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En el epicentro del Verano del Amor de 1967, cuando la música se fusionaba con el arte visual en una explosión de color y libertad, una guitarra se convirtió en el símbolo de toda esa revolución.

In the Pantheon of Legendary Guitars, there are iconic names: “Blackie,” “Frankenstrat,” “Red Special.” But only one name evokes not just a sound, but a love story. A name that belongs to the royalty of blues and was christened in flames. That name is Lucille.

Before rock and roll filled stadiums, before epic solos and hair flying in the wind, someone had to draw the blueprints. Someone had to take blues, country, and R&B and build something entirely new, vibrant, and aimed at a generation that didn’t know it was waiting. That architect was Chuck Berry, and his design tool was a Gibson guitar.

At first glance, the Monterey Strat was a 1965 Fender Stratocaster with a Fiesta Red finish. However, for his big debut before the American audience, Hendrix transformed it into a canvas. Using nail polish and markers, he drew a vibrant floral and psychedelic design on its red and white body—a perfect reflection of the "Summer of Love" and the countercultural explosion the festival represented.