Category Archives: Fame

Click and collect: A brief personal look at Bowie obsession and completism

The great thing about having your own blog is that you can write what you want when you want without any outside interference or editorial control. I’m in total charge. The last article I published on my blog was about David Bowie and so is this one. The main reason I’ve come back to Bowie is that since Christmas I have been playing nothing but Bowie (or Bowie-related albums) on repeat for hours a day. Thankfully, there are so many albums that I’ve not played any of his studio albums more than three or four times in this latest Bowie-obsessed period in my life.

There are also so many compilations that I have been playing although there are three or four that are played significantly more than most. The first is my all-time favourite Bowie LP, All Saints, a collection of his career-spanning instrumentals. The songs are heavily biased to the wordless masterpieces on his Low and “Heroes” albums (as well as the underrated but brilliant Buddha of Suburbia album) but it’s the perfect album to play in bed with my headphones on. Similarly, another album that I love playing is Christiane F. which is nominally the soundtrack to the German film of the same name (in which Bowie appears briefly as himself in a concert scene). It only features songs from Bowie’s ‘Berlin Trilogy’ period (i.e., Low, “Heroes” and Lodger) and its predecessor Station to Station. I simply love the songs in this period of Bowie’s career (i.e., 1976-1979).

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Another compilation that I have played a lot is the second disc in the 2-CD greatest hits collection Legacy, released shortly after Bowie’s death. Yes, it was a cash-in, but I still love it. This is because it features the many gems from his later catalogue all in one place – the singles that appeared on his last four studio LPs (Heathen, Reality, The Next Day, and Blackstar). The final compilation I have been playing a lot is the third disc from the triple-CD The Platinum Collection which covers Bowie’s most maligned years (1980-1987). My least favourite Bowie albums are Tonight, Let’s Dance, and Never Let Me Down (although I do like the newly re-recorded version in the latest Loving The Alien boxset) but the singles released during this period are generally great including many standalone singles not on any of these albums (and primarily written and recorded for film soundtracks) such as This Is Not America, When The Wind Blows, Cat People (Putting Out Fire), Underground, Absolute Beginners, and The Alabama Song. These singles along with good songs on mediocre records (Let’s Dance, Modern Love, China Girl, Blue Jean, Loving The Alien, Time Will Crawl, etc.).

The reason that I actually decided to write this particular blog was to once again give my readers some insight into the mind of an obsessive ‘completist’. I did this in two previous blogs (here and here) but this one goes a little wider in scope because it goes beyond Bowie’s recorded outputs. It shouldn’t come as a surprise that I have every single album that Bowie has ever released (including every studio LP, every live LP, and every compilation across all stages of Bowie’s 50-year career). I also have dozens and dozens of Bowie bootlegs (mostly unreleased concerts but also various CDs that include outtakes and demos that any serious Bowie collector has in their possession). In addition, I also collect Bowie music DVDs (e.g., documentaries, recorded concerts, promo videos, etc.). I also have hundreds of books and Bowie magazine specials (yes I’m a hoarder).

However, this Christmas I made the decision that I am now going to collect all the films in which Bowie has acted in on DVD. This is easier said than done because I have to devise inclusion and exclusion criteria as to where I will draw a line as to what to buy. Thankfully, being a Bowie-obsessive I already had a lot of his non-musical acting appearances in my DVD collection already. For instance, I have many different versions of his best film (The Man Who Fell To Earth, 1976) on DVD including the 4-disc 40th Anniversary Collector’s Edition. I also have DVDs of other films in my collection that I like but which I bought because I liked the film rather than bought it because Bowie starred in it (i.e., Merry Christmas Mr. Lawrence [1983], The Hunger [1983], Basquiat [1996], The Prestige [2006]). I also have DVD films that I bought for my children (when they were younger) but did so because Bowie was in it (Labyrinth [1986], The Snowman [1982]). Also, back in 2016, I treated myself to a boxset of films and television programmes (Dissent and Disruption)  directed by Alan Clarke. One of the reasons I bought it (but not the only reason) was that it featured Bowie’s lead role performance in the BBC drama Baal. I also got a Bowie film boxset from my partner for Christmas that featured three Bowie films that weren’t in my collection already (i.e., Absolute Beginners [1986], Just A Gigolo [1978], and Into The Night [1985]). The other notable acting performance by Bowie that I already had in DVD was his brilliant cameo appearance in Ricky Gervais’ comedy Extras (2006).

So what to buy next? I know I’m going to end up buying films that I will watch but won’t particularly or necessarily enjoy (unfortunately one of the real downsides of being an obsessive completist but something that we completists take in our stride). One of my rules is that I will only buy the DVDs if I can get them cheaply (i.e., under £10 and preferably less). So in the past week or so I have ordered the following films via Amazon (all pre-owned): The Last Temptation of Christ (1988), Gunfighters Revenge (1998; aka Gunslingers Revenge), Everyone Love’s Sunshine (1999; aka B.U.S.T.E.D.), The Linguini Incident (1991), August (2008; aka Landshark), and Mr. Rice’s Secret (2000). I got all of these really inexpensively from the cheapest at £1.24 to £7.91. I also picked up the complete TV boxset of Series 2 of The Hunger (1999-2000) which features one episode with Bowie in it as well as other episodes of him as narrator (£3.49).

So what remains to buy? Surprisingly, one film I should have in my collection is the film Twin Peaks: Fire Walk With Me (1992) but I don’t (as yet). I say “should” because I am a Twin Peaks fan (I love David Lynch films) and already have the Twin Peaks (Definitive Gold Box Edition) but have yet to get the associated film starring Bowie. I’m just waiting to try and get a cheap copy. No-brainer. After that it gets a bit more difficult as to what I should buy to complete my collection. Do I buy those films or TV programmes in which Bowie has voiced a character rather than actually acted in? The two cases in question are his appearance in an episode of SpongeBob SquarePants (2007; he voiced the character Lord Royal Highness) and the film Arthur and the Invisibles (2007; he voiced the character Emperor Maltazard). I then have to decide if I want to buy films that Bowie had uncredited and/or ‘blink and you’ll miss him’ appearances (the most obvious examples are Bowie’s appearances in The Virgin Soldiers [1969] and Yellowbeard [1983]). There are also a few films where Bowie has cameo appearances as himself (most notably Zoolander [2001] and Bandslam [2009]).

So there you have it. More insight into the mind of an obsessive Bowie completist. Individuals like myself are a dream for those that sell Bowie merchandise. We buy things without worrying about the quality. It’s almost an inner compulsion to do so. Sometimes I wish I wasn’t a completist but like any serious collector, there is nothing better than knowing you have the complete collection of whatever is collectable.

Dr. Mark Griffiths, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

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.

Hewitt, P. (2013). David Bowie Album By Album. London: Carlton Books Ltd.

Jones, D. (2017). David Bowie: A Life. New York: Penguin Random House

Leigh, W. (2014). Bowie: The Biography. London: Gallery.

Pegg, N. (2016). The Complete David Bowie (Revised and Updated 2016 Edition). 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.

Under the influence: The things I learned from David Bowie

Today is three years since the tragic death of David Bowie. As I have noted in my previous articles on David Bowie (here, here and here), outside of my own friends and family, it’s still Bowie’s death that has affected me the most psychologically. 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.

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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 31-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, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

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.

World of the Weird: The A-Z of strange and bizarre addictions

Today’s blog takes a brief look at some of the stranger addictions that have been written about in the academic literature (or academics that have tried to argue these behaviours can be addictive). Some of these ‘addictions’ listed are not addictions by my own criteria but others have argued they are. The papers or books that have argued the case for the cited behaviour being a type of addiction are found in the ‘Further reading’ section.

