n’Bass Arena Top 10 DJs. He has played all over the world, conquering six continents and not showing any signs of slowing as he still makes at least two to three appearances a week in any given country. While attending Reload, InkSpired had a chance to ask Dieselboy a few questions, taking a moment to find out what this wild journey has been like from his seat.

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How long have you been playing Drum and Bass? I have been DJing for 24 years. I was playing the music that pre-dated Drum and Bass, which was called, “Breakbeat Hardcore.” So, I guess you could say I have been playing drum and bass since day one. Where are you from, and what was Drum and Bass like there when you started? I am from all over the place (Florida, Colorado, Pennsylvania, New York). I got my start DJing when I was going to school at the University of Pittsburgh. Again, Drum and Bass didn’t exist at the time when I started. But the scene back then was quite small, very underground and very passionate. You had to hunt down parties and really had to do your homework to learn about good music. It was a very fresh scene. As a pioneer since the 90s of Drum and Bass music, what have been some of the best years, and why? The heyday of Drum and Bass was the late 90s and early 2000s. This was before the rave scene took a hit numbers wise and this also predates the dubstep takeover. During this time, there was a huge surge in the popularity of the music and by the early 2000s, you were seeing Drum and Bass on the main stage at shows. It was awesome. People were well educated on the tracks, the actual tracks themselves were longer and more detailed (instead of the current ADD style of tracks where there are short intros, big drops and short roll outs) and people just seemed more focused on the music. What year did Planet of the Drums start? 1999 How did Planet of the Drums start? Can you give us a brief history? The three biggest North American Drum and Bass DJs at the time were myself, AK1200, and Dara. We were all on the biggest American electronic label at the time called, Moonshine. Every year, Moonshine would do their Moonshine Over America tour and bring their artists on the road. AK, Dara, and I were almost never booked to play the same shows together because promoters would just have one big DnB headliner. Well, we got lucky once and we were all booked to play in New Orleans for the Moonshine tour. That night, we realized that it would be a benefit to the DnB scene in the state as a whole if we essentially formed like Voltron and used our collective names and bargaining power on a tour to push Drum and Bass to the main stage, where it had sorely been missing. The rest is history.

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What is it like working with the others in the group? Fun and challenging. We don’t practice before tours or shows so it is always interesting to see what the other guys are bringing to the table. Also, we not only tag team but play over the top of each other’s sets in real time. This makes it especially challenging as DJs because you have no idea what the guy next to you is going to incorporate into the set. Keeps you on your toes and makes you work. When it all comes together, it sounds good...then it makes it all worth it. What are some of your favorite cities or countries to play in? Los Angeles, Denver, New York City, Seattle, Dallas, Atlanta, Toronto, and plenty more. I love playing in Holland, Japan, and South Africa as well. Who are your favorite producers today? Phace, Misanthrop, Mefjus, UpBeats, Gridlok, Original Sin, Audio, Mind Vortex, the list goes on. How hard do you push yourself? I want to be the best. Whatever that takes. I don’t cut corners. How often do you tour? Every week nonstop for over 17 years. On average, two shows a week. What would you be doing if you weren’t a DJ? Cooking or involved in a restaurant somehow. What are you listening to lately? Lots of chill music and Indie Rock. My favorite album of last year was Sway by the band, Whirr. Heavy, droning, and beautiful.

appointment with legendary artist, Carlos Torres, but it was worth it. This is a black and grey piece which I call, “a death’s head kraken”. There is a skull on my upper right arm that has octopus tentacles that stretch across my chest and down my arm. It looks like some serious dutch master oil painting. On my back, is another early tattoo, this time from tribal legend, Leo Muleta from Blackwave in Los Angeles. It was one of his original dragon designs. It is well done and of the time period that I got it. I also have some miscellaneous tattoos. I have the word, “destroyer” on my right hand and a bone cross inspired by a piece of jewelry from a company called Blood Moon on my neck. These were also done by Jason June. Do you have any plans to get more tattoos? If so, what else do you plan on getting? After I finish my left sleeve, I have been thinking about what to get next. I want to fill in some space on my right arm, so probably more work from Jason June and hopefully a little more tentacle action from Carlos Torres to round out his piece. Why is body art important to you? It is a constant visual reflection of personal aesthetic. I love showing people what my taste is like. www.Facebook.com/Dieselboy www.SoundCloud.com/Dieselboy

What is your favorite album by another artist? The new Phace album for Drum and Bass. I usually say my favorite album of all time is Loveless by My Bloody Valentine. Lost Souls by the Doves is also up there. What’s next for you? I’m kind of hitting a ceiling for what I can pull off in a DJ set. I am on four decks now, with unplanned sets to make it interesting. I could theoretically go to five decks but then a lot of nuance would be lost and I would end up somewhat metal jerking myself off on stage while no one in the crowd would even know what is going on. So right now, I am going to focus on writing more music and branching off a bit more into my food and cooking endeavors. Explain the stories and history behind your tattoos. On my left arm, I’m currently working on a full sleeve, courtesy of the amazing artist, Dan Bones. It is originally inspired by a piece of work by artist, Ryan Begley. My sleeve is now somewhat dungeons and dragons and fantasy themed. It is an epic battle between snakes, skulls, mutant ravens, wolves, and more, featuring a giant sword and a twenty sided die. It also incorporates an earlier tattoo I got with the words, “DISCIPLINE THROUGH PAIN.” I love it! My first tattoo ever was on my upper right arm. It was the logo of the Drum and Bass label, Metalheadz. It was a quickie done at some shitty biker tattoo studio near Pittsburgh. Years later, I had it lasered off to make room for a better tattoo. On my right forearm, I have a piece done by a super awesome artist named, Jason June. It is a design featuring a wooden staff, feather, and swords by a metal artist from Italy named View from the Coffin. My chest tattoo is my favorite. It took me two years to get the 100

