Category Archives: Popular Culture
I have just come back from a two-week holiday in Portugal and managed to catch up with reading a lot of non-academic books. Two of the books I took with me were Paul Trynka’s biography of Iggy Pop (Open Up and Bleed ) and Brett Callwood’s biography of The Stooges, the band in which Iggy Pop first made his name (The Stooges: A Journey Through the Michigan Underworld ). Just before I left to go on holiday I also read Dave Thompson’s book Your Pretty Face is Going to Hell: The Dangerous Glitter of David Bowie, Iggy Pop, and Lou Reed (2009). This engrossing reading has been accompanied by me listening to The Stooges almost non-stop for the last month – not just their five studio albums (The Stooges , Fun House , Raw Power , The Weirdness , and Ready To Die ) but loads of official and non-official bootlegs from the 1970-1974 period. In short, it’s my latest music obsession.
Although I say it myself, I have been a bit of an Iggy Pop aficionado for many years. It was through my musical appreciation of both David Bowie and Lou Reed that I found myself enthralled by the music of Iggy Pop. Back in my early 20s, I bought three Iggy Pop albums purely because they were produced by David Bowie (The Idiot , Lust For Life , and Blah Blah Blah ). Thankfully, the albums were great and over time I acquired every studio LP that Iggy has released as a solo artist (and a lot more aside – I hate to think how much money I have spent on the three artists and their respective bands over the years). Unusually, I didn’t get into The Stooges until around 2007 after reading an in-depth article about them in Mojo magazine. Since then I’ve added them to my list of musical obsessions where I have to own every last note they have ever recorded (official and unofficial). When it comes to music I am all-or-nothing. Maybe I’m not that far removed from my musical heroes in that sense. I’m sure my partner would disagree. She says I’m no different to a trainspotter who ticks off lists of numbers.
One thing that connects Pop, Reed and Bowie (in addition to the fact they are all talented egotistical songwriters and performers who got to know each other well in the early 1970s) is their addictions to various drugs (heroin in the case of Pop and Reed, and cocaine in the case of Bowie – although they’ve all had other addictions such as Iggy’s dependence on Quaaludes). This is perhaps not altogether unexpected. As I noted in one of my previous blogs on whether celebrities are more prone to addiction than the general public, I wrote:
“Firstly, when I think about celebrities that have ‘gone off the rails’ and admitted to having addiction problems (Charlie Sheen, Robert Downey Jr, Alec Baldwin) and those that have died from their addiction (Whitney Houston, Jim Morrison, Amy Winehouse) I would argue that these types of high profile celebrity have the financial means to afford a drug habit like cocaine or heroin. For many in the entertainment business such as being the lead singer in a famous rock band, taking drugs may also be viewed as one of the defining behaviours of the stereotypical ‘rock ‘n’ roll’ lifestyle. In short, it’s almost expected”.
Nowhere is this more exemplified than by Iggy Pop. Not only would Iggy take almost every known drug to excess, it seemed to carry over into every part of his lifestyle. For instance, reading about Iggy’s sexual exploits, there appears to be a lot of evidence that he may have also been addicted to sex (although that’s speculation on my part with the only evidence I have is all the alleged stories in the various biographies of him). Another thing that amazes me about Iggy Pop was that he decided to give up taking drugs in the autumn of 1983 and pretty much stuck to it (again mirroring Lou Reed who also decided to clean up his act and go cold turkey on willpower alone). Spontaneous remission after very heavy drug addictions is rare but Iggy appears to have done it. Maybe Iggy gave up his negative addictions for a more positive addiction – in his case playing live. David Bowie went as far as to say that playing live was an “obsessive” for Iggy. As noted in Paul Trynka’s biography:
“[His touring] was simultaneously impressive and inexplicable. David Bowie used the word’ obsessive’ about Iggy’s compulsion to tour – but there was an internal logic. Jim knew he’d made his best music in the first ten years of his career, and he also believed he’d blown it…but he knew his own excesses or simple lack of psychic stamina were a key reason why the Stooges crashed and burned. Now he had to still prove his stamina, to make up for those weaknesses of three decades ago”.
Iggy Pop is (of course) a stage name. Iggy was born James Newell Osterberg (April 21, 1947). The ‘Iggy’ moniker came from one of the early bands he drummed in (The Iguanas). I mention this because another facet of Iggy Pop’s life that I find psychologically interesting is the many references to ‘Iggy Pop’ being a character created by Jim Osterberg (in much the same way that Bowie created the persona ‘Ziggy Stardust’ – ironically a character that many say is at least partly modeled on Iggy Pop!). Many people that have got to know Jim Osterberg describe him as intelligent, witty, talkative, well read, and excellent social company. Many people that have been in the company of Iggy Pop describe him as sex-crazed, hedonistic, outrageous, a party animal, and a junkie (at least from the late 1960s to the early to mid-1990s). It’s almost as if a real living character was created in which Jim Osterberg could live out an alternative life that he could never do as the person he had become growing up. Iggy Pop became a persona that Jim Osterberg could escape into. When things went horribly wrong (and they often did), it was Iggy’s doing not Osterberg’s. It’s almost as if Osterberg had a kind of multiple personality disorder (now called ‘dissociative identity disorder’ [DID]). One definition notes:
“[Dissociative identity disorder] is a mental disorder on the dissociative spectrum characterized by at least two distinct and relatively enduring identities or dissociated personality states that alternately control a person’s behavior, and is accompanied by memory impairment for important information not explained by ordinary forgetfulness…Diagnosis is often difficult as there is considerable comorbidity with other mental disorders”.
I don’t for one minute believe ‘Jim/Iggy’ suffers from DID but a case could possibly made based on the definition above. Some of the things he did on stage in the name of ‘entertainment’ included gross acts of self-mutilation such as stubbing cigarettes out on his naked body, flagellating himself, cutting his chest open with knives and broken glass bottles. He was a sexual exhibitionist and appeared to love showing his penis to the watching audience. On one infamous occasion, he even dry-humped a large teddy bear live on a British children’s television show. (Maybe Iggy is a secret plushophile? Check out the clip on here on YouTube).
