PJ Harvey

[Not A Communist Shill]

I think she's INFp, and my second guess is INTj.

[implied]

just from what i know of her (which is rather little) i might agree. i love her music at any rate.

[redbaron]

her facial expressions in these photos remind me very much of one of my good friends who's INTj.

[implied]

<3 <3 <3



interview. i think she's great. i haven't thought of "rid of me" probably since i was in highschool.

[Not A Communist Shill]

She seems really otherworldly and introspective most of the time, and she just does her own thing...that's what makes typing difficult.

There's an interview with David Byrne too - I don't know what kind of relation they had , but they seemed reasonably comfortable with each other.

[redbaron]

I read somewhere that David Byrne is INTj. Seems like he could be.

[Not A Communist Shill]

I read somewhere that David Byrne is INTj. Seems like he could be.

Yeah, Rick has made a good case for it.

[HERO]

PJ Harvey:

SLE [I recall someone once considering this via V.I.]; or IEE (Ne-ENFp); or IEI

Here are the pictures:

http://farm4.static.flickr.com/3162/...da0c969690.jpg

http://userserve-ak.last.fm/serve/_/...+Harvey+PJ.jpg

http://userserve-ak.last.fm/serve/_/...ey+gxzn_b0.jpg

Polly jean harvey image by richardjgibson on Photobucket

http://www.dejavoice.it/wp-content/u.../PJ-Harvey.jpg

http://www.smh.com.au/ffximage/2007/09/06/pharvey.jpg

http://farm4.static.flickr.com/3393/...86da8b9b4c.jpg

http://www.morphizm.com/images/interviews/pj/pj_huh.jpg

http://cdn2.mog.com/images/003075781225120405.jpg

http://casal.upc.es/~adria23/fotos/pj_harvey_bio.jpg

http://www.scatterbright.com/images/pjharvey.jpg

http://www.bbc.co.uk/radioassets/pho.../7/31213_2.jpg

http://userserve-ak.last.fm/serve/_/...ean+Harvey.jpg

http://files.list.co.uk/images/2009/...-lst031393.jpg

http://www.100xr.com/100_XR/Artists/...arvey-1996.jpg

http://www.blogcdn.com/www.spinner.c...0-b-110507.jpg

http://www.venuszine.com/article_ima...12pjharvey.jpg

http://3.bp.blogspot.com/_fZC29hmSiL...00/x+Polly.jpg

http://relampagosobrelagua.files.wor...if?w=276&h=409

http://i46.tinypic.com/aaexzt.jpg

http://mhvalley.republika.pl/PJHarvey/bigPJH.jpg

http://mybandrocks.com/dv/images/pjbjorktori.jpg

http://2.bp.blogspot.com/_4BO-nX-j9B...ork%5B1%5D.jpg

Pj harvey bjork image by jogaspace on Photobucket

http://farm4.static.flickr.com/3586/...497131e78f.jpg

http://www.blogcdn.com/www.spinner.c...0-b-110507.jpg

http://2.bp.blogspot.com/_lNPRcKJZZn...J%2BHarvey.jpg

http://www.sweetslyrics.com/poze/bio...ean-Harvey.jpg

http://mtv-pt.mtvnimages.com/ArtistI...jpg?height=211

http://www.rollogrady.com/wp-content...ust2003yx7.jpg

http://arabdakota.home.sapo.pt/bjork_pjharvey.jpg


Here are the songs:

[Sol]

some Ne

[HERO]

EIE-Ni of the extremely obvious kind, in my opinion. And to be honest I also think that both John Parish and Rob Ellis are LSI-Se.

http://images.uulyrics.com/cover/p/p...uh-huh-her.jpg

http://userserve-ak.last.fm/serve/_/...ey+gxzn_b0.jpg

http://userserve-ak.last.fm/serve/252/2162599.jpg

http://userserve-ak.last.fm/serve/_/...+Harvey+PJ.jpg

http://www.smh.com.au/ffximage/2007/09/06/pharvey.jpg

http://cdn2.mog.com/images/003075781225120405.jpg

http://casal.upc.es/~adria23/fotos/pj_harvey_bio.jpg

http://www.scatterbright.com/images/pjharvey.jpg


Here is my current typing of PJ Harvey:

ENFj --- --- Performer
using 2 subtypes: Intuitive Performer (Ni-ENFj)
using 4 subtypes: Harmonizing Performer (H-ENFj)
using 8 subtypes: Poetic (or Autistic/Expert) Performer (Ni-ENFj)
using 16 subtypes: Observant/Philosophical (or Critical) Performer (ENFj-INTp)


I once made a collage when I was in the spectrum youth program in Victoria, and I included this picture:

http://blog.surropa.com/wp-content/u...1300074172.jpg

When I was presenting my collage, a guy (who was also in the program) and even a staff/instructor thought she looked like Michael Jackson [at least from a bit of a distance anyway (they practically/almost thought it was Michael Jackson)].


Here are some quotes from wikipedia and interviews/articles and books (and wikisocion):

http://en.wikipedia.org/wiki/PJ_Harvey#Personal_life

'Harvey has said she would like to have children, adding, "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." '

'Offstage, Harvey has cultivated a reputation for eccentricity to match her music; for example, Steve Albini claimed she ate nothing but potatoes while making Rid of Me.'

