Enneagram Eights - Aretha Franklin and Frank Sinatra

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An Enneagram Eight is the Challenger, the Maverick, the Boss, the Rock. Eights are tough, decisive, and confrontational. There are many musical Eights, but the two I'd like to highlight here are Aretha Franklin and Frank Sinatra. 

 

Sandra Maitri, in her book The Enneagram of Passions and Virtues, writes about how Eights are very closely associated with the body, the physical senses, and physical pleasures. Eights inhabit their bodies vividly. They don't step lightly, or with hesitation. They like to move. For a desk-job working Eight, it's hugely refreshing to hit the gym, do martial arts, run, chop a giant pile of firewood, work up a good sweat, get your heart beating! And this of course builds up a big appetite, so let's satisfy that with food and drink - lots of it. Seconds and thirds, make it hot, and give me extra. Don't pussyfoot around! And then there's the greatest sensual pleasure of all, sex, like a giant string of TNT going off.

 

All of these things fit in with an Eight's basic desire, as outlined by Enneagram authors Riso & Hudson: to be/feel strong, real and alive. 

 

Aretha Franklin famously punctuates her singing with powerful yells, straight from the pit of the soul, from the soles of her feet, from beneath her right to the core of the planet. You know it's her in front of the microphone, and there's nothing else you need to look at or listen to. 

 

Check out this performance of her song Dr. Feelgood (no relation to the Motley Crue song). This Dr. Feelgood dispenses good loving, not pills, as she makes clear in the final verse - especially with that orgasmic moaning, and her final cries in this live performance from 1971 makes the climax last almost as long as the rest of the song altogether. 

I don't want nobody, always

Sittin' around me and my man

Be it my mother, my brother, my sister

Would you believe, I get up

Put on some clothes

Go out and help me find somebody for this self,

if I can'

 

Aretha FranklinNow I don't mind company

Because company's alright with me

Every once in awhile

 

And Ooooooooooooooh

When me an that man get to lovin'

I tell ya girl, I dig ya, but I don't have time

To sit, and chit, and sit and chit-chat an smile

 

Don't send me no doctor

Fill me up with all a those pills

I got me a man named Doctor Feelgood

Yeah! Yeah!

That man takes care of all my pains and ills

His name is Doctor Feelgood in the morning

To take care of business is really this man's game

And after one visit to Dr. Feelgood,

You understand why I feel good, in this pain.

Oh! Yeah! Oooh!

Oh, good God a-mighty

The man sure makes me feel real........

Goooooooood! 

 

Another strong Eight desire is to control their life. No one's gonna fuck with me. If they try, watch out. An Eight's retribution is swift, and brutal, and they're ready to dish out more. 

 

Frank Sinatra once said this of his childhood: "In Hoboken, when I was a kid, I lived in a plenty tough neighbourhood. When somebody called me a 'dirty little pig,' there was only one thing to do: break his head."

 

This strategy might be what's needed to survive in rough circumstances, but it got Sinatra expelled from high school for "rowdy conduct" after a mere 47 days' attendance. 

 

And like every other personality type, the strategies developed to get our needs met when very young continue, usually unexamined, even as we age and our situation changes. When he toured Australia in 1974, Sinatra, after getting in a scuffle with some reporters at the airport, ranted against them on stage, referring them as bums and parasites, and the female journalists as "buck-and-a-half hookers." The aviation union, in retaliation, refused to refuel or service his private jet until he apologized. He never did. A high level union leader intervened, and he was flown out in the middle of the night.

 

Sinatra's song My Way really does capture an Eight's fierce appetite for independence:

And now, the end is near;

And so I face the final curtain.

My friend, I'll say it clear,

I'll state my case, of which I'm certain.

 

I've lived a life that's full.

I've traveled each and ev'ry highway;

But more, much more than this,

I did it my way.

 

Frank SinatraRegrets, I've had a few;

But then again, too few to mention.

I did what I had to do

And saw it through without exemption.

