Discover more from The Gooch Gazette
Issue 3: !math
Gooch Island in OM, CC0 license, Interviews with Thom, Mark Beylin, The Memes of Production (essay), projects by community members and more.
As issue 3 is long overdue, there isn’t any need for an indulgent preface or foreword. And besides, the following needs no introduction:
OM Gooch Island:
Around mid-late April, the Open Metaverse team announced the inclusion of a Gooch Island for the CDB community and supporters. The intent is to build an island visible from the city shoreline (there will be a digital ocean). Further suggestions have included a giant CDB statue, perhaps on top of a volcano. There will also be a tiki bar, beach, deck, etc. While details are still pending, the general idea is that every CDB will holder have their own space on the island or something similar. For anyone that’s interested in contributing, links to the discord channel can be found here: https://discord.com/invite/join-om
Creative Commons license:
As per the announcements on Twitter and discord, CDBs are now operating under a Creative Commons License.
The following description can be found on the snapshot page below:
“When CDB launched, we used a modified version of the Nifty License, granting unlimited personal and commercial usage to CDB NFT holders. This license can be viewed here: https://www.cryptodickbutts.com/terms.html We are now proposing that this license be replaced with a Creative Commons CC0 license, dedicating all rights (if any) to the public domain. This means that anyone will be able to use your CDB NFTs in any capacity, for unlimited personal or commercial use. Secondary royalties dedicated to the community treasury will not be changed and will continue to be put towards community-related initiatives. The material implications of this decision are few, but enough people asked about this that we thought we'd put it to a vote.”
Interview with Thom:
There’s something rarer than the rarest of traits in the ever transient world of NFTs. Conviction. And with that in mind, while the term “OG” is loosely thrown around to anyone and everyone with enough !bang for their buck, few genuinely embody what it means to have a long-standing commitment and inherent belief in a collection. Fortunately, in the CDB discord, a handful of such icons not only serve as pillars of the community but reflect the essence of this historic meme (joy, friendliness, and humility) through and through. As someone that represents all the above and more, there could be none more fitting for this round of interviews than Thom.
Q: How and when did you first hear about CryptoDickbutts?
Thom: I first came across them in the CryptoPunks discord channel when the OGs were around but only really paid them close attention when the S3 mint happened, also discovered them in the Punks discord.
Q: Do you remember or still have your first CDB? What was/is it?
Thom: Yep! Got both of them, #1610 & #1611! I'll never forget them popping out of the minting machine and one of them being an alien! Drooling alien miner & dark bikini nerd eyes antenna boi. I immediately messaged my good chum Mark & told him he had to get involved.
Q: What are some of the key metrics you look for when buying or analysing any potential Dickbutts for your portfolio?
Thom: Cleanliness, vibe, personality, how it all looks together, whether I have those traits in my collection yet. I'm a big fan of the rare skins, especially the apes as there’s over 200 of them so there's some fantastic combos. 3Ts are awesome, the 'Platonic Dickbutts' as I like to call them. Sometimes I buy ones I don't like all that much too as they'll be easier to part with in the future.
Q: What do you believe is the most underrated and undervalued aspect of CryptoDickbutts?
Thom: Good question. Probably the purity of how & when it came about and & the love that went into them. It really was a product of people talking shit in the Punks discord at the start of the 2021 mania, it's an artefact of history done in a pure spirit.
Q: Where do you see the future direction of the collection?
Thom: I expect to see some bigger names purchasing dickbutts, that feels inevitable. More appearances in pop culture, especially with the new CC0 status. Ultimately I could see cryptodickbutts having all sorts of luxury goods & benefits associated with ownership. Obviously the purchase of a physical island is the big one, looking forward to that.
Q: Do you have any advice or insights for newcomers?
Thom: Find a dickbutt that makes your heart sing. Spend some time digging into the collection & ask the dickscord for help, they're a very knowledgable bunch.
Q: Lastly, what does the Dickbutt meme and community mean to you?