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  • Argentine tango addiction: A French study published in a 2013 issue of the Journal of Behavioral Addictions by Remi Targhetta and colleagues argued that a minority of 1129 Argentine tango dancers they surveyed may be addicted to dancing. In 2015, I and some of my Hungarian colleagues developed the Dance Addiction Inventory (published in PLoS ONE) and also argued that a minority of dancers (more generally) might be addicted to dance and conceptualized the behaviour as a form of exercise addiction.
  • Badminton addiction: While there are many behaviours I could have chosen here including addictions to box set television watching (aka ‘box set bingeing), bargain hunting, bungee jumping, blogging, and bodybuilding, a recent 2018 paper published in NeuroQuantology by Minji Kwon and colleagues carried out a neuroimaging study on a sample 45 badminton players. Using the Korean Exercise Addiction Scale, 20% of the sample were defined as being addicted to badminton.
  • Carrot eating addiction: Again, there are many behaviours I could have chosen here including alleged addictions to crypto-trading, chaos, collecting, crosswords, and cycling, there are a number of published case studies in the psychological literature highlighting individuals addicted to eating carrots including papers by Ludek Černý and Karel Černý, K. (British Journal of Addiction, 1992), and Robert Kaplan (Australian and New Zealand Journal of Psychiatry, 1996).
  • Death addiction: A recent paper by Dr. Marc Reisinger entitled ‘Addiction to death’ in the journal CNS Spectrums attempted to argue that attraction to death be considered an addiction similar to gambling addiction. Reisinger related the concept to individuals who have left Europe to join the jihad in Syria, and outlined the case of 24-year-old French-Algerian Mohamed Merah who committed several attacks in Toulouse in 2012 and who ‘glorified’ death. Te paper claimed that this “addiction to death is taught by Salafist preachers, whose videos, readily accessible on the internet, are kind of advertisements for death, complete with depictions of soothing fountains and beautiful young girls”.
  • Entrepreneurship addiction: There are a couple of papers by April Spivack and Alexander McKelvie (a 2014 paper in the Journal of Business Venturing, and a 2018 paper Academy of Management) arguing that entrepreneurship can be addictive. They define ‘entrepreneurship addiction’ as “the excessive or compulsive engagement in entrepreneurial activities that results in a variety of social, emotional, and/or physiological problems and that despite the development of these problems, the entrepreneur is unable to resist the compulsion to engage in entrepreneurial activities”. They also make the case that that entrepreneurship addiction is different from workaholism.
  • Fortune telling addiction: Although I could have included addictions to financial trading or fame, a 2015 paper in the Journal of Behavioral Addictions by Marie Grall-Bronnec and her colleagues reported the case study of a woman (Helen) that was ‘addicted’ to fortune tellers. They used my addiction criteria to assess whether Helen was addicted to fortune telling, and argued that she was.
  • Google Glass addiction: In previous blogs I have written on addictions to gossip and gardening (although these were based more on non-academic literature). However, a 2015 paper published by Kathryn Yung and her colleagues in the journal Addictive Behaviors, published the first (and to my knowledge) only case of addiction to Google Glass (wearable computer-aided glasses with Bluetooth connectivity to internet-ready devices. The authors claimed that their paper, (i) showed that excessive and problematic uses of Google Glasscan be associated with involuntary movements to the temple area and short-term memory problems, and (ii) highlighted that the man in their case study displayed frustration and irritability that were related to withdrawal symptoms from excessive use of Google Glass.
  • Hacking addiction: Back in the late 1990s and early 2000s I wrote a number of papers on internet addiction and included ‘hacking addiction’ as a type of internet addiction. Given the criminal element of this type of internet addiction I wrote about it in criminological-based journals such as The Probation Journal (1997) and The Police Journal (2000). One of the most infamous cases that I have written about took place in London in 1993, where Paul Bedworth was accused of hacking-related crime causing over £500,000 worth of damage. On the basis of expert witness testimony, he was acquitted on the basis that he was addicted to hacking. Since then, various papers have been published arguing that hacking can be an addiction. For instance, in an in-depth interview study of 62 hackers, Siew Chan and Lee Yao used addiction as a framework to explain their participants’ behaviour (see their paper in the Review of Business Information Systems, 2005).
  • Internet search addiction: Although I was tempted to go for IVF addiction, I thought I would go for ‘internet search addiction’ which basically refers to constant ‘googling’ where individuals spend hours and hours every day using online databases to go searching for things. This behaviour was first alluded to by Kimberley Young in her 1999 classification of different types of internet addiction which she called ‘information overload’ and was defined as compulsive web surfing or database searches. More recently, Yifan Wang and her colleagues developed the Questionnaire on Internet Search Dependence (QISD) published in Frontiers in Public Health (FiPH). I criticized the QISD in a response paper published in FiPH, not because I didn’t think internet search addiction didn’t exist (because theoretically it might do, even though I’ve never come across a genuine case) but because the items in the instrument had very little to do with addiction.
  • Joyriding addiction: There have been a number of academic papers published on joyriding addiction. Arguably the most well-known study was published by Sue Kellett and Harriet Gross in a 2006 issue of Psychology, Crime and Law. The study comprised semi-structured interviews with 54 joyriders (aged 15 to 21 years of age) all of whom were convicted car thieves (“mainly in custodial care”). The results of the study indicated that all addiction criteria occurred within the joyriders’ accounts of their behaviour particularly ‘‘persistence despite knowledge and concern about the harmful consequences’’, ‘‘tolerance’’, ‘‘persistent desire and/or unsuccessful attempts to stop’’, “large amounts of time being spent thinking about and/or recovering from the behaviour’’ and “loss of control”. The paper also cited examples of ‘withdrawal’ symptoms when not joyriding, the giving up of other important activities so that they could go joyriding instead, and spending more time participating in joyriding than they had originally intended.
  • Killing addiction: The idea of serial killing being conceptualized as an addiction in popular culture is not new. For instance, Brian Masters book about British serial killer Dennis Nilsen (who killed at least 12 young men) was entitled Killing for Company: The Story of a Man Addicted to Murder, and Mikaela Sitford’s book about Harold Shipman, the British GP who killed over 200 people, was entitled Addicted to Murder: The True Story of Dr. Harold Shipman. In Eric Hickey’s 2010 book Serial Murderers and Their Victims, Hickey makes reference to an unpublished 1990 monograph by Dr. Victor Cline who outlined a four-factor addiction syndrome in relation to sexual serial killers who (so-called ‘lust murderers’ that I examined in a previous blog). One of the things that I have always argued throughout my career, is that someone cannot become addicted to an activity or a substance unless they are constantly being rewarded (either by continual positive and/or negative reinforcement). Given that serial killing is a discontinuous activity (i.e., it happens relatively infrequently rather than every hour or day) how could killing be an addiction? One answer is that the act of killing is part of the wider behaviour in that the preoccupation with killing can also include the re-enacting of past kills and the keeping of ‘trophies’ from the victims (which I overviewed in a previous blog).
  • Love addiction: In the psychological literature, the concept of love addiction has been around for some time dating back to works by Sigmund Freud. Arguably the most cited work in this area is the 1975 book Love and Addiction by Stanton Peele and Archie Brodsky. Their book suggested that some forms of love are actually forms of addiction, and tried to make the case that some forms of love addiction may be potentially more destructive and prevalent than widely recognized opiate drugs. There have also been a number of instruments developed assessing love addiction including the Love Addiction Scale (developed by Hunter, Nitschke, and Hogan, 1981), and the Passionate Love Scale (developed by Hatfield, and Sprecher, 1986).
  • Muscle dysmporphia as an addiction: In a paper I published with Andrew Foster and Gillian Shorter in a 2015 issue of the Journal of Behavioral Addictions, we argued that muscle dysmorphia (MD) could be classed as an addiction. MD is a condition characterised by a misconstrued body image in individuals who interpret their body size as both small or weak even though they may look normal or highly muscular. MD has been conceptualized as a body dysmorphic disorder, an eating disorder, and/or part of the obsessive-compulsive disorder symptomatology. Reviewing the most salient literature on MD, we proposed an alternative classification of MD that we termed the ‘Addiction to Body Image’ (ABI) model. We argued the addictive activity in MD is the maintaining of body image via a number of different activities such as bodybuilding, exercise, eating specific foods, taking specific drugs (e.g., anabolic steroids), shopping for specific foods, food supplements, and/or physical exercise accessories, etc.. In the ABI model, the perception of the positive effects on the self-body image is accounted for as a critical aspect of the MD condition (rather than addiction to exercise or certain types of eating disorder). Based on empirical evidence, we proposed that MD could be re-classed as an addiction due to the individual continuing to engage in maintenance behaviours that may cause long-term harm.
  • News addiction: Although I could have chosen nasal spray addiction or near death addiction, a recent 2017 paper on ‘news addiction’ was published in the Journal of the Dow University of Health Sciences Karachi by Ghulam Ishaq and colleagues. The authors used some of my papers on behavioural addiction to argue for the construct of ‘news addiction’ as a construct to be empirically investigated. The authors also developed their own 19-item News Addiction Scale (NAS) although the paper didn’t give any examples of any of the items in the NAS. In relation to personality types (and like other addictions), they found news addiction was positively correlated with neuroticism and negatively correlated with conscientiousness. Given that this is the only study on news addiction that I am aware of, I’ll need a lot more research evidence before I am convinced that it really exists.
  • Online auction addiction: A number of academics have made the claim that some individuals can become addicted to participating in online auctions. In a 2004 paper on internet addiction published in American Behavioral Scientist, Kimberley Young mentioned online auction [eBay] addiction in passing. The same observation was also made in a later 2009 paper by Tonino Cantelmi and Massimo Talls in the Journal of CyberTherapy and Rehabilitation. Other researchers have carried out empirical studies including a (i) 2007 paper by Cara Peters and Charles Bodkin in the Journal of Retailing and Consumer Services, (ii) 2008 paper by Chih-Chien Wang in the Proceedings of the Asia-Pacific Services Computing Conference, and (iii) 2011 study carried out by Dr. Ofir Turel and colleagues published in the MIS Quarerly. These papers indicated that those with problematic online auction use experienced (i) psychological distress, (ii) habitual usage, (iii) compulsive behaviour, (iv) negative consequences, and/or (v) dependence, withdrawal and self-regulation.
  • Pinball addiction: Although I could have listed alleged addictions to plastic surgery and poetry, as far as I am aware, I am the only academic to have published a paper on pinball addiction. Back in 1992, I published a case study in Psychological Reports. My paper featured the case of a young man (aged 25 years) who (based on classic addiction criteria) was totally hooked on pinball. It was the most important thing in his life, used the behaviour to modify his moods, got withdrawal symptoms if he was unable to play pinball, had engaged in repeated efforts to cut down or stop playing pinball, and compromised all other activities in his life (education, occupation and relationships). To me, this individual had a gaming addiction but it was pinball rather than videogame addiction.
  • Qat addiction: Qat (sometimes known as khat, kat, cat, and ghat) is a flowering plant traditionally used as a mild stimulant in African and Middle East countries (Somalia, Yemen, Ethiopia). Heavy qat users can experience many side effects including insomnia, anxiety, increased aggression, high blood pressure, and heart problems. There are numerous reports in the medical literature of qat addiction (see papers by Rita Manghi and colleagues in the Journal of Psychoactive Drugs, and Nezar Al-Hebshi and Nils Skuag in Addiction Biology).
  • Rock climbing addiction: Over the past two years, a couple of papers by Robert Heirene, David Shearer, and Gareth Roderique-Davies have looked at the addictive properties of rock climbing specifically concentrating on withdrawal symptoms and craving. In the first paper on withdrawal symptoms published in 2016 in the Journal of Behavioral Addictions, the authors highlighted some previous research suggesting that there are similarities in the phenomenology of substance-related addictions and extreme sports (in this case rock climbing). The study concluded that based on self-report, rock climbers experienced genuine withdrawal symptoms during abstinence from climbing and that these were comparable to individuals with substance and other behavioural addictions. In a second investigation just published in Frontiers in Psychology, the same team reported the development of the Rock Climbing Craving Questionnaire comprising three factors (‘positive reinforcement’, ‘negative reinforcement’ and ‘urge to climb’).
  • Study addiction: I was spoilt for choice on the letter ‘S’ and could have mentioned addictions to speeding, selfie-taking, shoplifting, Sudoko, and stock market speculation. However, there are now a number of published papers on ‘study addiction’ (individuals addicted to their academic study), three of which I have co-authored (all in the Journal of Behavioral Addictions and led by my colleague Pawel Atroszko). We have conceptualised study addiction as a type of work addiction (or a pre-cursor to work addiction) and in a series of studies (including longitudinal research) we have found empirical evidence of ‘study addiction’. Italian researchers (Yura Loscalzo and Marco Giannini) have also published research on ‘overstudying’ and ‘studyholism’ too (in the journals ARC Journal of Psychiatry, 2017; Social Indicators Research, 2018).
  • Tanning addiction: There is now lots of empirical research examining ‘tanorexia’ (individuals who crave tanning and spend every day on sunbeds). However, I along with my colleagues in Norway recently reconceptualised tanorexia as a ‘tanning addiction’ and developed a scale to assess it (which was recently published in a 2018 issue of the British Journal of Dermatology). Our study was the largest over study on tanning (over 23,000 participants) and our newly developed scale (the Bergen Tanning Addiction Scale) had good psychometric properties.
  • Upskirting addiction: Upskirting refers to taking a photograph (typically with a smartphone) up someone’s skirt without their permission. In the UK there have been a number of high profile court cases including Paul Appleby who managed to take 9000 upskirting photos in the space of just five weeks (suggesting that he was doing it all day every day to have taken so many photos), and Andrew MacRae who had amassed 49,000 upskirt photos and videos using hidden cameras at his workplace, on trains, and at the beach. Both men avoided a custodial sentence because their lawyers argued they were addicted and/or had a compulsion to upskirting. In a 2017 issue of the Law Gazette, forensic psychologist Julia Lam made countless references to upskirting in an overview of voyeuristic disorder. Dr. Lam also talked about her treatment of upskirting voyeurs and recounted one case which she claimed was a compulsion (and who was successfully treated). The case involved a male university student who was very sport active but who masturbated excessively whenever major sporting events or important exams were imminent as a coping strategy to relieve stress.
  • Virtual reality addiction: Back in 1995, in a paper I entitled ‘Technological addictions’ in the journal Clinical Psychology Forum, I asserted that addiction to virtual reality would be something that psychologists would be seeing more of in the future. Although I wrote the paper over 20 years ago, there is still little empirical evidence (as yet) that individuals have become addicted to virtual reality (VR). However, that is probably more to do with the fact that – until very recently – there had been little in the way of affordable VR headsets. (I ought to just add that when I use the term ‘VR addiction’ what I am really talking about is addiction to the applications that can be utilized via VR hardware rather than the VR hardware itself). Of all the behaviours on this list, this is the one where there is less good evidence for its existence. Perhaps of most psychological concern is the use of VR in video gaming. There is a small minority of players out there who are already experiencing genuine addictions to online gaming. VR takes immersive gaming to the next level, and for those that use games as a method of coping and escape from the problems they have in the real world it’s not hard to see how a minority of individuals will prefer to spend a significant amount of their waking time in VR environments rather than their real life.
  • Water addiction: In a blog I wrote back in 2015, I recounted some press stories on individuals who claimed they were ‘addicted’ to drinking water. My research into the topic led to a case study of ‘water dependence’ published a 1973 issue of the British Journal of Addiction by E.L. Edelstein. This paper reported that the excessive drinking of water can dilute electrolytes in an individual’s brain and cause intoxication. This led me to a condition called polydipsia (which in practical terms means drinking more than three litres of water a day) which often goes hand-in-hand with hyponatraemia (i.e., low sodium concentration in the blood) and in extreme cases can lead to excessive water drinkers slipping into a coma. There are also dozens and dozens of academic papers on psychogenic polydipsia (PPD). A paper by Dr. Brian Dundas and colleagues in a 2007 issue of Current Psychiatry Reports noted that PPD is a clinical syndrome characterized by polyuria (constantly going to the toilet) and polydipsia (constantly drinking too much water), and is common among individuals with psychiatric disorders. A 2000 study in European Psychiatry by E. Mercier-Guidez and G. Loas examined water intoxication in 353 French psychiatric inpatients. They reported that water intoxication can lead to irreversible brain damage and that around one-fifth of deaths among schizophrenics below the age of 53 years are caused this way. Whether ‘water intoxication’ is a symptom of being ‘addicted’ to water depends upon the definition of addiction being used.
  • X-ray addiction: OK, this one’s a little bit of a cheat but what I really wanted to concentrate on what has been unofficially termed factitious disorder (FD). According to Kamil Jaghab and colleagues in a 2006 issue of the Psychiatry journal FD is sometimes referred to as hospital addiction, pathomimia, or polysurgical addiction”. The primary characteristic of people suffering from FD is that they deliberately pretend to be ill in the absence of external incentives (such as criminal prosecution or financial gain). It is called a factitious because sufferers feign illness, pretend to have a disease, and/or fake psychological trauma typically to gain attention and/or sympathy from other people. Again, whether such behaviours can be viewed as an addiction depends upon the definition of addiction being used.
  • YouTube addiction: I unexpectedly found my research on internet addiction being cited in a news article by Paula Gaita on compulsive viewing of YouTube videos (‘Does compulsive YouTube viewing qualify as addiction?‘). The article was actually reporting a case study from a different news article published by PBS NewsHour by science correspondent Lesley McClurg (‘After compulsively watching YouTube, teenage girl lands in rehab for digital addiction’). The story profiled a student whose obsessive viewing of YouTube content led to extreme behaviour changes and eventually, depression and a suicide attempt. Not long after this, I and my colleague Janarthanan Balakrishnan published what we believe is the only ever study on YouTube addiction in the Journal of Behavioral Addictions. In a study of over 400 YouTube users we found that YouTube addiction was more associated with content creation than watching content
  • ‘Zedding’ addiction: OK, I’m using the Urban Dictionary’s synonym here as a way of including ‘sleep addiction’. The term ‘sleep addiction’ is sometimes used to describe the behavior of individuals who sleep too much. Conditions such as hypersomnia (the opposite of insomnia) has been referred to ‘sleeping addiction’ (in the populist literature at least). In a 2010 issue of the Rhode Island Medical Journal, Stanley Aronson wrote a short article entitled “Those esoteric, exoteric and fantabulous diagnoses” and listed clinomania as the compulsion to stay in bed. Given the use of the word ‘compulsive’ in this definition, there is an argument to consider clinomania as an addiction or at least a behaviour with addictive type elements.

Dr Mark Griffiths, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Al‐Hebshi, N., & Skaug, N. (2005). Khat (Catha edulis) – An updated review. Addiction Biology, 10(4), 299-307.

Andreassen, C.S., Pallesen, S. Torsheim, T., Demetrovics, Z. & Griffiths, M.D. (2018). Tanning addiction: Conceptualization, assessment, and correlates. British Journal of Dermatology. doi: 10.1111/bjd.16480

Aronson, S. M. (2010). Those esoteric, exoteric and fantabulous diagnoses. Rhode Island Medical Journal, 93(5), 163.

Atroszko, P.A., Andreassen, C.S., Griffiths, M.D. & Pallesen, S. (2015). Study addiction – A new area of psychological study: Conceptualization, assessment, and preliminary empirical findings. Journal of Behavioral Addictions, 4, 75–84.