[lazybones: Si-PoLR (?)]


'She told The Times in 1998, "The tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". She later told Spin, "Some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In 2006, Blender included her in their list of the hottest women of rock, calling her a "blues-rock sorceress trafficking in social politics and dark, tormented songwriting." '

"In April 2008, she was a guest on Private Passions – the biographical music discussion programme hosted by Michael Berkeley on BBC Radio 3[22] – and on the show, selected some of her favourite music, including pieces by Arvo Pärt, Ralph Vaughan Williams, Howe Gelb and Nina Simone."

http://en.wikipedia.org/wiki/PJ_Harvey#Early_career

'Even though Harvey left the band in 1991, she formed lasting personal and professional relationships with certain members – especially Parish – who she has referred to as her "musical soul mate."

[lazybones: people may often describe their dual as their "soul mate."]


'Harvey quickly avoided being adopted as a feminist spokesperson, telling Vox that "I wouldn't call myself a feminist because I don't understand the term or the baggage it takes along with it. I'd feel like I really have to go back and study its history to associate myself with it, and I don't feel the need to do that. I'd much rather just get on and do things the way I have been doing them... I think I'd find it quite patronising to be called a Riot Grrrl if I was one of them, but they obviously don't think so." More recently she told Bust: "I don’t ever think about [feminism]. I mean, it doesn't cross my mind. I certainly don’t think in terms of gender when I'm writing songs, and I never had any problems as the result of being female that I couldn't get over. Maybe I'm not thankful for the things that have gone before me, you know. But I don't see that there's any need to be aware of being a woman in this business. It just seems a waste of time." She added, "I don't offer [support] specifically to women; I offer it to people who write music. That's a lot of men." '

'Around this time, Harvey began experimenting with her image and adopting an elaborate, theatrical, almost cabaret edge to her live shows. Where she once performed on stage in simple black leggings, turtleneck sweaters and Doc Martens, she now began performing in ballgowns, pink catsuits, wigs and garish, vampish make-up – including false eyelashes and fingernails – and using stage props like a broomstick and a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in a 1996 Spin interview, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that’s just my twisted sense of beauty." '

lazybones: Si-PoLR (?)


'In 2001 she topped a readers' poll conducted by Q magazine of the 100 Greatest Women in Rock Music. Her sixth studio album, Uh Huh Her, was released 31 May 2004. For the first time since 4-Track Demos, Harvey produced it alone and played every instrument but the drums. She told Rolling Stone "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." '

http://www.wikisocion.org/en/index.p...rted_Intuition

"EIEs also frequently reflect on their dreams, making symbolizations of the events that occur in dreams and relating them to external reality. They enjoy contemplating on what their subconscious psyche is displaying to them."

http://www.alphane.com/pjh.htm

' "I have massive dreams, dream extravaganzas every night," announces Polly Jean Harvey. "It's very enjoyable. Sometimes they seem so real that I'm not really sure which is my real life. Is this my day life or my night life? I don't always know."

Perhaps fortunately for her sanity, PJ Harvey doesn't sleep that much. Three or four hours a night, tops. When she awakes from her mini-slumbers, she writes down what she remembers of her dreams, which is usually quite a lot. Hardly any of these reveries end up in songs. They're recorded purely for her own personal use. They are, she explains, fuel for her imagination.' [emphasis mine]

(lazybones: I can say, that as an IEI, I'm a lot lazier, and usually like to sleep a lot, and seldom write down my dreams unless I really force myself, since I'm too lazy. Yet what's written about PJ Harvey generally points to EIE-Ni in my opinion. Nevertheless, I think that IEI is still a possibility.)


'Polly has mentioned Take That before in interviews. Is she something of an admirer?

"(Laughs) Everybody's gonna think that I've got a Take That fetish. Even my drummer bought me a Take That fan book the other day. So I've got loads of pictures of them now. I think they're really good at what they do because there are loads of bands who do that kind of thing and do it appallingly. They do it brilliantly. They write their own songs which I like. They write good songs and they look good. I just think they look like they've put a hell of a lot of work into their show and I admire that too, (adopts deeply earnest male voice) being a workaholic myself." '

'Harvey sings and writes like a woman whose heart has been carpet-bombed back to the Stone Age. Pain, betrayal and neurosis are her primary colours. If she were fifty, you'd be inclined to observe that, for such a short life, she had experienced an unreasonable amount of relationship trauma. However, the shocking truth is that Polly Jean was a late developer. She didn't even start dating until she was twenty, barely five years ago, and two years after she began writing songs.

"I was more interested in working as hard as possible than in dating," she avers.'

". . . I didn't think anybody would want to date me. Having said that, I was extremely confident in other areas like the work I was doing because of the sheer amount of work I was putting into it."

'The tight bonds forged between the Harveys senior and junior, and their shared love of all things poetic, meant that there was never more than the narrowest of generation gaps beneath the familial eaves. Even today, Polly regards her parents as her best friends. Tellingly, every new album she records is premiered for Mom and Dad before anyone else.

