Category Archives: Popular Culture
I apologise in advance, but today’s blog is (i) a not-so thinly disguised plug (well, a blatant plug) for a national event that is being hosted by my university on Wednesday 18th March (2015) and (ii) a just a slight updating of a blog I published a couple of years ago when the Ig Nobels last came to NTU. The new blurb I was sent by our local organizer Phil Banyard proclaims:
“The Ig Nobel Prizes honour achievements that first make people laugh, and then make them think. The prizes are intended to celebrate the unusual, honour the imaginative — and spur people’s interest in science, medicine, and technology. The awards are held each year at Harvard University and each award is presented by a Nobel laureate such is the esteem of this event. Over the past few years Marc Abrahams has brought an Ig Nobels tour to the UK in the spring. The tours highlights some of the key awards from the Ig Nobels’ back catalogue and provides a great opportunity to promote science to a wider audience. This year’s programme will feature Marc Abrahams, organiser of the Ig Nobel Prizes, editor of the Annals of Improbable Research, and Guardian columnist, together with a gaggle of Ig Nobel Prize winners and other improbable researchers. The programme will include: Chris McManus (Ig Nobel winner, Scrotal asymmetry in ancient Sculpture and man); Richard Stephens (Ig Nobel winner, The effect of swearing on pain); Richard Webb (Tribute to John Hoyland, the father of Nominative Determinism)”.
If that’s not enough to get you going, I would also like to add that science’s top journal Nature says: “The Ig Nobel awards are arguably the highlight of the scientific calendar” (and who am I to argue?). For those of you who know nothing about the Ig Nobels, they were initiated by one of my favourite journalists, Guardian columnist Marc Abrams. Abrams writes a weekly column for the Guardian called Improbable Research and he is also the editor of the Annals of Improbable Research.
Back in February 2010, I was delighted when Abrams did a whole column on my research into gambling entitled ‘Slot-machine gamblers are hard to pin down: Why are gamblers such a difficult subject for academic study?’ Secretly, I’m very proud that he dedicated a whole column to my research. (In fact, I found out while I was researching the original blog on this topic, is that my research also features in his 2012 book This is Improbable: Cheese String Theory, Magnetic Chickens, and Other WTF Research. Here are some of the things he wrote about my research into gambling:
“It’s hard to get good payoffs from slot machines, yes. But it’s also hard to get good information from slot machine gamblers, and that made things awkward for psychologists Mark Griffiths, of Nottingham Trent University, and Jonathan Parke, of Salford University. They explained how, in a monograph called Slot Machine Gamblers – Why Are They So Hard to Study? Griffiths and Parke published it a few years ago in the Journal of Gambling Issues. ‘We have both spent over 10 years playing in and researching this area,’ they wrote, ‘and we can offer some explanations on why it is so hard to gather reliable and valid data. Here are three from their long list.
- First, gamblers become engrossed in gambling. ‘We have observed that many gamblers will often miss meals and even utilise devices (such as catheters) so that they do not have to take toilet breaks. Given these observations, there is sometimes little chance that we as researchers can persuade them to participate in research’
- Second, gamblers like their privacy. They ‘may be dishonest about the extent of their gambling activities to researchers as well as to those close to them. This obviously has implications for the reliability and validity of any data collected.’
- Third, gamblers sometimes notice when a person is spying on them. “The most important aspect of non-participant observation research while monitoring fruit-machine players is the art of being inconspicuous. If the researcher fails to blend in, then slot-machine gamblers soon realise they are being watched and are therefore highly likely to change their behaviour.’
The gambling machines go by many names, ‘fruit machine’ and ‘one-armed bandit’ also being popular. But Griffiths and Parke don’t obsess about nomenclature. The two are giants in their chosen profession. The International Journal of Mental Health and Addiction ran a paean from a researcher who said: ‘In the problem gambling field we don’t exhibit the same adulation as music fans for their idols, but we have our superstars and, for me, Mark Griffiths is one.’
Professor Griffiths is one of the world’s most published scholars on matters relating to the psychology of fruit-machine gamblers, with at least 27 published studies that mention fruit machines in their title. These range from 1994’s appreciative Beating the Fruit Machine: Systems and Ploys Both Legal And Illegal to 1998’s admonitory Fruit Machine Gambling and Criminal Behaviour: Issues for the Judiciary*. Women get special attention (Fruit Machine Addiction in Females: a Case Study), as do youths (Adolescent Gambling on Fruit Machines and several other monographs). There is the humanist perspective (Observing the Social World of Fruit-Machine Playing) as well as that of the biomedical specialist (The Psychobiology of the Near Miss in Fruit Machine Gambling). Griffiths and Parke collaborate often. Strangers to their work might wish to begin by reading the classic The Psychology of the Fruit Machine. Their fruitful publication record reminds every scholar that, even when a subject is difficult to study, persistence and determination can yield a rewarding payoff”.
All I can say is that after re-reading this, I wonder how I can still get my head through the door.
More recently, one of my papers was actually reported by Marc Abrams on his Improbable Research website. More specifically, my case study published in the Archives of Sexual Behavior about eproctophilia (i.e., sexual arousal from flatulence), was given press coverage in over 100 newspaper and magazine stories around the world including those in the UK, Ireland, US, Greece, Italy, Holland, China, and Ghana (e.g., New York Daily News, Huffington Post, Daily Telegraph, Daily Mirror, The Sun, Metro, Times of Malta, Irish Examiner, Asian Image, and Cosmopolitan). However, it was actually Abrams who first reported the story under the headline “Academic Study of a Young Man’s Sexual Attraction to Human Gas”. For those who don’t know, the underlying philosophy of the IR website is to feature “research that makes people laugh and then think”. More specifically, Abrams wrote:
“Professor Mark D Griffiths of Nottingham Trent University has published a remarkable new study. Here’s how we know this study is remarkable: The university’s press office sent copies of it to many prominent science journalists, remarking that (1) ‘It’s the world’s first paper on eproctophilia – sexual arousal from flatulence’ and (2) ‘Professor Griffiths would be more than happy to talk to you in more detail’. A remarkable number of those journalists immediately sent it on to us at the Annals of Improbable Research. We are, in this blog entry you are reading right now, remarking upon that study. There is more. Lots more. In other respects, too, Professor Griffiths is an expert. So renowned is he that Wikipedia devoted an entire web page to him. One of the many things on which he is an expert is the academic study of gamblers. We have celebrated some of his abundant work on that subject. (We express our thanks, and other emotions, to the many journalists who instinctively decided that they should alert us to the existence of Professor Griffiths’s new line of research.) BONUS (unrelated): The 1998 Ig Nobel Prize for literature was awarded to Dr. Mara Sidoli of Washington, DC, for her illuminating report, ‘Farting as a Defence Against Unspeakable Dread’ [Journal of Analytical Psychology, vol. 41, no. 2, 1996, pp. 165-78.]”
Anyway, if you’d like to go see Marc Abrams in person, here are the further details:
Event: The Ig Nobels: A celebration of Science
Time and date: 6.30 pm, Wednesday 18th March
Location: The Newton Building on the City Campus of the University.
Booking details: The event is free but booking is essential.
Details of their UK events and more information about the Ig Nobels can be found on their website: http://www.improbable.com/improbable-research-shows/complete-schedule/
* I’ve never actually written a paper with this title but I think it’s an inadvertent mix of two or three papers I’ve written with similar titles
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Further reading (i.e., the papers cited by Marc Abrams above)
Griffiths, M.D. (1991). The psychobiology of the near miss in fruit machine gambling. Journal of Psychology, 125, 347-357.
Griffiths, M.D. (1994). Beating the fruit machine: Systems and ploys both legal and illegal. Journal of Gambling Studies, 10, 287-292.
Griffiths, M.D. (1995). Adolescent Gambling. London: Routledge
Griffiths, M.D. (1996). Observing the social world of fruit-machine playing. Sociology Review, 6(1), 17-18.
Griffiths, M.D. (2003). Fruit machine addiction in females: A case study. Journal of Gambling Issues, 8. Located at: http://www.camh.net/egambling/issue8/clinic/griffiths/index.html.
Griffiths, M.D. (2013). Eproctophilia in a young adult male: A case study. Archives of Sexual Behavior, 42, 1383-1386.