Atroszko, P.A., Andreassen, C.S., Griffiths, M.D. & Pallesen, S. (2016). Study addiction: A cross-cultural longitudinal study examining temporal stability and predictors of its changes. Journal of Behavioral Addictions, 5, 357–362.

Atroszko, P.A., Andreassen, C.S., Griffiths, M.D., Pallesen, S. (2016). The relationship between study addiction and work addiction: A cross-cultural longitudinal study. Journal of Behavioral Addiction, 5, 708–714.

Balakrishnan, J. & Griffiths, M.D. (2017). Social media addiction: What is the role of content in YouTube? Journal of Behavioral Addictions, 6, 364-377.

Black, D., Belsare, G., & Schlosser, S. (1999). Clinical features, psychiatric comorbidity, and health-related quality of life in persons reporting compulsive computer use behavior. Journal of Clinical Psychiatry, 60, 839-843.

Burn, C. (2016). Poesegraphilia – Addiction to the act of writing poetry. Poetry Changes Lives, May 27. Located at: http://www.poetrychangeslives.com/addiction-to-the-act-of-writing-poetry/

Cantelmi, T & Talls, M. (2009). Trapped in the web: The psychopathology of cyberspace. Journal of CyberTherapy and Rehabilitation, 2, 337-350.

Černý, L. & Černý, K. (1992). Can carrots be addictive? An extraordinary form of drug dependence. British Journal of Addiction, 87, 1195-1197.

Chan, S. H., & Yao, L. J. (2005). An empirical investigation of hacking behavior. The Review of Business Information Systems, 9(4), 42-58.

Daily Mail (2005). Aquaholics: Addicted to drinking water. May 16. Located at: http://www.dailymail.co.uk/health/article-348917/Aquaholics-Addicted-drinking-water.html

de Leon, J., Verghese, C., Tracy, J. I., Josiassen, R. C., & Simpson, G. M. (1994). Polydipsia and water intoxication in psychiatric patients: A review of the epidemiological literature. Biological Psychiatry, 35(6), 408-419.

Dundas, B., Harris, M., & Narasimhan, M. (2007). Psychogenic polydipsia review: etiology, differential, and treatment. Current Psychiatry Reports, 9(3), 236-241.

Edelstein, E.L. (1973). A case of water dependence. British Journal of Addiction to Alcohol and Other Drugs, 68, 365–367.

Foster, A.C., Shorter, G.W. & Griffiths, M.D. (2015). Muscle Dysmorphia: Could it be classified as an Addiction to Body Image? Journal of Behavioral Addictions, 4, 1-5.

Gaita, P. (2017). Does compulsive YouTube viewing qualify as addiction? The Fix, May 19. Located at: https://www.thefix.com/does-compulsive-youtube-viewing-qualify-addiction

Grall-Bronnec, M. Bulteau, S., Victorri-Vigneau, C., Bouju, G. & Sauvaget, A. (2015). Fortune telling addiction: Unfortunately a serious topic about a case report. Journal of Behavioral Addiction, 4, 27-31.

Griffiths, M.D. (1992). Pinball wizard: A case study of a pinball addict. Psychological Reports, 71, 160-162.

Griffiths, M.D. (2000). Computer crime and hacking: A serious issue for the police. Police Journal, 73, 18-24.

Griffiths, M.D. (2017). Commentary: Development and validation of a self-reported Questionnaire for Measuring Internet Search Dependence. Frontiers in Public Health, 5, 95. doi: 10.3389/fpubh.2017.00095

Griffiths, M.D., Foster, A.C. & Shorter, G.W. (2015). Muscle dysmorphia as an addiction: A response to Nieuwoudt (2015) and Grant (2015). Journal of Behavioral Addictions, 4, 11-13.

Hatfield, E., & Sprecher, S. (1998). The passionate love scale. In Fisher, T.D., Davis, C.M., Yarber, W.L. & Davis, S. (Eds.). Handbook of sexuality-related measures (pp. 449-451). London: Sage.

Heirene, R. M., Shearer, D., Roderique-Davies, G., & Mellalieu, S. D. (2016). Addiction in extreme sports: An exploration of withdrawal states in rock climbers. Journal of Behavioral Addictions, 5(2), 332-341.

Hickey, E.W. (2010). Serial Murderers and Their Victims (Fifth Edition). Pacific Grove, CA: Brooks/Cole.

Hunter, M. S., Nitschke, C., & Hogan, L. 1981. A scale to measure love addiction. Psychological Reports, 48, 582-582.

Ishaq, G., Rafique, R., & Asif, M. (2017). Personality traits and news addiction: Mediating role of self-control. Journal of Dow University of Health Sciences, 11(2), 31-53.

Jaghab, K., Skodnek, K. B., & Padder, T. A. (2006). Munchausen’s syndrome and other factitious disorders in children: Case series and literature review. Psychiatry (Edgmont), 3(3), 46-55.

Kaplan, R. (1996), Carrot addiction. Australian and New Zealand Journal of Psychiatry, 30, 698-700.

Kellett, S.  & Gross, H. (2006). Addicted to joyriding? An exploration of young offenders’ accounts of their car crime. Psychology, Crime & Law, 12, 39-59.

Kennedy, J. G., Teague, J., & Fairbanks, L. (1980). Qat use in North Yemen and the problem of addiction: a study in medical anthropology. Culture, medicine and psychiatry, 4(4), 311-344.

Kwon, M., Kim, Y., Kim, H., & Kim, J. (2018). Does sport addiction enhance frontal executive function? The case of badminton. NeuroQuantology, 16(6), 13-21.

Lam, J. (2017). Fifty shades of sexual offending – Part 1. The Law Gazette, July. Located at: http://v1.lawgazette.com.sg/2017-07/1910.htm

Loscalzo, Y, & Giannini, M. (2017).  Evaluating the overstudy climate at school and in the family: The Overstudy Climate Scale (OCS). ARC Journal of Psychiatry, 2(3), 5-10.

Loscalzo, Y., & Giannini, M. (2018). Study engagement in Italian university students: A Confirmatory Factor Analysis of the Utrecht Work Engagement Scale—Student Version. Social Indicators Research, Epub ahead of print. https://doi.org/10.1007/s11205-018-1943-y

Manghi, R. A., Broers, B., Khan, R., Benguettat, D., Khazaal, Y., & Zullino, D. F. (2009). Khat use: lifestyle or addiction? Journal of Psychoactive Drugs, 41(1), 1-10.

Maraz, A., Urbán, R., Griffiths, M.D. & Demetrovics Z. (2015). An empirical investigation of dance addiction. PLoS ONE, 10(5): e0125988. doi:10.1371/journal.pone.0125988.

Masters, B. (1986). Killing for Company: The Story of a Man Addicted to Murder. New York: Stein and Day.

McClurg, L. (2017). After compulsively watching YouTube, teenage girl lands in rehab for ‘digital addiction’. PBS Newshour, May 16. Located at: http://www.pbs.org/newshour/rundown/compulsively-watching-youtube-teenage-girl-lands-rehab-digital-addiction/

Menninger, K. A. (1934). Polysurgery and polysurgical addiction. The Psychoanalytic Quarterly, 3(2), 173-199.

Mercier-Guidez, E., & Loas, G. (2000). Polydipsia and water intoxication in 353 psychiatric inpatients: an epidemiological and psychopathological study. European Psychiatry, 15(5), 306-311.

Orosz, G., Bőthe, B., & Tóth-Király, I. (2016). The development of the Problematic Series WatchingScale (PSWS). Journal of Behavioral Addictions, 5(1), 144-150.

Peele, S. & Brodsky, A. (1975), Love and addiction. New York: Taplinger.

Peters, C.  & Bodkin, C.D. (2007). An exploratory investigation of problematic online auction behaviors: Experiences of eBay users. Journal of Retailing and Consumer Services, 14(1), 1-16.

Reisinger, M. (2018). Addiction to death. CNS Spectrums, 23(2), 166-169.

Relangi, K. (2012). Gossip, the ugly addiction. Purple Room Healing, June 12. Located at: https://deadmanswill.wordpress.com/2012/06/02/gossip-the-ugly-addiction/

Roderique-Davies, G. R. D., Heirene, R. M., Mellalieu, S., & Shearer, D. A. (2018). Development and initial validation of a rock climbing craving questionnaire (RCCQ). Frontiers in Psychology, 9, 204. doi: 10.3389/fpsyg.2018.00204

Sitford, M. (2000). Addicted to Murder: The True Story of Dr. Harold Shipman. London: Virgin Publishing.

Sparrow, P. & Griffiths, M.D. (1997). Crime and IT: Hacking and pornography on the internet. Probation Journal, 44, 144-147.

Spivack, A., & McKelvie, A. (2018). Entrepreneurship addiction: Shedding light on the manifestation of the ‘dark side’ in work behavior patterns. The Academy of Management Perspectives. https://doi.org/10.5465/amp.2016.0185

Spivack, A. J., McKelvie, A., & Haynie, J. M. (2014). Habitual entrepreneurs: Possible cases of entrepreneurship addiction? Journal of Business Venturing, 29(5), 651-667.

Targhetta, R., Nalpas, B. & Perney, P. (2013). Argentine tango: Another behavioral addiction? Journal of Behavioral Addictions, 2, 179-186.

Turel, O., Serenko, A. & Giles, P. (2011). Integrating technology addiction and use: An empirical investigation of online auction users. MIS Quarterly, 35, 1043-1061.

Walton-Pattison, E., Dombrowski, S.U. & Presseau, J. (2017). ‘Just one more episode’: Frequency and theoretical correlates of television binge watching. Journal of Health Psychology, doi:1359105316643379

Wang, C-C. (2008). The influence of passion and compulsive buying on online auction addiction. Proceedings of the Asia-Pacific Services Computing Conference (pp. 1187 – 1192). IEEE.

Wang, Y., Wu, L., Zhou, H., Xu, J. & Dong, G. (2016). Development and validation of a self-reported Questionnaire for Measuring Internet Search Dependence. Frontiers in Public Health, 4, 274. doi: 10.3389/fpubh.2016.00274

Wright, M. R. (1986). Surgical addiction: A complication of modern surgery? Archives of Otolaryngology–Head & Neck Surgery, 112(8), 870-872.

Wulfsohn, I. (2013). A dangerous addiction: Qat and its draining of Yemen’s water, economy, and people. Middle East Economy, 3(10), 1-5.

Young, K. S. (1999). Internet addiction: Evaluation and treatment. Student British Medical Journal, 7, 351-352.

Young, K. S. (2004). Internet addiction: A new clinical phenomenon and its consequences. American Behavioral Scientist, 48, 402–415.

Yung, K., Eickhoff, E., Davis, D. L., Klam, W. P., & Doan, A. P. (2014). Internet Addiction Disorder and problematic use of Google Glass™ in patient treated at a residential substance abuse treatment program. Addictive Behaviors, 41, 58-60.

Young blood: A brief look at ‘Orphan’ and the ‘evil child’ trope in horror films

(Please be warned, this article contains spoilers if you have not watched the films The Bad Seed and Orphan).

Regular readers of my blog know that I enjoy watching horror movies and I’ve written articles on why people enjoy watching horror movies, a look at scary clowns in film and television, as well as more direct and indirect in-depth looks at my personal favourites including the Hannibal Lecter and Alien franchises.

One of the most popular tropes in the horror genre is the ‘evil child’ (often referred to or seen as equivalent to the ‘demonic child’, ‘creepy child’, ‘bad seed’ and ‘demon seed’ trope). This has spawned dozens on online articles looking at celluloid examples of the evil child sub-genre such as ‘Top 25 Evil Child Movies’, ‘Evil Kid Horror Movies’, ‘16 Creepy Child Horror Movies That Will Make You Not Want Kids Ever’, ‘The Top 10 Most Evil Children In Movies’, ‘We’re Baaack: The 20 Most Evil Children From TV And Movies’, and ‘The 50 Spookiest Kids In Horror Movies, Ranked’ (to name just a few).

The film that arguably started the trope was Mervin LeRoy’s 1956 horror-thriller The Bad Seed. The film was based upon Maxwell Anderson’s play of the same name (itself based on the 1954 novel The Bad Seed by William March and – for you trivia fans – the inspiration for the name of Nick Cave’s band The Bad Seeds). The ‘demon child’ of both the book and the film is sociopath Rhoda Penmark, whose mother (Christine) – spoiler alert – learns that she is an adopted child and is the biological daughter of Bessie Denker, an infamous serial killer (and believes that she genetically caused Rhoda’s sociopathy).

As a teenager, the demonic child that had most impact on me was Damien Thorn (in Damien: Omen II) mainly because I shared my middle name with the titular character. However, there are hundreds to choose from that share many of Damien’s chilling characteristics (some horror and some not) including Joshua Cairn (Joshua), Dalton Lambert (Insidious), Lilith Sullivan (Case 39), Brahms (The Boy), Regan MacNeil (The Exorcist), Nicholas and Ann Stewart (The Others), Tomás (The Orphanage), Henry Evan (The Good Son), Delia (The Omen IV), Kevin (We Need To Talk About Kevin), Toshio (Ju-On/The Grudge), Samara (The Ring), Santi (The Devil’s Backbone), The Grady twins (The Shining), and Gage Creed (Pet Sematary). In addition to this there are those films where there are a group of demonic children (e.g., Children Of The Damned, Children Of The Corn, and the ‘psychoplasmic offspring’ of The Brood), as well as ‘demon seed’ children that are yet to be born (e.g., Rosemary’s Baby, The Omen, etc.).

