The Umbrella Academy is a series of comic books written by My Chemical Romance’s Gerard Way which was later made into a Netflix original show. Today (July 31st 2020) marks the release of season two, and fans are very excited.
Gerard Way apparently started drawing characters backstage before shows, and wrote it during the tumultuous time before My Chemical Romance broke up (as well as during the breakup).
Cameron Britton (Hazel), and Mary J. Blige (Cha Cha) became great friends on set due to their similar senses of humour. Though Mary reportedly had to go to “dark places” for her role of Cha Cha, and also had to practice martial arts every day on set with Cameron and their trainer.
The show has been filmed entirely in Canada (so far), Toronto to be exact, despite its American setting.
The show and comic are both great for those who love less mainstream superheroes and stories that play with time travel and the apocalypse.
As a tattoo, some of the most popular designs include the umbrella logo, Hazel and Cha Cha’s masks, and show favourites such as Klaus.
Who is your favourite character? Do you prefer the comics or the show?
For over 100 years, “The Tattooed Lady” was an attraction not to be missed at circuses, carnivals, and freak shows all around the world. While men also performed and showed off their tattooed bodies, women were what people wanted to see. Pick a time in history, or modern day, and sex and danger sells. Thus, tattooed women sold tickets wherever they went, and attracted tourists and locals alike.
Some of the most famous tattooed ladies of the 1800’s and 1900’s also had fabricated back stories to make themselves seem more interesting. What’s more interesting (especially given the times); “woman tattooed by force after capture by ‘savages'”, or “woman gets tattooed by her common-law partner?” This was part of the fabrication and later true story of Nora Hildebrandt.
Nora Hildebrandt is known as the first professional tattooed lady. She was tattooed by her common-law partner, Martin Hildebrandt (some people refer to them as father and daughter but more evidence points to them being romantic partners rather than father and daughter). Martin Hildebrandt is a hard person to pin down due to the amount of traveling he did. But according to numerous reports it looks like he eventually settled in New York in the 1850’s. Nora Hildebrandt began performing at sideshows in 1882, with over 365 tattoos all over her body. This number helped her fake back story of being captured by “Indian savages” and forcibly tattooed one per day for a year (which she later admitted was false and just helped sell tickets). Nora most famously performed with Barnum and Bailey’s circus in the 1890’s as their main tattooed lady.
Artoria (Anne) Gibbons is another well known tattooed lady. She worked for over 30 years in circuses and sideshows in the early 1900’s including Barnum and Bailey’s, the Ringling Brothers, and others. She met Charles “Red” Gibbons, an already well known tattooer, and the two eventually married. After being married for 4-5 years, Red started tattooing Anne, and she became almost like a business card or canvas to showcase his work. She was apparently so beautiful, and the tattoos on her body so well done, that she stole the show wherever she went. In an interview in 1934, Anne said that she was often asked if she was born that way (seriously). From medieval times to the mid 1900’s many people believed in the “mark of impression,” that something the mother had done or seen would leave a physical mark on the baby. Doctors legitimately thought that her mother had watched too many movies while she was pregnant with Anne and that’s why she was covered in images.
A third well known tattooed lady was Betty Broadbent. She was born in the early 1900’s and at the age of 14 went to work for a wealthy family in Atlantic City as a nanny. It was there that she came across the heavily tattooed man, Jack Red Cloud on the famous Atlantic City Boardwalk. He was performing as a Tattooed Man and was happy to talk to her about tattoos and art. Betty started her body suit after being introduced to Jack’s friend, the famous Charlie Wagner. She spent her life savings tot ravel to New York City to and start being tattooed by Wagner. She was also tattooed by another New York artist named Joe Van Hart, and eventually collected pieces from Tony Rhineagear and Red Gibbons. The process took about two years and included 365 individual pieces, varying in theme. They covered her arms, legs, back, and chest. Pieces included historical figures such as Queen Victoria, religious figures such as the Virgin Mary and Baby Jesus. Though one of her most notable pieces is a huge eagle that spreads from shoulder to shoulder. When asked about it she reportedly said “it hurt something awful, but it was worth it.”She joined the circus in 1927, working with the Ringling Brothers and Barnum and Bailey’s. Betty was also one of the few well known Tattooed Ladies who didn’t use a fabricated story about her tattoos.
