Music and Depth Psychology: A Theoretical Analysis of Tool
by
Bridgette Pagano
A Culminating Thesis
Submitted to
Sonoma State University
in partial fulfillment of the requirements
for the degree of
MASTER OF ARTS
in
Psychology
Mary Gomes, Ph.D., Chair
C. Shoshana Fershtman, Ph.D.
Monte Cimino, MSW
Date: May 24, 2021
Copyright 2021
By Bridgette Pagano
ii
Authorization for Reproduction of Master’s Thesis
I grant permission for the print or digital reproduction of this thesis in its entirety, without further authorization from me, on the condition that the person or agency requesting reproduction absorb the cost and provide proper acknowledgement of authorship.
DATE:____May 24, 2021______
NAME: ___Bridgette Pagano___
iii
Music and Depth Psychology: A Theoretical Analysis of Tool
Thesis by
Bridgette Pagano
ABSTRACT
Purpose of the Study: The purpose of this thesis is to explore the lyrics of the rock band Tool, and interpret themes found in their lyrics through the lens of Jungian psychology. I look at whole songs as well as sections of songs, and relate them to specific Jungian themes. These themes include individuation, ego, the Self, shadow, persona, and alchemy (Hopcke, 1995). Through interpretation, I not only explore themes that fit specific songs, but I also speak to each topic’s relationship with individuation. Music can be a vehicle to facilitate an individual’s healing (Nelson & Weathers, 1998). Tool’s lyrics are rich in references to Jungian psychological themes, which is the reason I focus exclusive on Tool’s music. In exploring the relationship between Tool and Jungian psychology, I hope to be able to see the music from a new perspective, and to deepen my understanding of Tool, depth psychological themes, and myself.
Procedure: To explore the relationship between Tool’s lyrical content and Jungian psychological themes, I used a theoretical analysis as my approach. I extensively researched relevant Jungian themes, and extensively analyzed Tool’s song catalog to find applicable lyrics.
Findings: There is an abundance of Jungian psychological themes found in Tool’s lyrics. Jungian themes, such as shadow, alchemy, and ego, are not only referenced, but thoroughly explored throughout certain Tool songs.
Conclusion: Tool’s lyrical content often directly reflects Jungian psychological themes. Because of the depth and consistency, Jungian themes are clearly intentionally interwoven into Tool’s lyrics, allowing Jungian theory a broader audience than it would otherwise have.
MA Program: Psychology
Sonoma State University
Date:_May 24, 2021__
iv
Acknowledgements
This work is dedicated to my amazing husband, without whom I never would have had the drive
to finish, and to my two daughters, Adeline and Rose. I would also like to thank my family for their unfailing support and encouragement. It has been a long ride, but we finally made it to the
finish line. Lastly, I would like to thank Tool for inspiring me to undertake this project. Spiral
out, keep going.
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Table of Contents
Chapter Page
I. Introduction……………………………………………………....……………...1
Tool…...………...……………………………………………………………….3
Depth Psychology…..…………………………………………………….……..5
Organization of Thesis…………………………………………………………..6
II. Individuation………………………………………………………………....….8
Individuation…………………………………………………………………….8
Music and Individuation.……………………………………………………….10
III. Ego/Self………………………………………………………………………....11
Ego………………………………………………………………………………11
Self………………………………………………………………………………11
Ego/Self Relationship…………………………………………………………...12
Lyrics……………………………………………………………………………14
Interpretation………………………………………………………………….…15
IV. Shadow………………………………………………………………………..…17
Shadow…………………………………………………………………………..17
Lyrics……………………………………… ……………………………………19
Interpretation………………………………………….……………….…………20
V. Persona…………………………………….……………….……………………..26
Persona……………………………………………………………………………26
Lyrics………………………………………….……………………………..…...27
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Interpretation……………………….…………………………………………...…..29
VI. Alchemy………………………………………………………………………….....32
Alchemy……………………………………………………………………………..32
Prima Materia………………………………………………………………..……..34
Solutio………………………………………………………………………………35
Nigredo……………………………………………………………………………..36
Albedo………………………………………………………………………………37
Rubedo………………………………………………………………………...……38
Philosophical Gold…………………………………………………………………38
Lyrics…………………………………………………………………………...…..39
Interpretation………………………………………………………………………..40
VII. Conclusion…………………………………………………………………….…….43
References…………………………………………………………………..………45
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Chapter I. Introduction
Driving down a long, winding road, musing to myself about situations that might happen, situations that will never happen, and situations that are wildly far-fetched, I can’t remember how I even got here. I’m tracing back through my seemingly random thoughts, finding that thread which somehow connects them, when suddenly, I hear it. A tune too familiar to be called so; it is more like a part of my soul than anything separate or apart from me. The second note hits, and I am immediately brought back to a specific time and place. Memories flood my thoughts as I effortlessly sing along with a song I have not heard in months. I don’t miss a beat. Not with this extension of myself. It does not matter that I had nothing to do with the creation of this song, and yet I have adopted it as nothing less than a vital part of my being.
Whether a person listens to rock, country, jazz, hip-hop, classical, or any other genre, music is something that has its place in every culture. For some fans, it is more meaningful than any other modality of art or communication. Music has the power to impact; the power to bring people together or tear them apart. Music transcends cultural bounds and can reach a global audience, to such a degree that every culture discovered has been found to have music involved to at least some extent (Storr, 1992). Artists tour the entire world, and even in countries that do not speak the same language, the crowds passionately sing along to every word.
Music has been used to manipulate emotions and cause the listener to experience different feelings throughout history, such as in advertisements, movies, and even mothers singing softly to their baby to stop them crying (Levitin, 2006). With that being said, it is important to remember that just as every human is unique, every person’s 2 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL response to any given piece of music will be unique to that individual. Even the same piece of music that evoked such a strong response at a certain critical moment in time may lose its potency over time and slide back into the realm of memories and past meaningful relationships. Conversely, certain pieces of music may steadily build meaning over time, increasing in importance, impacting that person in new and powerful ways.
Those who love music know the great importance of it in their life, and it is so much more than simply a leisurely pleasure or background noise (Storr, 1992). Music can stay with a person for their whole life, and because of this, music can be used as a tool of change (Reddick & Beresin, 2002).
That was the case for me with the rock band Tool. I had heard their songs regularly over my life and liked them but was not particularly moved when I heard them.
As it happened, I simply wasn’t equipped to receive the message they were sending. Yet.
Then one day, suddenly, that shifted. I was studying Psychology in my undergraduate years and had a class on personality, in which I was introduced to Carl Jung and his theories. Later that day, I happened across the Tool song, “Forty Six & 2” (Tool, 1996, track 5), which spoke of shadow, changing, and the effort it takes to be strong enough and brave enough to search for personal evolution. If one is willing to do the dirty work with the shadow, true change is possible. With this new understand of the song I was impacted in a huge way, and felt everything in my life quickly shifting, making space for
Tool to have the seat of honor in my curiosity and imagination. The synchronicity of this series of events was nothing short of a life changing epiphany, and immediately after that
I was seemingly possessed in my pursuit of obtaining all of Tool’s music and learning every intricacy and subtle implication held within it. Tool’s music became a rabbit hole
3 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL that I enthusiastically flung myself down. I have not resurfaced since that first profound experience.
