Category Archives: Academic career development
It’s now been a year since the tragic death of David Bowie and this is my fourth blog on him in that period (my others being my personal reflections on the psychology of Bowie, Bowie and the Beatles, and Bowie and the occult). Outside of my own friends and family, it’s still Bowie’s death that has affected me the most psychologically but at least I still have his music to listen to. Bowie inspired millions of people in many different ways. This blog looks at the things that I have learned from Bowie and how he influenced my career.
Persevere with your life goals – Most people are aware that it took years for Bowie to have has first hit single (‘Space Oddity’, 1969), five years after his first single (‘Liza Jane’, 1964). Even after the success of ‘Space Oddity’, it took another three years before he had his second hit single (‘Starman’, 1972) and in the early 1970s there were many who thought he would be a ‘one-hit wonder’ and a small footnote in music history. Bowie never gave up his quest for musical stardom and is arguably one of the best examples of the proverb “If at first you don’t succeed, try, try again”. I’ve often told others that they key to success is being able to learn from your mistakes and being able to handle rejection (which for academics is having papers rejected, grant bids rejected, and attempts at promotion rejected, etc.). Bowie personified perseverance and for this quality alone I am very grateful as it has been the bedrock of my career to date.
Encourage teamwork and collaboration – Despite being a solo artist for the vast majority of his post-1969 career (Tin Machine being the most high-profile notable exception), Bowie was (like me) a ‘promiscuous collaborator’ and much of his success would not have been possible without a gifted team around him whether it be his inner circle of musicians (Mick Ronson, Carlos Alomar, Robert Fripp, Mike Garson, etc.), his producers (Tony Visconti, Nile Rogers, Ken Scott, etc.), co-writers and inspirators (Iggy Pop, Lou Reed, Brian Eno, John Lennon, etc.), or those he jointly released music with (Mott The Hoople, Queen, Arcade Fire, Pet Shop Boys, Placebo, to name just a few). I have carried out and published research with hundreds of people during my 30-year academic career, and like Bowie, some are one-off collaborations and others are lifelong collaborations. Bowie taught me that although I can do some things by myself, it is the working with others that brings out the best in me.
Experiment to the end – Bowie was never afraid to experiment and try new things whether it was musical, pharmacological, spiritual, or sexual. Mistakes were part of the learning process and he pursued this – especially musically – until the very end of his life (for instance, on his ★ [Blackstar] album where he employed a local New York jazz combo led by saxophonist Donny McCaslin). Failure is success if we learn from it and this is one of the maxims that I live my life by. Bowie taught me that you can have lots of other interests that can be rewarding even if you are not as successful as your day job. Bowie liked to act (and obviously had some success in this area) and also liked to paint (but had much less success here than his other artistic endeavours). By any set of criteria, I am a successful academic but I also like to write journalistically and engage in a wide variety of consultancy (areas that I have had some success) and I like writing poetry (something that I have not been successful financially – although I did win a national Poetry Today competition back in 1997 and have published a number of my poems). Bowie taught me that success in one area of your life can lead to doing other more experimental and rewarding activities even if they are not as financially lucrative.
Push yourself (even in the bad times) – One of the things I love about Bowie was his ability to carry on working and being productive even when he was not at his physical best. Nowhere is this more exemplified than working on the ★ LP while undergoing chemotherapy for his liver cancer. There are also other times in his life such as when he was at the height of his cocaine addiction in 1975 where he produced some of the best music of his career (most notably the Young Americans and Station to Station LPs, the latter of which is one of my all-time favourite records). I have had a few low periods in my life due to various health, relationship and/or personal issues but I have learned through experience that work is a great analgesic and that even when you are at your lowest ebb you can still be highly productive.