"We're an extremely close family," she declares proudly. "It makes no difference if we don't see each other for four months, if that's the way it's got to be. We'll be exactly the same when we see each other. Being apart doesn't put a strain on our relationship.'

"Rock music was the preferred style of entertainment in the Harvey household so both PJ and her brother were raised against a permanent backbeat that featured the likes of the Rolling Stones, Bob Dylan, Neil Young, Captain Beefheart and all manner of classic blues."

"I went through phases. When I was thirteen, fourteen, fifteen, I wanted to be like my friends so I was listening to the music that they were listening to. I was listening to Duran Duran, Spandau Ballet, Tears For Fears, Soft Cell who I still like so there was one good thing about that stuff, and U2 who I also still like. Then, I got out of that again and got back into the music that I had grown up with. I was able to explore my parents' record collection for the first time instead of just having it played at me. I was able to find new things. I'd wanted to sing for a long time but, up to that point, I'd only played a saxophone. I had an opportunity to buy a guitar and that excited me because I wanted to sing and write words too, as a way of expression."

'Was she any good as a sculptor?

"I think I was pretty good," PJ insists. "I could've been really good if I'd worked hard. Whatever I'd have been doing, I'd be working very, very hard because otherwise I'm just not very satisfied with myself. I can't live with myself like that. If I'm not pushing myself, I'm not happy. It's quite a hard way to be. At college, I overworked all the time, and I still do. [emphasis mine]

"It's very confusing for me, this perfectionism of mine. Why is anybody like that? Why is anybody driven to choose a very hard way of expressing themselves? There are much easier ways. You're trying to make something that's perfect and that is impossible. You're trying to achieve the impossible the whole time which is not an easy way to go." '

'At twenty, she joined a Bristol band called Automatic Dlamini. Within a year, she had teamed up with bass guitarist Steve Vaughan and drummer Rob Ellis to form the skin-flaying trio that was PJ Harvey the band. After only two local gigs in the West Country, they made their London debut at the White Horse pub in Hampstead one night in 1991. On the back of that single show, they were signed to record a debut album (Dry) for the small London label, Too Pure. A deal with Island followed in 1992.

Meanwhile, however, PJ Harvey the person was slowly cracking up. Acclaim for her music was growing at ballistic speed. Perfectionist Polly was trying to balance two exacting careers, as committed student and indie-fave songwriter, but wound up badly singed by both burning ends of her slim candle. St. Martin's refused to hold her college place any longer. The relationship she was in at the time fell apart. And she grew to hate the very sight of the city that was supposed to be her exciting, new home.

Exhausted, tormented and deeply desolate, she became depressed and physically ill. Eventually, clinically unstable, she was liberated from London by her parents in early '92 and taken home. As you might suspect, this whole episode is another of Polly's no-go areas. Any queries about the unhappy period are stealthily diverted towards the safe haven of vague generalisation.

"I don't like London," she affirms with a meek smile of understatement.

Ekaterina Filatova, Understanding The People Around You: An Introduction To Socionics (Hollister: MSI Press, 2006), 94-95:

- pp. 94-95 [THE PERFORMER: Feeling-Intuitive Extravert (FIE)]:
III. Vulnerable Channel ( -- spatial harmony, contendedness, well-being...)
Although Performers are confident in their own abilities, they feel unsure in the field of everyday problems, health, and well-being. Not being good at understanding their bodies' needs, Performers may either run to the doctor constantly, or not get medical help until they collapse . . . Performers cannot stand physical distress and pain. They like to travel, but only if conditions are comfortable. [emphasis mine]

Sergei Moshenkov and Wing Tung Tang M. Sc., MBTI and Socionics: Legacy of Dr. Carl Jung (Lexington: USA, 2010/2011), 136:

- p. 136 [ENFj - The Actor]: They often get exhausted from their own over-activity, and sick as a consequence. Though they keep themselves stylish, they have no issue with wearing the same dress to a few occasions with the same people present. Also though each one of the components of their dress may look great, the overall combination is poorly matched. [emphasis mine]


PJ Harvey:
". . . I write a lot of my best stuff, my most miserable stuff, when I'm extremely happy and surrounded by great people."

'She then began work on To Bring You My Love, her finest album to date, and the collection already expected by many to begin the process of making her a huge star.

Co-produced by U2 and Nick Cave henchman Flood, this is a creation of oceanic beauty, depth and mystery in which all of the themes previously explored in fragments by Harvey are united in a rich and complex whole. By all accounts, however, it was hell to make.

"I wanted to get everything exactly how I wanted it and that takes time," PJ maintains. "It was excruciating and completely draining. The songs themselves were different. They were based on atmospheres and feelings. They had to be done in a very subtle way. The strength of the songs didn't lie in the structure or the strength of the chorus as they did before. The strength lay in creating the correct atmosphere for each one. For each song, I had a very specific idea of how it should sound, down to the tiniest little details of whether a guitar is played with a pastry brush or hit with a hammer. Or how hard or how soft a note should be played on a string." '

" . . .I used to travel around a lot to see bands when I was younger and I managed to get to Ireland at that point. I wanted to see Boomtown Rats, U2, Van Morrison. It was a miserable day and I'd had quite a long trek of a journey to get there so that kinda spoiled it a little bit but I enjoyed the music."

