View Poll Results: what type is Bruce Springsteen?

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  • ILE (ENTp)

    0 0%
  • SEI (ISFp)

    0 0%
  • ESE (ESFj)

    0 0%
  • LII (INTj)

    0 0%
  • SLE (ESTp)

    1 100.00%
  • IEI (INFp)

    1 100.00%
  • EIE (ENFj)

    1 100.00%
  • LSI (ISTj)

    1 100.00%
  • SEE (ESFp)

    1 100.00%
  • ILI (INTp)

    0 0%
  • LIE (ENTj)

    1 100.00%
  • ESI (ISFj)

    1 100.00%
  • IEE (ENFp)

    1 100.00%
  • SLI (ISTp)

    0 0%
  • LSE (ESTj)

    1 100.00%
  • EII (INFj)

    1 100.00%
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Thread: Bruce Springsteen

  1. #1
    redbaron's Avatar
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    Last edited by silke; 07-15-2014 at 12:40 PM. Reason: updated links
    IEI-Fe 4w3

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    I don't know much about him but SLE seems most likely.
    Isn't he friends with Jon Bon Jovi? He seems EIE=activity
    EII INFj
    Forum status: retired

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    Bruce Springsteen is an American singer-songwriter widely known for his brand of heartland rock infused with pop hooks, poetic lyrics, and Americana sentiments centered on his native New Jersey. He has earned numerous awards for his work, including nineteen Grammy Awards, two Golden Globes, and an Academy. Hmm interesting. You learn something new every day. I think he has more of an actor's name, but that's just me.

  4. #4
    WE'RE ALL GOING HOME HERO's Avatar
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    Default Bruce Springsteen

    I'm inclined to agree with the Ti-ESTp typing of him. He seems like a Beta ST [ESTp>ISTj].



    “ . . . Yeah, we know that come tomorrow, none of this will be here / So hold tight to your anger, you hold tight to your anger / Hold tight to your anger, don't fall to your fears / Now when all this steel and these stories, they drift away to rust / And all our youth and beauty has been given to the dust / When the game has been decided and we're burning down the clock / And all our little victories and glories have turned into parking lots / When your best hopes and desires are scattered to the wind / When hard times come, and hard times go / And hard times come, and hard times go / And hard times come, and hard times go / And hard times come, and hard times go / And hard times come, and hard times go / Yeah just to come again / Bring on your wrecking ball / Bring on your wrecking ball / Come on and take your best shot, let me see what you got / Bring on your wrecking ball . . .”








    - Robert Christgau:

    http://www.robertchristgau.com/get_artist2.php?id=199

    Born in the USA [Columbia, 1984]
    Imperceptible though the movement has been to many sensitive young people, Springsteen has evolved. In fact, this apparent retrenchment is his most rhythmically propulsive, vocally incisive, lyrically balanced, and commercially undeniable album. Even his compulsive studio habits work for him: the aural vibrancy of the thing reminds me like nothing in years that what teenagers loved about rock and roll wasn't that it was catchy or even vibrant but that it just plain sounded good. And while Nebraska's one-note vision may be more left-correct, my instincts (not to mention my leftism) tell me that this uptempo worldview is truer. Hardly ride-off-into-the-sunset stuff, at the same time it's low on nostalgia and beautiful losers. Not counting the title powerhouse, the best songs slip by at first because their tone is so lifelike: the fast-stepping "Working on the Highway," which turns out to be about a country road gang: "Darlington County," which pins down the futility of a macho spree without undercutting its exuberance; and "Glory Days," which finally acknowledges that among other things, getting old is a good joke. A+

    Wrecking Ball [Columbia, 2012]
    The first six tracks are all heavy irony shading over into murderous rage, with refurbished arena-rock to slam it home; it's perversely anti-political to lay any other interpretation on the opening "We Take Care of Our Own," which cites places "From the shotgun shack to the Superdome" where we--meaning the U.S.A. so many Americans weren't even born in--documentably haven't taken care of our own. It's protest music, damn right about moral abstractions rather than those finely limned characters good little aesthetes get gooey about, and for me a cathartic up. Second half's less of a scour, which the anti-political find a blessed relief and I find a forgivable nod to humanism and Clarence Clemons--especially since the climactic "We Are Alive" is so vulgar as to assume that all America's oppressed will rise up from the grave they share. To wreak vengeance, y'think? They got a right. A-