 

I planned each charted course;

Each careful step along the highway,

But more, much more than this,

I did it my way.

 

Yes, there were times, I'm sure you knew

When I bit off more than I could chew.

But through it all, when there was doubt,

I ate it up and spit it out.

I faced it all and I stood tall;

And did it my way.

 

I've loved, I've laughed and cried.

I've had my fill; my share of losing.

And now, as tears subside,

I find it all so amusing.

 

To think I did all that;

And may I say - not in a shy way,

"No, oh no not me,

I did it my way".

 

For what is a man, what has he got?

If not himself, then he has naught.

The right to say the things he truly feels;

And not the words of one who kneels.

The record shows I took the blows -

And did it my way!

 

An Eight who's divorced from presence veers further and further into their ego's attempts to "jumpstart the world," as Russ Hudson put it at a recent talk. But that feeling of aliveness is something they can access here and now, without any provocative action or external stimulation. Again, quoting Riso/Hudon, they "let go of the conviction that they must always be in control of their environment," and become truly strong, courageous, selfless, compassionate, merciful, and vulnerable, as the raw and simple majesty of existence touches them and gives them a feeling of pure Being that vastly outstrips any orgasm, porterhouse steak or barroom brawl. 

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9 comments

  • Comment Link David MacLeod Sunday, 12 August 2012 02:49 posted by David MacLeod

    TJ, excellent choices here! I am reminded of another musician who may be an Eight. Miles Davis.

    First, there's the incident in 1959, when Miles was taking a break outside of the club "Birdland," and a police officer, not realizing he was a featured musician at the club, told him to move along. Of course, Miles wouldn't have any of that and an argument and scuffle ensued, ending with Miles getting whacked with a billy club.
    Photo here: http://milesdavisonline.com/culture/miles-davis-is-under-arrest/

    From a 1962 interview with Alex Haley (author of "Roots") in Playboy magazine:

    "Why is it that people just have to have so much to say about me? It bugs me because I'm not that important. Some critic that didn't have nothing else to do started this crap about I don't announce numbers, I don't look at the audience, I don't bow or talk to people, I walk off the stage, and all that.

    Look, man, all I am is a trumpet player. I only can do one thing -- play my horn -- and that's what's at the bottom of the whole mess. I ain't no entertainer, and ain't trying to be one. I am one thing, a musician. Most of what's said about me is lies in the first place. Everything I do, I got a reason."
    http://www.playboy.co.uk/article/16281/playboy-interview-miles-davis

    Miles wrote his own liner notes to the 1970 "A Tribute to Jack Johnson" album. Writing about Jack Johnson, it seemed he was just as much writing about himself:
    "Johnson portrayed Freedom - it rang just as loud as the bell proclaiming him champion. He was a fast-living man, he liked women - lots of them and most of them white. He had flashy cars because that was his thing. That's right, the big ones and the fast ones. He smoked cigars, drank only the best champaigne and prized a 7 ft. bass fiddle on which he'd proudly thump jazz. His flamboyance was more than obvious. And no doubt mighty Whitey felt "No black man should have all this." But he did and he'd flaunt it."

    Youtube of "Right Off" from Jack Johnson here: http://www.youtube.com/watch?v=DEBKksupBVA

  • Comment Link David MacLeod Sunday, 12 August 2012 02:54 posted by David MacLeod

    Miles describing the incident at Birdland in 1959 here:
    http://milesdavisonline.com/biopic/the-miles-davis-movie-filming-the-birdland-attack/

  • Comment Link TJ Dawe Tuesday, 14 August 2012 00:34 posted by TJ Dawe

    David - love this. I read Miles’ autobiography years ago, and tore through it. Such a vivid style he writes in (or spoke in, in the copious interviews Quincy Troupe must have transcribed). I especially appreciated his frequent use of the word “motherfucker.” I call all kinds of things “a motherfucker” nowadays, and that’s probably where it started.

