Play Cards with Your Dragons: The New Hero’s Cycle Involves Surrender Not Struggle, Sacrifice Not Slaying, Compassion Not “Toughness,” and Silliness Not Stoicism

Loving Warriors and Silly Heroes: The Necessary Hero Dances Above Dissonance, Lightens Up in the Face of Stress, and Sees Divinity Not Demons Behind It All

Apocalypse – No! Chapter Thirteen: Peaceful Warriors and Silly Heroes

 

You Just Can’t Slay a Volcano: The Necessary Hero Uses Surrender, not Struggle … For Why Would You Not Be Borne Up by a Universe That Is You

We Need Compassionate Warriors, Not Fighters: It’s Not Enough Just to Slay Dragons, We Need to Jump Into Volcanoes

Volcano-Jumping: A Different Heroic Response

This different kind of heroic response—which characterizes the perinatal arena and is sorely needed at this time in history—is exemplified in another contemporary movie of cult status. We will deal with it in some detail to bring out the elements of the kind of hero that is now required to stop the cycles of destruction that have currently driven us to the abyss…to the very edge of a “volcano.”

In “Joe Versus the Volcano,” the main character, played by Tom Hanks, is given a heroic task. But unlike a typical hero’s cycle task which stereotypically involves the slaying of a fire-spewing dragon, Joe is asked to give up his life by jumping into a fire-erupting volcano.

The connection between volcano and dragon is that at the second-line or psychodynamic level the fire-spewing aspects of the perinatal, which might be compared to a volcano, can be seen as “embodied” or reduced in the form of a dragon. In the same way, the volcanic energy of perinatal feelings is initially embodied in easier-to-face and “dragonized” psychodynamic, second-line, or childhood traumas and feelings.

You Just Can’t Slay a Volcano

But what may seem to work at the second-line or psychodynamic level—the conquering or slaying of negative feelings…and notice that I said “seem”—has no place at all at the perinatal. For here the pain energy is overwhelming and pervasive. Thus the difference is analogous to that between facing the energy of a dragon and facing that of a volcano.

The Heroes We Need – The New Hero’s Cycle

First Anima, Then Community

Keep in mind that this movie shows Joe, earlier on, going through all the major stages of the hero’s cycle—the retreat from mundane reality, the sailing off into a new and exotic realm of existence and adventure.

It even depicts a typical “dragon slaying”—the hero’s conquering of inner fears and risking of one’s life for another that results in the uniting with anima energy–the saving of the damsel. So earlier on there is a dealing with psychodynamic energy, just as in “Nothing but Trouble” Chevy Chase deals with psychodynamic material and enacts a dragon slaying by risking his life to rescue Demi Moore from a giant chopping machine. But, also similarly, this results in the opening up of another level, requiring a completely different—indeed, opposite—response. Thus, in “Joe Vs. the Volcano,” Joe is asked to give up his life to save an entire community, not merely to risk his life to rescue his anima, his feeling self.

Risking It All

The ensuing plot has interesting elements as it shows Joe having to decide whether to sacrifice his newly won relationship with his anima ally for the benefit of an entire—but anonymous—community. This demonstrates that at a progressed level of the spiritual process—that having to do with one’s inter-connection with the larger community of living things, not just one’s personal unconscious—one must risk even one’s newly regained creativity, inner child playfulness, and personal feelings, i.e., one’s anima.

But in telling fashion, in order to make the higher “community” sacrifice the anima elements that have been let go of, symbolized by Meg Ryan as the anima damsel, end up going with Joe to his chosen fate and are borne up, renewed, along with him.

Borne Up by a Beneficent Universe

On Joe’s part, the climax shows the same quality of a beneficent Universe aiding a true and dharmic heart. Joe (with his anima) face what they think is death. Instead they find themselves “borne up” by the volcano, not consumed; and they are deposited (reborn) in a typical perinatal watery surround—the ocean, symbolizing therefore a spiritual birth. This is a perfect depiction of how surrender, not “heroic” resistance, is done and why it needs to be done currently, as I have been pointing out.

“Away From the Things of Man”

In the end, the main characters are floating in the middle of a wide open sea—signifying the immensity of potentiality that is now open, and facing a gigantic moon on the horizon—symbolizing the beneficent nature of the Universe to which they are opening, that is, it is beautiful and lit with possibilities.

They are seen sitting on only their luggage—symbolizing the “stripped down” nature of the self, that is, stripped of ego trappings of status, vainglory, defenses, and so on. Their final comment at the very end of the film is that they do not know where they’ll end up but only that it will be “away from the things of man”—indicating their desire to never go back to the drama of ego and its puerile catacomb pathways of darkened experience.

The Universe Is You

We see then that in this movie, like “Nothing but Trouble,” the heroic response required is surrender, not resistance or control, and that the response from the Universe is cooperative and helpful, and hardly antagonistic as was feared, especially at earlier levels.

This is in keeping with the discovery at the perinatal, which borders it on the transpersonal, that in fact the Universe, not only is not antagonistic, not only is beneficent and helpful, but in fact is no different from oneself, indeed is oneself…and one begins to wonder why one would ever expect not to be borne up by a Universe that is now seen as inextricably united with one’s Self.

Note

While the interpretation of Joe Versus the Volcano presented in the video below – Joe vs. the Volcano: Losing my Soul, Part One – is annoyingly suffused with theological terminology – hell, devil – and suffers from the paranoia that happens lacking a perinatal or even a Jungian understanding, it does succeed on a more superficial level of basic insight. It does get the highly metaphorical and philosophical import of the film and picks up on major themes of the movie. It strikes me as having the problem of just understanding religion while knowing nothing about psychology. And it suffers, as I’ve put it elsewhere, from the problem of projecting one’s perinatal underbelly onto the Universe or of funneling revelation through the filter of personal pain.

Silly Heroes and Evolution in Attitudes to the Perinatal: The Necessary Hero Jives with the Monsters, Dances Above the Dissonance, and Is Ever Aware of Divinity Everywhere

What the World Needs Now … Is Loving Warriors and Silly Heroes: Jiving with Your Monsters, Dancing Above the Dissonance, and The Universality of Divinity Remembered

Responses to the Perinatal

Returning now to “Nothing But Trouble,” an aspect of it that has significance for dealing with perinatal issues is the way different characters are shown responding to the embodiment of arbitrary justice, the judge. In the wonderfully Kafkaesque courtroom scenes, we see several different types of people—representing different responses to unconscious material—hauled before the judge. The musicians, signifying artists, creative people; the hedonistic criminals; and the main characters, representing average people, each present distinct attitudes, which are responded to differently by the representative of the unconscious, the judge.

