20. Tattoo Parlors

Summary

Podcast Summary: The Economics of Everyday Things — Episode 20: Tattoo Parlors

Host: Zachary Crockett
Date: March 9, 2026
Produced by: Freakonomics Radio Network

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Overview

This episode of The Economics of Everyday Things delves into the business and evolving culture of tattoo parlors in America. Host Zachary Crockett explores how tattooing has transformed from a niche subculture to a booming mainstream industry, breaking down the economics, creative trends, and personal stories that define the trade today. Featuring input from shop owner Tyler Adams and artist Stacey Martin Smith, this episode examines everything from regulation and business models to Instagram’s impact and the physical toll of the job.

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Key Discussion Points & Insights

The Modern Tattoo Boom (01:09–02:31)

• Tattoos are more popular than ever:
  • 32% of Americans now have at least one tattoo, compared to 21% ten years ago.
  • Around 20,000 tattoo shops in the U.S., generating $1.5 billion in revenue annually.
• Changing clientele:
  • Tattooing is mainstream—whole families get tattooed.
    • Quote: “Go through a summer here when everybody's wearing a tank top and it's like, you know, art everywhere.” — Tattoo Shop Employee/Artist (01:50)
• Cultural transformation:
  • Once patronized by sailors and bikers, now embraced by suburban moms, hipsters, and professionals.

Tattoo Artist Training & Licensing (03:34–05:36)

• Old school route:
  • Artists like Stacey Martin Smith started as unpaid apprentices, doing grunt work for education.
    • Quote: “You're working for them in exchange for a free education.”—Stacey Martin Smith (04:15)
• Today’s path:
  • Formal tattoo schools abound, with tuition often exceeding $10,000.
  • Licensing varies by state and county—can be rigorous or barely regulated.
    • “You can have one county that is the wild west... the next county it will be, you know, fiery hoop after fiery hoop.” — Stacey Martin Smith (04:54)
  • Example requirements: anatomy exam, first aid, bloodborne pathogens, tax records.

The Shop Economy & Shifting Business Models (05:36–07:32)

• Traditional commission model:
  • Shop provides clients, takes 30–50% of artist's revenue, like a hair salon.
  • Quote: “Say I do a $100 tattoo and the shop takes $50 I keep, and then whatever the client wants to tip on top of that just goes to me.” — Stacey Martin Smith (05:56)
• Rise of independence/co-ops:
  • Social media reduces artists’ reliance on shops for marketing.
  • More artists opening private or co-op studios, sharing expenses without a “boss.”
    • Quote: “People are opening their own private studio and then working like a co-op. ...there's no real, you know, boss or godhead or whatever.” — Tattoo Shop Employee/Artist (06:45)
• Flat-rent trend:
  • Shop owner Tyler Adams now leases chairs for a flat rate ($1,600/mo), letting artists keep all their earnings.

Social Media’s Profound Impact (07:35–08:44)

• Expanded reach:
  • Artists like Stacey Martin Smith attract clients nationally via Instagram.
    • Quote: “Social media changed everything. I started getting clients that were flying in or traveling in to get tattooed, where normally people would stay kind of close to home.” — Stacey Martin Smith (07:44)
  • Martin Smith: 37K followers, charges $200–$300/hr, often booked weeks out.
• DIY Branding:
  • Instagram and Pinterest shift business from shop-centric to artist-centric.

The Business of Tattooing (08:20–09:21)

• High upfront costs:
  • Machines: Several hundred to $1,000+ each.
  • Supplies: Needles (under $1 each), cartridges (~$2), ink (~$8–$15/oz, enough for many tattoos), plus equipment and disposables.
  • Booth rent plus supplies means steady operating expenses.

Trends, Fads, and Outlandish Requests (11:36–14:41)

• Changing design trends:
  • 90s: Tasmanian Devils and jellyfish; today: tree-line sleeves and Kewpie dolls.
    • Quote: “These days everybody wants trees on their arm like a tree line. ...weightlifters with a huge sleeve of trees or an entire leg of trees.” — Tattoo Shop Employee/Artist (11:42)
    • “People have started getting celebrity (Kewpie) versions...I’m their chosen one to put it on them.” — Stacey Martin Smith (12:16)
• Odd client requests:
  • Tattooing squid “suction marks” on someone's face, reluctant acceptance for cash (13:00).
• Refusals:
  • Adams turns down tattoos for intoxicated people or hate symbols.
    • “We’re not gonna do that.” — Tattoo Shop Employee/Artist, on being asked to tattoo a swastika (13:35)
• Placement popularity:
  • Face, neck, and hands tattoos more common among affluent or “trust fund kids.” (13:51)
• Technical challenges:
  • Unusual placements (e.g., inside lip) make for difficult work.
    • “Tattooers need a certain amount of tautness to the skin to make clean lines... it feels like you're trying to tattoo a jello mold.”—Stacey Martin Smith (14:17)

