Stars in their highs: The psychology of ‘addiction to fame’ (revisited)

A couple of weeks ago, I was contacted by The Face magazine who wanted to know if fame can be addictive. I looked at this issue in one of my first articles published on this website as well as a number of other articles related to fame (such as ones on Celebrity Worship Syndrome, the psychology of being starstruck, celebriphilia [the pathological desire to have sex with a celebrity], celebrity endorsements in gambling advertising, and whether famous people are more susceptible to addictive behaviour). I ended up doing the interview via email and given that when The Face eventually publish their article I am unlikely to get more than a few soundbites, I thought I would publish my responses to the questions I was asked here.

The Face: Why do we desire fame?

Obviously not everyone wants to be famous but for those that desire it there are many reasons why they would want it. On a pragmatic level it is because fame might lead to benefits such as having more money, power, being pampered, living a life of luxury and/or greater sexual success, etc. On a psychological level it may lead to something that overcomes feelings of insecurity or feeds a need to be adored by others. Many people are famous as a by-product of what they do (e.g., being a professional sportsman, politician, etc.). Here, the desire is to do well in the chosen profession and fame is not usually the primary motivating factor. However, it is also worth noting that once someone has become famous and then are unable to maintain their public profile (e.g., a footballer retiring from the sport), those who desire fame will often do other things (e.g., reality TV) as a way of keeping themselves in the public eye.

The Face: Is fame an addiction?

Addiction to anything relies on constant rewards (what we psychologists call ‘reinforcement’). You cannot become addicted to something that doesn’t have constant rewards – and being famous can obviously bring constant rewards. I would class something as being an addiction if it fulfils six criteria. All of these have to be present to be a genuine addiction.

• Salience –This occurs when fame becomes the single most important activity in the person’s life and dominates their thinking (preoccupations and cognitive distortions), feelings (cravings) and behaviour (deterioration of socialised behaviour).
• Mood modification – This refers to the subjective experiences that people report as a consequence of being famous (e.g. the euphoric feelings that accompany the activities that they engage in).
• Tolerance – This is the process whereby increasing amounts of time spent trying to achieve and/or maintain fame.
• Withdrawal symptoms – These are the unpleasant feeling states and/or physical effects (e.g., the shakes, moodiness, irritability, etc.), that occur when the person feels they are no longer famous and/or in the public eye.
• Conflict – This is when the desire to be famous results in conflicts between the person and those around them (interpersonal conflict), conflicts with other activities (social life, hobbies and interests) or from within the individual themselves (intra-psychic conflict and/or subjective feelings of loss of control about achieving and/or maintaining fame).
• Relapse – This is the tendency for repeated reversions to earlier patterns of excessive time spent trying to achieve and/or maintain fame.

My own view is that it is theoretically possible for individuals to be addicted to fame but the number that would fulfil all my criteria would be few and far between.

The Face: You have asked the question of what substance the people addicted to fame are actually addicted to. Couldn’t it just be validation? 

The ‘object’ of fame addiction is likely to be highly idiosyncratic and individualistic (just like those individuals who are addicted to work). The rewards and reinforcements will be different for different people. Validation is a plausible generic factor as is feeling of wanting to be adored.

The Face: Is there any biological similarity between what an addictive substance like cocaine does to the brain and what fame does? 

There is no empirical evidence to answer such a question but on a biological level, anything that we do that makes us feel good leads to increases in serotonin (which at a basic level leads to feelings of positive wellbeing and happiness) which leads to an increase in the body’s own drug-like chemicals (endorphins – opioid neuropeptides), and ultimately leading to increases of the neurotransmitter dopamine (often characterised as the body’s own chemical ‘pleasure’ producer)

The Face: Does the behaviour of people ‘addicted’ to fame mirror that of other addicts?

If we are going to call fame an ‘addiction’ it has to mirror the signs, symptoms, and consequences of other addictions. Consequently, very few people would be classed as addicted using my criteria above. For many individuals, fame might have addictive elements rather than being an addiction per se.

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

Further reading

Griffiths, M.D. & Joinson, A. (1998). Max-imum impact: The psychology of fame. Psychology Post, 6, 8-9.

Halpern, J. (2007). Fame Junkies. New York: Houghton Mifflin Harcourt

McGuinness, K. (2012). Are Celebrities More Prone to Addiction? The Fix, January, 18. Located at: http://www.thefix.com/content/fame-and-drug-addiction-celebrity-addicts100001

Rockwell, D. & Giles, D.C. (2009). Being a celebrity: A phenomenology of fame. Journal of Phenomenological Psychology, 40, 178-210.

Streeter, L.G. (2011), Doctor helps people beat their fame addiction. Palm Beach Post, October 3. Located at:  http://www.palmbeachpost.com/health/doctor-helps-people-beat-their-fame-addiction-1892781.html

Turner, M. (2007). Addicted to fame: Stars and fans share affliction. MSNBC Entertainment News, August 9. Located at: http://today.msnbc.msn.com/id/20199608/ns/today-entertainment/t/addicted-fame-stars-fans-share-affliction/

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.

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.

Voyeurs and their lawyers: Can ‘upskirting’ be addictive?

Over the past few months, ‘upskirting’ has been in the British news, particularly in relation to making it a criminal offence. A campaign initiated by freelance writer Gina Martin was started after she became a victim of upskirting. For those who don’t know what I’m talking about, upskirting refers to taking a photograph (typically with a smartphone) up someone’s skirt without their permission. Martin published an account of her ordeal for the World Economic Forum in April 2018 and reported that:

“Last summer, I was standing in a crowd of 60,000, on a hot summer’s day in London, waiting for The Killers to come on stage, when a man – whose advances I’d rejected – took pictures of my crotch by putting his phone between my legs as I chatted to my sister blissfully unaware. A few minutes later, I saw one of his friends looking at an intrusive picture of a woman’s crotch covered by a thin strip of fabric. I knew it was me. I grabbed the phone off him and checked. Tears filled my eyes and I began drawing attention to him: ‘You guys have been taking pictures of my vagina! What is wrong with you!?’ He grabbed me and pushed his face in front of mine, bellowing that I give him his phone back. I didn’t…The police arrived and were lovely. I was, understandably, a mess and they patiently calmed me down. What the police then did was ask him to delete the images – my evidence – and then, they told me they couldn’t do anything. ‘We had to look at the image, and although it showed far more than you’d want anyone to see, it’s not technically a graphic image. There’s not much we can do. If you weren’t wearing knickers it would be a different story.’ I was completely humiliated and devastated”.

Following this incident, and because upskirting wasn’t an offence, Martin began a campaign to get the act criminalized. Upskirting is currently an offence in Scotland but not in England and Wales. Upskirting is one of many sexual acts that are present among those individuals that have a voyeuristic disorder. In an article for the Law Gazette in July 2017 (‘Fifty shades of sexual offending’), forensic psychologist Dr. Julia Lam made countless references to upskirting in an overview of voyeuristic disorder. She noted that:

“Voyeuristic Disorder is a paraphilic/psychosexual disorder in which an individual derives sexual pleasure and gratification from looking at naked bodies and genital organs, observing the disrobing or sexual acts of others…Instead of peeping in situ using high-powered binoculars, with advances in technology such as camera phones and pin-hole cameras, voyeurs can now record the private moments with their devices: taking upskirt photos of unsuspecting individuals on escalators, or filming women in various states of undress in toilets and changing rooms. Voyeuristic behaviour is on the rise…Learning theory suggests that an initially random or accidental observation of an unsuspecting person who is naked, in the process of disrobing, or engaging in sexual activity, may lead to sexual interest and arousal; with each successive repetition of the peeping act reinforcing and perpetuating the voyeuristic behaviour”.

