The Band - The Weight Personality Type, MBTI
What is the personality type of The Band - The Weight? Which MBTI personality type best fits? Personality type for The Band - The Weight from 1960s Music and what is the personality traits.
ISTJ (6w7)
The Band - The Weight personality type is ISTJ, also known as the “the Rock”! The Rock is steady, dependable and very patient. They like order, routine and security in their lives, and they like to keep everything in good working order. They are the stable one who keeps everything running smoothly. The Rock is often seen as the "voice of experience" in the group. The Rock is very good at problem-solving and coming up with solutions. The Rock is often seen as the "voice of experience" in the group. The Rock is very good at problem-solving and coming up with solutions. The Rock is often seen as the "voice of experience" in the group. The Rock is very good at problem-solving and coming up with solutions. The Rock is often seen as the "voice of experience" in the group. The Rock is very good at problem-solving and coming up with solutions. The Rock is often seen as the "voice of experience" in the group. The Rock is very good at problem-solving and coming up with solutions. The Rock is often seen as the "voice of experience" in the group. The Rock is very good at problem-solving and coming up with solutions.
“The Weight” is an original song by the Canadian-American group The Band that was released as a single in 1968 and on the group's debut album Music from Big Pink. Written by Band member Robbie Robertson, the song is about a visitor's experiences in a town mentioned in the lyric's first line as Nazareth. “The Weight” has significantly influenced American popular music, having been listed as No. 41 on Rolling Stone's 500 Greatest Songs of All Time published in 2004. Pitchfork Media named it the 13th best song of the Sixties, and the Rock and Roll Hall of Fame named it one of the 500 Songs that Shaped Rock and Roll. PBS, which broadcast performances of the song in Ramble at the Ryman (2011), Austin City Limits (2012), and Quick Hits (2012), describes it as "a masterpiece of Biblical allusions, enigmatic lines and iconic characters" and notes its enduring popularity as "an essential part of the American songbook."