Tool
Tool is a rock band, formed in Los Angeles in 1990, comprised of four members:
Danny Carey on drums, Adam Jones on guitar, and Maynard James Keenan on vocals.
Since 1995 Justin Chancellor has been Tool’s bassist, taking over for Paul D’Amour, who was active from 1990-1995. Tool’s music is characterized by heavy guitar riffs, intricate drumbeats, solid bass lines, and vocals ranging from soft and beautiful to whole- hearted screaming. Darkly comedic elements are sprinkled throughout Tool’s albums, such as the song “Disgustipated,” which opens with Keenan preaching to a gathering of farm animals comparing harvesting crops to committing genocide (Tool, 1992, track 10).
“Rosetta Stoned” (Tool, 2006, track 8) tells an epic adventure of a man who was visited by aliens and entrusted to spread their message across the human race, but is not believed because he was high on psychedelic drugs. There is even a hidden song called
“Maynard’s Dick,” at the end of the song “LAMC” (Tool, 2000, track 8) which is about exactly what one might think.
While Tool has a wonderfully comedic side, reflective and moving songs outweigh the lighter material, and no songs are more representative of this than the two sprawling tracks dedicated to Keenan’s late mother, Judith Marie. The album 10,000
Days was named in honor of his mother. The songs “Wings for Marie (Pt. 1)” and
“10,000 Days (Wings Pt. 2),” (Tool, 2006, tracks 3 and 4) recount the admiration Keenan holds for her devout religious beliefs, despite the many “trials and tribulations” (Tool,
4 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
2006, track 4) she had to endure after she had a stroke and was left in a wheelchair for nearly 30 years, or roughly 10,000 days. Throughout these two songs, nearly 18 minutes total, a menacing bass line and foreboding drumbeats are accompanied by sounds of a thunderstorm, drawing out the desperation and darkness felt in witnessing someone so close suffering so deeply.
These examples, as well as others, reveal the sometimes-contradictory nature of
Tool’s style, making them hard to classify in a neat and easy way. While Tool is mostly categorized in the progressive rock genre, they are sometimes considered metal, alternative, or even psychedelic. Progressive rock is categorized by the slow and steady build up that occurs through the song, pulsating and undulating, developing rhythms over an extended period of time (Prendergast, 2000). The discrepancies in categorization are due to the unique nature of Tool’s sound, and while everyone can agree they make rock music, the sub-category fluctuates from song to song.
While each musician is remarkable in his own right, the whole of the four is much greater than the sum of its parts. The members of Tool come together to create music that is unlike any other band’s sound. Interesting melodies and unusual time signatures give
Tool their distinctive sound, and this combined with their deep, thought provoking, and insightful lyrics, has helped them carve out a loyal fan base.
Since their formation in 1990, Tool has put out five studio albums, one Extended
Play CD (EP), and one live album. Opiate, their lone EP, was released in 1992,
Undertow, their first full-length album in 1993, Ӕnima in 1996, Lateralus in 2001, and
10,000 Days, released in 2006. The lone live album, titled Salival, was released in 2000.
While working on this project, in 2019 Tool released its fifth studio album, Fear
5 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Inoculum, 13 years after their previous release. Due to the nature and depth of analysis necessary, I do not include any lyrics from Fear Inoculum in this writing.
Depth Psychology
Depth psychology, a term coined by Eugen Bleuler in 1910 (Craig, 2008), is based in part on theory developed by Sigmund Freud and Carl Jung (Hinton, 2008). This theory focuses on and explores the role that the unconscious – the component of a person’s psyche that resides outside of conscious awareness (Stein, 2006) – plays in the everyday life of an individual. Jung, with his background in the sciences, had been trained to use a scientific approach to studying psychology, but after some time recognized the shortcomings of using only this singular method. It left too many questions unanswered, and due to the profound individuality of humans, something that might work for one person, might not work for another (Hinton, 2008). Instead, Jung decided to look inward for answers, and used himself as his first and most in-depth exploration. He did this by recording dreams, interpreting symbols, and studying his own unconscious (Stein, 1998) creating the framework for his developing style. Jungian theory focuses on symbols and dreams, along with other avenues by which the unconscious communicates with the conscious mind. In order to know oneself, one must look inward into the darkest corners of the personality and shed light upon them, bringing them to consciousness to allow integration (Hinton, 2008).
While Jungian theory is only one lens through which to view the music of Tool, it provides valuable insight that could not be reached through different lenses. To look at
Tool within a Jungian framework allows me to look past traditional psychological
6 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL theories and instead venture out into the less-frequented realms of analysis, allowing me to gain novel insights and make new connections.
My own personal experiences and views also impact the ways in which I will be exploring Tool. I have listened to Tool intimately for many years, and I am excited at the chance to explore their lyrics through a psychological lens. Due to my focus on one specific band’s music, I believe that in some ways, the music itself will change for me.
New understandings will undoubtedly be reached as I learn about the hidden meanings in the songs I’ve grown up listening to. Returning to these lyrics again and again after I have experienced more, learned more, and grown more as a person, will allow me to see things from a new angle and deepen my understanding of both the songs and myself.
Organization of Thesis
Tool’s lyrics hold ideas and topics I have yet to come across in other bands’ music. For this reason, for my master’s thesis I focus on Tool exclusively, while touching on some of the major themes found in their lyrics, viewed through a lens of depth psychology. In this thesis I focus on lyrics which speak to some of the main psychological themes in Jungian theory. The concepts explored in this work include individuation, ego, the Self, shadow, persona, and alchemy (Hopcke, 1995: p. 6). Each chapter covers a main Jungian concept, except Chapter III which explores both the concepts of ego and the Self, through a discussion of the ego-Self axis. The reason
Chapter III covers both topics is due to the intimate connection between the two. The first section of each chapter discusses the topic as understood in Jungian psychology by referencing journal articles and notable texts in the field. Next, specific songs and
7 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL sections of songs are highlighted as they pertain to each topic, except for Chapter II, which does not include lyrics. This is because Chapter II provides more of an overview of the topics that will be covered throughout the rest of the work. Finally, the selected lyrics are interpreted and discussed in relation to the concept covered in the chapter.
8 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Chapter II: Individuation
Individuation
Individuation is the idea that as someone grows as a person, they become more who they truly are as an individual, separate from, and also in relation to others (Kast,
2006: p. 113). A person moves toward individuation by shedding light upon the darkness of their psyche, or the totality of a person’s mind, including the unconscious (Stein,
1998). When something is found, whether it is an unpleasant memory or unsavory characteristic, or even something positive, the goal is to integrate it into the conscious personality. Integration is the true vehicle of individuation, which means that every part of oneself is not only explored and given conscious attention, but all facets are accepted as a part of the whole (Stein, 2006: pp. 3-4). Every step that one takes down this path toward individuation causes some amount of discomfort. To stretch oneself into a position which is uncomfortable makes room for a new experience. And in these new experiences, new information about oneself can potentially be gathered.
In Jungian theory, there are two main functions of individuation, or reasons why a person would be working toward individuation. The first function of individuation is to act as a way to understand and interpret changes in the psyche (Stein, 2006). In this sense, one ideally becomes more aware of one’s thoughts and actions and can direct them in more positive and intentional ways. If a person acts in a rude way without noticing, theoretically, if this person works toward individuation, they would ideally be able to recognize that negative action and be able to correct it.