The last Tattooed Lady I looked at is Maud Wagner. Along with being a Tattooed Lady, Maud also performed aerial acrobatics and was an accomplished contortionist who travelled with multiple circuses. She was born in 1877 in Kansas. Maud met her husband, Gus Wagner at the Louisiana World’s fair in 1904, and learned how to do hand-poked tattoos from him. She would become America’s first known female tattooer, along with her work as a performer in the circus industry. The couple had a daughter, Lotteva, who learned the family trade at the age of 9 and continued tattooing throughout her life. Maud’s tattoos included patriotic art, and animals mainly.
It is often assumed that men dominated the tattoo world, but through research it’s clear to see that women have been just as important in shaping tattoo culture. Tattooed Ladies brought tattoos to the forefront of underground society, and helped make them “more acceptable.” Tattooed Ladies were able to make a name and living for themselves for over 100 years, from the late 1800’s to mid 1990’s through circuses and carnivals, and now are able to through websites and magazines.
Bram Adey is arguably one of the most sought after tattoo artists in Winnipeg. Bram worked at the popular Rebel Waltz Tattoo for nine years, but as of August 2020 will be at Main Street Tattoo Collective.
Bram takes inspiration from all things in nature, particularly animals. His birds and flowers are some of the most beautiful pieces you can get from him, among many others.
Bram does both machine work and hand poke pieces, and does dot work and delicate black and grey.
Much of his work is also inspired by American traditional and Japanese styles, but done in black and grey with more realistic elements.
Check out Bram’s Instagram linked above to see more and get his contact information.
June 2020 and the world (largely the Western world, particularly North America and England) has started to open to their eyes to the reality that the police are not “the good guys.” First some statistics from Canada and The United States before we get into the history of police.
In the US, police kill more than 1000 people a year. Black people are 3 times more likely to be killed than white people, and are 1.4 times more likely to be UNARMED during these killings. In Canada the numbers are harder to find, though police have killed close to 500 people that we know of since the year 2000, and the number has been climbing yearly.
Looking specifically at Toronto, an Indigenous person is 10 times more likely to be shot and killed by police than a white person. While Indigenous people are persecuted by police in Canada at a larger percentage than any other race, black people are also targets for police violence. Again looking at Toronto, 18 black men and one black boy were among the 52 people killed by police in Toronto alone from 2000-2017. Of those cases only 7 police officers faced charges and only 1 was found guilty.
As of 2015 the US makes up only 5% of the worlds population, but 21% of the world’s prisoners. Land of the free? Not even close. Black people in the US are incarcerated at more than 5 times the rate of white people. Black women do twice the amount of time in prison than white women for the same crimes. Click here to learn more about incarceration in the US.
Meanwhile in Canada, Indigenous people make up only 4.5 precent of the population, but make up 25% of the male prison population, and 35% of the female prison population.
Now let’s look at where police actually come from. Spoiler alert, they have never been there to “protect and serve.”
In the US, the institution of slavery and the control of minorities and immigrants are the two biggest reasons why police exist in America today. Slave Patrols and Night Watches were both created to control BIPOC. These date back to 1636, and possibly earlier. These were groups of men who would search for escaped slaves, and were meant to protect colonizers from the Native Americans they were murdering at an alarming rate. These groups built on oppression and racism later became official police in the US during the 1830’s and were/are still extremely violent, particularly towards minorities, including BIPOC and people from the LGBTQ community.