In 1975, Iggy was admitted to the Los Angeles Neuropsychiatric Institute (NPI) and underwent treatment (including psychoanalysis) under the care of American psychiatrist Dr. Murray Zucker. After he had completely detoxed all the drugs in his body, Iggy was diagnosed with hypomania (a mental affliction also affecting another of my musical heroes, Adam Ant). This condition was described by Iggy’s biographer Paul Trynka:
“Bipolar disorder [is] characterised by episodes of euphoric or overexcited and irrational behaviour, succeeded by depression. Hypomanics are often described as euphoric, charismatic, energetic, prone to grandiosity, hypersexual, and unrealistic in their ambitions – all of which sounded like a checklist of Iggy’s character traits”.
Dr. Zucker later told Paul Trynka that hypomania tends to get worse with age and it hadn’t with Iggy and therefore the diagnosis of a bipolar disorder may have been wrong. Dr. Zucker now wonders whether “the talent, intensity, perceptiveness, and behavioural extremes” of Iggy were who he truly was “and not a disease…that Jim’s behaviour was simply him enjoying the range of his brain, playing with it, exploring different personae, until it got to the point of not knowing what was up and what was down’. In short, Dr. Zucker (who maintained professional contact with Iggy during the 1980s) claimed Iggy was perhaps “someone who went to the brink of madness just to see what it was like”. Dr. Zucker also claimed that Iggy (like many in the entertainment industry) was a narcissist (“excessive for the average individual” but “unsurprising in a singer…this unending emotional neediness for attention, that’s never enough”). In fact, Iggy went on to write the song ‘I Need More‘ (and was also the title of his autobiography) which pretty much sums him up many of his pychological motivations (at least when he was younger).
It’s clear that Iggy has been drug-free and fit for many years now although many would say that all of his best musical work came about when he was jumping from one addiction to another – particularly during the decade from 1968 to 1978. This raises the question as to whether musicians and songwriters are more creative under the influences of psychoactive substances (but I will leave that for another blog – I’ve just begun some research on creativity and substance abuse with some of my Hungarian research colleagues). I’ll leave the last word with Dr. Zucker (who unlike me) had Iggy as a patient:
“I always got the feeling [Iggy] enjoyed his brain so much he would play with it to the point of himself not knowing what was up and what was down. At times, he seemed to have complete control of turning this on and that on, playing with different personas, out-Bowie-ing David Bowie, as a display of the range of his brain. But then at other times you get the feeling he wasn’t in control – he was just bouncing around with it. It wasn’t just lack of discipline, it wasn’t necessarily bipolar, it was God knows what”.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Ambrose, J. (2008). Gimme Danger: The Story of Iggy Pop. London: Omnibus Press.
Callwood, B. (2008). The Stooges: A Journey Through the Michigan Underworld. London: Independent Music Press.
Pop, I. & Wehrer, A, (1982). I Need More. New York: Karz-Cohl Publishing.
Thompson, D. (2009). Your Pretty Face is Going to Hell: The Dangerous Glitter of David Bowie, Iggy Pop, and Lou Reed. London: Backbeat Books.
Trynka, P. (2007). Open Up and Bleed. London: Sphere.
Wikipedia (2014). Iggy Pop. Located at: http://en.wikipedia.org/wiki/Iggy_Pop
Over the past decade, academics have been increasingly pushed by their research funders to disseminate their work outside of academic circles. One way in which this can be done is for academics to use the print and broadcast media (something that I termed as ‘aca-media’ back in 1995). Ever since I was a PhD student I have been happy to talk to the media about my research. Occasionally things go wrong and my work is misquoted and/or taken out of context but I have written many articles outlining the many advantages of academics interacting with the media.
I passionately believe that psychological research should be communicated to the public. However, I have also argued in some of my writings about ‘pop’ psychology and aca-media that psychologists who communicate their work to the public (e.g., non-academic books, magazine and newspaper articles, radio and television programmes) are sometimes ridiculed by their peers and/or told that such activities are of little use for progression in their career.
Many academic psychologists may not want a relationship with the media because of the perception that the media will somehow trivialize and/or misrepresent serious research. However, psychology is media-friendly and very popular. This is evidenced by the fact that:
- Popular psychology books are often found in the best selling book lists;
- Magazines like Psychology Today and Psychologies sell in large quantities;
- Many magazines reveal a high percentage of articles dealing with some aspect of psychological concern;
- Radio and television programmes appear to be featuring more and more psychologists.
The media can play a beneficial role in psychological research, and that a lot of good things can come out of it. Back in the late 1990s, I argued in an issue of The Psychologist that the media performs a useful service for psychologists who carry out primary research. More specifically I argued that the media can (i) stimulate research into cutting edge topics. (ii) provide publicity for the psychologist, the research, the discipline and the psychologist’s institution, (iii) provide immediate rewards, and (iv) help feed back into the academic process.
In his book Psychology Observed or The Emperor’s New Clothes, Professor Paul Kline argued that the content of print media provides a useful indicant of human behaviour. Newspapers and magazines indicate what people actually do, and they indicate what editors believe people like to read about (and is one of the reasons I try to feature topics in my blog that I think the general public would be interested in reading). On these criteria, Professor Kline argued that murder, sex, the Royal Family, wars, disasters, rape, crime, astrology, parapsychology, the occult, drugs, and violence are all of psychological significance. In fact, Kline went as far as to argue that much of scientific psychology ignores the real world setting in which we live and barely seems to touch on the subjects outlined above. Kline explained why this might be the case by outlining a number of propositions relating to the scientific method:
- Psychology studies trivial topics because of its reliance on the scientific method
- The scientific method is unsuited to some important problems in psychology
- The scientific method is adhered to because of the (i) high prestige of science which is funded better than the arts, (ii) emphasis on intellect rather than feelings, and (iii) better promotion prospects (i.e. the scientific method allows rapid publication on currently fashionable topics)
- Much of psychology is pure hermeneutics, (i.e., the study of tasks invented and elaborated by those who study them).