The second function of individuation is to enhance and develop consciousness to its full potential (Stein, 2006). The further down the path to individuation one travels, the
9 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL more conscious one becomes. Stein goes on to say that this process requires a conscious person to fully participate, indicating that individuation cannot occur if one is not able to maintain intentional consciousness. This aligns with Jung’s notion that one’s ego, the center of one’s conscious personality (Edinger, 1992), must have reached a certain level of maturity in order to consciously begin one’s work toward individuation (Fordham,
1958: p. 118). If one’s ego is not strong enough to handle the necessary changes, no real progress is possible.
While the ego is necessary, true individuation takes place within the Self, which
Jung viewed as both the center and totality of the psyche (Colman, 2006). Colman goes on to clarify that the Self is the goal which individuation strives toward. Individuation is concerned with unifying the entirety of the Self to create one cohesive, integrated individual.
In order for individuation to occur, one must incorporate and accept every part of one’s psyche, including the less-desirable qualities one has. In Jungian psychology shadow is the term for what lies in the unconscious of an individual, which includes both negative and positive aspects (Casement, 2006). In the process of individuation, shadow material is one of the aspects of the psyche that must be integrated with the Self
(Johnson, 1974). One way this integration occurs in Jungian psychology, is through alchemy. Alchemy, the science of turning lead into gold through the process of fire, is a fitting metaphor for the process by which one can achieve individuation (Marlan, 2006), and is discussed in more depth in chapter VI.
10 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Music and Individuation
Ultimately, individuation is concerned with uniting the divided Self, or healing the psyche, and music can support this process. With music by one’s side, the daunting task of initiating change can seem less painful, and may even seem inviting (Skar, 2002).
Music is felt on a liminal level that one could never hope to touch through mere conversation, and because of this music can be the vessel through which healing can occur (Nelson & Weathers, 1998). In this sense, music can be an important ally on the path to individuation, allowing a person to become closer to one’s true self (McClary,
2007). Even so, as Singh states in his 2013 article, Jung refers to music only a few times throughout his entire collected works, and Freud only mentions music once.
Certain sounds can elicit certain memories, and so to be able to bring these up in a safe and secure setting can dissipate some of the energy carried by those memories, or focus it in a positive way (Skar, 2002: pp. 633-634). Eventually, this allows the individual to be able to take another step down the path to becoming more whole.
Because music can serve as a medium for healing, as well as an expression of Self
(McClary, 2007), it is a useful tool to use while progressing on one’s path to individuation.
11 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Chapter III: Ego/Self
As one individuates, one moves towards integration of every part of one’s psyche, including both conscious and unconscious material, and the vehicles to achieve this are the ego and the Self (Fordham, 1958).
Ego
In Jungian theory, the concept of ego refers to center of one’s conscious personality. The ego forms the center of the field of consciousness and is the subject of all personal acts of consciousness (Edinger, 1992: p. 13). In this description, the ego is inherently neutral, neither a positive or negative trait, and is absolutely necessary for human psychological development. It is how an individual is able to interact with the world around them. The individualized nature of egos sets humans apart from each other
(Stein,1998).
One goal according to Jungian theory is to develop a strong, resilient ego, which is not inflated, and which has a clear understanding of the ego-Self relationship (Colman,
2006). A strong ego is one that is capable of holding large amounts of conscious subject matter, and is able to deliberately and intentionally interact with that content. A weak ego is unable to do this and is susceptible to impulses and emotional reactions. A sign of a weak ego is that consciousness is unfocused and unmotivated (Stein, 1998).
Self
The Self, in Jungian theory, is both the center and totality of the psyche, and represents psychic wholeness (Colman, 2006). While the ego is the center of conscious
12 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL thought, the Self is the totality of the individual, including the unconscious (Fordham,
1958). Because the ego and Self comprise the totality of consciousness, they are very intimately related.
In his writings, Jung drew comparisons between the Self and the divine, and emphasized that the Self, or wholeness, cannot be distinguished from a God-image.
Because of this, Jungian theory sees God-images as symbolic representations of the Self
(Colman, 2006). Some other symbolic representations of the Self are a circle, mandala, the uroboros (a snake swallowing its tail), and a square, among others (Colman, 2006).
Ego/Self Relationship
A good working model of the relationship between ego and Self is represented by the ego-Self axis, discussed in depth in Edinger’s 1992 work, Ego and Archetype.
In this model from Edinger’s 1992 work Ego and Archetype, the Self, represented by a circle, houses the ego, represented by a smaller circle, who’s centers are connected by a line, or axis (Figure 1). In the beginning of life, before ego-consciousness is gained, the entirety of the ego resides within the Self completely, and the ego exists only in potentiality. The ego is something that is developed over time, while the Self is born, and already exists within the individual at the time of birth (Fordham, 1958). In other words, the ego is constructed, while the Self is innate. One important note about the ego-Self
13 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL axis, is that it is somewhat of a paradox. The Self is considered to be the entirety of the individual, which would necessitate the inclusion of the ego within it. However, this model represents them separately, and the reason the ego is represented as separate from the Self is to be able to discuss them both individually and in relation to each other
(Edinger, 1992).
In the ego-Self model, in the beginning of an individual’s life there is no separation between the Self and the ego (Figure 2), and it is the work of the individual to gain consciousness (Fordham, 1958). This will allow the ego to grow, and in early life this can lead to ego inflation. A good way to think of ego inflation is thinking about how a toddler sees himself in the world – as the center. Everything happens for the child, because of the child, and there is no concept that the unconscious world is connected to the conscious world.
The ego slowly gains autonomy, and the larger the ego gets, the further it strays from the center of the Self (Figure 3), thusly expanding the ego-Self axis (Edinger,
1992). The conscious world is now connected to the unconscious world, so the individual will have some insights to the reasons behind certain behaviors and actions. There is an element of understanding that was not present before.
In the ego-Self model, Figure 4 represents the total separation of the ego from the
Self, which most likely does not exist in a practical way, only in a theoretical way. It shows complete consciousness of the ego-Self axis (Edinger, 1992). If an individual were in this stage, their actions would have completely pure intentions, and arise from the Self with no ego-involvement. A completely Self-actualized individual probably will never
14 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL exist, but it is a good model to strive toward while a person is furthering down their path toward individuation.
Lyrics
The Tool song “Reflection” off the album Lateralus (2001), explores some of the singer’s struggles with the ego and Self.
I have come curiously close to the end, down Beneath my self-indulgent pitiful hole, Defeated, I concede and Move closer I may find comfort here I may find peace within the emptiness How pitiful It's calling me (calling me) It's calling me (calling me) It's calling me (calling me) It's calling me...
And in my darkest moment, feeble and weeping The moon tells me a secret - a confidant As full and bright as I am This light is not my own and A million light reflections pass over me
Its source is bright and endless She resuscitates the hopeless Without her, we are lifeless satellites drifting
And as I pull my head out I am without one doubt Don't wanna be down here soothing my narcissism away. I must crucify the ego before it's far too late I pray the light lifts me out Before I pine away Before I pine away Before I pine away (pine away) Before I pine away...
So crucify the ego, before it's far too late And leave behind this place so negative and blind and cynical, And you will come to find that we are all one mind
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Capable of all that's imagined and all conceivable. And let the light touch you So that the words spill through And let them pass right through Bringing out our hope and reason...