Jiving With Your Monsters

The musicians are able to create rhythm and flow. Therefore they are able to get through the experience unharmed. Indeed, they are even able to elicit a response from the judge—getting him to join in. In this way we see how creative people can actually use perinatal material and get it to cooperate for desired ends. We might consider how this relates to the writing of “Nothing but Trouble” itself.

Peter and Dan Aykroyd, in creating this movie, are, like the musicians in the movie, getting the unconscious to “play along,” to create something beyond what either the writer or the unconscious could accomplish separately. Much of what is interesting in art is done this way: The deeper fear-evoking material is allowed to come in and enrich, enliven, freshen with new ideas and perspectives, stimulate, and invigorate the creative production.

Beware the Tar Baby

On the other hand, the arrogant banker contends with evil, and, like Brer Rabbit with tar baby, gets stuck.

Notice also that the really contentious ones—the alcoholic drug-using criminal hedonists—are completely lost. Thus the two extremes, as well as the average person are depicted.

Lighten Up!

But the truly striking element that indicates an advanced way of dealing with the perinatal material is shown in the genre of the movie itself. As a comedy, it shows a non-attached and transcendent approach. Chevy Chase and Demi Moore, especially Chevy Chase, show an aloofness and silly playfulness in the face of horror and death that has spiritual implications. Like a Tibetan mystic, Chase refuses to get sucked in to the involved drama confronting him. Like a Christian saint about to be martyred, he jokes, teases, and gets silly with the instruments of horror and evil. Similarly, Demi Moore humors and plays cards with her would-be monsters.

Silly Heroes

Standing within the Witness higher self, they are able to take the entire situation lightly—acting and reacting in the moment to each unique situation as it presents itself. One moment Chevy Chase is confronting his own demise, the next moment he is in a love scene. He alternates a frightful encounter with relaxing and smoking a cigar.
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If we want to know what real and transcended behavior is, we might do well to get our hints in the depictions of unattached playfulness — as presented by modern Western actors like Bill Murray, Demi Moore, Tom Hanks, Chevy Chase, Robin Williams, Bruce Willis, and Jim Carey—rather than in the repressively calmed not-with-it-ness—not-witness—that is sometimes mistaken for spiritual attainment.

 

 

Darkening Down

Incidentally, this element of humor shows an entirely different way of dealing with the perinatal than most other movies that deal with this kind of material. The movie, “Brazil,” is a good example of this difference. Not only is “Brazil” cast in an eerie, somber, and tragically hopeless and futile air—indicating that one’s response here is to “believe in” the reality of such material—but the only escape in this movie is in a purely conceptual, fantasy way.

The main character cannot face the horror ultimately. He flips out into a reassuring dream sequence brimming with BPM I and BPM IV imagery. Interestingly, reflecting the pattern of progression of our expressions in feeling therapies, the dream includes a BPM III scenario to get him to those later bucolic realms.

But in “Brazil” these are only daydreams. This fact shows a refusal to face this perinatal material or to surrender to it. Rather, in fantasy, one overcomes the horror. It is as if one continues using familiar ego techniques—hero’s journey methods, dragon-slaying methods—for dealing with material on a deeper level where they no longer work—where they are in fact counterproductive.

Thus, these techniques can only succeed in dreaming. Terry Gilliam, the creator of “Brazil,” shows us that the hero, in reality, is doomed.

However, one might interpret the main character’s escape into fantasy as a victory over evil forces. That the ending lends itself so readily to such an interpretation is a telling indictment of the state of progress of some of us in dealing with perinatal material. Apparently, there are those so lost that the only success possible seems to be in insanity or death.

Evolution In Attitudes to the Perinatal?

However, in “Nothing but Trouble,” the main characters do face and deal with all the material. Sometimes they fight it; sometimes run from it; sometimes play with it; sometimes joke, tease, spar, or get silly with it; sometimes are swallowed by it and carried along…but always they are creatively facing and dealing with it. This different air about and attitude towards the perinatal material can be said to be an advance from the earlier movie, “Brazil,” representing perhaps a progression of our collective consciousness in our attitudes and manner of dealing with the perinatal.

Dancing Above the Dissonance

Such a prospect is, indeed, the auspicious legacy of such a creative project. Though it is doubtful they did so consciously, the Aykroyd brothers and the producers of “Nothing But Trouble” deserve our gratitude for their efforts in lighting forward our collective reality endeavor.

Beyond that, we can take hope in the possibility that Western culture may be rising itself, however minimally at first, above the dramas of light and darkness that have plagued it for so long. The Manichean tendency can lead only to ever-spiraling cycles of resistance and assault. Yet we are seeing currently, not only an erosion of defiantly uni-dimensional ego perspectives, not only a movement toward facing and dealing with our inner darkness, but an integration of opposing forces, a dancing above the leela—the play—of light and dark.

The Universality of Divinity Remembered

The perennial understanding of the universality of divinity, both within and without us, in the lowest as well as the highest of places, is the bright at the center of the perinatal bedlam about us. We are guided as well by this gleaming, a rising moon of promise and possibilities.

Continue with Apocalypse – No! Chapter Fourteen: To Move the World – A Race Against Time

Return to Apocalypse – No! Chapter Twelve: Atman Projects Versus Surrender Solutions

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When Everything Appears to Be Conspiring Against You, You Might Want to Stop Fighting Rebirth: Atman Projects Versus Surrender Solutions and a Different Hero’s Journey

How Can You Be Borne Up, If You Won’t Let Go? Spiritual Experience Is Distorted by One’s Birth Trauma … The Necessary Hero Descends Into the Perinatal Below

Apocalypse – No! Chapter Twelve: Atman Projects vs. Surrender Solutions

The Necessary Hero and Descent Into the Underground–When There’s “Nothing But Trouble,” You Know You’re in The Perinatal Below

A Different Kind of Hero’s Journey for Our Times Is Depicted in the Cult Classic, “Nothing But Trouble”

A Perinatal Flick

A film of postmodern times that is bold with revelation for us is the cult classic, “Nothing but Trouble,” which was released in 1991. It is an especially potent example of the rising pre- and perinatal influence in the media we’ve been discussing as well as the different heroic response required in these strangest of days because of it. It is all this, plus a twist: As a comedy it represents an unlikely approach to such material and themes. More about that later.