If Kline is right, then those psychologists who do not adhere to the scientific method will actually be left behind in the system. I have also argued in some of my articles that if psychology does not provide the information on the topics that people want to know about, then ‘pop’ psychologists will step in – people who may not even be eligible for chartered psychologist status.
Therefore, it would appear that some (maybe even most) psychologists want their research to be communicated to the general public but they appear to want someone else, preferably a non-psychologist, to do it. But what happens when someone else does do it? The main problem is that many people, both those reporting and those reading the original research, fail to interpret research findings of psychologists accurately or use the findings in a biased and/or selective manner. Such observations may provide reasons why there appears to be an increasing number of psychologists (like myself) who are popularizing their own work themselves (i.e., they do not want their work misunderstood, distorted and trivialized). However, if disseminating to the public is not valued by peers, there is little incentive for the psychologist to do so.
Many of my own research ideas have come from newspapers, magazines and other media. Quite often, these outlets will come up with an idea that has no empirical support but looks true and/or is psychologically interesting. This can provide a spur for me to some research on that topic or area. The fact that it has reached media outlets before empirical research has been done suggests that it is newsworthy. One activity I try to do is read one publication each week that I would not normally read. The idea is that such an activity might not lead immediately to a new research idea or avenue, but it could change a view of the world in some way and impact on future research. I am fortunate in the fact that every week I get numerous calls from the media asking me to comment on something. Occasionally they come up with something that stirs my imagination and which gets me thinking that their story is about a really interesting topic. Occasionally whole new lines of research have emerged on the basis of a media enquiry. The most notable examples in my own research include my work on scratchcard gambling and internet addiction.
There is no doubt that some research is more likely to be noted, reported and commented upon by the mass media than is other equally sound or important work. Research into problem solving and learning will almost always be given less media coverage, than say astrology or parapsychology, because experimental psychologists (i) deem these areas as trivial or unimportant, (ii) its subject matter not appropriate for study using the scientific method, and/or (iii) unhelpful for career progression. Professor Kline argued that research that adheres to the scientific method carries a lot of weight in the academic community and enables academics to quickly progress up the career ladder. This is not the case with dissemination of psychological research to non-specialist audiences. Many may consider the education and dissemination of psychological knowledge is important yet popularizing psychology appears to have no distinct advantages inside the academic system (although I would like to think this is changing a little).
However, one thing that is highly irritating to academics is how slow the research dissemination process is. Sometimes waiting over a year or two for a paper to be published is not a psychologist’s idea of a quick reward. At least in the media, the rewards can come quickly. If a psychologist publishes something in a newspaper or a magazine (or even on their own blog), it can be out within days and sometimes even hours. If a psychologist records something for the radio or television, again the result is often quite quick – and if it is live then at least it goes out there and then.
Many psychologists may take the line that it is not their job to generate publicity. However, media exposure can provide publicity for the psychologist, their research, the discipline, and the psychologist’s organization. Furthermore, media publicity can help an individual’s research in particular ways. Media coverage can aid a psychologist’s own self-standing and it can also help in getting a psychologist’s research known to various funding agencies. Media publicity can also be used for direct research purposes – most noticeably in participant recruitment. Although there are ethical questions to consider, news items and features in all forms of the media can help in either the recruitment of participants both in general calls for help in research and in terms of unsolicited responses. I have found this particularly useful in obtaining case studies for various behavioural addictions that I have been researching into (e.g. exercise addiction, gambling addiction, internet addiction, etc.). (For instance, my case study on eproctophilia published last year in the Archives of Sexual Behavior came about because of one of the blogs I published on the topic).
Many researchers spend a lot of time and money handing out recruitment brochures in appropriate places promising small remunerations. However, these typically attract very few people into participating and generate low response rates. Therefore, the media can be used as a creative recruitment tactic that works effectively to attract research participants. Advertisements for participants to “tell us your story” in newspapers can be a successful way of obtaining participants. However, there are likely to be some biases in terms of the background, but it is possible to get a good cross section.
Use of contacts in the media is an option but will be very selective. Talk shows and the local news are the most two obvious areas of television or radio that can be harnessed by psychologists. Telephoning popular local (and sometimes national) radio talk shows to ask for people to come forward is one possible idea. Radio shows can be very good for this. From my own personal experience, a good response can be had from being on late at night or even early Sunday morning.
Another way to generate participants is to turn a research recruitment drive into a news story. Newspapers are in the business of telling stories. To get the media’s attention, a press release must respond to that priority. Unless a psychologist is making news, by being the first to do something, they will not see your material as ‘news’. Psychologists need to tell the media a story that their readership will be interested in. In 2005, I was at a British Association for the Advancement of Science conference, where Tim Radford, the former science correspondent of The Guardian claimed that “the media is inherently lazy…they are likely pick up a story if you do the work”. That means providing the media with background facts and figures, creating context, simple key messages, lining up experts, and most importantly giving them a story. Psychologists can then tie their need (i.e., finding participants for further research) into that story. It is important to lead with a human-interest story and then add the need for research.
The key is to devise a short one-page media release (long ones will simply be passed over). The media release should have a ‘hook’ so that a journalist, when reading a release, asks “What’s new?” There are other strategies that can work for catching the attention of the media. Psychologists can tie their media releases into a news event that is already happening. For example, on Mother’s Day, a psychologist could lead with a story that links their research area to mothers.
Building ongoing relationships with the media is important and it takes time. If academic psychologists wants to get media attention, they need to support the media as well. This can be helped by making responding to media requests a high priority. If a reporter calls, help them with their story. Unfortunately their deadlines are always short so this can be a challenge. Reporters will remember the psychologist and add you to their roster of available experts. Writing ‘Letters to the Editor’ also help in getting psychologists onto media radar screens (something that I used to the point of excess and – some might say – overkill).