Parke, J. & Griffiths, M.D. (2002). Slot machine gamblers – Why are they so hard to study? Journal of Gambling Issues, 6. Located at: http://jgi.camh.net/doi/full/10.4309/jgi.2002.6.7
Parke, J. & Griffiths, M.D. (2006). The psychology of the fruit machine: The role of structural characteristics (revisited). International Journal of Mental Health and Addiction, 4, 151-179.
Yeoman, T. & Griffiths, M.D. (1996). Adolescent machine gambling and crime (I). Journal of Adolescence, 19, 99-104.
Griffiths, M.D. & Sparrow, P. (1998). Fruit machine addiction and crime. Police Journal, 71, 327-334.
Griffiths, M.D. (2001). Cybercrime: Areas of concern for the judiciary. Justice of the Peace, 165, 296-298.
Last Thursday (January 29), I was watching the newspaper review on Sky News when one of the reviewers referred to a story in the Daily Mail about the negative effects of box-set bingeing (‘Watching TV box-set marathons is warning sign you’re lonely and depressed – and will also make you fat’). Having examined the psychology of box-set bingeing in a previous blog, the story instantly grabbed my attention (and also because I love box-set bingeing when I get the time). (I also discovered in researching this article that in November 2013, the Oxford Dictionary announced that the word ‘binge-watch’ [defined as “to watch multiple episodes of a television programme in rapid succession” was a contender for its word of the year but was eventually beaten by the word ‘selfie’).
The Daily Mail story was based on some research led by doctoral researcher Ms. Yoon Hi Sung (at the University of Texas). Unfortunately, the research is not publicly available as it hasn’t actually been published yet. In fact, the study is from a conference paper that will be presented in May 2015 (at the Conference of the International Communication Association in Puerto Rico in May). Ms. Sung said that his findings “should be a wake-up call”. In typical Daily Mail style, a number of claims were made (which are listed below verbatim):
- “Watching TV box-set marathons is warning sign you’re lonely and depressed – and will also make you fat
- Watching TV for long periods of time can lead to obesity and exhaustion.
- ‘Binge-watchers’ are more likely to lack self-control and have addictions.
- University of Texas researchers said it’s no longer a ‘harmless addiction’.
- They said people will watch TV as a distraction when they are feeling low”.
Unfortunately there was little detail of the method used or much about 316 participants aged 18 to 29 years (e.g., how the participants were recruited, how representative the sample was of all those who engage in box-set bingeing, etc.) but the Daily Mail was adamant that box-set bingeing is bad for your health. More specifically, the journalist Daniel Bates wrote:
“People who suffer from low moods are more likely to spend hours or days viewing multiple episodes of their favourite programme online or on DVD box set. But by doing so they could neglect work, relationships and even their family. The researchers from the University of Texas at Austin said that binge-watching should no longer be considered a ‘harmless addiction’ and that people should think twice before settling in for a long session in front of the TV…The findings showed a direct link. The worse somebody felt, the more likely they were to watch a lot of TV in an apparent attempt to avoid their low mood”.
Ms. Sung was quoted as saying:
“Even though some people argue that binge-watching is a harmless addiction, findings from our study suggest that binge-watching should no longer be viewed this way. Physical fatigue and problems such as obesity and other health problems are related to binge-watching and they are a cause for concern. When binge-watching becomes rampant, viewers may start to neglect their work and their relationships with others. Even though people know they should not, they have difficulty resisting the desire to watch episodes continuously”.
Not having access to the details of the study make it difficult to make methodological criticism but as a Professor of Gambling Studies I would bet my bottom dollar that the claims go beyond the data. As far as I am aware there has never been any academic study of box set viewing behaviour (either watching ‘on demand’ via interactive television or DVD box-sets) but I did come across some commercial research carried out by the company MarketCast in 2013 (and reported in a Variety magazine article entitled ’10 insights from studies of binge watchers’ by Marc Fraser). In the study, over 1000 US television viewers, the report claimed that there were “elevated binge levels” when watching box-set television series on demand such as House of Cards, Breaking Bad, Dexter, The Walking Dead, True Blood, and Sons of Anarchy. As Fraser reported:
“As networks grapple with the potential effect of binge-viewing to their bottom line, what they’re starting to learn is less threatening than some early analysts have suggested. The good news for broadcasters is that bingeing actually creates more viewers for TV shows, MarketCast found, which should broaden the audience for advertisers and their commercials when new episodes air. That’s primarily because most binge viewers are just trying to catch up on a series they may have missed, and tend to tune into a series during its regular airings. For example, 65% of those surveyed said they would watch new episodes of ‘Breaking Bad’ without bingeing when the series returned, while another 58% said they would tune into ‘The Walking Dead’ in similar fashion. At the same time, despite the large amount of time required for bingeing, other forms of entertainment aren’t seeing a large decrease as a result of binge-viewing, the study [found]”.
The MarketCast study also reported that 5% of their study participants said bingeing was the only way that they watched their favourite TV shows, and just under one-third of the sample planned to use the bingeing method of viewing their favourite TV series in the future. Here are some of the other key findings listed in the report:
- There are four types of binge-viewers. Those who binge (i) because they don’t like to wait a week to find out what happens next, (ii) because friends tell them they’re missing out; (iii) to watch TV shows they’ve seen before, and (iv) when they are ill or housebound because of injury,
- The main reasons for box-set bingeing are to (i) catch up on TV series that were missed when they first aired, (ii) avoid having to watch adverts (and save time), and (iii) avoid waiting to see what happens next.
- Two-thirds of the sample (67%) claimed to have had at least one binge-watching experience.
- Those who binge watch only are typically males under the age of 30 years (although there is no overall difference between males and females in binge watching behaviour). (Another piece of market research by Magid Generational Strategies in early 2013 reported tat 70% of binge viewers are aged 16 to 35 years).
- More binge watching is done alone (56%) and at home (98%). Binge watching is also done while travelling (13%) and/or while on holiday (16%).
- Box-set bingeing occurs online (e.g., via on-demand services) more than offline (e.g., DVD box-sets).
- Drama is most watched genre for bingeing (60%), followed by comedy (45%), and reality shows (26%).
Fraser also made reference to another piece of market research by Solutions Research Group that examined 1,200 Canadian subscribers of Netflix and their viewing habits related to the television series House of Cards (that puts all 13 episodes online simultaneously). The study found that one in three viewers watched all 13 episodes within four weeks of first airing).
Another news story I came across (in Australia’s Herald Sun) provided a more positive spin and claimed in the headline ‘Binge-viewing box sets on the couch now the best way to build romance’. The article by journalist Megan Miller reported:
“For more and more couples, churning through a lazy 12-episode series is a romance rekindler that takes less effort than a meal somewhere nice and is cheaper than a beach holiday. It can be done without leaving the comfort of one’s home (or even one’s flannie pyjamas) and provides valuable couple time as well as down time from the rigours of work and family. Everyone’s on board. Barack and Michelle Obama are said to be hooked on spy drama ‘Homeland’ and our own PM Tony Abbott loves sitting down with wife Margie to an [episode] (or three) of ‘Downton Abbey’”.
It appears that the inspiration for the herald Sun story may have been the “couple Phoebe and Mike, both 31 [years of age], were so addicted to cult hit Breaking Bad they took discs with the latest series on their Fijian honeymoon earlier this year, desperate to race back to their villa each night to keep up with the escapades of meth-maker Walter White”. Miller then interviewed Melbourne-based psychologist Sally-Anne McCormack who commented that:
“Doing something you both enjoy is at the heart of engaging in a binge session in front of the box. Shared interests create a bond and connection that’s great for relationships. Cuddling up on the couch and snuggling while watching a show that you both get enjoyment from gives a common interest and some relaxed time together…New partners may watch shows together for the sake of the other, not because they hold a great interest in it. An established relationship is one where the two people have a greater level of comfort together, and don’t depend on the environment to help impress the other. At a later point in a relationship the two are relaxed with one another and can negotiate each other’s interests and needs, and find a mutually interesting series that is exciting for both of them”.
All of the articles I have read on the topic describe binge-watching as an ‘addiction’ (at least in passing). Although there is a small literature on ‘television addiction’ (for a recent review in the Journal of Behavioral Addictions by my colleague Dr. Steve Sussman – see ‘Further reading’ below) I know of no empirical research on the topic of ‘binge-viewing addiction’. However, I did come across an arguably tongue-in-cheek list of signs in an article in the Daily Edge:
- The thought of a day doing nothing except watching a box set makes you genuinely excited.
