Inked Magazine, Issue 4, 2025

LOOKING FOR MORE? LOOKING FOR MORE?

@doshombres | doshombres.comLOOKING

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MEDITERRANEAN / NORTHERN EUROPE / ARCTIC

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The season of transformation is upon us, and as the leaves change, shadows grow longer, and energy shifts from summertime poolside capers to cozy sweaters and fanatical football games, we revel in the possibilities of what’s to come. At Inked, this is a time when we look through our proverbial lens with an endeavor to identify how history has evolved into today’s society, tattoos and otherwise, and what is yet to be discovered.

In this issue, we shine a spotlight on Diplo, a world-renowned DJ with a taste for variation, movement, and community. His evolution from a kid building an extensive collection of eclectic albums to electronic DJ stardom — packing venues worldwide — is validation that, when you put in the energy, aspirations can be realized.

Underneath the cover, you’ll find that same drive for progression and connection throughout. On the field, the Angel City Football Club is leading the way in finding pay equality in women’s sports, while bare-knuckle fighter Taylor “Killa Bee” Starling-Vespe and three Strongman champions demonstrate extraordinary resilience and determination.

We spoke with the gents of All Time Low, who discussed their new album and how they are connected by tattoos. Electronic music DJ REZZ, whose LED goggles, dynamic sound, and visual acuity have become staples in the electronic music scene, shared how she went from spinning at her high school dance to gaining a cult following. Plus, Yelawolf and J. Michael Phillips discussed how their unusual pairing has created a unique sound unlike anything they experienced before.

Still, tattoos are the core of our curated content. Keith “Bang Bang” McCurdy, arguably one of the world’s most recognized tattoo artists, is going deeper into tattooing technology. He shared with Inked the secret to his success, his ongoing work in tattooing innovation, and the things that fuel his soul.

We discuss how tattooing can heal trauma, how legislation and stigma have affected South Korea’s tattoo culture, and how tattoo-loving doctors and scientists aim to destigmatize tattoos in the workplace. In addition, we’ll stimulate your senses exploring two untamed worlds as we highlight a mightily inked animal enthusiast and conservationist, as well as a tattoo artist turned illusion cake artist.

I hope this issue reminds you that transformation comes in many forms, from music to sports, the arts, and ink, and that passion and resilience present opportunities for reinvention and connection. As you flip through these pages, I hope you’re inspired to embrace the season and all the possibilities it brings.

Darrin Austin

Publisher

PUBLISHER Darrin Austin

VP OF PRINT MEDIA Toby Thompson

VP OF OPERATIONS Tianna Kaye

VP OF ADVERTISING Christa Lebar

PR/MARKETING MANAGER Carson Leathers

MANAGING EDITOR Amy Higgins

DIGITAL MARKETING Jennifer Kraybill

GRAPHIC DESIGN Fanie van Niekerk

WEB DEVELOPMENT Peter Talavera

SOCIAL MEDIA / VIDEOGRAPHER Collin Pape

OFFICE MANAGER/PENNSYLVANIA Jami Pearlman

ACCOUNTS RECEIVABLE /PAYABLE Chris Watson

FULFILLMENT Theresa Jones

CONTRIBUTING WRITERS

Max Freedman / Kellie Speed / Elaine Maguire O’Connor

Alexandra Shimalla / Emily Adam / Kate Daniel / Pete Croatto

Mads Wedel Kristensen / Gil Macias / Nicole Stover / Nia Groce

Joey Skladany / Carolyne Whelan

CONTRIBUTING PHOTOGRAPHERS

Jason Goodrich / Ryan Pfluger / Christopher Kolk / Leigh Keily

ADVERTISING Kaydee Dici / Jaime Van Bogaert / Wallace Cedeno

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efore becoming internationally recognized for his eye-popping cake creations, Ben Cullen asserts he has always viewed things a little differently than most people.

For as long as the U.K. artist can remember, he has seen the world as a blank canvas and wanted to creatively transform as much as he could get his hands on, but in the most spectacular of ways, even if that meant getting into a wee bit of trouble. “I couldn’t stand anything being blank, so I etched drawings on everything, including cupboards in my home,” the master baker said. Today, the “Bake King” is best known for his jaw-dropping, edible works of cake art that range from creepy desserts to optical illusions and everything in between that will leave you wondering if it’s real or fake.

While the social media sensation’s mind-blowing creations have garnered a celebrity clientele, some fans may not realize that Cullen was actually a tattoo artist at Kellys Tattoos in Chester, England, before testing the waters as a cake artist. Looking at his body as a personal blank canvas, he began designing his own tattoos. “As soon as I found out I could draw on myself, it felt like a dream,” he said. “My style is very much old school with thicker, bold black lines. I love all of my tattoos because they are all so very personal, all have meaning like the family crest on my back, and I love that I can explain all of them.”

The transition from tattooist to cake artist happened at the most unexpected time. Cullen said he was tattooing a customer’s ankle when her mother showed him an unbelievable cake designed to replicate Peppa Pig. “When she told me it wasn’t toys and that the cake was actual edible little sculptures, I had to try it,” he said.

From that moment 10 years ago, Cullen said he embarked on a fun journey “making a series of terrible cakes” that he was proud of before attending an international cake competition in Birmingham. “It opened me up to a whole world of talent and made me want to be the best at making these unbelievable sculptures,” said the award-winning baker. “As an aspiring tattooist, it would have been so good to be featured in Inked. I guess I have really come full circle.”

This past summer, Cullen introduced his debut cookbook, “Cake or Fake?” featuring

20 astonishing cake recipes ranging from a high-top sneaker creation to a pepperoni pizza, a stack of pancakes topped with maple syrup and butter, and a skull cake made with layers of vanilla cake and chocolate ganache. “It has been a massive dream and is very humbling,” he said, adding, “My mom died in 2022, and it was something she spoke about a lot. She lit up every time we talked about it and would have been so proud.”

In the cookbook that he dedicates to his late mother, he hopes to inspire beginner bakers to try their luck, offering step-bystep instructions on how to scrape, chisel, carve, airbrush, and paint their very own hyper-realistic cakes. “It’s like a game that everyone can play,” he said. “I always fail countless times before I succeed. You just have to be persistent.”

When it comes to challenging confections, Cullen said life-size characters take the longest time to create, but it can’t

take more than “a week to make and a week to eat” to keep it fresh. This holiday season, he has lots of fun things planned up his tattooed baking sleeves.

“Halloween is my favorite season,” Cullen admitted. “Last year, I did Chucky and Michael Myers. In terms of illusions, I like doing gruesome things like legs and arms. For Christmas, I will do a life-size Santa and a life-size elf.”

His illusion cakes put Cullen on the culinary map, but he said now he faces many challenges to stay ahead of the curve despite breaking boundaries when he started. “It’s difficult to surprise people anymore,” he said. “Trends need to be jumped on immediately. Illusions are very difficult now because there is such a high standard. I always want to do something that is achievable but also surprising. I have always wanted to make a cottage that you can go into. Given the right budget, time, and space, I could achieve that.”

ust eight years ago, Chicken Cock Whiskey reawakened after a seven-decade slumber, its 170-year backstory simultaneously in the rearview and on the horizon. The brand’s refresh embraces its rich, rebellious heritage while delivering full-bodied spirits to thirsty American whiskey aficionados.

As part of its crusade, this year, the brand teamed up with Inked Magazine and Brooklyn-based Three Kings Tattoo’s Matt Adamson to develop a beguiling limitededition rooster-and-snake label.

“For me, pairing the rooster and the snake felt like the right balance,” Adamson says. “The rooster, of course, ties back to Chicken Cock’s long-standing heritage and nods to previous labels, while the snake brings in a piece of my own tattoo style. Together, it creates something that feels both true to the brand and personal to me.” And with 2025 being the Chinese zodiac’s Year of the Snake, the design felt predestined.

“Tattoos are and have always been a way of expressing something internally on the outside,” says Grain & Barrel Spirits Vice President of Marketing Tyler Rothenberg, explaining, “This form of expression deeply communicates and differentiates the human experience in a unique and individualized way. Much like the way Chicken Cock Whiskey immediately stands out through its name and ability to share a very unique story rich with heritage and legacy. Each symbolizes a deep sense of pride and the fearless pursuit of authenticity.”

Revelatory Roots

Chicken Cock Whiskey was founded in 1856 by James A. Miller, who died just four years after launching the “Famous Old Brand.” George G. White purchased the rights and rebranded it as J.A. Miller’s Chicken Cock Whiskey — a tip of the hat to farming roots and a familiar phrase for a rooster.

The rooster, of course, ties back to Chicken Cock’s long-standing heritage and nods to previous labels, while the snake brings in a piece of my own tattoo style.

- Matt Adamson, artist

Although a commonly known term in the early 1800s, “chicken cock” mostly represented a male chicken, or known today as a “rooster.” However, it was around this time that the word “cocktail” was emerging in American slang. “It’s meant to describe a bartender stirring a drink with a cox (rooster tail) feather, and there used to be sayings where you’d wake up in the morning, and instead of the ‘hair of the dog,’ you ‘cock your tail’ to start your day,” Grain & Barrel Spirits National Whiskey Brand Ambassador Will Woodington explains.

“I actually discovered the brand during broader research into the early days of distilling in the U.S.,” Grain & Barrel Spirits Founder and CEO Matti Anttila says. “The name jumped out at me immediately before realizing the brand was actually a large player during that era.”

“A lot of people might assume that we’re trying to pull off a gimmick,” Woodington elaborates. “When they realize that, hey, this is actually a brand that goes back almost 170 years, it puts it into perspective a lot more, because the vernacular and the English language that we use here in America was much different.”

In the early 1900s, Chicken Cock Whiskey changed hands again, with the Kentucky Distilleries & Warehouse Co. purchasing the brand’s rights and assets. When Prohibition roared through the 1920s and into the 1930s, Chicken Cock Whiskey covertly crossed the Canadian border in tin cans. However, the flavor began to fall flat for former fans due to quality standards and an overly saturated whiskey market, and the brand came to a hush in the 1950s.

The label was lost to history until Anttila discovered an old bottle of Chicken Cock in 2011 at the Oscar Getz Museum of Bourbon History. “The deeper I got into the story of the brand, the more my excitement to bring it back to life grew. This included discovering old bottles and information at the Oscar Getz, seeing the remnants of the original distillery in Paris, Kentucky, and reading about it in Duke Ellington’s memoirs,” Anttila explains. “Between a unique name, beautiful heritage packaging, and a real, authentic history, everything

lined up to make resurrecting the brand a no-brainer.”

This bygone spirit was roused and reborn in Bardstown, Kentucky, in 2017, with traces of history brought to the forefront. Some varieties come in tin cans, a witty tribute to smuggling the spirits across the border, while others are topped with metal caps, just like the ones prescribed by doctors to measure “medicine” in the bygone days.

“Today, we are the most conversationstarting brand name in the world, I think,” Woodington says. “It’s a blessing and a curse to have to explain it every day.”

Strong Sense of Taste

A rich history and conversation-starting name don’t mean much if the product doesn’t deliver. Luckily, Chicken Cock leaves no stone unturned to ensure every sip is savored to peak satisfaction by implementing strict processes and maturation standards, resulting in numerous prestigious awards.

Chicken Cock Kentucky Straight Bourbon is aged at least four years in toasted American white oak barrels, delivering a full-bodied punch with buttery texture, waves of butterscotch, and a vanilla wafer sweetness. In a similar vein, Chicken Cock Straight Rye Whiskey hits even harder with spicy, complex tasting notes that unfold with warm spices, vanilla, butterscotch, and hints of pepper, citrus, and oak. A peppery, sweet honey finish lingers with a smooth, buttery mouthfeel. Both sit at 90-proof and come in Prohibitionera style bottles that nod to the brand’s bootlegger past, proving that, nearly 170 years later, Chicken Cock is still ruffling feathers.

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BRANDED BY INNOVATION

SLOW & LOW CONTINUES TO LEAVE ITS MARK ON COMMUNITIES

AND TASTE BUDS EVERYWHERE.

BY AMY HIGGINS

n the 1850s, to cut back on the bite of unaged whiskey, bartenders and pharmacists would combine straight rye, rock candy, honey, orange peel, and bitters to soften the swig.

Pharmacists prescribed this “Rock & Rye” blend to treat colds and other respiratory illnesses, and bar patrons would order it to treat whatever else ailed them — or just to make the good times even better.

The Hochstadter brand created its beloved Rock & Rye recipe in 1884. In 2010, Cooper Spirits Co. Founder, Rob Cooper, a thirdgeneration distiller, turned to the archives to develop a modern iteration of the historic cocktail as a bottled old-fashioned. Thus, Slow & Low’s award-winning Proper Rye Old-Fashioned was born, with a canned version following shortly thereafter in 2016.

The Slow & Low Proper Rye Old-Fashioned is a staple in the Newport Beach-based spirits company’s ready-to-drink portfolio, but Cooper didn’t stop there. In 2021, Hochstadter’s Slow & Low teamed up with Intelligentsia Coffee to bring the market its 80-proof Coffee OldFashioned, followed by its 6-Year Rye OldFashioned, a bracing 100-proof cocktail, in 2022.

After years of research and development, the pioneering brand is thrilled to debut two delicious new expressions this fall. Slow & Low’s new 80-proof Cherry Old-Fashioned, made in collaboration with Luxardo, features the original maraschino liqueur producer’s Sangue Morlacco Cherry Liqueur. Aromas of black cherry jam, marzipan, and orange unfold into a rich, layered palate, with flavors of black cherry, cola, vanilla, cinnamon, star anise, and orange peel present in each irresistible sip.