Regret and Tattoo Removal (14:41–16:36)

• Huge removal industry:
  • Tattoo removal = $500M/year, could triple in the next decade.
  • Most regretted: Names of former partners.
• Artist errors:
  • Misspelling on dog tags; potential for lawsuits and mandatory compensation.
• Copyright issues:
  • Designs appearing in media can lead to high-profile lawsuits.
  • Social media has worsened design theft—less skilled artists copy work.
    • Quote: “It's someone doing karaoke of your song.” — Stacey Martin Smith (16:16)

The Meaning of Tattoos (16:36–17:22)

• Shifting focus with experience:
  • Veteran clients value the memory and context over the design itself.
    • Quote: “...the longer you get tattooed, the more you realize the actual image doesn't really matter. It's more about the time period that you got it, the person you got it from. ... It's more of the experience than the actual tattoo.” — Tattoo Shop Employee/Artist (16:50)
• Commemorations:
  • Emotional stories, e.g., a group all getting sunset-and-fern tattoos to memorialize a young man's death.

The Physical Toll and Career Longevity (17:22–18:38)

• Challenging conditions:
  • Artists face repetitive strain injuries, back/neck pain, tension.
    • Quote: “We're sometimes in like, some of the weirdest positions... it’s a lot of tension for the neck, upper back, the low back.” — Stacey Martin Smith (17:36)
    • “Sitting on your butt and like hunched over is worse for you than digging ditches all day.” — Tattoo Shop Employee/Artist (18:01)
• Career limits:
  • Owner Tyler Adams is contemplating his future at 49, studying computer coding as a potential next act.
    • “I'm always looking for different avenues because who knows where this industry is going.”—Tattoo Shop Employee/Artist (18:24)

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Notable Quotes & Memorable Moments

• “Anybody gets tattooed now, especially in Portland. We're getting whole families coming in...art everywhere.” — Tattoo Shop Employee/Artist (01:50)
• “I needed to take a anatomy and physiology exam. I needed my four hour first aid class at Red Cross. I needed my one year bloodborne pathogen certificate.” — Stacey Martin Smith (05:11)
• “Social media changed everything. I started getting clients that were flying in or traveling in to get tattooed” — Stacey Martin Smith (07:44)
• “When you’re young, you don’t think about that, but... sitting on your butt and like hunched over is worse for you than digging ditches all day.” — Tattoo Shop Employee/Artist (18:01)
• “It's someone doing karaoke of your song.” — Stacey Martin Smith (16:16)
• [Bonus] Personal ink choices: “I have a slice of blueberry pie on one arm. I have a tattoo of Martha Stewart on my inner arm that says, ‘What would Martha do?’” — Stacey Martin Smith (18:57)

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Timestamps for Important Segments

• Tattoo popularity statistics, culture shift: 01:09–02:31
• Artist training & licensing requirements: 03:34–05:36
• Commission vs. flat-rate models: 05:36–07:32
• Social media as a game changer: 07:35–08:44
• Equipment, costs, and business structure: 08:20–09:21
• Trends, fads, and outlandish tattoos: 11:36–14:41
• Tattoo regret, lawsuits, and copyright: 14:41–16:36
• Why people get tattoos (meaning vs. image): 16:36–17:22
• Physical toll of tattooing; career outlook: 17:22–18:38
• Personal tattoos—fun fact: 18:57

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Summary

This episode reveals the economics and evolving culture of tattoo parlors in America. From shifting business models driven by social media to the unglamorous realities of the trade, Crockett’s reporting shows how tattooing has moved from outlaw art to everyday business. The stories and perspectives of Tyler Adams and Stacey Martin Smith provide insight into a creative, challenging, and frequently changing industry—where what matters most, in the end, may not be the ink, but the memories that come with it.