It was produced and written by Peter and Dan Aykroyd and stars Dan Aykroyd, Chevy Chase, Demi Moore, and John Candy.Its reception by modern audiences mirrors exactly the perception in general, to date, that has been had of the perinatal material it depicts so well. For despite the movie’s star power and the popularity of its co-creator, Dan Aykroyd, it was met with overwhelmingly negative reviews and received six Razzie nominations, garnering one. I fully expect that until we know better I can expect much the same kind of reaction to this book, because of the perinatal perspective it is revealing of the dark underside of everyday pleasantries and sugar-coated media realities. Yet there is hope for all that we will integrate this hard-to-face yet redemptive material in the fact that the movie does have a strong following among some in our population, just as at present there are some who are not in denial of the bittersweet perinatal vision being revealed.

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The Lure Into the Underworld and Call to Adventure

The perinatal adventure of “Nothing but Trouble” begins innocuously with the main characters “leaving the beaten path” on a rather ordinary trip out of the city. Interestingly, the Brazilian couple who have forced themselves on the main characters of Chevy Chase and Demi Moore in making the trip act as impish other-worldly instruments in the change of route.

Joseph Campbell pointed out that the “call to adventure,” which marks the beginning of the descent into the transformative nether regions, may be instigated by the merest chance or blunder. [Footnote 1]

Campbell also writes that the heralds of such a rite of spiritual passage are often loathly and underestimated characters. The Brazilian couple—as gaudy, overbearing, quirky, and from “down under”—perform just this function of luring into the underworld. Thus, they remind us that it is the quirky yet underestimated element in our familiar daily experience that opens us up to the process whose ramifications are huge by comparison.

The Merest Blunder, The Adventure Begins

Sure enough, this innocent-appearing outing is soon disturbed. The merest blunder of map reading results in an ominous tour of an eerie town and its somber and menacing-looking inhabitants. This is followed by a high-speed car chase as the police attempt to pull the innocents over for a bogus traffic violation.

In the tour of the town, it is as if the ego is shown getting a preview or having a precognition of what lies ahead and attempts to flee back into its safe familiar environs. But of course, this emerging piece of unconscious material will not be denied and is able to capture the fleeing ego that we see safely ensconced in its trappings of status and power—symbolized by the BMW with car phone. At this point the main characters, representing the ego, are led, under guard, into the bizarre town of Valkenvania—the encounter with unconscious perinatal begins.

Perinatal Elements

The Junkyard of the Psyche

Campbell says that in the unconscious deep, to which one is beckoned, “are hoarded all the rejected, unadmitted, unrecognized, unknown, or undeveloped factors, laws, and elements of existence.” [Footnote 2]

Likewise, the set in “Nothing But Trouble” is replete with refuse. Bits of history—of rusted and broken refrigerators, automobiles, kitchen appliances, assorted junk, and pieces and parts of all the preceding…the wreckage of the past—are strewn about as well as heaped in clusters to construct the architecture and delineate the outlines of the drama. The correlation with subconscious remnants of forgotten memories and past emotional experiences is obvious.

Thus the drama evolves in the dumping ground and junkyard of the psyche—where all the rejected tidbits of experience have been relegated.

Stripped of Ego, Perinatal Begins

After being separated from the automobile—that is to say, the ego stripped of defensive trappings of status and worldly position—the characters are rather quickly shuttled into encounters with a myriad of perinatal elements. A few of the obvious ones are as follows:

• Mr. Bonestripper, which is a roller-coaster type ride whose entrance is a large vagina dentate mouth that swallows, chews up, and kills. Notice the roller-coaster ride aspect of Mr. Bonestripper, which reflects the emotional extremes and changingness of perinatal, specifically Basic Perinatal Matrix III (BPM III), events. [Footnote 3]
  
  
• The chutes inside the house and of Mr. Bonestripper indicate birth canal symbolism.
• Sexual elements, indicating BPM III influence, are manifest in the scantily clad heroine and the penis-nose of the judge.
• The dark foundry symbolizes the foundation work of the psyche as well as the ominous and eerie aspects of perinatal experience.
• The slave labor surroundings represent similar feelings in the enforced and helpless character of doings just prior to and at the time of birth.
  
  
• Notice that the body—the car, the “Beamer”—gets trimmed down, the excess removed, symbolic of the cutting away of past attachments and concerns of a worldly nature, one’s “status” reduced.
  
• Chevy Chase as the main character is at one point forced into a marriage with a huge woman, who is tellingly androgynous in that she is played by John Candy. In her threatening and suffocating embraces we see symbolism of the crushing womb.
  
  
• The entire site of these doings is surrounded by a watery trench. This obviously reflects the amniotic surround in the womb.
  
  
• Police and guns point to the authoritative character of perinatal doings—in other words, do, or else!
  
  
• Death/rebirth symbolism of the perinatal exists in the form of skeletons and huge piles of skulls and bones.
  
  
• Scatological, that is to say, fecal symbolism is seen in the “bat-room,” which contains an enormous pile of wet bat-shit…excuse the wording, but it really is shit and not feces.
  
• The arbitrary nature of justice in the courtroom speaks to that perinatal feeling that one tiny thing, event, or action, has huge and horrifying ramifications.

Big Babies

The most obviously perinatal element, however, is the gargantuan and grotesquely flabby infant twins in diapers. Perinatal feelings are indicated in their extreme crying neediness. Their freshly newborn quality is evident in their fleshiness, which reminds one of the overweight appearance of some newborns, which is usually lost a little later on in infancy. The glossy, waxy sheen on their bodies is reminiscent of the skin of a newborn, which, fresh out of the womb, is wet and slippery, covered in amniotic fluid and cervical mucosa.

A Spiritual Interface

An interesting aspect that indicates the transpersonal, or spiritual, interface with the perinatal is an attic room—a higher mind of memory, kind of like an Akashic record—where all past IDs—identifications—and reports of them—newspaper clippings—are displayed.

Though, interestingly enough, in true perinatal fashion, a macabre lens is used to view these lives—only the reports of their tragic disappearances are seen. I believe that this is a wonderful depiction of how transpersonal information is distorted by perinatal material—the implications of which are far reaching for the pronouncements of so-called spiritual, or psychological, authorities who have not dealt with their perinatal undersides.

