The Moody Blues - Nights in White Satin Personality Type, MBTI
What is the personality type of The Moody Blues - Nights in White Satin? Which MBTI personality type best fits? Personality type for The Moody Blues - Nights in White Satin from 1960s Songs and what is the personality traits.
INFP (XwX)
The Moody Blues - Nights in White Satin personality type is INFJ, which is 3rd most common on the whole Myers-Briggs® type indicator.
What Other People Think Of You
People with the INFJ personality type are often described as being very perceptive, thoughtful, and observant. They have an intuitive understanding of people and situations, and are able to see things that others don't notice. They tend to be generous and kind, but also very private.
INFJ relationships are usually quiet, considered, and focused on the two individuals involved. Most relationships with INFJs shift from one of secretive sharing to open sharing over time.
INFJs are known for their ability to understand people's problems and see the human side of things. They are usually able to see beneath the surface of situations and connect with people. People with the INFJ personality type are not as interested in other people as they are in their own inner world and ideas.
INFJs are sensitive to their environment and are often aware of what is going on around them. As a result, they are often perceived as being more spiritual than others. It is not uncommon for INFJs to have a strong interest in spirituality and religion.
“Nights in White Satin” is a song by the Moody Blues, written and composed by Justin Hayward. It was first featured as the segment “The Night” on the album Days of Future Passed. When first released as a single in 1967, it reached number 19 on the UK Singles Chart and number 103 in the United States in 1968. It was the first significant chart entry by the band since “Go Now” and its recent lineup change, in which Denny Laine and Clint Warwick had resigned and both Hayward and John Lodge had joined.
The London Festival Orchestra provided the orchestral accompaniment for the introduction, the final rendition of the chorus, and the "final lament" section, all of which were in the original album version. The "orchestral" sounds in the main body of the song were actually produced by Mike Pinder's Mellotron keyboard device, which would come to define the "Moody (Blues)'s signature sound".
