And one man who capitalized on the revolution is 83-year-old tattoo artist Lyle Tuttle, often called the father of modern tattooing.
"I was in more panties than gynecologists," he said, "because a favorite spot for ladies to get tattooed was inside the bikini line.
"It was not my great artistic talent that got me where I'm at today. But I was in everybody's favorite city."
As hippies swayed to psychedelic rock in the '60s, tattooing enjoyed a renaissance -- and Tuttle emerged as San Francisco's master tattooist, inking the likes of Joan Baez, the Allman Brothers and Janis Joplin.
"You had a tattoo, you belonged to sort of an elite club," he said.
It was Joplin's very visible tattoos that help thrust the art into the spotlight. As tattoos made their way into the mainstream, so did Tuttle . . . landing on the pages of Rolling Stone, Life magazine and the Bible of American business: "The Wall Street Journal did a profile of me, on the front page, about a man that markets the improbable product," he said. "All of a sudden the business world said, 'Oh, tattoos are cool!'"
Today, tattoos are a ubiquitous product. Like Scott Eureka (whose tattoo symbolizes the two most important things in his life: faith and family), more than 45 million Americans have gone under the gun.
And while tattoos have become a kind of fine art for the masses, they still come at a price -- about $400 an hour at Friday Jones' studio.
Salie asked, "What do you people expect from a tattoo artist today?"
"They expect works of art on their skin," said Eric Schwartz.
Jones continued: "And then Grandma's like, 'Oh, it looks just like Mimi,' or it looks just like the grandfather that's passed. And that's the most touching, when you build a bridge. And isn't that what art is supposed to do?"
For more info: