CYCLE SEVENTY

1. In the relations of the sexes, men feel in a big way emotionally but give in a small way physically, whereas women give in a big way physically but feel in a small way emotionally. Man is very literally the lover whose emotional love evokes a physical response from woman. He gives the soul, but she gives the body. Or, rather, his feeling of love causes him to act upon woman, who then gives her body.

2. As flowers depend upon the sun for their life, so woman depends on man for her life ... as a wife and mother. Man is not dependent upon woman to anything like the same extent that woman depends on man. In fact, it is debatable whether man is really dependent upon woman at all. For his real life tends to lie outside the family, in the realms of business and/or some profession.

3. To contrast, noumenally, the extreme left-wing nature of art with the extreme right-wing nature of music on the basis that art is the art form of the heart and music, by contrast, the art form of the lungs. Likewise to contrast, phenomenally, the left-wing nature of sculpture with the right-wing nature of literature on the basis that sculpture is the art form of the body and literature, by contrast, the art form of the brain. Hence where art and sculpture are broadly under the superstar and the star respectively, literature and music are just as respectively under the cross and the supercross.

4. Art and sculpture are fundamentally objective art forms corresponding, in religious terms, to the Father and the Mother respectively, whereas literature and music are fundamentally subjective art forms corresponding to the Son and the Holy Ghost respectively. Hence where art and sculpture are apparent, literature and music are essential - the former pair 'heathen' and the latter pair 'Christian'.

5. To speak, as I believe I have elsewhere done, of the upper-class essence of art in relation to noumenal objectivity, of the working-class essence of sculpture in relation to phenomenal objectivity, of the middle-class essence of literature in relation to phenomenal subjectivity, and of the classless essence of music in relation to noumenal subjectivity. Alternatively, one could say that whereas art is the art form of the Devil and sculpture the art form of woman, literature is the art form of man and music the art form of God.

6. Were God, the Holy Spirit of Heaven, a musician, He would probably be an uilleann piper. In fact, uilleann pipers are the closest of all musicians to God, and therefore correspond to the highest musical ideal.

7. The average Rock band would seem to be a paradigm of coitus in which the guitarists, corresponding to females, are being 'shafted' by the drummer, whose overly phallic drumsticks symbolize the rhythmic penetration of the vagina as maintained by the largely harmonic bias of guitars. Thus it is the drummer who is the 'real man' of the band/group, the one whose noumenal objectivity impinges upon the phenomenal objectivity of the guitarists and their strumming and/or picking. In fact, both rhythm and lead playing are usually aided and abetted by the use of a plectrum, that clitoral parallel which is seemingly stimulated to greater or lesser heights according to the rhythmic impetus coming from the drums, and which may or may not give rise to the musical equivalent of a female orgasm - an extended guitar solo. As to the keyboardist (if any), he is neither a man nor a woman but effectively a youth who normally remains in the intellectual background of what is usually a duel between emotionality and sensuality for the hearts and bodies of prospective or actual fathers and mothers.

8. There is nothing revolutionary about Rock music. On the contrary, it is, together with Jazz, one of the most conservative art forms ever invented! For if Jazz, with its greater bias towards wind and percussion, is arguably a masculine art form, then Rock is its feminine counterpart, a sort of socialistic fall from musical communism which places greater emphasis on guitars and thus gives the female's side of the sexual story, a side which, more open to vocals, is largely heliotropic in its phenomenal objectivity. Hence from the Father to the Mother, with the classical Son and the folksy Holy Ghost effectively 'beyond the pale' of these star-based art forms.