Thom: It's that beautiful thing of something being so very silly on the surface but having so much depth & colour beneath it. It's perfectly summed up when having a semi-intellectual conversation about crypto & nfts with someone new to the space. You impress them with the mind-blowing new paradigm & the possibilities of blockchain for ownership, identity, community etc etc. & when they ask what your favourite collections are, you say it's simple. Cryptodickbutts. Poetry.
Any other thoughts?
Thom: How many butts would a dickbutt dick if a dickbutt could dick butts?
Interview with Mark Beylin:
In the spirit of nurturing more of a community-driven approach, the newsletter has integrated a new section where interviewees nominate fellow CDB holders and ask them a handful of questions. For this initial round, Thom has selected his long-standing partner and friend, Mark Beylin.
Thom: top 3 traits & why?
MB: Picking only 3 is hard... I really love the mankini and the party hat, both of those are iconic cultural references from the 00's that will live on forever. The third trait would probably have to be skeleton skin, only because I think it's a cool evolution of the zombie/alien/etc skins we've come to love in NFTs.
Thom: what does owning a dickbutt, or lots of dickbutts, say about you as a collector?
MB: For me, I've always bought dickbutts for intrinsic reasons -- they bring me true joy. I think what we've started to see is that a lot of the same people tend to enjoy cryptodickbutts: people who understand memes, and who understand that culture develops itself at the edges of our comfort zones.
Thom: what are your plans for your dickbutts?
MB: I love my dickbutts dearly, as I mentioned they bring me a lot of joy in life, so parting with any of them is always hard. I do love giving them away as gifts to people though, I find the absurdity of them is the perfect way to onboard more people into NFTs, although that gets harder as they appreciate in the market.
The memes of production: a non-fungible framework
The following thought-piece was written by community member King Boo (Mason Marcobello) and originally published on Mirror. Elaborating on the Cultural Object Framework by Punk6529, it explores how core tenets of CryptoDickbutts align with power and fractal laws that could make 5-50 NFTs significant cultural symbols long term. For added context and substance, there are comparisons with several other collections like Rare Pepes, Mfers, Punks, etc.
While the progressive landscape of Web3 can seem filled with more swift grifts than gifts, if ever lost or in doubt, something analogous to a North Star are five simple words. Seize the memes of production. Elon and other heartthrobs aside, such wisdom is also mirrored in the recent Cultural Object Framework by Punk 6529. Predicated on Dunbar's Number, Punk6529 argues that due to our limited cognitive bandwidth and time, only a mere 5-50 NFTs will eventually transcend to a new tier of global memetic prestige via related power and fractal laws.
But along with the core tenets of CryptoArt and community, what are some shared traits of these future grails? How can we know which contenders will rise to the prophetic insights of our beloved digital sage? Given the recent inclusion of CryptoDickbutts to OM (Open Metaverse), as the seminal CC0 community with a dedicated space, we can analyze several definitive aspects of the anthropomorphic phallus, (consistent amongst other long-standing collections) to gain a rough semblance of the potential non-fungible winners.
As a nod to the cornucopia of revelations about humanity embedded in history, author Chuck Palahniuk famously wrote that there are only patterns. Patterns on top of patterns, patterns that affect other patterns, patterns hidden by patterns, and patterns within patterns. With this in mind, while there’s no explicit causation or correlation, something of an initial framework to understand memetic hierarchies can be through analysis of recurrent cultural objects embedded in collections (as themes or central focal points). This is largely because, as aligned with Dunbar’s number, the repetitive references or exposure to these specific symbols across generations carries cognitive momentum. In that, regardless of the context, our collective familiarity means that we don’t have to spend much mental energy to understand the nuances.
The momentum and patterns of cultural objects
According to historians, phallic charms (often winged) were ubiquitous in Roman culture and frequently appeared as jewelry and ornaments such as pendants, finger rings, lamps, etc. Often bestowed to children, they did not have any sexual connotation but, as a reference to Fascinus or Fascinum (the ancient Roman God of masculine power, fertility, and good health), were used as a necessary precaution against evil.
