"I don't really collect guitars"
About this Quote
“I don’t really collect guitars” is the kind of shrug that tells you everything about a certain strain of rock authenticity. Coming from Roger McGuinn, it reads less like a denial and more like a quiet manifesto: instruments aren’t trophies, they’re tools. In a culture that fetishizes gear - vintage Martins behind glass, auctions that treat a Strat like a stock portfolio - McGuinn’s line resists the museumification of music.
The specific intent is defensive in the best way. He’s setting a boundary against the fan impulse to turn a working musician into a curator of relics. McGuinn is famously associated with a specific sound and setup (that bright, chiming 12-string identity so tied to The Byrds), which invites a collector narrative: surely he must have rooms of iconic instruments. His refusal punctures that fantasy. It’s a reminder that the “magic” people hear isn’t sitting in a closet; it’s in choices, touch, and taste.
The subtext is classically musicianly: practicality disguised as modesty. Collecting suggests accumulation for its own sake, a hobby of ownership. McGuinn frames himself as someone who keeps what he needs to make the work. There’s also an anti-mystique at play - a subtle pushback against the idea that creativity is purchased.
Contextually, it lands as a corrective to late-career legacy culture, where artists are encouraged to brand their past. McGuinn, instead, keeps the story pointed forward: not what he owns, but what he plays.
The specific intent is defensive in the best way. He’s setting a boundary against the fan impulse to turn a working musician into a curator of relics. McGuinn is famously associated with a specific sound and setup (that bright, chiming 12-string identity so tied to The Byrds), which invites a collector narrative: surely he must have rooms of iconic instruments. His refusal punctures that fantasy. It’s a reminder that the “magic” people hear isn’t sitting in a closet; it’s in choices, touch, and taste.
The subtext is classically musicianly: practicality disguised as modesty. Collecting suggests accumulation for its own sake, a hobby of ownership. McGuinn frames himself as someone who keeps what he needs to make the work. There’s also an anti-mystique at play - a subtle pushback against the idea that creativity is purchased.
Contextually, it lands as a corrective to late-career legacy culture, where artists are encouraged to brand their past. McGuinn, instead, keeps the story pointed forward: not what he owns, but what he plays.
Quote Details
| Topic | Music |
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