Category Archives: Popular Culture
Throughout my career I’ve carried out quite a lot of research into the marketing and advertising of gambling and the way in which some gambling operators use psychology to exploit our senses to maximize profit. Connected to this, I’ve also published a number of papers that have examined the role of sound (and particularly music) can influence the way in which individuals gamble (see my previous blog on this and ‘Further reading’ below).
The reason I mention this was that I recently came across an online article by Fast Company entitled ‘The 10 most addictive sounds in the world’ based on some market research carried out by Martin Lindstrom, the Danish ‘neuromarketeer’, author of the book Buyology – Truth and Lies About Why We Buy (I do love a good pun). Lindstrom is known for using neuroscientific techniques to help commercial operators better understand their clientele. One of his collaborations was with Elias Arts (a sound and music design company) who joined forces to examine the world’s most ‘addictive sounds’ in what an article in The Village Voice dubbed a “neuromarketing experiment”.
Obviously, my interest was piqued when I saw the use of the word ‘addictive’ but their working definition of ‘addictive’ had nothing to do with individuals being addicted to sounds but simply referred to an individual’s response to specific sounds. (Even with this explanation, I still can’t see why the word ‘addictive’ was used but its’ use probably guarantees more people – like myself – will want to read about the study). Lindstrom told the media that:
“We have all those top 10s of everything, but most top 10s are based on the visual sense. What we realized in another study is the most prominent sense we have [when we see a commercial] is not the sense of sight or smell, but the sense of sound”.
As far as I can tell, the study Lindstrom carried out has not been formally published in a peer reviewed journal (although he has published academic papers). The study was described in the international media as involving 50 participants and the research team monitored their brainwave, pupil, and facial muscle activity while listening to 50 different everyday sounds (both man-made ‘branded’ sounds and those ‘non-branded’ sounds that occur naturally). Lindstrom concluded that the most ‘addictive sounds’ weren’t necessarily the non-branded sounds of nature because some of the commercial man-made branded sounds (described as “beeps, jingles and ditties”) were more ‘addictive’ than a number of familiar sounds found in everyday life.
Overall, sound of a baby giggling was ranked as the most ‘addictive sound’ (although I’ve not seen the specific methodology employed to ascertain how being the top ‘addictive sound’ was actually assessed. Apparently Lindstrom examined the “dimension of the responses” and the “contrast and balance of all three [brainwave, pupil and muscle] factors” – although he did admit that such factors can lead to both positive and negative reactions). The second and third spots were Intel’s computer startup chime and the sound of a vibrating mobile phone. Other top non-branded sounds were the sound of a sizzling steak and the lighting of a cigarette being inhaled. Lindstrom claimed that the participants “weren’t responding to the structures of the sounds, but what they mean in a greater social context”. In relation to what makes a sound ‘addictive’, Lindstrom did at least make one reference to a classic sign of addiction (i.e., craving):
“It’s not the sound itself, but the consequence of the sound. A laughing (or crying) baby elicits a maternal protection mechanism, a buzzing cell phone prompts a pick-up, a sizzling steak means a solid meal is on the way. For advertisers and consumers, the research indicates a whole new battleground of multi-sensory advertising. Sometimes the sound from one category generates a craving in another category. For example, given the links between tobacco and beverages, the sound of a cigarette being lit could be used in an ad for alcohol. Although sound is more intuitive for people, the field is still quite young. It will be a long time before it will be so prominent”.