Despite the protective and regenerative properties when erect, in most cases it was the emotions (shame or laughter) evoked from the very obscenity of the Fascinus that served as the true power to divert the evil eye. As seen in Roman art and relief sculptures from Leptis Magna in present-day Libya, and several instances on Hadrian's Wall, the phallus ejaculating towards a disembodied eye was another common motif that represents its victory and powers against evil.
Image sourced from Wikipedia: Bas-relief of a legged phallus ejaculating into an evil eye on which a scorpion sits, from Leptis Magna (Libya).
Some historians also consider it to be the ultimate dispeller of black magic - akin to a guardian angel due to the association with wings. This is also alluded to by its popularity in Pagan and Wiccan practices. For example, in Raven Grimassi's Encyclopedia of Wicca & Witchcraft, the fascinus is cited as one of the most effective talismans against dark sorcery.
Further examples of related symbolism include the ancient Egyptian deity Min, frequently shown with an erection. Regions spanning across the Far East such as Indonesia, India, Korea, and Japan are no exception either, often using the phallus as a symbol of fertility in motifs on their temples and in everyday life. In more modern discourse, scholars of anthropology and sociology have also made associations between skyscrapers and phallic motifs, stating that they function as symbols of male domination, power and political authority.
Image sourced from Wikipedia: Min, God of Fertility, Karnak Temple
Similar synchronicities are shared between Pepe the Frog and its non-fungible equivalent Rare Pepes with the Ancient Egyptian God, Kek (Kuk, Keku). As the deification of primordial darkness and chaos, Kek's form varies, with Kekui depicted with the head of a serpent and Kekuit the head of either a frog or a cat. In the Greco-Roman period, Kek's male form is a frog-headed man and the female form is a serpent-headed woman.
And, as seen through the collections of MoonCats, CryptoCats, PunkCats, CoolCats, etc., cats are yet another recurrent cultural symbol used in social and religious practices of ancient Egypt for more than 3,000 years. Along with deities that have cat-like heads, such as Mafdet, Bastet and Sekhmet, they were praised for killing venomous snakes and representing varied themes like justice, fertility and power. The protective nature of cats also appears in the Book of the Dead, where associations are made with Ra and the benefits of the sun for life on Earth.
Despite equally significant and distinct traditions like Chinese shadow puppetry, Vedic Chanting, Kabuki theatre, etc., analysis of shared or widespread cultural symbols is even more relevant when confronted with pernicious biases such as ethnocentrism.
Ethnocentrism & cultural relativism
As a contributing factor to racism and xenophobia, ethnocentrism is a general attitude that one's own culture is superior or "more normal" than others. Although degrees vary from person to person, we can see it exampled in lighthearted comparisons between Chopsticks vs forks to the far more insidious crackdown by the PRC on Ramadan celebrations in the Muslim region of Xinjiang. One method to mitigate this is to apply the opposite framework of cultural relativism, which advocates that a culture can only be judged by the standards within it. However, due to ever prevalent factors like woke tribalism and political groupthink fuelled by algorithmic bubbles, gaining an impartial and complete understanding of various cultural norms is proving increasingly difficult in modern discourse.
Hence, in the context of NFTs, looking for objects or designs that have a fairly universal appeal (that a majority can relate to or understand) can prove itself a comparatively safer vantage point. In the case of CDBs, this is evidenced via the continued relevance of the phallus. Along with the prior examples of Rare Pepes and cat-centric collections, a case can also be made for CryptoPunks due to the emphasis on objective traits I.e. beards, glasses, hats, that are consistent across humanity regardless of creed or culture.
History aside, in a market where engagement and attention take clear precedence, references to long-standing cultural objects alone are not enough. Understanding the collective influence of emotions and narratives is just as important
Emotions and narratives
At the risk of oversimplifying, one can argue that after the most basic needs in Maslow’s hierarchy, most (not all) commercial products and services are designed to evoke emotions through curated narratives and strategic marketing techniques. Or, more simply, designed to elicit a response to things we want (but don’t need) to satiate varying degrees of emotional and psychological desires (self-actualization). Luxury brands like Patek Philippe, Rolex, Louis Vuitton, Prada, Ferrari and Lamborghini etc., are just some of the many examples that cater to feelings of significance and social signalling.