Also brand new to Slow & Low’s portfolio is its 80-proof Maple Old-Fashioned, a perfectly balanced fall libation made in collaboration with Crown Maple syrup. Old-fashioned cocktail lovers will be drawn in by the familiar bouquet of citrus and maple, which quickly gives way to a revelatory palate of maple syrup, crème brûlée, and molasses, underscored with notes of orange peel, rye spice, cinnamon, clove, and nutmeg. A smooth finish of vanilla and oak lingers just long enough to leave its mark.

THE HIGH ON RYE VAN TOUR

Whether you’re already a fan of Slow & Low Old-Fashioneds or simply whiskeycurious, it’s easy to appreciate the get-up and gusto of Cooper Spirits’ latest venture: the High on Rye Van Tour.

On March 28, the House of the Proper OldFashioned hit the road in its fully customized 1978 Chevy G20 van. The tour kicked off in Austin, Texas, at the Handbuilt Motorcycle Show, traversing the country to pop in at local festivals, music venues, retailers, bars, and more.

“Not only is it a rolling celebration of our craft, but it’s an opportunity to build new

relationships while strengthening old ones,” says Cooper Spirits Co. Executive Chairman and Co-founder Katie Cooper. “We’re meeting our fans — and those looking for a new favorite pour — exactly where they are, breaking down the walls between brand and community by creating unexpected moments of connection across the country.”

The tour is still rolling full speed, covering coast-to-coast territories with unforgettable stops along the way, from the Daze Between Festival in New Orleans to the NIVA Convention in Milwaukee, and most recently, the Borderland Festival in East Aurora, New York. Follow Slow & Low on social media (@ drinkslowandlow) as the tour heads into its final stretch.

After years of self-harm and resulting treatment, Grace Ogren bravely quelled her inner tempest. Yet the sight of her scars made her sad, scared, and ashamed. “Every time I saw them, I was reminded of how bad things could get… and would get some pretty vivid flashbacks,” she says. “I felt like I needed to hide them at all costs to avoid other people’s disgust and judgment, or the possibility of triggering someone… I felt contaminated.”

Eventually, Ogren sought her first tattoo— a meadowlark bird framed with daisies and tulips — to transform some of those scars into an emblem of perseverance, recovery, and acceptance. “It felt very empowering and like I was taking back control of the narrative,” she says. “It’s like a visual sign of moving beyond what had happened and making something good and beautiful of an ugly time. It gave me a sense of closure.”

Historical Significance

Ogren is hardly an anomaly. Many trauma survivors find that tattoos and the act of receiving them are therapeutic, says Scott Giacomucci, DSW, LCSW, director and founder of the Phoenix Center for Experiential Trauma Therapy, which offers specialized support and action-based, experiential approaches to help those grappling with trauma, grief, loss, and addiction.

“Trauma and tattoos have been intimately connected throughout history,” says Giacomucci, who created a YouTube series exploring the topic. Among other purposes, from aesthetics to religious rites, tattoos have historically served an important role in healing, remembrance, and recovery for various global cultures.

In 1991, tattoos were discovered on Ötzi the Iceman, a 5,300-year-old mummified man, and are thought to be medicinal, according to tattoo anthropologist Lars Krutak. And in the context

of modern American history, Giacomucci says tattoos first gained popularity among communities, including inmates, military members, sailors, and activists, who happen to have higher rates of trauma. Even more recently, groups such as survivors of 9/11 and Hurricane Katrina have turned to tattoos to cope with “collective trauma.” Today, Giacomucci says, a broad swath of the population uses body modification to help externalize internal pain, memorialize loss, reclaim bodily autonomy, or enhance self-image.

“Many experience tattoos as a protective armor, a meaningful reminder of values or past adversity, an expression of growth, or an embodiment of meaning-making from past trauma,” he says, adding that tattoos can also challenge stigmas and empower survivors to control their own narrative. Although not every artist or recipient names it as such, the concept has gained traction, along with terms such as “therapeutic tattooing” and “ink therapy.”

Examining Impacts

Over the past two decades, several qualitative studies have demonstrated what many already know of tattoos’ healing potential, Giacomucci says. For example, in a study published in 2025 in the American Psychological Association’s “Traumatology,” researchers interviewed six survivors of violent crimes. “Each participant described how tattooing was a means to tell one’s story, a form of meaning-making of one’s experience, and a source of agency to reclaim one’s body, power, and control over their lives,” researchers wrote.

Another study, published in 2020 in Taylor & Francis Group’s “Deviant Behavior,” analyzed personal accounts of trauma survivors in different countries. Researchers concluded that tattoos appeared to be a personal coping mechanism and “cultural practice of meaning making.” And

Many experience tattoos as a protective armor, a meaningful reminder of past adversity, or an expression of growth.

- Scott Giacomucci

a retrospective study published in 2025 in the National Library of Medicine’s “Stress Health” found tattoos helped combat soldiers express and process their emotions related to military service. Tattoos also promoted positive feelings and served as an “empowering, promoting, and strengthening resource” expressing transformative change, researchers wrote.

“Tattooing has become a vital part of my recovery,” says Justin Lanes, a retired U.S. Air Force Master Sergeant who served in multiple combat zones during his 23-year career. Like many veterans, Lanes had long shouldered his emotional and psychological pain in silence due to stigma and security-related scrutiny. He says his tattoos, of which he now has several, have helped him to express and reframe that pain. “What started as symbolic expression has evolved into a powerful process of somatic healing, reflection, and reclaiming my story — a way to mark what was once invisible and move forward with purpose,” he says.

Artists’ Insights

For Natasha Ellis, a semicolon perched atop a rainbow-colored water droplet surrounded by black birds signals her decision to not only live but live vibrantly. “I felt so liberated and proud of my journey that I am

still here 10 toes down,” says Ellis, who survived addiction and attempted suicide after years of childhood sexual, emotional, and physical abuse, among other traumas. Her second, an anchor with the words “to thine own self be true,” commemorates 20 years clean from narcotics.

“I’ve sat with people carrying invisible wounds of grief, abuse, addiction, loss. I’ve watched them transform their pain into something meaningful through ink,” says Marlo Kaleookalani Lualemana, owner of Earthbound Tattoo Studio in Sand City, California. Herself a sexual assault survivor, Lualemana speaks openly of her experience to clients, helping them feel seen, safe, and empowered. “I’ve seen tears fall as people reclaim parts of themselves that they thought were lost. For many, this process is the first time they’ve felt control over their own bodies. There’s something sacred about that.”

Like Ogren, many also seek tattoos to facilitate more corporeal transformations. “Instead of having a permanent reminder of trauma, they get to choose what story their skin tells,” says Ruby Gore, owner of Black Thorne Tattoo in Portland, Oregon. “I’ve seen clients who say the tattoo is what’s preventing them from going back to self-harm. It becomes this tangible reminder of their strength and growth,” says Gore, who is also the founder of Survivor Tattoo Project: Out of the Darkness, a nonprofit that provides one free trauma-related tattoo a month to survivors of self-harm, abuse, assault, and violence.

Such was the case for Dylan Cotter, who began self-harming after years of trauma, which included abuse, violence, and discrimination. He chose his first tattoo, an anchor on his forearm, to help him stop cutting, and as a reminder of the focus, grounding, and strength he’d need to go forward as an out, gay, transgender man. “I knew that if I had someone else’s art on my body, I’d begin to hold myself in a higher regard because I wouldn’t feel right about damaging someone else’s art versus my body,” he says. “Getting tattooed at that point in my healing journey was a much-needed catalyst for my self-worth to grow and one of the best things I have ever done for myself on my healing journey.”

Tanya Buxton, owner of Paradise Tattoo Studio in Cheltenham, England, and founder of the Mastectomy Tattoo Alliance (MTA), has also witnessed the transformative power of tattoos firsthand. “Whether it’s a nipple tattoo, scar cover-up, mastectomy or top surgery tattoo, or even a tattoo that signifies something someone has overcome, like a trauma, illness, or body confidence issues, tattooing’s impact on people is incredible,” says Buxton, who specializes in medical and therapeutic tattoos for various communities, including nonbinary and transgender people and those affected by the BRCA gene, breast cancer, and burn injuries.

At MTA, Buxton trains fellow artists in mastectomy and top surgeryrelated tattoos, and helps clients find trusted, skilled providers and pay for their services. “In a person’s healing journey, (a tattoo) can almost signify a bit of a closure of that chapter,” she says. “It allows people to move forward, and restores them back to their former self, if you like. It’s an incredible milestone moment to be part of.”

The act of receiving a tattoo, from conceiving a design to the “conscious suffering” of ink in skin, and tender, meticulous aftercare, can be integral to recovery as well, Giacomucci says. It’s something many artists, including Gore, Lualemana, Buxton, and Leilani Parker, owner of Legend-

ary Artistry in Chandler, Arizona, routinely witness in their studios.

“While many clients come to me requesting trauma-related tattoos, I’ve learned that it’s often not just about the tattoo; it’s about the experience. The act of getting tattooed can be deeply healing,” says Parker, who, like Lualemana, shares her own experiences with trauma to support her clients. “It’s the time we spend together, the attention and respect of the detail, the conversations we share, and the intention behind each piece that make the process just as important as the final result. Tattooing becomes a form of therapy. It’s not about the needles on the skin, but release in healing.”

Kat O’Hare, a mental health counselor and owner of Gully’s Tattoo and Goods in Hull, Massachusetts, agrees. “I always joke that the only difference for me (between tattooing and therapy) is whether I can bill your insurance. But in all seriousness, there’s a lot of overlap in the skills required,”

I’VE SEEN TEARS FALL AS PEOPLE RECLAIM PARTS OF THEMSELVES THAT THEY THOUGHT WERE LOST. FOR MANY, THIS PROCESS IS THE FIRST TIME THEY’VE FELT CONTROL OVER THEIR OWN BODIES. THERE’S SOMETHING SACRED ABOUT THAT.

she says, noting that she recognized tattoos’ therapeutic effects early in her career. “I watched clients come in unsure or critical of their bodies, then leave with a totally transformed sense of self,” she says. “In one session, I could often see more of an emotional shift than I had working with my therapy clients for months.”

At times, O’Hare says tattooing, when done appropriately, can even mirror aspects of exposure therapy. “This means we reintroduce their body to physical sensations in a safe, consensual way. After trauma, being in one’s body can feel overwhelming, leading some to dissociate,” she says. “The controlled pain of tattooing, when done in a supportive environment, can help them reconnect to themselves.”

Arborist James Woods was aware of this potential when working through posttraumatic stress from a “freak accident” in which a tree had fallen and crushed him, breaking several bones and shattering his sense of physical security. In addition to multiple surgeries, years of physiotherapy, and counseling, he commissioned a trusted friend and tattoo artist, Kane Kelly, to aid in

his recovery. “I got the tree tattoo, one, as a reminder of what I’ve gone through and with hard work what I can achieve, and two, my back was a massive trigger point for my PTSD,” he says. “Thanks to having the tattoo done, I can now handle my back being touched without it sending me over the edge.”

Handle with Care

Importantly, O’Hare says, tattoo artists bear an immense responsibility to exercise great care and caution when working with trauma survivors, as not doing so could risk re-traumatization. Gore, Buxton, Lualemana, and Parker are keenly aware of this, noting that they feel honored to be chosen as part of their clients’ recovery, and have intentionally designed their studios to feel safe, warm, and inclusive. “It’s incredibly humbling,” Gore says. “The level of trust they place in me is something I don’t take lightly.”

For those considering a trauma-related tattoo, Gore says that, besides finding an experienced, compassionate, and traumainformed artist, the most important thing is to ensure the decision is empowering, not impulsive. “This should be something you’re doing because you’re ready to move forward in your healing journey, not because you’re trying to escape or hide from something,” she says. “Take time to really think about what you want the tattoo to represent… Understanding your ‘why’ will help ensure the experience is meaningful and empowering. But also remember that choosing a design because it looks cool and it’s what you want to wear forever is just as valid a choice.”

I A SPIRALING OF SOUND, INK, AND INFLUENCE.

n a landscape dominated by sound and vision, few artists inspire as much devotion as REZZ. Born Isabelle Rezazadeh in Niagara Falls, Ontario, this producer and DJ is renowned for her iconic LED goggles and powerful bass. She built an empire rooted in captivating energy, visual immersion, and genreblurring music. What started as a teenager’s curiosity has evolved into a cultural movement, transforming with each entrancing beat.

REZZ grew up in a creatively supportive household that encouraged her to explore beyond traditional gender norms. Although athletics dominated her early years — she once envisioned a future in the WNBA — music soon became her primary focus. As a teenager, she developed a passion for punk and electronic music, DJing her first gig at a high school Halloween dance. This experience ignited a relentless pursuit of her craft, characterized by long hours spent on Ableton music software, self-education in music production, and an obsessive exploration of trance-like visuals and psychological philosophy.

REZZ distinguishes herself by thoughtfully curating every aspect of her performances, from her spiralpatterned goggles to the unique visu-

BY NICOLE STOVER PHOTOGRAPHY TESSA PAISAN

als she incorporates. The atmosphere she creates merges elements of hypnosis, horror, and optical illusions. Fans are immersed in a vortex of strobing geometry and pulsating bass, surrounded by visual tunnels that seem to stretch reality. The air hums with tension as the drop builds, only to erupt in waves of synchronized movement and ecstatic release.

REZZ is not only a prominent figure in the music industry — she’s a pioneer in her field. She made history in 2018 as the first female DJ to headline the Sahara Stage at Coachella. Additionally, she broke new ground by hosting the first all-female lineup at Red Rocks Amphitheatre in Colorado in 2024. Her annual sold-out shows, like REZZ Rocks, have become cult favorites among fans. The seventh editions of both events featured

even more elaborate visuals and immersive horror aesthetics, enhancing her artistic legacy further.