In a story for ABC News, other academics were asked for their thoughts on Lindstrom’s study. One American ‘auditory neuroscientist, Professor Barbara Shinn-Cunningham (actually Professor of Biomedical Engineering at Boston University) said that:
“Although the sounds identified by the study are extremely meaningful, with the exception of the giggling baby, most are not inherently addictive. They’re identifiable. They brain responds to repetition. Our brains are good at picking out patterns that repeat. We’ve evolved to do that. If I chose an arbitrary sound, as long as it was clear and distinctive, and then played it 50 times a day for the next five years (as many of the branded sounds have been), it would become attention-grabbing. I don’t think [the sounds on the list are] so much addictive because of their acoustic properties, but because of their ubiquity. There is neurophysiological evidence showing that brain is hardwired to notice certain kinds of sounds. For example, the abrupt, jarring sound of a slamming door could prompt cells in a person’s brain stem to fire even before that person was conscious of it. For early humans, that kind of sound could have meant it’s time to run for the hills. [Also] studies have demonstrated the existence of a so-called ‘cocktail party effect’. At a party, if you hear your name in the background, even if you’re not paying attention, that’s something that will draw your attention involuntarily. Your brain is so exposed to your name and it’s tremendously important to you, so it encodes that so you respond to it”
According to Lindstrom’s research, the most ‘addictive sounds’ in the world (although they are arguably US-centric to say the least) are: (1) baby giggle, (2) Intel chime, (3) vibrating phone, (4) ATM/cash register, (5) National Geographic theme tune, (6) MTV theme tune, (7) T-Mobile ringtone, (8) McDonald’s jingle, (9) ‘Star Spangled Banner’ (tune), and (10) State Farm jingle.
The Fast Company article also noted that:
“Sound is immensely powerful. And yet 83% of all the advertising communication we’re exposed to daily (bearing in mind that we will see two million TV commercials in a single lifetime) focuses, almost exclusively, on the sense of sight. That leaves just 17% for the remaining four senses. Think about how much we rely on sound. It confirms a connection when dialing or texting on cell phones and alerts us to emergencies. When the sound was removed from slot machines in Las Vegas, revenue fell by 24%. Experiments undertaken in restaurants show that when slow music (slower than the rhythm of a heartbeat) is played, we eat slower–and we eat more!”.
These types of findings suggest that ‘audio branding’ is likely to be an increasing topic of academic research given that every company wants an edge in selling their product. While I am totally unconvinced that the word ‘addictive’ should be used in this type of research, that’s not to say that sound doesn’t have an influence in the development of addictive behaviour more generally. It looks like a case of watch (or should that be listen?) to this space.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Bark Soho (2016). 3 of the most addictive sounds in the world. October 16. Located at: http://www.barksoho.co.uk/blog/3-of-the-most-addictive-sounds-in-the-world/
Dixon, L., Trigg, R. & Griffiths, M. (2007). An empirical investigation of music and gambling behaviour. International Gambling Studies, 7, (3), 315-326.
Edroso, R. (2010). “Most addictive” sounds mostly jingles, machine noises. The Village Voice, February 22. located at: https://www.villagevoice.com/2010/02/22/most-addictive-sounds-mostly-jingles-machine-noises/
Fast Company (2010). The 10 most addictive sounds in the world. February 22. Located at: https://www.fastcompany.com/1555211/10-most-addictive-sounds-world
Griffiths, M.D. & Parke, J. (2003). The environmental psychology of gambling. In G. Reith (Ed), Gambling: Who wins? Who loses? pp. 277-292. New York: Prometheus Books.
Griffiths, M.D. & Parke, J. (2005). The psychology of music in gambling environments: an observational research note. Journal of Gambling Issues, 13.
Heussner, K.M. (2010). The world’s 10 most addictive sounds. ABC News, February 24. Located at: https://abcnews.go.com/Technology/worlds-10-addictive-sounds/story?id=9923506
Lindstrom, M. (2008). Buyology: Truth and Lies About Why We Buy. New York: Doubleday
Parke, J. & Griffiths, M.D. (2006). The psychology of the fruit machine: The role of structural characteristics re-visited. International Journal of Mental Health and Addiction, 4, 151-179.
Parke, J. & Griffiths, M.D. (2007). The role of structural characteristics in gambling. In G. Smith, D. Hodgins & R. Williams (Eds.), Research and Measurement Issues in Gambling Studies. pp.211-243. New York: Elsevier.