She reported that voyeurism is the most common type of sexual offence and that voyeurs can be men or women but that “men are commonly the perpetrators in the peeping acts/upskirt, with women being the victims”. She noted that the lifetime prevalence of voyeuristic disorder is around 12% among men and 4% in women, and that the causes of voyeurism are unknown. She then went onto say:

“The new vocabulary ‘upskirt’ is both a verb (the practise of capturing an image/video of an unsuspecting and non-consenting person in a private moment) and a noun (i.e. the actual voyeuristic photos or videos made; referred as “voyeur photography”)…While most voyeurs film for self-gratification (i.e. using upskirt materials for fantasy and masturbation), there are offenders who make upskirt photos and videos specifically for uploading onto the internet (e.g. fetish and pornographic websites and video-sharing sites like YouTube) for monetary profit…Upskirt is considered a ‘serious’ crime in Singapore as it intrudes upon the privacy of unsuspecting and non-consenting individuals. Offences typically take place on escalators, in fitting rooms, public toilets or shower rooms; with the offenders trying to capture what is underneath the ‘skirts’ or private moments of the victims with a recording device which may or may not be disguise”.

She also said that in recent years in Singapore, she had assessed “a considerable number” of voyeurs that had engaged in upskirting and who were arrested, prosecuted, and incarcerated for their actions. Most of these criminal voyeurs were ‘first-timers’ (i.e., arrested and charged with upskirting for the first time), had a long history of engaging in excessive masturbation and pornography use, and that the offences were non-violent. However, she did note that although they may have been arrested for the first time, their interest in peeping and upskirting usually stemmed from adolescence. Dr. Lam also claimed that:

“Getting apprehended for [upskirting] is more a norm than an exception in this group, as it is just a matter of time that the offender would be careless or daring enough to invite apprehension. Police arrest usually serves as a final ‘wake-up call’ that breaks the offending pattern, accompanied with a great sense of shame and embarrassment. Many of these voyeurs are amenable to treatment…Most of the sufferers of Voyeuristic Disorder who came for my assessment reported their urges to upskirt and use the materials to masturbate as overwhelming, to the extent that they gave in to temptation without considering the grave consequences of their acts”.

Dr. Lam also talked about her treating upskirting voyeurs and recounted one case which she claimed was a compulsion. 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. Upskirting was another one of his coping strategies and he was eventually arrested for his behaviour. Dr. Lam then went on to report” 

“Every morning after he woke up, he would feel the urge to go out to find his ‘targets’. Although he knew it was very risky to take upskirt [photos] on MRT escalators, he felt compelled to satiate his urges and gratification, and was oblivious to his surroundings (e.g. passers-by security staff and CCTV) and the risk of being arrested. He could still feel the thrill and excitement, but he no longer enjoyed the act. It had become more like a compulsion…He was prescribed medication to manage his mood and urges to act out, and attended psychotherapy to work on his voyeuristic behaviour and learn more effective coping skills. He has since graduated from university, and has not breached the law with [upskirting] behaviour again”.

Dr. Lam, like other practitioners who treat sex offenders, often view extreme cases of voyeurism as a compulsion, obsession and/or an addiction. If extreme voyeurism (in general) can be seen as an addiction, there is no theoretical reason why upskirting couldn’t be viewed similarly. As far as I am aware, the case described by Dr. Lam is the only one in the academic literature of outlining and treating an individual with an upskirting disorder. As with other sexually non-normative behaviours I went online to see if there were any anecdotal accounts of addiction to upskirting and came across a few self-confessed accounts (particularly on The Candid Forum website):

• Extract 1: “I’m not sure if you could help me. I suppose it’s an addiction. I am obsessed with women’s knickers and constantly try to look up women’s skirts, even schoolgirls. I know it’s wrong but I love to see the secrets. One day I will be caught and arrested. Am I a pervert?” (‘Andy’).
• Extract 2: “I’m really starting to feel overwhelmed by this ‘addiction’ I have to upskirt videos…I just can’t seem to get enough, even when in the big picture, most of them are all the same. I have well over 3000 videos on my computer of just upskirts (not including other types of videos)…It’s also stressful to know that I may very well not get through them all, at least for a very long time (I still have yet to watch 1800 of them). There’s a lot of time involved in downloading them (waiting due to file hosting sites telling you [that] you have reached your daily limit etc., entering captcha codes). But all these videos actually amaze me at the same time, due to just how many times guys have gotten away with it…There’s a certain ‘wow’ factor I guess, but that also derives from the entire voyeur aspect of it to begin with, where a guy is able to creep up on a woman and she doesn’t even realize it…Do any of you share the same addiction as me, and do you want to get rid of it? (‘GD102’).
• Extract 3: “I used to be really addicted [to upskirting] until I made myself understand something you already know – once you’ve seen 200 asses, you’ve pretty much seen them all. There’s no point in wasting your time overindulging in the same thrill over and over again. Yeah, the excitement of seeing something you’re not supposed to see is hot as hell, but you have to set limits for yourself, and not try to fantasize too much about the upskirts you haven’t seen, and spend more time enjoying, and maybe sorting, the upskirts you already have. That’s what I’ve been doing lately” (‘Agent Ika’).
• Extract 4: “[Upskirting] really does get repetitive. For me the thrill now comes from pretending I’m a director of a film – getting new angles, upskirts from the front, whole body shots with the upskirt still showing, and always including faceshots” (‘Stimulus’).

Obviously I have no way of knowing whether these online forum confessions are true (but they seem to be). Based on these extracts, there is certainly the possibility raised that upskirting may be addictive to a very small minority of individuals. Extract 2 was particularly interesting in that the individual had never engaged in upskirting himself but his ‘addiction’ to watching upskirting videos takes up so much time in his life.

Another source suggesting that upskirting may be an addictive activity comes from the details of those arrested and prosecuted. For instance, one infamous example in the UK (in 2015) was the case of 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). Appleby was finally caught when he was caught bending over to take a photo up a woman’s skirt in a Poundland shop. The Daily Mirror reported that:

“The tubby pervert, who was ‘addicted’ to snapping upskirts, fled the store after he was spotted…when [police] officers found his camera and iPhone a staggering 9,000 ‘upskirt’ images were discovered. The photos had been taken between November 1 and December 4 last year. [Appleby] admitted two counts of committing an act of outraging public decency…and was given a three-year community order…[Appleby] had been prosecuted for a ‘similar matter’ of outraging public decency in London in 2010. Alistair Evans, defending claimed Appleby had committed the crime for ‘sexual gratification’ and his behaviour was a ‘compulsion and an addiction’ he needed treatment for”.

