Category Archives: Mania
Token gestures: A brief look at ‘sexual trophy collecting’
Back in 2002, I had a little piece published on excessive collecting behaviour in the Guardian newspaper (‘Addicted to hoarding’). In it I wrote:
“I have always been interested in why we have what seems like an innate ability to collect. I would almost go as far as to say that we are ‘natural born hoarders’. Furthermore, there has been surprisingly little research in this area and Freud’s theories on the topic are unfortunately almost empirically untestable. I would also add that for some people, collecting is at the pathological end of the behavioural continuum. There are some that are (for want of a better word) ‘addicted’ to collecting and there are some with obsessive-compulsive disorders who simply cannot throw away anything”.
Since then I’ve published a few articles on the psychology of collecting in this blog and is probably one of the reasons that I have had a few approaches over the last couple months from journalists asking me about the psychology behind various forms of collecting. (In fact, I’ve also been approached to write an academic chapter on the phenomenon too). Two of the most recent media requests included journalists writing articles on why people collect retro video games (which I hope to write about in a future blog) and another on why people collect ‘sexual trophies’.
I have to admit that I am no expert on sexual trophies so I did a little reading on the topic. According to one definition I came across, a sexual trophy is “any item or piece of clothing gained from a sexual encounter as proof of a successful sexual conquest”. To tie in with the release of US comedy I Just Want My Pants Back, MTV conducted a [non-academic] survey and reported that one in three young British people (aged between 18 and 34 years) admitted to owning some sort of sex trophy with one in six of them (16%) claiming they had two or more sex-based trophies (a group that MTV termed ‘Sexual Magpies’).
However, when it comes to the collecting ‘sexual trophies’, I would argue that most academic research that I have come across on the topic relates to more criminal sexual deviance rather than day-to-day sexual encounters. For instance, in the 2010 book Serial Murderers and Their Victims, Dr. Eric Hickey described the case of man – who was a voyeur – from Georgia (US) that used to break into houses and steal women’s underwear. On his eventual arrest they found over 400 pairs of knickers that he had stolen. More disturbing are cases such as this excerpt from a story in the Daily Telegraph. This is arguably more typical of what I perceive to be sexual trophy hunters:
“A company manager and ‘pillar of the community’ has been exposed after 20 years as a serial sex attacker known as the Shoe Rapist. James Lloyd, 49, a long-standing Freemason who took the footwear of his victims as trophies, was finally caught through advances in DNA techniques. Police later found more than 100 pairs of stiletto shoes hidden behind a trap door at the printing works where he was employed… As well as taking their shoes, he often stole jewellery from the women, mainly in their teens and early 20s, between 1983 and 1986” (Daily Telegraph, July 18, 2006).
However, Dr. Hickey’s book describes even worse acts of sexual trophy collecting. He noted that many serial killers are “known for their habits of collecting trophies or souvenirs. Others have collected lingerie, shoes, hats, and other apparel”. A sizeable section of the book concentrates on the types of serial killers that are popular in the media (such as those that commit ‘lust murders‘) and are the subject of many Hollywood films such as the series of films with (my favourite fictional psychopath) Hannibal Lecter. As Hickey notes:
“These are the rapists who enjoy killing and, often, indulging in acts of sadism and perversion. These are the men who have engaged in necrophilia, cannibalism, and the drinking of victims’ blood. Some like to bite their victims; others enjoy trophy collecting – shoes, underwear, and body parts, such as hair clippings, feet, heads, fingers, breasts, and sexual organs…[and] evoke our disgust, horror, and fascination”.
One of the cases discussed is 1950s US serial killer Harvey Glatman (known in the media as ‘The Lonely Hearts Killer’) who used to take photographs of the women he murdered. Citing the work of Dr. Robert Keppel (another expert in serial murder cases and author of Serial Murder: Future Implications for Police Investigations), Dr. Hickey wrote:
“His photos were more than souvenirs, because in Glatman’s mind, they actually carried the power of his need for bondage and control. They showed the women in various poses: sitting up or lying down, hands always bound behind their backs, innocent looks on their faces, but with eyes wide with terror because they had guessed what was to come”.
Other murderers described by Dr. Hickey included a man that liked to surgically remove (and keep) the eyeballs from his sexual victims (most probably 1990s’ serial killer Charles Allbright) and another that skinned his victims and made lampshades, eating utensils, and clothing. In his overview of necrophilic homicide (i.e., those individuals that kill others in order to engage in sexual activity), Hickey also mentions that such necrosadistic murderers often engage in other paraphilias related to necrophilia “including partialism or the desire to collect specific body parts that the offenders finds sexually arousing. This may include feet, hands, hair, and heads, among others”. Hickey also noted that:
“Another important characteristic of these lust killers was the ‘perversion factor’. This subgroup was often prone to carry out bizarre sexual acts. These acts most commonly included necrophilia and trophy collection. Jerry Brudos severed the breasts of some of his victims and made epoxy molds. Brudos, like others, also photographed his victims in various poses, dressed and disrobed. The photos served as trophies and a stimulus to act out again”.