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Words: Simone Jane Picture Ridley Scott’s 1979 Alien sci-fi film set—dark, ominous, and much like the Bolaji Badejo character, add the soundtrack of The Ramones or D.O.A., throw some paint, leather, denim, and other raw materials, and you might envision what Tod Waters’ Junker Designs clothes represents. If that description is not giving you a detailed image in your head, look no further than Motley Crue’s farewell tour, both Nikki Sixx and Vince Neil were outfitted by Tod, and damn, if that’s not the epitome of Tod’s work. He has designed and dressed some of the best of rock royalty—Alice Cooper, Steven Tyler, Marilyn Manson and The Red Hot Chili Peppers, to only name a few. Junkers Designs is where these creations originate, all from Tod’s “grubby little paws.”

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Punk rock, science fiction movies, and dark art are all part of Tod’s ethos and inspire his illustrations which eventually transform into a custom piece of clothing for a client. As the frontman for his own punk rock band, Houston based DieFast, Tod’s creative outlets do not stop there; he also paints and sculpts in both his L.A. and Houston clothing design studios commuting between the two cities, Houston, where he owns a home, where his band is based, and where he anticipates opening a store in the near future, and L.A., where Junker Designs business is primarily run. Junker Designs has been in business since 2001, and Tod has been mutating, ravaging, deconstructing, and custom making clothes for musicians for over 15 years, and when asked about inspiration and overcoming “creative block,” Tod acknowledged his own: I have had a block for six months to a year, so I have been drawing and working on scripts in the meantime, and trying to get back to the other place which is sci-fi. Mostly, I do rock bands and when you rock and roll it out for however many years it starts to feel the same. I guess when you are talking about inspiration, I heard someone else describe it—I am like a vampire. I would rather work in a creative type community like when you work on a movie that really gets the ideas going, your idea or someone else’s, and something gets added to it, and that gets slipped around and then it gets kicked down the field really fast, and you know about the turnaround time so you have to come up with the concept, and finalize the concept with a bunch of input pretty quickly, and then do something about it, and then produce something. I feel like a vampire and I also feel like I am kind of cheating because luckily, other people have seeds of an idea and tell me to do my thing to it. I definitely get inspired by being around other people. It’s an illusion that artists work by themselves. You can’t ever really work like that. If your art is sustaining you it is only because other people sustain you. Tod’s creative process is a pretty simple one; he likes to listen to music when he is working. He most definitely does not like to listen to punk rock because as he puts it, “Why would I want to hear it?” he asks. Because that’s what I play!” There are times when Tod does like to work in silence but those times are rare. “I seem to be the most creative if I play the same CD for 8 hours straight,” he confesses. Tod still listens to a lot of KISS and Rush, and a moody band similar in his words to Bauhaus called White Lies. He often searches YouTube for white noise with different variations running as long as 10 hours at a time. It helps him focus on his inventiveness, vision, and imagination, allowing him to design such amazing pieces you see on the likes of Dave Navarro, Johnny Depp and longtime friend, Alice Cooper’s bass player and frontman of his own band, “Beasto Blanco” Chuck Garric. Venturing outside of his comfort zone is something that Tod is used to, not only with his designs, but taking

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on the relatively new world of film though he has been working in it for about three years now. Tod has a quote posted on the wall of his office by Alan Moore, the writer best known for his graphic novels including V for Vendetta, and The Watchman, “If you are doing something that you are entirely comfortable with, that is probably because you have done it before, or somebody else has done it before. So there is little point in actually doing it again. Always take on incredibly difficult and hard projects that will probably be the ruin of you.” He often takes a look at it when a little fear creeps in. Although being the “head honcho,” as Tod describes himself at Junker Designs, when working on a film set, he is much lower in the hierarchy, he can be the “shop rat,” which Tod claims he rather enjoys. It gives him the chance to be given a list of things to do, simply be a seamstress, and collaborate with the rest of the team. Leather jackets, pants, vest, t-shirts, why not a high quality limited edition shoe? Tod has expanded his vision to include a handmade sneaker, limited to 100 pairs per order. They are handmade in Indonesia, specifically because it is a fair trade product. The sneaker itself is faded black canvas, has the Junker Hellstar logo on the outside, and a zipper on the inside. Junker Designs has plans to come out with different versions of the sneaker later in the season. For the next 24 weeks, Tod will be working in Austin on an upcoming Robert Rodriguez project under the title of Costume Designer. It gives him the chance to showcase the talents that have made him the rockstar of designers amongst rockstars but it also gives him the freedom to not have to be a one man show. This is also the platform Tod wants to continue to create in, film and movies, to take a step back from the cloak of rock designer, though it defined him and served him well, he is ready to throw the hood back and take on the new persona of whatever title may be given to him in a film. Tod fronts the punk rock band Houston’s own DieFast, comprised all of local musicians. Chris LaForge on Guitar, bassist Rudy Olivarez and Chris Moye on Drums. Tod’s vocals on their most recent song, “Nothing’s Wrong” ranges from aggressive growls, screams, and snarls that showcase his influences, D.O.A., The Dead Boys, D.R.I. and obscure Austin, Texas noise band, Scratch Acid. He describes the band’s sound as “Mötorhead meets The Stooges,” with an eyes and ears toward a big rock sound but with more brutal punk arrangements.