- You have avoided a social engagement to stay in and watch something.
- At least once, you have woken up early specifically to watch the latest episode.
- You’ve had this thought – ‘Just one more episode’ or ‘Not sure if an actual memory or something I saw on TV’.
- You have accidentally drooled on at least one sofa cushion during a binge.
- You have cheated on your loved one with a box set. By which we mean, watching ahead while they’re out/on the phone to their mam/have gone to bed. AKA ‘Netflix Adultery’.
- You have had that moment where you get up from the couch, and have to shake food out of the folds of your clothes.
- You tell yourself you could stop at any time.
- When it’s all over, you feel confusion, shame and regret.
Even though these signs were probably written in jest, they would probably have good face validity should anyone decide to construct a new instrument to assess binge-watching addiction. However, even with the new study by the researchers at the University of Texas, I’m still to be convinced that box-set bingeing is a serious health concern – at least based on the scientific evidence.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Bates, D. (2015). Watching TV box-set marathons is warning sign you’re lonely and depressed – and will also make you fat. Daily Mail, January 29. Located at: http://www.dailymail.co.uk/health/article-2931572/Love-marathon-TV-session-warning-sign-lonely-depressed.html
Daily Edge (2014). 11 signs of you’re suffering from a binge-watching problem. Located at: http://www.dailyedge.ie/binge-watching-problem-signs-1391910-Apr2014/
Graser, M. (2013). Marathon TV viewers tend to be millenials playing catch up on shows; say they’ll watch new seasons as they air. Variety, March 7. Located at: http://variety.com/2013/digital/news/10-insights-from-studies-of-binge-watchers-1200004807/
Koepsell, D. (2013). In defence of the box set binge: a global shared culture. New Statesman, December 29. Located at: http://www.newstatesman.com/culture/2013/12/defence-box-set-binge-global-shared-culture
Kompare, D. (2006). Publishing flow DVD Box Sets and the reconception of television. Television & New Media, 7(4), 335-360.
Miller, M. (2014). Binge-viewing box sets on the couch now the best way to build romance. Herald Sun, December 13. Located at: http://www.heraldsun.com.au/news/victoria/bingeviewing-box-sets-on-the-couch-now-the-best-way-to-build-romance/story-fni0fit3-1226782514245?nk=0ed250e88a2970045f6fc84123b03f10
Spangler, T. (2013). Poll of online TV watchers finds 61% watch 2-3 episodes in one sitting at least every few weeks. Variety, December 13. Located at: http://variety.com/2013/digital/news/netflix-survey-binge-watching-is-not-weird-or-unusual-1200952292/
Sussman, S., & Moran, M.B. (2013). Hidden addiction: Television. Journal of Behavioral Addictions, 2(3), 125-132.
Because I am both a psychologist and self-confessed music obsessive, one of the questions I am often asked by my friends is ‘Who is the most psychologically influenced band?’ Based on my own musical tastes, I would have to say Tears for Fears (one of many bands named after something psychological – other contenders based on name alone include Pavlov’s Dog, Therapy?, Primal Scream, Madness, and The Mindbenders, to name a few).
Tears For Fears (TFF) were one of my favourite bands as a teenager and (if my memory serves me) I saw them support The Thompson Twins just as their third single (‘Mad World’) became their first British hit single. TFF were formed in 1981 by Roland Orzabal and Curt Smith after they left the Bath-based band Graduate (mostly remembered for their single ‘Elvis Should Play Ska’ from their debut – and only – LP Acting My Age). They briefly called the band ‘History of Headaches’ but eventually settled on TFF.
TFF’s name was inspired by primal therapy (as was the band Primal Scream). Even from a young age I was well aware of primal therapy as I was – and still am – a massive fan of The Beatles and John Lennon. Lennon underwent primal therapy in 1970 with its’ developer (US psychotherapist Dr. Arthur Janov). In fact, one of the reasons I chose to study psychology at university was because I had read Janov’s first book (The Primal Scream) just because of my love of Lennon’s work. As the Wikipedia entry on primal therapy notes:
“Primal therapy is a trauma-based psychotherapy trauma-based created by Arthur Janov, who argues that neurosis is caused by the repressed pain of childhood trauma. Janov argues that repressed pain can be sequentially brought to conscious awareness and resolved through re-experiencing the incident and fully expressing the resulting pain during therapy. Primal therapy was developed as a means of eliciting the repressed pain; the term Pain is capitalized in discussions of primal therapy when referring to any repressed emotional distress and its purported long-lasting psychological effects. Janov criticizes the talking therapies as they deal primarily with the cerebral cortex and higher-reasoning areas and do not access the source of Pain within the more basic parts of the central nervous system. Primal therapy is used to re-experience childhood pain – i.e., felt rather than conceptual memories – in an attempt to resolve the pain through complete processing and integration, becoming ‘real’. An intended objective of the therapy is to lessen or eliminate the hold early trauma exerts on adult life”.
The Primal Scream book recounts the primal therapy experiences that Janov had with 63 clients during a year-and-a-half period in the late 1960s (and who he claimed were all successfully ‘cured’ using his newly developed therapy). Unlike John Lennon, TFF never underwent primal therapy themselves (but read Janov’s work). It was actually Dr. Janov’s 1980 book Prisoners of Pain (Unlocking The Power Of The Mind To End Suffering) where he claimed “tears as a replacement for fears” (and hence the band’s chosen name). In a 2004 television interview, both Smith and Orzabal said they were disillusioned when they met Janov in the mid-1980s (claiming Janov had become quite “Hollywood” and asking TFF to write a musical based on his work).
Both Smith and Orzabal claimed to have had unhappy childhoods that led them to the work of Dr. Janov (they were too poor – unlike Lennon – to actually have primal therapy and described having such therapy as “an aspiration”). Most of their songs directly or indirectly referenced primal therapy. In fact, I would go as far as to say that the whole of their first album The Hurting was a concept LP. Orzabal claimed that “writing the title track was a strange piece of psychic osmosis…I had an acoustic guitar in my hand at the time and played [Curt] what he was describing: that’s how ‘The Hurting’ was written, and we knew for a long time it was the right name for our first album”.
A quick look at the album’s song titles shows how influenced they had been by primal therapy (such as the title track, ‘The Prisoner’, ‘Mad World’, Ideas As Opiates’, ‘Watch Me Bleed’, ‘Memories Fade’, ‘Start Of The Breakdown’, ‘Pale Shelter (You Don’t Give Me Love’, and ‘Change’). As Paul Sinclair notes in his sleeve notes for the latest box-set reissue:
“Like all great art, ‘The Hurting’ connects. The emotion grabs hold of your heart and gives it a squeeze. The Primal Therapy and Janov influence provide a satisfying consistency, and the band are comfortable in using the ‘C’ word [concept] in reference to ‘The Hurting’…[Orzabal adds] It’s a very consistent album with its own personality. There’s a strong message running through it and some of the song titles were taken from Janov’s writing”.
A number of commentators (including Sinclair) have made the observation that the whole album is about the transition between childhood and adulthood. Maybe that’s why I bought it as a teenager. In contrast to lyrics in The Smiths’ ‘Panic’ (“It says nothing to me about my life”), The Hurting “said something to me about my life”. Sinclair also notes:
“Deep analysis of the songs and navel gazing is not a condition of entry. The genius of ‘The Hurting’ is that on one level, it is just an album of great, melodic, hook-filled pop songs…In the end. ‘The Hurting’ was the album that the band needed to make. There was never going to be an alternative debut. The basic idea behind Janov’s Primal Therapy – the impact that the trauma of childhood had on your character as an adult – was the blood running through the veins of the record”.
Of course, TFF haven’t been the only band to have songs and/or an album influenced by psychologists and/or psychological theory (and of course Carl Jung and Sigmund Freud were both on the cover of The Beatles Sgt. Pepper’s Lonely Hearts Club Band). Arguably the most well known LP inspired by Dr. Janov’s therapy was John Lennon’s first ‘proper’ 1970 solo LP (John Lennon/Plastic Ono Band). Other artists have had direct inspiration from Freud (Freudiana by the Alan Parsons Project, the song ‘Psychotherapy’ by Melanie), Jung (Synchronicity by The Police) and Wilhelm Reich (Kate Bush’s single ‘Cloudbusting’ and Patti Smith’s ‘Birdland’). However, I would still contend that TFF were more psychologically influenced as primal therapy was their life philosophy (at least for a number of years).