Although a vast majority of unicorns like CryptoPunks and BAYC started as relatively affordable (and in some cases for free), the ensuing market value has, for better or worse, associated these PFPs with qualities akin to the aforementioned brands. This is only exacerbated given recent the influx of celebrities and HNW investors that seek to leverage perks, support, and the general reputation of the broader community.
But while ego and hierarchies are inherent to our social and biological discourse as human beings, the braggadocious element of flaunting a six-figure or multimillion-dollar NFT also (consciously or subconsciously) segregates, and in some cases, causes resentment from those less fortunate. Especially when early adopters, corporate elites, or VCs, routinely leverage their inner circles' competitive financial advantages to capitalize on periodic hype cycles before the masses, as speculated with Azuki team members.
At the same time, (drawing minor parallels to the causes of French and American revolutions) these very divisions may create a stronger emotional pull towards communities or memetic symbols that represent the antipode of class structures through self-effacing and satirical humor.
We can see this exemplified again through the obscurity of CryptoDickbutts, where the underlying nature and genesis of it being nothing more than a joke only becomes more obvious as floor prices rise. In a more relatable setting, one could almost analogise the collection to a comedian or jester mocking the overly serious, self-indulgent careerists, influencers, and industry professionals that use the genre of PFP NFTs to farm engagement and curate public perception.
Furthermore, given the influence of self-identity with the PFP genre, an argument can be made that just as inherent wealthy or seasoned collectors may identify with the narratives of a Punk, Murakami flower, or Fidenza, so too are CryptoDickbutts representative of those who have the ability to laugh at themselves and simply share in the collective appreciation of this new form of memetic comedy. In essence, while not everyone can appreciate or relate to the subtleties of generational wealth, everyone does have the capacity to laugh at a silly meme.
The power to transcend, represent, and subvert ideologies
From this awareness, we can understand that when narratives are fuelled with enough emotional resonance (and vice versa), eventually, ideologies form with associated symbols or objects. The appropriated svastika represents Nazi ideology. Stalinists used the hammer and sickle. The ideals of Democrats and Republicans live in their respective blue and red colors. So on and so forth.
One could argue that for any brand or organization to scale, it needs a clear ideology and logo to boot, as evidenced by Apple's "Think Different" campaign or the classic Nike swoosh and "Just Do It". While not all revealing, these nuances help reflect something of the company culture and hint at reasons for people to support it. We can see this also through the mythology of superheroes wherein Batman or Superman transcend generational differences because there is consensus about the essence of each character, regardless of the actor or storyline. It’s easy for people to connect with them because they can identify the underlying ideals.
With that in mind, just as some NFTs may scale by reflecting beliefs and narratives of a group, so too are other collections more potent in their ability to at once represent, subvert, and transcend ideological discourses. To compare and contrast the varied ideological examples with NFTs (or lack thereof), we can observe the distinctions between CryptoPunks and something of its community born progeny, CryptoDickbutts.
(The very first mention of “CryptoDickbutts in the Punks discord has been deleted. So I’ve linked to the general initial discussion instead here: https://discord.com/channels/329381334701178885/567343234687303700/818714020387094528 )
Although Punks are mostly a collective of independent thinkers (rather than a cohesive community), the recent IP transition to commercial rights (which allows any holder to build out personal brands) has, in some respects, muddied the ethos of a collection inspired by the London Punk culture of the 1970s. While early adopters may be less concerned, questions for newcomers remain. For example, does someone buy a Punk because they resonate with Jordan Belfort or Gary Vaynerchuk? Or do they stay away because of the association with these people?
While the same could be said for any notable NFT, the transition of Punks to focus on the individual has, in some ways, allowed the collection to abandon any group ideology and embody a symbol of creative, financial, and conceptual sovereignty. But regardless of the influence of public figures, or critiques of Larva Labs “selling out”, one can advocate that its original essence of free thinkers and anti-monopolistic sentiments remain uncorrupted through the CryptoDickbutt collection and contract address that preserves key themes of crypto degen culture (420…69… 1D1B).