Later in the book, Dr. Hickey examines the case of Jerry Brudos in more detail (please be warned that some of the things written here may offend those of a sensitive nature):
“At an early age, Jerry Brudos developed a particular interest in women’s shoes, especially black, spike-heeled shoes. As he matured, his shoe fetish increasingly provided sexual arousal. At 17, he used a knife to assault a girl and force her to disrobe while he took pictures of her. For his crime he was incarcerated in a mental hospital for 9 months. His therapy uncovered his sexual fantasy for revenge against women, fantasies that included placing kidnapped girls into freezers so he could later arrange their stiff bodies in sexually explicit poses. He was evaluated as possessing a personality disorder but was not considered to be psychotic…He continued to collect women’s undergarments and shoes. Prior to his first murder, he had already assaulted four women and raped one of them. At age 28, Jerry was ready to start killing…He took [his first victim] to his garage, where he smashed her skull with a two-by-four. Before disposing of the body in a nearby river, he severed her left foot and placed it in his freezer. He often would amuse himself by dressing the foot in a spiked-heel shoe. His fantasy for greater sexual pleasure led him…to strangle [another victim] with a postal strap. After killing her, he had sexual intercourse with the corpse, then cut off the right breast and made an epoxy mold of the organ. Before dumping her body in the river, he took pictures of the corpse. Unable to satisfy his sexual fantasies and still in the grasp of violent urges, he found his third victim…After sexually assaulting her, he strangled her in his garage, amputated both breasts, again took pictures, and tossed her body into the river”.
Arguably the most infamous ‘sexual trophy collector’ was 1980s US serial killer Jeffrey Dahmer, the so-called ‘Milwaukee Cannibal’. In Dr. Hickey’s account he noted that:
“Restraining Dahmer, the officers looked around the apartment and counted at least 11 skulls (7 of them carefully boiled and cleaned) and a collection of bones, decomposed hands, and genitals. Three of the cleaned skulls had been spray-painted black and silver. These were to be part of the shrine fantasized by Dahmer. A complete skeleton suspended from a shower spigot and three skulls with holes drilled into them were found throughout the apartment…Chemicals, including muriatic acid, ethyl alcohol, chloroform, and formaldehyde, were also discovered, along with several Polaroid photographs of recently dismembered young men. A complete human head sat in the refrigerator”.
Another infamous case from the early 1970s (that I admit I had never heard of until I read Dr. Hickey’s book) was Ed Kemper, a cannibalistic killer who also collected human trophies and keepsakes of his victims. Citing the book Hunting Humans by Dr. Elliot Leyton, it was reported that:
“At the age of 23, Ed started killing again, a task that would last nearly a year and entail eight more victims. He shot, stabbed, and strangled them. All were strangers to him, and all were hitchhikers. He cannibalized at least two of his victims, slicing off parts of their legs and cooking the flesh in a macaroni casserole. He decapitated all of his victims and dissected most of them, saving body parts for sexual pleasure, sometimes storing heads in the refrigerator. Ed collected ‘keepsakes’ including teeth, skin, and hair from the victims. After killing a victim, he often engaged in sex with the corpse, even after it had been decapitated. In his confession Kemper stated five different reasons for his crimes. His themes centered on sexual urges, wanting to possess his victims, trophy hunting, a hatred for his mother, and revenge against an unjust society (Leyton, 1986)”.
The most obvious question related to these depraved acts is why such people do it in the first place. Writing in the Encyclopedia of Murder and Violent Crime, Nicole Mott provides an answer:
“A trophy is in essence a souvenir. In the context of violent behavior or murder, keeping a part of the victim as a trophy represents power over that individual. When the offender keeps this kind of souvenir, it serves as a way to preserve the memory of the victim and the experience of his or her death. The most common trophies for violent offenders are body parts but also include photographs of the crime scene and jewelry or clothing from the victim. Offenders use the trophies as memorabilia, but also to reenact their fantasies. They often masturbate or use the trophies as props in sexual acts. Their exaggerated fear of rejection is quelled in front of inanimate trophies. Ritualistic trophy taking, as is found with serial offenders, acts as a signature. A signature is similar to a modus operandi (a similar act ritualistically performed in virtually all crimes of one offender), yet it is an act that is not necessary to complete the crime”
In one of my previous blogs on the psychology of collecting more generally, I referred to a paper by Dr. Ruth Formanek in the Journal of Social Behavior and Personality. She suggested five common motivations for collecting: (i) extension of the self (e.g., acquiring knowledge, or in controlling one’s collection); (ii) social (finding, relating to, and sharing with, like-minded others); (iii) preserving history and creating a sense of continuity; (iv) financial investment; and (v), an addiction or compulsion. She also claimed that the commonality to all motivations to collect was a passion for the particular things collected. Personally, I think that the acquisition of sexual trophies – even in the most deranged individuals – can be placed within this motivational typology in that such individuals clearly have a passion for what they do and I would argue that the behaviour is an extension of the self that to some individuals may be a compulsion or addiction.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Further reading
Branagh, N. (2012). Third of UK owns sex trophy. March 26. Located at: http://www.studentbeans.com/mag/en/sex-relationships/third-of-uk-owns-sex-trophy
Du Clos, B. (1993). Fair Game. New York: St. Martin’s Paperbacks.
Griffiths, M.D. (2002). Addicted to hoarding. The Guardian (Review Section), August 10, p.19.
Formanek, R. (1991). Why they collect: Collectors reveal their motivations. Journal of Social Behavior and Personality, 6(6), 275-286.