My guess is that many psychologists shy away from aca-media due to fears about trivialisation, misinterpretation and misrepresentation. However, if they realised what the average media journalist has to go through to get their story, perhaps they would not be so dismissive. Psychologists would perhaps appreciate the high degree of professionalism that is involved. It could be argued that the most common source of misinterpretation by the media is the psychologist communicating their research or ideas poorly to the journalist. Journalists cannot and should not be blamed for the poor communication skills of the psychologist. What I have tried to argue here is that the aca-media can be good for psychologist, and that the media can be used to help the psychologist’s research and career – something that (I hope) my own career is good evidence of.
Griffiths, M.D. (1995). ‘Pop’ psychology. The Psychologist: Bulletin of the British Psychological Society, 8, 455-457.
Griffiths, M.D. (1995). Pop psychology and “aca-media”: A reply to Mitchell. The Psychologist: Bulletin of the British Psychological Society, 8, 537-538.
Griffiths, M.D. (1998). Psychology and the media. The Psychologist: Bulletin of the British Psychological Society, 11, 4-5.
Griffiths, M.D. (2001). A moral obligation in aca-media? The Psychologist: Bulletin of the British Psychological Society, 14, 460.
Griffiths, M.D. (2001). Why I believe letter writing can improve your career prospects. Times Higher Education Supplement, January 5, p.14.
Griffiths, M.D. (1999). Other publication outlets: Is there life after refereed journals? In P. Hills (Ed.), Publish or Perish (pp.117-130). Dereham: Peter Francis Publishing.
Kline, P. (1988). Psychology Observed or The Emperor’s New Clothes. London: Routledge.
Radford, T. (2005, September). Comments made in a panel discussion by science journalists at the British Association for the Advancement of Science, University College, Dublin.
Have you seen slot machines featuring Spiderman? Or the ones based on the Monopoly board game? Or the slots that have pictures of Lara Croft from the Tomb Raider video game? Most gaming operators will appreciate that all of these images have a strong brand presence, and that it is one of the main reasons for themed games. However, a more basic marketing tactic is being used here – the psychology of familiarity. This is used throughout the gaming industry but is most common on slot machines, online games, and scratchcards. For instance, Camelot’s scratchcards in the UK have featured film tie-ins (e.g., James Bond, Pirates of the Caribbean, Star Wars), and popular games (e.g., Connect Four).
But this wasn’t always the case. Back in the late 1980s I did some research on the names that gaming designers and operators gave their slot machines. One of the more interesting findings I reported in one of my academic papers was that over 50% of all machine names that I came across in amusement arcades had some reference to money on them (such as ‘Cashpoint’, ‘Cashline’, ‘Action Bank’, Piggy Bank’, ‘Money Belt’ etc.). Psychologically, all of these machine names gave the impression that this was where a player could get money from – not where they would lose it! Other categories of machine names included those with some reference to skill on them (‘Fruitskill’, ‘Skillchance’) suggesting that machine playing was a skillful activity and that gamblers could perhaps beat the machine. Other machines had what I called “acoustically attractive” names (Nifty Fifty, Naughty But Nice) or puns (Reel Fun, Reel Money). Since making these observations, I have always been interested in the subtle techniques that the gaming industry uses in getting the punter to play on their products. The psychology of gambling – or rather the psychology of gambling marketing – has come a long way in the last decade.
As I’ve already said, one of the techniques that the gaming industry uses (whether they realise it or not) is the psychology of familiarity. Gaming operators and marketers have realised that one weapon in their marketing armory is to design products which appear familiar before a player has ever even played on them – something that can partly be achieved through the name or theme of the slot machine. The examples I gave above showed that the names of slot machines appear to be important in impression formation. It is highly unlikely that the names of slot machines have any influence on gambling behaviour per se. However, when tied in with recent research on the psychology of familiarity, the names of machines do seem to be critically important – particularly in terms of gambling acquisition (that is, getting people to gamble in the first place).
Nowadays, slot machines are often named after a famous person (the Elvis Presley machines appear very popular in one of my local casinos), place, event, video game, board game, television show or film. Not only is this something that is familiar to the gambler but may also be something that the potential gamblers might like or affiliate themselves with (such as James Bond). This is different from a simple naming effect in that the machine’s theme may encompass the whole play of the machine, including its features, the sound effects (e.g., the theme tune to popular television programmes like Coronation Street or Eastenders), and light/colour effects. By using well-known and common themes, gamblers may be more likely to spend time and money playing them.
Some of the most popular UK slot machines are those that feature The Simpsons. There are many possible reasons why a gambler might be more likely to play on a Simpsons’ machine. The Simpsons have mass appeal and popularity across all ages and across gender. The machines are celebrity-endorsed and players may place trust in a ‘quality’ brand like The Simpsons. Gamblers may also hope that knowledge of the characters will help in the playing of the game. On a basic level, it might simply be that the game play of The Simpsons is more exciting, and that the sound effects and features are novel, cute and/or more humorous than other machines. There are many cases similar to this one where it could be speculated that the slot machine becomes so much more inducing because it represents something that is familiar and/or special to the gambler.
Familiarity is a very important psychological aspect of why themed slot machines have been more prominent over the last decade. Familiar themes have the capacity to induce a ‘psycho-structural interaction’ between the gambler and the gambling activity. This is where the gambler’s own psychology interacts with the machine’s structural characteristics and produces different consequences for each person depending upon what the feature means to them personally. If the themes are increasingly familiar, a gambler might be more likely to persevere with the complexities of a machine. Gamblers may find it more enjoyable because they can easily interact with recognizable images they experience. Therefore, the use of familiar themes may have a very persuasive effect, leading to an increase in the number of people using them, and the money they spend. Whilst there are many other aspects that influence an individual’s decision to gamble, the possible persuasive nature of the themes should not be underestimated.