Transcript

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[Tattoo Shop Employee/Artist]

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[Narrator (Zachary Crockett)]

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[Tattoo Shop Employee/Artist]

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[Narrator (Zachary Crockett)]

On a tree lined street in Portland, Oregon, you'll find a little shop called Grizzly Tattoo. Inside, buzzing needles dance along the skin of hipsters and suburban moms. There are halo lamps and neon signs and the walls are covered with pages and pages of art. Flaming skulls, spiders, demons, eagles, daggers, snakes. That's Tyler Adams, the shop's owner. When he first opened the place in 2011, it was the only tattoo shop in his neighborhood. Now there are five within walking distance.

[Tattoo Shop Employee/Artist]

Anybody gets tattooed now, especially in Portland. We're getting whole families coming in, go through a summer here when everybody's wearing a tank top and it's like, you know, art everywhere.

[Narrator (Zachary Crockett)]

This isn't just a Portland phenomenon. Across the country, tattoos are hotter than ever. 32% of Americans now have at least one tattoo, up from 21% 10 years ago. There are around 20,000 tattoo shops in the US and last year they did $1.5 billion in business. But in recent times, the nature of that business has changed.

[Tattoo Shop Employee/Artist]

You know, in the past, an artist would work in a shop because it had a name. Working there meant you had some clout, you know. But now you're not really tied to any establishment. You can now pretty much do yourself

[Narrator (Zachary Crockett)]

on Instagram for the Freakonomics radio network. This is the economics of everyday things. Hi, I'm Zachary Crockett. Today, tattoo parlors. Tattoos have been around for thousands of years and have a rich cultural history all over the world. But the practice wasn't commodified until the turn of the 20th century with the invention of electric tattoo machines. The earliest tattoo parlors in the US Catered to circus performers and sailors.

[Tattoo Shop Employee/Artist]

A lot of the shops were close to the water. Who had the money and who had the guts to do it? Young sailors, like 18 year old dudes would come in there and what would they get? Well, you know, a lot of tattoos of women and boats.

[Narrator (Zachary Crockett)]

For decades, tattoo parlors were a bit of an oddity. The few that existed were frequented by bikers, criminals and outsiders. But by the early 1990s, more people were getting inked. Tattoos began to attract a wider demographic and more artists to fill the demand. Like Stacey Martin Smith, I was super

[Stacey Martin Smith]

influenced by whatever the Saturday morning cartoons were. Kids in school would ask me to draw them like Teenage Mutant Ninja Turtles, My Little Pony, he Man, she ra.

[Narrator (Zachary Crockett)]

After high school, Martin Smith began hanging around in a tattoo parlor in Utica, New York. She worked her way into an unpaid apprenticeship.

[Stacey Martin Smith]

Showing up every day and following directions and observing, setting up and breaking down for the artists. Making sure that you know how to draw some of the most basic, most popular tattoo imagery. You're working for them in exchange for a free education.

[Narrator (Zachary Crockett)]

Today, artists looking to get into the trade can enroll in one of dozens of tattoo schools that promise hands on training. Tuition can run north of $10,000. They also have to get licensed. And that process can look very different depending on which state and county you're in.

[Stacey Martin Smith]

You can have one county that is the wild West. Like all you need is a tattoo machine and a dream. The next county it will be, you know, fiery hoop after fiery hoop.

[Narrator (Zachary Crockett)]

The county where Martin Smith settled in upstate New York was no cakewalk.

[Stacey Martin Smith]

I needed to take a anatomy and physiology exam. I needed my four hour first aid class at Red Cross. I needed my one year bloodborne pathogen certificate. I also needed to prove my experience. Give them copies of every magazine article that I was in in my tax records, just to push it through.

[Narrator (Zachary Crockett)]

Once licensed, most artists are independent contractors. When they work as part of a shop, they're typically paid through a commission model, similar to a hair salon. They're given a chair to run their business, and in return, the shop takes a cut of the artist's revenue, anywhere from 30% to 50%.

[Stacey Martin Smith]

Say I do a $100 tattoo and the shop takes $50 I keep, and then whatever the client wants to tip on top of that just goes to me. And the reasoning behind that is usually the owner does a lot of the legwork as far as the advertising and getting People in.

[Narrator (Zachary Crockett)]

But today, things are starting to change. The days of walking into a tattoo shop and picking out something on the wall are waning. Many clients now turn to social media platforms like Instagram and Pinterest to find artists. And those artists aren't seeing as much value as they used to in the traditional shops. Instead of vying for chairs at a prominent parlor, many young artists have branched out on their own.

[Tattoo Shop Employee/Artist]

People are opening their own private studio and then working like a co op. You come in and you share the expenses, and there's no real, you know, boss or godhead or whatever.