Hickey, E. W. (Ed.). (2003). Encyclopedia of Murder and Violent Crime. London: Sage Publications
Hickey, E. W. (2010). Serial Murderers and Their Victims (Fifth Edition). Pacific Grove, CA: Brooks/Cole.
Keppel, R. D. (1989). Serial Murder: Future Implications for Police Investigations. Cincinnati, OH: Anderson.
Leyton, E. (1986a). Hunting Humans. Toronto: McClelland and Stewart.
Leyton, E. (1986b). Compulsive Killers: The Story of Modern Multiple Murder. New York: New York University Press.
Playing with fire: A brief and personal look at ‘survivor guilt’
Football. Love it or hate but you cannot ignore it. For many people, football is a central part of their lives (mine included). That is one of the reasons I carried out research on football fanaticism because I believe there is a tiny minority of fans that are addicted to the football teams they follow (see my previous blog on ‘fanorexia’ for an overview).
Apart from a four-year period in my life (more of which later), football has always been an important part of my leisure time. Like many children I was brought up on a healthy diet of football. In the 1970s, my dad and brother were staunch Liverpool fans (as they were both born there) but I was a Sunderland supporter (and still am). I have supported Sunderland ever since I was six years old when I watched them beat Leeds 1-0 in the 1973 FA Cup final. This was certainly the first match I remember watching and for years after I had lots of flashbacks of seeing captain Bobby Kerr lifting the trophy and manager Bob Stokoe’s run across Wembley at the final whistle.
Despite my almost religious love of football as a child, I didn’t go to a single live football match simply because my family couldn’t afford it. I grew up in Loughborough so the nearest football teams were Leicester City, Nottingham Forest, Notts County and Derby County. My parents couldn’t even afford to travel to the games let alone watch one (and we never had a car until I reached my later teens). At the time (in the 1970s and early 1980s) I could still get my weekly fix of soccer action on Match of the Day (on BBC1) and the Star Soccer match (on ITV).
Throughout my formative years I not only watched football but also played it a lot too. In my junior school I shared the captaincy with one of my best friends at the time but on getting to secondary school I discovered I wasn’t as good as I thought (I only ever managed a regular slot in the second elevens; first team call up only ever came if there were lots of injuries). I devoured football. I used to be one of those very sad individuals who could not only tell you the score of every Wembley cup final since 1923 but could also name all the scorers. This came to great effect when I was 14 and my class at school (3L4 – so called because the class was the third year at secondary school and our form tutor’s room was ‘Laboratory 4’) won the Question of Sport team prize (mostly thinks to my sad but encyclopaedic knowledge of all things sporting). This passion stayed with me until I was 18 years old.
The first live football that I started watching regularly was Bradford City. As a first year undergraduate at the University of Bradford I got a student discount to go and situate myself in the Midland Road Stand at City’s home ground Valley Parade. That was 1985. The year that Bradford went up as the Third Division champions with ex-Leeds United legend Trevor Cherry as manager. After Sunderland, Bradford City became my ‘second team’. The last game of the season was against Lincoln City and it was billed as a ‘celebration’ game as Bradford City were already the Division winners. It was May 11th, I had just finished all my end-of-year university exams, and I was in great spirits. As usual, I attended the match with my best friend Geoff Harvey (now a well respected author of books on both football fans and sports betting). As it was a celebratory occasion we also managed to convince two of our female friends to join us (neither of them had ever been to a live football match before that day).
The day turned out to be a day I will never forget. As the game kicked off, little did we know that 45 minutes later the whole of one of the stands would be up in flames – ‘The Bradford Fire’. For those reading this who have no idea what I am talking about, here is the relevant information (from Wikipedia):
“The Bradford City stadium fire was the worst fire disaster in the history of English football. It occurred during a league match in front of record numbers of spectators, on Saturday, 11 May 1985, killing 56 and injuring at least 265. The Valley Parade stadium, long-established home to Bradford City Football Club had been noted for its antiquated design and facilities, including the wooden roof of the main stand. Warnings had also been given about a major build-up of litter just below the seats. The stand had been officially condemned and was due for demolition. The match against Lincoln City had started in a celebration atmosphere, with the home-team receiving the Football league Third Division trophy trophy. At 3.40 pm, a small fire was reported by TV commentator John Helm, but in less than four minutes, in windy conditions, it had engulfed the whole stand, trapping some people in their seats. In the panic that ensued, fleeing crowds had to break down locked exits to escape. There were, however, many cases of heroism, with more than fifty people receiving police awards or commendations”.
Thankfully, I was in the Midland Road stand (directly opposite to where the fire started). The one thing I still remember to this day was the intense heat inside the stadium. I have never experienced anything like it in my life. Everyone’s faces around me were bright red from the heat of the fire. None of us particularly like to think about death, but I have always thought that the two ways I wouldn’t want to die would be to either burn to death or to drown. As we left the stadium and made our way back to the Halls of Residence (about a 45-minute walk) I grateful to be alive. I knew I would have to ring my parents to let them know I was alright (as they knew I was going to the game). As this was in the era before mobile phones, another memory I have was the long queues outside all the telephone boxes as people wanted to let their loved ones know they were safe. I didn’t manage to get through to my Mum until about 6.15pm. Even by this time, the first deaths had been recorded. It was mid-evening that the horror of the day started to sink in and the next morning as all the Sunday papers’ front pages were about the 50+ deaths.