" . . . So, I'm gonna stick around and do this for as long as I feel I need to. I can't always tell from one day to the next whether that's going to be years or decades. At the moment, I'm already thinking of ideas about where I want to go next. So, yeah, I feel pretty comfortable thinking that I'm going to be around for another five albums, another ten albums, who knows? I'll continue doing it as long as I feel that I'm doing it well and that I'm pushing myself well and continuing to cover new ground."

http://www.wikisocion.org/en/index.p...rted_Intuition

"They enjoy having objects around them that provide a connection to the past, such as ancient trinkets or souvenirs, old-fashioned things, and items from another time and place. They like to be aware of and talk about their place in history, as the EIE's concept of humanity itself is largely perceived through the sensation of trends over time. As a result, they like to imagine scenarios of different ways a situation can unfold with their imagination; such actions give them a sense of security about what is to come."

"I carry a lot of stuff with me wherever I go. Photographs, pictures, personal objects that I like, and smells."

'She's also availing of her increased allotment of free days to reduce her book backlog. Current reading matter includes poetry by WB Yeats, James Joyce's Dubliners and novels by Cormac McCarthy, Michael Ondatjee, Vladimir Nabokov and Mervyn Peake. This week's brief stopover in dreaded London has been somewhat enlivened by trips to see Shellac, Steve Albini's band, in concert, and to catch The Artist Formerly Known As Prince in Wembley Arena ("absolutely wonderful, awe-inspiring," she gushes).'

"When you tour, there's a lot of people around and I'm the boss woman, and it's always been like that."

"There are so many sides to everything that nobody is right or wrong."


[lazybones: (due to) Ne-demonstrative ("background") coupled with Ni-creative (?)]

In his book MBTI and Socionics, Moshenkov calls the demonstrative (8th) function "the background function." For an ENFj (EIE), the background or demonstrative (8th) function is . . . Yet of course what the book has to say could apply to any type.

Sergei Moshenkov and Wing Tung Tang M. Sc., MBTI and Socionics: Legacy of Dr. Carl Jung (Lexington: USA, 2010/2011), 31:

- p. 31 [Model A: The hierarchy of psychic functions]: ". . . Since the background function is of the same vertedness as the base function, the person is very successful in using it, and in some subtypes, the background function may in fact be the most used function in a person."


' "I want to be happy and I want to feel that I'm using my time here as well as I possibly can. That means working hard and playing hard and loving hard. Doing everything I can to the full. I'm very conscious of not wasting time. There just seems like so little time and so many things I'd love to do with my time here. I might get run over tomorrow. I'm a very impatient person." '

'Does PJ Harvey like children?

"Love them!" she exclaims. "I want twenty, now. I really do. I'd love to have children but I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children."

Wouldn't a house-full of kids interfere with her musical ambitions and the work which she feels is so important?

"I would let them interfere with my work. I'd want them to interfere with my work. They would be my work."

And would she recommend her own childhood to her offspring?

"I intend to remain living in Dorset," she asserts with a faint air of defiance. "Obviously I would love any child of mine to want to produce something in a creative way like I was encouraged to do and like I wanted to do. But then again, I'm sure I'd love my children just as much if they wanted to be bank clerks." '

http://www.gourmandizer.com/ezine/albini/

Steve Albini: "Polly Harvey (PJ Harvey) ate nothing but potatoes, with occasional sauces, during the entire recording of her Rid of Me album."

Here's some of what Robert Christgau had to say [mind you, I'm not utterly convinced that Robert Christgau is ILI anymore; I think Beta ST (perhaps SLE) makes a lot more sense, and even LSI (Se-ISTj?) wouldn't surprise me]:

http://www.robertchristgau.com/get_a...name=PJ+Harvey

'Dry [Indigo, 1992]
Since she doesn't fancy comparisons to Sinead or Kate Bush--"I'm like anyone as long as they're female. If they've got dark hair it's even better"--perhaps she'd prefer Cream or the Doors. Island Records sure would, but in a sexist world she's unlikely to achieve such heights of rockist catalogue stuffing--I just meant a band that sounds great until you listen to the words when you're not stoned and decide they're self-indulgent blather. This fate she's spared by the cloudy but essential feminist distinction between egoist bullroar and honest irrational outpouring--and of course by her postrockist guitar, where she starts to reinvent her instrument the way grrrl-punks reinvent their form. A-

Rid of Me [Indigo, 1993]
Never mind sexual--if snatches like "Make me gag," "Lick my injuries," and "Rub 'til it bleeds" aren't genital per se, I'm a dirty old man. And if the cold raw meat of her guitar isn't yowling for phallic equality, I'm Robert Bly, which is probably the same thing . . . After which it's bend-over-Casanova and every man for him or herself. A'

'4-Track Demos [Island, 1993]
. . . the kind of eager emotionality that makes Steve Albini cringe, and the same looseness animates this "Yuri-G." But I don't know how anyone can compare Rid of Me's "Rid of Me" without succumbing to its marshalled power, or concluding that with some forethought she could find even more juice in her sexual enthusiasm. She is a performer, after all. B+'