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One of Tod’s favorite artists is Zdzislaw Beksiński, widely known for his vast, compulsively detailed paintings of bizarre humanoid characters amongst backgrounds of various states of decay. If you look throughout Beksiński’s body of work, you can see glimpses of the influences the artist has had on Tod’s designs. Other contemporary artists that Tod admires are Chet Zar, notable for his gloomy apocalyptic industrial surroundings swarming with monstrosities, and sculptor Jessie Fohrman. Tod got his first tattoo when he was 17, a simple skull and crossbones with a single needle. It has since been covered over three times. He currently works with Christina Hock at Dolorosa Tattoo Company. His favorite piece when asked, “I am really into multi-eyed stuff,” he confesses. I have done a bunch of drawings and sculptures of multi-eyed creatures. So when I saw Christina’s jade multi-eyed reapers, I thought that it was perfect. The eyes represent people’s motives and personalities. So you can play switch-a-roo on people. This is not a positive thing. So there are also the mental motivations. The eyes swirling around the head. And what you actually say, those are the eyes in the mouth. Separate creatures altogether. His tattoo is beautiful, dark royal purple, with a main skull but so many eyes, and grey, turquoise, plus those teeth. It’s quite menacing. You can get confused at which eyes are really looking at you. The trifecta of a brilliant tattoo, is a great cover up, important message or meaning, and gorgeous to behold. Which kind of describes the entire surreal beautiful world of Tod Waters & Junker Designs. www.JunkerDesigns.BigCartel.com www.Facebook.com/JunkerDesigns Instagram: @TodJunker Twitter: @JunkerDesigns

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Interview & Photography: Jim Louvau Ash Costello made it very clear that she has no interest in being a one trick pony and doesn’t only want to be known as the leader of the goth rock outfit, New Year’s Day. “I hate what artists do these days, they talk about their record like it’s all they are. I feel like I’m so much more than New Year’s Day and this one album that’s out right now. There is so much more to me and New Year’s Day than the music.” Costello was very candid with me after we wrapped up a long photoshoot in Orange County where the she resides.

writing music in Russell’s bedroom. Only up until recently all of the pressure was put on my shoulders which I always avoided. I always knew I could write the music on my own. I don’t play instruments so I always need somebody there because I can hear the music but I can’t technically play it. It was always a scary idea to take the reigns by myself so I always tried to keep Anthony and Russell in the band as long as I could because I could always rely on them and then I had to rely on myself.

Writing and recording the band’s latest record, Malevolence proved to be no walk in the park as she didn’t write any of the material with any of the band’s current lineup. “I think that New Year’s Day initially birthed me into an audience’s perspective, that’s what put me in the forefront and gave me a platform. It’s my baby and it’s a lot of hard work and Malevolence was no easy task, it was so hard.” She used her music platform to branch out into the fashion world with her spooky clothing line, Bat Royalty. While the music industry has tried its best to beat her down, the truth is that New Year’s Day is on the rise. After a successful overseas arena tour with Marilyn Manson and announcing a spring run with HELLYEAH, 2016 may be the biggest year for the queen of new grave.

Jim Louvau: It’s very hard to have chemistry as a band when you’re constantly dealing with new people. Ash Costello: I don’t know why the focus is so much on that for New Year’s Day. Look at Marilyn Manson and Maria Brink of In This Moment; their bands are like revolving doors.

Jim Louvau: How many people helped you write the songs on Malevolence? Ash Costello: Quite a few, actually, and when I say, “quite a few,” you’d think they had a big hand in it, but not so. We did a song with Kane Churko, when I had writer’s block in the studio, we had Craig Owens of Chiodos popping in and out of the studio at the time and was there helping me. We also worked Erik Ron who is our go to producer. Our former bass player, Anthony Barro and I have been writing music together since we were 15 years old and he was there for part of it. Jim Louvau: I’ve always felt that New Year’s Day has always gotten the short end of the stick as a band due to all of the line-up changes you’ve experienced over the years. Even though many of the members who have come and gone didn’t contribute in the writing process, having a rotating cast can take its toll on any band. Ash Costello: I agree with that. Anthony is pretty much the only one who contributed, and Russell Dixon way back in the day. That’s pretty much what started New Year’s Day, it was Anthony, Russell, and I

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Jim Louvau: The difference with Marilyn Manson is that there was 10 years of somewhat stable lineups before he started writing music more as a solo artist and less like an actual band. Ash Costello: Technically, their was 10 years of stability for New Year’s Day, we just weren’t famous enough for people to know. When the band started getting really busy, that’s when the turmoil with other band members happened because it’s a hard life, it’s not for everybody. Jim Louvau: Having several different writers on the same record can really challenge the flow or cohesion of the way the record sounds as a whole, did you think about that while working on the material? Ash Costello: That’s the point, if you listen to Malevolence, there is a stripper-core song, there is a very Manson sounding song, there is a very New Year’s Day song. It’s very typical in a band where one person has a vision but isn’t a songwriter and have different songwriters come in and help you. If your band isn’t there to support you in that then maybe it’s not the right band for you, which has been the case for what’s happened in the past. It’s a “you’re either with me or you’re against me” kind of vibe. On the next record, I want to write with more songwriters. We did Victim To Villain with just Erik Ron and I fucking love him as a songwriter but I don’t want everything to sound like it was written with the same person. I’m also super excited to write with our new guitar player, Jeremy Valentyne. He and I are on the exact same page as far as songwriting goes. I’m excited to get in