Over the next few months, I ruminated a lot about the deaths that day. At the end of July 1985, I took a walk to the Valley Parade stadium and broke down in uncontrollable tears. That was the first time I had cried about the tragic events of May 11. When the new season started, I lost all interest in football. I didn’t watch a full match for the next four years. Whenever I thought about football, I thought about the Bradford fire and had flashbacks. In December 1985, I began a long-term relationship with a woman who’s grandad had been burned in the fire. It was around that time that I found out that one of the technicians in our Psychology department (who I had become friendly with) had lost his father in the fire. Although I could go hours without thinking about the fire, when I thought about it I felt psychologocally uneasy. It was hard to put into words. It was much later that I came across the concept of ‘survivor guilt’. The Wikipedia entry notes:
“Survivor guilt (or survivor’s guilt; also called survivor syndrome or survivor’s syndrome) is a mental condition that occurs when a person perceives themselves to have done wrong by surviving a traumatic event when others did not. It may be found among survivors of combat, natural disasters, epidemics among the friends and family of those who have committed suicide, and in non-mortal situations such as among those whose colleagues are laid off. The experience and manifestation of survivor’s guilt will depend on an individual’s psychological profile. When the Diagnostic and Statistical Manual of Mental Disorders IV (DSM-IV) was published, survivor guilt was removed as a recognized specific diagnosis, and redefined as a significant symptom of post-traumatic stress disorder (PTSD)”.
Although this description does not totally match the symptoms and thoughts I had, I do think (in retrospect) I had a mild from of ‘survivor guilt’. I also think that what I suffered was a mild form of PTSD given that PTSD refers to “a group of symptoms, such as disturbing recurring flashbacks, avoidance or numbing of memories of the event, and hyperarousal, continue for more than a month after the occurrence of a traumatic event” (Wikipedia). Thankfully, the cliché that ‘time is a great healer’ is true in my case. During the end of my PhD at the University of Exeter (1989), I began to watch football again and was a regular at St. James Park for Exeter City’s home games. My love of football returned and I began to think less and less about the Bradford Fire.
This is the first time I have ever written this down fully and is a good example of what I would describe as ‘therapeutic writing’ (something I have occasionally written about – see my previous blog on diary writing). I hope that you will forgive me for the lack of empirical data in this particular blog but just writing this all down has helped me feel better about one of the most heartfelt days of my life. Normal service will be resumed next time.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Further reading
Wikipedia (2014). Bradford City stadium fire. Located at: http://en.wikipedia.org/wiki/Bradford_City_stadium_fire
Wikipedia (2014). Post-traumatic stress disorder. Located at: http://en.wikipedia.org/wiki/Post_traumatic_stress_disorder
Wikipedia (2014). Survivor guilt. Located at: http://en.wikipedia.org/wiki/Survivor_guilt
Trance-sexuality: A brief look at sex and stage hypnosis
Regular readers of my blog may remember that my first academically published papers were on hypnosis (as I recounted in a previous blog I did on hypnofetishism). Consequently, I’ve always had a passing interest in stage hypnotism although some of those that I’ve seen sail close to the wind in terms of their ethics. In fact the following online query raised some of the sort of questions I have often asked myself when watching such shows:
“My in-laws recently attended an ‘adults only’ hypnotist show in Las Vegas. The hypnotist selected audience members to be hypnotized. I’m sure you all know the drill here. The selected individuals did all sorts of sexual (or inferred sexual acts) from masturbating a teddy bear to having an orgasm when another sneezes…Is it ethical? Is it a form of abuse if these people were not in full control of their capacities? I would think in this day of lawsuit happy lawyers a participant could easily sue a hypnotist for ‘suggesting’ this type of behavior”
Over the last few years there have been a number of high profile stories about ‘X-rated’ stage hypnotists. For instance, in 2012, Colin Adamson’s “raunchy hypnosis show” was banned for being “too rude” by the University of Kent’s student union after the hypnotist got his participants to simulate sex acts and lap dances on stage. Some of those on stage were made to believe they were having orgasms while others simulated masturbation. One of the women that was hypnotized into believing she had been touched indecently by someone watching the show and was left ”too upset to speak”. Sadaeva president of the University of Kent Feminist Society was “disgusted” and was quoted as saying: “[Adamson] shows a lack of empathy towards rape victims and all women, and a lack of basic human decency – he has no place at a student union”.
One infamous case of problems with someone that participated in stage hypnotism was recounted by Dr. Michael Heap in a 2000 issue of the journal Contemporary Hypnosis (as well as on his own website). Heap was an expert witness for the defendant in a case he calls ‘Norman versus Byrnes’ (Mr. Byrnes was the defendant, the stage hypnotist; Mr. Norman, the plaintiff was the person on stage under hypnosis). Dr. Heap began by briefly reviewing the main issues:
“Mr. Norman’s story is that on Wednesday June 30th 1993, he took part in Mr. Byrnes’s stage hypnosis show at a hotel. At some point in the show Mr. Byrnes offered to help Mr. Norman give up smoking. Amongst other things, he gave him a post-hypnotic suggestion that from now on cigarettes would taste foul. Towards the end of the performance Mr. Byrnes suggested to his volunteers that as they were sitting in their chairs they would feel more and more sexy. He then hit his microphone repeatedly calling out ’10 times more sexy’, ’20 times more sexy’…..and so on. Mr. Norman seemed to become carried away; he stood up and made thrusting movements at the chair. Mr. Byrnes then suggested to the participants that when they went to bed that night they would feel even 50 times more sexy than they did then. Mr. and Mrs. Norman both confirmed that when they went to bed that night, as soon as Mr. Norman laid down on the mattress he started shaking violently and bouncing up and down. Mr. Norman claimed that he was having sexual intercourse with the mattress and that indeed he did find the mattress sexually attractive. Thus he continued simulating intercourse with the mattress and the other contents of his bed, with the exception of his wife”.
