Why are diamonds a girl’s best friend? Diamonds, the most popular gemstone, are also the symbol for steadfast love. 


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Why are diamonds a girl’s best friend? Diamonds, the most popular gemstone, are also the symbol for steadfast love. A girl’s best friend finds symbolic expression in the idea of the diamond. However, a diamond’s not a friend, nor a lover, và then it is in very odd ways.

“A đá quí is forever,” so say those advertisements for diamonds, the female being quietly embraced by the man she is either engaged or married to. Her ring indicates lifelong friendship with the companion. The ring can be worn until she dies and thus she may pass it on as an heirloom, a testament to her brief stay in the world of the living, a monument of her former life. Or she may discard it as soon as that love has corrupted into divorce, a broken engagement, her partner’s death, và so forth. Even off one’s finger, diamonds are still around, they still “ring” và are not necessarily on one’s finger.

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When we hear a record being played, we know that a record player’s pick-up và its needle are composed of a perfectly hard substance, a diamond. Rubies, the next hardest, are not as strong as the diamond, probably because of the diamond’s four-carbon molecular structure, a structure that pervades the entirety of the diamond, making it the hardest, the most “invincible” of all matter.Adamas is the Latin word for diamond, “diamond” being a corruption from that adjective, invincible. Steadfast, invincible love has the kim cương as its metaphor, but the music or song heard by those two lovers is facilitated by the very substance they wear on their fingers.

To hear a tuy nhiên off of a record has the diamond as its medium. The sound of the record is thus transmitted by a diamond and the lovers who are staring at their diamond sanctifies precious, steadfast love, the kim cương “rings” in front of their ring.

When lovers say, “Darling, this is our song,” they may or may not be aware that “their song” is rung into their ears by a diamond. A tuy nhiên that memorializes a love is also the kim cương ring or “ringing” đá quí stylus memorializing their love.

A diamond stylus is only heard, not seen. The brilliance of a kim cương ring is also met by the brilliance of sound waves meeting the air, the sound waves reverberating by means of the faculty of a kim cương stylus’ perfect tương tác with two sides of a record’s groove. The jewel that is seen is also the jewel that is heard.

A diamond in tương tác with one’s eye, the kim cương ring, is also the đá quí in liên hệ with one’s ear. The heart, the place where love builds its figurative home, has “ear” within the heart of the word h(ear)t. & “hard” is allophonic with “heart,” just as “heard” is also euphonious with those two words. A hard đá quí is placed in conjunction with the hearts of lovers and with their “ears,” the sound of the kim cương that falls into the hearts of lovers, into the “ear” which is in the heart of h(ear)t or h(ear)d. Pearls, too, have “ear” within their heart, p(ear)l. Steadfast, invincible, “hard” love builds its home around the hard kim cương seen or around the hard diamond heard in the ear over a record player, the immortal song now deep in the hearts of lovers. The “song in my heart” has been heard & seen, since within our hearts lives a diamond, a four-cornered, four-chambered object, just as our heart is. (There are heart-shaped diamonds.)

The strength of the diamond, its uniform, crystalline structure, has no air within it, no air for sound to lớn reverberate within it. The heart, however, is quite loud, for even in the greatest of silences, we can always hear our hearts. Remember when Rachel Welch had khổng lồ close her ears in the movie Fantastic Voyage? The microscopically shrunken vehicle ventured into the comparatively gigantic chambers of the man’s heart, và the sound of the muscle beating was unbearably loud for the voyagers. There is no sound within a diamond, no pockets of air, at least in flawless diamonds. When the đá quí performs its function as stylus, the sound has the kim cương as its point of origin, albeit the perfectly faceted và angled sides of the kim cương can register all the variations felt along the record’s groove. Never, never, never though can the kim cương have sound pass through it for the diamond’s symmetry & the ensuing vibrations can only issue upon tương tác with the diamond’s outside, while this jewel’s inside, its heart, its airtight interior cannot carry sound within it.

Furthermore, this diamond-idea is related to lớn the idea of the Holy Trinity, particularly in relation to the Holy Spirit of the Holy Ghost. The correspondence of the Mystical Kabbala has the kim cương represent the idea of one in three. God is the three persons, Father, Son, và Holy Ghost. The Holy Ghost/Spirit represents the love between the father and son, between the unbegotten Father và the begotten Son, Christ. The Virgin Mary was infused with the spirit of the Holy Ghost at Annunciation. At Christ’s Baptism và the Pentecost are also where the Holy Ghost made its divine presence felt.