When it comes to ‘evil child’ films, one of my more recent favourites (at least in terms of the film’s twist at the end) is the 2009 US psychological horror film Orphan (directed by Jaume Collet-Serra). When it comes to horror films I much prefer ‘psychological horror’ (which tends to be rooted in reality and is why I like the Hannibal Lecter franchise) as opposed to supernatural thrillers and the archetypal ‘slasher films’ (although I do like watching gory films). Orphan centres on married couple John and Kate Coleman (played by Peter Sarsgaard and Vera Farmiga) who after the death of their unborn baby adopt Esther, a nine-year old Russian girl from an orphanage (played by Isabelle Fuhrman).

Unknown

In the scene where a provocatively-dressed nine-year old Esther attempts to seduce her new father (who had been drinking heavily) I began to guess the twist in the film that – spoiler alert – Esther was (because of a hormone disorder called hypopituitarism) a woman in a child’s body. Near the end of the film, it is Esther’s new mother (Kate) that receives a call from the Saarne Institute (a mental institution) and is informed that Esther is in fact a violent murderer from Estonia called Leena Klammer, a 33-year-old woman whose physical growth was stunted and had spent most of her adult life posing as a young girl and had killed at least seven people (including the father of an Estonian family who adopted her and who she killed for rejecting her sexual advances). According to the IMDb ‘Trivia’ page about Orphan:

“Earlier drafts of the script include more information about Esther’s past and explain why she attempts to seduce her adoptive fathers. She was molested by her father for years, starting when she was an infant; this sexualized her at a very young age and destroyed any future chance of her having her own children. Her father later took another lover, telling Esther that, because of her condition, she could never be a real woman. She murdered them both and was ultimately sent to Saarne, a mental institution. After escaping from Saarne, she worked as a prostitute in Estonia for years, mostly catering to wealthy pedophiles. When she was arrested for this, she kept up the pretense of being a child to stay out of jail and was sent to an orphanage. Esther sees herself as trapped inside the body of a child, and it disgusts her. She wants to ‘grow up’ and be a wife, a mother, and a lover (what her father considered a ‘real woman’), and tries to find ‘love’ with her father but she didn’t”.

After the film had been released, there was a lot of debate about whether the medical condition that Esther had really exists. According to Wikipedia entry on the condition:

“Hypopituitarism is the decreased (hypo) secretion of one or more of the eight hormones normally produced by the pituitary at the base of the brain…The signs and symptoms of hypopituitarism vary, depending on which hormones are undersecreted and on the underlying cause of the abnormality…Hypopituitarism is a rare disease but may be significantly underdiagnosed in people with previous traumatic brain injury…The first description of the condition was made in 1914 by the German physician Dr. Morris Simmonds”.

Not only does Esther’s medical condition exist, but her character was actually inspired by the true life case of Barbora Skrlova who was one of the individuals in a 2008 story that the Daily Mail entitled ‘Boy ‘skinned and eaten’ by his cannibal cult family after being held captive in a cellar’. The story in question was a disturbing case involving single parent Klara Mauerova (described as an aggressive schizophrenic) and the physical abuse of her two sons (Yakub and Ondrej). The story was recounted in a 2017 article on the Mundo.com website entitled ‘Barbora Skrlová: The woman who inspired the movie Orphan’. From what I’ve read, Mauerova became depressed after the father of her children left her and she asked her sister (Katerina, who also appears to have had some kind of mental illness) to move in with her to help her look after the children. According to Mundo.com:

“The sisters met Barbora Skrlová at the university, a 33-year-old woman who looked [like a] 13 [year-old] girl because of a difficult disease called hypopituitarism. [Skrlová] was really skilled manipulating, and that’s what she did with the two sisters, they became really good friends because of her tragic childhood stories, she made the sisters take her to live with them. Years before meeting Klara and Katerina, [Skrlová] had been hospitalized for several years in a psychiatric center because she had made herself known as an orphaned child to a family that wanted to adopt her, but they realized about it and sent her to an asylum”.

The story alleged that Skrlová and the Mauerova sisters imprisoned Klara’s two sons (naked) in an iron cage in the basement of their house. It was also alleged that Skrlová wanted “to fatten [the two boys] just as Hansel and Gretel and wanted to commit cannibal acts while filming with a camera”. According to the Daily Mail story:

“An eight year-old boy was skinned and his flesh fed to cannibal relatives after his mother kept him locked in a cellar… Evil Klara Mauerova – a member of a sinister religious cult – wept in court as she admitted torturing her son Ondrej and his ten year-old brother Jakub. The court also heard allegations that relatives had partially skinned eight-year-old Ondrej and then eaten the raw human flesh. The two boys told how their mother and relatives had stubbed cigarettes out on their bare skin, whipped them with belts and tried to drown them. The court heard how the family had sexually abused them and even made them cut themselves with knives. They said they were kept in cages or handcuffed to tables and made to stand in their own urine for days”.

A neighbour alerted the police that there was something suspicious going on in the Mauerova household (having picked up what was happening on his baby monitor). When they police eventually arrived they discovered “the worst scenes they had ever seen” in the Mauerova’s basement. They found the two naked boys in the cage alongside a “little girl crying” (i.e., Barbora Skrlová). Skrlová told the police that her name was ‘Anika’ and that she had been adopted by the Mauerova sisters. The ‘little girl’ was taken to a children’s home by the police but absconded the same night. She was later found many months later living with another couple who had adopted her (but this time as a boy called Adam and described by the couple as a ‘child genius’ who suffered severe anxiety and depression attacks). Skrlová was sentenced to 12 years in prison but released in 2012. Her whereabouts are currently unknown.

Given that the orphan in the titular film was eventually exposed as an adult, it could be argued that the film is not technically about an ‘evil child’ and therefore not part of the ‘evil child’ trope (but I think that’s pedantry and misses the point). For almost all of the film, the audience believes Esther to be a child and on that basis alone it belongs to the ‘evil child’ horror genre. As plot twists go, I think it was one of the better ones, up there with The Usual Suspects, The Crying Game, and The Sixth Sense (which I won’t spoil just in case there are a few of you reading this that haven’t seen these three films).

Dr. Mark Griffiths, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Ananvisca, V. (2017). Barbora Skrlová: The woman who inspired the movie Orphan. Mundo.com, June 17. Located at: https://en.mundo.com/most_viewed/barbora-skrlova-the-woman-who-inspired-the-movie-orphan/

Daily Mail (2008). Boy ‘skinned and eaten’ by his cannibal cult family after being held captive in a cellar. June 21. Located at: https://www.dailymail.co.uk/news/article-1027962/Boy-skinned-eaten-cannibal-cult-family.html

International Movie Database (2018). Orphan trivia. Located at: https://www.imdb.com/title/tt1148204/trivia

Orphan Wiki (2018). Leena Klammer. Located at: http://orphan-movie.wikia.com/wiki/Leena_Klammer

Villians Wiki (2018). Esther Coleman. Located at: http://villains.wikia.com/wiki/Esther_Coleman

Wikipedia (2018). Hypopituitarism. Located at: http://en.wikipedia.org/wiki/Hypopituitarism

Paint what you do, it’s the way that you do it: The (not so) secret sex life of Salvador Dali

In a previous blog, I briefly overviewed the influence that the Catalonian surrealist artist Salvador Dali had made on psychology (based on a couple of articles I had published about him earlier in my academic career – see ‘Further reading’ below). In that blog I briefly mentioned some of the strange aspects in his life relating to his sexuality and sexual desires but did not go into any details. In this article, I delve a little deeper into Dali’s sexual psychology and concentrate on some of the more extreme aspects of his life. I’m certainly not the first person to do this given that there are various online articles covering similar ground such as ‘Five sadistic and depraved secrets of Salvador Dali’, ‘10 depraved secrets of Salvador Dali’, and ‘17 unbelievably weird stories most people don’t know about Salvador Dali’. In a nutshell (and if you believe everything you read about him), Dali didn’t like sexual intercourse, was ‘addicted to masturbation’, was a sexual voyeur, was obsessed by buttocks, had an interest in necrophilia, was sexually attracted to Adolf Hitler and hermaphrodites, and was a candaulist (i.e., he liked to watch his wife have sex with other men).

The first observation to make concerning Dali is that he had little interest in sexual intercourse. All Dali’s biographers make reference to this because this was something that Dali admitted himself (for instance in his book The Unspeakable Confessions of Salvador Dali). In Ian Gibson’s (1998) biography The Shameful Life of Salvador Dali, it notes that Dali had been fixated on his unusually complex sexuality since his teenage years. Dali wrote that:

”For a long time I experienced the misery of believing I was impotent…Naked, and comparing myself to my schoolfriends, I discovered that my penis was small, pitiful and soft. I can recall a pornographic novel whose Don Juan machine-gunned female genitals with ferocious glee, saying that he enjoyed hearing women creak like watermelons. I convinced myself that I would never be able to make a woman creak like a watermelon”.

It was in his teenage years that Dali acquainted himself with the pleasures of masturbation even though he had a fear that it would cause homosexuality, impotence, and madness. However, sexual self-gratification became his primary (and many biographers allege only) sexual activity he engaged in throughout his life, often in front of a mirror. It’s also been noted by many authors that Dali “associated sex with decay” and that the roots of this association were due to his father’s strange form of sex education (such as being shown sexually explicit photographs of individuals with advanced, untreated sexually transmitted infections that Dali described as “the color of hell”). After viewing the pictures of grotesque genitalia, Dali started to associate sexual activity with decay and putrefaction (which came to the fore in his paintings). In his 1942 autobiography (The Secret Life of Salvador Dali) he even claimed that he became interested in necrophilia but was then later “cured” of it (but to what level his interest spanned is unknown). Dali had many obsessions including a deep fascination of buttocks (both men’s and women’s) as well as many phobias including female genitalia and a fear of castration (and appears to be the basis of his infamous painting The Great Masturbator). As a 2014 article by Jackie Fuchs noted:

“These fears and obsessions – along with a lifelong fascination with ants – became recurrent motifs in his paintings. In ‘The Great Masturbator’, Dali’s first significant work, a woman believed to be Dali’s future wife Gala rises out of a downward-facing head, which is suspended over a locust swarming with ants. The positioning of the woman’s mouth next to a thinly clad male crotch suggests fellatio, while the trickle of blood on the male figure’s thighs reflects Dali’s castration anxiety (see below)”.

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A 2011 online article in Living in Philistia by Joshua White makes other allegations about Dali’s early childhood saying that he might have been sexually abused by one of his schoolteachers and that he might have had an incestuous relationship with his sister (although I’ve found little evidence of these allegations):

“[Dali] later pinned his ‘impotence’ on his father, as well as his mother, and naturally Dali went on to fantasise of sodomising his dying father. This also might explain the direct kind of gynophobia Dali later developed. It has been suggested that he was molested by a teacher who used to have Dali sit on his lap while he stroked him. That would explain the artist’s lifelong hatred of being touched. The subject of twelve of his early paintings was Dali’s sister Ana Maria, a number of which tellingly depict her from the rear, which has led some to conclude that the relationship between them may have been incestuous. The sex life of Salvador Dali was not a common one to say the least”.

An online article by Mateo Sol also alluded to Dali’s poor relationship with his parents. On one occasion Dali exhibited an artwork in which he wrote “Sometimes, I spit for fun on my mother’s portrait.”  His father asked him to publicly apologise but Dali declined to do so. Following this incident, Dali sent his father a condom in the post (into which he had added his own semen) with a short note that simply read: “This is all I owe you”.

Dali’s wife and muse Gala (born in Russia as Helena Diakanoff Devulina) appears to have dominated Dali from their first meeting in 1929 (figuratively, psychologically, and arguably sexually given that almost no physical intimacy took place between Dali and Gala). It’s also generally agreed among scholars that Dali was a virgin when he married Gala (at least heterosexually) and they remained married for 53 years until Gala’s death. Gala was ten years older than Dali and had many sexual conquests before they married. Gala might perhaps best be described as a ‘swinger’, and at the time she met Dali was married to Paul Éluard (the poet) who both adhered to the sexual philosophy of ‘free love’.

Many biographers describe Gala as a highly-sexed nymphomaniac. Éluard and Gala were constantly sexually unfaithful to each other and (according to some accounts) encouraged each other’s infidelity. Gibson’s biography recounted Dali and Gala’s ‘mutual degradation’ of each other and Dali became some who tolerated all her extra-marital lovers. According to Zuzanna Stranska in a 2017 article in the Daily Art Magazine, Dali bought Gala a castle in Púbol (Girona) in 1968, but Dali was not allowed to visit without Gala’s written permission (and described in Joshua White’s article as Gala’s “fuck-nest” rather than a ‘love-nest’). It was here that Gala entertained her younger lovers.

It’s also been claimed that Dali had a homosexual relationship with poet Federico García Lorca (but has never been verified). It’s been alleged by a number of authors that Lorca twice tried to seduce Dali (and Dali said “Lorca tried to screw me twice”). Lorca was shocked when Dali married Gala because (according to a 2009 paper in the PsyArt Journal by Zoltán Kováry) he was convinced that the painter had erection only with a finger in his anus”. Although Dali claims never to have had a relationship with Lorca, it appears they did have one sexual liaison because Dali wrote that: “I tried sex once with a woman and it was Gala. It was overrated. I tried sex once with a man and that man was the famous juggler Frederico Garcia Lorca. It was very painful”. Dali also wrote that: 

“Deep down I felt that [Lorca] was a great poet and that I owe him a tiny bit of the Divine Dali’s asshole. He eventually bagged a young girl, and she replaced me in the sacrifice. Failing to get me to put my ass at his disposal, he swore that the girl’s sacrifice was matched by his own: it was the first time he had ever slept with a woman”.

