Monday, December 18, 2006


While on the subject of hoods and brollies (see previous entry), I should like to make a distinction between the free-standing singer of, say, a rock group and the one who also plays an instrument, particularly a guitar, on the basis of the distinction already drawn (see previous entry) between uncollapsible objectivistic hoods and collapsible subjectivistic hoods, as though the former were on the level of the free-standing singer and the latter parallel with the guitar-playing singer, whose disposition is arguably less unequivocally objective than equivocally subjective. Either way, singing, particularly in a rock-band context, is indicative, it seems to me, of a fiery or a watery female dominance of the male (as antimale), as with hoods, and therefore the 'male' singer appears to be one who is either antimetaphysically subordinate to metachemistry (free-standing singer) or antiphysically subordinate to chemistry (piano-playing singer), in hood-like vein. Naturally, there are female singers as well, but they tend to be either metachemical (and fiery) or chemical (and watery), with the piano arguably more applicable than the guitar in the latter context, as alluded to above.


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