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Editor’s Words....................pg.6 Ink of the Issue..................pg.7 Tattoo Virgin .................. pg. 24 Ink History Pt. 2 ..............pg.28
Artists Interviews
pg24
John Perez: The Ugly Truth........................... pg. 10 Jarr Ramon No Regrets .................................pg.22 Music Ink: Whute Zebra...............................pg.12
Calendar March............................................pg 14 April ..............................................pg. 16 April..............................................pg.
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Feb ‘10 Issue 02
The Ugly Truth
Tattoo Virgin Artist: Bizmark Pinera
Victim: Chris Trevino
Tattoo ofthe Issue + Local Tatts Artist Interview: & John Perez
Jarr Ramon
Advisory
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Cover moDel: Miss Melly PhoTograPhy: Exlusive Images makeuP & hair: Bel Ange Spa WArdroBE By: TZ Fashion
www.slingininkmagazine.com Distributed by South Texas Distribution
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Contributors BLACK KILLS COLOR: WHITE ZEBRA
Jesse Alvarado
Editor
Slingininkmag@aol.com /Jessejaymz
Rick Benavides
Publisher
rgvbenavides@yahoo.com /rgvbenavides
Mark Del Bosque
Design
Redstarmail@gmail.com /omnicononline
Ink History Part II
pg22 pg10 No Regrets
all letters sent to Slingin’ink will be treated as unconditionally assigned for publication and copyright purposes and as such are subject to edit and comment editorially. Please ensure that all photos and slides have credits attached. Please send copies not originals as we can not return any unsolicited photographs. No responsibility can be assumed for unsolicited materials. The views expressed in this magazine by the contributors are not necessarily those of the publishers. While every effort is made in compiling Slingin’ink, the publishers cannot be held responsible for any effects therefrom. reproduction of any matter contained in Slingin’ink is prohibited without prior permission. adverts and advertisers appearing in Slingin’ink carry no implied recommendation from the magazines or from the publishers.
pg12
Robin Paek
Photography /exclisivergv
David Alanis
Photography /exclisivergv
Stephen Peña
Photography /exclisivergv
Jayme Black
Lead Writer
/jaymewicked
Patrick Garcia
pg28
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Editor’s Words D
ear Readers,
First of all, I would just like to thank everyone on behalf of Slingin’ Ink Magazine and all of our staff for supporting us. Since our first issue has dropped, we’ve received a ton of e-mails from our readers giving us their opinions and telling us how much they have enjoyed Slingin’ Ink. We really appreciate the feedback and encourage all of you to chime in and tell us what you think about our publication, whether it be good or bad. I would especially like to thank all of our advertisers. Without them this would not be possible, so please show them support as well. If you give them business they will in turn give us their business and we can continue to publish this awesome magazine for you, our readers. Also, I would like to thank my staff and their families for the sacrifices they have made for this magazine. And last, but definitely not least, I would also personally like to thank Art, danny, Cheo, Foy, and Mike of the bands In and Out and the Melodious Bastards for giving us a shout out every time we are at one of their gigs and for handing out copies of our magazine whenever they can. You guys rock!! I would also like to give our condolences to the families and friends of Jaime Santana Garcia, known by some as “Crack,” and Ruby Solis for their loss. These two incredible human beings were taken away in a horrible accident right before the Christmas holidays. I met Crack a couple of times and can honestly say he was an awesome
guy. I never had the opportunity to meet Ruby, but judging by the huge response I saw from their friends on myspace after their death, I could tell they touched many lives. May they rest in peace. Finally, I would like to mention our website slingininkmagazine.com. Readers can go on our website and submit comments or photos of their ink for our tattoo contest or our local tatts pages. For all of you who own Android and other Google phones, you can view our magazine by using the “ISSUU” app available on those phones. If any of you are interested in modeling for Slingin’ Ink Magazine, you may contact us at slingininkmag@ aol.com. Thanks again, and lets keep this awesome mag going! Here are some samples of the e-mails we got from you, the readers.
www.slingininkmagazine.com Email: Slinginginkmag@aol.com
Hey, you guys kick ass!! The guys at my work love your mag as well as I do! Shout outs from Liz and the guys from Guitar Center, Brownsville Tx.! Keep up the good work! -Liz Been a long time reader of Tattoo magazine for many years and when I moved to the valley I thought that the tattoo lifestyle was dead around this part of the world. While I was at work a friend handed me a copy of Slingin Ink magazine and low and behold there is a god. Think that the mag is bad ass and hope to see more of the mag in the near future!!! -Rom Rangel I really enjoyed reading it not to mention the great graphic work. its very bold and alluring to the eye. loved it so much can’t wait to submit pics of my tattoos and maybe for a potential slinging ink model. once again you all did an amazing job!