    I’ve seen Miles typed as a Four (and he certainly has an individualistic style on the trumpet - ain't no one sound like Miles!), but it’s been so long since I’ve read that book, I can’t say for sure.

    I remember him recounting how he told off one of his teachers at Julliard for his simplistic explanation of why African-American musicians play the blues, saying that his father was a dentist, he never worked in a cotton field, but he plays the blues.

    His admiration of Sugar Ray Robinson as a supreme physical specimen, and how that that inspired him to quit heroin cold-turkey, the hardest route possible - that sounds Eight-ish.

    There was his four year disappearance in the 70s, in which he never played his horn and just indulged in every sexual whim with any woman he could get to come up to his apartment - that sounds like a stressed Eight going to Five. Or a Four leaning into his Five wing.

    The statement : “Why is it that people just have to have so much to say about me? It bugs me because I'm not that important.” - that doesn’t sound like an Eight, or a Four to me. Both types would consider themselves quite remarkable for their prowess on the horn, much less the fact that Miles single-handedly inaugurated several major movements in jazz.

    But his defiance of the cops in that story sounds Eight-ish - or possibly Six-ish, getting riled up by an unjust authority figure.

    No matter what type he was, he made incredible music, though. I’d really like to reread that autobiography. It’s a motherfucker!

  • Comment Link David MacLeod Tuesday, 14 August 2012 02:40 posted by David MacLeod

    TJ,
    I just read a couple of your previous articles on Fours and Sixes. Definitely not a Six, but I think the primary casting of Miles as a Four is correct. Definitely a quiet individualist who revolutionized jazz several times. Dizzy Gillespie said that Miles was essentially a shy person who used a gruff exterior as a cover for self protection. Not a very nice person, but he had an amazing capacity to express tenderness (http://www.youtube.com/watch?v=PoPL7BExSQU) or pathos (http://www.youtube.com/watch?v=mNx9fABz2f0) in his music to reflect his soul.

    If Miles is a Four, then there might also be an aspect of Four in Frank. Check out his Only the Lonely album.

    But when Miles says "I'm not that important," I don't think you can take him seriously. He would attend events pulling up in his ferrari, wearing his fur, scarf, superfly eyewear, and with an entourage of beautiful women. Then he would complain about everyone staring at him.
    http://zone7style.blogspot.com/2011/02/miles-davis-vintage-sunglasses-photo.html

    And what is it with the over-use of the F-word these days? I didn't realize we have Miles to blame for that too, but it figures! :)

  • Comment Link D. Zaster Tuesday, 14 August 2012 10:45 posted by D. Zaster

    Here's Sinatra at the very top of his considerable game in the 50s, smoking up a storm - oh, and singing, too. Definitely an Eight.

    http://www.youtube.com/watch?feature=endscreen&NR=1&v=wSrHvNr8QQQ

  • Comment Link TJ Dawe Tuesday, 14 August 2012 20:30 posted by TJ Dawe

    David - yeah, Four makes plenty of sense, especially given his cool, individual playing style.

    And the connection you make between Miles as a Four and Sinatra as an Eight is spot on - Eights are, contrary to appearances, extraordinarily sensitive. They act tough, and cultivate the image that they're made of steel, when in fact their feelings get hurt all the time. But they process that by doubling up their toughness, and presenting an impermeable image to the world. But who would need a coat of armour more than someone who's soft and sensitive in the first place?

    Fours, on the other hand, appear soft on the outside - shy, vulnerable, introspective, but have an Eight-like toughness on the inside, in their ability to sit with sadness and tragedy, to meditate on it, to accept it as part of the flow of existence, and to turn it into art, openly associating themselves with their feelings, with melancholy - like Blue in Green. Man, what a track.

  • Comment Link TJ Dawe Tuesday, 14 August 2012 20:35 posted by TJ Dawe

    D Zaster - thanks for that track. That Eight-ish confidence is a beautiful thing to behold.