'To Bring You My Love [Island, 1995]
Four albums in three years, each sonically distinct, each adding a thematic facet to a coherent sensibility. Pretty good for an alleged up-and-comer, eh? In fact, major, and I'll reserve the G-word if you will. Bored with raunchy details, she's going for universals: salvation, rapture, fulfillment, escape. Putting aside her rough lead guitar as unequal to this quest, she's applied herself instead to opera lessons that in no way prettify vocals that were pretty amazing even before they assumed all this range, modulation, and command, and traded in Steve Albini for Flood to help her get at some postsexual imperatives. The fuller sound they arrive at is far from slick--her buzzy keybs are as ominous as her guitar, her register shifts weirder than ever, and the mix can get disconcertingly murky. So watch out for pigeonholes. To fixate on blues or sex is to sell short religious yearnings, avant-garde affinities, and pop potential that are all intensified on an album whose generalization level only magnifies its impact. And to figure she's hellbent on the big time is not to think at all. A

Is This Desire? [Island, 1998]
Seeing Harvey in her most original live guise to date at the Hammerstein Ballroom, I didn't think Nick Cave or, heaven knows, Aretha Franklin. Instead I recalled the renowned art song singer Jan DeGaetani, whom I was dragged off to see 20-odd years ago. I didn't much enjoy DeGaetani--not my repertoire, let's say. But I admired her ease, her naturalness-within-formality, and more and more that's how it is with Harvey. In a charcoal suit and stacked heels plus red top, this was a concert artist repaying the adoration of her fans, but not so as she'd give them the early songs they wanted. Instead she concentrated on less immediate new material, which gained power in performance just as it does with repeated exposure on record. Melding modal tradition and concrète futurism, dancing to the strong beat as the moment required, she sounded so good she made what she had to say irrelevant. Which was and remains just as well, because what she has to say is limited. Is this desire? It must be, because all she's certain of is that her characters rarely get what they want. Hence, neither do listeners who want formal command to provide some release. While every song here kicks in eventually, starting with the two-minute "The Sky Lit Up," at times she could be the rock Wynton Marsalis. So thank God she'd rather be Tricky. A-

Stories From the City, Stories From the Sea [Island, 2000]
If Nirvana and Robert Johnson are rock's essence for you, so's To Bring You My Love. But if you believe the Beatles and George Clinton had more to say in the end, this could be the first PJ album you adore as well as admire. It's a question of whether you use music to face your demons or to vault right over them. Either way the demons will be there, of course, and nobody's claiming they won't catch you by the ankle and bring you down sometime--or that facing them doesn't give you a shot at running them the fuck over. Maybe that's how Harvey got to where she could enjoy the fruits of her own genius and sexuality. Or maybe she just met the right guy. Tempos and pudendum juiced, she feels the world ending and feels immortal on the very first track. The other 11 songs she takes from there. A+

Uh Huh Her [Island, 2004]
A genius's depressions can be as dull as anybody else's, especially if she thinks passion precludes laughs ("It's You," "The Pocket Knife") **'

Here are some more links:

http://www.robertchristgau.com/xg/music/pjh-nyt.php

http://www.robertchristgau.com/xg/music/harvey-nyt.php

http://www.robertchristgau.com/xg/cdrev/pjh-rs.php


Here are the lyrics to a song:

http://www.pjharvey.net/lyrics.asp?s...gsubpageid=673

The Darker Days of Me & Him by PJ Harvey --

"Promises, promises
I'm feeling burned
You taught me a lesson
I didn't want to learn

Why did I come here?
Please tell me again
Why did you ask me?
Don't say you forget

I long for, I long for
I long for my home
I long for a land where
No man was ever known

With no neurosis
And no psychosis
No psychoanalysis
And no sadness

I'll pick up the pieces,
And carry on somehow
Tape the broken parts together
Limp this love around

Limp this love around..."


Here are the (musical) keys (tonalities) of the first 33 songs by PJ Harvey I posted in this thread:

1. Before Departure: G# minor (Leo)

2. A Place Called Home: A minor (Sagittarius)

3. Shame: F minor (Libra)

4. Working for the Man: D minor (Scorpio)

5. Yuri-G: F# minor (Aries)

6. Down by the Water: E minor (Cancer)

7. Fountain: A minor (Sagittarius)

8. We Float: F major (Taurus)

9. Sheel-Na-Gig: F minor (Libra)

10. It's You: E minor (Cancer)

11. O Stella: F# minor (Aries)

12. The Dancer: A minor (Sagittarius)

13. Missed: A minor (Sagittarius)

14. The Mountain: A minor (Sagittarius)

15. 50ft Queenie: D minor (Scorpio)