Here, the mitigating factor for Appleby’s behaviour was that he was addicted to upskirting. The fact that Appleby did not receive a custodial sentence suggests the excuse of being ‘addicted’ to the behaviour led to the judge being more lenient. Another individual who avoided a custodial sentence for upskirting offences was Andrew MacRae who claimed he was addicted to sex. MacRae had amassed 49,000 upskirt photos and videos using hidden cameras at his workplace, on trains, and at the beach. He pled guilty to three counts of outraging public decency and seven counts of voyeurism. The judge said he would spare him jail if he was treated for his “compulsive voyeurism”. A report in the Daily Mail recounted what that Judge Jeremy Donne said:

“This was undoubtedly a sophisticated, organised, planned and long-running campaign of voyeurism – again with a significant degree of planning – and members of the general public, female commuters in the main, were caught by your voyeuristic activities. Your activities were undoubtedly despicable and will cause deep revulsion in all who hear them.  Women will undoubtedly feel a need to be protected from such behaviour by the knowledge that the courts will deal with offenders severely, and men will thereby be deterred from committing such offences. On the other hand, you suffer from an illness that can be treated and you have submitted to that treatment. You have features of sexual addiction disorder with disorders of sexual preference, namely voyeurism and fetishistic transvestism – all defined in the international classification of diseases. You continue to receive treatment from psychiatrists who consider you to be at low risk of re-offending”.

Another recent British case highlighted the ingenious methods used to aid upskirting. Here, Stafford Cant used spy cameras hidden inside one of his trainers, his key fob, and his wrist watch to engage in upskirting women (as well as filming the backs of their legs) who were shopping in a Cheshire village. Acting on a tip-off, his house was raided and the police found 222,000 videos and pictures dating back seven years. ‘Addiction’ was again used as a mitigating factor in the crimes (along with depression and anxiety disorders) but this time it was not addiction to voyeurism but an addiction to collecting things. However, unlike the two cases above, Cant was jailed for three years after pleading guilty to outraging public decency, voyeurism and possessing and distributing indecent images.

Although there is little psychological literature on upskirting, there appears to be anecdotal evidence that the behaviour (in the extreme) could perhaps be conceptualized as an addiction and/or compulsion among a minority of individuals. The cases of those that have been arrested and prosecuted demonstrate that upskirting behaviour was time-consuming given the sheer number of photos and videos amassed, and that the behaviour was ultimately problem-inducing and undesirable. Given that the relatively recent rise of upskirting appears to mirror the rise in the use of smartphones and spy equipment available at affordable prices, I expect to see more such cases to be written about in psychological and criminological journals in the years to come.

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

Further reading

Fight The New Drug (2018). What’s “upskirting”, and how does porn culture feed this twisted trend? July 5. Located at: https://fightthenewdrug.org/whats-upskirting-and-how-does-porn-culture-feed-this-twisted-trend/

Jolly, B. (2015). Upskirt pervert who took 9,000 secret photos in just five weeks avoids jail. Daily Mirror, January 28. Located at: https://www.mirror.co.uk/news/uk-news/upskirt-pervert-who-took-9000-5058048

Keay, L. (2018). Live Nation executive who built-up sordid library of 49,000 upskirt pictures by filming women on trains, the beach and at work is spared jail as his wife stands by him. Daily Mail, January 5. Located at: http://www.dailymail.co.uk/news/article-5239815/LiveNation-executive-Andrew-MacRae-avoids-jail-upskirt.html

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

Martin, G. (2018). What happened to me was wrong. Time to make it illegal, too. World Economic Forum, April 9. Located at: https://www.weforum.org/agenda/2018/04/what-happened-to-me-was-wrong-time-to-make-it-illegal-too/

Petter, O. (2018). Upskirting: What is it and why are people trying to make it illegal” The Independent, June 18. Located at: https://www.independent.co.uk/life-style/upskirting-explained-law-rules-criminal-offence-photos-skirt-consent-women-gina-martin-a8401011.html

Shepherd, R. & Smithers, D. (2018). The public school pervert who spent years secretly filming up women’s skirts in one of Britain’s wealthiest villages. Manchester Evening News, March 29. Located at: https://www.manchestereveningnews.co.uk/news/greater-manchester-news/alderley-edge-upskirt-film-pervert-14470375

The Strait Times (2016). Taking upskirt photos may be symptomatic of voyeuristic disorder. July 30. Located at: https://adelphipsych.sg/straits-times-taking-upskirt-photos-may-be-symptomatic-of-voyeuristic-disorder/

Wilson, H. (2004). Peeping Tom’s secret weapon. The Independent, July 8. Located at: https://www.independent.co.uk/news/science/peeping-toms-secret-weapon-552402.html

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)”.

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.

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/

Date crime: A beginner’s guide to ‘love bombing’

Recently, I did an interview with a journalist about ‘love bombing’ described by her as a new phenomenon occurring in online dating and is “when someone showers you with attention, promising the world but when you respond they go cold and stop responding”. However, there is nothing new about ‘love bombing’ because the term has been around since the 1970s except it has traditionally been described as a practice by religious organisations and cults in relation to the indoctrination of new recruits. According to a number of different sources, the term ‘love bombing’ was coined by the Unification Church of the United States founded by Sun Myung Moon (and why individuals in the cult are often referred to as ‘Moonies’). A number of academics have written about ‘love bombing’ within cult movements. For instance, Thomas Robbins in a 1984 issue of the journal Social Analysis noted that:

“Many elements involved in controversies over alleged cultist brainwashing entail trans-valuational conflicts related to alternative internal vs. external perspectives. The display of affection toward new and potential converts (‘love bombing’), which might be interpreted as a kindness or an idealistic manifestation of devotees’ belief that their relationship to spiritual truth and divine love enables them to radiate love and win others to truth, is also commonly interpreted as a sinister ‘coercive’ technique (Singer, 1977)”.

In a 2002 issue of the journal Human Relations, Dennis Tourish and Ashly Pinnington wrote that the practice of ‘love bombing’ is derived from the interpersonal perception literature and is a form of ‘ingratiation’ (taken from Edward Jones’ 1964 book of the same name). They then cite from Jones’ 1990 book Interpersonal Perception:

“There is little secret or surprise in the contention that we like people who agree with us, who say nice things about us, who seem to possess such positive attributes as warmth, understanding, and compassion, and who would ‘go out of their way’ to do things for us”.

Tourish again (this time with Naheed Vatcha) in a 2005 issue of the journal Leadership noted that cults use ‘love bombing’ as an emotionally draining recruitment strategy and that it is a form of positive reinforcement. More specifically, they noted that:

“Cults make great ceremony of showing individual consideration for their members. One of the most commonly cited cult recruitment techniques is generally known as ‘love bombing’ (Hassan, 1988). Prospective recruits are showered with attention, which expands to affection and then often grows into a plausible simulation of love. This is the courtship phase of the recruitment ritual. The leader wishes to seduce the new recruit into the organization’s embrace, slowly habituating them to its strange rituals and complex belief systems. At this early stage resistance will be at its highest. Individual consideration is a perfect means to overcome it, by blurring the distinctions between personal relationships, theoretical constructs and bizarre behaviors”.