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-Priscilla
Ink of the Issue 1ST Place Jeremy Vazquez
>Artist: John Perez
2nd Place
3rd Place
Artist: Chris de Leon Flaming Heart Tattoo
Artist: Ceci Hernandez Buena Suerte Tattoo
>
>
Think you have what it takes to win? Prove it by sending us your best tattoo pictures. 1st place gets a $100 gift card and a Slingin Ink T-Shirt Email us at Slingininkmag@aol.com
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7
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The Ugly Truth According to John Perez By :Jayme Black
F
unky, upbeat music was blaring in the tattoo studio, but there was nothing upbeat about the tattoo depicting hell that John Perez was working on. As he tattooed away on human flesh, you could smell the brimstone from hell as if the tattoo was coming to life. This artist has a reputation in the tattoo industry that is as high as Mt. Everest. John is a self-taught artist who has been tattooing since the age of 12. He had a friend whose older brother was making homemade tattoos. As soon as John saw the tattoo machine, he felt drawn to it. He wanted to know how it was built and how it worked. The ambitious boy went home and started making his own tattoo machine and when he finally finished building one, he tattooed his initials into his hand. The initials have faded with time, but John’s passion for art and tattoos has not. John doesn’t hold back on his work and he doesn’t hold back on how he feels about the tattoo industry. Tattoo shops are now on every corner like a Circle K and he feels that even though tattoos are easily
accessible, it doesn’t mean that the tattoo shops have quality artists in them. Now, if you can’t handle his honesty, I suggest you stop reading right now because this artist doesn’t hold back. John firmly believes that tattoo shops and conventions should be owned by tattoo artists themselves and no one else. He believes that Artists need to be fully in control of their industry, not someone who is trying to make a quick buck off their art. He also believes that artists need to focus on their art and producing good tattoos. For example, if an artist is into a more traditional style of tattoos, then his/ her main focus should be traditional tattoos. Artists shouldn’t try to tattoo something that isn’t their area of expertise. If you are a traditional artist, why try to do a realism tattoo? He hates to see a beautiful woman with a bad tattoo. It’s like the artist doesn’t have any pride in their work. The ugly truth of it all is there are too many artists out there who have no formal apprenticeship that try to tattoo anything for a quick buck. They want to be cool and cut-throat with each other. Tattoos are an art form, thus, their artists should have some standards. An artist should know the anatomy of their canvas and how to place the tattoo perfectly onto human flesh so it flows in unison with the body. As
John is telling me this, his eyes are closed and he is moving his hands as if he were conducting a symphony, but I know he is mentally painting a picture of his next tattoo.
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It is no wonder he has the respect of many local artists. He takes his art seriously. John went to the University of Texas-Pan American to check out the art program, yet he doesn’t flaunt that around. He learned what he could and he when he felt he couldn’t learn anymore from the professors, he left. John is about constant learning and if he ever gets to the point that he feels that he has learned everything about art and tattooing, that’s the day he stops working. It’s all about learning and perfecting the art for him. John is about respect and not bashing other shops and their artists. He wants the industry to respect themselves and others in the profession. That isn’t too much to ask for.
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BLACK KILLS COLOR: WHITE ZEBRA Written by Patrick Garcia Photos by Trae Valdez
2007
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Raul Altamirano were doing something most of the hip, cookie-cutter bands weren’t: spending zero time promoting picture comments on myspace and, instead, practicing. More importantly, they started to write songs. The band eventually coalesced with the induction of lead guitarist, Justin Marin (guy on the floor in this lovely background), and, much to the indie scene’s delight, established themselves as a permanent mark on the valley’s creative canvas. Flash forward two years to November 12, 2009. White Zebra is playing a packed show at Galeria 409, a contemporary art venue inside an old brick building in historic downtown Brownsville. By this time they’ve already nabbed Festiva’s cover for the “Top Bands to Watch in ’09,” releasing a full length album of 14 polished songs later that spring that drew respectable comparisons to Talking Heads, Portugal. the Man, and mewithoutYou. At that moment in November, however, they were scaring the hell out of people. The show was going on full-force, and Justin had just tripped on his guitar cables, stumbling and smashing the back of his head on the aluminum grating of his guitar amp. The band was playing on the wooden floor of the art gallery, surrounded by a 200+ mass of sweaty,
... By this time they’ve already nabbed Festiva’s cover for the “Top Bands to Watch in ’09,” releasing a full length album of 14 polished songs ...