16. Good Fortune: A minor (Sagittarius)

17. The Life and Death of Mr. Badmouth: C minor (Capricorn)

18. Silence: A minor (Sagittarius)

19. Rid of Me: A minor (Sagittarius)

20. Teclo: E minor (Cancer)

21. Water: F# minor (Aries)

22. Plants and Rags: B major (Capricorn)

23. No Girl So Sweet: B minor (Pisces)

24. Catherine: B minor (Pisces)

25. Meet Ze Monsta: A minor (Sagittarius)

26. Angelene: D minor (Scorpio)

27. Rub 'Til It Bleeds: G minor (Gemini)

28. Beautiful Feeling: A minor (Sagittarius)

29. Legs: A minor (Sagittarius)

30. Man-Size: G minor (Gemini)

31. White Chalk: A minor (Sagittarius)

32. The Darker Days of Me & Him (live): C minor (Capricorn)

33. The Darker Days of Me & Him: C minor (Capricorn)


Here are some more songs:

[717495]

whoa, information overload in this thread

Leave that up to not-so-lazybones

[HERO]

I've changed my mind. I now think that IEI-Fe is actually more likely, although I wouldn't completely rule out EIE.

[HERO]

PJ Harvey: IEI














C minor (Capricorn)



"Promises, promises/I'm feeling burned/You taught me a lesson/I didn't want to learn/Why did I come here?/Please tell me again/Why did you ask me?/Don't say you forget/I long for, I long for/I long for my home/I long for a land where no man was ever known/With no neurosis/And no psychosis/No psychoanalysis/And no sadness . . ."


F# minor (Aries)



"Bring back my memory"


http://www.guardian.co.uk/music/2011...hake-interview


http://www.robertchristgau.com/get_a...name=PJ+Harvey

Robert Christgau: 'To Bring You My Love [Island, 1995]
Four albums in three years, each sonically distinct, each adding a thematic facet to a coherent sensibility. Pretty good for an alleged up-and-comer, eh? In fact, major, and I'll reserve the G-word if you will. Bored with raunchy details, she's going for universals: salvation, rapture, fulfillment, escape. Putting aside her rough lead guitar as unequal to this quest, she's applied herself instead to opera lessons that in no way prettify vocals that were pretty amazing even before they assumed all this range, modulation, and command, and traded in Steve Albini for Flood to help her get at some postsexual imperatives. The fuller sound they arrive at is far from slick--her buzzy keybs are as ominous as her guitar, her register shifts weirder than ever, and the mix can get disconcertingly murky. So watch out for pigeonholes. To fixate on blues or sex is to sell short religious yearnings, avant-garde affinities, and pop potential that are all intensified on an album whose generalization level only magnifies its impact. And to figure she's hellbent on the big time is not to think at all. A

Is This Desire? [Island, 1998]
Seeing Harvey in her most original live guise to date at the Hammerstein Ballroom, I didn't think Nick Cave or, heaven knows, Aretha Franklin. Instead I recalled the renowned art song singer Jan DeGaetani, whom I was dragged off to see 20-odd years ago. I didn't much enjoy DeGaetani--not my repertoire, let's say. But I admired her ease, her naturalness-within-formality, and more and more that's how it is with Harvey. In a charcoal suit and stacked heels plus red top, this was a concert artist repaying the adoration of her fans, but not so as she'd give them the early songs they wanted. Instead she concentrated on less immediate new material, which gained power in performance just as it does with repeated exposure on record. Melding modal tradition and concrète futurism, dancing to the strong beat as the moment required, she sounded so good she made what she had to say irrelevant. Which was and remains just as well, because what she has to say is limited. Is this desire? It must be, because all she's certain of is that her characters rarely get what they want. Hence, neither do listeners who want formal command to provide some release. While every song here kicks in eventually, starting with the two-minute "The Sky Lit Up," at times she could be the rock Wynton Marsalis. So thank God she'd rather be Tricky. A-

Stories From the City, Stories From the Sea [Island, 2000]
If Nirvana and Robert Johnson are rock's essence for you, so's To Bring You My Love. But if you believe the Beatles and George Clinton had more to say in the end, this could be the first PJ album you adore as well as admire. It's a question of whether you use music to face your demons or to vault right over them. Either way the demons will be there, of course, and nobody's claiming they won't catch you by the ankle and bring you down sometime--or that facing them doesn't give you a shot at running them the fuck over. Maybe that's how Harvey got to where she could enjoy the fruits of her own genius and sexuality. Or maybe she just met the right guy. Tempos and pudendum juiced, she feels the world ending and feels immortal on the very first track. The other 11 songs she takes from there. A+

Uh Huh Her [Island, 2004]
A genius's depressions can be as dull as anybody else's, especially if she thinks passion precludes laughs ("It's You," "The Pocket Knife") **'

[Not A Communist Shill]

Yeah, I currently favour IEI too for her.

Actively having a stage persona never suited her, although she has still cultivated a certain image for some albums (EIE would be a less obvious typing for her). I've always thought she has a rather calm, unflappable personality and thus it has been hard to look away from a Ixxj temperament also. Typing by comparison is not ideal, especially if there is no consensus on the person being compared, but it is easy for me to see similarities between PJ Harvey and Neil Young in terms of general personality and the way they speak through their music. (I think Neil Young is IEI).

[Sol]

INFJ

[silke]

I've been considering Ne creative of some sort for her, LII or EII. Reading through her interviews there's not much relevant to beta types. Soc first or has valued social instinct in any case. She reminds me very much of a friend I had in upper grades in school whose type was LII-Ne so/sx (edit: read up and saw that redbaron has said the same, that she reminded her of an INTj friend).