Before we pine away (pine away) Before we pine away (pine away) Before we pine away (pine away) Before we pine away.
Interpretation
Ego, in this song, is something the singer has been struggling with. In the first verse in this song, “I have come curiously close to the end, down, beneath my self- indulgent pitiful hole, defeated, I concede and move closer” (Tool, 2001, track 11) the singer speaks about how he is in a negative place. He is trying to find a way to heal, to move away from the negativity, which he is referring to as a “hole.” This shows that the singer has a strong and mature enough ego to be able to admit that he needs to make a change. According to Jung, this would suggest that the singer’s ego is ready to begin the task of individuation (Fordham, 1958).
The verse follows the singer as he encounters the Self. “And in my darkest moment, fetal and weeping, the moon tells me a secret - a confidant. As full and bright as
I am, this light is not my own and a million light reflections pass over me” (Tool, 2001, track 11). Just when the singer is at his lowest point and has lost hope, something reveals itself to him. The “moon” in this example represents a sense of consciousness in the darkness, lighting his way and ready to guide him out of the place he is in. His ego has led him astray, and when he is in need, guidance in the form of his Self has revealed itself in the form of “light,” and has given him a new sense of hope.
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Further along in this song, the singer laments how he has made his way to a
“place so negative and blind and cynical” and desires to resurface to the light. He believes it is his ego holding him in this place. In looking into the phrase “I must crucify the ego before it’s far too late,” it seems that the singer is suffering from an inflated ego, and recognizes that he needs to gain control and reel it back in before more negativity can spread. His ego is battling his Self, and the only way to gain congruency is to “crucify” his ego in order to allow his Self to regain control. This is in alignment with Jung, for he states, “…the experience of the self is always a defeat for the ego” (Jung, 1955/1977: p.
546). The singer wants to move to a state of healing, and knows that his ego is holding him back.
17 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Chapter IV: Shadow
In order for individuation to be possible the unification of the all the parts of the psyche is necessary, including conscious material concerned with the ego, and unconscious material found deeper within the Self.
Shadow
Shadow in Jungian psychology is the term for what lies in the unconscious of an individual (Casement, 2006: pp. 94-96). This groundbreaking Jungian concept is referred to as the shadow because thoughts that are conscious are said to reside in the light, leaving those things which are unconscious to remain in the dark (Neumann, 1990).
One’s conscious light can only be so big at any given time, simply because of human limitations. People can only focus on so much at one time. Because of this, some material tends to slip into the unconscious, whether one is aware of it happening or not, and whether it is intentional or not.
The shadow refers to what one does not accept as part of one’s whole Self, whether it has been intentionally pushed away, unintentionally pushed away, or had never been part of conscious thought at all (Stein, 1998). Traumas can be pushed into the shadow as a form of self-defense, through denial or repression. Sometimes when experiences are too difficult for the ego to deal with or too traumatic for the conscious mind to accept, such as when a child is abused, these experiences fall into the shadow, away from the conscious light of the individual (Sidoli, 2000: p. 76).
While this defense mechanism is necessary at times for the individual to survive traumas, the experiences never truly leave, and because of this they still have an impact
18 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL on the way a person interacts with the world (Sidoli, 2000). Shadow material impacts decision making, routines, and relationships, not only with the people and the world one is surrounded by, but also one’s relationship with oneself (Johnson, 1974). For example, a person that had been assaulted on a hiking trail may unknowingly avoid being out in nature for the rest of their life, without even being consciously aware of the specific reason. This disconnection between actions and the truth of what resides in the shadow is something the process of individuation attempts to bridge or fix (Johnson, 1974). The way this happens is for the individual to bring shadow material into the light of consciousness (Neumann, 1990).
The parts, characteristics, or experiences of an individual they cannot identify with, whether good or bad, fall into the unconsciousness of the shadow (Casement,
2006). For example, if one acts in selfish and dominating ways, but does not see oneself as being that way, it is because one’s ego cannot handle accepting that negative trait
(Johnson, 1976). If one acts in a way one does not consciously want to be, these less- desirable characteristics are cast out by the ego, and fall into the unconscious part of the personality (Stein, 1998). Some examples of this could be shame, guilt, or disappointment in oneself, just to name a few. These characteristics and parts of the Self that have been cast out by the ego and reside in the shadow, can have greater impact on the day to day lives of individuals than the parts of the personality that reside in consciousness. While shadow material can affect conscious actions, there is hope regarding changing the impact shadow material has from a negative to a positive. What was once seen in a negative way, such as a person being regarded as too sensitive, can be reframed through integration into something positive, such as that person being more
19 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL empathetic. Integrating shadow material into consciousness through acceptance, thus becoming more whole, is one of the steps on the path to individuation (Stein, 2006).
Lyrics
One Tool song in particular explores the concept of Shadow in depth, and is called “Forty-six & 2,” off the album Ӕnima, (1996).
Join in my, join in my child, And listen, I've been digging through my old numb shadow...
My shadow's Shedding skin I've been picking Scabs again I'm down Digging through My old muscles Looking for a clue
I've been crawling on my belly Clearing out what could've been I've been wallowing in my own confused and insecure delusions For a piece to cross me over Or a word to guide me in I wanna feel the changes coming down I wanna know what I've been hiding in My shadow My shadow
Change is coming through my shadow My shadow's shedding skin I've been picking My scabs again
Join in my Join in my child My shadow moves Closer to meaning
I've been crawling on my belly Clearing out what could've been
20 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
I've been wallowing in my own chaotic, insecure delusions
I wanna feel the change consume me, Feel the outside turning in I wanna feel the metamorphosis and Cleansing I've endured in My shadow My shadow
Change is coming Now is my time Listen to my muscle memory Contemplate what I've been clinging to Forty-six & 2 ahead of me
I choose to live and to grow, Take and give and to move, Learn and love and to cry, Kill and die and to be paranoid and to lie, Hate and fear and to do What it takes to move through
I choose to live and to lie, Kill and give and to die, Learn and love and to do What it takes to step through
See my shadow changing, Stretching up and over me. Soften this old armor Hoping I can clear the way By stepping through my shadow, Coming out the other side Step into the shadow Forty-six & 2 are just ahead of me
Interpretation
Shadow material can be brought to light, or integrated into the conscious parts of the personality. The first step to integration, or re-membering, is to become aware of what resides in the shadow, because “psychological cleanliness means not literal purity,
21 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL but awareness of one’s own dirt” (Edinger, 1994: pp. 72-73). This can be a difficult task, as by the very nature of shadow material, it is out of the reach of conscious thought.
Often, shadow material is brought about by past pains and traumas, which in turn leave scars on the psyche. One way to begin the journey of integrating shadow material, is to look at what wounds have been suffered in the past, and look deeper into them and everything surrounding them, as noted in the line “I’ve been picking my scabs again.”
This may refer to reassessing old wounds that have not fully healed yet to try and obtain a deeper meaning.
At the beginning of the song are the lines “My shadow’s shedding skin and I’ve been picking scabs again, I’m down digging through my old muscles looking for a clue.”
