- Type: TiNe
- Development: l--l
- Attitude: Adaptive
Songs also write themselves through me. I turn on a tape recorder, and just let it write itself, then listen to it, as if for the first time. In some cases, I edit the parts that need it; in other cases, the song is perfect the way it is. The songs tell me what they need. Once I had about 45 songs I divided them into three concept albums which had ‘presented themselves’ to me over 20 years.
My personal values and intentions with my music go beyond “sending it out and never thinking about it again.” I’ve written songs for money very quickly, sent them out and never thought about them, but my interest is bringing Erosia to Earth, so I’m putting more willpower and dedication toward that end. So, the “songs write themselves through me in 10 minutes” stuff is quite familiar for me.
Ok but how is this relevant to my point? You have Je development. If you wanted to make a claim about Se’s attributes you’d have to use someone (many someones) other than yourself, specifically Se l— types.
That said – I would ask- how do these people write songs so fast? Where did they learn to write, to play instruments? Although songs write themselves through me in the moment, it took years to develop enough skill to write them that well. I began playing at age 4 and practiced every day, sometimes 12 hours a day. This is why the songs came out of me so easily.
These guys are often in their teens, without that much experience, but a good voice and a good ear for rhythms. There’s a preponderance of Se-lead musicians that are just picked up by labels because the labels spot talent. There are some that “work for it” like Taylor Swift, but a lot of these Se-lead musicians and rappers don’t have a very intense career background or training.
People are not born with mastery of instruments and songwriting. They practice to get there. I was writing full songs at 8, and famous musicians were calling me a virtuoso. But I was practicing daily since age 4. As is the case for every ‘virtuoso.’ They may possess raw talent, as I did, but their skills do not sprout from the sky.
Sure, talent + work is needed. But you can go a long way with a lot of talent and less work. I’m going to be firm about this, this time, and say that you need to look outside of your personal experience. If we take Se-leads as a whole, what we see is a lot of young talent that has their moment in the spotlight, and then it fades away. I’m not talking about your case. I’m talking about Se-leads in general, and specifically those without Je.
Scenario: A kid joins rap battles at around ~14-15 years old, proves they have a good voice and sense of rhythm, gets recognized by a big label, has a few number one hits, a few years of fame (perhaps a tour) and then it’s over. This scenario happens more often than those who keep going through discipline.
I’m not saying all Se-leads just have talent and stumble into fame without effort, of course it takes some work, but they will say in interviews that they just “ride the waves” of the industry, and it’s like a hurricane. There’s a whole engine involved in the music industry, with middle-men/etc ready to do all the hard pulling if you just sit at the studio and pop out the songs. So a lot of Se-lead rappers and musicians have other people handling their logistics.
The discipline comes in when you’re not good enough to just “churn out a great product,” so you practice. That’s why those people are able to write so fast – because they mastered the craft in the first place – which requires discipline.
I disagree. What makes a great product is often a matter of chance; of how the audience likes or dislikes your sound. So in the case of 6ix 9ine for instance, he feels that he just tosses out songs with little thought, but it seems to appeal to the masses. Oppositely, someone can grind for years over melodies and yet not produce a product that is successful on the world stage.
So success =/= discipline in all cases. It’s about being the right face/voice/sound at the right time, appealing to the right audience. And a lot of times musicians find themselves in success rather accidentally. For example FiNe Vashti Bunyun suddenly found herself famous now into her 70’s for things she wrote casually in her teens but which the culture wasn’t ready for yet.
So for every Se-lead you see making it big, there are dozens not making it big which may be producing way more or way less material. Who may be hardly trying, or trying really hard. Music is kind of a hit or miss profession, at the global level.
It’s not comparable to other domains where effort directly equates to income or prosperity. For example, I don’t see too many Se-lead businessmen, lawyers, doctors, etc — things that do take a lot of discipline and hard work. The reason Se-leads are over-represented in music may have something to do with how the domain doesn’t always count as “work” if it’s doing what you love.
This is the opposite of what I say of Fe, or Je for that matter (lets not forget that Te also has an analogous section called “Challenge and Conscientiousness”). For Fe/Te it’s not a situation where they have a muse/passion that sparks their drive. It’s the cerebral comprehension of the need to be pragmatic for the attainment of a higher order.
- This reply was modified 1 year, 10 months ago by Auburn.