According to the article by Joshua White, Dali was arguably more homosexual than heterosexual. He claimed that: 

“[Dali] developed a penchant for persuading youths to drop their trousers and masturbate as he watched. He hoarded thousands of photos with many different lads. There has been a long speculation over the exact sexuality of the exhibitionist painter. We might be able to trace the misogynistic, or more accurately gynophobic, tendencies of Dalinian art down to Dali’s fear of a particular part of the female anatomy. To put it more bluntly, Salvador Dalí was a self-professed worshiper of the female posterior. The extent of this obsession drew the concern of his fellow Surrealists, he denied he was coprophagic one minute and in the next instance would state ‘true love would be to eat one’s partner’s excrement.’ Perhaps we should keep in mind that the Catalonians are a very scatological people, for it is custom before eating to exclaim “Eat well, shit hard.” The specific preference he had was for hermaphrodites, which he never encountered and only ever fantasised about. Not masculine or feminine, androgyne was the order of the day”.

Consequently, masturbation became Dali’s only physical sexual activity throughout his life. While this might be psychologically devastating for most people, his sexual psyche, tortured sexuality, and sexual inadequacy are critical to understanding the great art he produced. It certainly appears he had a great fascination with masturbation. For instance, Brian Sewell, the British art historian, claimed that Dali once asked him strip naked, lie down in the foetal position, and masturbate in front of a sculpture of Christ. Dali’s voyeuristic tendencies have also documented by others, most notably the alleged weekly orgies that Dali used to host which not only catered for Dali’s love of voyeurism but also his candaulism (where he would enjoy other men having sex with his wife). The most infamous story was told by American singer and actress Cher who arrived at Dali’s apartment mid-orgy. She picked up “a beautiful, painted rubber fish. Just fabulous. It has this little remote-control handset, and I’m playing with it, and the tail is going back and forth, and I’m thinking it’s a child’s toy. So I said to Salvador: ‘This is really funny.’ And he said: ‘It’s wonderful when you place it on your clitoris’”.

It has also been claimed that Dali had a perverse obsession with Nazi leader Adolf Hitler. Most individuals in the surrealist movement were politically left-wing but Dali was expelled for being a Nazi sympathiser (an allegation that Dali strenuously denied). Whether he was a Nazi sympathiser or not, Dali definitely painted a number of artworks featuring the ‘great dictator’ including The Enigma of Hitler and Hitler Masturbating. In his book (The Unspeakable Confessions) Dali also said that he “often dreamed of Hitler as a woman” and that Hitler “turned [him] on in the highest…His fat back, especially when I saw him appear in the uniform with the Sam Browne belt and shoulder straps that tightly held in his flesh, aroused in me a delicious gustatory thrill originating in the mouth and affording me a Wagnerian ecstasy”. An online article by Stephan Roget notes that there’s a good chance that Dali said such things for shock value, but also notes that Dali didn’t appear to have problems with what the Fuhrer was doing in Nazi Germany.

Most Dali scholars believe he was a sexual voyeur and derived great sexual arousal from watching other people (including his wife) have sex. According to the article by Jackie Fuchs:

“[Dali] was attracted to androgynous bodies – women with small breasts and men having feminine lines. Dali wrote of his ‘penetrating voyeur experiences’ during childhood and even titled one of his early paintings ‘Voyeur’.”

Joshua White also noted that:

Originally [Dali’s] art served as a vent for the eccentricities, fetishes and obsessions that lurked beneath the surface of a shy Catalonian boy. But as he crafted a persona through which he could express these same things with almost the same level of impunity, then the standard of his art went into a steep decline in his later years. The sexual ambiguity, explicit paraphilia and vivid androgyny found so exuberant in Dalinian artwork…The 20th Century leitmotifs of sex and paranoia are conjoined twins in Dali’s work…We find some of the worst nightmares of the 20th Century conjured up by the more sinister works he churned out, while the juxtaposition with sex introduces a sadomasochistic element into the situations portrayed”

Perhaps the best (or worst, depending upon your viewpoint) eye-opener concerning Dali’s alleged sex life was a book first published in 2000 by former dancer and (struggling) actor Carlos Lozano entitled Sex, Surrealism, Dali and Me (and translated into English by Clifford Thurlow; a reprinting of the book in 2004 with new material was published by Thurlow as The Sex Life of Salvador Dali: The Memoirs of Carlos Lozano). Given that Dali had been dead over a decade by the time this book was published it’s hard for any of the stories to be substantiated (particularly as Lozano died shortly after the book was published). After starting out as one of Dali’s nude models, Lozano claimed he became Dali’s young lover and was Dali’s main confidante in the last two decades of his life. Among the book’s revelations were that Dali: (i) orchestrated sex games for his celebrity guests (including the King of Spain, the artist Marcel Duchamp, actor Yul Brynner, and Prince Dado Ruspoli), (ii) was obsessed with humiliating friends for his own amusement and sexual gratification (such as forcing them to strip and then getting them to engage in sexual acts of his choosing) while he masturbated from the side lines, and (iii) forced a famous Hollywood actress to strip naked and crawl through a plastic ‘uterus’ to allow her to re-experience birth.

It is clear from reading about Dali’s various (s)exploits that his sexual behaviour and sexuality were extreme but that much of his early great art derived from his strange sexual psyche. While some of the alleged sexual behaviours may have been embellished over the years, all of the allegations appear to have some truth in them. Many may argue that Dali’s sex life (or absence of it) was as surreal as his paintings, but none of this takes away from the fact that his art is awe-inspiring to many (myself included).

Dr. Mark Griffiths, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Brennan, A. (2016). 11 seriously strange things you didn’t know about Salvador Dali. GQ, May 11. Located at: https://www.gq-magazine.co.uk/article/salvador-dali-facts

Dali, S. (1942). The Secret Life of Salvador Dali. Dial Press.

Dali, S. (1976). The Unspeakable Confessions of Salvador Dali. New York: W.H. Allen.

Fuchs, J. (2014). 10 depraved secrets of Salvador Dali. Listverse, May 26. Located at: http://listverse.com/2014/05/26/10-depraved-secrets-of-salvador-dali/

Gibson, I. (1998). The Shameful Life of Salvador Dali. New York: WW Norton & Company.

Griffiths, M.D. (1989). Salvador Dali and psychology. BPS History and Philosophy Newsletter, 9, 14-17.

Griffiths, M.D. (1989). Salvador Dali, surrealism and psychology. Psychology PAG Quarterly, 4, 15-17.

Griffiths, M.D. (1994). Heroes: Salvador Dali. The Psychologist: Bulletin of the British Psychological Society, 7, 240.

Kovary, Z. (2009). The enigma of desire: Salvador Dalí and the conquest of the irrational. PsyArt Journal, June 29. Located at: http://www.psyartjournal.com/article/show/kovry-the_enigma_of_desire_salvador_dal_and_th

Lopez, A. I. (2016). Five sadistic and depraved secrets of Salvador Dalí. Cultura Colectivia, August 22. Located at: https://culturacolectiva.com/design/the-sadistic-and-depraved-salvador-dali-secrets/

Maclean, A. (2016). Your ultimate guide to Salvador Dali. Dazed, September 27. Located at: http://www.dazeddigital.com/artsandculture/article/32985/1/your-ultimate-guide-to-salvador-dali

Roget, S. (no date). 17 unbelievably weird stories most people don’t know about Salvador Dali. Ranker. Located at: https://www.ranker.com/list/crazy-salvador-dali-facts/stephanroget

Stranska, Z. (2017). Dali and Gala – the love story. Daily Art Magazine, February 14. Located at: http://www.dailyartmagazine.com/dali-gala-great-love-story/

Sol, M. (2013). 7 eccentric things you didn’t know about Salvador Dali. Loner Wolf. Located at: https://lonerwolf.com/salvador-dali/

Thorpe, V. (2000). Hollywood, sex and the surrealist. The Guardian, February 20. Located at: https://www.theguardian.com/uk/2000/feb/20/vanessathorpe.theobserver

Thurlow, C. (2004). The Sex Life of Salvador Dali: The Memoirs of Carlos Lozano. Tethered Camel Publishing.

White, J. (2011). The divine anus of Salvador Dali. Living in Philistia, August 5. Located at: http://livinginphilistia.blogspot.com/2011/08/divine-anus-of-salvador-dali.html

Painless steal? Another look at shoplifting as an addiction

In a previous 2014 blog, I looked at the psychology of shoplifting (which I called ‘Men of Steal’) based on the work of American psychologist John C. Brady (who’s upcoming book is also entitled ‘Men of Steal’). Brady is a really engaging writer and he recently published an article in Counsellor magazine on celebrity theft and why for some people it should be classed as an addiction.

Brady briefly recounted the cases of three celebrities who had been caught shoplifting (Lindsay Lohan, Kim Richards, and Winona Ryder – click on the links to get the stories of each of these celebrity shoplifting stories). Other famous celebrity shoplifters include Britney Spears, Megan Fox, Kristin Cavallari, Farrah Fawcett, and WWE Diva Emma (if you’re really interested in these and other celebrity shoplifters, then check out this story in Rebel Circus). According to Dr. Brady “psychological analysis reveals they are not greedy, rather they are addicted to the ‘rush’ associated with theft” and that there is an ‘addictive criminal syndrome’.

Brady’s article used the ‘celebrity’ angle as the ‘hook’ to write more generally about ‘shoplifting addictions’ and briefly outlined the cases of three high profile ‘theft addicts’:

“The first man is Bruce McNall, former LA Kings owner, Hollywood film producer, and a convicted felon. He received five years in Lompoc Federal Prison for stealing $238 million. The second man, John Spano, former owner of the New York Islanders, went off to two terms in federal prisons for stealing $80 million. He is currently an inmate in an Ohio prison doing ten more years for a crime he did not originate. Finally, William “Boots” Del Biaggio III, former Silicon Valley venture capitalist operator and founder of Heritage Bank in San Jose, graduated in 2016 from eight years at Lompoc for fraud. He stole $110 million to buy the Nashville Predators hockey team. He later expressed regret—maybe too little too late”.

Brady believes that these individuals had a behavioural addiction to stealing. The cases he outlined were all true and were examples of what Brady described as “elite offenders who became addicted to the rush connected to stealing”. Some commonalities between the three individuals was noted: they were charming, deceptive, had personalities that were outgoing, never used violence or aggression in the carrying out of their thefts, and (in Brady’s view) were addicted to crime. Like many addicts, they harmed themselves, their families, and their communities as a consequence of their behaviour.

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The idea of being addicted to crime is not new, and the addiction components model that I have developed over the last couple of decades was based on that of one of my mentors – Iain Brown – who used such a model to explain addictive criminal offending in a really good book chapter published back in 1997 (in the book Addicted to Crime? edited by the psychologists John Hodge, Mary McMurran and Clive Hollin – see ‘Further reading’ below). Like me, Brady also read Addicted to Crime? in which it was posited that some criminals appear to become addicted to stealing (and that the act of theft made them feel good psychologically by providing a ‘high’ or a ‘rush’ similar to the feelings individuals experience when they ingest psychoactive substances). Brady argues that an addiction to stealing is a behavioural addiction and that it is “functionally equivalent” to substance-based addictions for two main reasons: that theft addicts (i) “generally derive the same initial uplifting, euphoric, and subjective sensations similar to substance abusers”, and (ii) “are almost blindly driven toward their goal and they cannot stop their self-defeating behaviors”.   

Brady contends that there are five addictive criminal stages of what he terms “the zone”: (i) criminal triggers, (ii) moral neutralisation, (iii) commission of the criminal act, (iv) post-criminal-act exhilaration, and (v) post-criminal-act confusion. Brady asserts:

“The five addictive stages comprising the criminal addictive zone helps explain why certain offenders arrived at such low points in their lives and progressively became drawn deeper into the addictive zone. Because these three men became frozen into one or more of these stages, they simply could not easily find an exit sign. I have applied this criminal zonal theory to a variety of deviant groups, including white-collar deviants and now to these three elite, nonviolent bank robbers. An analysis of the criminal addictive personality forms the foundation of the addictive zone. This zone is marked with multiple, negative psychological forces evidenced during each of the five stages…The movement through these overlapping stages results in a negative, criminological, transformative process during which theft addicts surrender their prior noncriminal status (positive), thereby adopting a new deviant one (negative)…After entering into this enigmatic zone, offenders often become locked into one or more of these overlapping stages. The one factor that remains constant is that the progression through these five stages dramatically and unalterably changed these men’s lives, their victims’ lives, and the lives of people around them”.