Trusting Higher Forces: Say “Good Night,” John Wayne, and How Can You Be Borne Up If You Won’t Let Go? When All Seems Lost…. You Might Want to Stop Fighting Rebirth

When It Appears the Whole World Has Been Conspiring Against You, You Might Want to Let Yourself Be Blessed

Multilevel Feelings

Just When You Thought….

However an important element in this movie, “Nothing But Trouble,” which is different from artistic representations that deal with only the personal or psychodynamic, is the way the ending opens up under it to a new level, a whole new arena, of issues. Those of us in experiential therapies or breathwork are only too aware of how the perinatal opens up to one, revealing a greater expanse and pervasiveness of dis-ease, at a certain point after dealing with the personal and the psychodynamic.

This layered, or multilevel quality of the movie is shown when the main characters, having heroically escaped through personal effort, find themselves returning to the perinatal realm. Thinking that they have the forces of authority and light on their side, they expect this time to be able to put the evil away once and for all.

But When All Seems Lost….

To their immense surprise, it appears that the whole world has been conspiring against them—a telling perinatal feeling. The evil is discovered to be pervasive, as if infiltrating every corner of the universe—another perinatal feeling. Even the thoroughly trusted elements of light turn out to be on the side of the darker forces—a vantage point that is part of the hopelessness that characterizes the classic no-exit BPM II scenario. And just like in the womb, then, when all seems lost, something new happens, an explosion or eruption of sorts, which brings down the old world and its structures in a violent conflagration.

Atman Projects Versus Surrender Solutions

This hopeless and futile aspect of the perinatal realms — as opposed to the merely personal or psychodynamic ones—lends itself to its distinctive response—which is surrender, not resistance. Unlike the hero of Campbell’s hero’s cycle whose task is to slay the dragon using the sword of analytical or cognitive powers, the correct solution here at the perinatal is to let go of all designs, manipulations, and attempts at control and to put oneself into the hands of the seemingly irrational and chaotic Universe, come what may.

How Can You Be Borne Up, If You Won’t Let Go?

The Universe’s response in the movie — the upsurge of fire from below the earth that brings down the evil structures—demonstrates the theme of being saved by higher forces when one finally is able to surrender. In the same way, in our perinatal experiences, we find ourselves “borne up” and elevated when we once are able to submit to the upsurge of fear-evoking perinatal emotion.

Indeed, when Chevy Chase is seen rolling and setting fire to barrels of oil in a superhuman nick-of-time rescue attempt—in typical “hero’s journey” style—I had an odd disjointed sense that we had switched modes. The element seemed incongruous.

Say “Good Night,” John Wayne

But, then again, not so. For the movie shows that the successful escape performed through one’s own effort is, in actuality, futile. In perinatal terms, such heroics are illusory “atman projects” that ultimately fail against the onslaught of perinatal material, which must be surrendered to, not heroically resisted or conquered.

Interestingly, the eventual surrender solution is echoed earlier on when Chevy Chase is about to go through the chomping jaws of Mr. Bonestripper, the devouring womb. His response, at the prospect of his imminent failure, is to pray—to call on higher forces.

Trusting in Higher Forces

Amazingly, the machine breaks at that moment, signaling the response of such “external” or higher forces. He alone, of all the others who have faced that fate, goes through the machine unscathed. Notice also that he says “Thank you, Lord” afterwards.

Thus it is not on one’s own powers that one makes it through perinatal material, rather it is by the relinquishing of such attempts at control and the relying and trusting in higher forces. We are reminded that Dante required the angelic Beatrice to show the way through purgatorio and inferno to paradisio.

The Message

In the next chapter, we will use another postmodern film to expand on these themes. This will allow us to fill out an emerging pattern, as we then compare it with “Nothing But Trouble” and other perinatal evidence.

So let us watch, now, as the pattern, like a photo emerging in solution, reveals to us its features, thus delivering to us the message it has come to bring.

Footnotes

1. Joseph Campbell, The Hero With a Thousand Faces. Princeton, NJ: Princeton University Press, 1968, p. 51.

2. Ibid., p. 52.

3. As a reminder, BPM III events (Basic Perinatal Matrix III events), using the typology set forth by Stanislav Grof in his many works, are the events surrounding the actual birth struggle of the infant during delivery. These parts on the perinatal in film make mention also of BPM II, which is related to the time of severe compression and constriction of the fetus in the latter stages of pregnancy and prior to the actual onset of delivery—which are characterized by feelings of “no-exit”; of BPM IV, which is concerned with the feelings of release, triumph, being saved, and whatever else occurs immediately after delivery; and of BPM I, which is related to the state of the fetus earlier in pregnancy—prior to compression—which is often conceived to have “oceanic” and “blissful” qualities, though not always.

Continue with You Just Can’t Slay a Volcano: The Necessary Hero Uses Surrender, not Struggle … For Why Would You Not Be Borne Up by a Universe That Is You

Return to Apocalypse – No! Chapter Eleven: Control Versus Surrender … Heaven Leads Through Hell

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What the World Needs Now … Is Loving Warriors and Silly Heroes: Jiving with Your Monsters, Dancing Above the Dissonance, and The Universality of Divinity Remembered

Silly Heroes and Evolution in Attitudes to the Perinatal: The Necessary Hero Jives with the Monsters, Dances Above the Dissonance, and Is Ever Aware of Divinity Everywhere

Responses to the Perinatal

Returning now to “Nothing But Trouble,” an aspect of it that has significance for dealing with perinatal issues is the way different characters are shown responding to the embodiment of arbitrary justice, the judge. In the wonderfully Kafkaesque courtroom scenes, we see several different types of people—representing different responses to unconscious material—hauled before the judge. The musicians, signifying artists, creative people; the hedonistic criminals; and the main characters, representing average people, each present distinct attitudes, which are responded to differently by the representative of the unconscious, the judge.

Jiving With Your Monsters

The musicians are able to create rhythm and flow. Therefore they are able to get through the experience unharmed. Indeed, they are even able to elicit a response from the judge—getting him to join in. In this way we see how creative people can actually use perinatal material and get it to cooperate for desired ends. We might consider how this relates to the writing of “Nothing but Trouble” itself.

Peter and Dan Aykroyd, in creating this movie, are, like the musicians in the movie, getting the unconscious to “play along,” to create something beyond what either the writer or the unconscious could accomplish separately. Much of what is interesting in art is done this way: The deeper fear-evoking material is allowed to come in and enrich, enliven, freshen with new ideas and perspectives, stimulate, and invigorate the creative production.