In Canada, the story is almost exactly the same. Canadians might like to think our country has less racism than the US but both our countries were built on it, and both are still suffering because of it. Like the US, Canadian police came from groups of people much like the Night Watches and Slave Patrols in the US. At the time Canada also had slaves, and was also in the middle of the mass genocide of Indigenous peoples. By the 1830’s these groups turned into official police forces, and though slavery was abolished in 1834 in Canada, black and Indigenous people were already associated with crime in the white eye. Meaning simply existing as a BIPOC put you at risk of police and white brutality in Canada just as much as the US.
Tattoos have long been an underground art form, being made illegal numerous times throughout history, and is still illegal in some countries today. While in the West and North America in particular, tattoos are becoming more and more mainstream, they are still most popular in alternative scenes, and particularly with people who generally lean farther left politically (of course there are exceptions). Therefore anti-establishment and anti-police tattoos have existed for a long time, and will continue to exist.
Anti-police tattoos are most often done in American traditional style, black work, or ignorant style.
To read more about the history of police oppression and violence in North American please click here, here, or here.
Today ( June 21st 2020) is National Indigenous People’s Day. Indigenous people have a rich history of body modification, including tattooing, which is still being practiced today.
Before colonialism ravaged North America, tattooing and other traditional body modifications such as piercings were practiced widely by different people throughout what is now Canada and The United States.
These tattoos were meant to represent family, clan crests, social rank within a clan, their relationship to a specific territory, and even hunting and fishing rights.
Tattooing and piercing are just two ceremonial practices that were forbidden by colonists in an attempt to stamp out Indigenous culture, and today, many artists are bringing it back.
North American Indigenous designs are similar to those of the Maori people of New Zealand. Geometric patterns using black ink, produced generally by tapping or threading the ink into the skin using a natural rod or thread, also called “hand poked” or “skin stitched” tattoos.
Placement is also similar between the cultures, often placing important tattoos on faces and hands, among other body parts.
Indigenous tattoos traditionally take inspiration from nature, such as animals, plants, and the elements. But of course Indigenous tattooers can and do work in other styles.
There is unfortunately still quite a bit of subtle (and not-so-subtle) racism in the tattoo industry. It’s often believed that customers with darker skin are harder to tattoo, but that’s certainly not the case. Especially as body modification is such an important part of all cultures and histories, not just white ones.
Black ink is also not the only ink that has to be used on dark skin, contrary to what many believe. Darker skin can still feature bright and colourful pieces. you just have to know what you’re doing with that tattoo machine.
More tattoo artists should push themselves to learn how to tattoo different skin types, including darker skin, as the subculture of tattooing isn’t so “sub” anymore. It can be disheartening for black or tanned customers walking into a tattoo shop when all they see is flash painted on white paper, and portfolios filled with white skin, or only very dark tattoos on darker skin.
(June 2020) With the world finally rallying beside our black brothers and sisters it’s more important than ever to support black businesses, including tattoo artists.
Feel free to leave more links to black tattoo artists below!
Referred to as the “king of tattooists” by himself and others, George Burchett- (Davis) was one of the most famous tattoo artists of his age, particularly in the UK. Notably tattooing in London, marking both the social elite and the hard working class, and even members of the Royal family.
In Burchett’s “Memoirs of a Tattooist” he states that “I have tattooed the subjects of six sovereigns, starting with portraits of Queen Victoria. The tradition has been maintained and still seemed to be strong when I prepared the designs for the coronation of 1953.” He also reminisces about tattooing The Duke of Saxe-Coburg-Gotha, one of Queen Victoria’s favorite nephews, Prince Christian Victor, a grandson of Queen Victoria, and King GeorgeV. Along with English royalty he also tattooed King Alfonso XIII of Spain, and King Frederick IX of Denmark.
Burchett was born in Brighton in 1872, and had a very early introduction to tattooing. He practiced tattooing on his five year old brother, Charles, who apparently traded candy for some scratched designs in his skin. George also tattooed his classmates until he was expelled for doing so at the age of twelve.