Brady’s five addictive criminal stages are:

  • Criminal triggers – In the first stage. these internal triggers revolve around salience and low self-esteem and comprise “confusing and mostly illogical thoughts” that criminals acquire. These negative thoughts are “reflective of peoples’ compromised self-concepts coupled with the desire to overcompensate for perceived personal shortcomings” and primarily originate from feelings of loneliness, emptiness, and inadequacy.
  • Moral neutralisation – In the second stage, Brady claims that this stage is the most complex and essential of all the stages and is rooted in conflict. The destructive and self-defeating behaviour that criminals experience is not driven by material (economic) motives but is simply individuals “trying to enrich their empty shell identities” and fuelled by irrational thoughts of wanting to prove to significant others that they are really important. These motives may be completely unconscious
  • Commission of the criminal act – In the third stage, the actual carrying out of the criminal acts demands that criminals “neutralize the unsavory aspects of their offenses…and lend meaning to inexplicable behaviors”. The more a criminal engages in the activity the more criminals become “skilled practitioners in the art of self-deception”. Here, the criminal behaviour is paired with “exciting sensations” associated with the risk of engaging in criminal activity (“an anticipated visceral feeling or mental excitement and stimulation, if not an elation, a thrill, a rush, and even a sense of euphoria”). In short, the euphoric sensations experienced reinforce the criminal behaviour.
  • Post-criminal-act exhilaration – In the fourth stage, Brady claims there is typically a “flooding of mood-elevating feelings similar to an adrenaline rush, accompanied with thoughts that synthetically increase their sense of well-being” and what my mentor Iain Brown refers to as “hedonic mood management”. In short, the criminal act can help individuals feel like “bigshots” and criminals may justify doing something bad because it makes them feel so good. Brady also claims that many of these exhilarating feelings “manifest themselves on an unconscious level that is easily experienced, yet not easily comprehended by a theft addict”
  • Post-criminal-act confusion – In the fifth stage, Brady claims that the mood modifying experiences in the third and fourth stages are “replaced with new, dramatic, and unexpected changes in the offenders’ emotional awareness”. Here, criminals become confused, depressed and socially withdrawn, as well as experiencing withdrawal-like reactions (e.g., sweating, headaches, anxiety, nausea, heart arrhythmia, etc.). Brady says that on a psychological level, the fifth stage five is characterized by “confusion, guilt, afterthoughts, misgivings, anxiety, depression, and dramatic mood shifts ranging from feelings of sadness to hopelessness”. It is also during this stage that criminals might start to show signs of remorse.

Brady concludes that for the criminals he has known and treated “used the stolen money to boost their status and enhance their enormous egos so they could attain ‘big shot’ fame”. I find this last observation interesting given a previous blog that I wrote on fame being addictive. I’ve also written other blogs on addictive criminal behaviour (such as joy-riding).

I am of the opinion that specific types of crime can be classed as an addictive behaviour because addictions rely on constant rewards (i.e., reinforcement) and crime can provide many rewarding experiences (both financially and psychologically), at least in the short-term. I’m not for one-minute condoning such behaviour, just simply stating my opinion that I believe it’s theoretically possible to become addicted to activities such as stealing.

Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Brady, J.C. (2013). Why Rich Women Shoplift – When They Have It All. San Jose, CA: Western Psych Press.

Brady, J.C. (2017) Celebrity theft: Unmasking addictive criminal intent. Counselor, July/August. Located at: http://www.counselormagazine.com/detailpageoverride.aspx?pageid=1729&id=15032386763

Brown, I. (1997). A theoretical model of the behavioral addictions: Applied to offending. In J.E. Hodge, M. McMurran, & C.R. Hollin (Eds.), Addicted to crime? (pp. 15–63). Chichester: Wiley.

Hodge, J.E., McMurran, M., & Hollin, C.R. (1997). Addicted to crime? Chichester: Wiley.

Shulman, T.D. (2011). Cluttered Lives, Empty Souls – Compulsive Stealing, Spending and Hoarding. West Conshohocken, PA: Infinity Publishing.

Soriano, M. (2015). 15 celebrities who were caught shoplifting. Rebel Circus, May 13. Located at: http://www.rebelcircus.com/blog/celebrities-caught-shoplifting/

Idol thoughts: What links the Velvet Underground and the Beatles?

Regular readers will know that I love music and that two of my favourite bands include the Beatles and the Velvet Underground (both of who I have written blogs about including the VU’s lead singer Lou Reed, as well as blogs here, here, and here). Many would argue that the two bands couldn’t have been further apart musically especially given the Velvet Underground’s reputation as an ‘extreme’ band. However, I thought I would try and gather stories, anecdotes, and make my own observations on where the music and lives of members of the two bands connected in some way. Most of you reading this will know the four members of the Beatles (John Lennon, Paul McCartney, George Harrison, and Ringo Starr) but some of you may not know the original Velvet Underground members (Lou Reed, John Cale, Sterling Morrison, and Moe Tucker, plus Nico as vocalist on three songs on their first LP). These are presented in no particular order although towards the end of the list, the associations become more tenuous.

  • Both bands released their seminal LPs in 1967 (Sgt. Pepper’s Lonely Hearts Club Band by the Beatles and Velvet Underground and Nico by the Velvet Underground). Both of the covers were designed by ‘pop artists’ (Peter Blake and Andy Warhol, the latter being VU’s manager at the time) and both are regarded as iconic LP cover art. The Velvet Underground were in the minority who didn’t like Sgt. Pepper and John Cale dismissed the LP as a “theatrical statement”. Lou Reed went even further and was quoted as saying “I never liked The Beatles. I thought they were garbage”.
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  • In 1993, Richard Witts (who before being an academic was the lead singer in one of my favourite 1980s band The Passage, and who I wrote about in a previous blog), published a biography about Velvet Underground vocalist Nico (Nico: The Life & Lies of an Icon). Witts claimed that in 1967 (May 19), Nico attended one of Beatles’ manager Brian Epstein’s private parties where he previewed the Pepper for the British media. Nico said in Witts’ book that: “There is a song I liked on Sgt. Pepper, called ‘A Day in the Life. It has a beautiful song and then this strange sound like John Cale would make (he told me it was an orchestra, actually) and then this stupid little pop song that spoils everything so far. I told this to Paul [McCartney], and I made a mistake, because the beautiful song was written by John Lennon and the stupid song was written by Paul. It can be embarrassing when you speak the truth.” Witts book also claimed that Nico briefly stayed with Paul McCartney at his London home during this particular May visit.
  • In 1968, both the Beatles and the Velvet Underground released eponymous LPs (i.e., The Beatles by the Beatles and The Velvet Underground by the Velvet Underground). The eponymous Beatles LP is usually referred to as the ‘White Album’ and the eponymous Velvet Underground LP is sometimes referred to as the ‘Grey Album’. The other LP that the Velvet Underground released in 1968 (i.e., White Light/White Heat) was an all-black cover apart from the name of the group and the album title in white whereas the Beatles eponymous album was completely white apart from the name of the album in black). This is sometimes refereed to ‘The Black Album’.
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  • According to a number of Lou Reed’s biographers, the Beatles’ manager Brian Epstein really liked the Velvet Underground’s debut LP and (like David Bowie) was given a promo copy before it had actually been released. Epstein was approached by Steve Sesnick (the Velvet Underground’s manager after Andy Warhol) who contacted him hoping to get a deal for Velvet Underground songs with Epstein’s publishing company. It has also been claimed that Epstein was setting up a European tour for the Velvet Underground but Epstein died just before the contracts were signed (in fact Epstein died on my first birthday, August 27, 1967). According to Richie Unterberger (author of the excellent book White Light, White Heat: The Velvet Underground Day-By-Day), Reed actually met Epstein: “In a semicomic incident, Lou Reed himself met Brian Epstein around spring 1967 when, at publicist Danny Fields’s instigation, Reed finagled a cab ride with the Beatles manager in New York in the hopes that some interest in the VU’s affairs might be ignited. Evidently nothing came of it, however, other than Epstein sharing a joint with Reed and telling Lou how much he liked the banana album”.
  • Lou Reed was a long-term client/patient of German (but New York-based) Dr. Robert Freymann. Freymann (also known as ‘Dr. Feelgood’) was the subject of the 1966 Beatles song ‘Dr. Robert’ on their Revolver.
  • Both bands have individuals that are often claimed to be the ‘fifth member’. There are the ‘fifth Beatles’ (George Martin, Brian Epstein, Mal Evans, Billy Preston) and the ‘fifth VU member’ (Nico, Billy Yule, Andy Warhol).
  • Anthony DeCurtis (author of the 2017 biography Lou Reed: A Life) speculates that Lou Reed’s song ‘The Day John Kennedy Died’ includes lyrics that are conflated with Reed’s memories of the day John Lennon died. More specifically, Reed wrote that he heard about Kennedy’s death while watching an American football match but there was no game on that day (12.30pm on November 22, 1963). However, on the day John Lennon died, sports broadcaster Howard Cosell announced that Lennon had been shot dead during his evening TV programme Monday Night Football.
  • Lou Reed’s 1980 LP Growing Up In Public was recorded in Monserrat at Beatles’ producer George Martin’s studio.
  • The Velvet Underground’s first manager, the rock journalist Al Aronowitz, was the man who first introduced the Beatles to Bob Dylan on August 28, 1964 (and George Harrison became Dylan’s life-long friend and were both in the Traveling Wilburys).
  • Both ‘leaders’ of the Beatles and Velvet Underground wrote songs about heroin use from a personal perspective (‘Cold Turkey’ by Lennon and ‘Heroin’ by Reed). Other members of both bands experienced alcoholism (Ringo Starr and John Cale), and almost all members of both bands dabbled in various drug use (some very heavily) in the 1960s and 1970s.
  • Lou Reed and John Lennon have both collaborated with David Bowie. Bowie produced Reed’s album ‘Transformer‘, sang on the track ‘Hop Frog’ (on The Raven LP), and and sang live on stage together in 1972 and 1997 (at Bowie’s 50th birthday concert at Madison Square Garden). Bowie co-wrote his No.1 US hit ‘Fame‘ with Lennon at the end of the Young Americans LP sessions (and in a previous blog, I looked at other associations between Bowie and the Beatles). John Cale also collaborated on two songs with Bowie (‘Velvet Couch’ and ‘Piano-la’) but these were never officially released and are only found on bootlegs).
  • In the song ‘Rooftop Garden’ (the song that closes Reed’s Legendary Hearts LP), Reed used the line ‘Sitting in my rooftop garden, waiting for the sun’ in which he swapped the word ‘English’ for ‘rooftop’ from the line in ‘I Am The Walrus’.
  • Both Lou Reed and Ringo Starr appeared as guests on the 1985 anti-apartheid protest song ‘Sun City’ single and accompanying video put together by Steven Van Zandt. Reed and Starr were also both inducted into the US ‘Rock ‘n’ Roll Hall of Fame’ in 2015.
  • In 2011, Lou Reed and Paul McCartney both appeared on the same tribute album (Rave On) to Buddy Holly. Reed sang ‘Peggy Sue‘ and McCartney sang ‘It’s So Easy‘ (and McCartney earned money from both as he owns Holly’s back catalogue).
  • Both Lou Reed and George Harrison have been heavily influenced in their lives by various aspects of Buddhism.
  • Both John Lennon and Lou Reed spent the last decade of their lives living in New York (although Reed never lived in anywhere but New York) and both released albums with New York in the title (Some Time in New York City by Lennon and New York by Reed).

 

 

 

Dr. Mark Griffiths, Professor of Behavioural Addictions, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Bockris, V. & Malanga, G. (1995). Up-tight – The Velvet Underground Story. London: Omnibus Press.

DeCurtis, A. (2017). Lou Reed: A Life. London: John Murray.

Davies, H. (2009). The Beatles: The Authorised Biography. London: Ebury.

Doggett, P. (1991). Lou Reed – Growing Up in Public. London: Omnibus Press.

Henry, T. (1989), Break All Rules! Punk Rock and the Making of a Style, Ann Arbour MI: UMI Research Press.

Hare, R. D., & Vertommen, H. (2003). The Hare Psychopathy Checklist-Revised. Multi-Health Systems, Incorporated.

Heylin, C. (2005). All Yesterday’s Parties – The Velvet Underground In Print 1966-1971. Cambridge, MA: Da Capo Press.

Hogan, P. (2007). The Rough Guide To The Velvet Underground. London: Penguin.

Hogan, P. (2007). The Dead Straight Guide To The Velvet Underground. London: Red Planet.

Jovanovich, R. (2010). The Velvet Underground – Peeled. Aurum Press.

Kostek, M.C. (1992). The Velvet Underground Handbook
. London: 
Black Spring Press.

Lewisohn, M. (1990). The Complete Beatles Chronicle. London: Harmony Books.

McNeil, Legs; McCain, G. (1996). Please Kill Me: The Uncensored Oral History of Punk. London: Grove Press.

Muggleton, D. & Weinzierl, R. (2003). The Post-Subcultures Reader. Oxford: Berg.

Norman, P. (2011). Shout! the Beatles in their generation. New York: Simon and Schuster.

Reed, L. (1992). Between Thought and Expression. 
London:  Penguin Books.

Unterberger, R. (2011). White Light, White Heat: The Velvet Underground Day-By-Day. London: Edition Olms.

Wall, M. (2013). Lou Reed: The Life. Croydon: Orion Books.

Witts, R. (1993). Nico: The Life & Lies of an Icon. London: Virgin Books.

 

Fanable Collector: A personal insight into the psychology of a record-collecting completist (Part 2)

In a previous blog I briefly outlined the mindset of being an excessive record collecting completist using myself as a case study. That particular article contained some of the extreme and excessive lengths I have gone through on a general level when it comes to collecting music by particular artists. What I thought I would do in this blog is write a brief but more detailed account of my most recent music completist (and some would argue obsessive) activity concerning the British rock band The Move who were active in the late 1960s and early 1970s.