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the studio with 3/4 of New Year’s Day and see what we come up with but I’m still going to bring in songwriters and just experiment and if a great song comes out of it, that’s awesome and if not, we didn’t click. I’ve probably worked with three songwriters where it worked and twenty-five others where it didn’t work. Touring life is not for everybody. You have to give it 100% every moment of your life; otherwise you’re just playing local shows and that’s where you’re going to be. If you don’t sacrifice everything, you’re not going to tour the world. What I’ve found is that people want to be in a band until they are in the band, broke, tired, and dirty. Jim Louvau: It seems like in the future, New Year’s Day could just transition from being a band to just focusing on Ash Costello. Ash Costello: Hasn’t it already? I’ve always fought that and only recently have I accepted it. The band that I have right now fucking loves that idea. All they want to do is play music and be onstage and tour. If they could go on without ever doing a photoshoot or ever getting any attention they would be so happy. Jim Louvau: Would you ever consider ditching the New Year’s Day band name and just be Ash Costello, the solo artist? Ash Costello: No, never. That would be weird and I’d rather just give up music altogether before I’d do that. Maybe I’d start another band. Jim Louvau: Much of the way you describe how your band operates is like a solo artist right now. Ash Costello: That’s not by choice, that’s because people quit on me and I’m left alone to fend for myself and I’m constantly bringing in new people. It’s not because I want things a certain way and that’s how it has to be. It’s because people bail constantly and I’m constantly trying to find new people. You can’t just have someone join your band and then write a record. You have to get to know somebody and it’s taken almost a year of having Jeremy in the band to figure out that we have the same goals musically. He sat in the studio with us everyday and never spoke up but he said he wanted to observe and learn and I think that was very smart of him. You can’t just join a band and write, not at this level. I would never want to be a solo artist ever but was it my choice to carry the torch? No. Did I have to man up and pull myself up by the fucking boot straps? Yeah. I don’t like to get too far ahead of myself because with every line, I think this is it and it’s not going to change and sure enough, after every tour, someone’s like, “I don’t like this.”

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Jim Louvau: Is it your fault people leave the band? Ash Costello: No. (Laughs.) There are like a hundred reasons. I literally could tell you some of the stupidest shit people have quit over. Nine out of ten times, it’s a girlfriend or it’s money or it’s a job offer where it’s constant so they can’t turn it down. One member said our views were against his religious views but he was already in the band for three months. Jim Louvau: Don’t you have three very religious guys in the band right now? Ash Costello: Yes. (Laughs.) We do. Jim Louvau: How does that work in a band with such a dark image and themes? Ash Costello: When I was interviewing them for the band, that was one of the first things that came up since it was listed on their Instagram profiles. They are just incredibly intelligent people, they’re so smart and they’re very nonjudgmental so they have the ability to be open minded enough to have their beliefs but know that New Year’s Day is a show. It doesn’t mean we are going to go slaughter a goat tonight and they’re going to have to repent or whatever they do. I don’t know what Christians do. Jim Louvau: Your social media presence is through the roof and you have a ton of engagement from people who follow you, what do you attribute that to? Ash Costello: We’ve always been like that in New Year’s Day. Our first record deal we got because of our impact on Myspace. We’ve also had this reach to kids that was very effortless and would just build on its own rapidly and create die hards. I don’t know how or why. I wish I could make that a formula and just bottle it up because I’d be a wealthy person. I’m just holding a phone in my hand so it’s not a real thing.

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Jim Louvau: Is it frustrating having 250,000 Instagram followers knowing that if ten percent of them bought your latest record, how different your life would be? Ash Costello: Yes, I think about that all the time. You also have to take it with a grain of salt. Just because someone clicks the like button doesn’t mean they’re going to spend money on New Year’s Day. There were a lot of people who followed me for a long time that never even knew I was in a band. They just liked the way I dressed or liked my makeup. I actually wonder how many people who follow me actually know I am in a band. I’ve had people stop me to take photos and say it’s Ashley from Instagram and not Ashley from New Year’s Day. I take it with a grain of salt. When are the numbers on Instagram going to be pointless and obsolete? I had 150,000 Myspace friends at one point and who gives a shit about that now? You just have to utilize it while it’s there. It’s good for advertising. It beats standing outside of music venues passing out fliers like I used to do when I was a kid. Jim Louvau: Who are some of your enemies in the music business? Ash Costello: I tend to have a problem with other girls in the music industry, they seem to not like me. There are several and some that I’ve reconnected and get along with now. I just don’t know what it is. Maybe I smile too much and people think I’m too nice and the second I get taken advantage of, I snap and people tend to not like that very much. People like truth until you throw it back in their face. www.Facebook.com/AshCostelloOfficial www.Facebook.com/NYDrock Instagram: @AshCostello @NYDrock

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ANDREEA ROSSE Words: Candies Deezy Liu / Photography: Mr. Gri