Have a Protestant work ethic – Bowie was arguably one of the most hard-working musicians of all time and had what can only be described as a Protestant work ethic from the early 1960s right up until his heart attack in 2004. I am a great believer in the philosophy that “you get out what you put in” and Bowie exemplified this. Andy Warhol told Lou Reed while he was in the Velvet Underground that he should work hard, because work is all that really matters (and was the subject of the song ‘Work’ on the seminal Songs For Drella LP by Reed and John Cale). Bowie also appeared to live by this mantra and is something that I adhere to myself (and is why I am often described as being a workaholic). While Bowie isn’t my only role model in this regard, he’s certainly the most high-profile.
Lead by example but acknowledge your influences – Bowie had a unique gift in being able to borrow from his own heroes but turn it into something of his own (without ever forgetting his own heroes and influences – his Pin Ups LP probably being the best example of this). One of my favourite phrases is “Don’t jump on the bandwagon, create it”, and this has as underpinned a lot of the research areas that I have initiated and is something that I learned from Bowie. Maybe Bowie is a case of the quote often attributed to Oscar Wilde that “talent borrows, genius steals”.
Promote yourself – If there is one thing that Bowie was gifted in as much as his songwriting, it was his own art of self-promotion. Bowie always had the knack to generate news stories about himself and his work without seemingly trying. By the end of his career, it was the act of not saying anything or doing any personal publicity that was just as newsworthy. Bowie intuitively knew how to garner media publicity on his own terms in a way that very few others can. (I also argued that another one of my heroes – Salvador Dali – did the same thing in one of my articles on him in The Psychologist back in 1994). I’d like to think I am good at promoting my work and Bowie is one of my role models in this regard.
Be opportunistic and flexible – If there is one thing besides working hard that sums up my career to date, it is being opportunistic and flexible. As a voracious reader of all things Bowie since my early teens, I always loved Bowie’s sense of adventure and just following paths because they might lead you to something unexpected. Whether it was his use of the ‘cut up’ technique for writing lyrics (developed by Brion Gysin and William S. Burroughs), his use of Brian Eno’s ‘oblique strategy’ cards, or his love of studio improvisation (such as on the Berlin trilogy albums and the Outside LP), Bowie showed that inspiration for his musical and lyrical ideas could come from anywhere – from a person, from a fleeting observation, from something he read, from something he heard or saw in film or TV programme, and from his own life experiences. I too have taken this approach to my work and believe I am a much better person for it.
Be a mentor to others – Whatever career path you follow, mentors are key in developing talent and Bowie was a mentor to many people that he personally worked with (including many of the artists I named in the section on encouraging teamwork and collaboration above) as well as being an inspirational influence to those he never met (including myself).
Learn from those younger and less experienced than yourself – Paradoxically, despite being an influence on millions of people across many walks of life, Bowie was never afraid to learn from those much younger than himself and exemplified the maxim that you’re never too old to learn new things. He loved innovation and ideas and would soak it up from whoever was around him. As I have got older, this is something that I value more and am never afraid to learn from those much younger or seemingly less experienced than myself – particularly my PhD students.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Buckley, D. (2005). Strange Fascination: David Bowie – The Definitive Story. London: Virgin Books.
Cann, K. (2010). Any Day Now: David Bowie The London Years (1947-1974). Adelita.
Goddard, S. (2015). Ziggyology. London: Ebury Press.
Griffiths, M.D. (1994). Heroes: Salvador Dali. The Psychologist: Bulletin of the British Psychological Society, 7, 240.
Hewitt, P. (2013). David Bowie Album By Album. London: Carlton Books Ltd.
Leigh, W. (2014). Bowie: The Biography. London: Gallery.
Pegg, N. (2011). The Complete David Bowie. London: Titan Books.
Seabrook, T.J. (2008). Bowie In Berlin: A New Career In A New Town. London: Jawbone.
Spitz, M. (2009). Bowie: A Biography. Crown Archetype.
Trynka, P. (2011). Starman: David Bowie – The Definitive Biography. London: Little Brown & Company.