    There's so much good Eight stuff to relate with Sinatra, but a favourite is the story Robert Evans tells in The Kid Stays in the Picture, about Sinatra and Mia Farrow. She's typed as a Two - the Helper, but under stress, Twos exhibit many of the characteristics of Eights, and can go toe to toe with any Eight. These dynamics are brilliantly on display in this story:


    My secretary comes in with an urgent message:

    "Frank Sinatra's on the horn. He must speak with you." I picked the phone up.

    "I'm pulling Mia from your picture, Evans, if she ain't finished by November. She's starting in my picture
    on the. Got it straight?"

    His picture was The Detective, the project that launched my producing career. Now it was about to sink it.

    “Frank, you don't understand. We're not gonna be finished till mid-February.”

    "Then she's quitting. Don't fuck around with me. We go back too far. She's my old lady, she'll do as I tell her."

    Before I could say anything, he hangs the phone up.

    Well, Frank didn't bark, he bit. Bit Mia pretty good.

    "Stay in Rosemary's Baby, you go back to Mia Farrow. Forget the name Sinatra!"

    Suddenly this little girl hysterically runs into my office.

    "I love him, Bob. I love him so. I don't wanna lose Frank.
    I'm gonna have to leave the movie."

    “Mia, if you walk out in the middle of this film, you'll never work again.”

    "I don't care, I don't care. I just love Frank."

    Well, if ever my experience with dames came in handy, I mean actress dames ...this was the moment. I knew what makes the head of an actress tick, and I finally found its purpose.

    “Come with me, Mia, I wanna show you something.”

    We walked into the executive screening room and I showed her a full hour of Rosemary's Baby cut together.

    “Mia, you're brilliant. I never thought you had it in you.
    It'll shock them all. Iwant you to know something. You're a
    shoo-in to win the Academy Award.”

    Suddenly her tears were gone. Her face lights up.

    "Do you think so?"

    “The one thing I'm not is prone to exaggerate. You're a shoo-in. I mean a shoo-in, kid. "Sinatra who?"”

    Suddenly, a smile.

    She didn't walk off the film. But Frank
    did serve her divorce papers on the set... delivered by Mickey Rudin, his attorney.

    Wow, it's strange. Women recover real quick. It may have taken her a full week. Then the only thing she wanted was that Rosemary's Baby out-gross The Detective. You want to know about actresses? Mia's one satisfaction would be that the pictures would open on the same day. And I arranged that. The Detective opened to a real good box office. But Rosemary's Baby was the smash hit of the summer. Overnight, Mia was a full-fledged star. She had one request I couldn't fill: Take a double-page ad out in the Daily Variety and Hollywood Reporter. On one side, in bold numbers, the theater grosses of Rosemary's Baby. On the other, the theater grosses of The Detective.

    Hell hath no fury like a woman scorned.

  • Comment Link Michael Milano Wednesday, 15 August 2012 02:38 posted by Michael Milano

    My favorite "eight" story about Frank was how he helped integrate Las Vegas. One of the members of the Rat Pack was Sammie Davis Jr., who was not allowed to stay at the Vegas hotel where the Rat Pack were performing. Frank insisted Sammie be allowed to stay at the hotel with the rest of the pack or he and the Rat Pack would leave right then and there. They would not perform the show that night or any other night ever again. They would go perform for a rival casino. Management caved and they were the first integrated hotel in Vegas.

  • Comment Link TJ Dawe Wednesday, 15 August 2012 19:57 posted by TJ Dawe

    Michael - thanks for bringing that up. That illuminates an essential, but often unseen aspect of Eights: how much they care about the people close to them. If you're a friend of mine, I'll stand in the face of the angel of death himself, and kick his ass!! At the core of every Eight is a very sensitive, caring person (a loving Two, in fact) - which they let very few people see. This combination of love and willingness to take tough action can bring great benefits for many.

    I haven't read about Martin Luther King Jr enough to say this with certainty, but he's always typed as an Eight as well - this same combination of inner forces in action.

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