[HERO]

“I've seen and done things I want to forget / I've seen soldiers fall like lumps of meat / Blown and shot out beyond belief / Arms and legs were in the trees / I've seen and done things I want to forget / Coming from an unearthly place / Longing to see a woman's face / Instead of the words that gather pace / The words that maketh murder / These, these, these are the words / The words that maketh murder . . . What if I take my problem to the United Nations?”



" . . . . How is our glorious country ploughed? / Not by iron ploughs / Our land is ploughed by tanks and feet / Feet marching / Our land is ploughed by guns and airstrikes / Airstrikes killing / Our land is ploughed by drones and bombs / Bombs killing / O America, O Saudi Arabia / O America, O Russia . . . . How is our glorious country sown? / Not with wheat and corn / How is our glorious land bestowed? / O America, O France / O America, O Israel / O America, O England / O America, O Canada / What is the glorious fruit of our world? / The fruit is deformed and crippled children / What is the glorious fruit of our world? / The fruit is displaced people / What is the glorious fruit of our world? / The fruit is murdered children / What is the glorious fruit of our world? / The fruit is orphaned children / What is the glorious fruit of our world? / The fruit is deformed and crippled adults."



“I live and die through [?] / Through [?] / It leaves a sadness / Remedies never were within my reach / I cannot go on as I am / Withered vine reaching from the country that I love / ? / You leave a taste / A bitter one / I have searched for your springs / But people, they stagnate with time / Like water, like air / To you, ?, I cling / Undaunted, never failing love for you, ?”




“Walker sees the mist rise over no man's land / He sees in front of him a smashed up waste ground / There are no fields or trees / No blades of grass / Just unburied ghosts are there / Hanging in the wire / Walker's in the wire / Limbs point upwards / There are no birds singing / The white cliffs of Dover / There are no trees to sing from / Walker cannot hear the wind / Far off symphony / To hear the guns beginning // Walker's in the mist rising over no man's land / In the battered waste ground / Hear guns firing”


Spiritual Dysphoria and Disillusionment: A Partial/Incomplete Analysis of Acceptance in Matthew Arnold’s “Dover Beach”

Matthew Arnold’s poem “Dover Beach” is about spiritual dysphoria, disillusionment, and acceptance. Through irregular rhyme and metre, enjambment, and symbolism the poem evokes a vivid impression of a world that has succumbed to rampant fragmentation and desacralization. The connection between the combined instances of formal imagery and content within the poem and the speaker’s perception of the world contributes to one of the poem’s themes: The antidote to the spiritual dysphoria and disillusionment that an increasingly faithless and desacralized world produces is to seek honest companionship with another human being without remaining oblivious to the illusory and chaotic nature of the modern world.

The poem suggests that an increasingly faithless and desacralized world produces spiritual dysphoria and disillusionment. The speaker poignantly reflects that “[t]he Sea of Faith / Was once, too, at the full, and round earth’s shore / . . . . But now I only hear / Its melancholy, long, withdrawing roar” (21-22, 24-25). This instance of enjambment—that facilitates a transition from the symbolic phrase “Sea of Faith” (21) to a sentence fragment in the next line that explains the significance of the symbolic phrase—clearly emphasizes the centrality of the symbolic “Sea of Faith” (21) to the poem’s meaning. The speaker’s phrase symbolizes religion and spirituality, and his subjective perception and characterization of the current sound of this “Sea” (21) as a “melancholy, long, withdrawing roar” (25) suggests that the desacralization of the world and “[t]he Sea of Faith” (21) is the fundamental basis for the speaker’s marked sense of (spiritual) dysphoria and disillusionment. The speaker reflects on how when Sophocles heard the sound of waves “on the Aegaean,” (16) “it brought / Into his mind the turbid ebb and flow / Of human misery” (16-18). This reflection on the part of the speaker emphasizes the concept of “human misery” (18) by preceding it with an instance of enjambment and following it with a caesura, in this case a semi-colon. Like Sophocles, the sound of waves evokes in the speaker’s mind a subjective sense of dysphoria and the inexorability of “human misery” (18), and since this stanza directly precedes the one that introduces the symbol of “[t]he Sea of Faith” (21), it would follow that the speaker’s perception of “human misery” is more acute due to the growing desacralization and spiritual dysphoria of the modern world. Ultimately, the poem suggests that the cynical and disillusive secularism of a modern and industrial society is to blame for the speaker’s sense of malaise.



- Robert Christgau:

Let England Shake [Vagrant, 2011]

Polly Jean Harvey was major when she meant to shake the world, a life project she gave up on after releasing her finest album in 2000—much of it set, as must be mere coincidence, in New York City. Creating a suite of well-turned if unnecessarily understated antiwar songs, she's a gifted, strong-willed minor artist bent on shaking England in particular. How much that work enriches anyone's understanding of World War I is open to a debate too niggling to pursue. What's certain is that her special interest in the Great War reflects the changing contours of her chosen chauvinism no less than her evolution from the rough-hewn Howlin Wolf she absorbed in downhome Dorsetshire toward the dulcet clarity of Lancashire's prog-folk Annie Haslam. "I live and die/through England/I live and die/through England"? You said it, lady—twice. B+



More than a year ago, an EIE-Ni friend of mine told me that Stephen Harper is probably going to win a minority government. Whatever happens, I’m still planning on voting. I'll probably be voting for the same party another EIE-Ni I know will be voting for. Just this will be the first time I vote for that particular party.