Beware the Tar Baby

On the other hand, the arrogant banker contends with evil, and, like Brer Rabbit with tar baby, gets stuck.

Notice also that the really contentious ones—the alcoholic drug-using criminal hedonists—are completely lost. Thus the two extremes, as well as the average person are depicted.

Lighten Up!

But the truly striking element that indicates an advanced way of dealing with the perinatal material is shown in the genre of the movie itself. As a comedy, it shows a non-attached and transcendent approach. Chevy Chase and Demi Moore, especially Chevy Chase, show an aloofness and silly playfulness in the face of horror and death that has spiritual implications. Like a Tibetan mystic, Chase refuses to get sucked in to the involved drama confronting him. Like a Christian saint about to be martyred, he jokes, teases, and gets silly with the instruments of horror and evil. Similarly, Demi Moore humors and plays cards with her would-be monsters.

Silly Heroes

Standing within the Witness higher self, they are able to take the entire situation lightly—acting and reacting in the moment to each unique situation as it presents itself. One moment Chevy Chase is confronting his own demise, the next moment he is in a love scene. He alternates a frightful encounter with relaxing and smoking a cigar.

If we want to know what real and transcended behavior is, we might do well to get our hints in the depictions of unattached playfulness — as presented by modern Western actors like Bill Murray, Demi Moore, Tom Hanks, Chevy Chase, Robin Williams, Bruce Willis, and Jim Carey—rather than in the repressively calmed not-with-it-ness—not-witness—that is sometimes mistaken for spiritual attainment.

Darkening Down

Incidentally, this element of humor shows an entirely different way of dealing with the perinatal than most other movies that deal with this kind of material. The movie, “Brazil,” is a good example of this difference. Not only is “Brazil” cast in an eerie, somber, and tragically hopeless and futile air — indicating that one’s response here is to “believe in” the reality of such material—but the only escape in this movie is in a purely conceptual, fantasy way.

The main character cannot face the horror ultimately. He flips out into a reassuring dream sequence brimming with BPM I and BPM IV imagery. Interestingly, reflecting the pattern of progression of our expressions in feeling therapies, the dream includes a BPM III scenario to get him to those later bucolic realms.

But in “Brazil” these are only daydreams. This fact shows a refusal to face this perinatal material or to surrender to it. Rather, in fantasy, one overcomes the horror. It is as if one continues using familiar ego techniques—hero’s journey methods, dragon-slaying methods—for dealing with material on a deeper level where they no longer work—where they are in fact counterproductive.

Thus, these techniques can only succeed in dreaming. Terry Gilliam, the creator of “Brazil,” shows us that the hero, in reality, is doomed.

However, one might interpret the main character’s escape into fantasy as a victory over evil forces. That the ending lends itself so readily to such an interpretation is a telling indictment of the state of progress of some of us in dealing with perinatal material. Apparently, there are those so lost that the only success possible seems to be in insanity or death.

Evolution In Attitudes to the Perinatal?

However, in “Nothing but Trouble,” the main characters do face and deal with all the material. Sometimes they fight it; sometimes run from it; sometimes play with it; sometimes joke, tease, spar, or get silly with it; sometimes are swallowed by it and carried along…but always they are creatively facing and dealing with it. This different air about and attitude towards the perinatal material can be said to be an advance from the earlier movie, “Brazil,” representing perhaps a progression of our collective consciousness in our attitudes and manner of dealing with the perinatal.

Dancing Above the Dissonance

Such a prospect is, indeed, the auspicious legacy of such a creative project. Though it is doubtful they did so consciously, the Aykroyd brothers and the producers of “Nothing But Trouble” deserve our gratitude for their efforts in lighting forward our collective reality endeavor.

Beyond that, we can take hope in the possibility that Western culture may be rising itself, however minimally at first, above the dramas of light and darkness that have plagued it for so long. The Manichean tendency can lead only to ever-spiraling cycles of resistance and assault. Yet we are seeing currently, not only an erosion of defiantly uni-dimensional ego perspectives, not only a movement toward facing and dealing with our inner darkness, but an integration of opposing forces, a dancing above the leela—the play—of light and dark.

The Universality of Divinity Remembered

The perennial understanding of the universality of divinity, both within and without us, in the lowest as well as the highest of places, is the bright at the center of the perinatal bedlam about us. We are guided as well by this gleaming, a rising moon of promise and possibilities.

Continue with Apocalypse? Or Earth Rebirth? A Smaller Number of Us — Standing in the Right Place and With a Lever Big Enough — Might Be All That Is Needed to Move the World

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When It Appears the Whole World Has Been Conspiring Against You, You Might Want to Let Yourself Be Blessed: Atman Projects Vs. Surrender Solutions, Part Two

Trusting Higher Forces: Say “Good Night,” John Wayne, and How Can You Be Borne Up If You Won’t Let Go? When All Seems Lost…. You Might Want to Stop Fighting Rebirth

Multilevel Feelings

Just When You Thought….

However an important element in this movie, “Nothing But Trouble,” which is different from artistic representations that deal with only the personal or psychodynamic, is the way the ending opens up under it to a new level, a whole new arena, of issues. Those of us in experiential therapies or breathwork are only too aware of how the perinatal opens up to one, revealing a greater expanse and pervasiveness of dis-ease, at a certain point after dealing with the personal and the psychodynamic.

This layered, or multilevel quality of the movie is shown when the main characters, having heroically escaped through personal effort, find themselves returning to the perinatal realm. Thinking that they have the forces of authority and light on their side, they expect this time to be able to put the evil away once and for all.

But When All Seems Lost….

To their immense surprise, it appears that the whole world has been conspiring against them—a telling perinatal feeling. The evil is discovered to be pervasive, as if infiltrating every corner of the universe—another perinatal feeling. Even the thoroughly trusted elements of light turn out to be on the side of the darker forces—a vantage point that is part of the hopelessness that characterizes the classic no-exit BPM II scenario. And just like in the womb, then, when all seems lost, something new happens, an explosion or eruption of sorts, which brings down the old world and its structures in a violent conflagration.

Atman Projects Versus Surrender Solutions

This hopeless and futile aspect of the perinatal realms — as opposed to the merely personal or psychodynamic ones—lends itself to its distinctive response—which is surrender, not resistance. Unlike the hero of Campbell’s hero’s cycle whose task is to slay the dragon using the sword of analytical or cognitive powers, the correct solution here at the perinatal is to let go of all designs, manipulations, and attempts at control and to put oneself into the hands of the seemingly irrational and chaotic Universe, come what may.

