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Post by Roshan on Oct 11, 2020 15:05:01 GMT -5
Jimmy Webb is the most interesting to me so far because the composer/lyricist of some of the warmest 'old chestnuts' (Didn't We?, All I Know, Wichita Lineman, Galveston, By The Time I Get To Phoenix, MacArthur Park) is FeNi creative subtype. But especially soloing Fi/Ni can really seem to be seem to be absolute value, for instance here.
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Post by Roshan on Oct 11, 2020 15:08:47 GMT -5
However, his keeping his eyes closed the whole time seems to show he really has to 'travel somewhere' inside to access that Fi 'subjective inner valuing F', at least in public.
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Post by Roshan on Oct 11, 2020 15:14:07 GMT -5
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Post by Roshan on Oct 11, 2020 15:15:07 GMT -5
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Post by Roshan on Oct 11, 2020 15:17:32 GMT -5
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Post by Roshan on Oct 11, 2020 16:42:02 GMT -5
It's really startling (to me) how he will move along a spectrum from very soft obvious Fe/Ti to at times seeming to have the piercing gaze of gamma or certain delta configurations. Also the lyrics of his material are really worth having a look at. I love this one, but talk about 'cosmic Fe'! Ni is merging with Fe in a way that is just extraordinary. (Click "Watch this video on YouTube").
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Post by Roshan on Oct 11, 2020 16:44:14 GMT -5
I often felt songs like "By The Time I Get To Phoenix (She'll Be Rising)" with that one simple lyric said everything I had to say but how could he just let it speak for itself? I  my creative subtype supervisor. |
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Post by Roshan on Oct 11, 2020 20:58:50 GMT -5
Think I'll be moving these to a separate thread for Jimmy Webb and linking it here; then adding on more to both. But for now here's middle-aged Jimmy doing 'schtick' before performing "All I Know" His voice is really shot here though, better to listen to song sung by Art but honestly the gf must have been an idiot. "But the ending always comes to pass. Endings always come too fast. They come too fast but they pass too slow". Silly?Jimmy holds infinity in the palm of his hand (reference is to Blake), and such a simple open hand...Also in this video his Te role is very obvious in the 'patter part' (as it usually is in his songs more subtly).
Another thing you see is how he both really came into his Se agenda when he matured which also ran him smack into the PolR in terms of not taking care of his voice. That it was never his strong suit was all the more reason to have taken care; he didn't.
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Post by Roshan on Oct 11, 2020 21:07:52 GMT -5
Alhough he greatly desired to make it as a solo performer it was his great gift and curse to write for other people. Also Sprach Der Socion.
And verily and forsooth is not to be essentially both Fe and Ni to be equal parts blessed and doomed?  (cf end of lyrics to MacArthur Park ^^^).
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Post by Roshan on Oct 11, 2020 22:19:22 GMT -5
One thing that is so extraordinary about Jimmy Webb's songs is how he combines the ordinary, everyday with the eternal, in such a way that neither is diminished by the other. And also, here as with By The Time I Get To Phoenix, something about the time/space continuum, yet so, so subtle...just...an insinuation...and where are we in all this?
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Post by Roshan on Oct 11, 2020 22:30:51 GMT -5
Wichita Lineman, though, he tells us was not finished when he sent it to the producer, who said yes, it is. (Also Webb was inspired by seeing a telephone lineman working along a country road in Wacheeta County, Texas, but time/space... ). (edit: hmmm...well, no, maybe that's an urban country legend, it may have resonance of the Wichita Mountains and wildlife refuge in Oklahoma; he had the inspirational experience in Oklahoma, not Texas according to paragraph 4 of the article that wiki quoted saying it's 'the first existential country song'... www.independent.co.uk/voices/columnists/dylan-jones/dylan-jones-if-you-ask-me-787684.html |
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my creative subtype supervisor.