    Born to Run [Columbia, 1975]
    Just how much American myth can be crammed into one song, or a dozen, about asking your girl to come take a ride? A lot, but not as much as romanticists of the doomed outsider believe. Springsteen needs to learn that operettic pomposity insults the Ronettes and that pseudotragic beautiful-loser fatalism insults us all. And around now I'd better add that the man avoids these quibbles at his best and simply runs them over the rest of the time. If "She's the One" fails the memory of Phil Spector's innocent grandeur, well, the title cut is the fulfillment of everything "Be My Baby" was about and lots more. Springsteen may well turn out to be one of those rare self-conscious primitives who gets away with it. In closing, two comments from my friends the Marcuses. Jenny: "Who does he think he is, Howard Keel?" (That's a put-down.) Greil: "That is as good as `I Think We're Alone Now.'" (That's not.) A


    Tunnel of Love [Columbia, 1987]
    Where Nebraska was plunged in a social despair he never quite made his own, this companion piece comes out of personal compulsion. By depicting the fear of commitment as sheer terror, he does the impossible: renews L-O-V-E as pop subject. First side's got distance, bravado, optimism, even a joke, but then comes one long deep look inside, so well-observed that he seems neither self-pitying nor self-important, just a decent guy with a realistic understanding of his major but not insoluble emotional problems. And although the format is almost as spare as Nebraska's, the man has worked on his sense of rhythm the way he's worked on his marriage, which means he's pleasing to hear with just a drummer or alone. Next thing you know he'll learn to dance. A
    Last edited by HERO; 09-24-2014 at 02:30 AM.

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    I always think EII for him...

    He is pretending to be an earthy ass-kicking hard working guy. But it is really just a Delta sub-culture thing.

    Se PoLR.
    Last edited by Saberstorm; 09-24-2013 at 01:04 AM.
     
    God is most glorified when we are most satisfied in Him.
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    He is like Joel Osteen.
     
    God is most glorified when we are most satisfied in Him.
    - John Piper


    Socionics -
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  7. #7
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    I hope I did not kill your thread. He is a up-beat guy. I can see why people like him.

    His music reeks of nostalgia - he sings affectionately about working in a car wash. Everything is an anthem. Everything is about love. That seems very delta Fi.

    Watch his face in Dancing in the Dark. There is pure love in his eyes it is a very +Fi look.
     
    God is most glorified when we are most satisfied in Him.
    - John Piper


    Socionics -
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  8. #8
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    Quote Originally Posted by Saberstorm View Post
    I hope I did not kill your thread. He is a up-beat guy. I can see why people like him.

    His music reeks of nostalgia - he sings affectionately about working in a car wash. Everything is an anthem. Everything is about love. That seems very delta Fi.

    Watch his face in Dancing in the Dark. There is pure love in his eyes it is a very +Fi look.
    How did I not see this?

    Actually his lyrics turned more towards the plight of the *common man* over the years (rather than love) and increasingly angry about social injustice. He VIs LSE and is very extroverted on stage, but I think it is because that is his professional comfort zone. In interviews, he seems introverted, deliberate, and contemplative (and a bit Fe-PoLR-ish awkward). My verdict for now is SLI. There is nothing *beta drama* about him. It is all about down-to-earth lives, struggles, love stories, injustices rather than tearing down the system and initiating the revolution.

    “Let us forget with generosity those who cannot love us”
    ― Pablo Neruda

  9. #9
    Glorious Member mu4's Avatar
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    ESI maybe?

    I'm pretty sure he's a introvert.

  10. #10
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    Quote Originally Posted by hkkmr View Post
    ESI maybe?
    What makes you think that?
    “Let us forget with generosity those who cannot love us”
    ― Pablo Neruda

  11. #11
    Glorious Member mu4's Avatar
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    Quote Originally Posted by Kim View Post
    What makes you think that?
    He seems ethical not logical, sensor.

    Talks a lot about family.

    I would characterize his music as sincere and not cold blooded. IMO he's so far from cold-blooded to be entirely opposite of that.

    Never did drugs.

    Not ironic or sarcastic.

    Discplined to a fault.

    I'm not sure about this typing at all so I just listed a few things...

  12. #12
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    bump.


  13. #13
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    Hands down SLI. I know best because I love him mostest.
    “Let us forget with generosity those who cannot love us”
    ― Pablo Neruda

  14. #14
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    Quote Originally Posted by Kim View Post
    Hands down SLI. I know best because I love him mostest.
    I'm sorry, but I love him more. Damn, he is still sexy. SLI would make him my conflict rel'n. This can't be true.
    "Moral crusaders with zeal but no ethical understanding are likely to give us solutions that are worse than the problems."
    Charles Colson, How Now Shall We Live?