The angel Gabriel at Mary’s Annunciation was never really seen, for according to the Catholic Encyclopedia, careful inspection of the New Testament reveals that the angel imparted some kind of inner voice within the “silence of Mary’s soul.” God spoke to lớn Mary via the angel at the moment where the Holy Ghost, represented by the size of a dove, was present as well. A dove, with its wings outspread, forms a diamond shape, four diagonals join its tail, two wings & beak. The spirit or breath of God, his ‘’sound,’’ in its broadest figurative sense, is effectuated by the dove, the Holy Spirit in its kim cương shape.

Furthermore, at Pentecost, when Christ promised the Holy Spirit would visit Mary and his disciples, the Holy Ghost was described as “a roar like that of mighty winds filled the house & tongues like tongues of fire rested in everyone present.‘’ Old Testament meanings concerning spirit are often concerned with breath, the breath from God’s mouth that gave life to Christ, that breath being the Holy Spirit with its “mighty winds” and “tongues like tongues of fire.”

Back lớn diamonds. If diamonds facilitate the transmission of sound to our ears, conceivably we are in the position of duplicating the Trinity. Singer-musicians breathe into our ears when we hear the record. Singer-God has a diamond-Holy Ghost for us Gods on earth, us Christs who are Gods in the flesh. This voice from afar, God, enters our ears, as the Virgin was inseminated with Christ’s embryo through her ears. (St. Augustine thought that Mary was fertilized in such a fashion.) We, as listeners to music, lớn the diamond ring, receive the spirit, the voice, the breath.

The eternal love of the Holy Spirit for the Father & the Son congrues with the diamond, this symbol of steadfast love. The Holy Ghost, as a four-cornered dove, or kim cương stylus, is eternal, despite the relative duration of a diamond stylus being only 100–500 hours of playing time. The record’s grooves wear down the stylus into unplayability, an argument against its steadfastness in playing or ringing out those songs of love.

Synthetic diamonds are made from graphite when extremely high temperatures & pressures are exerted on the substance that allows us to lớn write, the pencil with its graphite. A stereo pick-up has a kim cương stylus for writing out the record grooves into the air, và it is a diamond, derived from carbon, just as another writing implement has only simple carbon within it. Imagine writing with a kim cương tipped pencil. Also, in order for oil to be mined, synthetic diamonds bore into the earth’s crust so as to unearth the crude. This is odd, since oil is what makes up record discs, them being played by diamonds, và them being mined by diamonds.

Heroin users may have what are called “works,” the usual needle, syringe, and cooking spoon. Heroin and its necessary needle also entail the necessary “pick-up needle” with its đá quí stylus. This association finds its truth in the myths of junk taken by musicians. They may have made albums or not and what albums they play a pick-up needle is needed, or if their need for junk is great, they use a needle full of prepared heroin lớn pick them up. A kim cương stylus, if pressed hard enough, could puncture your skin, while a needle and syringe will accomplish the act. Even with “glass works” the (sharp) diamond stylus finds its companion in something else crystalline, a glassy needle. These associations should be placed next khổng lồ the mythology of drug-taking musicians or music lovers, reinforced by the stylus that lets them hear their own music. It is an alignment to lớn an object that resonates a primary masochism, crystalline drugs the interiorized object that magnifies the external world’s cruelty on its recipients. The heroin and cocaine addict demonstrates, though not completely, that such consumption is an allegory of a pulverized diamond stylus.

The ritual of cocaine or heroin ingestion through the nose remains within this general crystallization that the đá quí idea secretly originates. The crystal powder is cut into lines over a pane of glass or mirror. A razor is often used, a highly sharp tool whose cutting nguồn metaphorically resides with the cutting power of the diamond. If glass or a mirror is used for the razor to cut the dust up on, we then encounter a crystal cut by a near crystal on a crystal; crystals are cut by crystals on crystals; diamonds are cut by diamonds on a diamond; kim cương styluses are cut by diamonds on diamond records, enabling more pulverization, the pulverization of the đá quí stylus that fictively becomes the precious powder we put into our bodies. And all of this is accompanied by a loud rapping of the razor on the mirror as it divides up the powder. A đá quí stylus elicits sound just as the razor, another sharp implement, elicits peals into the air.

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One procedure in coke or heroin taking consists of using a pen empty of its ink-filled cartridge. The hollow tube allows easy suction of whatever drug under question. Again, another writing implement enters into a ritual of drug taking.