I had liked The Move since my early teenage years after buying a 10-track cassette (The Greatest Hits Vol. 1) in my local Woolworths shop in my home town of Loughborough. The cassette was on the budget Pickwick record label and I bought it because it only cost 99p. (In fact, I bought dozens of budget albums at Woolworths in the early 1980s including many Pickwick compilation cassettes and many vinyl records on the MFP [Music for Pleasure] record label mainly because they were priced £1.99 or less and the same price as 12” singles at the time). I had only ever heard a few songs by The Move on BBC Radio 1 (my preferred music station in my teenage years) including ‘Flowers In The Rain’, ‘Fire Brigade’, and ‘I Can Hear The Grass Grow’. Because the cassette featured all three of these songs I bought it on impulse and was not disappointed.

Over the years, the albums that I had on cassette and vinyl were slowly replaced by CDs but The Move’s greatest hits LP was one of the few that slipped through the cracks and which I never got on CD – until about a six weeks ago. As ever, the buying of the CD was an impulse purchase following a ‘You might like…’ recommendation from Amazon. I had just bought a couple of ‘glam rock’ CDs and (as Amazon always do) I got a personal recommendation that I might like The Move’s greatest hits CD because I had bought greatest hits CDs by T-Rex and Slade.

The album that I was recommended was Magnetic Waves of Sound: The Best of The Move, a 21-track LP featuring all their singles and released earlier this year (“magnetic waves of sound” is one of the lyrics from ‘I Can Hear The Grass Grow’ in case you were wondering). I bought it not only because it contained all the 10 tracks that were on my Pickwick label cassette that I bought in the early 1980s, but also because it had an accompanying DVD of many rare performances of The Move on TV from the late 1960s. I ordered the 2-disc set and as soon as it arrived I uploaded it onto my i-Pod and played it repeatedly for the next few days. In fact, I played it three or four times a day for the following week. I absolutely loved it – despite the mixture of different song styles from four different line-ups of the band during the 1967-1972 era.

I haven’t got time to go into the history of the band but most fans of the band tend to differentiate between the line-up featuring Carl Wayne as lead singer (with all the original songs being written by Roy Wood) and the later incarnation after Carl Wayne had left and was replaced by Jeff Lynne (who shared songwriting and lead vocal duties with Roy Wood). Roy Wood and drummer Bev Bevan were the only two in all the different line-ups over the years.

Within a few days of playing the CD, my thirst for The Move was unquenchable. After just four days listening to the ‘best of’ album on repeat, I ordered all four of The Move’s back catalogue studio LPs – Move (1968), Shazam (1970), Looking On (1970), and Message From The Country (1971). Not only were all four albums still available but all had recently been re-released in ‘deluxe’ and remastered editions with many extra discs’ worth of unreleased material including dozens of tracks from BBC radio sessions over the years. The four albums soon arrived and I had eight new discs of music to gorge myself on. They arrived just before I went on my family holiday to the Canary Islands so I had lots of time (without work) to listen to the music on the plane, by the pool, while I was reading, and in when going to bed (I always listen to a couple of LPs in bed every night before I go to sleep).

While I was on holiday I was reading lots of online articles about The Move while listening to their albums. It was at this point that I decided that I had to have every track they’ve ever recorded in my collection (irrespective of whether I like the songs or not). This is one of the worst things about being an avid collector and song completist. I simply have to have every note – good or bad – that has been recorded by the band (including live albums). I soon found out that The Move had only released two live albums (Something Else From The Move and Live At The Fillmore 1969) so I ordered those while I was on holiday (and they were waiting for me on my doormat when I arrived back home). Thankfully, both of these feature lots of songs that are not on any of their four albums and they also happened to be a great band when playing live (but I didn’t know that until after I’d ordered). There was also an LP of session tracks they recorded for the BBC (the unimaginatively titled BBC Sessions) but thankfully all of those tracks (and more) were included as extras on the deluxe editions of their studio LPs (which I already had). Good job too because it sells for hundreds of pounds on sites like Amazon and eBay.

Finally, there were two anthology box sets. The first one (Movements, issued in 1998) was a 3-disc set, but again, all the rare tracks on that set featured in the extras of the more recently remastered deluxe edition versions of their studio LPs (so I decided I didn’t need to get that). However, a more recent 4-disc box set (The Move Anthology 1966-1972, issued in 2008) had lots of tracks and alternate versions of songs that weren’t available anywhere else and exclusive to this particular CD boxset. I went online and found various online websites selling it secondhand for exorbitant prices (around £125; I’d managed to get all the other seven albums for around £80 in total). I would have gladly paid the price for such an overpriced item (and that is another downside of being a completist – we will pay over the odds to complete our collections – even if there is just one or two tracks that I don’t own), but thankfully I found a secondhand set on Discogs for just over £30. Bargain! I quickly ordered it (“only one copy left”) and had it in my possession within 36 hours of ordering. In the space of about three weeks I had completed my collection of everything The Move had legally and commercially produced.

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But a completist collectors never end there. We then start to track down illegal bootlegs (typically online but also at various record fairs around the country). We seek out rarer and rarer items and build up a kind of tolerance that can never be totally satisfied until in the possession of new recorded material. I only managed to locate five bootlegs by The Move and there were no tracks on them that didn’t feature in the albums already owned (so I wasn’t tempted to buy any of them – other completists have to own all recorded output irrespective of whether they already have the tracks in question). I then went onto YouTube and found some rare live performances which I converted into MP3s to make my own unofficial rare bootleg LP collection of The Move live. But that still didn’t satisfy my thirst for material by The Move. I wanted more.

Much of the reading I did online about The Move during my summer holiday featured quite a lot on the 1970-1972 period (when Jeff Lynne joined) where there were actually two bands in operation simultaneously – The Move and the embryonic Electric Light Orchestra (ELO). As a child (11-12 years old) I loved E.L.O. and had bought their Discovery album on cassette because I loved the track ‘Don’t Bring Me Down’ (and still do to be honest). However, I never realized in my early teens that Jeff Lynne had been in the later line-ups of The Move. Given that the Electric Light Orchestra were actually The Move in all but name at the beginning of the 1970s, I also ended up buying a 2-CD collection called The Harvest Years (a new copy for just £6) featuring all of the tracks on the first two ELO albums (The Electric Light Orchestra and ELO 2) plus dozens of extra outtakes and b-sides. ELO’s mission statement was to produce ‘symphonic’ rock fusing elements of classical music and instrumentation (cellos, violins, etc.) into the rock genre. In fact, the only reason The Move still existed as a band was because they were contractually obligated by their record company to produce two more albums. In reality, Wood and Lynne’s only aim was to get ELO up and running and the first ELO album was recorded at the same time as the last album by The Move. ELO’s first hit single (‘10538 Overture’) was originally recorded as a Move b-side. The Move’s last top ten hit single (‘California Man’) crossed over with ELO’s first top ten hit single in the British charts and had identical core line-ups (Wood, Lynne and Bevan).

 

I then found out that Jeff Lynne and Roy Wood had been friends for years in Birmingham where they both lived and served their musical apprenticeships. In fact, The Move had recorded a demo version of ‘Blackberry Way’ (their only No.1 hit in the UK) in Lynne’s homemade studio while he was lead singer in his own band (The Idle Race). Roy Wood had also asked Lynne to join The Move in 1969 but Lynne felt he could still get somewhere with his own band. The Idle Race were also one of the first bands to perform a cover version of a song by The Move – ‘Here We Go Round The Lemon Tree’). This led me to buying a secondhand copy of the complete (2-CD) recorded works of everything by The Idle Race ever commercially released (Back To The Story) for just £5. Bargain!

But my thirst for Move-related music didn’t end there. I then found out that there were various tracks that Roy Wood had written during his tenure with The Move and Electric Light Orchestra (Mk.1) and that ended up on his subsequent LPs (most noticeably his Boulders album). I subsequently bought Boulders as part of a £10 Roy Wood 5-CD boxset also featuring LPs by his next band Wizzard as well as ELO’s first LP and The Move’s final LP (both of which I already had but £10 for three new albums seemed good value to me). I then bought a ‘greatest hits’ CD of Roy Wood and Wizzard (for a couple of quid).

As I write this, for the last two weeks, I’ve been slowly buying up the rest of ELO’s album back catalogue. For the best part of three decades, ELO were one of my guilty pleasures as I had quite a few of their late 1970s albums on my iPod (as well their Light Years greatest hits collection). I now have all the albums ELO recorded in the 1970s as well as the most recent (2015) platinum-selling Alone In The Universe. I managed to get all of these for less than £20 in total. Bargain! However, whether I will end up being an ELO completist remains to be seen. A lot of their post-1980 output is not something I can honestly say I like. But who knows? As I said above, one of the worst things about being a completist is buying music that we don’t like but collect just to complete our collections. With ELO, it’s definitely a case of ‘Watch this space’.

Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Brumbeat (2017). The Move. Located at: http://www.brumbeat.net/move.htm

Paytress, M. (2008). Liner notes in book included in the 4-CD The Move Anthology 1966-1972. Salvo/Fly Records.

Van der Kiste, J. (2014). Jeff Lynne: Electric Light Orchestra – Before and After. Stroud: Fonthill Media.

Van der Kiste, J. (2014). Roy Wood: The Move, Wizzard and Beyond. CreateSpace Independent Publishing Platform.

Wikipedia (2017). Carl Wayne. Located at: https://en.wikipedia.org/wiki/Carl_Wayne

Wikipedia (2017). Electric Light Orchestra. Located at: https://en.wikipedia.org/wiki/Electric_Light_Orchestra

Wikipedia (2017). Jeff Lynne. Located at: https://en.wikipedia.org/wiki/Jeff_Lynne

Wikipedia (2017). Roy Wood. Located at https://en.wikipedia.org/wiki/Roy_Wood

Wikipedia (2017). The Move. Located at: https://en.wikipedia.org/wiki/The_Move

Seedy CD*: A psychologist’s look at the music of Soft Cell

In a previous blog on examining all Adam Ant’s songs about sexual paraphilias, I noted that Soft Cell are probably the only other recording artists who come close to talking about the seedier side of sex. They are also artists that (like one of my other favourite bands, Throbbing Gristle) have never been afraid to sing about taboo topics including prostitution (‘Secret Life’, A Divided Soul’), a housewife’s sexual fantasy about the paper boy (‘Kitchen Sink Drama’), pure hedonism (‘Sensation Nation’), alternative therapies such as colonic irrigation, meditation, and crystal therapy (‘Whatever It Takes’), murder (‘The Best Way To Kill’, ‘Meet Murder My Angel’), suicide (‘Darker Times’, ‘Frustration’ and ‘Down In The Subway’ – “Jump on that train track and die”), incest (‘I Am 16’), psychopathic killers (‘Martin’ based on the story of a serial killer in a film of the same name), shopaholism (‘Whatever It Takes’), anorexia nervosa (‘Excretory Eat Anorexia’), and obsessional cleansing (‘Cleansing Fanatic’), to name but a few.

Soft Cell arguably saw themselves as outside of the norm. Their first official release, an EP entitled ‘Mutant Moments’ EP set out their psychological store (and where ‘Metro Mr. X’ was their “favourite mutant”). They also had a track on the seminal 1980 (various artists) Some Bizarre Album about a disfigured woman (‘The Girl With The Patent Leather Face’). Very few artists would ever sing about such topics (although there are a few exceptions such as Throbbing Gristle’s ‘Hamburger Lady’ based on the medical case notes of a badly burned woman).

Soft Cell’s reputation as a band that focused on the sleazy side of everyday life was cemented after the release of their 1981 debut album Non-Stop Erotic Cabaret (NSEC). The cover featured a photo of the band’s two members (Marc Almond and Dave Ball) taken outside the Raymond Revue Bar, a notorious strip joint in the heart of London’s Soho district.

Just as the Velvet Underground’s debut album was viewed as a ‘sex and drugs’ LP because of a couple of songs about sadomasochistic sex (‘Venus In Furs’) and drug-taking (‘Heroin’), NSEC’s reputation as a ‘sleazy sex’ album also rested on just a few songs – most notably ‘Seedy Films’ (about telephone sex as well as pornographic films), ‘Secret Life’ (about using prostitutes behind a wife’s back), and the (now infamous) ‘Sex Dwarf’ (a song glorifying sadomasochistic sex). Later songs and albums also touched on various aspects of sexuality (their third album This Last Night In Sodom raising a few eyebrows on its’ release in 1984). They wanted to “try all of the vices” (in ‘The Art Of Falling Apart’) and also sang about having sex in cars (‘It’s A Mug’s Game’ and ‘Where Was Your Heart [When You Needed It Most’).

soft-cell-marija-563x353

One of my personal favourite in the Soft Cell canon is the 2002 song ‘Perversity’ which was a bonus track on their comeback single ‘Monoculture’ after reforming in 2001. It talked about studying at the “university of perversity” and provided me with the title to my series of blogs on the A-Z of little known paraphilias and fetishes. As Marc Almond and Friends, there was also a great cover version of Throbbing Gristle’s ‘Discipline’ (a song about sadomasochism) and ‘Sleaze It, Take It, Shake It’ (by Almond’s side-project, Marc and the Mambas)

Soft cell’s second hit single ‘Bedsitter’ summed up my formative years as a teenage clubber and shares some of the same lyrical DNA as The Smiths classic ‘How Soon Is Now?’ (going to nightclubs in search of love and/or sex but going home alone). I’d also argue that Soft Cell sometimes give The Smiths a run for their money when it comes to songs about misery (e.g., ‘Chips On My Shoulder’, ‘Mr. Self-Destruct’, ‘Bleak Is My Favourite Cliché’, ‘Forever The Same’, ‘Down In The Subway’ and ‘Born To Lose’).