Most people would probably argue that it was only The Hurting LP that was influenced by Dr. Janov but their later singles off their second LP Songs From The Big Chair are arguably primal therapy-related including ‘Mother’s Talk’ and ‘Shout’ (“Shout, shout, let it all out” could be the mission statement of primal therapy). However, Roland Orzabal claimed that neither were rooted in primal therapy:
“A lot of people think that ‘Shout’ is just another song about primal scream theory continuing the themes of the first album. It is actually more concerned with political protest. It came out in 1984 when a lot of people were still worried about the aftermath of The Cold War and it was basically an encouragement to protest…The song [Mothers Talk] stems from two ideas. One is something that mothers say to their children about pulling faces. They say the child will stay like that when the wind changes. The other idea is inspired by the anti-nuclear cartoon book ‘When The Wind Blows‘ by Raymond Briggs”.
However, ‘The Big Chair’ (B-side to ‘Shout’ and the inspiration for the title of the band’s second LP Songs From The Big Chair) has undeniable psychological roots. The song was inspired by the 1976 film Sybil (based on the 1973 non-fiction book by of the same name by Flora Rheta Schreiber). Sybil is about US psychiatric patient Sybil Dorsett (actually a pseudonym for Shirley Ardell Mason) who was treated for multiple personality disorder (now known as dissociative identity disorder) by her psychoanalyst (Dr. Cornelia Wilbur). ‘The Big Chair’ was in the therapist’s office where Sybil was treated and where she felt safest when talking about her traumatic childhood. Other songs hidden away on TFF B-sides cover aspects of traumatic psychology (‘My Life In The Suicide Ranks’) as well as ‘anti-science’ songs (‘Schrodinger’s Cat’ and ‘Déjà Vu & The Sins of Science’). However, like Christian historian Nathan Albright, I too believe the second LP and later 1986 single ‘Laid So Low’ are psychologically-based:
“Nor did the interest in psychology stop [with ‘The Hurting’]. Tears For Fears’ second album, “Songs From The Big Chair,” are a self-aware “multiple personality” exploration, a conceptual connection that is often forgotten because the hit singles from the album were so successful…Clearly, the musings about power and anger and memory that inform the work of Tears For Fears, the melancholy underpinnings of songs like ‘Watch Me Bleed’ and ‘Laid So Low (Tears Roll Down)’ are fairly easy to recognize, and draw greater meaning the more one knows about the band and its personal histories”.
As the years have passed, TFF’s songs have been less psychological but we are a product of our pasts and I would argue that the band’s output is still likely to be shaped by both their conscious and unconscious ideology. Smith was recently interviewed and he admitted that he still had an interest in various psychologies but that he no longer believed in primal therapy:
“Primal theory blames everything on your parents. So that teenage angst we were going through at the time. Since then, I think I’ve moved on to various different psychologies, but it’s something we’re both interested in. Since then, certainly, I’m not a huge believer in primal theory anymore, but I think that comes from having children”.
Maybe their most recent album (Everybody Loves A Happy Ending) has at last brought the band’s traumatic past to rest. Maybe the music itself became a kind of psychological therapy. As Nathan Albright concluded:
“The fact that [Tears For Fears] have a popular and critically acclaimed body of musical work is itself remarkable, but the fact that their work is heavily influenced by psychology, serving as therapy, serves as an inspiration. Rather than self-medication through drugs or alcohol, the two chose music as therapy, turning their lives into the inspiration for hauntingly beautiful songs in their debut concept album, ‘The Hurting’…And that is the most powerful legacy of Tears For Fears, in providing a way for both commercial viability as well as personal therapy. Many creative people [use] creativity as a way to wrestle with our own demons, and the fact that Tears For Fears were able to do it openly and honestly and sincerely, and successfully gives hope to the rest of us who have chosen to deal with our issues in the light, rather than engaging in false pretense”.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Albright, N. (2012). Suffer the children: Tears For Fears and musical therapy. Edge Induced Cohesion, May 2. Located at: https://edgeinducedcohesion.wordpress.com/2012/05/02/suffer-the-children-tears-for-fears-and-musical-therapy/
Comaretta, L. (2014). Tears For Fears’ Curt Smith: Back in The Big Chair. Consequence of Sound, November 6. Located at: http://consequenceofsound.net/2014/11/tears-for-fears-curt-smith-back-in-the-big-chair/
Janov, A. (1970). The Primal Scream. New York: Dell Books.
Janov A (1977). Towards a new consciousness. Journal of Psychosomatic Research, 21, 333–339.
Janov, A. (1980). Prisoners of Pain: Unlocking The Power Of The Mind To End Suffering. New York: Anchor Books.
Sinclair, P. (2013). Tears For Fears: The Hurting. (Booklet in the Deluxe Reissue of ‘The Hurting’).
Wikipedia (2015). Arthur Janov. Located at: http://en.wikipedia.org/wiki/Arthur_Janov
Wikipedia (2015). Primal therapy. Located at: http://en.wikipedia.org/wiki/Primal_therapy
Wikipedia (2015). Tears For Fears. Located at: http://en.wikipedia.org/wiki/Tears_for_Fears
Regular readers of my blog will be aware that I describe myself as a music obsessive with an eclectic taste ranging from Iggy Pop and Adam Ant through to the Velvet Underground and Throbbing Gristle. Another genre of music that I have more than a passing interest is that of ‘Krautrock’ (see my previous blog on Kraftwerk and their alleged addiction to cycling). Krautrock (as you can probably guess) is a somewhat derogatory term – believed to have been coined by the renowned music journalist Ian MacDonald – to describe a number of German bands that came to the fore in the British music scene in the early 1970s (most notably Amon Düül, Faust, Can, Kraftwerk, Neu!, Kluster, Cluster, Harmonia, Popol Vuh, Ash Ra Tempel, and Tangerine Dream).
Krautrock (as defined by the British media) has traditionally been viewed as electronic in nature (although many of the compositions in the late 1960s were far from electronica and utilized ‘found sounds’ from whatever was to hand) with an emphasis on improvisation and somewhat minimalistic arrangements. The Wikipedia entry on Krautrock also notes that:
“The term is a result of the English-speaking world’s reception of the music at the time and not a reference to any one particular scene, style, or movement, as many Krautrock artists were not familiar with one another…Largely divorced from the traditional blues and rock and roll influences of British and American rock music up to that time, the period contributed to the evolution of electronic music and ambient music as well as the birth of post-punt, alternative rock, and new-age music”.
Given my profession, it won’t surprise you to know that as much as I love music itself, I am also interested in the psychology of the musicians too. When it comes to Krautrock, I have argued for the best part of 20 years (to anyone that would listen) that the psychology of the archetypal Krautrocker in the late 1960s was likely to be influenced by being raised in post-second world war Germany. It was only over the holiday period that my thoughts were confirmed by the artists themselves (in interviews with journalists and musicologists).
More specifically, I read two excellent books on different aspects of ‘extreme music’ over the Christmas period – Future Days: Krautrock and the Building of Modern Germany (by David Stubbs), and Assimilate: A Critical History of Industrial Music (by S. Alexander Reed). Alongside this, I also watched the wonderful three-hour documentary DVD Kraftwerk and the Electronic Revolution, the BBC 4 documentary, Krautrock: The Rebirth of Germany, and the 2008 film The Baader Meinhof Complex (about the Red Army Faction, left-wing German militant group and based on the 1985 non-fiction book of the same name by Stefan Aust).
These books and films all made reference to the cultural, political, and psychological climate in post-war West Germany. There were a number of repeated themes that I couldn’t fail to notice. Firstly, many of the middle classes holding a lot of the important jobs (mayors, town leaders, judges, professors, teachers) were still Nazi sympathizers. Secondly, children born after 1945 were generally not told about their history by either their parents or their schoolteachers. Thirdly, in the late 1950s and early 1960s, teenagers said they experienced feelings of guilt but didn’t know what for. On the musical front, West Germany’s pre- and post-war musical legacy was “Schlager” music (described by music journalist Adam Sweeting as “a genre unpleasantly redolent of the sentimental slop with which Josef Goebbels had saturated the Third Reich”). As Wikipedia notes that:
“Schlager music (German: Schlager, synonym of “hit-songs” or “hits”), also known in the United States as entertainer music or German hit mix, is a style of popular or electronic music…Typical schlager tracks are either sweet, highly sentimental ballads with a simple, catchy melody or light pop tunes. Lyrics typically center on love, relationships and feelings”.
