About the "femaleness" of QRS.
If it's true that they are unconscious of how female they really are, it's interesting to consider in what dimension of biology/psychology that they are female.
As I've been repeatedly been emphasizing, "the heart" has significance in spirituality. You'll notice that the "mother type" in Weininger's philosophy is depicted as "mean", withholding, paranoid, and essentially heartless. For anyone who has done a lot of dating of women, these types exist. They are generally paired up with men who lack passion and heart. These men are also very analytical and devoid of creativity. If they get involved in music, they usually just mimic, rather than create. With these types, the music can often lean towards very aggressive; metal, black metal, death metal, or at other times, a sort of analytical style of Jazz, that while interesting in an abstract sense, it is rather superficial and lacks the depth of feeling that plays a shamanistic function.
Masculinization occurs in two dimensions; it occurs in a purely intellectual sphere, blessing the creature with powers in abstraction, language, and analysis.
However, it also occurs in an endocrinlogical sense, blessing the creature with powers in creativity, love, youthfulness, and social-courage. If you were masculinized in the heart, you manifest as a John Lennon, Jim Morrison, Jimi Hendrix, James Dean, Marlon Brando, or Bob Dylan type. These types of men are receptive to beauty in a super human sense, and with that, comes great social courage, a love for humanity that less masculinized men could not relate to. However, it often happens that men of such hearts have no mind. For instance, the intellectual confusion of John Lennon, or artist in general. With a blessing comes a curse.
This explains the perplexing drama of QRS when Kevin Solway went travelling. Dan Rowden and DQ behaved like possessive, jealous women. It was obvious to everyone watching.
Anyone who does philosophy knows how painful and scary it can be to socialize and put yourself at mercy to ordinary people, and therefore, it's entirely reasonable to admire (or envy) a man for doing some travelling, interacting and making his way through the world socially.
To deepen the analysis, Kevin Solway has always been a more gentle and effective teacher. He started it all. His knowledge base is more thorough, and Poison for the Heart is exquisite. Paired with this appearance, Solway himself has a greater respect and love for folk music. Whether it's Bob Dylan, local Australian folk, or classical, the man just seems more in-tune with what, in my estimation, is a more masculine heart. There is no angry, aggressive metal to be found in his personality, and my guess is he probably has no connection to much of the pretentious theoretical indulgences of Jazz. The adrenal gland may be less prominent.
Rowden is obviously the least balanced man. DQ is the next step up, but there is still a strange shadow cast by him. Finally, Solway emerges higher, but the masculinity of his heart is probably not even close to maximum expression.
All three men exhibit a very advanced capacity for abstraction, and so on account of their productivity alone, all three are to be admired and honoured for their service.
David Quinn in particular, if I were to command a star-ship, would be quite fitting in the role of a surveyor of planets, analysing prospects for colonization or exploration, and a strategist in warfare.
Where David Quinn might want to step down is in matters of psychology of alien species, diplomacy and "first contact" procedures. Someone like Solway would be more fitting for that, and there would be far greater psychologists, such as Carl Jung or J. Krishnamurti to help with establishing a respectful rapport. David Quinn as Worf on Star Trek | TNG