Her PORTAL project took this vision to new heights. The 360-degree sensory experience, which required months of planning and technical innovation, premiered in San Francisco to a sold-out audience and received rave reviews. “I’m super proud of PORTAL, particularly because it was birthed from my own idea. No manager pitched it. I was just like, I’m doing this,” REZZ says, adding, “PORTAL is my proudest project. It wasn’t just a show — it’s everything I’ve ever been inspired by in one place.”

REZZ’s music operates on frequencies that feel both primal and futuristic. Her sound, a rock-electronic hybrid infused with slow, bone-shaking drops and eerie atmospheres, has established her as a tastemaker in the bass music scene. She has supported emerging talent and is shaping the future of electronic music through her label HypnoVizion, launched in 2022. “I don’t want to just be an artist,” she explains. “I want to be of influence, a curator of what’s next.”

The influence REZZ has is unmistakable. While sourcing tracks for HypnoVizion, she discovered that many up-and-coming

artists she contacted were already following her. Some had even messaged her years earlier, expressing that she was their biggest inspiration. “That was one of the most validating moments of my career,” she admits. “It made me realize I was shaping something way bigger than myself.”

REZZ’s creative expression extends to her skin. Her tattoo journey began in high school when a friend drew a synthesizer design that she later had inked as her first tattoo. Since then, her collection has grown to feature captivating motifs, psychedelic imagery, and tributes to her favorite horror themes. Artists like Corey Divine and Adam Vu Noir have helped bring her vision to life, including a striking sleeve adorned with multiple eyes, which has become a fan favorite.

2025 was significant for REZZ, as she expanded her musical horizons through notable collaborations, including a single with Anyma and her longtime mentor, deadmau5. This year will also see the release of “As The Pendulum Swings,” her fifth full-length album. It provides a haunting experience characterized by chilling basslines and an eerie atmosphere, further solidifying her unique sound and artistic vision.

Fully engaged in every aspect of her shows, REZZ works closely with visual artists and VJs, sharing mood boards and raw footage to achieve the desired aesthetic. FISE, one of her key collaborators, began as a fan and has become crucial in shaping the immersive REZZ experience. Together, they blur the lines between sound and hallucination, creating performances that feel more like collective lucid dreams than traditional concerts.

Although she does not consider herself a perfectionist, her speed in the studio comes from years of discipline. Nowadays, her process often starts with samples, demos, or rough sketches from the producers she mentors. When she finds something that resonates, she instinctively layers the sounds, sculpting them until they take shape. She attributes her quickness to the thousands

are dedicated followers who travel across borders to attend her performances and proudly display her iconography on their bodies. “They’re super awesome,” she says. “It feels great that they’ve all become friends with each other through the community. The devotion and the tattoos are amazing.”

of hours she has spent working alone, long before she ever stepped into the spotlight. Her fanbase, better known as “The Cult of REZZ,” has evolved into a movement centered around shared identity and visual devotion. At her shows, fans wear LED goggles, custom jackets, and REZZ tattoos, all serving as symbols of their allegiance. These fans

This depth of loyalty didn’t happen by accident. REZZ cultivates it by staying engaged, reposting fan tattoos, replying to messages, and making her shows feel personal. Even in packed venues, she manages to create a sense of connection. Fans often describe her sets as immersive experiences that leave them changed in ways they can’t fully explain. For REZZ fans, this isn’t just music. It’s ritual, legacy, and belief, etched in bass, ink, and the moments that blur reality from something greater.

TAYLOR

“KILLA BEE” STARLING-VESPE’S BUZZ IS LOUDER THAN EVER.

BY PETE CROATTO PHOTOGRAPHY BY NICK VESPE

er life growing up was movie-ofthe-week chaos: mom addicted to drugs; dad struggling to raise two kids alone. She left home at 15 or 16 and got a job at a pizzeria.

Fighting saved Taylor Starling-Vespe. The gym provided a family, and discipline and stability funneled the anger and confusion into purpose.

Tattoos helped her with the pain. Now 29, Starling-Vespe is covered in ink. Her right arm features a bee-strewn honeycomb, a nod to her “Killa Bee” nickname, a moniker given to her from a larger sparring partner who couldn’t shake her. Her story today doesn’t fit the hard-luck, noirish script of her past. As she took a swing to become a star in the ring and as a media personality with Bare Knuckle Fighting Championship, StarlingVespe found happiness and learned that stability was not an impossibility. Now, she is a homebody in Rock Hill, South Carolina, giving her kids, Carson, 9, and Brody, who turns 8 in October, everything she never had.

Fighting is still there. But being a fighter when you’re happy? That’s a whole other battle.

From Pain to Power

Starling-Vespe reclines in bed, wearing a purple Nirvana sweatshirt, when she shares her story with Inked. The bedroom is her happy spot, where she zones out on murder podcasts and “The Golden Girls,” a show she unabashedly loves. She favors Rose. “I’m not going to lie; I’m a smart

woman,” she says, noting her similarities to Betty White’s sweet, spacy character, “but also very dumb.”

In late January, Starling-Vespe lost to Bec Rawlings at the Wells Fargo Center in Philadelphia. Now, it was less than a month before her August 2 fight against Shelby Cannon in Sturgis, South Dakota. She knows this path has a hard stop — it’s time for a title shot or to pursue Plan B: a media career.

This fight will tell her what’s next, and Starling-Vespe wears the approaching verdict like slipping on a pair of her favorite slippers. In a Zoom chat, the let’s-get-it-on stare of the athlete, the primped-up, hitting-the-club vibe of her on-camera work, is absent. The absurdly battered post-fight interviewee from that famed meme is long gone. She’s totally at ease.

She also interviews fighters for the BKFC. It’s fun, Starling-Vespe says, but not an allconsuming passion. “I do have the gift of talking to people, and I do have the gift of being a fighter and relating to these fighters on another level.”

As a freshman at Manzano High School in Albuquerque, New Mexico, Starling-Vespe was a clenched fist. Being a blonde girl in the Southwest made her a walking target, and she hated to see weaker kids get bullied. She fought. A lot. It was, she admits, “an outlet for dealing with my internal conflict and my own pain.”

Starling-Vespe’s dad, Robert Starling, had remarried; she hated her stepmom and moved

to New Mexico to live with her mom, Carla Roynon, whose meth addiction accelerated. Her mother started selling things around the house to fund her habit. She says her mother died a couple of years ago, but she remains in contact with her father, who lives 25 minutes away.

The school’s wrestling coach urged StarlingVespe to stop before things turned ugly — she needed a place to hit without repercussions. Fighting became about “expressing myself and getting rid of all the hatred and anger,” she says. She grew to respect it.

The in-school rumbles stopped; the pain stayed. It was fuel as she established her career.

“I will be honest and say that I was a different fighter when I was terrified and hurt and scared,” she says. “Now it’s like, OK, I’ve put my years into this. It’s more… I know I’m good now.

“I need to go test myself,” she continues. “How can I do that without being all over the place and

a mess? It’s more of a challenge to go in there and be like, ‘I am sane. I am happy. I am fulfilled.’ What kind of fighter am I? Strategically and mentally, I have to navigate that all the time.”

In March, Starling-Vespe married Nick Vespe, a photographer for BKFC. She’ll see her husband on fight night — the job requires him not to show any favoritism toward his wife — and it clicks. Even when self-doubt rattles the cage, she knows she deserves these moments. And she knows why she’s there.

“I’m fighting because I love it,” she says. “I love the sport. Even if I act like I don’t sometimes, I love it.”

Readying for Another Round

Starling-Vespe loves how her tattoos look in the training photos her husband takes, the ones all over her Instagram. She fixed some mistakes, like the tiny sun on her buttock inked by an artist with three fingers. The piece looked like a preschooler’s masterpiece. That’s OK, she says, because “even the bad tattoos have good stories.”

She’s running out of real estate, but there’s always room on her skin for the better stories. Thirty minutes after Starling-Vespe defeated Cannon at BKFC 79, the newlyweds got matching Sturgis buffalo skull tattoos, evidence that, yes, there is room for love — in and out of the ring.

When the National Women’s Soccer League created Angel City Football Club in 2020, the professional Los Angeles team was quickly poised to become the hottest women’s soccer team, thanks to its social impact, strong fan base, and all-women founders Natalie Portman, Kara Nortman, and Julie Uhrman. Today, Angel City Football Club is primarily owned by Alexis Ohanian and boasts an A-list roster of celebrity investors, including Gabrielle Union, Christina Aguilera, Jennifer Garner, and Serena Williams.

are down each other’s throats all the time, but here, we can get away if we need to,” she said. Vignola was eager to join Angel City because of the team’s quest to prove that women can be more than just athletes; they can be game changers. “Equality is the best word,” she said. “It’s not just about what we do on the field, but also off the field. We can do the same thing as men do.”

While Vignola said it feels good to now be on par with male soccer athletes, the phrase “A happy soul is the best shield for a cruel world” tattooed on her arm serves as a reminder of how far they have come. “It’s a big reminder to be myself and my most magnetic when I am out there,” she said.

“My personality is to be happy and smiling, but to be true to myself,” Vignola said. “I also have two big tattoos ¬— a flower and lotus — on my back that I want to fill in. The first one I got was in my freshman year of college that

says, ‘Go live’ on the back of my neck because I wasn’t sure what direction I was going.”

Created to achieve pay equity for female athletes, Angel City’s vocal players are on a mission to ensure they are not only seen but heard. To their mission, they opened a newly remodeled performance center at the former home of the Super Bowl-winning Los Angeles Rams. Located on the 9-acre campus of California Lutheran University, the complex now boasts a massive 50,000 square feet of indoor space dedicated solely to the club.

After undergoing a multimillion-dollar remodeling of both the indoor and outdoor spaces, the modernized space was custom designed to set a precedent highlighting the league’s commitment to creating a highperformance environment for women. “I think the new performance center was a long time coming,” defender Mary Alice “M.A.” Vignola said. “It has really helped us because it’s our own. As a professional female athlete, to have our own space and rooms is incredible, and I think every female athlete deserves this.”

Vignola believes the new center, with a fully equipped fitness center, custom locker rooms, outdoor relaxation lounge, and medical treatment and rehabilitation areas, provides the extra space each player needs to thrive. “We

Like Vignola, Angel City’s best new rookie, Macey Hodge, who is in the middle of a twoyear contract, said she is excited to be a part of a great team and grow as much as she can while she is there. Even though Hodge has played soccer since she was a little girl, she never expected she might go pro one day. It was the furthest thing from her mind in her senior year of high school when the midfielder made the almost unheard-of decision to leave the sport.

Her decision came as a shock to everyone, and Hodge admitted she was just as surprised but needed to find a way to separate herself as an individual from her as an athlete. “I had committed to going to Vanderbilt and had a lot of issues with my family life, and during my senior year, those issues got a lot bigger,” she said. “I didn’t allocate time for my mental health, so quitting soccer felt like it was the only option. It felt like my entire world was crumbling.” Those issues included having her conservative parents discover she was gay, deciding to withdraw from Vanderbilt University, and hanging up her cleats altogether for an entire year. “Reflecting back, it was 100% the right decision to step away in 2019,” she said. “As a teenager, things feel a lot heavier. My relationship with my family was

pretty strained. I was angry, bitter, and super depressed, and felt isolated. Before my hiatus, I was not in tune with my emotions as I am now. It was pivotal for me as I realized I had inherent worth as a person. That foundation allowed me to get where I am today.”

Hodge later graduated from Mississippi State University, where she was named the 2024 Southeastern Conference Midfielder of the Year. Shortly after, she signed on with Angel City. To celebrate all she has achieved, Hodge is planning for some new ink. “I want to get hand tattoos next that say, ‘divine timing’ with one word on each hand,” she said. “I love my sleeve. It was a process but represents growth, different times in my life, and the journey I was on then.”

Australian Women’s National Team defender Alanna Kennedy said she was inspired to join

Angel City as she was looking for a change and a return to the National Women’s Soccer League. Prior to joining the U.S. team during the 2025 preseason, Kennedy played in the international club from Manchester City of England’s Women’s Super League. “The climate played a part as I wanted something in the sun,” Kennedy said. “L.A. is a great city, and to play in a league again is very different here in the U.S.”

Kennedy admits her international experience, coupled with her ability to play different defensive positions, placed her in a keenly unique situation. “It’s always an advantage when you can play multiple positions,” she said. “With that also comes a lot of experience.”

While Kennedy was proud to be an Angel City Football Club player, she is now coming full circle as she heads back overseas as a member of the London City Lionesses. She said she

admired the strong voices and appreciated the quality of play during her time with the National Women’s Soccer League. “It’s important to have a club push for equality, and being on a team of strong women is always inspiring,” she reflected.

Some of Kennedy’s favorite tattoos can be found on her left arm and hand. “The work was done by some great artists and have a lot of meaning behind it,” she said. “I have my parents’ initials and another one that says ‘I love a sunburnt country’ because I am proud to be an Australian. I also have a Tomb Raider and Lara Croft one that relates to my mom because she embodies strong, empowering women.”

The future of women’s sports is driven by fairness, tenacity, and visibility. The Angel City Football Club built a stellar lineup, a performance center, and a dedicated fan base, representing a movement in motion.

BEEFING UP MUSCLE AND TATTOO COLLECTIONS WITH A TARGETED APPROACH.