By the late 1960s, many older teenagers and students were united in their politics (the most high profile touch point arguably being the student protests across Europe in 1968). They were also united in their dislike of schlager music except they didn’t really know they were united. Pockets of underground music sprouted up across a number of towns and cities across Germany. Key bands in the history of Krautrock were formed in Dusseldorf (Neu!, Kraftwerk), Cologne (Can), Berlin (Kluster, Tangerine Dream), Munich (Amon Düül), and Wumme (Faust). Bands playing in one city had no idea that bands were forming in other parts of Germany with similar ideological, political and psychological roots. More bizarre was that none of these bands – at least initially – had no following in Germany itself. Most fans of these bands were in the UK rather than their homeland. It was the British music press (NME, Sounds) and DJs (most notably John Peel) that were waving the German flag.
Arguably, the most overtly political of the emerging Krautrock bands was Munich’s Amon Düül. Their band members lived in a radical West German commune including the gang that formed the Red Army Faction (RAF) in 1970 (the so-called Baader-Meinhof Group (or Baader-Meinhof Gang including Andreas Baader, and Ulrike Meinhof). The members of Amon Düül quickly dissociated themselves from the RAF saying that their comrades were going too far in making their political presence known. In fact, the band members ended up falling out with themselves leading to different versions of the band with the second incarnation (Amon Düül 2) becoming the most revered.
Another important hotbed of anti-schlager musical development was the formation of the Zodiak Free Arts Lab (also known as the Zodiak Club) by experimental musician Conny Schnitzler in West Berlin. The Zodiak Club provided a hub where anyone could come and play whatever they wanted amongst like-minded people pushing the boundaries of music with whatever was at hand. Schnitzler himself was an early member of Tangerine Dream as well as the founding member of later Krautrock bands such as Kluster and Eruption. The other important figure in West Berlin’s burgeoning Krautrock scene was Hans-Joachim Roedelius who played with Schnitzler in Kluster but then went on to form Cluster with Deiter Moebius (another key player in the Krautrock movement) but without Schnitzler.
In relation to the psychology of Krautrock, Michael Rother (an early member of Kraftwerk, co-founder of Neu!, and later in ‘supergroup’ Harmonia) was interviewed by David Stubbs in his book Future Days. Rother had actually studied psychology and that as a German he strived for an alternative identity, and a new personality almost:
“Studies into psychology also assisted Rother in realizing that as a young man coming of age in Germany in the late 1960s, he could not be impervious to the cultural, social and political forces ranging at that time, all of which would have a profound impact on his musical identity. He rejected out of hand the burgeoning violence and ‘lunacy’ of terrorist movements such as the Baader-Meinhof group, whom he regarded as on the wrong road altogether. At the same time, the horrors of the Vietnam War acted as a jolting reminder of the need to wrench oneself away from Anglo-American hegemony, to create oneself as a personality anew”.
Rother’s perceptions and psychological insights appear to have been shared by many other individuals forming bands across West Germany in the late 1960s. The complete silence by parents and teachers towards children about the actions of Hitler and the Nazis (most notably the genocide of the Jewish people living in Germany) left post-war adolescents psychologically ill at ease about their national and cultural identities. They needed to create something unique, something identifiably German, and something they would feel proud of. The new music of Krautrock met such criteria. But was the music really that new? Some (including myself) would argue that much of the burgeoning music in Munich, Dusseldorf, Cologne and Berlin had its’ roots in ‘musique concrète’ (“concrete music”) and the work of Karlheinz Stockhausen.
Developed by French composer Pierre Schaeffer at the Studio d’Essai (“Experimental Studio”) of the French radio system, musique concrète is a form of electroacoustic music. It comprises an experimental technique of musical composition that uses recorded sounds as raw material to create a montage of sound (often referred to as ‘found sounds’ but can include recordings of voice and musical instruments). Musique concrète compositions don’t follow any conventional musical rules of melody, rhythm or harmony. Many musicologists view musique concrete as a precursor to electronica. Furthermore, many groups from Throbbing Gristle to Depeche Mode have sampled ‘found sounds’ in their musical output as well as many of the earlier pioneers in Krautrock.
The roots of Krautrock can also be traced back to one of Germany’s musical giants, Karlheinz Stockhausen. I’ve been aware of Stockhausen’s work through his influence on the Beatles (Stockhausen is one of the figures on their 1967 Sgt. Pepper’s Lonely Hearts Club Band LP cover). Although in the public’s mind it was John Lennon that was associated with the more avant-garde recordings by the Beatles (‘Revolution 9’ and ‘What’s The New Mary Jane’) and his first solo albums with second wife Yoko Ono (Two Virgins, Life With The Lions, and Wedding Album), it was actually Paul McCartney who first developed an interest in avant-garde composers such as Stockhausen. (In fact, prior to his relationship with Ono, Lennon was famously quoted as saying “Avant-garde is French for bullshit”). Evidence for McCartney’s interest in Stockhausen and the avant-garde is the still unreleased Beatles composition ‘The Carnival of Light’ recorded in January 1967 for The Million Volt Light and Sound Rave held at the Roundhouse Theatre).
Stockhausen is seen by many as one of the greatest musical innovators and visionaries of the twentieth century. His electronic compositions were way ahead of his time, and had a large influence on many more modern day recording artists including Frank Zappa, Pete Townsend (The Who), Roger Waters (Pink Floyd), and Björk. In relation to Krautrock, two members of Can (Irmin Schmidt and Holger Czukay) were actually tutored by Stockhausen at the Cologne Courses for New Music, and Kraftwerk claim they also studied under him.
In terms of Krautrock’s influence on modern music, it doesn’t matter whether it was genuinely new. It was genuinely (West) German and grew largely from individuals’ psychological and/or political reaction to their experiences of growing up in post-war Germany following the fall of Nazism. The content of the output may not have been psychologically-based, but the attitude and spirit in making such music arguably was. We are all products of our genetics and our environment, and post-war teenagers born after 1945 in Germany experienced a culture and an immediate history that most can never ever experience. The Krautrockers fighting (artistically, culturally and literally) against the ‘establishment’ in late 1960s brought about some of the greatest music ever produced, and I for one, am eternally grateful for the pleasure it has brought in my own life.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Blaney, J. (2005). John Lennon: Listen to this Book. Guildford: Paper Jukebox, Biddles Ltd.
Buckley, D. (2012). Kraftwerk Publication. London: Omnibus.
Cope, J. (1996). Krautrocksampler (Second Edition). Head Heritage.
Reed, S.A. (2013). Assimilate: A Critical History of Industrial Music. New York: Oxford University Press.
Stubbs, D. (2014). Future Days: Krautrock and the Building of Modern Germany. London: Faber & Faber.
Wikipedia (2014). Krautrock. Located at: http://en.wikipedia.org/wiki/Krautrock
Wikipedia (2014). Musique concrète. Located at: http://en.wikipedia.org/wiki/Musique_concrète
As regular readers of my blog will know, I have had a longstanding professional interest in the psychology of sexually paraphilic behaviour. My interest in the topic first began when I was a 14-year old teenager listening to Adam and the Ants B-sides (all of which were about different types of extreme and/or unusual sexual behaviours. In one of my previous blogs, I argued that Adam Ant’s music has covered more atypical sexual behaviours than any other recording artist that I can think of (e.g. sadism, masochism, bondage, fetishism, transvestism, voyeurism, etc.). There is little doubt that Adam’s music had a great influence on my career, but what were Adam’s influences that made him the person he became?