In such a light, we can see how it simultaneously represents, subverts, and transcends the narrative of where Punks started, what they're doing, and whatever the future may hold for V1 and V2 alike.
CC0 > Commercial rights
While commercial rights may suit collectors with the experience and resources to build personal brands, when it comes to the influence or success of NFTs (or lack thereof), one can argue that a CC0 framework (Creative Commons) ultimately offers more flexibility and room to scale. As with the appeal and power of ideologies, this is especially prevalent in collections with easily identifiable themes.
For example, while Rare Pepes were briefly slandered by political association with the alt-right, across a macro perspective, it didn't matter so much as people recognised the broader, definitive themes to associate with love, kindness, and freedom. The same can be said with CDBs generally representing resistance to corporate alignment and polished legacy systems. When it comes to Creative Commons license, the overarching essence of the meme doesn't get ruined by individual takes. It doesn't matter whether one person does something or the collective or a corporation - it functions as the same entity no matter how much they want to detach from its essence.
Furthermore, as seen with the structure of Nouns and Mfers, community incentives can be better managed with a CC0 framework when coupled with a treasury to ensure that value continues to accrue over time. In addition, as was a broadly influential factor in the success of Web2, whereby platforms built on top of the internet were able to spread quickly because of the open, collaborative effort of coders the world over, so too can CC0 collections such as CryptoDickbutts function as an open-source library for the metaverse instead of the closed source and centralized nature of BAYC managed by Yuga Labs, where no one outside of the brand can build on it.
Community overlap - top down vs bottom up
Aligned with the scalability of ideologies and CC0, another powerful indicator of cultural value in collections is the amount of organic social cohesion and community overlap. To better understand this, we can consider the parallels between Ethereum and the formal musical structure of Polyphony. Largely popularized in Renaissance and Baroque forms such as Bach's "Little" Fugue in G minor, Polyphonic scores often contain two or more lines of independent melody, which start at various points and add layered harmonic depth and substance to the symphonic experience.
The same could apply to Ethereum as well. As through its ever-expansive ecosystem, layers of dApps, DeFi mechanisms, and NFTs all bounce off each other and add harmonic depth to the same algorithmic texture and score that is the underlying protocol. And perhaps in an even broader context, one could argue that under the umbrella of open finance, open-source, and open data (Web3), Bitcoin and Ethereum are also polyphonous - playing separately yet together.
Given the amount of inherent cognitive bias and echo chambers that thrive on toxic positivity masquerading under the guise of community, it's easy for long-standing players and pragmatists to become disillusioned by the dynamics of Web3. However, from a macro perspective, one could argue that, like Polyphonic structures, the most potent NFT communities are those that, while independent, quietly harmonize and add layers of substance through shared tech, values, and visuals. All of which only further amplify the authentic voices of culture amidst the barrage of noise.
In some respects, despite the range of notable Punk derivatives like V3 Punks, and Bastard Gan Punks - the motivations of each haven't necessarily been inspired through appreciation or admiration of Larva Labs, but rather as an attempt to break away from petty debates between V1 and V2, legal controversies, and recreate the narrative in a way that better reflects the pure ethos of crypto degens.
Conversely, as seen between the overlap of creators and shared lore between CryptoDickbutts and CrypToadz - one can observe a far more welcoming and flexible environment that builds greater awareness and preservation of the culture of web3 from the bottom up as opposed to the voices of an elite minority. The same principles also apply to Mfers and the army of derivatives, wherein each, while unique, only helps add to the overall value of the Mfer world and its contributions to an open, all-inclusive metaverse.
Digital and physical parallels
While there's currently no reported causation with modern technology (as opposed to COVID lockdowns), the steady emergence of the metaverse does pose a potential to exacerbate the self-destructive phenomena of acute social withdrawal syndrome, otherwise known by the Japanese term, Hikikomori. In light of these issues, one can postulate that the most influential NFTs will not exist in pure extremes of digital worlds, but may strike a balance between ephemeral and tangible through layering digital and physical landscapes.
