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HS: The new place looks awesome. Much better than the previous shop.
BJ: I like the open plan. It’s cool to have the private room, but it seems stuffy. I first started tattooing in a street shop on South Street in Philly, and it was like a barbershop. It was busy, and we’re just shooting the shit. I like the openness.
HS: And, I assume you also have an option for customers that would like a little more privacy?
BJ: We have partitions and we can close curtains if a girls tits are out. We also have upstairs where we can get completely private.
HS: I always wonder about people who love to get tattooed at conventions.
BJ: A lot of girls are just like, “Fuck it. I’ll do it.” Obviously you go in knowing its a big open convention and if you want to get tattooed right by your vag, you got to sit down and get it done right there.
HS: There was nothing like watching 200 greased up girls go by when I was judging at last year’s New York Convention.
BJ: It’s funny for sure.
HS: Is the convention scene something you have to do coming up in the trade?
BJ: I think in the beginning if you want to get yourself out there it’s cool.
(We break to discuss a passing girls fake Jordans).
BJ: Anyway, about conventions. When you first start tattooing and you want to get out, it’s a good way. If you have any aspirations of furthering yourself in the industry, if your not happy just sitting in the shop, it’s definitely the way to travel and get your name out. I don’t think it is absolutely necessary. I did it for the first 5 years I was tattooing. A convention once a month or so. And the magazines are there, they photograph your shit, and that ultimately leads to more and bigger coverage, and then you’re super busy at the conventions. There might be someone from say, Cali, who would see a tattoo I did in a magazine and not want to come to Delaware, but hit me up if I’m out there at a convention.
HS: The first time I went to a big convention was in Green Bay (Rick’s). I went to meet Chuck Eldridge, and Lyle Tuttle was going to be there as well. But, and more to the point, Leo Zoletta was packed.
BJ: And he’s local, from around there.
HS: Yeah, I believe he was working in Ann Arbor. That’s when it hit me that a convention so easily made all the magazines tangible.
BJ: When I first started tattooing all I knew about was from magazines. Then at the convention, there they are. It’s not like going to a rock concert exactly, after listening to a CD for ages, but still they’re they are. Just guys that tattoo. Not changing the world, but it is cool to get tattooed from a guy whose style you really like and can learn a bit from. It’s a good opportunity to meet people. I’ve met some of the best artists around and we’ve become good friends. Not because I’m a good artist, but because they’re genuinely good guys and we’ve got things in common. The guys I looked up to back then, now they’re my peers. I talk to them all the time. Not to name drop, but guys like Joe Capobianco. A great artist, too. Bert Krak in New York.
HS: I love his work. The “Hold Fast” hand tattoo he did is amazing.
BJ: Bert’s one of my best friends. In the winter months, tattooing is generally slower. It’s amazing how many times I talk to other artist who go, “Oh shit, it’s so slow?” Yeah, I know. Let’s talk about something else. How’s your family? Or, something that might bring me up. With Bert, never have I spoken to him and he says, “This blows.” He owns a shop, so he knows the struggles. Plus, he’s a really big sneakerhead. We talk about that a ton. He’s a great dude. If I lived in NY, we’d probably be working together.
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