A few words on the nose. The nose is a prosthetic extension of the body, it is an appendage of the body, particularly the face. The nose “sticks out,” it juts into the air. One’s profile has the nose as its distinguishing mark, a kind of “prow” or “stylus” or more cryptically, a permanent “dais” of the body toàn thân that writes itself through the empty air. Figuratively, the kim cương resembles the nose for the nose forms a small “V” reproducing the diamond’s point that is either placed in platinum or on record grooves. The nose is a đá quí also in terms of a topography of the ego; every ego is a bubble of sorts, an envelop of skin và with the nose, this raised platform, this “dais,” or organ, is a bump in the ego-bubble. Jacques Lacan said that recognition of an ego is recognition of a nose. The diamond, since it is attached to the body, a “hump” of sorts on the body, resembles the nose in the object’s interruption of the body’s relatively smooth homogeneity. They are, in a broad system of substitutive terms, lumps, outgrowths, cysts, pockets, lobes, & so forth. Indeed earlobes can bear diamonds, earrings, and like fingers, another bodily appurtenance, they can bear diamonds with their customary đá quí rings. Even the head, the body’s biggest “bump,” can bear a necklace at its base.

The cocaine or heroin that goes back into the nose goes back into the diamond-hood these drugs are metaphorically derived from. From the pulverized kim cương stylus to lớn the lines on a diamantine surface to the diamond in the nose-diamond. The tuy nhiên played by a đá quí corrupts into dust which returns to lớn the most diamond-like part of the body, the nose. Similarly, too much dust inhaled collapses the diamond-nose just as the diamond stylus had collapsed from too much playing. People who snort too much đá quí dust also thua trận their diamond, their nose, since the ample đá quí dust was derived from playing the kim cương too frequently, the ambiguity here residing in either snorting too much dust or, because they are saturated with music, diamond-written sound.

Yet have we answered the question “Why are diamonds a girl’s best friend?” Perhaps the discussion should explore the role of Norma Jean as the quasi-authoress of this invincible demand.

Is a platinum record playable or not? Can I play a platinum record with a kim cương stylus? Then it will really be a diamond ring, since kim cương rings are set in platinum, and the platinum record played by a kim cương needle is also a diamond ring, a diamond supported by platinum.

The next transition: from gold records lớn platinum records to diamond records. A diamond record played by a diamond stylus. An invincible record and its invincible pen. The love between those two diamonds will be invincible, the record that never warps played by its stylus that would never corrupt or bore (as synthetic diamonds do) into the oil record, since this record is now a diamond and not vinyl/oil. Now laser beams are being used as styluses on video-discs, the beam in question will never warp the record, although its incredible cutting power nguồn is capable of boring holes through diamonds.

One question has plagued me during this discussion: what other jewels could be used for a stylus? Besides the diamond, what could be substituted, what would allow the divine breath khổng lồ vibrate perfectly throughout the air? A ruby stylus, an emerald stylus, a pearl stylus, a sapphire stylus, a topaz stylus, lapis lazuli, amethyst? Rubies might be appropriate since they are the next hardest gem to lớn the diamond, và indispensable in the formation of laser beams. Emeralds are much too precious, rare, & expensive to lớn be used, besides we would be straining ourselves terribly khổng lồ see such an exquisite though tiny stone, once made into a nearly invisible writing point. Sapphires were originally used as styluses, and like the emerald we would be despondent not khổng lồ be able to lớn see the pale, cross-shaped star draped over these magnificent gems. I will discuss pearl styluses further on.

Certainly the listener is not at a loss when the music compensates for the absence of the visual brilliance of the đá quí or any of its equivalents. Listening to lớn the compositions of musical geniuses must face the inevitable loss of those prismatic gleams when light strikes these jewels under question. The tininess of the diamond stylus cannot shed the treasured refraction; placing one’s finger under the pick-up needle asserts the diamond’s presence, albeit by mere touching—and if the stereo’s “power” button has been pressed—a finger’s pores & rippling array of lines, swirls, “grooves” again, facilitates the kim cương to register the sound of such a fingertip’s landscape. We can then “hear” the finger that only feels hot or cold, rough or soft—and another argument for the diamond’s perfection—sound for the touch, sound for the short interval of pain at the stylus’ sharpness, & while under such a delicious sensation, we beg our ears to receive the equivalent; oddly, it all started since the prism was never seen.