As you may have already gathered, there is a strong overlap between the psychology of familiarity, branding, and the psychology of persuasion. In very simple terms, a gambler must be exposed to the product and be aware of its presence before they can even make the decision to gamble. This is relatively easy to achieve given the ubiquity of slot machines and the fact that current machines will use any number of techniques to grab a potential player’s attention. These include television or film theme tunes, bright flashing lights, and/or pictures or voices of celebrities. Once a gambler’s attention has been gained, the product must be likeable and familiar enough for them to think about gambling and wanting to interact with the machine further. Immediately familiar images and sounds are likely to lead to a much quicker decision to gamble. All which goes to show – the gaming industry knows what it is doing!
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Griffiths, M.D. (1993). Fruit machine gambling: The importance of structural characteristics. Journal of Gambling Studies, 9, 101-120.
Griffiths, M.D. (2007). Brand psychology: Social acceptability and familiarity that breeds trust and loyalty.Casino and Gaming International, 3(3), 69-72.
Griffiths, M.D. & Dunbar, D. (1997). The role of familiarity in fruit machine gambling. Society for the Study of Gambling Newsletter, 29, 15-20.
Griffiths, M.D. & Parke, J. (2003). The environmental psychology of gambling. In G. Reith (Ed.), Gambling: Who wins? Who Loses? (pp. 277-292).New York: Prometheus Books.
King, D.L., Delfabbro, P.H. & Griffiths, M.D. (2010). Video game structural characteristics: A new psychological taxonomy. International Journal of Mental Health and Addiction, 8, 90-106.
Parke, J. & Griffiths, M.D. (2006). The psychology of the fruit machine: The role of structural characteristics (revisited). International Journal of Mental Health and Addiction, 4, 151-179.
Parke, J. & Griffiths, M.D. (2007). The role of structural characteristics in gambling. In G. Smith, D. Hodgins & R. Williams (Eds.), Research and Measurement Issues in Gambling Studies (pp.211-243). New York: Elsevier.
Wood, R.T.A., Griffiths, M.D., Chappell, D. & Davies, M.N.O. (2004). The structural characteristics of video games: A psycho-structural analysis. CyberPsychology and Behavior, 7, 1-10.
Last week I was one of the millions of football fans that watched the Uruguayan footballer Luis Suárez sink his teeth into the shoulder of Giorgio Chiellini during the Uruguay versus Italy World Cup match. Straight after the match I jokingly tweeted a link to one of my previous blogs on the psychology of sexual biting (known as odaxelagnia). My tweet simply said “Maybe Luis Suárez has an undiagnosed odaxelagnia disorder” followed by a link to my article. The next day, I got a call from a journalist from Daily Telegraph newspaper (Harry Wallop) who was writing an article on why we find the act of biting so shocking.
I’m admittedly no expert on biting but I spent 15 minutes talking to the Telegraph about some of the possible psychological reasons and explanations for human biting in adults. The journalist specifically wanted to know why the act of biting was so shocking. Very little of what I said made it into the published Telegraph article. In fact, the only quotes attributed to me were embedded within a section involving Freudian explanations for biting:
“Suárez may not be found to have committed an offence. But it is clear that an adult biting another in public is much more disturbing than throwing a punch, even if both might be criminal assault. Dr Mark Griffiths, a psychologist at Nottingham Trent University, says: ‘How many times in football have we seen fisticuffs, elbowing, even headbutting? All these things are awful, but they have become almost part and parcel of the game. But biting is so rare, that is one of the reasons why it is so shocking’. Also, psychologists explain, biting shocks us because it involves using an intimate and soft body part that one normally associates with pleasure. And here we touch on a basic tenet of Freudianism. According to the founding father of psychoanalysis, all sexual pleasure and anxieties are rooted in different periods of childhood, the first of which is the oral stage, when babies explore the world through their mouths. Toddlers often then go on to bite to attract attention and will continue doing so until a parent teaches them otherwise. Behaviour learnt in the oral stage of development is the explanation, Freudians believe, for everything from a predilection for chewing pencils all the way to full-blown vampirism. It is no coincidence that Freud wrote his seminal work on psychosexual theories within a decade of the publication of Bram Stoker’s Dracula. The vampire, spreading fear in a sexually repressed society, is a powerful metaphor”.
Anyone that knows me knows that I am no fan of Freudian theory. I find him interesting to read but many of his theories can’t be falsified using the scientific method. If his theories can’t be empirically tested then I have little time to take his theories seriously. (For instance, in my main field of gambling addiction, Signund Freud speculated that gambling was unconscious substitute for masturbation and an act of psychic masochism). However, I do believe that many people have unconscious thoughts and desires and that sometimes people simply do not know why they did what they did. Maybe Suárez’ most recent biting incident was no different. Maybe there was no premeditation and that his bite into Chiellini’s shoulder was simply instinctive. Maybe it was a classically conditioned response going back to his childhood.
One of the most surprising aspects in the aftermath of the whole incident is how Suárez’ teammates, his manager, and even the Uruguayan President Jose Mujica, defended his actions. If an England player had done the same thing, I can’t imagine David Cameron welcoming him back to the country. My partner (who is also a psychologist) and I were talking with our children about Suárez’ actions after the game as they both kept asking about why Suárez would bite someone during a game. We speculated that because Suárez has been great footballer all his life, biting incidents that occurred during his childhood may not have been treated and acted upon in the same way in someone not quite so talented. In short, maybe his biting behaviour was tolerated rather than being punished because he was always told what a gifted individual he was.