[Narrator (Zachary Crockett)]

Tyler Adams has experienced this himself. Despite being based in Portland, one of America's most heavily inked cities, he struggled to recruit and keep artists at Grizzly Tattoo. Only five of the shop's eight chairs are occupied, including his own. He mostly ditched the commission split and now charges his artists a flat rate of around $1,600 a month each. Instead, they keep 100% of the business they bring in. Adams has had to rely on his own work to cover the shop's expenses and turn a profit.

[Tattoo Shop Employee/Artist]

It's a rollercoaster business. I mean, you're up and down.

[Narrator (Zachary Crockett)]

For artists like Stacey Martin Smith, increased visibility online has been a boon.

[Stacey Martin Smith]

Social media changed everything. I started getting clients that were flying in or traveling in to get tattooed, where normally people would stay kind of close to home.

[Narrator (Zachary Crockett)]

She pays rent at a studio in upstate New York, but also does guest spots at different shops across the country. Almost all of her clients come through Instagram, where she has 37,000 followers. She's often booked weeks in advance and charges clients 2 to $300 an hour. In addition to rent. Martin Smith has to cover all of her own equipment costs. And there are quite a few of them.

[Stacey Martin Smith]

Yeah, machines, your power supply, you have art supplies, your inks, your disposables, like needles and tubes or cartridges. Also, we have ink caps, dental bibs, barrier film, table traips, rinse bottles, your bandaging, any furniture, your stool, your toolbox, your massage table, your lighting.

[Narrator (Zachary Crockett)]

Most serious artists have multiple machines that use motorized needles to push ink under your skin. Those can cost anywhere from a few hundred to over $1,000 each. The rest is pretty cheap. Needles run a little under a dollar each on average. Cartridges another 2 bucks. An ounce of ink runs 8 to $15, but you might get 25 small tattoos out of it.

[Stacey Martin Smith]

If you got a full color sleeve, you would be getting tattooed for, like, maybe six to 10 sessions, depending on how complicated. So maybe over time, you'd have at least an ounce of ink, if not more.

[Narrator (Zachary Crockett)]

For artists and shop owners alike, one of the draws of tattooing is that no two days ever look the same. The profession is full of surprises. That's coming up. The Economics of Everyday Things is sponsored by crowdstreet. You're the kind of person who reads the fine print, who likes to make your own calls, who's built a life, not to mention a career, by thinking independently. So why shouldn't you invest that way too? Crowdstreet is built for self directed investors who want direct access to private market opportunities like private equity, private credit and real estate. Vetted offerings, transparent data and clear diligence summaries help you make confident, informed choices. Because independence doesn't stop at your desk or your business or your weekend projects, it should extend to your investments too. Invest the way you live independently. Learn [e-mail].

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[Narrator (Zachary Crockett)]

With nearly 30 years in the tattoo business, Tyler Adams has seen a lot of art trends come and go.

[Tattoo Shop Employee/Artist]

In the 90s, everybody wanted the Tasmanian Devil. It's like I want mine playing tennis. I want mine to be in love. I remember jellyfish became really popular for a while. Octopus always come and go. Cherry blossoms. Those were big for a long time. These days everybody wants trees on their arm like a tree line. Oh my God, it's so Popular, you see, like these weightlifters with a huge sleeve of trees or an entire leg of trees.

[Narrator (Zachary Crockett)]

Stacey Martin Smith has been specializing in kewpie dolls.

[Stacey Martin Smith]

They're like big googly eyed babies that have been drawn since the early 1900s. They're just mischievous cupids. People have started getting celebrity versions of them, and I'm their chosen one to put it on them.

[Narrator (Zachary Crockett)]

But tattoo artists also get all kinds of unique requests.

[Stacey Martin Smith]

I've seen full, like, amazingly done portraits of serial killers. I met someone after having kids. She was kind of regretting getting those. In general, our tastes are questionable.

[Tattoo Shop Employee/Artist]

In our 20s, there was this woman who came in and she wanted to look like a squid had grabbed her by the face, like, pulled her under the water. And we all refused, but she kept coming back, like day after day, like, no, I really want this. And she had no tattoos. Like zero tattoos. Eventually I was just like, okay, how about 500 bucks? So I tattooed like suction marks on her face.

[Narrator (Zachary Crockett)]

Adams does decline the occasional request. He generally won't put ink on drunk people, for instance. And he stays away from anything related to gangs or hate groups.