More recently, the practice of ‘love bombing’ has been used in other contexts such by gang leaders or pimps as a way of controlling their victims (as outlined in the 2009 book Gangs and Girls: Understanding Juvenile Prostitution by Michel Dorais and Patrice Corriveau), and within the context of everyday dating and online dating. One article that has been cited a lot in the press relating to the use of ‘love bombing’ in day-to-day relationships is a populist article written for Psychology Today by Dr. Dale Archer. He noted that:

“Notorious cult leaders Jim Jones, Charles Manson, and David Koresh weaponized love bombing, using it to con followers into committing mass suicide and murder. Pimps and gang leaders use love bombing to encourage loyalty and obedience as well”.

Dr. Archer says that ‘love bombing’ works because “humans have a natural need to feel good about who we are, and often we can’t fill this need on our own”. He says that there are times of high susceptibility to being ‘love bombed’ such as losing a job or going through a divorce. Irrespective of why or where the susceptibility has arisen, Archer claims that love bombers “are experts at detecting low self-esteem, and exploiting it”. He then goes on to claim that:

“The paradox of love bombing is that people who use it aren’t always seeking targets that broadcast insecurity for all to see. On the contrary, the love bomber is also insecure, so to boost their ego, the target must at least seem like a great “catch.” Maybe she’s the beautiful woman, who’s lonely because her beauty intimidates people, or he’s the guy with the great career whose wife left him for his best friend, or she’s the hard-nosed businesswoman, who’s avoided marriage and motherhood because her childhood was so traumatic. On paper, these folks are attractive, but something makes them doubt their own value. Along comes the love bomber to shower them with affection and attention. The dopamine rush of the new romance is vastly more powerful than it would be if the target had a healthy self-esteem, because the love bomber fills a need the target can’t fill on her own”.

My own expertise on ‘love bombing’ is limited (to say the least). However, I did attempt to answer the questions I was asked, and here are my verbatim replies.

It seems like [‘love bombing’] quite an addictive and compulsive behaviour – what do you make of it?

There is no evidence that love bombing is either addictive or compulsive and is simply a specific behaviour that although may be repetitive and habitual is not something that would be done compulsively (because the love bombing is planned and focused) or addictively (because love bombing not something that they would do that compromises everything else in their life).

Are there any psychological reasons why people behave like this?

I don’t know of any psychological research that has been done on love bombing but the concept is not new as it has been in the academic literature since the 1970s in relation to indoctrinating individuals into religious cults. Love bombing is a manipulative strategy to make individuals more emotionally pliable. My guess is that in a relationship setting (rather than a cult setting) the individuals engaged in love bombing are likely to be egomaniacs and/or narcissists who like to feel dominant and powerful and/or love psychologically humiliating others.

In my experience, and according to some of the people I’ve interviewed who are guilty of ‘love bombing’ – they do it to multiple people at once.

If love bombing is part of an individual’s behavioural repertoire there is no reason why they wouldn’t do it with more than one person at the same time. However, I don’t know of any research that has shown this to be the case but it wouldn’t surprise me if some individuals were unfaithful love bombers (but I’m sure there are serial love bombers who just do it from one relationship to the next without being physically or emotionally unfaithful).

Is it to straightforward to blame tech for such behaviours – is it just an amplification of behaviours people already exhibit in real life? The temptation always seems to be to blame it on the internet.

The internet tends to facilitate pre-existing problematic behaviour rather than cause it. However, it is well known that the internet is a disinhibiting medium and that individuals lower their psychological guard online. In the case of relationships, the perceived anonymity of being online means that individuals reveal things about themselves, often very private things, because the medium is non-face-to-face, non-threatening, non-alienating and non-stigmatising. Individuals can develop deep emotional relationships online without even having met the other person because of the internet’s disinhibiting properties. Consequently, online methods of communication are another tool in love bomber’s armoury in (initially) showering their professed love for somebody and can happen 24/7 (something which couldn’t have happened in the days prior to online ubiquity).

Where and how, if at all, does this sort of problematic behaviour intersect with sex and love addiction?

I don’t see any overlaps between ‘love bombing’ and sex addiction as they are two completely different constructs and have completely different underlying motivations with little in the way of crossover. Obviously, love bombing could be used as a method to increase the likelihood of sex (because flattery goes a long way). However, if the ultimate goal is psychological control of another person’s emotions, sex is simply a by-product of love bombing rather than the main goal.

Anything else you would like to add?

As far as I can tell, there has never been any empirical research on ‘love bombing’ within the context of dating so all my responses to the questions I was asked are speculative. However, I do think this is an area that would benefit from scientific investigation given how important personal relationships are within our lives. At the very least such research might uncover the signs and strategies that ‘love bombers’ typically use and might prevent a lot of emotional pain felt by individuals not rushing head first (or should that be heart first?) into such relationships in the first place.

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

Further reading

Archer, D. (2017). The manipulative partner’s most devious tactic. Psychology Today, March 6. Located at: https://www.psychologytoday.com/blog/reading-between-the-headlines/201703/the-manipulative-partners-most-devious-tactic

Dorais, M. & Corriveau, P. (2009). Gangs and Girls: Understanding Juvenile Prostitution. Montreal: McGill-Queen’s Press.

Griffiths, M.D. (2000). Cyber affairs – A new area for psychological research. Psychology Review, 7(1), 28-31.

Griffiths, M.D. (2000).  Excessive internet use: Implications for sexual behavior. CyberPsychology and Behavior, 3, 537-552.

Griffiths, M.D.  (2001).  Sex on the internet: Observations and implications for sex addiction. Journal of Sex Research, 38, 333-342.

Griffiths, M.D. (2012). Internet sex addiction: A review of empirical research. Addiction Research and Theory, 20, 111-124. 

Hassan, S. (1988) Combating Cult Mind Control. Rochester: Park Press.

James, O. (2012). Love bombing: Reset your child’s emotional thermostat. London: Karnac Books.

Jones, E. (1964). Ingratiation. New York: Appleton-Century-Crofts

Jones, E. (1990). Interpersonal Perception. New York: WH Freeman.

Robbins, T. (1984). Constructing cultist “mind control”. Sociological Analysis, 45(3), 241-256

Singer, M. (1977). Therapy with ex-cultists. National Association of Private Psychiatric Hospitals Journal, 9(4), 15-18.

Tourish, D., & Pinnington, A. (2002). Transformational leadership, corporate cultism and the spirituality paradigm: An unholy trinity in the workplace? Human Relations, 55(2), 147-172.

Tourish, D., & Vatcha, N. (2005). Charismatic leadership and corporate cultism at Enron: The elimination of dissent, the promotion of conformity and organizational collapse. Leadership, 1(4), 455-480.

Wikipedia (2017). Love bombing. Located at: https://en.wikipedia.org/wiki/Love_bombing

Art in the right place: Cosey Fanni Tutti’s ‘Art Sex Music’

Five years ago I wrote a blog about one of my favourite bands, Throbbing Gristle (TG; Yorkshire slang for a penile erection). In that article, I noted that TG were arguably one of “the most extreme bands of all time” and “highly confrontational”. They were also the pioneers of ‘industrial music’ and in terms of their ‘songs’, no topic was seen as taboo or off-limits. In short, they explored the dark and obsessive side of the human condition. Their ‘music’ featured highly provocative and disturbing imagery including hard-core pornography, sexual manipulation, school bullying, ultra-violence, sado-masochism, masturbation, ejaculation, castration, cannibalism, Nazism, burns victims, suicide, and serial killers (Myra Hindley and Ian Brady).

