Post by Aram Jahnhttp://www.smithsonianmag.com/smithsonian-institution/electric-guitars-long-and-louder-strange-trip-180954193/?no-ist
The electric guitar never was iconic, nor, particularly, the classical
cat-gut of Smithsonian's author and understudy, Monica, 'grew up on.'
The classical guitar was considered something of an oddball, which
didn't fit, come into its own, within a light and reinvention of
Western music, for orchestral purposes until well along and into a
more advanced timeframe of classicism;- rather, it was considered
suitable accompaniment for activities conducted in bordellos, or a
whorehouse, Monica, and not something casually, rather, considered for
placement alongside (or within) the orchestral pit.
A suitable beginning, if not an entertaining one, when tampering irony
to a tooth-&-nail resiliency, trackrecord and tradition for "the
Darkies" to electrify, perhaps in less than imaginable mannerisms, or
at least not until more widely adapted by white middle-class youth,
for an initial if not lingering [dis]regard as a troublesome rout of
lyrically inclined instigators.
Nevertheless, a weighted fulcrum of gargantuan powered awareness, I'd
at least consider, to furthermore establishing the electric within the
broader contemporary fabric of awareness, than might previous notables
have propagated from a Swing and the Big Band era;- of course, most
notably for interceding propitiously to television's inauguration and
an early historicism, such as Ed Sullivan exemplified -- covering his
ears in apparent dismay to either an amplified Beatles, Stones, or
Doors -- as the electric guitar could in no fairer sense be considered
culpable of other than naturally surmounting an obstacle to screaming,
barbaric hordes of sexually repressed 12-year-old girls unleashed upon
television's audience studio set.
That 'Leo Fender wasn't, actually, a fan of Rock'n'Roll, but preferred
C&W,' perhaps boded, earlier along, Monica, what inasmuch is to
stylistic aggravations, bounding intrepidly in what might either an
burgeoning musical industry, or society, apparently impose,
stylistically speaking, upon a continued backlash of artistic
creativity, in any exacting sense of umbrage that it's directed upon
for being considered, actually, so contained.
All apart the mechanics of construction, evolution and stylistic
efficiency to porting a stringed lyre, largely once monks fondly
dallied and played with, of course, into a medium of frenzied
electricity given our present Muses;- you'll forgive me these few
wandering considerations with utmost humility I only thought to
interject.