These lines seem to refer to the fact that in order to reach the shadow, the singer needs to go through his old wounds, (“picking scabs”), because this is where healing needs to begin. Next the singer says, “Digging though my old muscles looking for a clue.” Old muscles, or old methods that worked which kept him strong and healthy and fit – in this case psychologically and emotionally, not necessarily physically – would be a good place to start healing. What worked before may work again, as he searches for a “clue.” He has the insight to know that his old strengths can help him now, and also that he needs to reopen old wounds to do so. In order to heal, he needs to “shed” the skin around his shadow, or take away the natural defenses that keep darkness a safe distance away from the light of the ego. He rejects the comfort of stagnation, and instead actively wants to work on the things unconsciously impacting his life.
“Change is coming though my shadow” shows a deep understanding of shadow, and the sense of knowing in this particular song has inspired me time and time again to
22 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL keep looking through my own past wounding to find new answers. Some things need to be revisited. I know more now, I’ve had more experiences, and I can see old things through a new perspective. If I have the will, strength, and bravery to pick at old scabs until I can find the underlying wound, true healing can begin.
I think one of the more impactful ideas hidden within these lyrics, is that it is both the reopening of old wounds, and the reassessing of prior successful methods, which are necessary to facilitate healing.
These lyrics recognize that what successfully worked before may not be the best method this time around. It is so difficult to look at past triumphs and strengths, and to think, maybe this is not the best way this thing could have been handled. Maybe, even though it worked out previously, things could have been done in a better way. Now that one knows how to do better, one should try again with new methods to heal old wounds
(Sidoli, 2000).
I've been crawling on my belly Clearing out what could've been. I've been wallowing in my own confused And insecure delusions For a piece to cross me over Or a word to guide me in. I wanna feel the changes coming down. I wanna know what I've been hiding in my shadow
“Crawling on my belly” can refer to the singer’s sense of humility in working through the process of integrating shadow material into the light of consciousness. It can also refer to starting again at a previous level, such as reverting back to infancy, where one learns to crawl, before one begins to walk. Starting over at the beginning, or spiraling
(Tool, 2001, track 7), gives the individual a chance to create new paths, which may be
23 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL more beneficial than what was laid before. “Clearing out what could have been” can mean letting go of past expectations on what it means to heal, allowing a fresh perspective to emerge. Holding on to old things may no longer be beneficial, but because it is familiar, it is comfortable, even if it is hindering the process of integration. The line
“I've been wallowing in my own confused and insecure delusions,” can reference the idea that he has not been using the right mindset, and he is now aware of this.
Becoming aware of shadow material and unconscious tendencies is not only the beginning of shadow work, but it is also perhaps the most vital step in healing, because with awareness can come motivation to heal (Casement, 2006). If a person is unaware that something is broken, there is no reason to try and fix it. An individual can need to heal because they are in pain yet may not always know the source of the pain, which resides in the shadow. This is where the importance of working toward individuation comes in to play, because if an individual can shed some light into the shadow and bring an issue into consciousness, healing can begin.
In the lyrics, the singer’s insecurities have held him back, and now that he is aware, he can overcome that particular hurdle on the path to healing. “A piece to cross me over or a word to guide me in,” tells the listener that he is now looking for guidance to help him. He wants to heal, he wants to change, and he is now actively trying to do so.
He is taking an active role in his own process of individuation, and right now, that comes through in his efforts to bring shadow material to light. “I wanna feel the changes coming down. I wanna know what I’ve been hiding in my shadow” shows that he wants to know the pieces of himself that he has not been aware of before, which still affect his life. He
24 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL wants to know the parts that can be transformed, that can be reintegrated into his consciousness in order to help propel him further down his path to individuation.
This song speaks to the fact that change can only come from within. It can only come from having enough humility to recognize the parts one is unhappy with, the will to want to change, and the strength to do so. The singer then lists a number of things that are decisions made, whether conscious or not, that impact a person’s life, and ends that thought with, “Do what it takes to step through.” This implies that in order to change, an individual must move through certain things, such as past traumas, as opposed to circumventing them or trying to deny them. One must find a healthy way to begin to implement change, with the intention of becoming a more whole version of oneself.
Otherwise, no real change is happening, and it will again be pushed into the shadow.
See my shadow changing, Stretching up and over me. Soften this old armor. Hoping I can clear the way By stepping through my shadow, Coming out the other side. Step into the shadow. Forty six and two are just ahead of me.
The singer’s shadow work has begun to pay off, and he can see the changes within himself. His shadow no longer holds him the way it did before, and the line
“soften this old armor” can refer to taking away past defenses, that are no longer serving him. They may have served their purpose of protecting him in the past, but they are no longer needed. Usually when the term “shadow” is brought up, it is in a negative way as simply an undesirable part of oneself. However, positive attributes can fall into the shadow. One example of this is if a person acts in a generous or compassionate way, but
25 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL they have been told repeatedly that they are selfish and heartless by an abusive parent, they will eventually disassociate from those positive attributes, causing the connection to that characteristic to fall into their shadow.
Next in this song, the singer goes on to say, “Hoping I can clear the way by stepping through my shadow, coming out the other side.” This can refer to the work that takes place in the shadow, necessary while striving toward individuation. If a person wants to integrate shadow material, they need to be willing to sit with that shadow material and move through the inherent discomfort, in order to eventually find a way to integrate it. Skirting around shadow material is not something that will lead to individuation, and the singer addresses this in the line “Stepping through my shadow, coming out the other side.” It is a battle to be met head-on, which can eventually lead toward furthering a person down the path toward individuation.
In this song, knowing and understanding the shadow is seen as necessary for growth. It is portrayed as a part of oneself that is valid, and through nurturing and love, can be brought into the light and transformed into something better. Whether a person is proud of all their characteristics or not, they are all part of that individual, and this song can serve as a reminder that the darker parts are just as important as the lighter parts. To come at one’s shadow with the intention of integration and individuation is necessary to truly move through past traumas.
26 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Chapter V: Persona
Working through one’s shadow material is one important way to progress down the path of individuation because it sheds light upon the parts of the psyche that have been unconscious. While working with the shadow is important, it is just as important to be able to work with other people, because nothing exists in isolation. The way the Self interacts with the outside world is through persona (Pascal, 1992).
Persona
The term persona refers to a psychic interface between the individual and society that makes up a person’s social identity, adopted for a specific purpose (Stein, 1996: p.
111). The persona is what an individual presents to the outside world, not necessarily what is real and true, but, in the best-case scenario, the persona does link to the core self.
“Between the individual and the collective he places the persona as the ‘outward attitude’ that is oriented towards the external world,” (Coleman, 2006: p. 153). Persona is the veil an individual wears to help navigate societal expectations. A person adopts what they believe to be the version of their personality which will best fit into any given situation.
In this sense, the persona is how one appears to be, not necessarily how one actually is
(Hopcke, 1995: p. 15). A person also may consciously choose to change their persona to adapt to a different situation.
According to Jung, there are two reasons a persona develops. The first is because of general societal expectations and demands. A persona can present the appropriate behaviors, allowing the person to successfully navigate the situation. A persona can appear because of the “social aims and aspirations of the individual” (Stein, 1998: p.
27 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
115). If an individual wants to gain access to a certain group of people, such as the popular kids at school, that individual might adopt certain ways of acting, speaking, and dressing, in order to fit in and be accepted by the group. While a persona may not always represent what is whole and true within the individual, it is an important aspect of the individual which can provide ease in social situations. Ultimately, the persona develops as a compromise between one’s own personal identity, and what society expects one to be (Pascal, 1992: p. 47).