Mr. Norman had sex with his hotel bedroom furniture for about four hours (1am to 5am). When Mr. Norman stopped at one point to smoke a cigarette he became violently sick. On resuming his furniture sex, Mrs. Norman managed to stop the activity by blowing cigarette smoke into her husband’s face. Over the following days, Mr. Norman’s sexual urges diminished during the day but the uncontrollable urge to have sex with the furniture and other domestic appliances came back each night in the hotel room. Mr. Norman and his wife reported that the objects that became sexually attractive included all the bed’s contents, the hotel ceiling, a variety of ornaments in the hotel room, the room’s armchair, the hotel bath, and a tumble dryer. Dr. Heap then reported:
“On Monday, five days after her husband’s stage hypnosis experience, Mrs. Norman went to see a lawyer; on Wednesday Mr. Norman went to see his doctor. He was prescribed antidepressants and several days later his doctor ‘performed hypnotherapy on him to remove the post-hypnotic suggestion’ and this appeared to be successful. However, about three weeks later he was referred to a psychiatrist, Dr. Thomas, with ‘depression and delusions’ and violent behaviour. Dr. Thomas saw Mr. Norman on October 18th…Dr. Thomas ascribed Mr. Norman’s problems to Mr. Byrnes’s failure to take him ‘out of the hypnotic trance’…Things appeared to go quiet, and Mr. Norman did not receive any medication or treatment for these problems until four months later…Mr. Norman continued to present with a bewildering array of mental symptoms variously diagnosed as dissociative state, hypomania, hysteria, Ganser’s syndrome, major depression, post-traumatic stress disorder, paranoid psychosis and schizo-affective disorder”.
Mr. Norman’s legal team then secured the services of a consultant psychiatrist Dr. James, who was former official of the British Society of Medical and Dental Hypnosis. Dr. James then made a number of allegations of negligence against Byrnes (e.g., Byrnes didn’t establish what the exact counter-suggestion should have been to dispel the post-hypnotic suggestion). Dr. Heap then claimed:
“When I consider these serious allegations against Mr. Byrnes, I cannot help hearing in my mind the music ‘The Sorcerer’s Apprentice’. Dr. James casts Mr. Byrnes in the role of an inept would-be wizard whose task, under the stern eye of a properly qualified master wizard, is to discover the best counter-spell or incantation that would lift the evil curse with which he had previously inadvertently bewitched Mr. Norman…This case came to trial in September 1997. I sat in Court every day…but on the fifth day, long before the defence had opened its case, the trial collapsed. Mr. Norman’s financial backer withdrew, his legal aid having already been rescinded. The reason for the latter was as follows: had Mr. Norman won his case, the compensation that he would have received would have been claimed back by the state to offset the considerable welfare and sickness benefits he had received while indisposed. Thus he would have been financially no better off and legal aid is not granted when such is the case”.
Dr. Heap was under the view that Mr. Norman was “clearly malingering in his claims to have been afflicted with his unusual sexual compulsions”. Heap claimed that there were grounds for considering Norman’s symptoms as a factitious disorder (like Munchausen’s Syndrome).
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Further reading
Heap, M. (2000). A legal case of a man complaining of an extraordinary sexual disorder following stage hypnosis. Contemporary Hypnosis, 17(3), 143-149.
Heap, M. (2001). Some stories about hypnosis. The Skeptical Intelligencer, 3(4), 29-35
Heap, M. (2014). Some stories about hypnosis. Located at: http://www.mheap.com/hypnosis.html
Pop psychology: A peek inside the mind of Iggy Pop
I have just come back from a two-week holiday in Portugal and managed to catch up with reading a lot of non-academic books. Two of the books I took with me were Paul Trynka’s biography of Iggy Pop (Open Up and Bleed [2007]) and Brett Callwood’s biography of The Stooges, the band in which Iggy Pop first made his name (The Stooges: A Journey Through the Michigan Underworld [2008]). Just before I left to go on holiday I also read Dave Thompson’s book Your Pretty Face is Going to Hell: The Dangerous Glitter of David Bowie, Iggy Pop, and Lou Reed (2009). This engrossing reading has been accompanied by me listening to The Stooges almost non-stop for the last month – not just their five studio albums (The Stooges [1969], Fun House [1979], Raw Power [1973], The Weirdness [2007], and Ready To Die [2013]) but loads of official and non-official bootlegs from the 1970-1974 period. In short, it’s my latest music obsession.