While being interviewed by the Telegraph, I also speculated that Suárez’ biting may have been some kind of a stress-based reaction. At the time of the bite in the match, Uruguay were heading out of the tournament (as Italy only needed a draw to progress and the score was 0-0). Maybe Suárez’ felt Uruguay were being pushed into a psychological corner by Italy and the biting was symptomatic of feeling under stress. Although rare, Suárez is not the first sportsman to bite an opponent. Many people will recall Mike Tyson biting a piece out of Evander Holyfield’s ear. Less high profile cases include the rugby union players Johan Le Roux (of South Africa) and Dylan Hartley (England). These other cases somehow seem less shocking than that of Suárez. In the Telegraph article, other psychologists were interviewed. Professor David Wilson (Birmingham City University) was quoted as saying:
“To bite someone, you have to get very close, you have to put your head – the place you want to protect the most in a conflict – right up against them…Think about what this does. It literally marks your partner as belonging to you. In evolutionary terms, there are many animals who bite their mates as a way of controlling them before engaging with them sexually. Try as we might, it is hard to escape the sexual nature of biting. It is sometimes even used as a method of attack during sexual crimes…It is nearly always a form of sadism. Often I’d be looking at children who had been bitten by a paedophile or women who had been bitten on their sexual organs. I really don’t want to over-egg it, but Suárez has a mild psychological issue”.
Dr. Saima Latif wrote an article for the Daily Telegraph and asserted that Suárez needs psychological help (i.e., anger management therapy). He (like I) speculated as to why Suárez had bitten Giorgio Chiellini although Latif’s angle was more Freudian and psychodynamic. He wrote:
“Biting is an act borne of frustration, stress and loss of control. Luis Suárez is likely to have felt humiliated and put down in some way that he wanted to get one over on his opponent…Research shows that the most violent period of our lives is when we are between three and four years old. That is the most aggressive stage of development, because if we don’t get what we want, we fight and lash out. It’s also the stage when the Id takes over; a basic instinct when we can’t control our temperament. It’s a possibility that Suárez thought his provocation would lead to his opponent retaliating and then being sent off. However, given that he may also be sent off for biting, this reasoning is slightly more remote.Perhaps his biting started in childhood and was triggered by something, perhaps he was bitten in turn. To get to the root of the problem and address it effectively he does require psychological therapy which looks at the more deep-seated issues that might be of concern”.
Watching Suárez being interviewed after the game, I’m still amazed how trivial he thought the incident to be (“these things happen in football”). He believed he had done nothing wrong and like a child that has been caught doing something wrong he tried to deflect the blame elsewhere. As Dr. Latif noted:
“Most children, when they are confronted with something they have done, will immediately take recourse in lying. The fact that this is a repeated action shows that it is habitual, rather than pathological. It is his particular technique, which makes you wonder how many time’s he’s done it off the pitch”.
Maybe we’ll never know why biting an opponent is part of Suárez’ non-footballing behavioural repertoire on the field. However, that doesn’t mean we should stop hypothesizing about what caused the behaviour in the first place.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Latif, S. (2014). Luis Suarez needs therapy to overcome urge to bite. Daily Telegraph, June 25. http://www.telegraph.co.uk/sport/football/players/luis-suarez/10925060/Luis-Suarez-needs-therapy-to-overcome-urge-to-bite.html
Wallop, H. (2014). Luis Suárez and the Bite. Daily Telegraph, June 26. Located at: http://www.telegraph.co.uk/sport/football/players/luis-suarez/10925858/Luis-Suarez-and-the-Bite.html
A few days ago my friend and colleague Dr. Andrew Dunn asked me “Have you written anything about loom band addiction? It’s a hot trend right now and it’s not just for the kids”. If you are not a parent of a tweenager, some of you reading this may have no idea of what a ‘loom band’ even is. Basically, it is a bracelet made from coloured rubber bands using a toy loom (such as the Rainbow Loom or the Cra-Z-Loom Ultimate Bracelet Maker).
Although I have never written on the topic, it just so happened that the day before he asked me the question, one of my regular blog readers sent me an article from the online BBC News Magazine examining the ‘loom band craze’ that is apparently sweeping the UK. Earlier in the year, I also got sent an article by Mark O’Sullivan in The Guardian newspaper on the same topic (“Loom bands: tweens are obsessed with it, and it’s a welcome sight’). Just so we are all clear, the definition of a ‘craze’ as defined by the Oxford Dictionary is “an enthusiasm for a particular activity or object which appears suddenly and achieves widespread but short-lived popularity”.
The BBC article – written by Justin Parkinson – began by noting that in this age of the screenager, it’s “curious to find that rubber bands are a big thing”. One of the reasons they have been in the British press is that some schools have banned them (because some children have been using them as weapons rather than as decorative wrist wear. There are also news reports of schools in New York banning them because they were alleged to be the cause of playground fights. Other countries (e.g., the Philippines) have complained that the bands are dangerous to pets as they eat the discarded bands and end up being lodged in animal intestines. Parkinson reported that:
“The Rainbow Loom…has sold more than three million units worldwide. The sheer scale of the craze can be seen in the stats for Amazon UK. All 30 of the best-selling toys are either looms or loom-related. The products top the sales list for every age group except the under-twos…Children use the looms, or their own fingers, to weave coloured bands into items such as bracelets, necklaces and charms. They use dozens of different designs, recommended on YouTube and by word of mouth, including the ‘fishtail’, the ‘dragon scale’ and the ‘inverted hexafish’. In an age when the toy market is dominated by more complicated toys and expensive computer games, backed by marketing campaigns, how did they become so popular?”
It wasn’t so long ago that a similar rubber band craze (i.e., Silly Bandz) swept across a number of countries. Silly Bandz are silicone rubber bands that are shaped into everyday objects, letters, numbers, musical instruments, and animals. However, Silly Bandz were to be collected rather than to be created. In relation to loom bands, the US writer Hallie Sawyer alluded to an addictive quality by describing loom bands as “Silly Bandz on crack [that will] someday clog up every landfill in America”. All I can remember as a kid was using rubber bands to make cheap catapults. For his BBC article, Parkinson interviewed Esther Lutman [assistant curator at the Museum of Childhood] about why loom bands were so popular:
“It’s part of the charm of these crazes that the kids find something they can do at school until they are banned. They keep pushing new stuff, particularly in the summer, when they spend more time in the playground together…I would bracket loom bands] with marbles in the Victorian era, yo-yos in the 1930s and hula-hoops in the 1950s. They are quite cheap, which helps explain their spread around playgrounds. They are at their absolute peak now. Who knows what will be next?”
