Mario Barth Spiele


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Mario Barth Spiele

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Mario Barth Spiele

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Quelle: F. Weitere Themen. Video-Seite öffnen. Bei einem offenbar koordinierten Angriff im Wiener Ausgehviertel sind mindestens vier Menschen getötet worden, darunter ein Tatverdächtiger.

Der österreichische Innenminister geht von islamistischen Motiven aus. Die europäischen Nachbarn reagieren bestürzt.

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Bitte versuchen Sie es erneut. Bitte wählen Sie einen Newsletter aus. Europäische Kommission. Barth assumed that he could operate the two shops simultaneously.

But the Miami store struggled. Rather than relying on foot traffic, it was a destination shop, with Barth as the draw. The tattooists he employed were unreliable.

And they had little if any incentive to behave differently. Tattoo artists are traditionally paid strictly on commission--generally 40 percent of the tattoo's price tag.

Benefits like health insurance are unheard of. With no formal training mechanism, young tattooists are at the mercy of a closed society of masters.

There are far more aspiring apprentices than there are apprenticeships, which are either unpaid or require the apprentices to pay for the privilege.

Even employers who want to be more conscientious have a tough time. Most shop owners have a full schedule of appointments in addition to their managerial duties.

Michelle Myles, who owns two of New York City's best-known studios, DareDevil and FunCity, spends 30 hours a week tattooing and employs no professional managers.

The only nontattooists in the shop work the cash register and sweep the floors--and even these kids are doing it in the hope that she may one day agree to apprentice them.

Your business depends on these people who don't want to do anything but tattooing. And if they're unhappy, they can just walk around the corner and work somewhere else.

As Barth struggled to be in two places at once, he became convinced that the Miami studio was more trouble than it was worth. In , he shut it down and convinced his three artists to move up to New Jersey.

Unfortunately, the Jersey shop was too small for four full-time artists, leaving Barth with the unpleasant choice of laying someone off or cutting back everyone's hours.

He chose the latter. He was happy to be in New Jersey, excited about building a life with Carol. But he couldn't help but feel that he was treading water as a businessman.

He hated the fact that after luring his artists north, he couldn't provide them with full-time work. At the same time, he was tired of the hassles of managing artists.

If he ever hoped to turn his art into a real business, he'd need tattooists who didn't require constant supervision. Suddenly, Barth recognized that the problems were connected.

M ost entrepreneurs and management experts would consider this a no-brainer. Yet in the proudly backward world that is the tattoo industry, the notion of asking artists to worry about something as obvious as customer service--or showing up on time--seems like insanity.

Despite the ubiquity of tattoos, the tattoo industry is still dominated by individual shops with one or two artists. And no one has had the appetite or the ability to pull a Howard Schultz and successfully consolidate.

Most tattooists will talk your ear off about tattooing as art, but when you ask them about the business, they get cagey. His partner on the show, Ami James, says, "I hate the corporate world more than anybody.

Indeed, ask anyone in the industry if mainstream business practices could be brought to bear on tattooing, and they'll say the same things: No way.

Never gonna happen. But Barth found himself wondering whether that had to be the case. Beginning in , he announced that any Starlight artist could get paid a small base salary plus a commission and join the payroll.

It didn't go over well. Artists worried about reporting income to the IRS and chafed at the very idea of being anyone's employee.

His peers' skepticism changed several years later when Mazzara, now 40 and married with a 4-year-old son, was able to get a mortgage and buy a house.

His colleagues, many of whom couldn't even qualify for an auto loan, were stunned. By , all of Barth's 10 employees were officially on the payroll. Barth then purchased health and vision insurance policies and established a k plan with a 4 percent match.

Barth also instituted twice-monthly meetings to discuss Starlight's business practices and plans for the future.

The meetings are held every other Saturday morning. Before each, Barth announces an unusual start time, say a. The gatherings are designed to help artists get a handle on the business, in the hope that they can one day run Starlight locations of their own as the company grows.

The goal of all this, of course, is retention. Like all employers, Barth wants to create an environment that will discourage people from going elsewhere.

In other words, help the tattooists get mortgages and retirement plans--that is, give them an incentive to stay employed--and you'll take the biggest risk out of the business.

Even as he was transforming his business on the inside, Barth also was working to clean up tattooing's image among outsiders.

Somewhat counterintuitively, he's done it by opening shops in municipalities where tattooing has been illegal and battling the town council when it seeks to shut him down.

Tattooing was banned throughout much of the United States during the s, following a hepatitis scare. Why wouldn't you want it done where you have proper training, proper location, and proper recordkeeping?

Barth appealed the decision and the law was eventually ruled unconstitutional by a state judge.

But over the next five years, he became the first tattooist in the townships of Paterson and Rochelle Park.

It was time to truly put his plan to the test. He purchased another shop--a studio in the small town of Pequonnok--and announced that he would be tattooing exclusively in Rochelle Park, leaving the other shops to run on their own.

Meanwhile, Barth started thinking about building an infrastructure that could sustain a much larger enterprise. He hired an IT consultant to create centralized appointment, inventory, and payroll systems.

His last, and perhaps most dramatic, move involved ink. Like many artists Barth had long mixed his own pigments, but it occurred to him that he could apply the same marketing strategy that had helped him win over small town councils to the ink business.

Lots of tattoo companies made ink that was safe, but no one marketed it that way. In the summer of , he leased a warehouse in Hackensack, built a bottling plant, and began subjecting his inks to rigorous pathogen testing and sterilization.

They are packed on a tidy production line that consists of a half-dozen employees who hand-fill and pack 3, bottles a day for shipment all over the world.

And Barth's studios are guaranteed a low-cost, reliable source of ink. B arth's office is housed in a low-slung building in a gritty section of Hackensack.

It has two windows, one looking onto the street, the other onto the floor of the bottling plant. He monitors the studios via webcam feeds on his computer monitor, and keeps tabs on the world at large with a giant plasma television that is perennially tuned to Bloomberg TV with the sound off.

A typical day looks something like this: He arrives at Starlight's headquarters at 8 a. He e-mails with suppliers and clients, watches the news, and plans his day.

He's at the office until p. He's back to the office by and home by 9. After his wife and son are in bed, he'll often stay up until 3 working on his laptop.

Around the same time he was building the ink business, Barth began thinking about something few tattooists seem to consider: the customer experience.

I bet you that in 95 percent of the stores you're going to hear death metal, when you want music that relaxes you. Barth says that he tries to make his shops feel like doctors' offices in order to assuage clients' fears about disease transmission.

But that description doesn't do them justice. Although the Rochelle Park shop does indeed have drab white rooms that seem vaguely medical, its most striking feature is the lobby.

The space is overcrowded with art and tattooing trophies, making it feel like the rec room of the world's most dedicated tattooing fan.

The impression is reinforced by the proliferation of chairs and barstools, which make it a rather pleasant place to spend an afternoon. Barth says that's the point and credits Starbucks with the inspiration.

But we're very business-oriented. Earlier this year, Barth opened his first new shop outside New Jersey, in the southern Spanish town of Malaga.

But Starlight's future really depends on what happens in Las Vegas. After tattooing Diehl, Barth and a lawyer flew out to America's playground.

They'd planned to deliver it to the hotel's president, Bill Hornbuckle, but instead were asked to meet with the vice president of sales, who politely informed Barth that the hotel was rethinking the proposal and had decided to put it on hold.

Barth walked out of the meeting stunned. A year's work was down the drain. When he returned home, he immediately sent a gift basket with a note suggesting they might find another location within the hotel.

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