Spenwyn, J., Barrett, D.K.R. & Griffiths, M.D. (2010). The role of lights and music in gambling behavior: An empirical pilot study. International Journal of Mental Health and Addiction, 8, 107-118.
In a previous blog on examining all Adam Ant’s songs about sexual paraphilias, I noted that Soft Cell are probably the only other recording artists who come close to talking about the seedier side of sex. They are also artists that (like one of my other favourite bands, Throbbing Gristle) have never been afraid to sing about taboo topics including prostitution (‘Secret Life’, A Divided Soul’), a housewife’s sexual fantasy about the paper boy (‘Kitchen Sink Drama’), pure hedonism (‘Sensation Nation’), alternative therapies such as colonic irrigation, meditation, and crystal therapy (‘Whatever It Takes’), murder (‘The Best Way To Kill’, ‘Meet Murder My Angel’), suicide (‘Darker Times’, ‘Frustration’ and ‘Down In The Subway’ – “Jump on that train track and die”), incest (‘I Am 16’), psychopathic killers (‘Martin’ based on the story of a serial killer in a film of the same name), shopaholism (‘Whatever It Takes’), anorexia nervosa (‘Excretory Eat Anorexia’), and obsessional cleansing (‘Cleansing Fanatic’), to name but a few.
Soft Cell arguably saw themselves as outside of the norm. Their first official release, an EP entitled ‘Mutant Moments’ EP set out their psychological store (and where ‘Metro Mr. X’ was their “favourite mutant”). They also had a track on the seminal 1980 (various artists) Some Bizarre Album about a disfigured woman (‘The Girl With The Patent Leather Face’). Very few artists would ever sing about such topics (although there are a few exceptions such as Throbbing Gristle’s ‘Hamburger Lady’ based on the medical case notes of a badly burned woman).
Soft Cell’s reputation as a band that focused on the sleazy side of everyday life was cemented after the release of their 1981 debut album Non-Stop Erotic Cabaret (NSEC). The cover featured a photo of the band’s two members (Marc Almond and Dave Ball) taken outside the Raymond Revue Bar, a notorious strip joint in the heart of London’s Soho district.
Just as the Velvet Underground’s debut album was viewed as a ‘sex and drugs’ LP because of a couple of songs about sadomasochistic sex (‘Venus In Furs’) and drug-taking (‘Heroin’), NSEC’s reputation as a ‘sleazy sex’ album also rested on just a few songs – most notably ‘Seedy Films’ (about telephone sex as well as pornographic films), ‘Secret Life’ (about using prostitutes behind a wife’s back), and the (now infamous) ‘Sex Dwarf’ (a song glorifying sadomasochistic sex). Later songs and albums also touched on various aspects of sexuality (their third album This Last Night In Sodom raising a few eyebrows on its’ release in 1984). They wanted to “try all of the vices” (in ‘The Art Of Falling Apart’) and also sang about having sex in cars (‘It’s A Mug’s Game’ and ‘Where Was Your Heart [When You Needed It Most’).
One of my personal favourite in the Soft Cell canon is the 2002 song ‘Perversity’ which was a bonus track on their comeback single ‘Monoculture’ after reforming in 2001. It talked about studying at the “university of perversity” and provided me with the title to my series of blogs on the A-Z of little known paraphilias and fetishes. As Marc Almond and Friends, there was also a great cover version of Throbbing Gristle’s ‘Discipline’ (a song about sadomasochism) and ‘Sleaze It, Take It, Shake It’ (by Almond’s side-project, Marc and the Mambas)
Soft cell’s second hit single ‘Bedsitter’ summed up my formative years as a teenage clubber and shares some of the same lyrical DNA as The Smiths classic ‘How Soon Is Now?’ (going to nightclubs in search of love and/or sex but going home alone). I’d also argue that Soft Cell sometimes give The Smiths a run for their money when it comes to songs about misery (e.g., ‘Chips On My Shoulder’, ‘Mr. Self-Destruct’, ‘Bleak Is My Favourite Cliché’, ‘Forever The Same’, ‘Down In The Subway’ and ‘Born To Lose’).
