Eric Weinstein

It was a, you know, the music of liberation.

John Mayer's point of course is that the guitar, the electric guitar retains the stylistic characteristics of cars in the 1950s.

And that thing was the twin experience of having a car and having a guitar was, was personal expression and liberation for fifth, for American males in the fifties.

So, um, um,

Yeah, but I think a lot about our guitarist friends because they're suffering.

The world's greatest guitarists are living today and nobody cares.

They all follow each other.

The funny thing is if you start following these people on Instagram, as I do, I look to see which of my friends are following the great guitarists and it's other great guitarists.

It's none of my normal friends.

Like how many of my normal friends know who Tim Henson is?

A great Texas guitarist.

I do.

This man.

Do you?

What kind of music?

It's like Tex-Mex melodic.

if I had a glass and I broke it, if I took Tex-Mex and I broke it on the ground and I reassembled it from different things, it's completely angular and an idea will last.

It's like a psychedelic thing where it'll last for five seconds and it'll be on to the next thing and it's just angular and fragmented and sewn together and beautiful and inspiring.

Give me some, Jamie.

And you see, the thing is that they're so tight with each other that, you know, a better example even than this would be this thing that they released called Goat, which was the thing that put them on the map.