The inherent problem here is what is deemed masculine/feminine in binaries is often enforced to be gendered and has often followed such logistics. Cinematically the motion is the phallic action thrust and the background is the passive recipient. Cue that one scene from Nosferatu w/ the ship coming in and disrupting the still image with its front, a giant "SUP LADIES" of intent. Its however inconvenient to simply affiliate these attributes to the Gender, as much as they've been coralled into the Genders. The language is a bunch of bundles that have in many ways been weaponized, which is why Luka and Eden are having their row. Hell, fucking Dissensus is sadly a hypermasculine place of ideas so we'd never get to a better position either.
But yes, how do you determine to whom the behaviors of the wilt and of the force belong to? Because exceptions exist.
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I'm coming up with a lot of examples of this disparity that sonically go away from the material that inspires it within Garage b/c we're dealing with a lot of inhuman sounds and the problem there is that what is the gendering of sound. Duke Ellington said "The Drum is a Woman", but people presume the melodic is the feminine, so where is the reality? How many great male rave vocalists were there, or samples? And by that right how many great MASCULINE vocal performances were used.
A rap writer on twitter recently whined about "All the men are singers now and all the women are rappers" w/r/t rap in 2018 which is funny because
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in certain respects its true.
So we really can't say what in say, garage is inherently feminine. Those drums might be masculine presences to some but feminine presences to others, and likewise for bass or for samples or whatever.