Karma Owner Peter Hsing

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InkSpired Magazine: How and when did your modeling career begin? Andreea Rosse: I’ve been involved in this industry for the past 8 years, but as a retoucher. Many of the photographers I worked with kept telling me I should model, and eventually I did. I loved the feedback I received, and now it’s something that I do as often as I can. InkSpired Magazine: Do you have any advice for aspiring models? Andreea Rosse: Yes. What I learned is that you need to be constant, and you need to work hard for what you want. Being pretty and good looks help, but let’s face it; there are SO many beautiful girls out there. Hard work beats talent when talent doesn’t work hard. But when talent and hard work meets, you become unstoppable. Oh, and be real. Always be yourself. InkSpired Magazine: What else do you do? Andreea Rosse: My main job is retouching. I have been doing this for many years now, and I love it. I got the chance to work with and for so many talented photographers from all around the world. And it helped me understand better what I should and should not do as a model, as well as retouch my own images. InkSpired Magazine: What inspired you to start getting tattooed? Andreea Rosse: I’ve been involved with art my entire life. I’ve been drawing since I was a kid, I did composition and digital paintings growing up, so obviously I wanted something on my body. But I wasn’t sure just what, because I wanted something with meaning. When my grandmother passed away I got a tattoo in her memory. InkSpired Magazine: Tell us about your favorite tattoo. Andreea Rosse: It’s actually the first, the one I mentioned above. It was done a couple of months after my grandmother passed away. I was raised by her, she’s the one that I called and considered my mother. I chose to do a guardian angel holding a baby, because that’s what she meant to me. And I chose to do it on my back, to symbolize the fact that she’s always there - guiding and protecting me. Many people ask why did I put it somewhere I can not see it if it means so much to me. Well, here is your answer.

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InkSpired Magazine: Who are your tattoo artists? Andreea Rosse: I’ve been tattooed by a lot of great artists from our country and other countries as well - Marius (BAS Tattoo), Dorin (Old Bastards), Ktt Murder and recently, Sfantu (Red Ink) who became my favorite. But there are still many out there I absolutely love and I hope one day I’ll have something done by them. InkSpired Magazine: What role do tattoos play in your life? Andreea Rosse: They’re part of me. Every single tattoo I have on my body, it’s part of my story. Some are done to heal wounds, some are done to represent something from my life, some are just things I love. I could not imagine myself without them. InkSpired Magazine: What inspires you? Andreea Rosse: Life, people, experiences. I’m a very positive person and I try to find the good in every situation and the light in every dark corner. As I said before, art was something that has been around me since I’ve known myself, so I tried to find different ways to express what I feel: drawing, writing, or maybe - getting a new tattoo? InkSpired Magazine: Do you have any people that you are inspired by? Andreea Rosse: People that do good. I love that kind of people. People that are humble, kind, and positive. People that work hard and stay true. First, to themselves and then to everyone else. It’s a pretty fucked up world we live in, and I honestly realized I do not have time for anything else but good, happiness, and love. InkSpired Magazine: What is something that many people don’t know about you? Andreea Rosse: I’m very shy and I struggled with depression and anxiety. Thankfully, the dark clouds are gone for now, but there are still times when I get anxious and sadly, many people mistake it for arrogance. It’s not. I’m kindhearted and very friendly.

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VINNY CHEAP Words: Joseph Findeiss Vinny Cheap cut his artist teeth amid mosh pits of the Colorado punk scene as a teenage photographer. Fort Collins doesn’t immediately come to mind when considering the burgeoning punk scene of the early ‘90s (think agricultural hub cum agricultural college town) but Cheap was there, photographing punk bands in situ back in the day. Burning the punk candle at all ends, Cheap was simultaneously attending small farm town art school, playing in a band and snapping photographs in sweaty venues. Eventually earning Cheap a position as a Staff Photographer for both Heckland Magazine and Suburban Home Magazine. Humble beginnings. Cheap came to Denver in the ‘80s during the post oil financial boom (a la the television drama Dynasty). Now unrecognizable by comparison, The Queen City of the Plains was in a state of decay. In the ‘70s Colfax earned the tongue-in-cheek moniker, “the longest, wickedest street in America” by Playboy Magazine. The Bluebird Theater, currently a popular and opulent music venue, projected porn on the silver screen, the Fillmore Theater was the Mammoth Theater and hosted punk, ska and rockabilly. Those who knew satisfied vices at Zero and 15 (Broadway & Colfax). Capitol Hill was Ground Zero for the alternative, punk, goth and indolent. Shopping for quintessential fashion: records, cassettes, leather, Doc Martins at Wax Trax, FashioNation, and Imi Jimi, - 13th & Washington was couture central. As a kid, Cheap would thumb through vinyl, punk 7 inches at Wax Trax. He became enamored with the music, lifestyle and DIY aesthetics that was prevalent in the underground and was ultimately formative to the young artist. During Cheap’s tenure in Fort Collins, members of Descendants, ALL, and Black Flag established a recording space, Blasting Room Studios, which provided a steady influx of bands for Cheap to befriend and photograph. These connections eventually

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Photo: Sean Hartgrove

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led Cheap to taking to the road on tour with Cargo Records, San Diego-based band, Armchair Martian. Afterwards, Cheap returned to Colorado, worked with venues and booked shows showcasing the connections made through photographing shows, touring and, of course, the Blasting Room. He also founded Start the Press, a silk screening business, sold merch at shows enabling to make more connections with like-minded creatives and introduced him to the expanded music scene in the Fort, perpetuating his business. A short stint in Fort Worth, Texas afforded Cheap the opportunity to collaborate in opening an art gallery. While this provided business knowledge of running a gallery, it also exposed him to some harsh truths about art sales; old money, oil tycoons, and large business firms buy out entire shows simply for the prosperity. The frustration of this experience left a bad taste and remains pivotal in his approach to art sales today as Cheap prices his work affordably or simply gives it away. Following his heart and predisposition towards affable music, Cheap left Texas and once again found himself in Colorado. This time, however, landing in Denver. He was drawn back to the familiar clubs and rock venues and individuals on the street that had earned clout by their proximity to punk idols. Eschewing the galleries, Cheap sought unconventional space to curate shows for unknown artists and musicians. Exhibitions were set up in any room, basement, bookstore, coffee shop, warehouse, et cetera, essentially eliminating contracts, commissions, and bourgeois expectation. Additionally, this split wide potential and eliminated boundaries for local artists but particularly for Cheap’s own artwork. He curated for Phoenix Gallery, the Gallery at 3 Kings, a fashion-centric startup, Geek Chic, and eventually collaborated in unveiling Kabal Enterprises, an artist collective on South Broadway. Cheap laments digital photography, for it has lost the romance of analog. The darkroom process is all but gone. Shooting off a roll of 36 exposures, the subtle adjustments to the aperture and f-stop, knowing your camera like a lover, anticipating the outcome, developing the negatives and the moment when the canister is opened, truth pours out on celluloid. He recalls when the university dropped funding for the photography department and the darkroom. A swap (or a swindle) to invest and focus on the developing technology of digital photography. Photo manipulation via computer software is “shit” in the eyes of Cheap. This new deficiency at school turned him towards painting exclusively. And living year round in a college town sourcing materials was easy. He recalls carousing through allies dumpster diving for found objects, MDF, partiallyused tubes of paint, and even salvaging weathered 130