I mention all this because I have just spent the last few days reading the autobiography (‘Art Sex Music‘) of Cosey Fanni Tutti (born Christine Newbie), one of the four founding members of TG. It was a fascinating (and in places a harrowing) read. As someone who is a record-collecting completist and having amassed almost everything that TG ever recorded, I found Cosey’s book gripping and read the last 350 pages (out of 500) in a single eight-hour sitting into the small hours of Sunday morning earlier today.

TG grew out of the ‘performance art’ group COUM Transmissions in the mid-1970s comprising Genesis P-Orridge (‘Gen’, born Neil Megson in 1950) and Cosey. At the time, Cosey and Gen were a ‘couple’ (although after reading Cosey’s book, it was an unconventional relationship to say the least). TG officially formed in 1975 when Chris Carter (born 1953) and Peter ‘Sleazy’ Christopherson (1955-2010). Conservative MP Sir Nicholas Fairburn famously called the group “wreckers of civilisation” (which eventually became the title of their 1999 biography by Simon Ford).

As I noted in my previous article, TG are – psychologically – one of the most interesting groups I have ever come across and Cosey’s book pulled no punches. To some extent, Cosey’s book attempted to put the record straight in response to Simon Ford’s book which was arguably a more Gen-oriented account of TG. Anyone reading Cosey’s book will know within a few pages who she sees as the villain of the TG story. Gen is portrayed as an egomaniacal tyrant who manipulated her. Furthermore, she was psychologically and physically abused by Gen throughout their long relationship in the 1970s. Thankfully, Cosey fell in love with fellow band member Chris Carter and he is still the “heartbeat” of the relationship and to who her book is dedicated.

Like many of my favourite groups (The Beatles, The Smiths, The Velvet Underground, Depeche Mode), TG were (in Gestaltian terms) more than the sum of their parts and all four members were critical in them becoming a cult phenomenon. The story of their break up in the early 1980s and their reformation years later had many parallels with that of the Velvet Underground’s split and reformation – particularly the similarities between Gen and Lou Reed who both believed they were leaders of “their” band and who both walked out during their second incarnations.

Cosey is clearly a woman of many talents and after reading her book I would describe her as an artist (and not just a ‘performance artist’), musician (or maybe ‘anti-musician in the Brian Eno sense of the word), writer, and lecturer, as well as former pornographic actress, model, and stripper. It is perhaps her vivid descriptions of her life in the porn industry and as a stripper that (in addition to her accounts of physical and psychological abuse by Gen) were the most difficult to read. For someone as intelligent as Cosey (after leaving school with few academic qualifications but eventually gaining a first-class degree via the Open University), I wasn’t overly convinced by her arguments that her time working in the porn industry both as a model and actress was little more than an art project that she engaged in on her own terms. But that was Cosey’s justification and I have no right to challenge her on it.

What I found even more interesting was how she little connection between her ‘pornographic’ acting and modelling work and her time as a stripper (the latter she did purely for money and to help make ends meet during the 1980s). Her work as a porn model and actress was covert, private, seemingly enjoyable, and done behind closed doors without knowing who the paying end-users were seeing her naked. Her work as a stripper was overt, public, not so enjoyable, and played out on stage directly in front of those paying to see her naked. Two very different types of work and two very different psychologies (at least in the way that Cosey described it).

Obviously both jobs involved getting naked but for Cosey, that appeared to be the only similarity. She never ever had sex for money with any of the clientele that paid to see her strip yet she willingly made money for sex within the porn industry. For Cosey, there was a moral sexual code that she worked within, and that sex as a stripper was a complete no-no. The relationship with Gen was (as I said above) ‘unconventional’ and Gen often urged her and wanted her to have sex with other men (and although she never mentioned it in her book, I could speculate that Gen had some kind of ‘cuckold fetish’ that I examined in a previous blog as well as some kind of voyeur). There were a number of times in the book when Cosey appeared to see herself as some kind of magnet for unwanted attention (particularly exhibitionists – so-called ‘flashers’ – who would non-consensually expose their genitalia in front of Cosey from a young age through to adulthood). Other parts of the book describe emotionally painful experiences (and not just those caused by Gen) including both her parents disowning her and a heartfelt account of a miscarriage (and the hospital that kept her foetus without her knowledge or consent). There are other sections in the book that some readers may find troubling including her menstruation art projects (something that I perhaps should have mentioned in my blog  on artists who use their bodily fluids for artistic purposes).

Cosey’s book is a real ‘warts and all’ account of her life including her many health problems, many of which surprisingly matched my own (arrhythmic heart condition, herniated spinal discs, repeated breaking of feet across the lifespan). Another unexpected connection was that her son with Chris Carter (Nick) studied (and almost died of peritonitis) as an undergraduate studying at art at Nottingham University or Nottingham Trent University. I say ‘or’ because at one stage in the book it says that Nick studied at Nottingham University and in another extract it says they were proud parents attending his final degree art show at Nottingham Trent University. I hope it was the latter.

Anyone reading the book would be interested in many of the psychological topics that make an appearance in the book including alcoholism, depression, claustrophobia, egomania, and suicide to name just a few. In previous blogs I’ve looked at whether celebrities are more prone to some psychological conditions including addictions and egomania and the book provides some interesting case study evidence. As a psychologist and a TG fan I loved reading the book.

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

Further reading

Cooper, D. (2012). Sypha presents … Music from the Death Factory: A Throbbing Gristle primer. Located at: http://denniscooper-theweaklings.blogspot.co.uk/2012/02/sypha-presents-music-from-death-factory.html?zx=c19a3a826c3170a7

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

Ford, S. (1999). Wreckers of Civilization: The Story of Coum Transmissions and Throbbing Gristle. London: Black Dog Publishing.

Kirby, D. (2011). Transgressive representations: Satanic ritual abuse, Thee Temple ov Psychick Youth, and First Transmission. Literature and Aesthetics, 21, 134-149.

Kromhout, M. (2007). ‘The Impossible Real Transpires’ – The Concept of Noise in the Twentieth Century: a Kittlerian Analysis. Located at: http://www.mellekromhout.nl/wp-content/uploads/The-Impossible-Real-Transpires.pdf

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

Sarig, R. (1998). The Secret History of Rock: The Most Influential Bands You’ve Never Heard Of. New York: Watson-Guptill Publications.

Walker, J.A. (2009). Cosey Fanni Tutti & Genesis P-Orridge in 1976: Media frenzy, Prostitution-style, Art Design Café, August 10. Located at: http://www.artdesigncafe.com/cosey-fanni-tutti-genesis-p-orridge-1-2009

Wells, S. (2007). A Throbbing Gristle primer. The Guardian, May 27. Located at: http://www.guardian.co.uk/music/musicblog/2007/may/29/athrobbinggristleprimer

Under the influence: Ten things I’ve learned from David Bowie

It’s now been a year since the tragic death of David Bowie and this is my fourth blog on him in that period (my others being my personal reflections on the psychology of Bowie, Bowie and the Beatles, and Bowie and the occult). Outside of my own friends and family, it’s still Bowie’s death that has affected me the most psychologically but at least I still have his music to listen to. Bowie inspired millions of people in many different ways. This blog looks at the things that I have learned from Bowie and how he influenced my career.