Lyrics
The song “Vicarious” (Tool, 2006, track 1), is an excellent example of the concept of persona.
Eye on the TV 'Cause tragedy thrills me. Whatever flavor It happens to be like: "Killed by the husband," "Drowned by the ocean," "Shot by his own son," "She used a poison in his tea," "And kissed him goodbye." That's my kind of story. It's no fun 'til someone dies.
Don't look at me like I am a monster. Frown out your one face But with the other. Stare like a junkie Into the TV. Stare like a zombie While the mother Holds her child, Watches him die Hands to the sky, Crying, "Why, oh, why?"
28 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
'Cause I need to watch things die from a distance. Vicariously I live while the whole world dies.
You all need it too. Don't lie.
Why can't we just admit it? Why can't we just admit it?
We won't give pause until the blood is flowing. Neither the brave nor bold Will write us the story, so, We won't give pause until the blood is flowing.
I need to watch things die from a good safe distance. Vicariously I live while the whole world dies.
You all feel the same. So, why can't we just admit it?
Blood like rain come down. Drum on grave and ground.
Part vampire, part warrior. Carnivore and voyeur. Stare at the transmittal. Sing to the death rattle.
La, la, la, la, la, la, la-lie. [4x]
Credulous at best, your desire to believe in angels in the hearts of men. Pull your head on out your hippie haze and give a listen. Shouldn't have to say it all again.
The universe is hostile, so impersonal. Devour to survive. So it is. So it's always been.
We all feed on tragedy. It's like blood to a vampire.
Vicariously I live while the whole world dies. Much better you than I.
29 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Interpretation
“Frown out your one face but with the other stare like a junkie” is a noticeable example of persona, in the vein of a mask. The face an individual shows the world is simply one part of that person, and not necessarily the truest part. This passage speaks to how, in the comfort of one’s own home, away from societal expectations of empathy and compassion, a person will take off that mask and is completely enthralled by the blood and violence shown on television. This entire song speaks to the way people cannot be their true selves in front of others, lest they be judged and take hits to their ego, but that all people feel the same way behind closed doors. When one feels the need to hide one’s true nature, shadow material begins to emerge. There is a reason the news and media show such brutal parts of humanity instead of the good, and the reason is because it fascinates the collective.
In a society where people are chastised for showing anything besides compassion and support, there is no room to explore thoughts and emotions that are not aligned with societal expectations. Because of this, those unaccepted parts of the individual get pushed into the shadow. In this sense, the creation of a persona inadvertently also creates shadow material.
“Vicariously I live while the whole world dies, you all feel the same so, why can’t we just admit it?” he sings after the aforementioned passage, implying that the compassion people pass off in public is nothing more than a farce. The persona here is one of empathy. The singer goes on to say that, as long as people are a safe distance away, those masks can protect them enough for them to get their fill of tragedy and suffering, as found in the lines “I need to watch things die from a good safe distance.
30 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Vicariously I live while the whole world dies. You all feel the same. So, why can't we just admit it?”
While this is an exceedingly negative exploration of persona, it is not always used to such disgraceful degrees. As Pascal speaks to in his 1992 work, when an individual is well-adjusted and has a healthy persona, the persona acts as an instrument to facilitate communication in a smooth and natural way.
In one of Tool’s earliest songs, “Cold and Ugly” (Tool, 1992, track 4), the lyrics talk about a woman and her persona. “Underneath the skin and jewelry, hidden in her words and eyes, is a wall that’s cold and ugly, and she’s scared as hell. Trembling at the thought of feeling, wide awake and keeping distance, nothing seems to penetrate her, cause she’s scared as hell” (Tool, 1992, track 4). The woman he sings about puts on a persona of being tough and strong and uncaring, wearing jewelry and putting on airs, but he can see that it is just her mask, hiding her fear. She does not want to acknowledge her true feelings, to understand them, to know herself or what she hides, so she pretends nothing is there. Sometimes the easiest way to make it through a situation is to become or do what people expect, and that is one of the ideas behind persona (Pascal, 1992).
Another example of persona is highlighted in a few lines in the song “Intolerance”
(Tool, 1993, track 1).
“Veil of virtue hung to hide your method, while I smile and laugh and dance and, sing your praise and glory, shroud of virtue hung to mask your stigma, as I smile and laugh and dance and sing your glory while you lie, cheat and steal…”
In this example, he sings about the persona of a good Samaritan who is hiding the truth within, because this person does not want to be found out and disgraced. This is a great example to show how intimately persona is linked to ego, because if there was no ego-
31 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL struggle present, one would not feel the need to act as someone other than one’s true self.
No persona would be necessary from moment to moment if there was no perceived correct way to act or be.
32 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Chapter VI: Alchemy
The persona acts as the interface between the individual and the outside world
(Stein, 1996). In an individuated person, that would mean that the persona reflects the true Self, and does not act as a mask (Pascal, 1992). In Jungian theory, one way the process of individuation is represented, one way for a person to transform their consciousness, is symbolically through the alchemical process.
Alchemy
In Jungian theory, Alchemy as a psychological framework is a process by which a person can achieve individuation, and Jung was the first to use alchemy in this way
(Marlan, 2006: p. 263). Until Jung used alchemy as a psychological framework, it was thought of as a truly physical process, and was a scientific pursuit in many cultures throughout the world (Raff, 2000). Alchemy is the archaic idea that lead can be turned into gold through different processes, most notably through the physical process of fire.
This idea has long since been disproved scientifically (Jung, 1944/1970: p. 227).
However, while lead cannot be turned to gold in a literal sense, alchemy is a fitting metaphor for the process of individuation.
In the psychological model, the stages of alchemy represent steps on the path of individuation. Stages must be worked through with the hope that the philosophical “gold” will be reached at the end of the process. In this process, a new way of understanding the world and how the individual fits within it, is the “gold” the individual seeks. The alchemical process is not linear (Raff, 2000). The individual could work through each stage multiple times, in any order, in many different ways, learning something new with
33 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL each pass through. The idea of alchemy has captured humanity’s collective imagination, whether transmuting lead into gold, or turning a traumatic experience into a chance for personal growth (Raff, 2000).
Both the literal and symbolic versions of alchemy express the idea of potential.
Alchemists of the middle ages saw within lead the potential of gold. Similarly, the idea of personal growth contains the notion of potential, in oneself, to grow and to become better
(Raff, 2000). Through trials, setbacks, and triumphs, an individual has the potential to change. As a metaphor for psychological growth and healing, alchemy proves to be a useful framework in the process of individuation. This allows one to better understand the changes one is going through and offers a way to become whole.
Although the concept of alchemy, in literal terms, has been a defunct science, its significance in our society has remained, albeit largely unnoticed. In athletic competition, the blue ribbon, or the overall goal of alchemy (lapis, or philosophical gold), is awarded to the first-place finisher. The philosophical gold is sometimes also referred to as the lapis, represented by the color blue (Edinger, 1994). In turn, red is second place, representing the rubedo stage, just behind the lapis, and the white ribbon is given as the third-place prize, representing the albedo stage, two stages away from winning. “Forged in fire,” a common phrase meaning something along the lines of hardened by trials, can be a nod to the alchemical process of transformation through fire.