In addition to the sexual content of his lyrics, Adam’s earliest stage personas were also very sexual. Adam bought his clothes from ‘SEX’, the shop run by Malcolm McLaren and Vivienne Westwood which was also infamous for selling rubber and leather fetish wear. (McLaren later briefly became The Ants manager and even tried to get Adam and his band to star in a pornographic film with female punk band The Slits). The first t-shirt he ever bought there was provocative and controversial (featuring the ‘Cambridge Rapist‘). One of McLaren’s best-selling t-shirts (‘Vive Le Rock‘) later became the title of Adam’s 1985 single and album. Adam’s interest in sex was all-consuming and spilled over into most areas of his and The Ants lives. It was common at early gigs for Adam to be dressed in bondage gear.
One infamous incident happened at their debut gig at the Institute of Contemporary Arts in London (10th May 1977). To get the gig, Adam said his band were a country and western band. He then got on stage dressed in bondage trousers and a leather head mask, and performed the future S&M classic Beat My Guest (later to be a B-side of their first No. 1 hit Stand and Deliver). Predictably, they were ‘asked to leave’ after that opening number.
Early gigs (1977-1979) were known as places to buy lots of eye-catching merchandise (t-shirts, badges, posters etc.) featuring sadomasochistic and bondage sex-themes designed by Adam. Advertisements for the 1979 tour were the first to use the slogan ‘Antmusic for Sexpeople’. To Adam, ‘sexpeople’ were people who got off on sexual phenomena, who liked sexual imagery and enjoyed being sexual. In a Melody Maker interview he said ‘What weʼre basically dealing with here with is taboos, and a lot of my work as a kind of music therapy‘. Adam’s first major interview as cover star in (the now defunct) Sounds was where he was described as ‘the face that launched a thousand whips’. His breakthrough album Kings of the Wild Frontier (1980) may have surprised his new young fan base as it came with a free booklet full of sexual imagery.
Although Adam clearly has musical influences, most of those he talks about or name checks in his songs appear to have more to do with image than music or his overriding interest in sex. Early influences like Johnny Kidd and the Pirates may have inspired some of his later images. The first record he bought was Magical Mystery Tour by The Beatles, but rarely makes reference to them as any kind of musical influence. The early 1970s appear to have thrown up more influences where music and sexuality was talked about in relation to the person if not their songs (Jim Morrison, David Bowie, Iggy Pop, New York Dolls, Lou Reed, Roxy Music). For instance, he loved the New York Dolls ‘because they looked like drag queens‘. His inspiration for forming Adam & the Ants was seeing the Sex Pistols very first gig when they supported the first band he was in (a short-lived band called Bazooka Joe). It was after this that a plethora of sexual punky songs were written for the Ants.
In an interview with Derek Hardman (Inside Out magazine, 1979), Adam described the lyrical content of his songs as dealing with ‘subjects of interest, mystery and imagination‘ and that they came from ‘living my life, reading, films, events and history‘. This quote also carries the implicit assumption that musical influences paid little (if any) part in his lyrical obsessions. The only thing that really connects sex with music is the perception that being a ‘popstar’ will bring more sexual opportunities. For instance in the Antbox book, Adam says:
“I remember being in a room with four girls watching [Marc] Bolan on ‘Top of the Pops’ and it was the first time I had actually watched four girls just absolutely dripping, climaxing , looking at a guy… Whatever it is, I want some!”
Very few of his musical heroes wrote explicit songs about sex and it is clear that the (sometimes) extreme sexuality of his lyrics originate elsewhere. By digging a little deeper it becomes abundantly clear that his interest in art lay the foundations of his sexual interests. By looking at the individuals who Adam held in high esteem, it becomes very clear that Adam’s predisposition towards sex comes not from musical influences but from figures in the 20th century art world. Adam originally wanted a career in Art after seeing an exhibition of Pop Art at the Tate Gallery in London (1971). He ended up studying Graphic Design at Hornsey College of Art (now part of Middlesex University) in North London. His favourite class was the ‘Erotic Arts’ course taught by art historian Peter Webb. This concentrated on Indian, Chinese, and Japanese traditions of erotic painting, drawing, and sculpture. Adam was also interested by women’s role in society and he was the only male at his college to take the class in ‘Women In Society’.
Adam was inspired by the iconographic images of Andy Warhol, the autoerotic paintings of Allen Jones, the neo-sadomasochistic fantasies of Hans Bellmer, and ‘sexpop’ travellers like Eduardo Paolozzi, Francis Bacon and Stanley Spencer. All these people clearly influenced his music. In 1977, Adam said:
“The S&M thing stems from [when] I was at College Art School, with John Ellis (of the Vibrators), and all the time I was at Art College I was very influenced by Allen Jones the artist. All my college work is pretty much like this, this is just a musical equivalent of what I was visually doing at college. Iʼm not personally into S&M, I mean I never smacked the arse of anybody. It’s the power and the imagery. There’s a certain imagery involved with that which I find magnetic. It’s not done viciously, if you read S&M mags and spank mags or anything like that, it’s done with an essence of humour…war dress and stuff, that just appeals to my imagination.
While at Art College, Adam did a thesis on sexual perversion:
I read lots of books and discovered much to my surprise that it wasn’t just a kick, it was a deadly serious subject. A very sort of medical thing and I found I got a source of material for my songs. I wrote a song called ‘Rubber People’ which is a serious look at rubber fetishism. And I also wrote one about transvestism. Theyʼre not serious, none of my songs are serious, I mean fucking hell. Theyʼre serious to me. But the thing is that with, say, ‘Transvestism’ people just laugh at people. If somebody’s wearing a pair of rubber underpants under a pin-stripe suits it’s funny, y’know. But I don’t think itʼs funny. I don’t think it’s any more strange than watching fucking ‘Crossroads‘ every night”
It was perhaps Adam’s art heroes that most influenced him. By looking very briefly at each of Adam’s artistic heroes, it is easy to see where the inspiration for many of his early lyrics came from. The most important influences were Allen Jones, Stanley Spencer, Eduardo Paolozzi, Hans Bellmer, Francis Bacon (name checked in the song ‘Piccadilly‘), and Andy Warhol. These brief sketches show that his early music is a direct musical equivalent of his heroes’ artwork (particularly Jones, Bellmer and Paolozzi). The influence of Warhol, Bacon and Spencer is more subtle. These three individuals all produced controversial work (which Adam found inspiring).
It might also be argued that all three had a somewhat troubled or tortured sexuality. This again, may have been of interest to Adam. The only other artists that Adam has singled out are Pablo Picasso and the Italian futurists. Adam was impressed by Picasso’s “genius, energy and sexuality” and was the subject of one of Adam’s best album tracks ‘Picasso Visits The Planet of the Apes‘. A whole song (‘Animals and Men‘) is devoted to the Italian futurists on the debut album (Dirk Wears White Sox). In this song he writes about the influence of Filippo Marinetti (1876-1944), Giacomo Balla (1871-1958), Umberto Boccioni (1882-1916) and Carlo Carra (1881-1966). The Futurists were a 20th century avant garde movement in Italian art, sculpture, literature, music, cinema and photography. Their manifesto broke with the past and celebrated modern technology, dynamism and power. The combination of different art media was appealing to Adam although there was nothing overtly sexual in the work of its exponents.
Film – like art – was also important to Adam, and as a teenage usher at the Muswell Hill Odeon he saw lots of films in his formative years. Adam has gone on record many times to say that his film hero is Dirk Bogarde. The Ants first album (the aforementioned Dirk Wears White Sox) was named after him and some of his films provided inspiration for his songs. Many of his most notorious films (The Servant, Death In Venice, The Night Porter) dealt with taboo areas with which Adam identified and/or had a fascination with. All these films feature taboo sexual subjects (or at least taboo at the time the film was made) and probably appealed to Adam because of their taboo nature. These were all a direct influence on Adam’s early songwriting.
Outside of Dirk Bogarde and his films, Adam cites his film heroes as Clint Eastwood, Steve McQueen, Mongomery Clift and Charles Bronson. Adam makes few references to films or film stars in his song writing, although there are name checks for Michael Caine, John Wayne, Terence Stamp, and Charles Hawtrey in ‘Friends‘, Clint Eastwood in ‘Los Rancheros‘, Steve McQueen in ‘Steve McQueen‘, Robert de Niro in ‘Christian Dior‘, and Bruce Lee in ‘Bruce Lee‘. He also dedicated one song that he wrote about the film Psycho (‘Norman‘) to its star Anthony Perkins. Again, these film stars and their films (bar Bogarde) have had little influence on his sexually themed songs.