But Soft Cell aren’t just about sex, they also like songs about love more generally although their take on love is more about the unrequited love, the disintegration of love (‘Tainted Love’, ‘Say Hello, Wave Goodbye’, ‘Where Did Our Love Go?’, ‘All Out Of Love’, ‘Together Alone’, ‘Desperate [For Love]’, ‘L.O.V.E. Feelings’, ‘Whatever It Takes’, ‘Last Chance’, ‘What’, ‘Barriers’, ‘Disease And Desire’, ‘Her Imagination’, ‘Desperate’, and ‘Torch’). In short they focus on (as they describe in their song ‘Loving You, Hating Me’) “the other side of love” and the “devil in my bed” (‘from ‘God-Shaped Hole’). The only other band that have explored the ‘darker’ side of love lyrically in so many different songs are Depeche Mode (which I discussed in a previous blog on obsessional lyrics in pop music). Their songs aren’t afraid to feature one-night stands and casual sex (‘Numbers’, ‘Surrender To A Stranger’, ‘Heat’, ‘Where Was Your Heart [When You Needed It Most’ and ‘Fun City’). It’s also worth noting that Soft Cell were never afraid to talk about drug use in their songs including cocaine (‘Frustration’), LSD (‘Frustration’), alcohol (‘It’s A Mug’s Game’), valium (‘Tupperware Party’, ‘My Secret Life’), heroin (‘L’Esqualita’) and their “dealer in the hall” (‘Divided Soul’).
They also made cover versions that were often better than the originals. They sexed the songs up or made them mean, moody and menacing. Soft Cell were huge fans of Northern soul and is evident in their covers of songs like ‘Tainted Love’, ‘The Night’ and ‘Where Did Our Love Go?’ but their other cover versions came from a wide variety of artists including Jimi Hendrix (their 11-minute ‘Hendrix Medley’ comprising ‘Hey Joe’, ‘Purple Haze’ and ‘Voodoo Chile’), Johnny Thunders (‘Born To Lose’), Suicide (‘Ghostrider’), Lou Reed (‘Caroline Says’ as Marc and the Mambas), and John Barry (‘007 Theme’ and ‘You Only Live Twice’). From the very first note, this were instantly Soft Cell even though they didn’t write the songs.
Lyrically (and musically), some of their best songs were on their final 2000 studio album Cruelty Without Beauty. For instance, ‘Caligula Syndrome’ depicts sadomasochism (“crawling down on your hands and knees like slaves”), orgies, and “every kind of deviation on demand”. The song ‘Grand Guignol’ is about the Parisian theatre that operated from 1897 until it closed in 1962. The theatre specialised in naturalistic amoral horror entertainment shows horror shows or as Soft Cell put it: “It’s Grand Guignol/It’s rock ‘n’ roll/It’s vaudeville and burlesque/All of human life is here/In the theatre of the grotesque”. A sentiment that (I would argue) also sums up the many of the blogs I have published on this website.
Dr Mark Griffiths, Professor of Behavioural Addictions, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Almond, M. (1999). Tainted Life. London: Sidgwick and Jackson.
Almond, M. (2004). In Search Of The Pleasure Palace. London: Sidgwick and Jackson.
Fanni Tutti, C. (2017). Art Sex Music. Faber & Faber: London.
Lindsay, M. (2013). Sex music for gargoyles: Soft Cell’s The Art Of Falling Apart. The Quietus, December 12. Located at: http://thequietus.com/articles/14100-soft-cell-interview-marc-almond
Reed, J. (1999). Marc Almond: The Last Star. London: Creation Books.
Reynolds, S. (2006). Rip It Up and Start Again: Postpunk, 1978–1984. New York: Penguin.
