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Joy
Psychology
5 min read

Dopamine-ing ourselves dilutes the real power of joy

Ditch being happy all the time.

Natalie produces and narrates The Seen & Unseen Aloud podcast. She's an Anglican minister and a trained actor.

Cartoon character Joy looks up with arms held open.
Inside Out's Joy.
Disney.

As I write this, I’m looking out of my window at endless grey. It has been raining almost constantly for several days. The garden is waterlogged, the apples are going mouldy on the tree and my dog, who has just come in, is sitting next to me and smelling of, well, wet dog. And it all looks pretty gloomy.  

One of my most climbed upon soap boxes is the oppressive myth of our age/western culture that we are all supposed to be happy all the time. If we’re not living our best life and posting photos of our happiness on social media, then shame on us. There seems to be a socially acceptable dopamine addiction running rampant – each swipe, like and tweet feeding our habit. 

As someone who lives with the albatross of depression weighing constantly around my neck, I find this compulsory pursuit of very public happiness somewhat trying. And call me Eeyore if you will, but I’d like to point out that sometimes it rains and there isn’t a rainbow. Just puddles. 

There is a place for sorrow and disappointment and frustration in real life, and dopamine-ing ourselves out of those experiences dilutes the real power of joy. 

I haven’t watched the new Inside Out film yet (See Henna Cundill’s great article on it) but the first one is a firm family favourite. It’s so deeply insightful and brilliantly unDisney. For anyone who hasn’t watched it yet, it’s a Disney animation of the adventures of the five core emotions (Fear, Anger, Joy, Disgust and Sadness) belonging to a young girl coping with moving with her parents to live in a new city. 

Happiness is candy floss and joy is a strong cup of tea. 

The main character is Joy. And she’s all about the happy. She refuses to allow Riley (the girl whose emotions they are) to be anything but happy. And that’s the set-up of the film. Joy fighting against the odds to keep Riley happy, even when she’s going through some really tough life stuff. And by the end of the film, it’s Joy who has grown because she recognises that Sadness has an important role in Riley’s life and that when Sadness takes the lead, Joy can join in, honestly, unsentimentally and sincerely. 

I can’t tell you how much I enjoyed seeing Joy’s bouncy, oppressive positivity being acknowledged as really annoying.  

The real strength of the film is that Joy grows from a character that I would call Happy into real Joy. Because, based on no good reasons at all, I have always thought of Joy as a more mature relative to happiness. To me, happiness is lighter, frothier and joy has greater depth and robustness. Happiness is candy floss and joy is a strong cup of tea. Happiness is still naïve while joy has been around the block a few times yet still hangs in there. Happiness is a powerful feeling that eclipses all else. Joy is mature enough to be in the same room as Sadness. 

You see, I also think of joy as a choice, not just a happy feeling. Like thousands of other people, I have benefited hugely from Cognitive Behavioural Therapy (CBT) which says that while you can’t choose your feelings, you can choose your thoughts. And it turns out that our feelings are reactions to our thoughts, not the other way around. 

For instance, if you are woken up in the middle of the night by a loud crash, how would you feel? If you feel scared, it’s probably because your first thought is that a burglar has broken into your home. If you turn over and go back to sleep, it’s probably because you know that the cat has knocked something off the kitchen table, again. Our feelings come after our thoughts, not the other way around. Which changes everything. 

We can’t tell ourselves to be happy, to be excited, to not be afraid. But we can choose our thoughts, what we allow to dwell in our minds. The pursuit of happiness then becomes about training the mind rather than mindlessly reaching for the next “feel good” dopamine hit.  

Joy grows up. She starts out bubblegum-happy-at-all-costs-annoying. And she matures into someone who’s patient and compassionate and strong. 

CBT rose to fame, as it were, during the latter years of the twentieth century and more recently, a lot of research has gone into the correlation of CBT within diverse religious frameworks, including Judaism, Taoism and predominantly, Christianity. The evidence suggests that religious belief has considerable positive impact on mental well-being and psychology. It seems that there is real joy to be found in the Unseen. 