There are very few references to literary heroes in Adam’s work and even less that is sex-related. The gay playwright Joe Orton (1933-1967) is one influence who has impacted on Adam’s life. Adam wrote one song about Orton’s homosexual relationship with his lover Kenneth Halliwell (‘Prick Up Your Ears’ on the Redux LP). However, the lyrics didn’t fit the pirate theme of the second album (Kings of the Wild Frontier) and were changed. This song eventually became ‘The Magnificent Five‘. In 1985, as part of his acting career, Adam performed in Joe Orton’s play Entertaining Mr. Sloane on stage at the Manchester Royal Exchange. Adam claimed that the ‘idea of playing a psychotic bisexual thug was good’. Ortonʼs comedies (Entertaining Mr. Sloane, Loot, and What The Butler Saw) are all black, stylish, and violent. Furthermore, they all have an emphasis on corruption and sexual perversion. With such content it is easy to see why Adam enjoyed these. However, it is not known when Adam was first aware of Orton’s work. The likelihood is that his appreciation of Orton was after many of his initial songs were written.
The German philosopher and poet Friedrich Nietzsche (1844-1900) was also one of Adamʼs literary inspirations and the subject of early live favourite ‘Nietzsche Baby‘. Nietzsche is most well known for his rejection of Christian morality (which no doubt appealed to Adam) and the ‘revision of all values’. Despite the influence, there was little in his writings that would have inspired Adam’s sex- related writings. Passing reference to both the US ‘beat generation’ writer Jack Kerouac (1922-1969) and the French novelist and playwright Albert Camus (1913-1960; a protagonist of the ‘Theatre of the Absurd‘ movement) make an appearance on his 1985 song ‘Anger Inc..‘ Again, these influences appear to be post-musical success and would have had little impact on his early sexual songwriting.
As a psychologist myself, I couldnʼt help make reference to Adam’s ‘psychological’ influences. The only time he has made reference specifically to a psychologist is a name check of Erich Fromm in his song ‘Friends’. It is obvious that Adam has read some of Fromm’s work as there are Frommian influences in his work. The ‘dog eat dog’ personality type (consciously or unconsciously) inspired his first big hit single (‘Dog Eat Dog‘). The ‘masochistic’ personality type permeates many of his early songs. The ‘marketing’ subtypes who concern themselves with image and style (and who feel inadequate if they are not admired) could be argued to be Adam himself. Alternatively he may have seen himself as the ‘productive’ type because of his creativity and ability to change himself.
By just scratching a little deeper at the surface of Adam’s influences, we see the roots of his lyrical sexuality. As time has gone on, less and less of Adamʼs songs have concerned sex. Furthermore, more love songs have made an appearance ( the LP Wonderful being a prime example). Maybe this is just an overt sign of the maturation process. Whatever it is, there is little to take away Adam’s crown as the king of sexual diversity.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Ant, A. (2007). Stand and Deliver: The Autobiography. London: Pan.
Griffiths, M.D (1999). Adam Ant: Sex and perversion for teenyboppers. Headpress: The Journal of Sex, Death and Religion, 19, 116-119.
Wikipedia (2013). Adam and the Ants. Located at: http://en.wikipedia.org/wiki/Adam_and_the_Ants
Wikipedia (2013). Adam Ant. Located at: http://en.wikipedia.org/wiki/Adam_Ant
A nine-year old boy walks into a shop and buys a packet of potato chips. An eight-year old girl walks into the same shop and buys a chocolate bar. Nothing particularly unusual except this particular packet of potato chips poses the question “Is there a spicy £100,000 inside?” in big letters on the front of the packet with the added rider “1000’s of real £5 notes to be won!” The bar of chocolate offers “£1 million in cash prizes – win instantly. Look inside to see if your a winner!!”. The boy opens up the bag of crisps but it contains nothing but crisps. He is very disappointed. The little girl opens up the chocolate bar and sees the all to familiar phrase “Sorry. You haven’t won this time but keep trying. Remember there’s £1 million in cash prizes to be won”. She too is very disappointed. Both of them decide to buy the product again to see if their luck will change. It doesn’t. This time a different chocolate bar says “Sorry this is not a winning bar. Better luck next time!” The most they are likely to win is another packet of crisps or some more chocolates.
This scenario describes a typical instant win product (whereby a consumer buys a particular product with the chance of instantly winning something else of financial value). This type of instant-win marketing has been around for some time and is not particularly new but it is the younger generation that is being targeted. In a different environment, it could be argued that these two children are “chasing” their losses in the same way a gambler chases theirs. All over the world, this type of marketing is becoming more prevalent with big multi-national companies also employing its use to increase sales (e.g., MacDonalds).
In gambling situations after losing money, gamblers often gamble again straight away or return another day in order to get even. This is commonly referred to as “chasing” losses. Chasing is symptomatic of problem gambling and is often characterized by unrealistic optimism on the gambler’s part. All bets are made in an effort to recoup their losses. The result is that instead of “cutting their losses” gamblers get deeper into debt pre-occupying themselves with gambling, determined that a big win will repay their loans and solve all their problems. Although not on this scale, the scenario outlined above appears to be a chasing-like experience akin to that found in gambling. To children, this type of behaviour appears to be a gambling-type experience and is similar to other gambling pre-cursors that I have highlighted in some of my papers such as the playing of marbles, card flipping, and sports card playing. For instance, in sports card playing, it is not uncommon for adolescents to keep buying packs of cards to get their favorite baseball or football star. Products like crisps and chocolate are popular and appeal not only to the young but to adults too. However, the fact that such promotions are often coupled with the appearance of teenage idols (e.g., famous pop groups or top soccer sporting heroes) suggests that it is younger people that are being aimed for.
Manufacturers of instant-win products claim that people buy their products because customers want them. They further claim that the appeal of a promotion is secondary to the appeal of the product. This may well be true with most people but instant-win promotions obviously increase sales otherwise so many companies would not resort to it in the first place. It would appear that most people have no problem on moral (or other) grounds with companies who use this type of promotion. However, there are those (such as those who work in the area of youth gambling) who wonder whether this type of promotion exploits the vulnerable in some way (i.e., children and adolescents). The question to ask is whether young children and adolescents are actually engaging in a form of gambling by buying these types of products.
Gambling is normally defined as the staking of money (or something of financial value) on the uncertain outcome of a future event. Technically, instant-win promotions are not a form of gambling. This is because (by law) manufacturers are required to state that “no purchase is necessary”. This whole practice it is little more than a lottery except that in very small letters at the bottom of the packet there is the added phrase “No purchase necessary – see back for details”. However, very few people would know this unless they bought the product in the first place, and secondly, the likelihood is that a vast majority will not do this anyway – particularly children and adolescents.
The small print usually reads “No purchase necessary. Should you wish to enter this promotion without purchasing a promotional pack, please send your name and address clearly printed on a plain piece of paper. If you are under 18, please ask a parent or guardian to sign your entry. An independently supervised draw will be made on your behalf, and should you be a winner, a prize will be sent to you within 28 days”. I have tried writing to companies to ascertain how many people utilize this route but (to date) I have been unsuccessful in gaining any further information. It is highly likely that very few people write to the companies concerned. There is a high likelihood that the companies in question have the empirical evidence but unfortunately it is not in the public domain. If it is assumed that the number of people who actually write to the companies for their names to be put into an independently supervised draw is very low, it can be argued that to all intents and purposes that people who buy such products are engaged in a form of gambling.
Since the introduction of the UK National Lottery and instant scratchcards in the mid-1990s, a “something-for-nothing” culture appears to have developed where people want to win big prizes on lots of different things. Children themselves are growing up in an environment where gambling is endemic. Having examined a variety of instant-win promotions, I am in little doubt that they should be viewed as gambling pre-cursors in that they are gambling-like experiences without being a form of gambling with which anyone can identify. It is unlikely that great numbers of children will develop a problem with this activity, but there is the potential concern that a small minority will. Research has consistently shown that the earlier that a child starts to gamble the more likely they are to develop a gambling problem.