Although I say it myself, I have been a bit of an Iggy Pop aficionado for many years. It was through my musical appreciation of both David Bowie and Lou Reed that I found myself enthralled by the music of Iggy Pop. Back in my early 20s, I bought three Iggy Pop albums purely because they were produced by David Bowie (The Idiot [1977], Lust For Life [1977], and Blah Blah Blah [1986]). Thankfully, the albums were great and over time I acquired every studio LP that Iggy has released as a solo artist (and a lot more aside – I hate to think how much money I have spent on the three artists and their respective bands over the years). Unusually, I didn’t get into The Stooges until around 2007 after reading an in-depth article about them in Mojo magazine. Since then I’ve added them to my list of musical obsessions where I have to own every last note they have ever recorded (official and unofficial). When it comes to music I am all-or-nothing. Maybe I’m not that far removed from my musical heroes in that sense. I’m sure my partner would disagree. She says I’m no different to a trainspotter who ticks off lists of numbers.
One thing that connects Pop, Reed and Bowie (in addition to the fact they are all talented egotistical songwriters and performers who got to know each other well in the early 1970s) is their addictions to various drugs (heroin in the case of Pop and Reed, and cocaine in the case of Bowie – although they’ve all had other addictions such as Iggy’s dependence on Quaaludes). This is perhaps not altogether unexpected. As I noted in one of my previous blogs on whether celebrities are more prone to addiction than the general public, I wrote:
“Firstly, when I think about celebrities that have ‘gone off the rails’ and admitted to having addiction problems (Charlie Sheen, Robert Downey Jr, Alec Baldwin) and those that have died from their addiction (Whitney Houston, Jim Morrison, Amy Winehouse) I would argue that these types of high profile celebrity have the financial means to afford a drug habit like cocaine or heroin. For many in the entertainment business such as being the lead singer in a famous rock band, taking drugs may also be viewed as one of the defining behaviours of the stereotypical ‘rock ‘n’ roll’ lifestyle. In short, it’s almost expected”.
Nowhere is this more exemplified than by Iggy Pop. Not only would Iggy take almost every known drug to excess, it seemed to carry over into every part of his lifestyle. For instance, reading about Iggy’s sexual exploits, there appears to be a lot of evidence that he may have also been addicted to sex (although that’s speculation on my part with the only evidence I have is all the alleged stories in the various biographies of him). Another thing that amazes me about Iggy Pop was that he decided to give up taking drugs in the autumn of 1983 and pretty much stuck to it (again mirroring Lou Reed who also decided to clean up his act and go cold turkey on willpower alone). Spontaneous remission after very heavy drug addictions is rare but Iggy appears to have done it. Maybe Iggy gave up his negative addictions for a more positive addiction – in his case playing live. David Bowie went as far as to say that playing live was an “obsessive” for Iggy. As noted in Paul Trynka’s biography:
“[His touring] was simultaneously impressive and inexplicable. David Bowie used the word’ obsessive’ about Iggy’s compulsion to tour – but there was an internal logic. Jim knew he’d made his best music in the first ten years of his career, and he also believed he’d blown it…but he knew his own excesses or simple lack of psychic stamina were a key reason why the Stooges crashed and burned. Now he had to still prove his stamina, to make up for those weaknesses of three decades ago”.
Iggy Pop is (of course) a stage name. Iggy was born James Newell Osterberg (April 21, 1947). The ‘Iggy’ moniker came from one of the early bands he drummed in (The Iguanas). I mention this because another facet of Iggy Pop’s life that I find psychologically interesting is the many references to ‘Iggy Pop’ being a character created by Jim Osterberg (in much the same way that Bowie created the persona ‘Ziggy Stardust’ – ironically a character that many say is at least partly modeled on Iggy Pop!). Many people that have got to know Jim Osterberg describe him as intelligent, witty, talkative, well read, and excellent social company. Many people that have been in the company of Iggy Pop describe him as sex-crazed, hedonistic, outrageous, a party animal, and a junkie (at least from the late 1960s to the early to mid-1990s). It’s almost as if a real living character was created in which Jim Osterberg could live out an alternative life that he could never do as the person he had become growing up. Iggy Pop became a persona that Jim Osterberg could escape into. When things went horribly wrong (and they often did), it was Iggy’s doing not Osterberg’s. It’s almost as if Osterberg had a kind of multiple personality disorder (now called ‘dissociative identity disorder’ [DID]). One definition notes:
“[Dissociative identity disorder] is a mental disorder on the dissociative spectrum characterized by at least two distinct and relatively enduring identities or dissociated personality states that alternately control a person’s behavior, and is accompanied by memory impairment for important information not explained by ordinary forgetfulness…Diagnosis is often difficult as there is considerable comorbidity with other mental disorders”.
I don’t for one minute believe ‘Jim/Iggy’ suffers from DID but a case could possibly made based on the definition above. Some of the things he did on stage in the name of ‘entertainment’ included gross acts of self-mutilation such as stubbing cigarettes out on his naked body, flagellating himself, cutting his chest open with knives and broken glass bottles. He was a sexual exhibitionist and appeared to love showing his penis to the watching audience. On one infamous occasion, he even dry-humped a large teddy bear live on a British children’s television show. (Maybe Iggy is a secret plushophile? Check out the clip on here on YouTube).
In 1975, Iggy was admitted to the Los Angeles Neuropsychiatric Institute (NPI) and underwent treatment (including psychoanalysis) under the care of American psychiatrist Dr. Murray Zucker. After he had completely detoxed all the drugs in his body, Iggy was diagnosed with hypomania (a mental affliction also affecting another of my musical heroes, Adam Ant). This condition was described by Iggy’s biographer Paul Trynka:
“Bipolar disorder [is] characterised by episodes of euphoric or overexcited and irrational behaviour, succeeded by depression. Hypomanics are often described as euphoric, charismatic, energetic, prone to grandiosity, hypersexual, and unrealistic in their ambitions – all of which sounded like a checklist of Iggy’s character traits”.