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skate ramps. A practice he employs still today. The improvisation of materials for canvas allows him to continuously make art. The materials found/procured/available dictate the type of piece he creates. He vehemently believes that as materials become scarce, the desperation and profundity bleed into the piece expressedly. Cheap spent a year in South Beach, Miami along his travels as a younger man, a year he speaks of with much exuberance. Especially of the Art Deco villas along Ocean Boulevard. The palette from which he derives his use of brilliant color largely corresponds to the Cuban influence on the architecture in this sector of Miami. “The colors bounce,”

he says.

how he regards his own work.

He has also been heavily influenced by his time spent as a tattoo shop boy at Tribal Rites under the tutelage of Curtis Burgess. Although never an apprentice, being in an environment surrounded by talented tattoo artists urged Cheap to push his own ability with pencil and paper. Other influences include Latin American graffiti artists, Denver street art, and local iconoclast, Jack Jensen. Understanding this about Cheap, his post modern efforts are poignant, approachable, and understated. Cheap believes there is a certain impermanence to art (which would philosophically place him in the “non-tattooer” bracket), an ideal that offers stone insight into

These days, Cheap is forever positive, regarding his past with a glint of understanding. While studying in Fort Collins, his art professors and mentors urged Cheap to follow a path outside of university - the program was actually hampering his endeavors. Cheap took the advice and has not looked back.

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1972 Cherry Gretsch

Words: Simone Jane Photography: Sean Hartgrove It was only a matter of time and one line was all it took. Brent Loveday’s year and a half of sobriety was down the drain. Addiction is cunning that way, though Brent admits he was white knuckling it without the support of a sponsor or meetings. Life had been going extremely well for the Tennessee native. His band Reno Divorce had just come off of a successful performance at the Punk Roll Bowling Music Festival, a goal they had been working towards for years, and they had just found a great booking agent for a tour in Europe. Until the celebratory cocaine binge in Las Vegas turned into a full blown relapse.

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Custom paint on Brent’s acoustic by Devin Brown (IG: @1shotslinger)

Brent’s cocaine and meth dependency continued through the birth of his son, Brixton. When asked if his wife, Camille, had any idea of the depth of her husband’s addiction, Brent confessed that the ugliest truths were kept hidden. “She may have known about the coke, but I don’t think she had any idea about the meth,” he reveals. “Meth is the bottom of the food drug chain. No one wants to admit they do it, but once you get into the lifestyle, you realize how many people actually do and the lengths they go through to keep it a secret.” It was a Sunday, the tail end of a four-day binge. Brent just played a show with Jonny Two Bags from Social Distortion. “You don’t look so hot,” Brent recalls Jonny saying. “I just realized that I couldn’t do it anymore. I was living a double life, straddling the line of having my shit together but in reality, my life was in shambles.” Jonny’s remark, combined with the pure exhaustion, and knowing he was at the end of the line provided the proverbial wake up call. “It was a higher power, without a doubt, that held a door open,” he says. “This voice said to me, ‘you have to come now, and I am not going to make the offer again.’” It was either continue looking at life through bloodshot eyes or walk through that door. Brent took that step. Reno Divorce is the primary creative outlet for Brent. He is the main songwriter, lead vocalist, and guitar player for the three piece band. Johnny Crow is on bass with Jason LaBella on drums and both on backing vocals. The three have an energy that gels in a way that didn’t with the past lineups, and as Brent related, “It was like winning the lottery twice.” The sound is pure American rock and roll, with a mixture of influences from the hints of reggae you hear from the Police, the punk sensibility of Rocket from the Crypt, and the hardcore punch of Agnostic Front. The band recently shot a performance video for “Ship of Fools” that features gritty and stark images of drug abuse; Brent admits that the subject matter is a bit brutal. “I like to call it the trigger video,” he says the song and video has resonated with fans and it has reinforced Brent’s connection through his songwriting.