was a good year. Prominent local bands like the december drive had not broken up yet, They Mean Us had established themselves as a formidable instrumental group, and a wave of young posthardcore bands had collectively seemed to have found their sisters’ hair straighteners. I’m joking about the latter, but it’s essential in understanding the context in which White Zebra was formed. You see, any speckle or hint of different genres of music created or played during this time drew great attention, for each drop produced a vivid color contrast atop a black canvas of genre redundancy. And earlier that year, one of these brighter paints was being dripped, slowly, on the moist, southeast corner of the valley that is Brownsville, TX. Lead singer/guitarist Esteban Elizondo, drummer Adrian Loera, and bassist
Music Ink Esteban’s approach to singing. His wild, angry, part Kerouac-esque scat, part howling approach to vocal performance is paint splattered over a jambling, loose, lock and key rhythm section set by Raul and Adrian’s playing.
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A good White Zebra show consists of lots of sweating, lots of movement, and lots of soul - and then there is the band. Justin smashing his head and rolling onto his back, eyes closed, while still playing guitar is an element of the show that rivals
-And enjoy
A good White Zebra show consists of lots of sweating, lots of movement, and lots of soul - and then there is the band. myspace.com/zebrablanca
cramped people that would occasionally dodge jolts of guitar headstocks or flailing arms by fans convulsing at the hips and dancing with the music. Strings of white Christmas lights were hanging from the ceiling and the open doors were letting in an occasional draft of wind that would sway with the lights, creating a big, wobbly circle of dim light over the band like a drained spotlight. But despite the poor lighting, the place was still lit well enough to make out the band playing in front of a curious back drop: a large oil painting depicting a shocked, middle-aged super hero in a bathroom stall being held at gunpoint, pants down, in mid-shit. The show was rounding out to something that would establish what many would consider to being an exceptional standard for a White Zebra performance. Let me explain.
Their live show is something raw, something ugly, something real. And that night it was important: it turned young, pretentious rich kids into a humbled, sweaty mess; it comforted those who felt the indie music scene was fading; and it established a fresh, progressive direction the local music scene would find a heavy interest in. The band is still kicking, writing new stuff, and playing carefully planned shows, so stay aware of your local music scene, or at least familiarize yourself with it; attending a performance is a must. They’re recordings, too, are worthy of a listen, for they present the same, polished, rambling, and raw musical momentum as their live performance. So if you like music that’s better described through its live presentation and its reactions, please listen to White Zebra at myspace. com/zebrablanca.
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2010
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Photography By: Exclusive Images Wardrobe provided by: TZ Fashion Hair and Make up: Bel Ange
2010 A P R I L
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Photography By: Exclusive Images Wardrobe provided by: TZ Fashion Hair and Make up: Bel Ange
Local Tatts
Submitted by Rollin Vidal
Juan Wolfie Guzman by Chris D.L.