Alchemy as a psychological tool is an incredibly important contribution to
Jungian theory and became an integral part of this school of thought. It provides a framework and map that can be used in psychotherapy to accompany a person’s progress on their path to individuation (Edinger, 1994). According to Jung, because of his lengthy,
34 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL in depth study of alchemy, he was able to create a lexicon which allowed him to express his inner thought processes (Jung, 1962, p. 205).
Prima Materia
In the alchemical model, the individual’s work can only begin with the prima materia, or first matter, from which all matter is derived (Edinger, 1994: p. 10). It is what is left when the starting form has been destroyed, reduced back to its preformed state
(Raff, 2000). In order for any aspect of oneself to be transformed, it must first be reduced to its original form so that it can be re-membered, or re-assembled, in a different way.
Sometimes parts are left behind, no longer serving the purpose they once had, and sometimes things are reconfigured into something new, propelling the individual forward.
In other words, a part of an individual must be reduced to its prima materia (Edinger,
1994) before any change can occur.
In therapy, the prima materia is the unconscious material that the client brings in to work with (Fontelieu, 2015: p. 4). As an example, a person might seek out therapy because of abrasive encounters, where the individual feels as if they are continually victimized, and now find themselves in a situation where they need to find help. In this scenario, it is the goal of therapy to break down behaviors that lead to these encounters and invite healthy change. Stripping down to the most fundamental parts of the person, or the prima materia, is the beginning of the long road ahead toward individuation.
35 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Solutio
The process by which a substance is brought back to its prima materia is of the utmost importance in the alchemical model, and solutio is the stage in which this occurs
(Raff, 2000). Solutio, oftentimes the first stage in this model, refers to the idea of separating something back to its beginning material through dissolution (Jung,
1944/1970: p. 230). The breakdown of the whole into the sum of its parts is a difficult task in itself, but it is merely the beginning of the hard work ahead. In the alchemical model, water can be thought of as representing the womb, and solutio is symbolically the process of going back to the womb to be reborn (Edinger, 1994: p. 47).
In this stage, the individual is being broken down to the most fundamental parts, and while this is necessary in the alchemical model, it is oftentimes painful, difficult, and challenging for the ego. In practice this breakdown can be done through the analytical process, which allows the individual to examine what resides in the unconscious
(Edinger, 1994). Old material is being dissolved in this watery process, and it is not uncommon for this dissolution to cause pain. This process can feel like drowning or death
(Huckvale, 2011: p. 35), and is absolutely necessary in order to proceed toward the philosophical gold.
In practice, the stage of solutio can be recognized when it feels like the world is falling apart. The preconceived notions a person held have been taken away, and the ego must admit that a change needs to be made. For example, when a person who has historically always put the blame on others instead of taking responsibility for their own actions, is called out in such a way that there is no denying their own fault in the matter, they must face their ego. The defense mechanisms of deflection and denial can no longer
36 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL be used and are essentially dissolving around them. The defenses put up are coming down, leaving this individual with nothing but the bare truth of their own character.
Nigredo
In the alchemical model the next state of transformation is that of nigredo, or the blackening stage, represented with the metal lead (Edinger, 1994: p. 148). This is where the individual oftentimes moves on to once solutio has occurred. “The nigredo or blackness is the initial state, either present at the beginning as a quality of the prima materia…Or else produced by the separation of elements” (Jung, 1944/1970: p. 230).
This stage is named because of the darkness one feels while in this state; this is where low points in a person’s life occur. This stage is synonymous with death, defeat, depression, torture, pain, and rotting (Bosnak, 1988). In Jungian psychology, blackness refers to the shadow and the unconscious, and while this can be filled with unpleasantness, true transformation can only occur by looking at the darkest parts of oneself (Edinger, 1994). While the nigredo stage usually occurs at the beginning of the work, it can take place at any time when the substance in question is destroyed in order to transmute it once again (Raff, 2000).
In continuing with the example from the previous stage, the individual who must look at their actions with truth and honesty, may not be feeling very good about it after the fact. Through therapy, the individual has been shown that their defenses have become more of a hindrance to personal growth than an aid. These behaviors have been protecting the ego, but have now been dissolved away. This person may look at past experiences through a different light and notice their own toxic involvement, where they
37 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL used to blame another, and feel attacked by the truth of the matter. While they may feel to be in a dark place, it is a necessary step in the path of individuation. Just as in the natural world, in alchemy, from the darkness emerges light.
Albedo
The albedo stage, or the whitening stage, is concerned with a soft lightness, and is represented by the metal silver (Raff, 2000). This stage is one of purification, or illuminating the darkness from the nigredo stage with moonlit consciousness (Bosnak,
1988: p. 62). While there is some light being cast, the light is still existing within darkness, meaning that the individual is not fully conscious, but has some degree of awareness of what is occurring. While in this stage, consciousness gradually occurs, not yet full-bright. This is the stage where the individual is coming out of the darkness and treading by moonlight, and while light can be symbolized as consciousness, it is still nighttime, which remains a metaphor for the unconscious. Ultimately, while some consciousness is awakening, one is still in a state of darkness, for the most part (Bosnak,
1988). However, by examining oneself further, one has the opportunity to move forward, making way for a different state of transformation.
In the therapeutic setting, this stage can be recognized when the individual begins to accept what they have done to be true, and no longer blames others for outcomes of their own doing. The ego has been shed enough to accept the potentially negative truth of their actions, and although this recognition is painful, recognition has occurred nonetheless. The individual is more conscious of their actions and the role they have played in their situation, and now true change can occur.
38 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Rubedo
The rubedo stage, or the reddening stage, is the stage from which the alchemical gold is extracted from the vessel. This is only possible after remaining in the red-hot fire long enough for the vital transmutation to occur (Bosnak, 1988: p. 63). In the rubedo stage, consciousness is bright and strong, and the individual is able to develop further because of it. New possibilities and optimism are present, and now the alchemical process can begin anew with another aspect of oneself.
In continuing with the therapy example used in the previous steps, in the rubedo stage the individual has now done the work to acknowledge and accept that their own actions have impacted their life. Taking ownership, shedding their ego, and accepting that a change is needed is the final phase in transmuting an old, negative behavior into something better.
Philosophical Gold
Once the transmutation in the rubedo stage has occurred, the philosophical gold is finally able to be extracted. The old parts have burned away, and out of the ashes arise a new configuration, assembled in a way to better serve personal growth and facilitate healing. The prima materia has been transmuted, changed into the philosophical gold.
After the goal has been reached, the individual can next focus on another aspect to transform. In psychology, the philosophical gold can be achieved when one sets out to change an unwanted aspect of oneself and correlates with the healing function of the psyche (Fontelieu, 2015).
39 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
In the final stage of the therapy example, the prima matera to be extracted from the vessel of therapy is changed behavior. The individual can see their part played, and has the ego strength to own up to it, instead of deflecting blame. The gold has been reached, and now the individual can focus on another area to grow, furthering down the path of individuation.
Lyrics
An example of Tool using alchemy as a metaphor for personal growth and healing, is in the song “The Grudge” (Tool, 2001, track 1).