Evidence that instant-win products are problematic to young children is mostly anecdotal. For instance, a number of years ago, I appeared on a UK daytime television programme with a mother and her two children (aged nine and ten years of age) who literally spent all their disposable income on instant-win promotions. These two children had spent hundreds of pounds of their pocket money in the hope of winning the elusive prizes offered but never won more than another bag of potato chips. The mother claimed they had “the gambling bug” and was “terrified they will have problems when they grow up”. She claimed she had done her utmost to stop them using their pocket money in this way but as soon as her back was turned they were off to the local corner shop to buy instant-win products. This wasn’t just restricted to products they enjoyed anyway. For instance, when they went to the supermarket to shop the children just fill up the shopping trolley with anything that has an instant-win promotion including tins of cat food – even though they didn’t have a cat!
Harsh critics of instant-win promotions might advocate a complete banning of these types of marketing endeavors. However, this is impractical if not somewhat over the top. What is more, there is no empirical evidence (to date) that there is a problem. However, this does not mean that such practices should not be monitored. Instant-win marketing appears to be on the increase and it may be that young children are particularly vulnerable to this type of promotion if anecdotal case study accounts are anything to go by.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Griffiths, M.D. (1989). Gambling in children and adolescents. Journal of Gambling Behavior, 5, 66-83.
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Yesterday, my local paper (The Nottingham Post) interviewed me for a Halloween story about the psychology of fancy dress (which you can read here). Before I was interviewed, I did a search of academic literature databases and couldn’t find a single academic paper that had been published on the topic. Although this didn’t surprise me, it did mean that everything I said to the journalist was opinion and speculation (at best). The first thing I did was think all the different situations in which people wear fancy dress costumes and this is what I came up with:
- Those that wear fancy dress as part of a calendar event or festival (e.g., Halloween or the Mardi Gras)
- Those who wear fancy dress costumes as part of an organized fancy dress event (e.g., a fancy dress party, a fancy dress competition, a murder mystery party, or a one-off occasion such as an event we had here in Nottingham [March 8, 2008] to break the world record for the most people dressed as Robin Hood (1,119 individuals dressing up breaking the previous record of 607).
- Those who wear fancy dress costumes as part of their job (e.g., a clown, a strip-o-gram, an actor, Santa in a shop store at Christmas, etc.).
- Those that wear fancy dress costumes as a form of disguise (such as bank robbers dressed in the masks and clothes to hide their identities).
- Those who wear fancy dress costumes as a way of raising money (e.g., people in the London marathon who are sponsored while wearing ridiculous costumes).
- Those who wear fancy dress costumes as part of an external group event such as a group all dressing identically on a hen night/stag night, or groups of people that go to football matches or Test cricket matches. This could also apply to individuals who dress up as characters from plays or musicals while watching the said stage shows (e.g., dressing up like a Rocky Horror Picture Show character (e.g., Frank N. Furter) or dressing up like Dorothy while attending a Wizard of Oz ‘sing-a-long’ show). This might also apply to groups of people like the Furry Fandom who dress up as animals and meet up socially to explore different sides of their ‘fursona’ (i.e., their animal persona).
- Those that wear fancy dress costumes as part of sexual role-play or other sexual acts (for more detail, see my previous blogs on uniform fetishism and Nazi fetishism).
- Those that wear fancy dress as part of a cult or ritualistic event such as devil worship (although such people may argue that they are not dressing up but merely wearing their expected ‘uniform’).
- None of the above (e.g., people that wear fancy dress costumes as the result of losing a bet).
The reason for compiling a list like this was to get a better idea of what the psychological motivation is behind dressing in a fancy dress costume. Although most people might say that the main reason for dressing up in fancy dress is because it’s a fun and/or exciting thing to do, the list I compiled clearly shows the range of motivations is much greater than one might initially suspect. I’m not claiming that my list is exhaustive, but it shows that reasons for wearing costumes are many and varied. Reasons could be financial (to earn money, to raise money for charity), sexual (particular fancy dress outfits being arousing either to the wearer or the observer), psychological (feeling part of a united group, attention-seeking, exploring other facets of an individual’s personality), practical (concealing true identity while engaged in a criminal act), and/or idiosyncratic (trying to break a world record). For others it might be coercive (e.g., being forced to dress up as a form of sexual humiliation, or punishment for losing a bet).
One of the most well known social psychologists, Professor Michael Argyle made a passing reference to fancy dress in relation to self-identity his 1992 book The Social Psychology of Everyday Life. He noted:
“It is not only punks and skinheads who put on fancy dress; Scottish country dancers, bowls players, musicians and many others have their special costumes. Mass forms of leisure do not help to give a sense of identity, with the exception of supporting sports teams, which certainly does. It is the more engrossing and less common forms of leisure that do most for identity”.
It’s debatable whether this really refers to fancy dress but for some people, fancy dress will always be about either self-identity and/or group identity. I also came across an online article by British psychologist Dr. Catherine Tregoning that looked at what people engage in most at Halloween and what it says about them in relation to their occupation (I ought to add that the article was on a job-hunting website). At Halloween, do you watch horror films? Do you carve pumpkins? Do you go on ghost hunts? Do you like dressing up in Halloween costumes? If you do, Dr. Tregoning claimed that:
“This may mean you’re the type to keep reinventing yourself and often change career! Or do you operate in different guises in your current role, changing your personality and presenting your outward self differently according to who you’re with or the task in hand? Or do you need some form of escapism from your day job? If you’re good at acting a part on Halloween – then use your skills to “act” confident in an interview or “act” calm under pressure when delivering a presentation”
Another article by Rafael Behr published in The Guardian examined the politics and psychology of fancy dress. In relation the psychology, Behr’s views had some crossover with the interview I did with my local newspaper on the topic:
“Children love dressing up, especially in clothes that make them feel grown up. Adults like dressing up because it reminds them of that feeling of being children getting excited about dressing like a grownup. What this indicates is that actually being a grownup is generally overrated and involves spending a lot of time in disappointing clothes. Anyone who goes to a party in fancy dress will feel a pang of anxiety immediately before arrival that they have made a mistake and it is not a fancy dress party at all. If you have this feeling before arriving at a wedding or funeral, go home and change. Only senior members of the clergy are allowed to wear ridiculous clothes in churches”.
Finally, another online article that examined dressing up for Halloween was one by psychotherapist Joyce Matter who examined whether fancy dress costumes bring out a person’s alter ego (or as she termed it, an individual’s “shadow side”).
“Do we all reveal our shadow sides with our costume choices? Do those aspects of self that we have repressed express themselves uncontrollably when we are at Spirit Halloween? Perhaps…Expressive play can be one of the most cathartic experiences as well as giving us the freedom to discover hidden aspects of self that may contain valuable resources we are repressing. A refusal or inability to do so reveals difficulty with self-acceptance and perhaps a preoccupation with the opinions of others…Through my work as a therapist, I have come to believe the shadow side is not necessarily dormant characteristics that are negative—they often contain positive aspects of self which we have not been free to embody. Once we honor and integrate them, they can become powerful strengths”.
As an adult, I have never put on fancy dress for Halloween. In fact, the only time I have dressed up in anything approaching fancy dress was when I played a French butler during a murder mystery evening with friends. As there is no scientific research on the topic I don’t know if I am typical of middle-aged men or whether I am just content with my life that I don’t feel the need to act out or experiment within the confines of costume role-play.
Argyle, M. (1992). The Social Psychology of Everyday Life. London: Routledge
Behr, R. (2014). The rules: Fancy dress. The Guardian, January 25. Located: http://www.theguardian.com/commentisfree/2014/jan/25/etiquette-guide-to-fancy-dress
Lyons, C. (2014). Dressing for the part. The Stylist. Located at: http://www.stylist.co.uk/life/dressing-for-the-part
Marter, J. (2013). Your Halloween costume may reveal your shadow side. Psych Central, October 6. Located at: http://blogs.psychcentral.com/success/2013/10/your-halloween-costume-may-reveal-your-shadow-side/
Mehmi, N. (2010). How to pick your fancy dress costume to attract the opposite sex. E-Zine Articles, December 3. Located at: http://ezinearticles.com/?How-To-Pick-Your-Fancy-Dress-Costume-To-Attract-The-Opposite-Sex&id=6485736
Tregoning, C. (2013). Halloween is coming!…..What your take on it might say about your career! Jobs.ac.uk, October 6. Located at: https://blogs.jobs.ac.uk/psychology/2013/10/06/halloween-is-coming-what-your-take-on-it-might-say-about-your-career/