Justin Velasquez
Justin Velasquez
Submitted by Rollin Vidal
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Veronica Valdez by Jarr
Romulo Rangel
Joshua Kelley by Adrian Lazo
Chris De Leon
Justin Velasquez
Local Tatts
Chris De Leon
Veronica Valdez by Jarr
Rom Rongel
Chris De Leon
Submitted by Rollin Vidal
Juan Cantu by Ceci
Submit Your ink @ Slinginginkmagazine.com
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familiarity came upon me as I walked into Vermilyen Tattoos. A young lady was turning the pages of a magazine while sitting on a sofa in the waiting area. Papa Roach’s song, “Last Resort,” blared in the background as Jarr Ramon walked in to greet me with a friendly smile and welcomed me to his shop. He was about to tattoo a client and wanted me to make myself at home as he got to work. As he placed the stencil on his client, he started to tell me about his first tattoo experience. Imagine this: a 17 year old man is getting his first tattoo of a cartoon selfportrait in his cousin’s garage. The young man starts to feel faint and begins falling down, but instead of the guy tattooing him coming to a stop, he just keeps tattooing and follows Jarr down to the ground. What a crazy experience huh? But that experience didn’t stop Jarr from becoming part of the tattoo world. Jarr is a selftaught artist from Uvalde, Texas. He has
Jarr Ramon Has
No Regrets
By: Jayme Black
been working in a professional environment since 1997 and had to work hard to earn the title of professional tattooist. Jarr feels that owning professional equipment doesn’t make a person a professional tattooist. His first job was at a tattoo shop called F.O.’s Tattoos in San Antonio, Texas. Leo Palomino, the owner of Iron Horse Studio and his best friend since he was 13, got him the job. He worked there until he opened up his own tattoo shop in 2000 called S1 Tattoos. Jarr wasn’t feeling challenged in his hometown of Uvalde. He kept getting the same tattoo request over and over again, the usual Kanji, butterflies, and whatever else was in a tattoo magazine at the time. He knew if he wanted to develop into a better artist he would have to go elsewhere. So, out of the Tree City sprung an ambitious man out to make it on his own in the Rio Grande Valley. He came over to the valley to experience what starting from scratch and not having anyone know him would be like. Back home he was the tattooist that everyone competed with and he wanted to be on the other end of the stick. Now he has his shop, Vermilyen Tattoos. It’s been hard but he has no regrets. Being in the valley has taught him a lot about himself and he has had many great experiences. In fact, a lot Jarr’s clients from Uvalde have come down here just to be tattooed by him and have observed how the quality of his work has grown. In the beginning of his career, Jarr did a lot of bloodline tattoos, a style of tattooing that uses no ink, only water so it leaves a red line of blood on your skin. He went from doing bloodline tattoos into using more of a shading technique. He likes experimenting with colors by mixing and blending them so they flow beautifully together. Color variation gives a lot of flow
and you can see that in his tattoos. Beautiful lines and smooth shading have earned him the reputation as a good color artist. Jarr is also known for being a good cover up artist. When a client comes in and asks him to help fix their tattoo or cover it up, he asks them what 5 of their favorite things are, then copies the original design and size onto paper. Within minutes, he is giving the client new options and discussing possibilities of what can be done. He asks the client for a few days to creatively refine the original design, and then asks them to return to the shop see what he has come up with. The transformations he makes are amazing. Jarr is amazed with how much his work has changed just within this past year as we look through his portfolio. He knows he has a long way to go and so much more to learn. He tries to attend 2 or 3 conventions a year so he can meet up with old friends and make new ones. While at the conventions, Jarr observes and learns different styles and techniques used by other artists. He looks forward to seeing what new things will come his way every year. Making you feel at home in his shop and welcoming everyone with a smile, Jarr is like an old lost friend or relative. It’s no wonder so many of his clients call him their friend.
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Artist:
BizmArk PinerA
shoP: FlAming heArt tAttoo Age: 21
A
tattoo machine is buzzing as Megadeath blares through the tattoo shop’s speakers. The blend of noise fills my ears as the needle pierces colors and fills in the final touches of my tattoo. A young man walks in. He heads nervously toward Biz’s station and his face changes from impatient anxiety to a peaceful smile as Biz shows him the drawing for his tattoo. Excited, he starts texting and calling his friends to tell them that he is about to get tattooed. I knew I had found a tattoo virgin. Meet 26 year old Chris Trevino, a middle school biology teacher with Edinburg C.I.S.d. He is at Flaming Heart Tattoo for his first tattoo with Bizmark Pinera . After receiving little to no help from one local shop to being totally creeped out at another, (not referring to Creep of 1st Class Tattoos by the way), he went to Flaming Heart Tattoo and was greeted warmly by Biz. After looking through his portfolio and seeing some of his drawings, he knew he found his artist. Chris was getting a tattoo
of a Koi fish with a lotus flower. He used to have a Koi fish as a pet which brought him peace and tranquility with its beauty and color and he thought he could always have that with him in a form of tattoo. I could tell Chris was excited but also anxious; the poor guy was pacing back and forth looking through portfolios, sitting, and then jumping back up to see what Biz was doing. He had
Victim: chris treVino
J
: edinBurg
c .s.d teAcher
Age: 26
no idea what the prick of the needle was going to feel like and I was curious as hell to see how this virgin was going to react to that first few minutes of tattooing. He took in a few deep breaths and Biz started his work. Sweat formed on Chris’s forehead and he seemed to be going pale, but after a few deep breaths it looked like he was going to make it. He mentioned his arm was starting to go numb but was still holding strong. The poor guy tried to put on
a brave face but you could tell he was hurting, especially while Biz was coloring in the tattoo. And who wouldn’t be? Getting tattooed on the clavicle bone can hurt like hell, but Chris felt it was worth it. He picked his upper shoulder for the tattoo because he wanted it in a place where he could show it off while playing basketball but also keep it concealed for his profession. Chris intends to get more tattoos with Biz. He feels really comfortable with him and likes Biz’s style and color. He advises checking out portfolios, making sure you are comfortable with the artist, and knowing ahead of time where your tattoo will be placed on your body. He thinks that the artist and their clients should have some kind of connection and understanding. Good advice from a future teacher.
