One might ask: why is it so easy to put over narratives on at least half the people in this country? Here's the answer: because we are living in a time when nothing adds up and there are no consequences — but especially no consequences for the folks in charge of things that don't add up. For instance, the January 6 riot at the US Capitol building. The Deep State axis of interests — politicians, permanent bureaucrats, Beltway contractors, K-Street influencers, shady international NGOs, and most of the news media — needed something that would overrule objections to certifying the election. They got what they needed in just the right place for it to happen, the very house of Congress. The objection procedure was neatly sabotaged. The riot launched Donald Trump back into civilian life under a cloud of odium, labeled an "insurrectionist. " It enabled the Democrats to paint their opponents as "domestic terrorists" and manufacture a narrative that America was under attack by "white supremacists. "
TW: He made it with a luthier named Billy Asher. They basically took the body of a Yamaha guitar or something and then put a different face on it, pushing the bridge back and making it playable with these heavy strings. So just a make-your-own guitar. FJ: That's pretty awesome. TW: No brand. And then [I used] Ben Harper's Epiphone guitar. I used that on "One Thing After Another. " It's now my guitar and I play it on tour. Those are pretty much the instruments. FJ: You're borrowing from some pretty amazing musicians! Have you played with Jackson a bunch? TW: Jackson was the executive producer on the album and has been a friend for some time now. He acted almost like a consultant for the record. FJ: What does that translate to? TW: Yeah, kind of just like ask him anything I needed to ask him and he was, he made himself available for that role. Very generous man. He has supported a lot of younger musicians, like Dawes and Blake Mills. He's such a generous man. FJ: Are you writing new songs all the time?