Persevere with your life goals – Most people are aware that it took years for Bowie to have has first hit single (‘Space Oddity’, 1969), five years after his first single (‘Liza Jane’, 1964). Even after the success of ‘Space Oddity’, it took another three years before he had his second hit single (‘Starman’, 1972) and in the early 1970s there were many who thought he would be a ‘one-hit wonder’ and a small footnote in music history. Bowie never gave up his quest for musical stardom and is arguably one of the best examples of the proverb “If at first you don’t succeed, try, try again”. I’ve often told others that they key to success is being able to learn from your mistakes and being able to handle rejection (which for academics is having papers rejected, grant bids rejected, and attempts at promotion rejected, etc.). Bowie personified perseverance and for this quality alone I am very grateful as it has been the bedrock of my career to date.

Encourage teamwork and collaboration – Despite being a solo artist for the vast majority of his post-1969 career (Tin Machine being the most high-profile notable exception), Bowie was (like me) a ‘promiscuous collaborator’ and much of his success would not have been possible without a gifted team around him whether it be his inner circle of musicians (Mick Ronson, Carlos Alomar, Robert Fripp, Mike Garson, etc.), his producers (Tony Visconti, Nile Rogers, Ken Scott, etc.), co-writers and inspirators (Iggy Pop, Lou Reed, Brian Eno, John Lennon, etc.), or those he jointly released music with (Mott The Hoople, Queen, Arcade Fire, Pet Shop Boys, Placebo, to name just a few). I have carried out and published research with hundreds of people during my 30-year academic career, and like Bowie, some are one-off collaborations and others are lifelong collaborations. Bowie taught me that although I can do some things by myself, it is the working with others that brings out the best in me.

Experiment to the end – Bowie was never afraid to experiment and try new things whether it was musical, pharmacological, spiritual, or sexual. Mistakes were part of the learning process and he pursued this – especially musically – until the very end of his life (for instance, on his ★ [Blackstar] album where he employed a local New York jazz combo led by saxophonist Donny McCaslin). Failure is success if we learn from it and this is one of the maxims that I live my life by. Bowie taught me that you can have lots of other interests that can be rewarding even if you are not as successful as your day job. Bowie liked to act (and obviously had some success in this area) and also liked to paint (but had much less success here than his other artistic endeavours). By any set of criteria, I am a successful academic but I also like to write journalistically and engage in a wide variety of consultancy (areas that I have had some success) and I like writing poetry (something that I have not been successful financially – although I did win a national Poetry Today competition back in 1997 and have published a number of my poems). Bowie taught me that success in one area of your life can lead to doing other more experimental and rewarding activities even if they are not as financially lucrative.

Push yourself (even in the bad times) – One of the things I love about Bowie was his ability to carry on working and being productive even when he was not at his physical best. Nowhere is this more exemplified than working on the ★ LP while undergoing chemotherapy for his liver cancer. There are also other times in his life such as when he was at the height of his cocaine addiction in 1975 where he produced some of the best music of his career (most notably the Young Americans and Station to Station LPs, the latter of which is one of my all-time favourite records). I have had a few low periods in my life due to various health, relationship and/or personal issues but I have learned through experience that work is a great analgesic and that even when you are at your lowest ebb you can still be highly productive.

Have a Protestant work ethic – Bowie was arguably one of the most hard-working musicians of all time and had what can only be described as a Protestant work ethic from the early 1960s right up until his heart attack in 2004. I am a great believer in the philosophy that “you get out what you put in” and Bowie exemplified this. Andy Warhol told Lou Reed while he was in the Velvet Underground that he should work hard, because work is all that really matters (and was the subject of the song ‘Work’ on the seminal Songs For Drella LP by Reed and John Cale). Bowie also appeared to live by this mantra and is something that I adhere to myself (and is why I am often described as being a workaholic). While Bowie isn’t my only role model in this regard, he’s certainly the most high-profile.

Lead by example but acknowledge your influences – Bowie had a unique gift in being able to borrow from his own heroes but turn it into something of his own (without ever forgetting his own heroes and influences – his Pin Ups LP probably being the best example of this). One of my favourite phrases is “Don’t jump on the bandwagon, create it”, and this has as underpinned a lot of the research areas that I have initiated and is something that I learned from Bowie. Maybe Bowie is a case of the quote often attributed to Oscar Wilde that “talent borrows, genius steals”.

Promote yourself – If there is one thing that Bowie was gifted in as much as his songwriting, it was his own art of self-promotion. Bowie always had the knack to generate news stories about himself and his work without seemingly trying. By the end of his career, it was the act of not saying anything or doing any personal publicity that was just as newsworthy. Bowie intuitively knew how to garner media publicity on his own terms in a way that very few others can. (I also argued that another one of my heroes – Salvador Dali – did the same thing in one of my articles on him in The Psychologist back in 1994). I’d like to think I am good at promoting my work and Bowie is one of my role models in this regard.

Be opportunistic and flexible – If there is one thing besides working hard that sums up my career to date, it is being opportunistic and flexible. As a voracious reader of all things Bowie since my early teens, I always loved Bowie’s sense of adventure and just following paths because they might lead you to something unexpected. Whether it was his use of the ‘cut up’ technique for writing lyrics (developed by Brion Gysin and William S. Burroughs), his use of Brian Eno’s ‘oblique strategy’ cards, or his love of studio improvisation (such as on the Berlin trilogy albums and the Outside LP), Bowie showed that inspiration for his musical and lyrical ideas could come from anywhere – from a person, from a fleeting observation, from something he read, from something he heard or saw in film or TV programme, and from his own life experiences. I too have taken this approach to my work and believe I am a much better person for it.

Be a mentor to others – Whatever career path you follow, mentors are key in developing talent and Bowie was a mentor to many people that he personally worked with (including many of the artists I named in the section on encouraging teamwork and collaboration above) as well as being an inspirational influence to those he never met (including myself).

Learn from those younger and less experienced than yourself – Paradoxically, despite being an influence on millions of people across many walks of life, Bowie was never afraid to learn from those much younger than himself and exemplified the maxim that you’re never too old to learn new things. He loved innovation and ideas and would soak it up from whoever was around him. As I have got older, this is something that I value more and am never afraid to learn from those much younger or seemingly less experienced than myself – particularly my PhD students.

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

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.

Betting kicks in flicks: A brief look at gambling on film

As a researcher in the gambling studies field and an avid watcher of films, it comes as little surprise that I love watching films where gambling is key to the plot. Occasionally, I write academic papers about gambling portrayals in film (most notably an in-depth look at my favourite gambling film, The Gambler – the original 1974 film starring James Caan in the title role and not the more recent 2014 remake starring Mark Wahlberg – which I published in a 2004 issue of the International Journal of Mental Health and Addiction). I wrote about this paper in a previous blog and I have also written a few blogs where gambling films are central to the articles such as my blog on Philip Seymour Hoffman and his film Owning Mahowny, my blog on the psychology of Columbo (where I argued that gambling and gamblers are central to many of the plot lines), and my blog on the psychopathology of Star Wars (where problem gambling is one of the many disorders that features in the film’s franchise).