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Ink History Part II By: Jayme Black
I
nstead of being sentenced to death, you shall be tattooed. This was what happened to Humako, Muraji of Azumi in 720 A.d. when he was convicted in the court of the Emperor of Japan. The Japanese used tattoos to identify criminals and outcasts. Outcasts, or Eta, were tattooed with a cross on the inner forearm or a straight line on the upper arm or on the outside of the forearm. Criminals were marked with different symbols that were selected for the crime committed. Tattoos were placed on the face and arms. Most of the symbols were dogs, bars, crosses, double lines, and circles. Tattooing was reserved for those who committed serious crimes. By the end of the seventeenth century, tattooing as a form of punishment was being replaced by another form of punishment due to criminals covering up their penal tattoos with decorative tattoos. during the 18th century, decorative tattoos became popular due to a book called The Water Margin, also known as Suikoden, which focused on an outlaw and his followers. In this book, the “hero� rebelled against the establishment and was heavily tattooed. The romanticism surrounding the lifestyle described in the book appealed to so many commoners in Japan that several other books of this type became popular. They were written and illustrated with woodblock prints. Interestingly enough, many of today’s Japanese tattoo designs (called irezumi) either come from these books or are based on designs found within the books. Around 1868, the prohibition on tattoos was enforced because the Japanese believed that tourists from the West would condemn the practice. They feared that Japanese customs would be seen as barbaric and bizarre. As a result, the government ordered many of the tattoo design books burned. The
Japanese were wrong; many Westerners liked Japanese tattoos and showed an appreciation for the art form by getting the designs placed on their bodies. The most famous person to get a tattoo during this period was King George of England, who had a design of a dragon applied to his arm while on a visit to Tokyo. Tattooing remained outlawed in Japan for everyone except foreigners until 1945. While tattoos were being prohibited, there were still underground tattoo shops available for the Japanese. The Japanese tattoo masters also continued to tattoo Japanese clients illegally, but after the middle of the 19th century, their themes and techniques remained unchanged. Classical Japanese tattooing was limited to specific designs representing legendary heroes and religious themes which were combined
with certain symbolic animals and flowers and set off against a background of waves, clouds, and lightning bolts. The original designs used in Japanese tattooing were produced by some of the best ukiyoe artists. The tattoo masters personalized and simplified these designs to make them suitable for tattooing, but didn’t invent the designs on their own. Traditional Japanese tattoo differs from Western tattoos in that is consists of a single major design that covers the back and extends onto the arms, legs and chest. The design requires a major dedication of time, money and emotional energy. during most of the 19th century, an artist and a tattooist worked together. The artist drew the picture with a brush on the customer’s skin, and the tattooist just copied it. The Japanese tattoo ban was finally lifted in 1948 largely because the Japanese realized the underground trade was thriving and foreigners were some of the biggest clients It is obvious that tattooing was widely practiced throughout many cultures around the world and was connected with a high level of artistic undertaking. The images of ancient tattooing are parallel to today’s tattooing. Animals are the most common subject matter of tattooing and it remains true today. Throughout history, tattooing, like other forms of body decoration, has been related to the sensual, erotic, and emotional aspects of the mind. No matter what the reason, tattoos are a personal form of expression from yesterday to today til tomorrow.
King George of England, who had a design of a dragon applied to his arm while on a visit to Tokyo.
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