BY CAROLYNE WHELAN

Now that colder temperatures are rolling in, it’s time to ask the important questions: Is this the year to finally invest in that epic neck-to-heels backpiece? Do I spend the winter at the gym so when springtime comes, I emerge swole and ready to roll? How about both? Professional competitive Strongmen — the moniker designated for the men competing in the World’s Strongest Man competition — as well as a professional tattoo artist and former competitive powerlifter share what to expect when you’re expecting… gains.

Losing fat, gaining muscle, or both, changes one’s physique and can bring up a lot of questions about tattoos — the ones we have and the ones we want to get. Cara Cable, owner of Female Trouble Tattoo in Pittsburgh puts that fear to rest.

“Skin is super resilient,” she says. “It can withstand changes and shrink or expand without distorting images.” If you have a

bigger body, she says, “Get it big enough. Tattoos are proportional to your body. If you have big muscles, don’t get a small tattoo. If you are getting a tattoo that is contoured to the muscles of your body and is proportional to your body, it will make your muscles look better and your body look better.”

Those with a slight frame who are interested in getting a tattoo or are already inked may worry about the effect building muscle will have on their appearance, but Cable assures that the tattoo will grow as you bulk up. However, she suggests leaving some space to accommodate the skin as it stretches.

“You shouldn’t wait until your body looks a certain way. You never know what is going to happen, and your body is yours now. I’ve never seen a tattoo super distorted by muscle gain, and I think that’s kind of a myth, honestly,” Cable says with a chuckle. “I’m sure someone out there disapproves.”

When I tattoo, I try to go organically with the shape of the body. Because tattoos should be a part of what makes someone feel powerful and attractive in their body.

- Cara Cable

Evan “T-Rex” Singleton agrees: “My tattoos have stayed the same over the course of me gaining size, even though I’ve put on almost 40 pounds of muscle since I’ve started Strongman.” The former bodybuilder and WWE wrestler, now Strongman, was last year’s third-place winner for World’s Strongest Man. In those three competitive sports, physique is important in different ways, requiring him to adapt to new challenges. And while his anatomy has changed during his Strongman evolution, he hasn’t “had to get any tattoos touched up or they haven’t been distorted.”

His body and his relationship to it have changed, and so have the external expectations set on him. Strongman competitors are typically quieter, more reserved. Bodybuilding showcases the muscular aesthetic, and commercial wrestling grandstands theatrics with bursts of incredible strength, cardio, and gymnastics. Strongman competitions are both mental and physical endurance. It makes sense that the competitors would be “very to themselves, some more than others,” as Singleton puts it.

For an extroverted performer like Singleton, the enthusiasm that may be lacking somewhat in Strongman competitions can be expressed through tattoos in ways that were (once) potentially penalized in bodybuilding competitions. “I’ve always been an entertainer, and having the freedom to do

that, especially with my tattoos, is definitely really important to me, and it just shows a little bit more of my personality and my personal interests,” he says. In a sport where the other competitors are more reserved, Singleton drives the spectators wild when he poses with his index and middle fingers outstretched from his fists like T-Rex claws, highlighting his appropriately themed hand tattoos, face twisted into a delighted roar.

Hand tattoos can be a challenge, though. The skin is thinner, and the surface gets a lot of contact, according to Cable, so hand tattoos tend to fade more quickly and require touch-ups. All the Strongmen agreed, however, that the place a Strongman is most likely to have issues with a tattoo’s longevity is the forearms.

“The only place I won’t get tattooed is on my forearms, because doing the Atlas Stones will ruin your skin,” says two-time World’s Strongest Man competitor and Texan Austin Andrade, explaining, “(The move) requires rolling the stones on your forearm using a sticky goo on your skin to grip them.”

The stones didn’t stop Luke Stoltman from getting artwork where he wanted, but he can attest

to the hazard. “They do get worn from the Atlas Stones event,” he says. “You can see wear on the inner forearm.”

Perhaps in part because of the other opportunities to express himself on stage, Singleton didn’t have tattoos as a bodybuilder. They aren’t entirely forbidden, but there are other reasons besides sufficient pizazz why competitors are less likely to have them: the judges. In a bodybuilding competition, symmetry and definition are everything, and tattoos can create both negative and positive illusions, which isn’t great for a subjective voting pool. “It’s kind of why bodybuilders get their spray tans so thick and everything,” Singleton explains, “so that you can see every single cut, every single striation, everything like that; being able to see symmetry. They say that tattoos potentially could throw that off.”

If you’re not pursuing a professional bodybuilding career, tattoos can be a great way to accent musculature, no matter where you are on your

fitness journey. They can work with the body to make it look its best. “When I tattoo, I try to go organically with the shape of the body,” Cable explains. “Because tattoos should be a part of what makes someone feel powerful and attractive in their body.”

Cable first learned to tattoo from her thenhusband, Jason Lambert, owner of Black Cat Tattoo in Pittsburgh. Lambert specializes in large pieces, and he instilled in Cable the importance of creating an atmosphere where the client feels encouraged to speak up about a tattoo’s placement, and to view the body as part of the artwork.

While expressed in different ways, all three Strongmen had a similar response when asked how tattoos made them feel about their bodies: they’re meaningful and symbolic, enhance their physique, and make the men feel good in their bodies. But perhaps Andrade put it best: “Now that I’m getting bigger as an athlete and seeing my muscles grow, (I want) to put better artwork there. You’re not only showing off your body, but you’re showing off a piece of art too.”

THIS IS ALL TIME LOW.

In 2003, four high schoolers in Baltimore, Maryland, created a band: Alex Gaskarth, vocals and guitar; Jack Barakat, guitarist; Zack Merrick, bassist; and Rian Dawson, drummer.

The boys practiced in their basements, and their parents drove them to concerts. Documentaries and social media clips from the early 00s show them living out of a van as they traveled across the country for shows.

All Time Low has amassed significant success since its first album, “So Wrong, It’s Right,” which “Rolling Stone” lists among the top 50 greatest pop-punk albums. Defying the odds of the pop-punk scene, All Time Low has steadily increased its fanbase and fame over the last 20-odd years, including

putting on a hometown show for 14,000 people and selling more than 3.5 million albums in the U.S.

All Time Low’s music has more than five billion streams worldwide, and the song “Monsters” featuring blackbear secured the band the number one spot on the Billboard Alternative Airplay Chart for 18 weeks in a row. The musicians also launched a wine company, Everything is Wine, in 2019; their first bottle sold out within an hour.

On October 17, a new album joins the catalog: the band’s 10th studio-length album, “Everybody’s Talking!” complete with an accompanying headlining tour in the U.S. this fall.

“We’ve come a long way since some of those [early] records, but it’s nice to know

that we’re still painting with some of those same colors,” Gaskarth says. “What’s great about that is there’s something for everyone on this record. For long-time listeners, I think people are going to be really excited about the body of work as a whole.”

The Making of “Everybody’s Talking!”

When All Time Low was in its infancy, the band operated on a cycle: Write and record the album in the studio, release it, tour, then repeat. Now, with time and experience on their side, the band does things a little differently. Gaskarth and Barakat write songs on the road — whenever inspiration strikes. When it’s time to create the album, the band already has songs, recordings, and concepts to choose from.

“Time is what makes you realize if a song is great, just good, or just okay,” says Gaskarth, who describes the band’s songs as stories.

While plenty of Gaskarth’s stories stem from his personal experiences, creating enough material to fill 10 albums, he often looks to those around him — and their experiences — for inspiration. This practice, he says, creates songs that are more universal; songs that can appeal to a wider range of listeners.

“The more you write music and the more time spent making albums, you begin to look outwards at the same time you look inwards,” he says. “I think it’s important to cast a wide net when you’re writing about feelings and big emotional moments because it helps [the music] to become a little more universal.”

During the creation process, the albums and the stories they hold are All Time Low’s. The members and producers are the only consumers. They are the only people to fall in and out of love with these songs, to nurture the album to completion. But everything changes on release day: The album takes on a new life and becomes the audience’s.

“It’s a really daunting experience when you write a new record. Finally getting to play [the songs] in front of an audience is cathartic,

way about blink-182, the inspiration behind his first tattoo. Dawson describes his artwork as reflections of moments in time: “Each limb is a different era of my life.”

However, it is unique for someone to get Gaskarth’s face tattooed onto their body. “Someone in the world has a really detailed portrait of me on their leg. It’s wild and surreal that someone did that,” says Gaskarth, whose first tattoo was a trick-or-treating skeleton wearing a skeleton costume.

Gaskarth’s most memorable tattoo was his second piece, a hand tattoo — a “job ender,” he recalls it being called at the time. “For me, it was an acknowledgement to myself, making that choice to say I picked music to be a career. It’s a leap of faith when you put yourself in a role like that and hope it works out.”

Barakat’s first tattoo is the same as Dawson’s, the blink-182 bunny, and for a similar reason: “[blink-182] is the reason why I wanted to pick up a guitar in the first place, and I knew that sent me down a path in life that I never looked back on.”

Barakat’s tattoos, he believes, are the outward projection of his personality: they’re loud and colorful. “I do appreciate a little bit of chaos and a lot of colorful themes that have no actual planning, understanding, or meaning at all,” he says jokingly.

and still it’s very scary because you never know how they’re going to react,” Dawson says. “Going on tour at the top of a record cycle is still one of the most exciting things about being in the band for me.”

Releasing an album then immediately going on tour is the ultimate definition of real-time feedback — the musicians have no idea which songs will become hits until they’re played live.

“Sometimes, it happens the way you plan out in the studio, [thinking] these songs are going to be fan favorites, and sometimes, you play a song once or twice just to see how it goes, and it goes off. And you’re like, ‘Huh, I never thought that song would have had that life,’” Barakat says.

Bound by Ink

It’s not uncommon for the band to see a fan with a creative rendition of their album artwork or lyrics, and Dawson’s awe at this dedication never fades: “We have such a cool, fortunate life, and so much of it is mind-boggling.”

Fans make a commitment when they forever dedicate a portion of their skin to All Time Low, but Dawson can relate — he felt the same

We’ve come a long way since some of those [early] records, but it’s nice to know that we’re still painting with some of those same colors.

- Alex Gaskarth

Merrick, who was the first band member to get a tattoo, got a swallow on his chest. “I just felt like that was kind of my calling,” he says. The rest of Merrick’s tattoos represent accomplishments, such as hiking Mount Fuji — a different way to tell his life story. Merrick is also a partner in Baltimore’s Layer 3 Collective studio, which came to All Time Low’s hometown stadium show last year to tattoo anyone who wanted new ink.

All four guys got tattoos in celebration of their 20th anniversary, and it was the second tattoo they share. The first was the band’s original logo, a skull and crossbones. In recalling their first matching tattoo, Gaskarth says, “That was the day we decided we’re all going to do this together. We’re bound by ink.”

Ataboo topic and popular among those with a criminal background, inked skin in South Korea was, once upon a time, synonymous with social deviance and those on the outskirts of society. In recent years, however, tattoos have become a growing form of selfexpression and incredibly popular amongst the younger generation, thanks in part to celebrity influence, a trend-based culture, and tattoo tourism.

Spend any amount of time walking down an urban street in Seoul, and tattoos are almost as second nature as they are in most Western societies, appearing on the likes of K-pop idols, fashion models, and everyday young Koreans looking for a unique way to express themselves through art.

Despite this cultural evolution, tattooing still exists in a legal gray area, leaving artists and clients alike to navigate a tumultuous landscape, with many opting to work overseas to escape South Korea’s troubled relationship with the tattoo industry. These days, many Korean artists are internationally respected for their precision and creativity, with trending designs in minimalism and fine-line styles showcasing their outstanding abilities.

Korean tattoo artist GARA explained that, despite these social advances, a “lingering stigma still exists, particularly among older generations. In many workplaces, employees are expected to conceal their tattoos, and on

major broadcasting networks, public figures are often required to cover them during appearances.” She added, “As societal views continue to evolve, there is growing discourse around the need to revisit outdated laws and institutional norms that no longer reflect the values of modern Korean society.”

THE LEGAL LANDSCAPE

Tattooing in Korea technically remains illegal unless performed by a licensed medical professional. This outdated law leaves artists without licenses vulnerable to fines and forced closures.

“Legal limitations not only affect creative freedom but also pose obstacles to protecting the rights and safety of clients,” said one artist who asked to remain anonymous. “I naturally prefer working in countries where tattooing is legally recognized. In a legally protected environment, I can approach my work more confidently, take artistic risks more freely, and build stronger trust with clients.”

Another anonymous artist explained, “Without legal protection, many artists hide their studios, which reinforces the ‘illegal’ stigma. It also pushes artists to dream about working freely overseas, as a lack of creative freedom can be stifling.”

Over the years, attempts have been made to reform these outdated laws, yet they remain largely unchanged. According to one anonymous artist, the biggest issues

for artists working without a license are the “constant anxiety of potential legal penalties and the difficulty in securing an official workspace,” as well as the inability to advertise or publicly share their location, relying on social media to help secure clients. One artist even reflected on a distressing experience during their time working in a smaller South Korean city, stating, “A male client threatened me for money over KakaoTalk. Because tattooing falls into a legal gray area, I had no real legal protection or way to resolve the situation. It was a very difficult and distressing experience.”

THE ROLE OF MEDIA, IDOLS, AND WESTERN CULTURE

While Korean tattoo practices laws remain restrictive, the culture appears to be racing ahead. One of the biggest drivers of change has been Korean pop culture. Celebrities, actors, and K-pop idols have made tattoos more visible and accepted amongst the younger generation, inspiring them to do the same.

“When a culturally influential figure openly expresses something that was once considered taboo, it sends a powerful social message,” GARA said. “The moment K-pop idols and celebrities began showing their tattoos marked a turning point. It helped shift tattoos from being seen purely as taboo to being embraced as a form of fashion and artistic expression.”

