#guywalksintoabar

Mini Mansions live at the Casbah 6/26/19 @minimansions #minimansions #guywalksintoabar @casbahsandiego #casbah #casbahsd #casbahpresents #ontour #concert #concertphotography #itibfya #ithinkibetterfollowyouaround (at Casbah San Diego) https://www.instagram.com/p/Bz1M9kDnEsk/?igshid=cy8i0tv2vtc1

It’s hard to remember a time when tattoos were considered taboo and only adorned soldiers or bikers. In country music, it’s pretty uncommon to find someone who doesn’t have ink, and social media often becomes the showcase for artists to show off their new art. And with that, of course, comes all types of support…and criticism, as Tyler Farr found out when he recently revealed his newest tattoo. Tyler shared an image on Instagram of his forearm appearing to be gouged open with claw marks. In the caption, he wrote, “When in Vegas…get that grizzly bear scar tattoo you’ve been talking about gettin’ for 3 years. Thanks Alex & Starlight Tattoo.” While most of the comments that followed were in support of the quality of art, as well as Tyler’s freedom of expression, there were those that couldn’t help but express their distaste. But Tyler stood up for his decision. When one reader commented, “Looks like crap,” Tyler replied succinctly, “Kiss my ass.” Another reader said, “Why in the HELL would you do that?!!???!!??!!! Looks a bit much” and the singer replied, “cause I wanted to…idiot.” Still another reader said, “That looks like garbage” and Tyler replied, “so does your face.” As we said, though, the majority of the comments were positive, with exclamations of “awesome,” “cool,” “dope,” and the occasional honest, “ouch!” Fellow artists, like Trent Tomlinson and DeeJay Silver, also commented on the country singer’s new work. Trent simply said, “Damn dude” while DeeJay joked with his pal, “You look like a redneck wolverine!” Several eagle-eyed fans also noticed that Tyler had a second new tattoo, an “H,” on his ring finger. He confirmed that it honors his bride of over a year, Hannah. Read the full article

Guy Walks Into a Bar - The New Yorker