Dr. Zucker later told Paul Trynka that hypomania tends to get worse with age and it hadn’t with Iggy and therefore the diagnosis of a bipolar disorder may have been wrong. Dr. Zucker now wonders whether “the talent, intensity, perceptiveness, and behavioural extremes” of Iggy were who he truly was “and not a disease…that Jim’s behaviour was simply him enjoying the range of his brain, playing with it, exploring different personae, until it got to the point of not knowing what was up and what was down’. In short, Dr. Zucker (who maintained professional contact with Iggy during the 1980s) claimed Iggy was perhaps “someone who went to the brink of madness just to see what it was like”. Dr. Zucker also claimed that Iggy (like many in the entertainment industry) was a narcissist (“excessive for the average individual” but “unsurprising in a singer…this unending emotional neediness for attention, that’s never enough”). In fact, Iggy went on to write the song ‘I Need More‘ (and was also the title of his autobiography) which pretty much sums him up many of his pychological motivations (at least when he was younger).
It’s clear that Iggy has been drug-free and fit for many years now although many would say that all of his best musical work came about when he was jumping from one addiction to another – particularly during the decade from 1968 to 1978. This raises the question as to whether musicians and songwriters are more creative under the influences of psychoactive substances (but I will leave that for another blog – I’ve just begun some research on creativity and substance abuse with some of my Hungarian research colleagues). I’ll leave the last word with Dr. Zucker (who unlike me) had Iggy as a patient:
“I always got the feeling [Iggy] enjoyed his brain so much he would play with it to the point of himself not knowing what was up and what was down. At times, he seemed to have complete control of turning this on and that on, playing with different personas, out-Bowie-ing David Bowie, as a display of the range of his brain. But then at other times you get the feeling he wasn’t in control – he was just bouncing around with it. It wasn’t just lack of discipline, it wasn’t necessarily bipolar, it was God knows what”.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Further reading
Ambrose, J. (2008). Gimme Danger: The Story of Iggy Pop. London: Omnibus Press.
Callwood, B. (2008). The Stooges: A Journey Through the Michigan Underworld. London: Independent Music Press.
Pop, I. & Wehrer, A, (1982). I Need More. New York: Karz-Cohl Publishing.
Thompson, D. (2009). Your Pretty Face is Going to Hell: The Dangerous Glitter of David Bowie, Iggy Pop, and Lou Reed. London: Backbeat Books.
Trynka, P. (2007). Open Up and Bleed. London: Sphere.
Wikipedia (2014). Iggy Pop. Located at: http://en.wikipedia.org/wiki/Iggy_Pop
Fanable Collector: A personal insight into the psychology of a record-collecting completist
Regular readers of my blog will know that I have described myself as a “music obsessive” and that I am an avid record and CD collector. When I get into a particular band or artist I try to track down every song that artist has ever done – irrespective of whether I actually like the song or not. I have to own every recording. Once I have collected every official recording I then start tracking down unofficially released recordings via bootlegs and fan websites. I have my own books and printed lists (i.e., complete discographies by specific bands and solo artists) that I meticulously tick off with yellow highlighter pen. (In some ways, I am no different to a trainspotter that ticks off train numbers in a book).
I wouldn’t say I am a particularly materialistic person but I love knowing (and feeling) that I have every official recorded output by my favourite musicians. My hobby can sometimes cost me a lot of money (I am a sucker for deluxe box sets) although most of the time I can track down secondhand items and bargains on eBay and Amazon relatively cheaply (plus I have downloaded thousands of bootleg albums for free from the internet). Tracking down an obscure release is as much fun as the listening of the record or CD (i.e., the ‘thrill of the chase’). Almost every record I have bought over the last decade is in mint condition and unplayed (as many records now come with a code to download the record bought as a set of MP3s).
As a record collector, one of the things that make the hobby both fun and (at the same time somewhat) infuriating is the number of different versions of a particular song that can end up being released. As a collector I have an almost compulsive need to own every version of a song that an artist has committed to vinyl, CD, tape or MP3. However, I am grateful that I am not the type of collector that tries to own every physical record/CD released in every country. (My love of The Beatles would mean I would be bankrupt). I only buy releases in other countries if it contains music that is exclusive to that country (e.g., many Japanese CD releases contain one or two tracks that may not be initially released in any other country).
For most artists that I collect from the 1960s to early 1980s, it is fairly easy to collect every officially released song. Artists like The Beatles may have up three to four official versions of a particular song (the single version, the album version, a demo version, a version from another country with a different edit, etc.). With bootleg recordings, the number of versions might escalate to 30 or 40 versions by including live versions, every studio take, etc.). It can become almost endless if you start to collect bootleg recordings of every gig by your favourite artists. (I know this from personal experience).