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Custom guitar by Bob Shade www.HallmarkGuitars.com

The Dirty Dollars project was originally a party gig. Brent has always been a prolific writer, creating an overflow of material. “I would pull out my acoustic guitar at parties and play these country and rockabilly songs,” he recalls, “My buddy, Doug who owns a bar called The Celtic House Pub goaded me into playing a set there.” The gig was such a success, and one turned into several, enough that it built momentum. “The guys in Reno at the time were resentful,” he adds, “There is no other way to put it. They wanted a distinction between the two; it kind of evolved into a band that was doing its own thing instead of a solo gig. I could have easily incorporated the two guys into what was becoming the Dirty Dollars easily if they had been willing to think outside of this punk rock mold.” If it were not for the Sin City epiphany, Brent believes that he would still be spiraling down the rabbit hole of addiction. How ironic, to find the light in a city notorious for the darkest of distractions. Reno Divorce has just completed a successful European tour, and is headed back out for some U.S. dates this fall then back to the U.K. in the summer of 2017 for the much anticipated Annual Rebellion Punk Festival. www.RenoDivorceBand.com www.Facebook.com/RenoDivorce www.Facebook.com/BrentLovedayMusic www.BrentLoveday.com Instagram: @BrentLoveday @RenoDivorce

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Photo: APP / Kerry Tasker

PIERCING MIRO HERNANDEZ Interview: Sean Dowdell Sean Dowdell: What piercers do you look up to and why? Miro Hernandez: Luis Garcia because of how technique driven he is, Noah Babcock for pushing boundaries, Jim Ward and Fakir for historical sense, and David Vidra. Sean Dowdell: Have you ever apprenticed anyone? Miro Hernandez: Yes, but it never worked out. I couldn’t seem to find anyone who shared my passion for what I do. Sean Dowdell: What would you say that you are most known for within the industry? Miro Hernandez: I think I am known for the love of gold, and for the amount of detail I place into the things that I do.

Studio Name: Dandyland City/State: San Antonio, TX Number of Years Piercing: 20 Sean Dowdell: Why did you want to learn to do body piercing? Miro Hernandez: I was always intrigued by the cultural aspects of it and the history. Loved learning the ritual aspects as well. Sean Dowdell: When did you start body piercing, who taught you, and where? Miro Hernandez: 2002, mostly self-taught. Got some help from Margaret at MINX, James Green, Bear, and Scott Barrs. They were all very helpful to me in the beginning.

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Sean Dowdell: What do you think are (if any) problems within the piercing industry? Miro Hernandez: It’s growing too fast and production can’t meet up with demand at the moment. Also, there aren’t enough “qualified” piercers in our industry. Sean Dowdell: Where would you like to be in 5 years (pertaining to life and business)? Miro Hernandez: Continue on the path that I am on and to keep growing. Always making sure that there is continual progress. Sean Dowdell: What is your favorite piercing to perform and why? Miro Hernandez: Without any hesitation, Daith, there is something about the technical application to the piercer performing it and the simplicity of the wearer that I love.

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Sean Dowdell: Do any piercings still make you nervous? Miro Hernandez: Septums—unforeseen deviation that is out of my control makes me nervous. Sean Dowdell: Being a veteran piercer, what advice do you think other novice piercers should hear? Miro Hernandez: Never be afraid to admit you’re wrong and learn from it! Sean Dowdell: What would you like to learn or do better? Miro Hernandez: I would love to get better at running my studio more efficiently! Sean Dowdell: What is your favorite thing about your career? Miro Hernandez: Working with people that are in a very raw moment and finding themselves through a moment. That moment when they are being honest with themselves is a moment I love to be a part of.

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UNWRITTEN LAW Words: Candies Deezy Liu Photography: Sean Hartgrove “What’s wrong with you’re kickin’ it when you’re bored and lit?” It was a question I often found myself asking as I had the Unwritten Law CD on repeat during my days of high school and teenage rebellion. With another one of their major hit songs, “Seein’ Red” burned into my memory of recalling the good ol’ days, every time I hear this song, I’m still reminded of where I came from. Their music played a pivotal role in getting me through the tough times and reminding me of the good times. It was an era of alternative rock that has shaped my love for music to this day. Formed in the early ‘90s in a city in San Diego named Poway, Unwritten Law rapidly established themselves in the California music scene and continued to take the 2000s by storm. With their defined rock sound and intense punk rock energy, the band was a major part of the evolution of alternative rock during that time. As they toured alongside bands such as Blink 182, Sum 41, and The Used, they created a revolution in the genre of skate punk. After releasing seven studio albums, completing several international tours, performing at the Vans Warped Tour, experiencing lineup changes, and more, Unwritten Law continues to dominate the live rock music scene with sold out shows and no signs of stopping. As they continue to garner new fans with their new music, Unwritten Law has successfully maintained a loyal following since their early days. Current member and guitarist, Chris Lewis joined the band in 2014. As a fellow musician who has been a fan and toured with Unwritten Law for many years prior to joining the band, he comments, “what I’ve always loved about Unwritten Law is that they were always really honest with their music. They weren’t trying to do what everyone else was doing because it was the easy thing to do. They were always the ones breaking barriers…” www.Facebook.com/UnwrittenLaw.Music Twitter: @Unwritten_Law 146

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Interview: Ákos Bánfalvi

ALEXANDER YANITSKIY

“WITH THIS PROFESSION, YOU CAN ALWAYS STAY YOUNG…”

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Realistic tattoo master, Alexander Yanitskiy was born in Belorussia. He moved to Israel in 2002 and grew up working odd jobs. The first time he went into a tattoo shop, he knew that it was what he wanted to do. Although his family was initially against this and told him he needed to get a high education, they eventually began to respect his choice. With the full support of his friends and family, Alexander’s tattooing has come a long way. “In 2006, I went into a tattoo shop and asked to get a tattoo of a realistic shark. The artist made a terrible cartoon shark. I thought to myself, it has to be possible to make more realistic tattoos and that’s when I started practicing,” Alexander recalls. What was the first tattoo you ever did? Can you tell us about it? Oh, it was a tribal skull. And I think that all artists try to forget about their first works! It’s like a nightmare for us! (Laughs.) Which tattoo shop do you work in at the moment? I work at Kipod Tattoo in Tel Aviv. The crew of our studio is very friendly and we always support each other. When you come inside, you understand that it’s the place of art. A lot of our paintings and drawings are hanging on the walls. I really like our shop and the people that I work with. How would you describe your style? And which tattoo style do you like best? I try to work in realistic style. I respect all styles of tattooing but realism is my favorite. How have your role models and any other sources of inspiration affected your tattoo style? My sources of inspiration are a few great artists in the world of tattoos. Such people like Dmitriy Samohin, Joshua Carlton, Carlos Torres, Nikko Hurtado, and many others. You can always learn something new from them.