In addition to the potential examples this can take in the form of wearables or photography NFTs, CryptoDickbutts is already bridging this gap by creating a digital equivalent of the prophetic Gooch Island in OM that will function as a central location for the CDB community and supporters. The ever restrictive nature of various jurisdictions on cryptocurrencies and increasing government surveillance also make for an even more bullish case for communities that can secure real world locations to function as a haven of sorts for digital natives. Which, in the case of CDBs, is made ever more tangible through partnerships with Silver Jets, which offer OG and Series 3 holders 15% and 10%, respectively, on access to private charter flights.
On-chain, but which chain?
The underlying blockchain and its global dynamics also play a central role in determining the future success or decline of various collections. While Ethereum has dominated the discourse around NFTs, ambiguity remains with the nature of the protocol post-merge compared to other L1 solutions such as Solana, WAX, Tezos and even Bitcoin via platforms like Counterparty.
Furthermore, due to the recent barrage of failed transactions associated with the Otherside land sale, speculations have risen of it being a potential critique on Ethereum and a ploy by Yuga Labs to make a case for its native ApeChain.
Regardless, a theory among Ethereum aficionados is that as more layer 2’s emerge, a majority of Layer 1 resources will be spent powering these newer infrastructures. The result is that while Layer 2 will allow for larger collection sizes due to the significantly cheaper transaction fees, NFTs built on L1 (including derivatives) will become an uncommon relic by default, as conducting activity on any layer 1 will be too expensive for most individuals. This is especially the case with on-chain collectibles that mitigate against the potential risk of images being changed or removed if marketplaces close or stop paying fees for data hosting.
While not on-chain, as CDBs are an Ethereum centric collection, an argument could be made that as long as the core devs continue to improve on the protocol's functionality, so will the memetic impact of a dickbutt forever remain for posterity to admire.
Storytelling and lore
As seen in collections like Forgotten Runes and TIMEPieces, there is arguably no greater influence on humanity than the perennial art of storytelling. From religious and historical allegories to beloved fictional tales like Harry Potter, stories not only have the power to embed generational values, preserve cultural motifs, and shape our overarching social and evolutionary discourse, but they also can unite and divide communities in shared appreciation or detest of characters and their respective journeys.
While a more subtle aspect, the story and journey that CryptoDickbutts is crafting not only uses relatable elements of light-hearted humor but at its core, reflects key motifs of the wandering protagonist seeking self-actualization through the prophetic vision and end-goal that is Gooch Island. And in that respect, given our drive to purpose and meaning in life, it is something we as humans can all relate to.
Overall, as with any presumptuous speculations about markets or analysis on CT, all the above should be taken with a grain of salt. But if nothing else, as an adage to the words of Carl Jung, in the grand discourse and permutations of our world, there is simply nothing more than memes propelling us through layers of reality.
While, as we’ve seen with the perennial legacy of CryptoDickbutts, not all memes are created equal, and perhaps in retrospect, the greatest ones will come out of something that nobody expected. Which of course, is completely fine.
Projects by the CDB community:
From deep within the bowels of the Disco Dungeon, Babbys is the latest non commercial NFT project by the creator of CryptoDickbutts - Daddy. The collection was swiftly minted out and is available on secondary markets.
A history of the Dancing Baby meme can be found here: https://knowyourmeme.com/memes/dancing-baby
Created by the king of dickbutts, Bas, Moonbutts is a collection of 2,669 CCO enabled PFPs that feature beautiful art derived from two of the top NFT projects in the space.
As a collaborative project spearheaded by beloved CDB community member, Kerimbonia, DickToadz is a unique, create-your-own custom Dickbutt/CrypToadz NFT collection. People can customise and build their NFTs by choosing the background, body, mouth, eyes, head, accessories, dick, and more!
Available: Thursday 6.9.22!