Wear the grudge like a crown of negativity Calculate what we will or will not tolerate Desperate to control all and everything Unable to forgive your scarlet lettermen
Clutch it like a cornerstone. Otherwise it all comes down Justify denials and grip 'em to the lonesome end Clutch it like a cornerstone. Otherwise it all comes down Terrified of being wrong. Ultimatum prison cell
Saturn ascends, choose one or ten. Hang on or be humbled again Humbled again
Clutch it like a cornerstone. Otherwise it all comes down Justify denials and grip 'em to the lonesome end Saturn ascends, comes round again Saturn ascends, the one, the ten. Ignorant to the damages
Wear the grudge like a crown of negativity Calculate what we will or will not tolerate Desperate to control all and everything Unable to forgive your scarlet lettermen
Wear the grudge like a crown. Desperate to control Unable to forgive. And sinking deeper
Defining, confining, sinking deeper Controlling, defining, and we're sinking deeper
40 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Saturn comes back around to show you everything Lets you choose what you will, will not see and then Drags you down like a stone or lifts you up again Spits you out like a child, light and innocent.
Saturn comes back around. Lifts you up like a child Or drags you down like a stone to Consume you til’ you choose to let this go Choose to let this go
Give away the stone. Let the oceans take and Transmutate this cold and fated anchor Give away the stone. Let the waters kiss and Transmutate these leaden grudges into gold Let go.
Interpretation
In this instance, the grudge is the real-life manifestation of the prima materia.
The grudge metaphorically represents a part of oneself that can be transmuted – a part which is causing pain in the individual. If a person is unaware that this grudge is negatively affecting them, it would be considered shadow material. Negative thoughts and the inability to forgive are perfect shadow material to be transmuted through the alchemical process into something positive.
In one instance, grudges are referred to as “leaden grudges.” These grudges are holding this person back psychologically, not allowing the individual to move on and heal. The ego refuses to let go, and this can interfere with the process of individuation. A
“leaden grudge” can also refer to the individual being physically held down from its weight, as lead is a heavy metal.
In the lines “Let the oceans take and transmutate this cold and fated anchor,” the alchemical change is being fostered in the ocean, not fire, which suggests that the singer
41 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL has not fully left the solutio stage. In Jungian theory, water is symbolic of the unconscious, unknown, and shadow (Edinger, 1994). The ocean not only represents the unconscious, but also the depths the unconscious can reach, most of which is untouchable
(Ronnberg, 2010: p. 36). The ocean is vast, murky, and mysterious, just like an individual’s unconscious. To refer to the ocean as the vessel for alchemical change, instead of fire, could suggest that the singer is internally, at times unconsciously, working within the alchemical process towards a transmutation. He is immersed in the solutio stage, and in order to move on his ego must allow the complete dissolution of the parts of him holding on to the grudge.
Jungian theory suggests that the qualitative transmutation that occurs through the alchemical process, once triggered by the Self’s need to change, is only possible through conscious effort (Bosnak, 1988). In the line “hang on or be humbled again,’ the singer is indicating that this person must let go of the weight holding them down and be humbled.
To be humbled, in this instance, refers to the dissolution which occurs during the solutio stage. The ego is resisting this dissolution, but in order for any true work to happen, it needs to happen at a deeper level than the ego. The ego is necessary to consciously initiate the alchemical process, but true change happens at the level of the unconscious, or the Self (Edinger, 1994).
Tool refers to the ocean’s reception of this stone as a “kiss.” It is a gentle, loving, affectionate embrace, just as it would feel coming back to the womb, the waters of rebirth, as in the solutio stage. The ocean acts as an agent for change in a way that can foster healing. With love, acceptance, and a will to change, the singer can transform his grudges into peace of mind, turning his lead into gold.
42 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
In the beginning of this song, the singer finds himself in the mindset of “Wear the grudge like a crown of negativity.” This is a mindset that needs to be reassessed and changed, which begins with dissolution. Referring to the vessel of change as the ocean shows indicates the solutio stage and reveals that the singer is still deeply immersed in the work. Negativity is all around, revealed in the lines “Defining, confining, sinking deeper, controlling, defining, and we're sinking deeper,” indicating the nigredo stage.
Discomfort, hopelessness, and the feeling of sinking are present in this stage, and the singer is feeling them intensely. The albedo stage is represented when the singer says,
“Choose to let this go”, indicating that consciousness is aware enough to make a choice.
If the ego was unaware of the changes that are needed to be made, there would be no reason to necessitate a choice. While he never makes it to the rubedo stage in this song, it is the indicated destination, as revealed when he sings “Give away the stone. Let the oceans take and transmutate this cold and fated anchor, give away the stone. Let the waters kiss and transmutate these leaden grudges into gold. Let go.” He knows the next step and can see the philosophical gold at the end of it, as long as he can continue the hard work on his path toward individuation.
Alchemy, as a psychological framework, provides a useful working model for inner experiences, as well as a system to express those experiences symbolically (Raff,
2000). Jung, in using this framework as a guide toward the gold of “enlightened consciousness” (Raff, 2000: p. xxiv), has made alchemy something that everyone working toward individuation can benefit from. The singer from Tool uses this framework to describe his journey toward individuation, connecting Jungian theory to his life in an applicable and relevant way.
43 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
Chapter VII: Conclusion
Music is a universal experience, found in cultures all over the world
(Storr, 1992). As a fixture in movies, in advertisements, in restaurants and department stores – music is one of the most widely-reaching forms of media, and technological advances are simply expanding its range every day. Because of the far-reaching influence of music, it has become the perfect vehicle for ideas to be spread, wrapped up neatly in catchy beats and memorable lyrics. Tool took their opportunity to use their platform to explore psychological theory, allowing the ideas held within their lyrics to reach an audience worldwide. This is a far larger audience than Jung could have ever envisioned being able to be exposed to his ideas, theories, and perspectives, and whether the audience is aware or not, they have been exposed in an artistic, easier-to-digest way.
Based on my extensive research, I have found no direct evidence of the singer’s formal or informal explicit study of Jungian theory. More importantly, based on my research, the singer clearly has working knowledge of the specific school of thought which is Jungian theory, as explored previously throughout this work.
Tool has done something very few, if any, have dared to dream of – mix the artistry of music with the intellectuality of Jungian theory, and has done so to great success. Singing of individuation through exploring ego, the Self, persona, shadow, and alchemy are not typical topics of interest in mainstream music, but Tool has been able to do it in such a way that the listener can totally submerse themselves in it. From the casual listener, to someone like me who used their music as a gateway to a deeper understanding, Tool’s music offers a unique experience of psychological theory.
44 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
At the beginning of this project, it was my intention to explore Tool’s lyrics in a way that would allow me to reach new understandings of the relationship between their music, and Jungian theory. As was explored throughout this work, Tool’s lyrics often directly reference Jungian theory. Going through each song with a deep intention of connecting lyrics with psychological themes truly allowed me to immerse myself in the music, and the music did seem to change for me. I notice more, hear more, and understand more. The theme of individuation is woven throughout Tool’s lyrics, and serves as a common thread connecting their songs to each other. Until I explored these songs in such depth, I was not ready to receive the message Tool has been broadcasting.
Now that I have made connections and unpacked themes, I believe that I hear their message loud and clear: “Spiral out, keep going” (Tool, 2001, track 7).
45 MUSIC AND DEPTH PSYCHOLOGY: A THEORETICAL ANALYSIS OF TOOL
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