Tattoo artist Seolhee expanded on this: “Tattoos have also become part of fashion, leading to trends like mini tattoos, soft colors, and painterly styles inspired by East Asian art.” Artist Oozy added, “Even a single small tattoo revealed by a celebrity can start a major trend.”

Social media also plays a significant role, bridging Korean tattoo culture with global trends. Through social media, Korean artists are learning more about global trending styles, finding new legal work opportunities in other countries, and connecting with new clients near and far.

Despite these advances in Korea’s tattoo culture, many stereotypes persist, including that the practice is unsafe or unhygienic.

“I run a clean, thoroughly sanitized studio and use all disposable tools. But it’s hard to fully erase those misconceptions,” Seolhee explained. In Oozy’s opinion, “There’s still a tendency to judge people negatively based on appearance alone, viewing tattoos as threatening or disruptive.”

TRENDING STYLES AND GLOBAL DEMAND

Korean tattoo artists are known for their distinctive styles and penchant for following trends. “In Korea, minimal and sentimental tattoo styles still seem to be the most preferred. Small and delicate designs are less likely to draw social attention and are well-suited for expressing personal meaning. They are especially popular among clients getting their first tattoo,” GARA explained. “At the same time, a wide range of styles, including blackwork, black and grey, Irezumi, old school, and tattoos incorporating traditional Korean elements, are also gaining popularity.”

There’s still a tendency to judge people negatively based on appearance alone. - oozy

Traditional East Asian tattoo designs often appeal to international clients looking for an authentic touch of Asian aesthetics. Seolhee explained, “I work with Eastern themes and fantasy visuals, and my international clients really respond to that. A full-back piece of a tiger beneath blooming plum trees got a lot of love, especially from people looking for a uniquely Korean aesthetic.

“Korean clients tend to focus more on emotions and meaning, while international clients often appreciate the cultural aspects or my unique artistic style,” Seolee continued, adding, “I try to respect each client’s cultural background while staying true to my own identity. I often suggest designs based on traditional patterns, seasonal themes, or hanbok-inspired curves to give them a uniquely Korean experience.”

LEGAL SHIFTS AND CULTURAL ACCEPTANCE

Although legal changes to the practice of tattooing in South Korea have been slow, artists remain optimistic about the future. Legislation discussions have become more mainstream, and public opinion is beginning to soften.

“Just last year, a Korean tattoo artist appeared as a witness at a National Assembly Health and Welfare Committee hearing to advocate for

legalization,” GARA said, explaining that several tattooing-related bills were proposed at the hearing, including the Tattoo Artist Act and Semi-Permanent Makeup Act, but the medical community’s opposition has prompted delays. While the Minister of Health and Welfare has expressed support for tattoo regulations, he acknowledges the challenges of balancing the interests of stakeholders.

Seolhee shared, “I truly believe that tattoos will become more accepted in the coming five to 10 years. The younger generation is already more open, and more artists are confidently showing their own creative worlds. I’m hopeful that the laws will eventually change, too.” Others are less hopeful: “I think more of Korea’s talented tattoo artists will continue leaving the country in search of opportunities abroad,” Oozy said.

For the time being, many artists in Korea are operating in a legally ambiguous environment, which can create long-term challenges, including impacts on their lives and futures. Oozy, who currently works in the U.S, stated, “I’m always considering moving abroad permanently.”

“Currently, I live and work in a country where tattooing is legal and protected, but I still have a strong desire to work in Korea again — if and when tattooing becomes legalized there,” GARA explained. “I’ve consistently participated in interviews with international media to raise awareness about the reality of the tattoo

scene in Korea, to contribute to the broader conversation and push for change.”

Despite the restrictive legislation, younger tattoo artists continue to open their businesses in Korea. “To young artists, I would say, even in the midst of an unstable system, it’s important to take pride in your work, maintain strict hygiene standards, act with responsibility, and continue to build your skills,” GARA advised.

“Social stigma and legal limitations still exist, but in times like these, strong fundamentals and a professional attitude are the best tools to protect and sustain your career.” In contrast, Oozy emphasized the importance of working in a more stable environment, saying, “I strongly encourage them to experience working abroad.”

A CULTURE IN TRANSITION

While outdated laws continue to limit artists who live in Korea, cultural acceptance of tattoos amongst Koreans is growing. With each discreet studio appointment, each celebrity tattoo reveal, and each international client choosing to fly to Korea to work with their chosen artist, things are seemingly changing, little by little.

As with tattoo culture across most Western countries, tattooing in Korea is slowly becoming a symbol of identity, resilience, and artistry. And for the artists at the center of this movement, the hope is that the laws will soon catch up to help Korea’s unique and talented artists see even more success in the future, and within their homeland.

Something’s bound to erupt when two artists from entirely different worlds collide. In the case of Yelawolf and J. Michael Phillips, that eruption takes the shape of “Whiskey & Roses.” The title encapsulates the delicate yet dangerous nature of the music — a gritty, melodic, genre-bending album forged in sweat, smoke, and soul. Released in July, this collaborative record was a brotherhood in bloom.

Yelawolf, born Michael Wayne Atha in Gadsden, Alabama, is the product of a unique upbringing, riding the rails between chaos and creativity. Raised in a rock-androll household by a single mother, his early years were a whirlwind of trailer parks and schools across the South. “I went to 15 different schools growing up,” he recalls. “Skateboarding was my escape.”

At 19, Yelawolf was skateboarding near a Def Jam-affiliated studio after a chance encounter with a studio representative while handing out Pepto-Bismol samples in San Francisco. He explains, “I skated right up to this Def Jam tour bus and told them I did music. The guy looked me up and down and told me, ‘If you’re serious, meet me in Oakland tomorrow.’” That studio turned out to be The Grill, where E-40, Tupac Shakur, and DJ Quik recorded. Yelawolf admits he wasn’t ready yet, but the mic started calling. “I didn’t want to be an artist,” he says. “I wanted to produce. But I was better than the people I was producing for.”

With nothing but hustle and a taste for destruction, Yelawolf carved his path. Two decades later, he’s delivered a string of acclaimed albums, built an empire with his Slumerican record label, and defied every genre box the industry tried to shove him in.

Then came Phillips.

Phillips, born in Tacoma, Washington, and raised in Ohio, came up in a single-parent household with music blasting through the cracks. His mom played everything from Alabama and Dolly Parton to The Beatles and Genesis. “Music was just my go-to from an early age,” he says. “My mom and I would sing together at community potlucks, Jehovah’s Witness gatherings, school assemblies, you name it.”

But childhood wasn’t easy for Phillips. Incarcerated at 15 years old for a retaliatory shooting, he spent over a year in juvenile detention, where a probation officer named Andre Hill encouraged him to pursue music seriously. “He said, ‘You’re talented. Let’s make a group when you get out,’” Phillips recalls. “We did talent shows, killed it. That’s when I knew music was it.”

Years later, prison came calling again. Phillips served eight and a half years on a drug trafficking charge, his final bid, as he puts it. “Music was therapy,” he says. “It was the only way I could escape.” It was during that stretch that he discovered Yelawolf. “‘Pop the Trunk’ was my anthem,” he says. “I was working out to his music in prison. Now I’m sharing the stage with him. That’s insane.”

THE BLISS AND BITE OF LIFE

On July 11, Yelawolf and J. Michael Phillips’ collaborative album, “Whiskey & Roses,” was released, echoing in earbuds worldwide. Featuring the previously released singles “I Swear,” “Searching for Heaven,” and “Amnesia” — the latter dropping its music video the same day — the album takes listeners through life’s highs and lows, emphasizing the perseverance needed to forge ahead. As Philips explained, “Life is harsh and it’s great. It’s whiskey and roses.”

Their worlds merged under the guidance of Edward Crowe, longtime friend and manager of Yelawolf, and a creative powerhouse in his own right. Crowe’s cover art for “Whiskey & Roses,” painstakingly made petal by petal, sets the tone for the album’s raw precision. “The title came from a track we ended up cutting,” Yelawolf says. “But the phrase stuck. It’s delicate but dangerous. That’s the music. That’s us.”

From the smoky studio sessions at East Iris Studios to hours spent recording together, the collaboration pushed both artists to explore new territory. The result is a sound completely different from anything Yelawolf has done before. “I’ve never heard that sound come out of me,” he says. Phillips agrees: “We just locked in. Every piece — lyrics, visuals, energy — was hitting.”

The duo challenged each other’s instincts. Phillips, a natural vocalist with a gift for melody, highlighted a softer, more soulful side of Yelawolf. In turn, Yelawolf encouraged Phillips to lean into his fire. The chemistry between them is undeniable.

The sessions were not only productive but highly personal. Between takes, the two swapped stories, laughed, argued, and pushed each other to go deeper.

knees, reflects memories of whatever felt right in the moment, including the palm tattoo featured in the “Searching for Heaven” video.

Phillips, who got his first tattoo at 16, sports a bold portrait of Johnny Cash on his leg and sees ink as both homage and identity. One of his favorite memories is snapping a photo of Yelawolf mid-crab boil, tattooing their manager, Crowe, with a machine in one hand and seafood in the other. “Every time we’re at his place, someone’s getting inked,” he says. “It’s part of the culture.”

Between the sold-out shows, the impromptu tattoos, and the nightly madness onstage, one thing is clear: this collaboration hit a nerve. “Whiskey & Roses” resonated with fans and revealed new depths in both artists. Tracks such as “Amnesia” and “I Swear” leave a lasting impression long after the music stops playing. They embody strength, beauty, and an undeniable truth.

Yelawolf sees Phillips as much more than just a featured artist. “I’ve seen this before. I saw it with Jelly Roll, Ed Sheeran, and B.o.B.,” he says. “J. Michael’s got it. He’s a great songwriter. A beast on stage. I’ll be in the box seats at Bridgestone Arena when he headlines.”

“There was no ego in the room,” Phillips says. “It felt like we were building something that mattered, not just dropping songs.” That energy spills into every verse, every harmony, and every note.

That same chemistry fueled their summer run on the 45 Tour. Named after Yelawolf’s age, not the number of tours, the run was relentless — city after city, night after night, fans screaming every word back at them. “He jumped from the second balcony into the crowd in Portland,” Phillips says, referring to Yelawolf, adding with a laugh, “This man turns 45 and decides to start crowd surfing again.”

There was a definite connection that came along with the mayhem. The duo tapped tattoo artist Sam Lee to travel with them, offering fans in each city the chance to get tattooed during meet-and-greets. “It’s never been done like this,” Yelawolf says. “It’s intimate. Permanent. A way to take the experience home on your skin.”

Not surprisingly, their own tattoos tell a story. Yelawolf’s back adorns realistic portraits of his children and a towering image of Jesus, pieces he considers among his most meaningful. His more impulsive work, scattered across his knuckles and

For Phillips, that support means everything and more. “I came from nothing,” he says. “Statistically, I’m not supposed to be here, but Wolf believed in me. This isn’t just music. It’s legacy.”

Legacy isn’t solely defined by what you leave behind; it’s also about those who see your light and carry it forward. For Yelawolf and Phillips, this record, this tour, and this moment are powerful reminders that no one rises to greatness alone.

BREAKING BARRIERS SURROUNDING INKED BODIES IN MEDICAL AND ACADEMIC SPACES.

BY MADS KRISTENSEN

Patients have an immediate sense of comfort that they will not walk into my office and be judged.

- Dr. Brosious

attoos can attract people from all walks of life, including scientists and doctors. However, as Scarlet Johnson, Maegan Doi, and Loren Yamamoto showed in their article “Adverse Effects of Tattoos and Piercing on Parent/Patient Confidence in Health Care Providers” and as also argued by Michael Rees in “Tattooing in Contemporary Society: Identity and Authenticity,” scientists and doctors, among others, can still face backlash for indulging too much in tattoos. Some tattooed doctors and a tattoo-loving research scientist shared their insights.

Breaking the Mold

Though it may not be apparent to everyone, there is still a lingering stigma toward people with visible and extensive tattoos, especially in more professional spheres, which doctors and scientists often consider at different points in their respective careers, as they may consider taking their tattoo love further.

The fact that some patients, as well as colleagues or superiors, might be offended by tattoos builds on two things. First, we have socially constructed ideals and expectations of what a doctor or scientist should look like, a certain ideal regarding professionalism, so to speak. Matt Davis, MD, a Harvard-educated psychiatrist and renowned tattoo collector, once had an encounter when he called in to the “Howard Stern Show.” “They were talking

about doctors and tattoos, and I told them about my work as a psychiatrist and how heavily tattooed I am, and how my patients don’t see it as a problem,” he shared. “But Howard still insisted, ‘I don’t want my doctor all tatted up,’ and explained how he feels it sends the wrong message.”

Second, Leah Elson, a research scientist and wellknown science communicator, recollected how she used to think of scientists while growing up. Reflecting on her career today and her love of tattoos, she said, “If you had asked me when I was a kid to draw what a scientist looks like, I would have probably drawn an old white man in a lab coat with no tattoos because that is what I was brought up to think.”

Indeed, many of us are brought up with these socially constructed expectations, which Sociologist Erving Goffman argued in his book “The Presentation of Self in Everyday Life,” leads us to conduct a lot of what he calls “impression management,” which is essentially effort put into masking what many of us might see as our authentic selves to fit into a social context and navigate it in a way that lives up to these expectations.

But as briefly recognized by both Goffman himself and especially by Professor of Sociology Beverly

Yuen Thompson in her book “Covered in Ink: Tattoos, Women, and Politics of the Body,” this impression management can lead to a person feeling alienated from their sense of self, resulting in a loss of job satisfaction and productivity.