Although we have no idea what will be next, there will be something else that comes along and captures the time and imaginations of children. Loom bands are clearly the latest in a long line of toy crazes. In my own lifetime I have personally witnessed (as both a teenager and parent) Rubik’s Cube (1980), Cabbage Patch Kids (1983), Slap Bracelets [also known as ‘snap bands’ and described as “Venetian blinds with attitude” by the New York Times) (1990), Tamagotchis (1996), Furbies (1998), Beanie Babies (1995), POGs (1995), and Bratz Dolls (2001).
I am no stranger to writing about crazes (and particularly ‘toy crazes’) and over the last 20 years whenever any new craze comes to the fore I am invariably asked by the media to what extent any of them are addictive and/or problematic. Arguably the most noteworthy (and in hindsight the most embarrassing for me personally) was the rise of the Tamagotchis and Furbies in the mid- to late-1990s. I was quoted in many national newspapers at the time as I had begun to do a bit of research into the psychological effects on children of virtual pets (and even published papers and articles on them – see ‘Further reading below’). For instance, the snippet below appeared in many newspapers:
“Dr. Mark Griffiths of Nottingham Trent University has researched what he calls ‘electronic friendship’, and is an authority on technological addictions. His latest subject is the Tamagotchi phenomenon. ‘Children make a massive psychological investment in these things. There have been reports of children going through a bereavement process when their Tamagotchi dies. That has its good points. The whole thing about simulations, whether it’s a pet or an aeroplane, is they help you in real life. I personally feel, the earlier people learn to cope with bereavement the better it is later in life’. He adds: ‘People do actually have attachments with their computer games and favourite fruit machine games. With virtual pets, I can understand it totally. People like to be needed’”.
Every Christmas for the last few years, UK television’s Channel 4 has repeatedly shown the programme 100 Greatest Toys with Jonathan Ross. The Tamagotchi was voted in at No.54 and I am featured in the show – being interviewed by Andrew Harvey on BBC 1’s Breakfast News – talking about the bereavement like reactions by children to the death of their Tamagotchi.
The good news with all of the crazes that I have ever been asked about is that none of them features a documented case of any child being genuinely addicted to any of the toys that I have been asked to comment on. While some of the children may have engaged excessively in the playing of the toys, there was never any evidence of the children experiencing detrimental effects as a result of being addicted.
Cruz, G. (2010). From Tickle Me Elmo to Squinkies: Top 10 toy crazes. Time, December 23. Located at: http://content.time.com/time/specials/packages/article/0,28804,1947621_1947626_1993018,00.html
Conradt, S. (2010). The quick 10: 10 Toy crazes. Mental Floss, December 18. Located at: http://mentalfloss.com/article/23547/quick-10-10-toy-crazes
Griffiths, M.D. (1997). Are virtual pets more demanding than the real thing? Education and Health, 15, 37-38.
Griffiths, M.D. (1998). The side effects of Furby fever. Nottingham Evening Post, December 18, p.15.
Griffiths, M.D. & Gray, F. (1998). The rise of the Tamagotchi: An issue for educational psychology? BPS Division of Educational and Child Psychology Newsletter, 82, 37-40.
Parkinson, J. (2014). A craze for ‘loom bands’. BBC News Magazine, June 25. Located at: http://www.bbc.co.uk/news/magazine-27974401
O’Sullivan, M. (2014). Loom bands: tweens are obsessed with it, and it’s a welcome sight. The Guardian, April 21. Located at: http://www.theguardian.com/commentisfree/2014/apr/21/loom-bands-tweens-are-obsessed-with-it-and-its-a-welcome-sight
Throughout my academic career, I have always been interested in how the design of environments affects human behaviour. Given that my primary research area is the psychology of gambling and that my most passionate hobby is listening to music, it probably won’t come as a surprise that I have carried out research into the effect of music on gambling behaviour.
The effect of music has been studied extensively in commercial contexts (particularly advertising and retailing). Many research studies have shown that music has the capacity to affect consumers’ perceptions of a particular environment, their intended and actual purchase behaviour, and time spent in a particular environment. Advertisers and marketers use such knowledge to help target their consumer group. Psychologists Adrian North and David Hargreaves have noted in many of their papers that music may have the capacity to modify psychological arousal or induce relaxation. A number of studies have supported this claim through various investigations into the arousal of music.
Highly arousing music has been characterised as loud, unpredictable and with a quick tempo. Low arousing music in contrast is soft, predictable, and has a slower tempo. The more the music is able to produce arousal in individuals, the more pleasurable it is for them, and the more likely it will be their preference. Musical tempo is another area within the field of music that has generated empirical research. A variety of reports from participants and consumers have described fast tempo music with a variety of adjectives, indicating it as happier, pleasant, joyous, exhilarating. Studies manipulating the tempo of music have found that faster music leads to more positive judgements of advertisements, enhances effects on the performance of tasks, leads to faster movement, and higher arousal levels. Slow music has the opposite effects resulting in more relaxing, solemn adjectives being used when participants described it.
As both a structural and situational characteristic in gambling behaviour, the role of music has become more apparent in the last decade. Many slot machines now have musical interludes. This makes them generally more appealing, especially if they are familiar. Researchers (including myself) have consistently argued that sound effects can contribute to the encouragement of gambling.
Back in 2003, Dr. Jonathan Parke and myself published a book chapter examining the environmental psychology of gambling in the book Gambling: Who Wins? Who Loses? (edited by the sociologist Gerda Reith). A small part of that review speculatively examined the role of music in facilitating gambling behaviour. We noted that at the time we wrote the review, no research has been carried out on the topic (and that research was obviously needed). A couple of years later, we published a paper in the Journal of Gambling Issues and reported a number of observations based on our experiences of enaging in participant and non-participant observation in amusement arcades and other gambling venues.