[VenusRose]

*bump*

Beta ST maybe

At the very least i dunno about EII...if Fi then maybe Gamma SF

[khcs]

PJ Harvey - ENFJ - Hamlet

[thegreenfaerie]

Any ideas on her type? First 2 are interviews, one from back in the day (the 90's) and one from more recently. The rest are videos, she has so many styles and each of her albums is very different from the next. Her last one is a political piece.

https://www.youtube.com/watch?v=1U5MyO9xUJA&t=332s

https://www.youtube.com/watch?v=g4n2F7feKB0

https://www.youtube.com/watch?v=ZxcCN6BgO_k

https://www.youtube.com/watch?v=pr1j3GfJuR4

https://www.youtube.com/watch?v=A29BMj3v86w

https://www.youtube.com/watch?v=YBtOWXNPQ_w

"[COLOR=rgba(0, 0, 0, 0.87)]Shame[/COLOR]PJ Harvey





I don't need no rising moon
I don't need no ball and chain
I don't need anything but you
Such a shame, shame, shame
Shame, shame, shame
Shame is the shadow of love
You changed my life
We were as green as grass
And I was hypnotized
From the first 'til the last
Kiss of shame, shame, shame
Shame is the shadow of love

I'd jump for you into the fire
I'd jump for you into the flame
Tried to go forward with my life
I just feel shame, shame, shame
Shame, shame, shame
Shame is the shadow of love
If you tell a lie
I still would take the blame
If you pass me by
It's such a shame, shame, shame"

[flames]

ESI?

[on a peaceful hiatus]

IEI

[WVBRY]

Regardless of type, she seems very intense, that in itself is mega hot.

I always thought she looked ILI, but I guess I could see LII as an alternative. She does seem like a 5w4 too, so those types are probably close.

[on a peaceful hiatus]

Regardless of type, she seems very intense, that in itself is mega hot.

I always thought she looked ILI, but I guess I could see LII as an alternative. She does seem like a 5w4 too, so those types are probably close.

yeah INxx is very obvious for her. what made me lean towards IEI were several interviews I've watched. when she describes her music, it seemed very clear to me that she values Fe.

"I wanted the music to have an energy and a sense of being uplifting and unifying, of gathering together of people. I knew that I wanted it to be communal"

https://www.youtube.com/watch?v=-4Iq7WOsoEw

@3:00

[flames]

yeah INxx is very obvious for her. what made me lean towards IEI were several interviews I've watched. when she describes her music, it seemed very clear to me that she values Fe.

"I wanted the music to have an energy and a sense of being uplifting and unifying, of gathering together of people. I knew that I wanted it to be communal"

https://www.youtube.com/watch?v=-4Iq7WOsoEw

@3:00

Yes I can see IEI now

[thegreenfaerie]

Holy crap you guys. My notifications must be turned off, I thought no one replied lol. Gonna go through all this, thanks for the time and responses!

[thegreenfaerie]

just from what i know of her (which is rather little) i might agree. i love her music at any rate.

Me too, she’s my ultimate favorite. I would probably kill to see her live, though I fear it will not happen in my lifetime.

[thegreenfaerie]

To Hero- I am on my phone so will have to get through this one later as it’s quite lengthy (I am also quite lazy and don’t want to get out the laptop heehee), but I do Dream writing also when I wake up often times If they are significant dreams of some sort. I will admit though, I got tired of it and started doing voice recordings in these instances. I see your point on having that sort of energy on only 3 to 4 hours of sleep, I know I don’t (I am 90% sure I am IEI)

[thegreenfaerie]

What’s with the astrological signs attached to songs/chords? That’s neat! So many of her beautiful lyrics. My heart.

[thegreenfaerie]

Happy Birthday Polly Jean Harvey!!! "We lean against railings, describing the colours, and the smells of our homelands, acting like lovers. How did we get here, to this point of living? I held my breath, and you said something."

[thegreenfaerie]

Fangirl lol by the above. I was doubting in IEI after some more discussion and watching one of her interviews, but then I went through this post... I don't know...



"I really wanted to avoid any chest-beating, dogmatic, protest music *smiles*. That wouldn't have worked at all, so it was a very difficult balance and fine line to tread... I wanted it to be sort of ambivalent, not clearly in one position or another, but just presenting, just story-telling, just this is what happened, which is also why I chose to come purely from what I call a human emotional perspective rather than political. I didn't want to use political language or adopt any sort of standpoint. All I wanted to do is listen very carefully to the words that came out of people's mouths that were involved in conflict situations whether they were civilians or soldiers and whichever side they were fighting on... and just listen carefully to the language they were using, what stories they were telling, what they were hearing... and that's how I began to tell these songs"