Competency and Authenticity

These tattoo-loving doctors and scientists recognize that as soon as they stopped caring about impression management and societal expectations, focusing instead on being authentic through their tattoos, they started to feel much more comfortable and competent in their respective work capacities and job duties. Dr. Sarah Gray, a registrar and soon-to-be orthopedic surgeon in Australia, said, “It is all about you being yourself in a system that may try to say you should fit into a specific mold… I feel my best and I do my best when I feel happy within myself, and I don’t think there should be any unnecessary roadblocks in place at all for anybody to have to change who they are as a person,” adding, “We live in a world that is diverse. We should represent a diverse world within medicine and surgery.”

Authenticity becomes an asset for doctors and scientists in their social interactions with patients. “Especially with gender affirming care,” said John Brosious, MD, a heavily tattooed plastic surgeon from Las Vegas. “These people, these patients, every one of them has faced discrimination... so, when they see me, and they see me not giving a fuck about what people think about how I look, they have an immediate sense of comfort that they will not walk into my office and be judged.”

In fact, Brosious, Davis, and Gray all attested that their tattoos help them relate to and interact with their patients. By breaking down the barriers previously created by socially constructed norms and stereotypes of what a doctor or scientist should be, the doctors become more relatable to their patients, removing them from what one might call the ivory tower.

Elson explained that removing impression management demands has affected her competence and job performance abilities. “Just being openly a tattooed person made me a way better scientist, I am sure of it. Because being sure of myself and the confidence and comfort that it brought made me able to do much better.”

This is supported by research into authenticity at work conducted by Julie Mérnard in the journal article “Authenticity and well-being in the workplace: a mediation model,” where she links job satisfaction with the ability to feel and be your authentic self at work. She argues that being comfortable at work creates greater job satisfaction, better social interactions, and improved productivity. In short, when people are permitted to be their authentic selves, they do better at work in various ways.

Leading by Example

For Brosious, Davis, Elson, and Gray, it is not just about their passion for tattoos and their respective fields — it is also about leading by example and combating lingering stigma, focusing more on skill rather than issuing judgment based on the individual’s self-expression.

“The world just needs more stories like ours. Not because it is rare, but because we have just been kept quiet for so long, we have been told

we should or shouldn’t look a certain way,” Gray explained. “Unfortunately, it is up to those few people who aren’t afraid to, you know, fuck the system. To just be themselves and make that ripple effect of change.”

Representation matters in this regard because tattoos do not make you any less competent. Whether you are a doctor or a scientist, your love of tattoos will not detract from your ability to do your job well. Allowing doctors and scientists to display their tattoos at work enables them to focus fully on their profession and express their identity without the burden of concealing who they are.

BY AMY HIGGINS

INTERVIEW: JAYME FOXX

PHOTOGRAPHY: LEIGH KEILY

GROOMING: SIMONE FOR EXCLUSIVE ARTISTS

USING AUGUSTINUS BADER AND ORIBE

STYLING: TIFFANY BRISENO

ASSISTANT: EMILY DIDDLE

hen “Paper Planes” landed on music platforms in 2008, Diplo’s prominence was meteoric. The Philadelphia DJ who had been making mixtapes, producing records for local rappers, and spinning underground sets quickly caught the world’s attention.

But Diplo’s roots in music stretch back much further. Born Thomas Wesley Pentz, he developed his music appreciation as his family moved around the U.S., and he was exposed to different genres. Along the way, he traveled parts of the world and built a massive record and CD collection, which he sold to record collectors or used to create mixtapes.

During his early career, he chose the stage name “Diplo,” a shortened version of the dinosaur Diplodocus, his favorite dinosaur as a child. He realized when he used the formal designation of the dinosaur to promote his music, people had difficulty pronouncing it, so he deviated to the abbreviated name, and it stuck. Fittingly, his first tattoo was the black contour of a Diplodocus, Diplo said in an interview with Jamie Foxx for Inked Magazine, as he pointed to his right forearm.

By the time “Paper Planes” stormed the charts, he and British singer and rapper Maya Arulpragasam, better known as M.I.A., were dating and simultaneously recording music. Then opportunity knocked.

London-underground-Jamaican sounds that we liked, stuff that I was hearing in Philadelphia, and then I went to Jamaica and started cutting them one by one with an artist,” Diplo said in 2024 on Major Lazer Official’s YouTube channel.

In 2009, Major Lazer’s first album, “Guns Don’t Kill People… Lazers Do,” generated rowdy punk/electronic music that bore the provocative anthem “Pon de Floor.” “That song just started taking off on its own; it was kind of a joke song,” Diplo explained on Major Lazer Official. “It really worked in this new hybrid of dance music with European DJs mixing with hip hop acts, and a little bit of reggae and Jamaican flavors.”

Switch left Major Lazer in 2011 and was replaced by Christopher “Jillionaire” Leacock and Leighton “Walshy Fire” Walsh. What followed was an extensive list of Major Lazer collaborations and major hits, like the controversial 2015 hit song “Lean On,” made in collaboration with MØ and DJ Snake, and the 2012 No Doubt song “Push and Shove” with Busy Signal.

Jillionaire left in 2019, and Eric “Ape Drums” Alberto-Lopez subsequently joined the group. And just this year, the group’s first female performer, British-Jamaican artist America Foster, came aboard. “We linked with America in London a year ago, and she just became a more and more essential part of my crew —

POMPEY: A SANCTUARY IN THE JUNGLE

When he’s not in the studio or on the road, you might find the DJ at his Caribbean hideaway, Pompey. “It’s sort of my sanctuary for working,” Diplo said. “It feels like a piece of art because we really worked hard on developing the style, the Brutalist style that we put in the jungle in Jamaica. It’s very Brazilian, very Mexican style, poured concrete, a lot of art, and just sitting in the middle of the jungle.” Pompey’s luxuries stretch far beyond the 50-acre property’s nucleus, a large, heated infinity pool with a spacious outdoor entertainment and dining area. Inside the home are five large, meticulously designed bedrooms, a spacious living room with a grand piano, an elegant library, and a grand industry-standard recording studio. The floor-to-ceiling windows, terraces, and a rooftop space offer stunning views of the surroundings, overlooking the jungle and The Blue Lagoon.

Guests of the property indulge in farmto-table cuisine, collected from the on-site organic farm and orchard, and prepared by inhouse chefs. Wellness opportunities abound, from the yoga pavilion, hiking trails, private gym, sauna, cold plunge, and hyperbaric chamber. They can also explore the area on horseback or on one of the property’s ATVs.

I WAS BORN IN MISSISSIPPI, GREW UP IN SOUTH FLORIDA, AND SPENT MY TEENS AND 20S BOUNCING AROUND THE WORLD — PHILLY, INDIA, TOKYO, BEYOND.

I’VE NEVER PAID ATTENTION TO GENRE BORDERS. I JUST CATCH A VIBE WITH WHOEVER I’M WORKING WITH — I LOVE JUST FOLLOWING A SONG WHERE IT GOES.

“(XL Recordings’) Nick Huggett, for some reason, decided to invest in me,” the DJ shared with Journalist Guy Raz in 2023. After working with M.I.A. in his home studio, he presented the music executive with a mixtape that Huggett called “unusable” and “a disaster,” so Diplo decided to sell the album, “Piracy Funds Terrorism,” on his own. “I must have made $200,000 by bootlegging this mixtape,” he told Raz of the 2004 album that went viral and global. It was “the CD that funded my entire career,” he later said on an Instagram post about the album.

That career consists of countless lucrative collaborations, including the 2012 song “Climax” he produced with Usher that went 3x platinum in 2024, and the 2018 Grammy Awards winner for Best Dance Recording, “Electricity” with Dua Lipa and Silk City, an electronic duo consisting of Diplo and Mark Ronson.

The deeper you go, the more there is to uncover about this maestro of electronic music.

LAZER FOCUS

Shortly after “Piracy,” Diplo and Dave “Switch” Taylor recorded an assortment of demo tapes and formed the group Major Lazer. “They were sort of this hybrid of

she pops up everywhere!” Diplo said. “She’s unbelievably talented and an insanely creative thinker. (I’m) so stoked for the world to hear her voice.”

It’s been nearly 10 years since Major Lazer was actively producing new tracks. “I just think this was the year where it felt like we needed to come back with something just crazy, because Major Lazer was always sort of like the punk of dance and electronic music,” Diplo said.

“The group has always been one of my most fun projects, and one of the coolest parts is how it’s evolved over the years through different members and musical waves,” the artist continued. “‘GANGSTA’ is a little bit of a return to Major Lazer’s roots with one of our oldest collaborators, the Kingston legend Busy Signal, and also a whole new world as America’s first release with the group.”

Fans were fired up this summer when Major Lazer released this new track “GANGSTA,” featuring Busy Signal and Kybba. The group has recently drawn in crowds in Brussels, Canada, and Las Vegas, with more touring anticipated in the coming months and in 2026. “We’ve always said Major Lazer makes the world smaller by making the party bigger,” Diplo said. “There’s room for everything and everyone.

This sanctuary is close to Diplo’s heart, offering serenity, creativity, and access to a sustainable lifestyle. “It’s just a great place for me to go and retreat when I need to get some time alone,” he said, highlighting that others are also welcome to immerse themselves in the tranquil retreat.

“You can rent it to make music or do an event. We’ve got a lot of people making their albums there,” Diplo said, adding, “For me, it was, I think, my favorite work of art. I’ve been working on that place for nine years, building a Brutalist construction in Jamaica of concrete, wood, building my first farm, learning how to farm the land. It’s been kind of my dream.”

DIPLO IN MOTION

In September 2024, Diplo blended his passions for fitness and music with the Diplo Run Club (DRC), debuting in San Francisco to a sold-out crowd, making it one of Running USA’s top 5K races. After the success of this race and the following race in Seattle, DRC added new stops to its 2025/2026 lineup, including recent races in Philadelphia and Seattle, with San Francisco, Los Angeles, New York, San Diego, Miami, and Phoenix fast approaching.

DRC was conceived by inspiration when Diplo attended the Miami Marathon. “We ended up in the club afterwards because it was still going from the night before. I was like, ‘This is a cool concept.’” Diplo shared on Instagram.

“And then the next year, it was a big deal. People all ran and went to the club. And I was always like, ‘How can we transcend this kind of always wanting to go out night late?’ We can do both.”

The DRC 5K takes runners through historic districts, scenic routes, and famous sites, with a high-energy finish with Diplo + Friends performing on stage. “It’s a 5K — really easy — and then you get to just rave with me at the end for two hours, and you can go to bed at like 1:30 p.m.,” the DJ said. “You get a margarita too.”

While DRC has a Spotify playlist, you might be surprised by the sounds Diplo absorbs while racing. “Brown noise,” he said. “I personally like to listen to nothing. I like the sounds of the earth, running around, people yelling at me, I

PLAYING SHOWS AROUND THE WORLD BRINGS ME MY INSPIRATION AND ENERGY FOR EVERYTHING I DO, BUT MY GREATEST INSPIRATION IS MY KIDS.

hear cars, birds, things like that. I just like to have that… It’s a symphony of sounds every time I run.”

THE SECRET SAUCE

If variety is the secret to happiness, then it might be fair to say Diplo is euphoric. “I guess there’s about four different genres going at any point in my career,” he said of his projects. “I was born in Mississippi, grew up in South Florida, and spent my teens and 20s bouncing around the world — Philly, India, Tokyo, beyond. I’ve never paid attention to genre borders, or physical borders, really. I just catch a vibe with whoever I’m working with — I love just following a song where it goes.”

Diplo recently started his new project d00mscrvll, which includes the new song “BRAIN,” featuring Artemas, as well as “Flashlight,” featuring Juicy J and Project Pat. “It’s like Memphis Funk meets TikTok music,” Diplo said of the sound.

And then there’s his project with Bailey Zimmerman, “Ashes,” an outright country music record. “And there’s some K-pop,” Diplo added, saying, “Whatever you like, I probably produced something other than that in the last couple of months.”

From rap to funk, country, and pop, Diplo’s discography is diverse, so his personal playlist is true to form. Musicians like English rapper fakemink, country singer Cameron Whitcomb, multi-disciplinary artist Rival Consoles, English rock band Sleep Token, and Swedish EDM musician DJ Seinfeld have been occupying his eardrums as of late. “I mean, it’s random,” he said. “I just like anything that has a really strong brand and message that’s easy for me to understand.”

Diplo typically plays around 200 shows per year, but he’s been working on a “huge project” at his studio this year. “It’s been very hard to sit down and get that work done,” he admitted. “You know, people think, “How do you always travel?” I’m just like, “Man, being in a studio locked in for weeks on end is actually much harder than catching flights for me.

“Playing shows around the world brings me my inspiration and energy for everything I do, but my greatest inspiration is my kids,” Diplo shared. “There’s nothing that makes me feel more whole and centered than hanging out at home with them, so it’s been amazing to do more of that this year.”

And yet, the work never stops. “You have to always put the work in to make the music,” Diplo said, “so this is my year to do that.”

THE SOUL AND UNTAMED INFLUENCE OF MIKE HOLSTON, “THE REAL TARZANN.”

BY GIL MACIAS

With 15.1 million followers on Instagram, 5.4 million on TikTok, and 1.2 million subscribers on his YouTube channel, it’s safe to say that Mike Holston, better known as “The Real Tarzann,” is one of the most-watched animal enthusiasts on the planet. And if you take a glance at his awe-inspiring interactions with wildlife, it’s immediately apparent why he earned that name.