And I don’t think that’s a surprise. The Bible is full of CBT once you start looking for it. For example, St Paul wrote a letter to a church in Philippi, while he was chained up in a prison cell. I think it’s fair to say he wasn’t Insta-ready yet he says (italicised translation my own) "I know what it is to be in need, and I know what it is to have plenty. I have learned the secret of living my best life in any and every situation, whether well fed or hungry, whether living in plenty or in want.” Isn’t that a secret we’d all like to learn? How to have real joy that is completely independent from our circumstances? 

St Paul is not saying don’t worry, be happy. He isn’t saying pretend everything is ok, put your head in the sand and act as if you haven’t a care in the world. He is far more realistic than that. He knows better than most people that real life is very complicated and often very painful. He’s saying that whatever our circumstances, we have a choice. A choice to let ourselves drown in anxiety and sorrow or to fill our minds with, “whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable—if anything is excellent or praiseworthy—think about such things.”  He is of course talking about the goodness and faithfulness of God and what pours out as a result of God’s lovingkindness. When I fill my mind, when I choose to think about such things, it means there is less room for despair and Joy has the space to dance.  

And this is why I think Inside Out is so good. Joy grows up. She starts out bubblegum-happy-at-all-costs-annoying. And she matures into someone who’s patient and compassionate and strong. Joy can hold you while you give airtime to Sadness, Disgust, Fear and even Anger. And she’s there to celebrate and commiserate with you when that’s done. This may not meet the need for a party-popper-emoji-style happiness, but I for one say, Yes, please, can I have some of that? 

Review
Belief
Culture
Film & TV
Joy
Death & life
Wildness
7 min read

Nick Cave’s Wild God challenges a too comfortable culture

Eavesdrop on profound discomfort and raw wonder.
A singer, wearing headphones, turns from a microphone in front of him.
Listen with Nick.
nickcave.com

In the fourteenth and fifteenth centuries, there lived an anonymous mystic who we’ve since come to know as Julian of Norwich. After coming chillingly close to death at the age of thirty, she spent the subsequent decades of her life in a small side room of St Julian of Norwich church (the inspiration behind her pseudonym), speaking to people only through windows and writing masterfully about her supernatural visions of God. 

Her anonymity, modesty, and creativity meant that she was free to write about God without the pressure of being theologically or doctrinally ‘correct’. She wasn’t too interested in making her writing academically bulletproof, nor was she too bothered with institutional rightness.  

Rather, she experienced, and she wrote. She pondered and she wrote. She suffered and she wrote. She rejoiced and she wrote.  

She was utterly captivated by God, and that meant that she was free.  

I think that Nick Cave is free, too.   

His latest album reminds me of Julian of Norwich’s work; baffling, subversive, mystical, rooted in a truth that can’t be proven. A truth he wouldn’t be interested in proving, anyway. It, too, swerves ‘rightness’. It, too, refuses to dilute the oddness of faith. It, too, is irresistibly intense. I pressed ‘play’ at around 8:03am this morning, assuming that this album would be the soundtrack to my mundane morning. But two songs in, I found myself sitting on my kitchen floor with my coffee, a notebook, and the album turned up to a volume that would have justifiably annoyed the neighbours.  

This is not a casual album. Any true Nick Cave fan would scold me for ever expecting it to be. 

The album is a ten-track-long ode to a Wild God who has met Nick in the darkest of places. Places, I’m sure, he never wanted to go. Places, I’m sure, he will never fully leave. Such a wild God is a challenge to a culture that has enthroned comfort. We’re too easily spooked. But Cave, through a combination of circumstance and intentionality, appears to have entirely shunned comfort. And so, he’s in prime position to introduce us to a God who will confound us.  

Julian of Norwich’s book and Nick Cave’s album are centuries apart – yet, somehow, it feels as though they have been made from the same materials: profound discomfort and raw wonder. 

Suddenly, you’re reminded that you’re eavesdropping on a man who has lost his son, conversing with a God who lost his too. 

This is Cave’s eighteenth album with the Bad Seeds. Together, they have created a soundscape to get lost in, a changeable climate controlled by their instruments: you get caught up in a cyclone during the title track, the cymbals crash like waves on the shore in ‘The Final Rescue Attempt’, you can hear the gentle droplets of rain fall in ‘Frogs’, the strings somehow sound like a sunset in ‘As The Waters Cover The Sea’.   

