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In this way, he's still in control, diligently shaping them to fit into whatever feminine niche he picks, be it wild rock banshee (Mosshart) or cryptic goth chicks (The Black Belles).

He produced then-wife Karen Elson's record on his label and then played in her band, seemingly not trusting another soul with his wife's career.

"Two black gadgets in her hand are all she thinks about," White spits about a female antagonist on "Freedom at 21," before getting Pat-Robertson-preachy: "No responsibility, no guilt or morals cloud her judgment." There are other strange transgressions by women against men on Blunderbuss.

During the opener "Missing Pieces," a girl figuratively amputates White's limbs.

We can see this pattern emerging in Stripes lyrics early on.In "Hypocritical Kiss," White spins his foil's feeling rights back around in an instance of blatant manipulation: "I know that you're mad at me / But if you're thinking like that / I think you'll see that you're mad at you too." And when he can't please women, he still doesn't give a damn; going upstairs to find his girl crying as per usual in one song, he sniffs, "I guess I should go back to bed." There's even a startlingly specific zing at Meg White on "Hip (Eponymous) Poor Boy": "You'll be watching me, girl, taking over the world / I'll be using your name."In this context, White's dismissal of a 21st-century woman in Blunderbuss' "Freedom at 21" makes perfect sense.A modern-day woman, with her sexual freedom and i Phone, represents power and choice, things that White embraces in his own life.Perhaps it bubbles up in his strictly color-coded set décor and on his current tour for Blunderbuss, where he's switching between all-male and all-female backing bands based on his own whims.Perhaps there's some truth to Rob Sheffield's characterization of White as a minter of female rock stars—first with Meg White, then with Alison Mosshart for the Dead Weather, and a whole host of ladies on Third Man, his record label.

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