“I used to have long dreadlocks like Tarzan, and (I was) known to have pet animals,” he tells Inked Magazine, explaining the origins of his moniker. “The name started as a social media handle but evolved into a mission statement. Tarzan is a symbol of living in sync with the wild, but I put ‘Real’ in front because I wanted to show authenticity, not fantasy. It represents walking between two worlds: the human world and the animal kingdom.”

As for his ink, Holston describes his tattoos as “a living diary” that serves as “reminders of the journey, battles, and the creatures who’ve shaped me.” He has “WYLD LIFE” emblazoned on his abdomen, and some of the exotic land, air, and semiaquatic creatures that adorn his body include a Bengal tiger, harpy eagle, and Nile crocodile, to name a few; he has “dozens” more. But it’s his ink of the reptilian variety that resonates with him the most.

“One of my two favorites is the anaconda wrapping my entire leg and the Indian cobra hood on my back,” he shares. “(They are) a tribute to my bond with reptiles and the lessons they’ve taught me about adaptability and survival.”

Holston’s infatuation with the animal kingdom started at a very young age, and it was a reptile that triggered an undeniable connection that would eventually evolve into his life’s work. His “natural pull toward animals” stems from his earliest memories with his

dogs, catching salamanders, and gazing in wonder at the pet boa constrictor he received on his fourth birthday.

“I didn’t need toys anymore after that — nature was my playground,” he reflects. “The first real moment that lit the fire in me was holding a reptile as a kid and feeling its raw energy, realizing I wasn’t afraid but connected. That spark became the foundation for everything I’ve built today.”

After nearly three decades of bonding with all walks of wildlife, Holston has developed an intuitive way of communicating with animals, a skill he describes as “part instinct,” but not without some “trial and error.”

“I’ve studied animal behavior endlessly, but there’s also a frequency you can’t teach — a sensitivity to body language, energy, and presence,” he explains. “I describe it like a conversation without words. Over time, I honed it by putting in almost three decades around wildlife, but the root is an instinct I was born with that

I feel many of us have; we just don’t keep it up over the years.”

In 2012, Holston realized that he could turn his passion into a career, so he took his Real Tarzann persona to social media, launching both a YouTube channel and an Instagram account that same year. His content drew hundreds of thousands of views, even attracting celebrity attention, and his following quickly skyrocketed to millions of followers. But for Holston, it was never about the attention or dazzling his followers with his animal-taming abilities; he saw it as an opportunity to educate and to serve as an amplified voice for animals.

“I realized social media wasn’t just entertainment — it was a megaphone,” he says. “I saw I could take my passion for animals and project it to billions worldwide. The first steps were simple but powerful: create raw, authentic content, share daily, and show the beauty and respect these creatures deserve and, most importantly, learn with your audience too.”

From his photos with majestic big cats and elegant avians to his up-close encounters with colossal crocodiles and gargantuan serpents, the 31-year-old animal educator has been captivating his followers with his fearless and uncanny ability to commune with a variety of toothy beasts and unpredictable predators.

Holston has certainly had his fair share of brushes with danger. “There have been moments where fear sets in — close calls with venomous snakes, being charged by

I’VE LOST FRIENDS IN THIS FIELD TO ANIMAL ACCIDENTS, AND EVERY TIME IT SHAKES ME TO MY CORE. THOSE MEMORIES KEEP ME HUMBLE AND REMIND ME TO NEVER GET COMPLACENT.

large animals, or near misses with crocodiles,” he recalls. “One encounter with a massive constrictor reminded me how small and fragile humans really are. Those moments taught me that respect is nonnegotiable. Animals don’t run on ego — they run on instinct.”

One of Holston’s idols, the late, great zoologist Steve Irwin, died after a fatal encounter with a seemingly harmless stingray. It’s a death that serves as a constant cautionary reminder about the unpredictability of wild animals and the alwayspossible life-threatening danger in his line of work.

“Steve Irwin is always in the back of my mind. His story is a reminder that even love and expertise can’t eliminate risk,” Holston says. “I’ve lost friends in this field to animal accidents, and every time it shakes me to my core. Those memories keep me humble and remind me to never get complacent.”

Holston goes on to describe Irwin as an “obvious giant who paved the way” for his career, but that’s not his only hero. “I also admire Birute Galdikas and Jane Goodall for her lifelong commitment to primates and conservation, and countless unsung herpetologists and field biologists who grind without fame just to push science forward,” he adds.

As Holston is certainly aware, fame and a massive following also come with detractors. Some critics have clashing views about animal confinement, species preservation, and whether or not these creatures should ever be disturbed for videos or photo ops in the wild, which often leads to misconceptions about his work.

“The biggest misconception is that what I do is ‘showboating’ or reckless. The truth is, everything is calculated and intentional. People see the 60- to 90-second viral moment, but they don’t see the years of study, preparation, or the filming (and) conservation projects, and behind the scenes,” Holston says, adding rescue missions, breeding programs, and educational initiatives to that list of quiet accomplishments.

“I’ve worked with sanctuaries to rehabilitate animals, supported rewilding projects, and helped fund conservation projects for endangered species and natural disasters,” he adds. “That’s the work that truly matters, even if it doesn’t always make the feed.

“I’ve done this for 20 years straight without a camera ever recording me,” Holston adds. “Social media is only a few years old in my life. It’s about creating connection so people care enough to protect, and grabbing as many eyeballs as we can to help spread our message and mission.”

As he globetrots to jungles around the world, Holston is on a constant learning journey, too, and every first encounter with a wild beast he’s never come face to face with brings him valuable new knowledge he wants to share with the world. But there is one big takeaway he has.

“The biggest lesson I’ve learned is that humans underestimate how deeply animals feel and how smart they are,” he declares. “They might not speak, but they communicate respect, trust, and fear in ways we can sense if we listen. If animals could talk, I think many would say, ‘Respect me, protect me, and let me live wild.’”

As for his legacy and his overall message to his fans: “I want my legacy to be bigger than social media. I want it to be about awakening a generation to love and protect animals. If my 15 to 20 million followers walk away with one message, it’s this: We are not separate from the animal kingdom — we are part of it, and it’s our responsibility to protect it.”

Three veterans walk into a tattoo shop: one former soldier and two former Marines. They order up a round of old memories: a shot of new ink for each, taken straight. However, there’s no punchline to this story. Instead, this setting is more of a short story about a trio of vets, a passionate non-profit, and the California tattoo shop that served them fresh ink.

Jeremy Dornbusch, who served in the Army for 20 years, Derek Durazo, who served for 20 years in the Marines, and Sean Powers, a U.S. Marine veteran who served during the Afghanistan War, each carry unique, individual stories of their time in service. Veteran Ink, an organization that aims to help veterans heal “through the transformative practice of tattoo therapy,” organized a summer excursion to California Dream Tattoo with a spotlight on these veterans’ experiences: their unwavering spirit of pride and camaraderie alive and well through the tattoos that honor it.

While not a service member himself, growing up around family and friends who were has given shop owner Romeo Lacoste a personal appreciation for those in uniform. The shop’s name itself reflects his own version of the “American Dream,” which for him always pointed West. “The palm trees, beaches, and luxury lifestyle I saw on TV stuck with me,” he said. “I moved to L.A. to build something iconic: a dream tattoo shop.” Through a partnership with Inked Magazine and Veteran Ink, Lacoste’s dream extends further to those who once donned the nation’s uniforms.

“I’ve been wanting to get this tattoo for probably 15 years now, but while I was on drill instructor duty, I didn’t want to feel like I was jinxing myself,” Durazo said, who chose a skull with a Spartan helmet face shield and drill instructor campaign hat.

Dornbusch, on the other hand, honored both his Norwegian roots and his military background with a design that pays homage to Týr, God of war, justice, and law in Norse mythology. “Being in the military, you’re always protecting others and making sure justice is served,” he stated.

As for Powers, it’s an emotional piece for him, one that takes him back. “When I first got my eagle, globe, and anchor, it was such an impactful moment for me. I cried, and I was so proud to have that in my hands,” he shared. “This is kind of what started me on my eight-year journey in the military and probably my most proud moment.”

Veteran Ink Chief Marketing Officer Heather Dueitt doubles down on the reflective nature of tattoos for veterans, breaking down the idea that it can be a form of therapy for their community specifically. “For veterans, tattoos often communicate what words cannot,” she said. “Tattoo therapy acknowledges that healing doesn’t always happen in traditional clinical settings. Sometimes it happens in a tattoo chair, where veterans can take control of their narrative and their body in a way that feels empowering.”

Lacoste is no stranger to the notion either. “Tattoos are more than art — they’re emotional,” he declared. “It’s a powerful connection between the artist and client, like therapy that you wear forever. You leave with something that helps you heal and makes you feel whole.”

Dueitt added, “It’s not just about the final artwork — it’s about the entire process: the planning, the meaning-making, the time spent in the chair, and the permanent transformation of difficult experiences into something beautiful.”

The note of transformation is multifold for veterans. Yes, there is the transformation of pain into works of beauty, but there is also the transformation of self post-duty, which isn’t always pretty.

Tattoos are more than art — they’re emotional. It’s a powerful connection between the artist and client, like therapy that you wear forever.

- Romeo Lacoste

“I’ve transitioned several times between playing professional soccer, going back in the military on active duty, and then coming back out. It’s not an easy transition,” Dornbusch said of returning to civilian life. “A lot of people have a false sense of hope when they are getting out,” he explained, reinforcing the importance of organizations like Veteran Ink. “The message that they’re sending (is impactful), helping veterans tell their story and advocate for other veterans, that you’re not alone in your journey. Leaning on each other and having each other’s support is what gets us through and to the next level.”

Powers recalled similar struggles with the “confusing” acclimation back to civilian life after serving. “I didn’t really know where to go,” he said. At least in this instance, he was reminded of that feeling of community, more specifically brotherhood, within the walls of California Dream Tattoo.

“I didn’t know what to expect going in, but meeting the vets and hearing their stories

left a huge impression on me,” explained Lacoste of the experience. “These are strong, brave people, but hearing their emotional connection to their service and their brothers and sisters in arms — it reminded me how deep their bond goes.”

His take on the American dream-meetsCalifornia Dream parallels the veterans’ pursuit of new beginnings. It underscores that belonging and purpose can be fulfilled in many ways, through service and symbolic ink alike.

“We’re building something much bigger than individual tattoo sessions—we’re creating a movement around veteran healing through art,” Dueitt added. For Dornbusch, Durazo, and Powers, alongside Lacoste, their tattoos — whether gotten or given — are more than art; they are markers of identity, memories, and pride.

To follow more powerful veteran stories, look out for the upcoming documentary series, “The Story Behind the Ink” by Veteran Ink at veteranink.com/our-videos

Celebrity tattoo artist Bang Bang is pioneering advancements in tattooing.

BY AMY HIGGINS

Shhh… The real catalyst behind tattoo artist Keith “Bang Bang” McCurdy’s rise wasn’t the headline-making remark he inked on Rihanna’s finger — he insists it was fashion and “traction,” the former PR buzzword to measure engagement before there were social media metrics.

“When I would tattoo Rihanna, who was becoming and had become a fashion icon, and I had a photo of her new tattoo, I treated it as a fashion moment,” Bang Bang said. “I reached out to fashion outlets to let them have that moment. That moment was delivered through a fashion outlet that set trends.”

Drawing attention isn’t new to Bang Bang, who often collaborates and travels with celebrity clients, including Justin Bieber, Cara Delevingne, Adele, and LeBron James. He has an apparel line, wrote the memoir book “Bang Bang: My Life in Ink,” and is the CEO at HYPRSKN, a nanotechnology company developing advancements in bioscience.

“We have a lot of projects; we’re really always working,” Bang Bang said. “This is a lot of work, because there’s a lot of regulation and regulatory pathways to move through for cosmetics and for skincare and beauty, where those things don’t exist for tattoo ink. We’re a little stuck in the Stone Age pretty much, so things aren’t as defined; you’re kind of self-regulating.”

A consummate philanthropist, Bang Bang recently volunteered his services for this year’s Inked Originals competition that raised more than $2.4 million for The Andrew McDonough B+ Foundation, which raises money for children fighting cancer. “I’m just happy to help, and I’m grateful,” he said of the opportunity. “My reward system comes from being able to make something useful — make something for somebody that’s really meaningful or has a huge impact in their life. I’m just happy to do that. That’s why I do the job I do. It’s really fun.”

In September, Bang Bang tattooed a knight on the ribcage of the Inked Originals champion,

Denver resident Kylie Mason. The knight represents strength and resiliency, qualities she honed during some challenging times in her past.

Yet, Bang Bang is just scratching the surface of what can be achieved in tattooing.

Introducing AERO

In June, Bang Bang Tattoo announced it had a new artist at the studio: Artist Enabled Robotic Operator, or AERO, “a state-of-the-art robotic tattooing device that redefines what’s possible in human skin.” Bang Bang Tattoo partnered with Austin-based Blackdot, an automatic tattooing device company, to bring AERO to life and to the tattoo studio.

Bang Bang Tattoo studio describes the robot on its website: “AERO is a human-supervised tattoo device used as a studio tool. It places precise, high-definition dots at a consistent depth for clean, repeatable results. Each session is led by a trained operator. They will consult on placement and fit, consider how

the design sits with your anatomy and any surrounding tattoos, apply the stencil, position you, execute the tattoo, handle cleanup, and provide aftercare instructions.”

At the time of his July interview with Inked Magazine and before AERO was introduced to the public, the tattooing robot had already inked around 50 people, including Bang Bang. For now, AERO only inks custom text tattoos in Bang Bang-curated font options in black and gray. Custom designs are considered on a caseby-case basis.