How Can You Be Borne Up, If You Won’t Let Go?

The Universe’s response in the movie — the upsurge of fire from below the earth that brings down the evil structures—demonstrates the theme of being saved by higher forces when one finally is able to surrender. In the same way, in our perinatal experiences, we find ourselves “borne up” and elevated when we once are able to submit to the upsurge of fear-evoking perinatal emotion.

Indeed, when Chevy Chase is seen rolling and setting fire to barrels of oil in a superhuman nick-of-time rescue attempt—in typical “hero’s journey” style—I had an odd disjointed sense that we had switched modes. The element seemed incongruous.

Say “Good Night,” John Wayne

But, then again, not so. For the movie shows that the successful escape performed through one’s own effort is, in actuality, futile. In perinatal terms, such heroics are illusory “atman projects” that ultimately fail against the onslaught of perinatal material, which must be surrendered to, not heroically resisted or conquered.

Interestingly, the eventual surrender solution is echoed earlier on when Chevy Chase is about to go through the chomping jaws of Mr. Bonestripper, the devouring womb. His response, at the prospect of his imminent failure, is to pray—to call on higher forces.

Trusting in Higher Forces

Amazingly, the machine breaks at that moment, signaling the response of such “external” or higher forces. He alone, of all the others who have faced that fate, goes through the machine unscathed. Notice also that he says “Thank you, Lord” afterwards.

Thus it is not on one’s own powers that one makes it through perinatal material, rather it is by the relinquishing of such attempts at control and the relying and trusting in higher forces. We are reminded that Dante required the angelic Beatrice to show the way through purgatorio and inferno to paradisio.

The Message

In the next chapter, we will use another postmodern film to expand on these themes. This will allow us to fill out an emerging pattern, as we then compare it with “Nothing But Trouble” and other perinatal evidence.

So let us watch, now, as the pattern, like a photo emerging in solution, reveals to us its features, thus delivering to us the message it has come to bring.

Continue with You Just Can’t Slay a Volcano: The Necessary Hero Uses Surrender, not Struggle … For Why Would You Not Be Borne Up by a Universe That Is You

Return to The Necessary Hero and Descent Into the Underground–When There’s “Nothing But Trouble,” You Know You’re in The Perinatal Below

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A Different Kind of Hero’s Journey for Our Times Is Depicted in the Cult Classic, “Nothing But Trouble”: Atman Projects Vs. Surrender Solutions, Part One

The Necessary Hero and Descent Into the Underground–When There’s “Nothing But Trouble,” You Know You’re in The Perinatal Below

A Perinatal Flick

A film of postmodern times that is bold with revelation for us is the cult classic, “Nothing but Trouble,” which was released in 1991. It is an especially potent example of the rising pre- and perinatal influence in the media we’ve been discussing as well as the different heroic response required in these strangest of days because of it. It is all this, plus a twist: As a comedy it represents an unlikely approach to such material and themes. More about that later.

It was produced and written by Peter and Dan Aykroyd and stars Dan Aykroyd, Chevy Chase, Demi Moore, and John Candy.Its reception by modern audiences mirrors exactly the perception in general, to date, that has been had of the perinatal material it depicts so well. For despite the movie’s star power and the popularity of its co-creator, Dan Aykroyd, it was met with overwhelmingly negative reviews and received six Razzie nominations, garnering one. I fully expect that until we know better I can expect the same kind of reaction to this book of mine and the perinatal perspective it is revealing of the dark underside of everyday pleasantries and sugar-coated media realities. Yet there is hope for all that we will integrate this hard-to-face yet redemptive material in the fact that the movie does have a strong following among some in our population, just as at present there are some who are not in denial of the bittersweet perinatal vision being revealed.

The Lure Into the Underworld and Call to Adventure

The perinatal adventure of “Nothing but Trouble” begins innocuously with the main characters “leaving the beaten path” on a rather ordinary trip out of the city. Interestingly, the Brazilian couple who have forced themselves on the main characters of Chevy Chase and Demi Moore in making the trip act as impish other-worldly instruments in the change of route.

Joseph Campbell pointed out that the “call to adventure,” which marks the beginning of the descent into the transformative nether regions, may be instigated by the merest chance or blunder. [Footnote 1]

Campbell also writes that the heralds of such a rite of spiritual passage are often loathly and underestimated characters. The Brazilian couple—as gaudy, overbearing, quirky, and from “down under”—perform just this function of luring into the underworld. Thus, they remind us that it is the quirky yet underestimated element in our familiar daily experience that opens us up to the process whose ramifications are huge by comparison.

The Merest Blunder, The Adventure Begins

Sure enough, this innocent-appearing outing is soon disturbed. The merest blunder of map reading results in an ominous tour of an eerie town and its somber and menacing-looking inhabitants. This is followed by a high-speed car chase as the police attempt to pull the innocents over for a bogus traffic violation.

In the tour of the town, it is as if the ego is shown getting a preview or having a precognition of what lies ahead and attempts to flee back into its safe familiar environs. But of course, this emerging piece of unconscious material will not be denied and is able to capture the fleeing ego that we see safely ensconced in its trappings of status and power—symbolized by the BMW with car phone. At this point the main characters, representing the ego, are led, under guard, into the bizarre town of Valkenvania—the encounter with unconscious perinatal begins.

Perinatal Elements

The Junkyard of the Psyche

Campbell says that in the unconscious deep, to which one is beckoned, “are hoarded all the rejected, unadmitted, unrecognized, unknown, or undeveloped factors, laws, and elements of existence.” [Footnote 2]

Likewise, the set in “Nothing But Trouble” is replete with refuse. Bits of history—of rusted and broken refrigerators, automobiles, kitchen appliances, assorted junk, and pieces and parts of all the preceding…the wreckage of the past—are strewn about as well as heaped in clusters to construct the architecture and delineate the outlines of the drama. The correlation with subconscious remnants of forgotten memories and past emotional experiences is obvious.

Thus the drama evolves in the dumping ground and junkyard of the psyche—where all the rejected tidbits of experience have been relegated.