But Soft Cell aren’t just about sex, they also like songs about love more generally although their take on love is more about the unrequited love, the disintegration of love (‘Tainted Love’, ‘Say Hello, Wave Goodbye’, ‘Where Did Our Love Go?’, ‘All Out Of Love’, ‘Together Alone’, ‘Desperate [For Love]’, ‘L.O.V.E. Feelings’, ‘Whatever It Takes’, ‘Last Chance’, ‘What’, ‘Barriers’, ‘Disease And Desire’, ‘Her Imagination’, ‘Desperate’, and ‘Torch’). In short they focus on (as they describe in their song ‘Loving You, Hating Me’) “the other side of love” and the “devil in my bed” (‘from ‘God-Shaped Hole’). The only other band that have explored the ‘darker’ side of love lyrically in so many different songs are Depeche Mode (which I discussed in a previous blog on obsessional lyrics in pop music). Their songs aren’t afraid to feature one-night stands and casual sex (‘Numbers’, ‘Surrender To A Stranger’, ‘Heat’, ‘Where Was Your Heart [When You Needed It Most’ and ‘Fun City’). It’s also worth noting that Soft Cell were never afraid to talk about drug use in their songs including cocaine (‘Frustration’), LSD (‘Frustration’), alcohol (‘It’s A Mug’s Game’), valium (‘Tupperware Party’, ‘My Secret Life’), heroin (‘L’Esqualita’) and their “dealer in the hall” (‘Divided Soul’).

They also made cover versions that were often better than the originals. They sexed the songs up or made them mean, moody and menacing. Soft Cell were huge fans of Northern soul and is evident in their covers of songs like ‘Tainted Love’, ‘The Night’ and ‘Where Did Our Love Go?’ but their other cover versions came from a wide variety of artists including Jimi Hendrix (their 11-minute ‘Hendrix Medley’ comprising ‘Hey Joe’, ‘Purple Haze’ and ‘Voodoo Chile’), Johnny Thunders (‘Born To Lose’), Suicide (‘Ghostrider’), Lou Reed (‘Caroline Says’ as Marc and the Mambas), and John Barry (‘007 Theme’ and ‘You Only Live Twice’). From the very first note, this were instantly Soft Cell even though they didn’t write the songs.

Lyrically (and musically), some of their best songs were on their final 2000 studio album Cruelty Without Beauty. For instance, ‘Caligula Syndrome’ depicts sadomasochism (“crawling down on your hands and knees like slaves”), orgies, and “every kind of deviation on demand”. The song ‘Grand Guignol’ is about the Parisian theatre that operated from 1897 until it closed in 1962. The theatre specialised in naturalistic amoral horror entertainment shows horror shows or as Soft Cell put it: It’s Grand Guignol/It’s rock ‘n’ roll/It’s vaudeville and burlesque/All of human life is here/In the theatre of the grotesque”. A sentiment that (I would argue) also sums up the many of the blogs I have published on this website.

*With thanks to The Passage (one of my favourite bands) who used the homonym ‘Seedy’ when naming their first CD [C-D, geddit?] compilation.

Dr Mark Griffiths, Professor of Behavioural Addictions, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Almond, M. (1999). Tainted Life. London: Sidgwick and Jackson.

Almond, M. (2004). In Search Of The Pleasure Palace. London: Sidgwick and Jackson.

Fanni Tutti, C. (2017). Art Sex Music. Faber & Faber: London.

Lindsay, M. (2013). Sex music for gargoyles: Soft Cell’s The Art Of Falling Apart. The Quietus, December 12. Located at: http://thequietus.com/articles/14100-soft-cell-interview-marc-almond

Reed, J. (1999). Marc Almond: The Last Star. London: Creation Books.

Reynolds, S. (2006). Rip It Up and Start Again: Postpunk, 1978–1984. New York: Penguin.

Tebbutt, S. (1984). Soft Cell. London: Sidgwick and Jackson.

Wikipedia (2017). Marc Almond. Located at: https://en.wikipedia.org/wiki/Marc_Almond

Wikipedia (2017). Soft Cell. Located at: https://en.wikipedia.org/wiki/Soft_Cell

Trip it up and start again: Dark tourism (revisited)

Last week, there were numerous stories in the British press about plans to display the car that Princess Diana was killed in a US museum. Much of this coverage described the plans as ‘sick’ and ‘distasteful’ but is the latest in a very long line of an example of ‘dark tourism’. In a previous blog I briefly examined ‘disaster tourism’, a form of ‘dark tourism’. Since writing that blog I came across an interesting book chapter by the Slovenian researcher Dr. Lea Kuznik entitled ‘Fifty shades of dark stories’ examining the many motivations for engaging in the seedier side of tourism. Dark tourism is something that I have been guilty of myself. For instance, as a Beatles fanatic, when I first went to New York, I went to the Dakota apartments where John Lennon had been shot by Mark David Chapman. In her chapter, Dr. Kuznik notes that:

“Dark tourism is a special type of tourism, which involves visits to tourist attractions and destinations that are associated with death, suffering, disasters and tragedies venues. Visiting dark tourist destinations in the world is the phenomenon of the twenty-first century, but also has a very long heritage. Number of visitors of war areas, scenes of accidents, tragedies, disasters, places connected with ghosts, paranormal activities, witches and witchhunt trials, cursed places, is rising steeply”.

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As I noted in my previous blog, the motivations for such behaviour is varied. Those working in the print and broadcast media often live by the maxim that ‘if it bleeds, it leads’ (meaning that death and disaster sell). Clearly whenever anything hits the front of newspapers or is the lead story on radio and television, it gains notoriety and infamy. This applies to bad things as well as good things and is one of the reasons why dark tourism has become so popular. Kuznik notes that although dark tourism has a long history, it has only become a topic for academic study since the mid-1990s. Dr. Kuznik observes that:

“The term dark tourism was coined by Foley and Lennon (1996) to describe the attraction of visitors to tourism sites associated with death, disaster, and depravity. Other notable definitions of dark tourism include the act of travel to sites associated with death, suffering and the seemingly macabre (Stone, 2006), and as visitations to places where tragedies or historically noteworthy death has occurred and that continue to impact our lives (Tarlow, 2005). Scholars have further developed and applied alternative terminology in dealing with such travel and visitation, including thanatourism (Seaton, 1996), black spot tourism (Rojek, 1993), atrocity heritage tourism (Tunbridge & Ashworth, 1996), and morbid tourism (Blom, 2000). In a context similar to ‘dark tourism’, terms like ‘macabre tourism’, ‘tourism of mourning’ and ‘dark heritage tourism’ are also in use. Among these terms, dark tourism remains the most widely applied in academic research (Sharpley, 2009)”.

Kuznik also notes that dark tourism has been referred to as “place-specific tourism”. Consequently, some researchers began to classify dark tourism sites based upon their defining characteristics. As Kuznik notes:

“Miles (2002) proposed a darker-lighter tourism paradigm in which there remains a distinction between dark and darker tourism according to the greater or lesser extent of the macabre and the morose. In this way, the sites of the holocaust, for example, can be divided into dark and darker tourism when it comes to their authenticity and scope of interpretation…On the basis of the dark tourism paradigm of Miles (2002), Stone (2006) proposed a spectrum of dark tourism supply which classifies sites according to their perceived features, and from these, the degree or shade of darkness (darkest to lightest) with which they can be characterised. This spectrum has seven types of dark tourism suppliers, ranging from Dark Fun Factories as the lightest, to Dark Camps of Genocide as the darkest. A specific example of the lightest suppliers would be dungeon attractions, such as London Dungeon, or planned ventures such as Dracula Park in Romania. In contrast, examples of the darkest sites include genocide sites in Rwanda, Cambodia, or Kosovo, as well as holocaust sites such as Auschwitz-Birkenau”.

In relation to the reasons for visiting dark tourism sites, Kuznik came up with seven main motivations for why we as humans seek out such experiences (i.e., curiosity, education, survivor guilt, remembrance, nostalgia, empathy, and horror) that are outlined below (please note that the descriptions are edited verbatim from Kuznik’s chapter)

  • Curiosity: “Many tourists are interested in the unusual and the unique, whether this be a natural phenomenon (e.g. Niagara Falls), an artistic or historical structure (e.g. the pyramids in Egypt), or spectacular events (e.g. a royal wedding). Importantly, the reasons why tourists are attracted to dark tourism sites derive, at least in part, from the same curiosity which motivates a visit to Niagara Falls. Visiting dark tourism sites is an out of the ordinary experience, and thus attractive for its uniqueness and as a means of satisfying human curiosity. So the main reason is the experience of the unusual”.
  • Empathy: “One of the reasons for visiting dark tourism sites may be empathy, which is an acceptable way of expressing a fascination with horror…In many respects, the interpretation of dark tourism sites can be difficult and sensitive, given the message of the site as forwarded by exhibition curators can at times conflict with the understandings of visitors”.
  • Horror: Horror is regarded as one of the key reasons for visiting dark tourism sites, and in particular, sites of atrocity…Relating atrocity as heritage at a site is thus as entertaining as any media depiction of a story, and for precisely the same reasons and with the same moral overtones. Such tourism products or examples are: Ghost Walks around sites of execution or murder (Ghost Tour of Prague), Murder Trails found in many cities like Jack the Ripper in London”.
  • Education: “In much tourism literature it has been claimed that one of the main motivations for travel is the gaining of knowledge, and the quest for authentic experiences. One of the core missions of cultural and heritage tourism in particular is to provide educational opportunities to visitors through guided tours and interpretation. Similarly, individual visits to dark tourism sites to gain knowledge, understanding, and educational opportunities, continue to have intrinsic educational value…many dark tourism attractions or sites are considered important destinations for school educational field trips, achieving education through experiential learning”.
  • Nostalgia: “Nostalgia can be broadly described as yearning for the past…or as a wistful mood that an object, a scene, a smell or a strain of music evokes…In this respect Smith (1996) examined war tourism sites and concluded that old soldiers do go back to the battlefields, to revisit and remember the days of their youth”.
  • Remembrance: “Remembrance is a vital human activity connecting us to our past…Remembrance helps people formulate an identity, allowing them to learn from past mistakes, and to go forward with a clear vision of the future. In the context of dark tourism, remembrance and memory are considered key elements in the importance of sites”.
  • Survivor’s guilt: “One of the distinctive characteristics of dark tourism is the type of visitors such sites attract, which include survivors and victim‘s families returning to the scene of death or disaster. These types of visitors are particularly prevalent at sites associated with Second World War and the holocaust. For many survivors returning to the scene of death and atrocity can achieve a therapeutic effect by resolving grief, and can build understanding of how terrible things came to have happened. This can be very emotional experience”.

Dr. Kuznik also developed a new typology of “dark places in nature”. The typology comprised 17 types of dark places and are briefly outlined below.

  • Disaster area tourism: Visiting places of natural disaster after hurricanes, tsunamis, volcanic destructions, etc.
  • Grave tourism: Visiting famous cemeteries, or graves and mausoleums of famous individuals.
  • War or battlefield tourism: Visiting places where wars and battles took place.
  • Holocaust tourism: Visiting Nazi concentration camps, memorial sites, memorial museums, etc.
  • Genocide tourism: Visiting places where genocide took place such as the killing fields in Cambodia.
  • Prison tourism: Visiting former prisons such as Alcatraz.
  • Communism tourism: Visiting places like North Korea.
  • Cold war and iron curtain tourism: Visiting places and remains associated with the cold war such as the Berlin Wall.
  • Nuclear tourism: Visiting sites where nuclear disasters took place (e.g. Chernobyl in the Ukraine) or where nuclear bombs were exploded (e.g., Hiroshima and Nagasaki in Japan).
  • Murderers and murderous places tourism: Visiting sites where killers and serial killers murdered their victims (‘Jack the Ripper’ walks in London, where Lee Harvey Oswald killed J.F. Kennedy in Dallas)
  • Slum tourism: Visiting impoverished and slum areas in countries such as India and Brazil, Kenya.
  • Terrorist tourism: Visiting places such Ground Zero (where the Twin Towers used to be) in New York City
  • Paranormal tourism: Visiting crop circle sites, places where UFO sightings took place, haunted houses (e.g., Amityville), etc.
  • Witched tourism: Visiting towns or cities where witches congregated (e.g., Salem in Massachusetts).
  • Accident tourism: Visiting places where infamous accidents took place (e.g. the Paris tunnel where Princess Diana died in a car accident).
  • Icky medical tourism: Visiting medical museums and body exhibitions.
  • Dark amusement tourism: Visiting themed walks and amusement parks that are based on ghosts and horror figures (e.g., Dracula).

Looking at these different types quickly I reached the conclusion that I would class myself as a ‘dark tourist’ as I have engaged in many of these and no doubt reflects my own interest in the more extreme aspects of the lived human experience.

Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Ashworth, G., & Hartmann, R. (2005). Introduction: managing atrocity for tourism. In G. Ashworth & R. Hartmann (Eds.), Horror and human tragedy revisited: the management of sites of atrocities for tourism (pp. 1–14). Sydney: Cognizant Communication Corporation. 

Blom, T. (2000). Morbid tourism – a postmodern market niche with an example from Althorp. Norwegian Journal of Geography, 54(1), 29–36.

Dann, G. M., & Seaton, A. V. (2001). Slavery, contested heritage and thanatourism. International Journal of Hospitality & Tourism Administration, 2(3-4), 1-29.

Foley, M., & Lennon, J. (1996). JFK and dark tourism: A fascination with assassination. International Journal of Heritage Studies, 2(4), 198–211.

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