“This isn’t about replacing artists — it’s about creating new avenues to making perfect tattoos,” Bang Bang said. “Our goal has always been to bridge the gap between tattooing and fashion, and our newest partnership helps us bridge into technology as well.”

The Marvel of Magic Ink

Dr. Carson Bruns, a nanotechnologist and University of Colorado Boulder professor,

and a team of scientists have been working with Bang Bang on Magic Ink, the world’s first smart tattooing ink, for years and only recently started shipping the product. “All the credit really goes to (Dr. Bruns). I’ve just played along tattooing, right?” he explained. “(We’re) trying to make this into something we could tattoo that’s fun for tattoo artists and clients alike, but the real technology and the brilliance come from Dr. Bruns.

“We started from the groundwork of, ‘If we could make a tattoo of anything, what would we do?’ Of course, you’d want your tattoo to change,” Bang Bang continued. “Some 38% of people who are tattooed have at least one tattoo they regret, so there’s a large market of people who want to change their tattoo.”

To make ink with new abilities, the team created its own molecules and nanoparticles at specific sizes that can be inked into skin. Magic Ink is a tattooing ink that disappears and reappears when exposed to UV light.

“Essentially, what we did is we made a molecule that works like a door, and when you give it one wavelength of light, the door will open,” Bang Bang explained. “If the door is open, you can see color, and it will stay there. The door will stay open and fold open until you give it a different wavelength of light, and that door will close, and then you won’t see color anymore.” Imagine this: the portrait tattoo resting exquisitely and musing melancholily on your bicep produces tears when the Magic Ink is exposed to UV rays.

“Some people are really excited about the ability for Magic Ink to actually respond to the ultraviolet light that you get from the sun,” Bang Bang said, explaining, “So, if you’re in very dangerous high UV light, your tattoo is going to tell you, which is kind of cool.” The team is exploring more ways Magic Ink can offer feedback about changes in your body, such as alerting diabetics when their blood sugar is low or when COVID is detected in the body.

“(Magic Ink) is a catalyst for everything tattoo ink will become in the future,” Bang Bang said, explaining that the product is so new that the possibilities are endless. “We have a lot of work to do, and it’s cool to be part of a team that does that.”

Impactful Innovations

Bang Bang is fully engaged in his brand and businesses, and all signs say he’s not pumping the brakes anytime soon. “We’re really always working,” he said. “As much as Magic Ink is incredible, HYPRSKN (hyprskn.com), the company that created Magic Ink, works on other projects that we haven’t fully announced yet. There’s some pretty cool skin science going on.”

Our goal has always been to bridge the gap between tattooing and fashion, and our newest partnership helps us bridge into technology as well.

When he’s not in the studio, lab, or with his daughters, there’s a good chance he’s immersed in a collaboration, whether with celebrities, brands, or charities, like MakeA-Wish Foundation and the Children’s Skin Disease Foundation.

Last year, Bang Bang and Bentley announced their collaboration to bring Magic Ink innovation to the luxury car’s canvas, “A perfect blend of innovation and craftsmanship,” Bentley posted about the partnership on Instagram. The announcement was the first step; the bona fide Bang Bang-designed Bentley is currently in production in the U.K. and scheduled to launch in the U.S. this year. Bang Bang’s creativity goes beyond the tattoo studio. It broadens into science and technology that could serve practical, sometimes lifesaving purposes. To Bang Bang, tattoos are symbols of fashion and self-expression that can be enhanced as tools and safeguards. As tattooing innovations endure, there’s a good shot Bang Bang will be zeroing in.

THE EVOLUTION AND EMOTION OF RENOWNED TATTOO ARTIST IVANA BELAKOVA.

BY AMY HIGGINS

rowing up in a tiny Czechoslovakian Communist village “where dreaming was dangerous and speaking the truth could get you punished,” Ivana Belakova, founder of Long Beach-based IVANA TATTOO ART, was still drawn toward the colors and creatures that surrounded her. “We didn’t grow up with options; we grew up with ration lines, government fear, and the same rules passed down through the family,” she explains. “Everything was gray. Everything was silent. But inside me, there was color.”

Her passion for pigments and artistry steered her toward graffiti art until a friend placed a tattoo machine in her hand. “I’ll never forget the sound it made. It made me feel alive. I was instantly hooked. I didn’t have mentors. I didn’t have a roadmap. I didn’t even have proper supplies. But I had obsession,” Belakova reflects. “This was the thing that would let me tell stories on skin and take me out of the silence I was born into.”

Belakova describes her tattooing style as “funky color,” blending vibrant hues with representations of living entities, prismatic artworks that evoke emotional sentiments of intensity comingled with calmness. “Funky color is storytelling on skin,” she explains. “It’s graffiti, street art, abstract expressionism, and childhood imagination all colliding at once. I tattoo in layers, exaggerated lines, wild textures, emotions that don’t sit still, like me. There’s always movement. Always something beneath the surface.

“But it’s not just personal, it’s global,” she continues. “My work is shaped by my love for travel, for different cultures, for animals, for this wild, beautiful planet. I pull from the curiosity of children, the freedom in fantasy, and the feeling of looking at a map and seeing possibility. Every piece I create is a passport into something bigger, something only I can produce, once.”

Diagnosed with ADHD and obsessivecompulsive disorder, the self-taught artist relies on rhythm to create balance and stay grounded. Her tattooing style has evolved over the years to stay aligned with global artistic developments, but the way she tattoos remains consistent. “I still do everything by hand; no iPads, no tracing, no easy way out,” she says. “I need to feel the process, from the first sketch to the final drop of ink.”

Belakova says she has won first place at every tattoo convention she’s entered, from Paris to New York, Shanghai, Los Angeles, and Prague, and has garnered repute from the stars, inking individuals such as Mia Khalifa, Chris Brown, and Quavo. In 2018, the artist made history when MACRO, the Museum of Contemporary Art of Rome, certified Belakova’s tattoo work as contemporary fine art. She was the first woman in the world to attain such accolades.

I feel colors in people. Every tattoo I create is built from emotion, frequency, and memory.

While Belakova was absorbing the weight of this designation, COVID-19 started to ravage the globe, and business operations paused, including tattoo studios. Unbeknownst to others, she thought about quitting. “Before COVID, I was all in. Tattooing was my oxygen. I lived on planes, in studios, in back-to-back conventions. My machine was always on. My identity was ink. Then the world shut down, and so did I,” she shares.

“During that silence, something cracked open,” she continues. “I stopped chasing and started listening. I had a full-blown awakening. I ended up being the only Slovakian ever granted a personal interview with Rhonda Byrne (author of “The Secret”), and it lit a fire I didn’t know I had. I saw how deeply people, especially in my country, were starving for self-belief. That’s when I pivoted. I started teaching what no one ever taught me: how to manifest, how to lead your own mind, how to turn pain into power.”

Belakova was silenced in her childhood, with no direction or support to pursue her passions, but this newfound confidence emerged, and she returned to art with more power and purpose. She’s currently in a “full-blown evolution,” writing more books, teaching global seminars, and venturing into modeling and acting.

“I’ve spent years putting permanent art on people’s skin; now I want to put energy on screens, emotion in front of the lens, and bring a new face to representation. One that doesn’t fit the mold. One that’s bold, international, edgy, real,” she says.

Success in tattooing doesn’t come easily, but to achieve it, Belakova advises aspiring tattoo artists to “Be original. This industry doesn’t need more copies, so don’t waste your time chasing trends or mimicking what’s popular on Instagram. Find your own rhythm, your own voice, even if it’s messy, even if it doesn’t fit in.”

To carve your own path in tattoo artistry, she emphasizes the importance of learning, discovering how to be more entwined with your passions, and most importantly, “to respect the skin, the story, the energy.”

“Tattooing isn’t just drawing on skin; it’s a language,” she explains. “For me, it’s even deeper. I experience synesthesia, which means

Be original. This industry doesn’t need more copies, so don’t waste your time chasing trends.

I feel colors in people. Every tattoo I create is built from emotion, frequency, and memory. It’s a full-body experience, not just technique.” Belakova’s artworks extend beyond ink on skin. The IVANA TATTOO ART online store offers merchandise, such as apparel, prints, accessories, and coffee, that is either designed or curated by the artist herself. “It’s not just merch with my name slapped on it; it’s pieces I’d actually wear, hang on my walls, or drink

in my own kitchen,” she says.

The tattoo industry has taken giant strides since Belakova first held a tattoo machine, but she embraces the changes. “I celebrate new blood, new energy,” she says, adding, “Do I miss it? No. I don’t really miss anything in life. I’m 100% present. I don’t live in nostalgia. I don’t cling. But I do wish the new generation would go back to the roots, the rawness, the code, the soul of what this was before it became an industry. That was magic. And I don’t know if we’ll ever see that again.”

Still, those roots stay firmly planted in tattooing history, guiding future artists as they navigate the constraints and opportunities to help them grow in an ever-changing landscape. Belakova’s story is evidence that originality, confidence, and tenacity still have the power to break through and create a life with transformative possibilities when you embrace your origins.

Many tattoo artists have tattooed themselves, but Dmitriy Tkach might be the only one who did so at age 10. “My grandfather introduced me to tattoos,” Tkach says while reflecting on his childhood in Zhytomyr, Ukraine. “He had one on his arm and told me how he got it, almost under homemade conditions. As a kid, it wasn’t hard for me to replicate that.”

Tkach grew his childhood curiosity into a career inking large-scale, immensely detailed and complex, mostly black-and-grey tattoos. He pursued large-scale work to distinguish himself after his early designs “spread across the internet and were copied by hundreds of other artists.” Now, he receives requests almost exclusively for full sleeves or legs from numerous clients, both within Ukraine and beyond.

The Early Days

Visual art has been in Tkach’s blood for as long as he can remember. “Since early childhood, I had a strong interest in drawing,” he says. “It started with simple sketches in my school notebooks and grew into creating paintings that I hung on the walls of my bedroom.”

Over time, he pivoted from portraits of animals and landscapes to unkempt graffiti that he drew directly on his walls. He was constantly criticized for this graffiti, and as he faced rejection, he developed a sense of rebellion that drew him toward tattoos and his passions for heavy metal, hard rock, and motorcycles.

“I really enjoy this kind of lifestyle,” Tkach says of how these overlapping interests influence his tattooing. “It’s both aggressive and romantic. There’s a lot of drive and passion in it… I don’t go for unnecessary brutality or violence, but there’s always a hint of passion and a dark vibe in my work.”

Modern Detail

If you were to sum up Tkach’s work in one word, it might be “intricate.” Whether they occupy most of a client’s arm, a portion of their back, or the entirety of their chest, Tkach’s tattoos abound with sharp lines, careful shading, and startlingly true-to-life replications of cartoon characters and historical figures. His jawdropping attention to detail is more impressive given how he creates his designs.

“Each one is unique and hand-drawn,” Tkach says. “The concepts and themes behind my work are shaped by the culture and life experiences of both myself and my clients… If a client comes with a clear concept, I use their original idea as the foundation and interpret it in my own way.”

On the other hand, “if the idea isn’t fully formed yet, I help [the client] uncover it through deep conversations, learning about who they are and the story they want to tell.

“I never repeat the same design, never sell my sketches, and never copy other artists,” Tkach continues, emphasizing, “Sticking to these values has occasionally pushed me into creative burnout. What always pulls me out of those moments is the unstoppable drive to outdo myself. I come back to tattooing with fresh energy and new ideas that push my style even further.”

Among these new ideas is Tkach’s recent embrace of color.

“What used to be a cold, gritty black-and-grey aesthetic is now slowly being transformed,” he says, adding, “When someone says they see only black and white tattoos on themselves, I don’t try to sell them on adding color.” Instead, the decision is made through “hours of creative back-and-forth — great conversations, brainstorming, and building ideas together” with the client.

Working Amid War

After Russia invaded Ukraine in February 2022, Tkach relocated from the country’s capital of Kyiv, where he had a studio, to his native Zhytomyr to be closer to his family. For some time thereafter, he stopped tattooing.

“I tried to return to work in April 2022,” Tkach says, “but

tattooing has never been just a craft or a way to earn money for me. It’s first and foremost about art. And once I realized that, in those conditions, I had no source of inspiration because every day brought either a small or a great tragedy, I stepped away from tattooing and art for more than a year.”

After another year passed, Tkach recounts that he “found the strength to return. I opened a new studio and began working again. My inspiration came from the people around me who supported me, and from my clients who, despite all the hardship, kept pushing themselves to live, love, and stay open to art and beauty.

“I made a conscious decision to stay and share the burdens and hardships my country is going through,” Tkach continues. “By staying in Ukraine, working, paying taxes, and continuing to create art, I’m still contributing to my country in my own way. And despite how difficult things are, that gives me a sense of purpose.”

A Future Vision

In February 2025, Tkach shared his first painting in many years. He says that this painting “reflected a buildup of feelings and experiences inside me” and “brought me a real sense of relief and satisfaction.”

Since returning to tattooing, he’s realized that expression across artistic mediums is key to perseverance.

“I think [painting] is something I’ve been missing, and going forward, I’d like to give it more attention,” he says. “Maybe one day, when I’ve created enough pieces, I’ll put together an exhibition of my own.”

As he looks ahead, he envisions working for the betterment of all of Ukraine.

“I’m planning to launch a major charity project to support our veterans and those who’ve been physically affected by the horrors of war,” he says. He hopes to use the global reach he achieved through his tattoos to spotlight his country, all while he keeps inking his exceptionally elaborate designs onto people’s bodies.

“I hope to, once again, welcome international clients to Ukraine,” he adds, “to show them our culture, our resilience, and the incredible talent of Ukrainian tattoo artists.”