All of us who are involved in any kind of academic writing have to conform to minimum standards such as the meticulous recording of source material in the form of cited references. Griffiths (2005) noted that there are three main reasons why people use references. These being (i) the expression of an idea has been put forward more clearly elsewhere by someone else, (ii) to make specific reference to relevant past literature, and (iii) to provide suggestions for further background reading.
These reasons can also be applied to self-citation. However, self-citation has additional advantages. Griffiths (2005) also notes that self-citation references can also be used to (i) let journal reviewers and referees know who has written the paper (which may not always be a good thing!), (ii) to establish to readers your reputation in a given area and/or (iii) satisfy cravings to see your name in print! In today’s blog I aim to examine the art of obsessive self-citation in academic writing and give some effortless hints and tips.
It has previously been asserted that self-citation is academia’s way of expressing one’s ego although this was based on anecdotal evidence rather than any kind of empirical investigation (Griffiths, 2016a). After an exhaustive literature search it perhaps came as no surprise that I found absolutely nothing on the subject of self-citation except an unpublished paper by myself (Griffiths, 2013) which has been described as “the best article in this area” (Griffiths, 2016b).
So what can the experienced and obsessive self-citation expert get up to in the course of a single article? Self-citation aficionados are known to use such tricks as referring to themselves in less conventional formats such as letters to national newspaper (e.g. Griffiths, 1998), articles in international newspapers (Griffiths, 2014), articles in national newspapers (e.g. Griffiths, 2016c), articles in local newspapers (Griffiths, 2016d), educational leaflets (e.g. Griffiths, 1993a), consultancy reports (e.g. Griffiths, 2002a) or blogs (Griffiths, 2016e).
However, these work most effectively if they are buried away amongst more conventional references such as books and refereed journal articles. Those experienced in obsessive self-citation will often sink to even murkier depths. For instance, self-citation is an excellent way of introducing something that seems implausible into your argument. Two common ways to disguise implausibility is the liberal use of such phrases as “paper forthcoming”, “manuscript submitted for publication”, “internal report” or “personal communication” (however, the latter should be used very sparingly as it suggests that the author is someone who talks about things more than writing them). If you sprinkle these into an article and intersperse them with a few very genuine citations such as books you wrote which received very good reviews (Griffiths, 1995; 2002b) or some of your good and/or highly cited refereed journal papers spread across a number of years (Auer & Griffiths, 2015; Cole & Griffiths, 2007; Griffiths, 1991a; 1993b; 1994; 1996; 1997; 1999; 2000; 2001; 2003; 2004; 2008; 2010; Griffiths, Kuss, Billieux & Pontes, 2016; Kuss, Griffiths & Binder, 2013) it can look very professional and in some cases impressive (or just show you to be the egomaniac that you are).
For the really experienced, secondary self-citation or embedded self-citations can often be useful. This is a technique where you can use quotes attributed to you in a newspaper or magazine article written by someone else (e.g. Griffiths, 1991b) although it looks as though it is one of the author’s bona fide references.
However, as my last word on the subject, I will leave you with one practice you should definitely avoid. I am referring to the inclusion of self-citation by pseudonym that has been described by Mithgriffs (2015) as “a despicable habit that should be stamped out”.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Auer, M. & Griffiths, M.D. (2015). Testing normative and self-appraisal feedback in an online slot-machine pop-up message in a real-world setting. Frontiers in Psychology, 6, 339. doi: 10.3389/fpsyg.2015.00339.
Cole, H. & Griffiths, M.D. (2007). Social interactions in Massively Multiplayer Online Role-Playing gamers. CyberPsychology and Behavior, 10, 575-583.
Griffiths, M.D. (1991a). The observational study of adolescent gambling in UK amusement arcades. Journal of Community and Applied Social Psychology, 1, 309-320.
Griffiths, M.D. (1991b). Cited in Neustatter, A. “Keyboard junkies”. The Independent on Sunday Review, November 17, p.64.