Pearls, however, would not hurt whatsoever if they were made into styluses. Their roundness and smoothness would be a welcome sensation to the finger dismayed by the surgical potential of the other gem. Oddly enough, inside the pearl is a sharp object, a chip off of the oyster’s exterior. The oyster’s outside, composed of calcium, grows layers và layers of shell. These encrustations are what pearl divers cpu off và insert into the oyster’s lip. Once inside the oyster, this formerly “outside” chip irritates the soft, fleshy interior, thus propelling the oyster khổng lồ cover the hard edge of the cpu with what will eventually become the ideally smooth surface of the pearl. From the, outside of the oyster to lớn its inside, and once inside, the cpu is then a “foreign” body toàn thân (although it is part of the oyster, hence not so foreign) about khổng lồ become reconciled with the interior; whenever the oyster is happy with the very thing that caused so much discomfort, the pearl diver may remove the former chip. The pearl is thus a prophylactic to the pain of the oyster’s inside. Eventually, the pearl consecrates the oyster’s relative ugliness, the oyster’s exterior layers of unsightly calcium growth, when that ugly exterior was the very origin of the pearl, before it evolved into its hemispheric perfection. A pearl, lượt thích a diamond, is really a chip, a hard, knife-like surface. (If you have ever dived for oysters for perhaps eating them on the half-shell, your fingers get sliced up terribly.) But only in the heart of the pearl does the chip exist. To touch a pearl stylus is a comfort in comparison khổng lồ a kim cương stylus. Indeed, if such a stylus existed, the pearl just might (a hypothesis) wear down & become the chip it began building itself upon. Then that cpu would be diamantine. The heart of the pearl has a diamond, however odd that may strike your ears.

All record grooves are now suited for the purposes of a diamond’s point lớn travel along. What would a record’s grooves evolve into if a pearl, a round pearl, were so be used. Instead of V-shaped valleys we would have U-shaped ones; the pearl would have khổng lồ touch on grooves that were essentially curved, not angled as with a diamond. & what would that sound like? What would a pearl stylus bởi to a record’s sound, what would the sound sound like? Would the music become softer, fuzzier, slower, what? to hear a gem “clearly” has always had the kim cương as its standard. Could there be a pearl sound standard where the category of “clarity” và “sharpness” no longer applied, but the predicates of “subtlety” or “softness” did? Conjecturing a pearl stylus, even in the shape of a record’s grooves, seems at best fantasm; its only truth is that diamonds & pearls are gems, and hence interchangeable; if not, the imagination leaves the pearl lớn a future of silences, whereas the diamond maintains both visual & acoustic brilliance. All those pearl divers have to vì chưng then is to drop kim cương chips into the oyster and see whether calcium by-products will make the nacreous shell of the pearl. A diamond is now in the heart of a pearl. That double gem will elicit delicious sound, eventually after the pearl dust has scattered itself over the record disc. As the pearl wears down, casting the sheeny đen surface into one that is more opalescent, this hybrid stylus then advances the sound’s chất lượng and clarity once the strange stylus is fully a diamond.

This hypothetical situation with a pearl-diamond stylus, this pulverization of the pearl as it transforms itself into a diamond in the process, could happen with a diamond as well. The 500th playing time of the đá quí stylus signals the đá quí stylus’ vulnerability, its breakage. Could the diamond stylus be shedding itself along the way?

Let us suppose that a diamond does just that, that by wearing down, it chips off, it crumbles through strain towards its 500th playing time. Và where vày these đá quí morsels go, where vị these even tinier fragments of the đá quí stylus go? A transformation of the kim cương stylus takes place, and, conceivably, đá quí dust results. This is quite possible with the fabulation of a diamond record & its diamond stylus, since the cutting of a diamond has lớn take place with a diamond, the kim cương record’s grooves doing the pulverizing, the cutting. Powder then fills the air and enters into ourselves in the strangest of ways.

Since my entire argument is replete with hypotheses, I shall make another. After the diamond’s fictive wear-down into đá quí dust since it played so many times on the record, the dust became transformed, alchemized if you will into the pharmacological habits of a record’s listeners, the drugs cocaine and heroin.

With all this dust traveling through the air, this precious dust from the đá quí playing on record grooves và its being pulverized by such grooves, the dust enters our bodies. If the similarity between cocaine or heroin or any other dust-like drug is justified, then this dust enters, as is a common practice, through the nose. Of course, rock musicians will snort “rocks,” the rocks in question being more precious than gold, a rock not as expensive as the rocks that are diamonds. A bird of paradise flew up my nose could mean the four-cornered dove of the Holy Ghost is flying up my nose and into my lungs, the very site of breath or spirit again. “Angel dust” resonates with the idea of the angel Gabriel accompanied by the Holy Ghost at Mary’s Annunciation when she is about lớn hear God. The head that is suffused with diamond dust, or sound for that matter, cannot ingest diamonds per se, only their closest equivalents: substances that are crystalline, expensive, và in association with the non-representational, non-worldly commonplaces of music, “Getting high” on music or drugs finds the diamond-standard always within the two categories. Besides the music industry attempts to saturate its viewers with scopic or visual spectacle as well as aural spectacle. Here, the thing that is missing is the drive of the heaving of the lungs, satiated by near diamond dust, an illegality và the envy of those hungry spectators who think that rock musicians get all the “dust” or “rocks” they want.