After being expelled, George joined the Royal Navy and sailed as a deckhand all over the British Empire, including stops in the West Indies, the Mediterranean, Africa, India, and East Asia. This was also where he fell farther in love with tattooing, as he was able to see marvellous styles and designs from all over the world. He was able to develop his own skill and style by tattooing other sailors.
Life at sea proved to not be for George, so he left the navy while on leave in Israel, and set up his first shop in Jerusalem. This only lasted a short time as he feared being caught by authorities for deserting the navy. This led to him boarding a Spanish merchant ship. He was able to avoid persecution for twelve years, but missed England. It was at this point that he dropped the “Davis” in his last name to make it harder to catch him, and set up shop in London, but this time as a cobbler. Though he did continue to tattoo on the side whenever the opportunity arose. During this time he was fortunate enough to meet two other legendary artists, Tom Riley and Sutherland MacDonald. MacDonald took George under his wing and taught him more about techniques and designs of tattooing.
During his time as a cobbler/tattooer he grew more and more popular with the working class as a top tattoo artist, working mainly on sailors, dock workers, and transients that happened through London from all around the world. In 1900 George was able to start tattooing full time and give up cobbling. He opened a proper shop on Mile End Road where he could easily catch soldiers on their way to the front lines in World War One.
As his shop grew in clientele, so did his reputation, leading him to tattoo more wealthy Londoners, and even royals. Though Riley and MacDonald tattooed more royals than he.
Another of his more famous clients was “The Great Omi,” (Horace Ridler) who was a well known circus performer. George was paid several thousand dollars to tattoo a full body suit that turned The Great Omi into a human zebra.
George is also one of (if not the) first artists to use tattooing as a cosmetic procedure, tattooing women lips and eyebrows (though he also tattooed many flowers and lovers initials on his female clientele).
George Burchett was undeniable a classic American traditional artist, though like many historical and modern tattooers, drew influence from African and Asian art that he had the good fortune to see during his travels at sea.
He tried to retire at the age of 70 in 1942, but because of World War Two, tattoos were at an all time high demand, essentially forcing him and his two sons to tattoo the immense amount of soldiers and sailors walking through the door.
Because he never retired, George worked until Good Friday of 1953 when he died suddenly at the age of 81. His work is still highly influential today with people still getting his designs, or variations of them, tattooed in large numbers.
The Sun Dancer tattoo is an easily recognizable American traditional design, first painted by Bert Grimm, a pioneer of American traditional tattooing who worked from around 1916-1970. An important part of Indigenous history and culture, the Sun Dance is a spiritual ceremony that was and is still very important to different groups, primarily to those of the plains cultures in America and Canada.
The ceremony is a gruelling but important one, primarily (though not entirely) performed by males. The dancer fasts, going without both food and drink for days at a time, while dancing around a sacred fire and traditional pole meant to represent the sun. Others drum and sing prayers while the dancer dances until exhausted.
As part of the ceremony, piercing and suspension is also common. This involves a leader piercing rods into the chest or back of the dancer, while they drag a bison head until the skin rips. Other variations involve horses pulling at the rods, or the dancer being suspended from the pole by the rods in their skin. This inspired modern suspension.
Often times the dancer would become delirious and hallucinate both from the physical and mental exertion, topped with dehydration and extreme hunger. Unfortunately the ceremony was banned in Canada in 1885 under the Indian Act, but the ban was dropped in 1951, though Indigenous people continue(d) to be treated unfairly. Today the Sun Dance is still performed by some communities.
One of the first examples of this ceremony being painted is Bert Grimm’s Sun Dancer flash and tattoo. The original painting depicts a girl dancing with her left knee raised, right hand holding a spear, with a shield depicting a bald eagle in her left hand. A red sun and traditional roses make up the background.
As the design was first made by a pioneer of American traditional tattooing, it is mainly tattooed today in the same style. Though people do take artistic liberties, sometimes including animals or other flowers, and even changing the subject of the tattoo. It is often done as a back tattoo, but can also be seen on arms and legs, usually as still large pieces, though through adaptation artists have created smaller pieces as well.