It’s music that baffles your senses. 

And then there are the stories that the songs are telling.  

The album opens mid-way through a bar, its first song – ‘Song of the Lake’ - sounds as if it was playing before you hit play. In 2015, Nick and his wife Susie lost their teenage son. In 2022, Nick lost another son. The last two albums offered up by Nick Cave and the Bad Seeds – Skeleton Tree and Ghosteen – they have an address, and the address is grief. They’re laced with palpable agony. And so, beginning this album mid-way through a bar, it’s as if Nick is telling us that we’re picking up a conversation where we left off in 2019. This album wouldn’t exist if the previous two didn’t exist.  

He uses the opening song to remind us of the tragic circumstances in which he lost his teenage son, Arthur, by referencing the nursery rhyme character, Humpty Dumpty – who, of course, ‘had a great fall’. Nick quotes, ‘… and all the king's horses and all the…’ before cutting himself off with ‘… oh never mind. Never mind.’ 

What’s the meaning of this recurring ‘never mind’? Is it agony or acceptance? Maybe it’s both. Maybe it’s neither. Maybe Nick, as usual, doesn’t want to be too knowable.  

Some of his thoughts feel finished and firm, others feel unexplored and new – like we’re hearing them at the same time that Nick is. On occasion it feels as though he’s teaching us something, on other occasions, he’s the one asking the questions. It’s about him, and then it’s not about him. It is intensely personal and then it’s cosmically minded. It’s sturdy, then it’s fragile. It’s from the point of view of a deity, then it’s from the perspective of a frog in his pocket.  

It is pretty uncontainable.  

But the song that my mind seems to have gotten snagged on is ‘Joy’, which sits about a quarter of the way through the album. Again, he begins the song by telling us how he ‘woke up this morning with the blues all around my head… I felt like someone in my family is dead,’ he speaks of his ‘pain and yearning sorrow’ – all of which hits you in the stomach, because such lines are wholly unexpected in a song entitled ‘Joy’.  

You could read a 100,000-word long thesis on the theology of joy. Or you could just listen to this song. I think it would teach you everything you need to know.  

The way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. 

Despite the references to his grief, Nick recently shared that he nearly titled the album ‘Joy’. And I get why. If you think of joy as some kind of light and fluffy thing, you might not spot it. But if you, like Nick and his band of Bad Seeds, perceive joy to be something that can hold tension, confusion, and even sorrow – you will see that it is all over this project. As Nick has already taught us, faith and hope can be found amid carnage. And Nick’s new(ish)-found faith has quite obviously turned him upside down.  

His wild God has clearly swept him off his feet.  

The remaining songs on the album - the ones that I don’t have the wordcount to do justice - they take God/death/life, and they ponder them from every angle. There is a childlike wonder to this album, a pure kind of excitement. The kind that you'd think would be irreconcilable with the realities of grief but is somehow able to sit right alongside it. Nick isn’t trying to explain the God that he has found, or the ‘conversion’ he’s experienced – he’s just celebrating it, and inviting us all to listen.  

He's simply loving God and enjoying being loved right back. It really is all very ‘Julian of Norwich-esque’. It will offend you if you try too hard to put it into a neat box.  

But then there’s the last song, which is where I’ll bring this gush-a-thon to an end. It is a hymn. Like, an actual, albeit tweaked, hymn – the last song is a rendition of ‘As the Waters Cover the Sea’.  

All of a sudden, there’s a gear change to grapple with. Nick is placing himself in a church, he’s tying himself to a particular religious tradition, he’s joining a particular community and affiliating with a particular history. It turns out the God of whom he speaks is not abstract, he’s the Christian God. You’re reminded that you’ve been eavesdropping on a man who has lost his son, conversing with a God who lost his too. The lyrics have been hinting at this all the way through the album, but the way Nick chooses to sign it off is to overtly tell us so. His goodbye is a direction, his epilogue is an invitation. He is basically saying -

If you’re intrigued by the Wild God, here is where precisely I have found him…  

And this kind of religious specificity being used to tie up an album so full of metaphor and mystery. An album I thought I had worked out, an artist I thought I had finally cracked, a message I thought I had deciphered… 

… Oh, never mind. Never mind.