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Describe how you go about creating a tattoo from concept to finished design, as well as how you try to put your own unique touch on your tattoos. Like most artists who work in realistic style, I work with photos. And then I add freehand elements on the skin from my imagination. I never know the final result of my work when I start. Many people say that they always recognize my work on the internet, but honestly, I don’t think that I have some unique touch! Do you see tattooing as a job or a way to express your creative side? Tattooing for me is a mix of a job and a hobby. You can earn money by doing what you like! And it’s really cool. With this profession, you can always stay young! One wise man said, “happiness is to make what you like and to love what you make.” And I agree with him. Do you have a funny tattoo story? What is funny for a tattoo artist is always scary for a customer. (Laughs.) So I always try not to be in such a situation. What is the most interesting tattoo you have been asked to do? I get a lot of interesting ideas but maybe one of the most was a hybrid bee on a leg. It was an unexpected idea from the customer and I really enjoyed doing it! And what was the most shocking tattoo you have done? The most shocking were at the beginning of my career when I had to do all the tattoos my boss asked me to do. When I couldn’t say to a customer, “hey man, don’t do this...stop and think about your body!” (Laughs.) But thanks to God, now I can choose to make a tattoo or not. What do you think a client should expect from you as a tattoo artist, and what do you, on the other hand, expect from a client to make a successful tattoo and a good collaboration? The most important is to feel the connection between the artist and

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the customer. They expect from me a high quality tattoo and I always try to do my best for them. And what I ask from my customers is just to be more open-minded. Trust your tattoo artist and he will work 100% of his skills. Are there any positive sides of being an artist? A lot!!! First of all, you leave a part of you on people’s skin for the rest of their life. Tattoos change people. And artist is like a magician that uses his magic on a customer. And to use white or black magic is a personal choice of everyone! Can I ask if there are any negative parts of your job? This job gives me an opportunity to help my parents. To help to my friends. Maybe my tattoos make my customers more happy. All this just shows me that my job has only positive parts! How would you describe the current status of tattoos by the general public in Israel? Like in most countries on our planet, there are two types of people: the first type sees a tattoo as self-expression and an art form and the second type still associates tattoos with prison and criminal activity. In this country, if you have a full sleeve, you can forget about working in a bank! Have you noticed any changes in the tattooing industry since you started? Now it’s a completely new world of tattoos! So many new and quality brands on a stage of a tattoo world. New inks, new tattoo machines, new aftercare stuff. These make our job easier. Now you are not tattooing but painting on a skin. Is there anything else you wish to say? Don’t be afraid to express yourself with tattoos on your body. Always listen to your artist for advice because our mission is to give you a good tattoo. It’s a representation of us as artists too. www.Facebook.com/Alexander.Yanitskiy www.Kipodtattoo.com/alexander-yanitskiy-art Instagram: @AlexanderYanitskiy

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Are you InkSpired? Submit your tattoos and stories to: Submissions@ InkSpiredMagazine.com. Want to be InkSpired? All Submissions must be e-mailed to submissions@ InkSpiredMagazine.com. If your file size is too large to e-mail, please send us a message stating as such and we will provide you with an alternative solution. Please, DO NOT send us links to online storage or websites to view your files. Also, any photos posted in our various social media sites, while appreciated and possibly shared by us on those sites, will NOT enter you into consideration for publication. Minimum of three (3) HIRESOLUTION images need to be submitted. Low-res images will automatically be discounted from consideration. Photo credit, including Photographer, Model, Hair Stylist, and Makeup Artist, needs to be included with EACH IMAGE. You also need

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to state which of these YOU are, so we can provide you with the correct release form for publication. Before publication, we must receive a release form, signed and dated by yourself and ANY PERSON WHO RETAINS OWNERSHIP of the image. We provide the release forms to you once you have been accepted for publication, but it is your responsibility to return it in a timely fashion. Personal Tattoo Submissions: If you are not a model or photographer or another professional in these fields, but you still have an amazing tattoo or two that you would like to submit for our new "Reader's Ink" section, we will be accepting lesserquality images such as those taken from a cellular phone or personal camera (not professionally taken). The remaining guidelines apply, as well as a notation providing us with the name and location of your tattoo artist.

flash material for publication, please send us a message and a sample of your work, and we will get in touch with you about how to move forward as this is treated more as an advertisement than a submission. Social Media www.Facebook.com/ InkSpiredMagazine www.Instagram.com/ InkSpiredMagazine www.YouTube.com/ InkSpiredMagazine www.Pinterest.com/ InkSpiredMag www.Twitter.com/ InkSpiredMag InkSpired Online Store www.InkSpiredMagazine.com/ products with the freshest gear and art from InkSpired Magazine, InkAddict, Black Market Art Company, Lowbrow Art Company and more!

Tattoo Artists: If you are an artist who would like to submit your portfolio or

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InkSpired Magazine Issue No. 49/50