Griffiths, M.D. (1993a). Your child and video games: Advice for parents. Coventry: National Council for Educational Technology (leaflet).
Griffiths, M.D. (1993b). Tolerance in gambling: An objective measure using the psychophysiological analysis of male fruit machine gamblers. Addictive Behaviors, 18, 365-372.
Griffiths, M.D. (1994). The role of cognitive bias and skill in fruit machine gambling. British Journal of Psychology, 85, 351-369.
Griffiths, M. (1995). Adolescent Gambling. London: Routledge.
Griffiths, M.D. (1996). Pathological gambling and its treatment. British Journal of Clinical Psychology, 35, 477-479.
Griffiths, M.D. (1997). Video games and clinical practice: Issues, uses and treatments. British Journal of Clinical Psychology, 36, 639- 641.
Griffiths, M.D. (1998). Unlucky number for under-16s. The Guardian, February 25, p.15.
Griffiths, M.D. (1999). Counselling in the treatment of pathological gambling: An overview. British Journal of Guidance and Counselling, 27, 179-190.
Griffiths, M.D. (2000). Internet addiction – Time to be taken seriously? Addiction Research, 8, 413-418.
Griffiths, M.D. (2001). Sex on the Internet: Observations and implications for sex addiction. Journal of Sex Research, 38, 333-342.
Griffiths, M.D. (2002a). The Social Impact of Casinos. Nottingham: Browne-Jackson.
Griffiths, M.D. (2002b). Gambling and Gaming Addictions in Adolescence. Leicester: British Psychological Society/Blackwells.
Griffiths, M.D. (2003). The therapeutic use of videogames in childhood and adolescence. Clinical Child Psychology and Psychiatry, 8, 547-554.
Griffiths, M.D. (2004a). Odds and sods: You (nearly) win again. The Guardian, April 20, p. 6.
Griffiths, M.D. (2004b). Can videogames be good for your health? Journal of Health Psychology, 9, 339-344.
Griffiths, M.D. (2005). Self-citation: A practical guide. Null Hypothesis: The Journal of Unlikely Science (‘Best of’ issue), 15-16.
Griffiths, M.D. (2008). The biopsychosocial and “complex” systems approach as a unified framework for addiction. Behavioral and Brain Sciences, 31, 446-447.
Griffiths, M.D. (2010). The role of context in online gaming excess and addiction: Some case study evidence. International Journal of Mental Health and Addiction, 8, 119-125.
Griffiths, M. (2013). The art of self-citation. Article submitted for publication.
Griffiths, M.D. (2014). Sunshine: As addictive as heroin? Washington Post. June 24. Located at http://www.washingtonpost.com/posteverything/wp/2014/06/24/sunshine-as-addictive-as-heroin/
Griffiths, M. (2016a). Personal communication with myself. September 29, 2016.
Griffiths, M.D. (2016b). Personal communication with myself. September 29, 2016.
Griffiths, M.D. (2016c). It will rule your life but addicts can be helped. Sunday Mirror, May 1, p.5.
Griffiths, M.D. (2016d). Sorry may be the hardest word but more people than ever are saying it. Nottingham Post, April 11, p.14.
Griffiths, M.D. (2016e). Market forces: Does gambling advertising increase problem gambling? August 22. Located at: https://drmarkgriffiths.wordpress.com/2016/08/22/market-forces-does-gambling-advertising-increase-problem-gambling/
Griffiths, M.D., Kuss, D.J., Billieux J. & Pontes, H.M. (2016). The evolution of internet addiction: A global perspective. Addictive Behaviors, 53, 193–195.
Kuss, D.J., Griffiths, M.D. & Binder, J. (2013). Internet addiction in students: Prevalence and risk factors. Computers in Human Behavior, 29, 959-966.
Mithgriffs, G. (2015). Whose self-citation is it anyway? Occasional Made-Up Paper (No.3).