We argued that auditory effects have the capacity to make a slot machine more ”aesthetically appealing” to individuals and this differentiation could be a deciding factor when choosing a machine. We also hypothesized that music has the potential to facilitate, stimulate, maintain and exacerbate gambling behaviour in some individuals. This could be due to the fact that familiar music may induce a feeling of enjoyment as it is recognisable to the individual and thus may entice them into playing (something that I had noted in an earlier paper that I wrote with David Dunbar in a 1997 issue of the Society for the Study of Gambling Newsletter). The music played when one wins is distinctive and memorable and could also lead to further plays. In short, music has the capability to increase confidence, modulate arousal and relaxation and help the player to disregard previous losses.
In 2007, I published a study in the journal International Gambling Studies that I carried out with Laura Dixon and Dr. Richard Trigg investigating the role of music in gambling behaviour. In our experiment, 60 participants played virtual roulette in one of three conditions.The three conditions were (i) no music, (ii) slow tempo music,and (iii) fast music (20 participants in each condition). Tengames of roulette were played with speed of betting, amountspent across high, medium and low-level risk bets and totalamount spent recorded. Their results showed that speed ofbetting was influenced by musical tempo with faster bettingoccurring while listening to higher tempo music.However, there was no relationship between musical tempo and either the size of the bet or the overall amountspent. Although not carried out in a casino, we believed our findingsprovided valuable insight into how background music can bemanipulated to increase the speed of gambling.
In 2010, along with Jenny Spenwyn and Dr. Doug Barrett, I published another study examining the effect of music on gambling in the International Journal of Mental Health and Addiction. This study (as far as we are aware) was the first ever empirical study to examine the combined effects of both music and light on gambling behaviour. While playing an online version of roulette, 56 participants took part in one of four experimental conditions (14 participants in each condition); (1) gambling with fast tempo music under normal (white) light, (2) gambling with fast tempo music under red light, (3) gambling with slow tempo music under normal (white) light, and (4) gambling with slow tempo music under red light. Risk (i.e., the amount of money spent) per spin and speed of bets were measured as indicators of gambling behaviour. We found significant effects for speed of bets in relation to musical tempo, but not light. We also found a significant interaction between light and music for speed of bets. In short, we found that fast tempo music under red light resulted in individuals gambling faster gambling.
Most recently, some of my research colleagues in Norway, led by Dr. Rune Mentzoni, published a paper in the Journal of Behavioral Addictions that also examined music’s effect of gambling behaviour. Like our studies, they carried out a laboratory experiment. Their study comprised101 undergraduate students who played a computerized gambling task inwhich either a high-tempo or a low-tempo musical soundtrack was present. It was reported that: low-tempo music was associated with increased gambling persistence in terms of overall number of bets placed, whereas high-tempo music was associated with intensified gambling in terms of faster reaction time per placed bet. Based on their results, they concluded that high-tempo music is associated with more risky gambling behaviour (by increasing gambling persistence and by reducing reaction time for bets placed).
From the empirical literature published so far, there does appear to be some evidence to suggest that the gambling environment may be manipulated by the use of sound of music (as well as other characteristics such as light and colour) and that such situational characteristics may affect gambling behaviour. However, the empirical base, is limited and further research is needed before reaching any definitive conclusions.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Caldwell, C. & Hibbert, S.A. (1999). “Play that one again: The effect of music tempo on consumer behaviour in a restaurant. European Advances in Consumer Research, 4, 58-62.
Dixon, L., Trigg, R. & Griffiths, M. (2007). An empirical investigation of music and gambling behaviour. International Gambling Studies, 7, (3), 315-326.
Dube, L., Chebat, J.C. & Morin, S. (1995). The effects of background music on consumers desire to affiliate in buyer- seller interactions”, Psychology and Marketing, 12, 305-319.
Griffiths, M.D. & Dunbar, D. (1997). The role of familiarity in fruit machine gambling. Society for the Study of Gambling Newsletter, 29, 15-20.
Griffiths, M.D. & Parke, J. (2003). The environmental psychology of gambling. In G. Reith (Ed), Gambling: Who wins? Who loses? pp. 277-292. New York: Prometheus Books.
Griffiths, M.D. & Parke, J. (2005). The psychology of music in gambling environments: an observational research note. Journal of Gambling Issues, 13. Available at: http://jgi.camh.net/doi/full/10.4309/jgi.2005.13.8
Hebert, S., Beland, R., Dionne-Fournelle, O., Crete, M. & Lupien, S.J. (2004). Psychological stress response to video game playing: the contribution of built in music. Life Sciences, 76, 2371-2380.
Kellaris, J.J. & Kent, R.J. (1993). An exploratory investigation of responses elicited by music varying in tempo, tonality, and texture. Journal of Consumer Psychology, 2, 381-402.
Mentzoni, R. A., Laberg, J. C., Brunborg, G. S., Molde, H., & Pallesen, S. (2014). Type of musical soundtrack affects behavior in gambling. Journal of Behavioral Addictions, DOI: 10.1556/JBA.3.2014.006.
Milliman, R.E. (1982). Using background music to affect the behaviour of supermarket shoppers. Journal of Marketing, 46, 86-91.
Milliman, R.E. (1986). “The influence of background music on the behaviour of restaurant patrons. Journal of Consumer Research, 13, 286-289.
North, A.C., & Hargreaves, D.J. (1997). Experimental aesthetics and everyday music listening. In D.J. Hargreaves & A.C. North (Eds.), The Social Psychology of Music. pp.84-103. Oxford: Oxford University Press.
Parke, J. & Griffiths, M.D. (2006). The psychology of the fruit machine: The role of structural characteristics re-visited. International Journal of Mental Health and Addiction, 4, 151-179.
Parke, J. & Griffiths, M.D. (2007). The role of structural characteristics in gambling. In G. Smith, D. Hodgins & R. Williams (Eds.), Research and Measurement Issues in Gambling Studies. pp.211-243. New York: Elsevier.
Spenwyn, J., Barrett, D.K.R. & Griffiths, M.D. (2010). The role of lights and music in gambling behavior: An empirical pilot study. International Journal of Mental Health and Addiction, 8, 107-118.