[Tattoo Shop Employee/Artist]

When he used to get a call from the same guy, I think it was the same guy. And he's like, will you tattoo a swastika on me? And we're like, no, you called yesterday. Like, we're not gonna do that.

[Narrator (Zachary Crockett)]

The placement of tattoos has evolved too. They're becoming more visible now.

[Tattoo Shop Employee/Artist]

People are going directly to their necks and hands. Young people, the majority of the people who get their face tattooed, this is no joke, are either trust fund kids or people who have money. They don't have a lot of that urgency to make a living, so they go straight for the face.

[Narrator (Zachary Crockett)]

Some of the more exotic places on the human body can pose technical challenges for tattoo artists.

[Stacey Martin Smith]

The friend of mine, she had me do two really dumb tattoos on her, maybe three. I can't remember if I also did the inside of her ear, but she had me do her inner bottom lip. So tattooers need a certain amount of tautness to the skin to make clean lines. And your inner bottom lip, it feels like you're trying to tattoo a jello mold.

[Narrator (Zachary Crockett)]

These bolder choices have led to a spike in tattoo removal services globally. Tattoo removal is now a $500 million business, and some analysts project that figure will triple in the next decade. Surveys suggest that the most regretted tattoos tend to be lettering, often the names of short lived flames. And there's another reason for removals. Tattoo artists, like all of us, can make mistakes.

[Tattoo Shop Employee/Artist]

I misspelled a guy's dog tags. Yeah, it was a group of Marines and I spelled his name wrong. You make a mistake and you gotta cover your ass one way or another. Sometimes you can do it without telling the person, and sometimes you can't.

[Narrator (Zachary Crockett)]

Some artists have been sued over mistakes like this and have been forced to pay thousands of dollars in damages. Artists can also file lawsuits of their own. Tattoos are covered by copyright law, and that means problems can arise when a design on a famous person gets media coverage. In 2005, the NBA player Rasheed Wallace was sued by his tattoo artist after showing off his ink in a Nike commercial. In 2011, the artist behind Mike Tyson's face tattoo sued Warner Bros. After the art was used in the comedy film the Hangover Part 2. Those cases were settled out of court. What's harder to protect, though, is the everyday design theft that has been turbocharged by social media.

[Stacey Martin Smith]

The kind of people that will rip off other people's tattoos on Instagram typically aren't. I shouldn't even say this, I'm going to get in trouble. But they're usually not very good tattooers. It's someone doing karaoke of your song.

[Narrator (Zachary Crockett)]

Certain designs are less likely to get ripped off, like those loaded with personal meaning. A few years ago, one of Adams regular clients had a special request to commemorate his son's death.

[Tattoo Shop Employee/Artist]

He asked me to do like a sunset with ferns. And then, you know, one by one, all his friends came, you know, all his family members came and all got that same piece. When people are new and they've never had a tattoo, they're more about the imagery and they're all about what it looks like. But the longer you get tattooed, the more you realize the actual image doesn't really matter. It's more about the time period that you got it, the person you got it from. You know, it's more of the experience than the actual tattoo.

[Narrator (Zachary Crockett)]

These kinds of experiences are what many tattoo artists treasure most. But by nature, it's not a job you can do forever. Both Stacy Martin Smith and Tyler Adams have dealt with crippling pain.

[Stacey Martin Smith]

We're sometimes in like, some of the weirdest positions. Like you have to kind of move around the same way you would move a piece of paper if you were drawing or stretching with our non dominant hand and arm while steadily coloring in the lines. It's a lot of tension for the, you know, the neck, the upper back, the low back.

[Tattoo Shop Employee/Artist]

When you're young, you don't think about that, but in fact, sitting on your butt and like hunched over is worse for you than digging ditches all day.

[Narrator (Zachary Crockett)]

At 49 years old, Adams is questioning how many more years he has left in the tattoo business. For his next act, he's looking to write a different kind of script.

[Tattoo Shop Employee/Artist]

As we speak, I'm actually studying computer coding. I'm always looking for different avenues because who knows where this industry is going.

[Narrator (Zachary Crockett)]

For the economics of everyday things, I'm Zachary Crockett. This episode was produced by Sarah Lilly with help from Lyric Bowditch and mixed by Jeremy Johnston.

[Stacey Martin Smith]

I have a slice of blueberry pie on one arm. I have a tattoo of Martha Stewart on my inner arm that says, what would Martha do?

[Narrator (Zachary Crockett)]

The Freakonomics Radio Network the Hidden side of Everything. Stitcher

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