Stripped of Ego, Perinatal Begins

After being separated from the automobile—i.e., the ego stripped of defensive trappings of status and worldly position—the characters are rather quickly shuttled into encounters with a myriad of perinatal elements. A few of the obvious ones are as follows:

• Mr. Bonestripper, which is a roller-coaster type ride whose entrance is a large vagina dentate mouth that swallows, chews up, and kills. Notice the roller-coaster ride aspect of Mr. Bonestripper, which reflects the emotional extremes and changingness of perinatal, specifically Basic Perinatal Matrix III (BPM III), events. [Footnote 3]
  
  
• The chutes inside the house and of Mr. Bonestripper indicate birth canal symbolism.
• Sexual elements, indicating BPM III influence, are manifest in the scantily clad heroine and the penis-nose of the judge.
• The dark foundry symbolizes the foundation work of the psyche as well as the ominous and eerie aspects of perinatal experience.
• The slave labor surroundings represent similar feelings in the enforced and helpless character of doings just prior to and at the time of birth.
  
  
• Notice that the body—the car, the “Beamer”—gets trimmed down, the excess removed, symbolic of the cutting away of past attachments and concerns of a worldly nature, one’s “status” reduced.
  
• Chevy Chase as the main character is at one point forced into a marriage with a huge woman, who is tellingly androgynous in that she is played by John Candy. In her threatening and suffocating embraces we see symbolism of the crushing womb.
  
  
• The entire site of these doings is surrounded by a watery trench. This obviously reflects the amniotic surround in the womb.
  
  
• Police and guns point to the authoritative character of perinatal doings—i.e., do, or else!
  
  
• Death/rebirth symbolism of the perinatal exists in the form of skeletons and huge piles of skulls and bones.
  
  
• Scatological, that is to say, fecal symbolism is seen in the “bat-room,” which contains an enormous pile of wet bat-shit…excuse the wording, but it really is shit and not feces.
  
• The arbitrary nature of justice in the courtroom speaks to that perinatal feeling that one tiny thing, event, or action, has huge and horrifying ramifications.

Big Babies

The most obviously perinatal element, however, is the gargantuan and grotesquely flabby infant twins in diapers. Perinatal feelings are indicated in their extreme crying neediness. Their freshly newborn quality is evident in their fleshiness, which reminds one of the overweight appearance of some newborns, which is usually lost a little later on in infancy. The glossy, waxy sheen on their bodies is reminiscent of the skin of a newborn, which, fresh out of the womb, is wet and slippery, covered in amniotic fluid and cervical mucosa.

A Transpersonal Interface

An interesting aspect that indicates the transpersonal interface with the perinatal is an attic room—a higher mind of memory, kind of like an Akashic record—where all past IDs—identifications—and reports of them—newspaper clippings—are displayed.

Though, interestingly enough, in true perinatal fashion, a macabre lens is used to view these lives—only the reports of their tragic disappearances are seen. I believe that this is a wonderful depiction of how transpersonal information is distorted by perinatal material—the implications of which are far reaching for the pronouncements of so-called spiritual, or psychological, authorities who have not dealt with their perinatal undersides.

Continue with Trusting Higher Forces: Say “Good Night,” John Wayne, and How Can You Be Borne Up If You Won’t Let Go? When All Seems Lost…. You Might Want to Stop Fighting Rebirth

Return to Yes, Tina Turner, We Do Need Another Hero … a Different Kind. Dreaming Out Loud, Part 2: The Path to Heaven Leads Through Hell

Footnotes

1. Joseph Campbell, The Hero With a Thousand Faces. Princeton, NJ: Princeton University Press, 1968, p. 51.

2. Ibid., p. 52.

3. As a reminder, BPM III events (Basic Perinatal Matrix III events), using the typology set forth by Stanislav Grof in his many works, are the events surrounding the actual birth struggle of the infant during delivery. These parts on the perinatal in film make mention also of BPM II, which is related to the time of severe compression and constriction of the fetus in the latter stages of pregnancy and prior to the actual onset of delivery—which are characterized by feelings of “no-exit”; of BPM IV, which is concerned with the feelings of release, triumph, being saved, and whatever else occurs immediately after delivery; and of BPM I, which is related to the state of the fetus earlier in pregnancy—prior to compression—which is often conceived to have “oceanic” and “blissful” qualities, though not always.

Continue with Trusting Higher Forces: Say “Good Night,” John Wayne, and How Can You Be Borne Up If You Won’t Let Go? When All Seems Lost…. You Might Want to Stop Fighting Rebirth

Return to Yes, Tina Turner, We Do Need Another Hero … a Different Kind. Dreaming Out Loud, Part 2: The Path to Heaven Leads Through Hell

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A Different Kind of Hero’s Journey for Our Times Is Depicted in the Cult Classic, “Nothing But Trouble”: Atman Projects Vs. Surrender Solutions, Part One

The Necessary Hero and Descent Into the Underground–When There’s “Nothing But Trouble,” You Know You’re in The Perinatal Below

A Perinatal Flick

A film of postmodern times that is bold with revelation for us is the cult classic, “Nothing but Trouble,” which was released in 1991. It is an especially potent example of the rising pre- and perinatal influence in the media we’ve been discussing as well as the different heroic response required in these strangest of days because of it. It is all this, plus a twist: As a comedy it represents an unlikely approach to such material and themes. More about that later.

It was produced and written by Peter and Dan Aykroyd and stars Dan Aykroyd, Chevy Chase, Demi Moore, and John Candy.Its reception by modern audiences mirrors exactly the perception in general, to date, that has been had of the perinatal material it depicts so well. For despite the movie’s star power and the popularity of its co-creator, Dan Aykroyd, it was met with overwhelmingly negative reviews and received six Razzie nominations, garnering one. I fully expect that until we know better I can expect the same kind of reaction to this book of mine and the perinatal perspective it is revealing of the dark underside of everyday pleasantries and sugar-coated media realities. Yet there is hope for all that we will integrate this hard-to-face yet redemptive material in the fact that the movie does have a strong following among some in our population, just as at present there are some who are not in denial of the bittersweet perinatal vision being revealed.

The Lure Into the Underworld and Call to Adventure

The perinatal adventure of “Nothing but Trouble” begins innocuously with the main characters “leaving the beaten path” on a rather ordinary trip out of the city. Interestingly, the Brazilian couple who have forced themselves on the main characters of Chevy Chase and Demi Moore in making the trip act as impish other-worldly instruments in the change of route.