The world of gambling and gamblers has been portrayed in many films and in many different ways throughout the years (e.g., The Sting, The Cincinnati Kid, Casino, Owning Mahoney, Rain Man). However, I argued (way back) in a 1989 issue of the Journal of Gambling Behavior that many of these film representations tend to cast gambling in an innocuous light, and often portray gamblers, largely male, as hero figures. I made this observation without doing any systematic review of films containing gambling and my thoughts were purely impressionistic.

A decade ago, Dr. Nigel Turner and his colleagues published a lovely study in the Journal of Gambling Issues examining ‘images of gambling’ in films. They built on Jeffrey Dement’s 1999 book Going for broke: The depiction of compulsive gambling in film. They noted that:

“Dement’s (1999) book, Going for Broke is a thorough examination of movies that depict pathological gambling. He examined a number of films in terms of the extent to which the portrayals delivered accurate and appropriate messages about problem gambling. Although some movies accurately portray the nature of pathological gambling at least during some segments, Dement found that many movies about pathological gambling had irresponsibly happy endings. Film images in some cases reflected societal views on gambling. However, images in films may also alter societal views of gambling (Dement, 1999)…Dement focused only on movies that were about problem and pathological gambling. Many films that depict gambling or have images of gambling that are not about pathological gambling per se. In [our] article we will extend Dement’s work by looking more broadly at films about gambling”.

In their study, Turner and colleagues content analysed 65 films (from an initial list of “several hundred films”) mainly from the two decades prior to the publication of the study. The authors recounted that:

“Many of the films we discuss are personal favourites that we have watched several times (e.g., Rounders, The Hustler, Vegas Vacation, The Godfather). Some of the films reviewed in this article have been also discussed by [other scholars]. Some films were included because they were found listed as gambling films in film catalogues or by Web searches for ‘gambling movies’ (e.g., Get Shorty). Other films were suggested to us by recovering pathological gamblers, counsellors specializing in problem gambling, recreational gamblers, video rental store employees, and postings to the bulletin board of Gambling Issues International (a listserve for gambling treatment professionals). Our examination of movies was restricted to movies released in cinemas (i.e., not television), and filmed in English (with one exception, Pig’s Law)…In all cases, either the first or second author viewed each film. In some cases both authors viewed the same film separately. The authors then discussed the themes that they thought were depicted in the film. The authors then collected the descriptions of movies and organized them into general themes”. 

After viewing (and re-viewing) the films, the authors found eight themes (often overlapping) represented in the movies watched. More specifically these were the themes of: (1) pathological gambling (films such as Fever Pitch, The Gambler, Owning Mahowny, Pig’s Law, etc.), (2) the magical skill of the professional gambler (Rain Man, Two For The Money, The Cincinatti Kid, Maverick, etc.), (3) miraculous wins as happy endings (The Cooler, The Good Thief, Two For The Money, etc.), (4) gamblers are suckers (Casino, Croupier, Two For The Money, etc., (5) gamblers cheat (Rounders, The Sting, House of Games, The Grifters, etc.), (6) gambling is run by organized crime (The Godfather, Casino, Get Shorty, etc.), (7) the casino heist (Ocean’s Eleven, The Good Thief, Croupier, etc.), and (8) gambling as a symbolic backdrop to the story (Leaving Las Vegas, Pay It Forward, Fear and Loathing in Las Vegas, etc.).

After this initial content analysis, Dr. Turner and his colleagues organized these eight themes into a general taxonomy of films. They reported that:

“First these films can be divided into two categories: films in which gambling is a central focus of the film, and others where gambling is a relatively minor topic but serves a symbolic role in the film. The films that are about gambling can be further divided into those that present generally negative views of gambling (e.g., pathology, crime, cheating) and those that present a generally positive image of gambling (e.g., magical skills and miraculous wins). The positive image is mainly related to the ability of the player to win (by skill or by miracle), but some of these films also add additional positive images by hinting at a glamorous and exciting lifestyle (The Good Thief, James Bond films, Rounders). Negative images of gambling are more common than positive images of gambling. Negative images were further divided into pathological gambling, suckers, cheaters, organized crime, and robbing casinos”.

They also go on to note that: very few films show ordinary people gambling non-problematically:

“Throughout the history of movies, gambling-related stories have been present. Movies about gambling are most often inhabited by problem gamblers (e.g., The Gambler), cheats (e.g., Shade), criminals (e.g., The Godfather, Ocean’s Eleven), spies (e.g., Diamonds are Forever), people with incredible luck (e.g., Stealing Harvard), and professional gamblers (e.g., Rounders, The Hustler). With the exception of The Odd Couple (1968), we have come across few movies that show ordinary people gambling in a non-problematic manner”.

With regards to problem and pathological gambling they conclude that:

“Some movies provide important insights into the nature of pathological gambling (e.g., The Gambler, Owning Mahowny, The Hustler). However, others make light of the disorder or indulge in the wishful thinking common with pathological gamblers (e.g., Let It Ride, The Cooler, Fever Pitch, The Good Thief). In some movies people develop a problem too quickly (Viva Rock Vegas, Lost in America). Some films take the view that all gamblers are addicted (Croupier, Two for the Money)…Most films about pathological gambling depict a narrow segment of the problem gambling population focusing on the male “action” gambler (see also Griffiths, 2004). Most pathological gamblers simply do not embezzle millions of dollars as in Owning Mahowny or take stupid risks just for the thrill of it as in The Gambler. Films rarely show gamblers hooked on slot machines or other electronic gambling machines even though such machines, where they are available, now account for a majority of problem gamblers in treatment”.

Obviously the sample of films chosen was selective and there were over a hundred films that weren’t analysed. However, even though the study was published ten years ago I don’t think the results (if repeated on more contemporary films) would be particularly different.

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

Further reading

Dement, J.W. (1999) Going for broke: The depiction of compulsive gambling in film. Lanham, MD: The Scarecrow Press, Inc.

Griffiths, M.D. (1989). Gambling in children and adolescents. Journal of Gambling Behavior, 5, 66-83.

Griffiths, M. (2004). An empirical analysis of the film ‘The Gambler’. International Journal of Mental Health and Addiction, 1(2), 39-43.

Gluss, H.M. & Smith, S.E., (2002). Reel people: Finding ourselves in the movies. Keylight: Los Angeles.

Turner, N. E., Fritz, B., & Zangeneh, M. (2007). Images of gambling in film. Journal of Gambling Issues, 20, 117-143.

