CYCLE SIXTY

1. The World, necessarily mundane, is a context where sin is the rule and grace the exception, whereas Heaven, by contrast, is a context in which grace is the rule and sin the exception.

2. The Overworld, necessarily purgatorial, is a context in which crime is the rule and punishment the exception, whereas Hell, by contrast, is a context in which punishment is the rule and crime the exception.

3. Did the Catholic clergy not adhere to a rule of strict celibacy, they would be unable and unqualified to offer grace, no matter how provisionally, to sinners, but would become 'bogged down' in carnal sin.

4. The Protestant clergy do not need to maintain a rule of strict celibacy for the simple reason that their role is less one of absolving sinners from sin ... than of warning criminals as to the likely consequences of their crime.

5. To distinguish the scientific status, in noumenal objectivity, of Jazz/Blues music from the economic status, in phenomenal objectivity, of Romantic/Classical music.

6. Likewise to distinguish the political status, in phenomenal subjectivity, of Rock/Pop music from the religious status, in noumenal subjectivity, of Country/Folk music.

7. It could be argued that, just as the distinction between Romantic and Classical music is one of content and form, or content-over-form vis-à-vis form-over-content, so the distinction between Jazz and Blues, Rock and Pop, and Country and Folk ... is likewise one of content-over-form vis-à-vis form-over-content, thus suggesting the likelihood of an objective/subjective division between the respective musical pairings.

8. To distinguish, within the framework of culture, the idealism of Trad Blues from the corporatism of Trad Classical with regard to Primal Being, and the totalitarianism of Trad Pop from the transcendentalism of Trad Folk with regard to Supreme Being.

9. To distinguish, within the framework of barbarism, the naturalism of Trad Jazz from the communism of Trad Romantic with regard to Primal Doing, and the authoritarianism of Trad Rock from the fundamentalism of Trad Country with regard to Supreme Doing.

10. To distinguish, within the framework of civilization, the materialism of Modern Jazz from the capitalism of Modern Romantic with regard to Primal Taking, and the parliamentarianism of Modern Rock from the nonconformism of Modern Country with regard to Supreme Taking.

11. To distinguish, within the framework of nature, the realism of Modern Blues from the socialism of Modern Classical with regard to Primal Giving, and the republicanism of Modern Pop from the humanism of Modern Folk with regard to Supreme Giving.

12. Broadly, it can be seen that the 'modern' contexts, which are generally electric, correspond to phenomenal options, while the 'trad' contexts, which are generally acoustic, correspond to noumenal options.