Joseph Campbell pointed out that the “call to adventure,” which marks the beginning of the descent into the transformative nether regions, may be instigated by the merest chance or blunder. [Footnote 1]

Campbell also writes that the heralds of such a rite of spiritual passage are often loathly and underestimated characters. The Brazilian couple—as gaudy, overbearing, quirky, and from “down under”—perform just this function of luring into the underworld. Thus, they remind us that it is the quirky yet underestimated element in our familiar daily experience that opens us up to the process whose ramifications are huge by comparison.

The Merest Blunder, The Adventure Begins

Sure enough, this innocent-appearing outing is soon disturbed. The merest blunder of map reading results in an ominous tour of an eerie town and its somber and menacing-looking inhabitants. This is followed by a high-speed car chase as the police attempt to pull the innocents over for a bogus traffic violation.

In the tour of the town, it is as if the ego is shown getting a preview or having a precognition of what lies ahead and attempts to flee back into its safe familiar environs. But of course, this emerging piece of unconscious material will not be denied and is able to capture the fleeing ego that we see safely ensconced in its trappings of status and power—symbolized by the BMW with car phone. At this point the main characters, representing the ego, are led, under guard, into the bizarre town of Valkenvania—the encounter with unconscious perinatal begins.

Perinatal Elements

The Junkyard of the Psyche

Campbell says that in the unconscious deep, to which one is beckoned, “are hoarded all the rejected, unadmitted, unrecognized, unknown, or undeveloped factors, laws, and elements of existence.” [Footnote 2]

Likewise, the set in “Nothing But Trouble” is replete with refuse. Bits of history—of rusted and broken refrigerators, automobiles, kitchen appliances, assorted junk, and pieces and parts of all the preceding…the wreckage of the past—are strewn about as well as heaped in clusters to construct the architecture and delineate the outlines of the drama. The correlation with subconscious remnants of forgotten memories and past emotional experiences is obvious.

Thus the drama evolves in the dumping ground and junkyard of the psyche—where all the rejected tidbits of experience have been relegated.

Stripped of Ego, Perinatal Begins

After being separated from the automobile—i.e., the ego stripped of defensive trappings of status and worldly position—the characters are rather quickly shuttled into encounters with a myriad of perinatal elements. A few of the obvious ones are as follows:

• Mr. Bonestripper, which is a roller-coaster type ride whose entrance is a large vagina dentate mouth that swallows, chews up, and kills. Notice the roller-coaster ride aspect of Mr. Bonestripper, which reflects the emotional extremes and changingness of perinatal, specifically Basic Perinatal Matrix III (BPM III), events. [Footnote 3]
  
  
• The chutes inside the house and of Mr. Bonestripper indicate birth canal symbolism.
• Sexual elements, indicating BPM III influence, are manifest in the scantily clad heroine and the penis-nose of the judge.
• The dark foundry symbolizes the foundation work of the psyche as well as the ominous and eerie aspects of perinatal experience.
• The slave labor surroundings represent similar feelings in the enforced and helpless character of doings just prior to and at the time of birth.
  
  
• Notice that the body—the car, the “Beamer”—gets trimmed down, the excess removed, symbolic of the cutting away of past attachments and concerns of a worldly nature, one’s “status” reduced.
  
• Chevy Chase as the main character is at one point forced into a marriage with a huge woman, who is tellingly androgynous in that she is played by John Candy. In her threatening and suffocating embraces we see symbolism of the crushing womb.
  
  
• The entire site of these doings is surrounded by a watery trench. This obviously reflects the amniotic surround in the womb.
  
   
• Police and guns point to the authoritative character of perinatal doings—i.e., do, or else!
  
  
• Death/rebirth symbolism of the perinatal exists in the form of skeletons and huge piles of skulls and bones.
  
  
• Scatological, that is to say, fecal symbolism is seen in the “bat-room,” which contains an enormous pile of wet bat-shit…excuse the wording, but it really is shit and not feces.
  
• The arbitrary nature of justice in the courtroom speaks to that perinatal feeling that one tiny thing, event, or action, has huge and horrifying ramifications.

Big Babies

The most obviously perinatal element, however, is the gargantuan and grotesquely flabby infant twins in diapers. Perinatal feelings are indicated in their extreme crying neediness. Their freshly newborn quality is evident in their fleshiness, which reminds one of the overweight appearance of some newborns, which is usually lost a little later on in infancy. The glossy, waxy sheen on their bodies is reminiscent of the skin of a newborn, which, fresh out of the womb, is wet and slippery, covered in amniotic fluid and cervical mucosa.

A Transpersonal Interface

An interesting aspect that indicates the transpersonal interface with the perinatal is an attic room—a higher mind of memory, kind of like an Akashic record—where all past IDs—identifications—and reports of them—newspaper clippings—are displayed.

Though, interestingly enough, in true perinatal fashion, a macabre lens is used to view these lives—only the reports of their tragic disappearances are seen. I believe that this is a wonderful depiction of how transpersonal information is distorted by perinatal material—the implications of which are far reaching for the pronouncements of so-called spiritual, or psychological, authorities who have not dealt with their perinatal undersides.

Continue with Trusting Higher Forces: Say “Good Night,” John Wayne, and How Can You Be Borne Up If You Won’t Let Go? When All Seems Lost…. You Might Want to Stop Fighting Rebirth

Return to Yes, Tina Turner, We Do Need Another Hero … a Different Kind. Dreaming Out Loud, Part 2: The Path to Heaven Leads Through Hell

Footnotes

1. Joseph Campbell, The Hero With a Thousand Faces. Princeton, NJ: Princeton University Press, 1968, p. 51.

2. Ibid., p. 52.

3. As a reminder, BPM III events (Basic Perinatal Matrix III events), using the typology set forth by Stanislav Grof in his many works, are the events surrounding the actual birth struggle of the infant during delivery. These parts on the perinatal in film make mention also of BPM II, which is related to the time of severe compression and constriction of the fetus in the latter stages of pregnancy and prior to the actual onset of delivery—which are characterized by feelings of “no-exit”; of BPM IV, which is concerned with the feelings of release, triumph, being saved, and whatever else occurs immediately after delivery; and of BPM I, which is related to the state of the fetus earlier in pregnancy—prior to compression—which is often conceived to have “oceanic” and “blissful” qualities, though not always.

Continue with Trusting Higher Forces: Say “Good Night,” John Wayne, and How Can You Be Borne Up If You Won’t Let Go? When All Seems Lost…. You Might Want to Stop Fighting Rebirth

Return to Yes, Tina Turner, We Do Need Another Hero … a Different Kind. Dreaming Out Loud, Part 2: The Path to Heaven Leads Through Hell

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