Stairing at the rude boys: A brief look at climacophilia

In a number of my previous blogs, I have mentioned sexual paraphilias that appear to have been derived from the opposite phobic behaviours. Some examples include defecaloesiophilia (sexual arousal from painful bowel movements), lockiophilia (sexual arousal from childbirth), categelophilia (sexual arousal from being ridiculed), and rupophilia (sexual arousal from dirt). Another one that I could add to this list is climacophilia (sexual arousal from falling down stairs). This particular paraphilia got a lot of media publicity a few years ago when Dr. Jesse Baring was plugging his 2013 book Perv: The Sexual Deviant In All Of Us. (which I will return to below; I ought to confess that I love reading Baring’s populist articles and Professor Paul Bloom [of Yale University] went as far as to describe him as the “Hunter S. Thompson of science writing.”). Climacophilia appears to be the opposite of climacophobia. The Wikipedia entry notes that:

“Climacophobia is the fear of climbing, especially using stairs. It is a type of specific phobia. Climacophobia is distinct from bathmophobia the fear of stairs themselves. Climacophobia is usually traced back to a negative experience, like falling down the stairs or having difficult time to climb stairs. The fear is also triggered by others, like witnessing somebody falling down stairs (either in real visualization or through media) or the other people he/she knows is suffering from climacophobia. Sufferers of climacophobia, if left untreated, end up limiting their activities and avoiding occupations that require the use of stairs or ladders. Sufferers tend to rely on elevators or disability-access ramps rather than stairs…Climacophobes tend to suffer from dizziness resembling vertigo when looking down stairs…Climacophobia can be treated using cognitive behavioural therapy [CBT], either independently or in tandem with other techniques. CBT can help sufferers stop negative thoughts about climbing while changing behaviors. Other treatment options include relaxation techniques, talk therapy, and medication for people who suffer severely from climacophobia”.

In Dr. Anil Aggrawal’s 2009 book Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices, climacophilia makes a seven-word entry between ‘clinical vampirism’ (arousal by drinking human or animal blood) and ‘coitobalnism’ (having sex in the bath), and is simply defined as deriving pleasure from falling down stairs. There was no mention of it all in Dr. Brenda Love’s Encyclopedia of Unusual Sex Practices. Various websites provide definitions including the Pro Boner website (“Climacophilia is an intriguing paraphilia characterised by sexual arousal to falling down the stairs. Climacophiles have their best orgasms when they’re falling down the stairs”) and the Buzz IO website (“Climacophilia is being sexually stimulated by seeing someone fall down a flight of stairs”). When reviewing Baring’s book, the New York Times defined it as “the erotic compulsion to tumble down stairs”. Wikipedia also has a short entry and simply states:

“Climacophilia is a rare sexual paraphilia, or fetish in which the subject experiences erotic gratification when falling down the stairs. There hasn’t been a wide body of research conducted on people affected with this particular sexual preference and/or fetish”.

All of these definitions and snippets imply slightly different things relating to the same alleged behaviour. While all involve some kind of sexual arousal from falling down stairs, the New York Times says the behaviour is an “erotic compulsion” whereas most others describe the behaviour as arousing, stimulating, and pleasurable (without being compulsive). One definition involves ‘orgasm’ being involved while the rest do not. The Wikipedia entry seems to imply that the paraphilia exists (it says “rare” rather than non-existent). The entry also says there “hasn’t been a wide body of research” suggesting there is some (perhaps a narrow body of research) – but that clearly isn’t the case. There’s none.

The journalist David DiSalvo interviewed Dr. Baring for Forbes magazine in relation to his book Perv, which covers 46 different paraphilias (all of which are listed in an article in the Huffington Post) – with paraphilias being defined by Baring as being “primary attraction to a target or activity outside of the statistical norm”. Although I agree that paraphilias tend to be non-normative, I’m not whether I’d ever use the phrase “outside of the statistical norm” as there are some paraphilic behaviours that the majority of sexually active individuals are likely to have engaged in at least peripherally (such as bondage and other milder forms of sadomasochistic behaviour). In relation to the paraphilias outlined in his book, baring told DiSalvo that:

“These included both exceptionally rare paraphilias (such as ‘climacophilia’ in which a person can only get off while tumbling down a flight of stairs) and the more run-of-the-mill ones that are detailed in the DSM-V, such as voyeurism, sadism, and frotteurism (which is gratification by touching people in crowded public places, such as subways). But that’s just a small sampling. The most authoritative list, cobbled together by an Indian psychiatrist named Anil Aggrawal, includes a total of 547 distinct paraphilias”.

If you type in Baring’s name and his book into Google, many articles appear which mention ‘climacophilia’. For instance, in an interview with Vice magazine, the journalist (Nadja Sayej) began her article by saying:

“You may have recently seen the soft-spoken Jesse Baring on Conan recalling the strangest of sexual fetishes. Be it arousal from falling down the stairs (Climacophilia) or feeling steamy from rolling around in stones and gravel (Lithophilia), nothing surprises the Western New York author and psychologist”.

Baring was asked by Sayej what the weirdest fetish he had come across but there was no mention of climacophilia (probably because no-one has ever come across it):

“According to a recent forensic resource by the psychiatrist Anil Aggrawal, there are 547 documented paraphilias. Some of them – actually, most of them – are quite carnival-like. But it’s important to remember that these more exotic manifestations of sexuality might be represented by just one lone figure in the universe: a single, sad, lascivious soul who can only, just to give two random examples, have an orgasm while fondling a mouse (“musophilia”) or while rolling around in ferns (“pteridomania”). It’s virtually impossible for me to pick the weirdest, since so many of them would fit the bill for truly bizarre. I’m reminded of one of my favorite quotes in this literature, from a sex research pioneer named Wilhelm Stekel – who, incidentally, coined the word ‘paraphilia‘ in the 1920s. “Variatio delectat! How innumerable are the variations which Eros creates in order to make the monotonous simplicity of the natural sex organ interesting to the sexologist”.

I have spent hours online trying to track down any evidence that climacophilia exists and I have drawn a complete blank. Yes, there are lots of mentions of it (particularly in the articles on Baring’s book) but no dedicated articles (except a satirical one that I came across on the Dumb Buzz Feed website which you can read here). There are no online forums where like-minded climacophiles congregate and there are no climacophiles that have written so much as a one-sentence confession of being sexually aroused either by falling down stairs or watching others fall down stairs. In an academic review of Baring’s book, in the journal Sexual and Relationship Therapy, Dr. David Ribner made a specific reference about Baring’s inclusion of climacophilia and said it was “incredulous…is there really someone out there who can only achieve orgasm by falling down a flight of stairs?”

Based on my own research I think I can answer that question in two letters. No.

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

Further reading

Aggrawal A. (2009). Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices. Boca Raton: CRC Press.

Baring, J. (2013). Perv: The Sexual Deviant In All Of Us. New York: Scientific American/Farrar, Strauss & Giroux.

Bergner, D. (2013). Acquired tastes. ‘Perv’, by Jesse Baring. New York Times, October 4. Located at: http://www.nytimes.com/2013/10/06/books/review/perv-by-jesse-bering.html

DiSalvo, D. (2013). Getting in touch with your inner sexual deviant. Forbes, October 24. Located at: http://www.forbes.com/sites/daviddisalvo/2013/10/24/getting-in-touch-with-your-inner-sexual-deviant/#6f0f5548568e

Dumb Buzz Feed (2015). 7 problems only people with climacophilia will understand. May 3. Located at: https://dumbuzzfeed.wordpress.com/2015/03/05/7-problems-only-people-with-climacophilia-will-understand/

Huffington Post (2013). 46 sexual fetishes you’ve never heard of. October 23. Located at: http://www.huffingtonpost.com/2013/10/23/sexual-fetish_n_4144418.html

Love, B. (2001). Encyclopedia of Unusual Sex Practices. London: Greenwich Editions.

Ribner, D.S. (2013). A review of ‘Perv: The sexual deviant in all of us’, by Jesse Baring. Sexual and Relationship Therapy, 30, 297-300.