    Fe - EIE Harmonizing 3w2
    Married to my dual LSI
    1w9

  15. #15
    WE'RE ALL GOING HOME HERO's Avatar
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    - dedicated to Absurd:




    “Well I came by your house the other day / Your mother said you went away / She said there was nothing that I could have done / There was nothing nobody could say / Now me and you, we've known each other ever since we were sixteen / I wished I would have known / I wished I could have called you/Just to say goodbye, Tadzio / Now you hung with me when all the others turned away, turned up their nose / We liked the same music, we liked the same bands, we liked the same clothes / Yeah, we told each other that we were the wildest, the wildest things we'd ever seen / Now I wished you would have told me / I wished I could have talked to you/Just to say goodbye, Tadzio / Now we went walking in the rain talking about the pain from the world we hid / Now there ain't nobody nowhere nohow gonna ever understand me the way you did / Maybe you'll be out there on that road somewhere/In some bus or train, just traveling along / In some motel room there'll be a radio playing, and you'll hear me sing this song / Well if you do you'll know I'm thinking of you and all the miles in between / And I'm just calling one last time not to change your mind, but just to say I miss you baby, good luck, goodbye, Tadzio”







    “Cigarettes and a bottle of beer, this poem that I wrote for you / This black stone and these hard tears are all I got left now of you / I remember you in your Marine uniform laughin', laughin' at your ship out party / I read Robert McNamara says he's sorry / Your high boots and striped T-shirt / Billy you looked so bad / You and your rock-n-roll band, you were the best thing this shit town ever had / Now the men who put you here eat with their families in rich dining halls / And apology and forgiveness got no place here at all at the wall / Well I'm sorry I missed you last year / I couldn't find no one to drive me / If your eyes could cut through that black stone, tell me would they recognize me? / For the living, time it must be served, the day goes on / Cigarettes and a bottle of beer, skin on black stone / On the ground dog tags and wreaths of flowers, with ribbons red as the blood/Red as the blood you spilled in the Central Highlands mud / Limousines rush down Pennsylvania Avenue, rustling the leaves as they fall / And apology and forgiveness got no place here at all . . .”



    - Robert Christgau:

    http://www.robertchristgau.com/get_artist2.php?id=199

    The Wild, the Innocent and the E Street Shuffle [Columbia, 1973]
    Folkie trappings behind him, Springsteen has created a funky, vivacious rock and roll that's too eager and zany ever to be labeled tight, suggesting jazz heard through an open window with one r&b saxophone, or Latin music out in the street with zero conga drums. He celebrates youth in all its irresponsible compassion and doomed arrogance, but he's also old enough to know better--for him, the pleasures of the city are bigger and more exquisite than the defiance and escape that define most hard rock. "New York City Serenade" is as bathetic as you might fear, but "Rosalita" is more lyrical and ironic than you could have dreamed. This guy may not be God yet, but he has his sleeveless undershirt in the ring. A-


    Darkness on the Edge of Town [Columbia, 1978]
    "Promised Land," "Badlands," and "Adam Raised a Cain" are models of how an unsophisticated genre can illuminate a mature, full-bodied philosophical insight. Lyrically and vocally, they move from casual to incantatory modes with breathtaking subtlety, jolting ordinary details into meaning. But many of the other songs remain local-color pieces, and at least two--"Something in the Night" and "Streets of Fire"--are overwrought, soggy, all but unlistenable. An important minor artist or a rather flawed and inconsistent major one. B+


    The Wild, the Innocent and the E Street Shuffle [Columbia, 1973]
    Folkie trappings behind him, Springsteen has created a funky, vivacious rock and roll that's too eager and zany ever to be labeled tight, suggesting jazz heard through an open window with one r&b saxophone, or Latin music out in the street with zero conga drums. He celebrates youth in all its irresponsible compassion and doomed arrogance, but he's also old enough to know better--for him, the pleasures of the city are bigger and more exquisite than the defiance and escape that define most hard rock. "New York City Serenade" is as bathetic as you might fear, but "Rosalita" is more lyrical and ironic than you could have dreamed. This guy may not be God yet, but he has his sleeveless undershirt in the ring. A-


    Darkness on the Edge of Town [Columbia, 1978]
    "Promised Land," "Badlands," and "Adam Raised a Cain" are models of how an unsophisticated genre can illuminate a mature, full-bodied philosophical insight. Lyrically and vocally, they move from casual to incantatory modes with breathtaking subtlety, jolting ordinary details into meaning. But many of the other songs remain local-color pieces, and at least two--"Something in the Night" and "Streets of Fire"--are overwrought, soggy, all but unlistenable. An important minor artist or a rather flawed and inconsistent major one. B+
    Last edited by HERO; 10-27-2014 at 07:55 AM.

  16. #16
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    he's the totally boring type. no idea, but I don't even care to think about.

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