It was during my avid record buying days in the early 1980s that the ‘completist’ in me started to take hold. Some of you reading this may recall that in 1984, Frankie Goes To Hollywood (FGTH) became only the second band ever to reach the UK No.1 with their first three singles – ‘Relax’, ‘Two Tribes’ and ‘The Power of Love’ (the first band being – not The Beatles, but their Liverpool friends and rivals – Gerry and The Pacemakers). One of the reasons that FGTH got to (and stayed for weeks at) number one was there were thousands of people like me that bought countless different versions of every variation of every single released. For instance, not only did I buy the standard 7”, 12”, cassettes, and picture discs of both ‘Relax’ and ‘Two Tribes’, I bought every new mix that FGTH producer Trevor Horn put out.
Every week, all of the money that I earned from my Saturday job working in Irene’s Pantry would go on buying records from Castle Records in Loughborough. I didn’t care about clothes, sweets, books, etc. All I cared about outside of school was music. Some of my hard earned money went on buying the NME (New Musical Express) every Thursday along with buying other music weeklies if my favourite bands were featured (Melody Maker, Record Mirror, Sounds and Smash Hits to name just a few).
When I got to university to study Psychology at the University of Bradford, my love of music and record buying increased. Not only did I discover other like-minded people but Bradford had a great music scene. One of the first things I did when I got to university was become a journalist for the student magazine (Fleece). Within seven months I was one of the three Fleece editors and I was in control of all the arts and entertainment coverage. The perks of my (non-paid) job was that (a) I got to go to every gig at Bradford University for free, (b) I was sent lots of free records to review for the magazine (all of which I kept and some of which I still have), and (c) I got to see every film for free in return for writing a review. I couldn’t believe my luck.
During this time (1984-1987) my three favourite artists were The Smiths, Depeche Mode, and (my guilty pleasure) Adam Ant. I devoured everything they released (especially The Smiths). As a record collector I not only loved the Smiths music but I loved the record covers, the messages scratched on the vinyl run-out grooves, and Morrissey’s interviews in the music press. It was also during this period that I discovered other bands that later went onto become some of my favourite bands of all time (Propaganda and The Art of Noise being the two that most spring to mind). As a Depeche Mode fan, collecting every track they have ever done has become harder and harder (and more expensive) as they were arguably one of the pioneers of the remix. Although Trevor Horn and the ZTT label took remixing singles to a new level for record collectors, it was Depeche Mode that arguably carried on the baton into the 1990s.
During 1987-1990, my record buying subsided through financial necessity. I was doing my PhD at the University of Exeter and the little money I had went on food, rent, and travel (to see my then girlfriend who lived over 300 miles away). I simply didn’t have the money to buy and collect records the way I had before. Buying singles stopped but I would still buy the occasional album. This was the only period in my life that I didn’t really buy music magazines. (My thinking was that if I didn’t know what was being released I couldn’t feel bad about not buying it).
In the summer of 1990 I landed my first proper job as a Lecturer in Psychology at Plymouth University. For the first time in my life I had a healthy disposable income. My first purchase with my first pay cheque was an expensive turntable and CD player. I also bought loads of CD albums on my growing wish list. What I loved about my hobby was that I could do it simultaneously with my job (i.e., I could listen to my favourite bands at the same time as preparing my lectures or writing my research papers – something that I still do to this day).
When CD singles became popular in the 1990s I became a voracious buyer of music again. Typically bands would release a single across multiple formats with each format containing tracks exclusive to the record, CD and/or cassette. Artists like Oasis and Morrissey (two of my favourites during the 1990s) would release singles in three or four formats (7” vinyl, 10”/12” vinyl, CD single, and cassette single) and I would buy all formats (and to some extent I still do). It was a collector’s paradise but I could afford it. In fact, not only could I afford to buy all the music I wanted, I could buy all the monthly music magazines at the time (Vox, Select, Record Collector, Q, and then a little later Uncut and Mojo), and I could go to gigs and still have money left over.
Since the mid-1990s only one thing has really changed in relation to my music-buying habits and that is there are less and less new bands that I have become a fan of. I still buy lots of new music but I don’t tend to collect the work of contemporary bands. However, the music industry has realized there are huge amounts of money to be made from their back catalogues. I am the type of music buyer that will happily buy a ‘classic’ album again as long as it has an extra disc or two of demo versions, rarities, remixes, and obscure B-sides, that will help me extend and/or complete music collections by the bands I love. Over this year I have already bought box sets by The Beatles, The Velvet Underground, Throbbing Gristle, and David Bowie (to name just four). I have become a retro-buyer but I still crave “new” music by my favourite artists. Yes, I love music and it takes up a lot of my life. However, I am not addicted. My obsessive love of music adds to my life rather than detracts from it – and on that criterion alone I will happily be a music collector until the day that I die.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Further reading
Belk, R.W. (1995). Collecting as luxury consumption: Effects on individuals and households. Journal of Economic Psychology, 16(3), 477-490.
Belk, R.W. (2001). Collecting in a Consumer Society. New York: Routledge.
Moist, K. (2008). “To renew the Old World”: Record collecting as cultural production. Studies in Popular Culture, 31(1), 99-122.
Pearce, S. (1993). Museums, Objects, and Collections. Washington, D.C.: Smithsonian Institution Press.
Pearce, S. (1998). Contemporary Collecting in Britain. London: Sage.
Reynolds, S. (2004). Lost in music: Obsessive music collecting. In E. Weisbard (Ed.), This Is Pop: In Search of the Elusive at Experience Music Project (pp.289-307). Cambridge, MA: Harvard University Press.