Tebbutt, S. (1984). Soft Cell. London: Sidgwick and Jackson.
Wikipedia (2017). Marc Almond. Located at: https://en.wikipedia.org/wiki/Marc_Almond
Wikipedia (2017). Soft Cell. Located at: https://en.wikipedia.org/wiki/Soft_Cell
Last week, there were numerous stories in the British press about plans to display the car that Princess Diana was killed in a US museum. Much of this coverage described the plans as ‘sick’ and ‘distasteful’ but is the latest in a very long line of an example of ‘dark tourism’. In a previous blog I briefly examined ‘disaster tourism’, a form of ‘dark tourism’. Since writing that blog I came across an interesting book chapter by the Slovenian researcher Dr. Lea Kuznik entitled ‘Fifty shades of dark stories’ examining the many motivations for engaging in the seedier side of tourism. Dark tourism is something that I have been guilty of myself. For instance, as a Beatles fanatic, when I first went to New York, I went to the Dakota apartments where John Lennon had been shot by Mark David Chapman. In her chapter, Dr. Kuznik notes that:
“Dark tourism is a special type of tourism, which involves visits to tourist attractions and destinations that are associated with death, suffering, disasters and tragedies venues. Visiting dark tourist destinations in the world is the phenomenon of the twenty-first century, but also has a very long heritage. Number of visitors of war areas, scenes of accidents, tragedies, disasters, places connected with ghosts, paranormal activities, witches and witchhunt trials, cursed places, is rising steeply”.
As I noted in my previous blog, the motivations for such behaviour is varied. Those working in the print and broadcast media often live by the maxim that ‘if it bleeds, it leads’ (meaning that death and disaster sell). Clearly whenever anything hits the front of newspapers or is the lead story on radio and television, it gains notoriety and infamy. This applies to bad things as well as good things and is one of the reasons why dark tourism has become so popular. Kuznik notes that although dark tourism has a long history, it has only become a topic for academic study since the mid-1990s. Dr. Kuznik observes that:
“The term dark tourism was coined by Foley and Lennon (1996) to describe the attraction of visitors to tourism sites associated with death, disaster, and depravity. Other notable definitions of dark tourism include the act of travel to sites associated with death, suffering and the seemingly macabre (Stone, 2006), and as visitations to places where tragedies or historically noteworthy death has occurred and that continue to impact our lives (Tarlow, 2005). Scholars have further developed and applied alternative terminology in dealing with such travel and visitation, including thanatourism (Seaton, 1996), black spot tourism (Rojek, 1993), atrocity heritage tourism (Tunbridge & Ashworth, 1996), and morbid tourism (Blom, 2000). In a context similar to ‘dark tourism’, terms like ‘macabre tourism’, ‘tourism of mourning’ and ‘dark heritage tourism’ are also in use. Among these terms, dark tourism remains the most widely applied in academic research (Sharpley, 2009)”.
Kuznik also notes that dark tourism has been referred to as “place-specific tourism”. Consequently, some researchers began to classify dark tourism sites based upon their defining characteristics. As Kuznik notes:
“Miles (2002) proposed a darker-lighter tourism paradigm in which there remains a distinction between dark and darker tourism according to the greater or lesser extent of the macabre and the morose. In this way, the sites of the holocaust, for example, can be divided into dark and darker tourism when it comes to their authenticity and scope of interpretation…On the basis of the dark tourism paradigm of Miles (2002), Stone (2006) proposed a spectrum of dark tourism supply which classifies sites according to their perceived features, and from these, the degree or shade of darkness (darkest to lightest) with which they can be characterised. This spectrum has seven types of dark tourism suppliers, ranging from Dark Fun Factories as the lightest, to Dark Camps of Genocide as the darkest. A specific example of the lightest suppliers would be dungeon attractions, such as London Dungeon, or planned ventures such as Dracula Park in Romania. In contrast, examples of the darkest sites include genocide sites in Rwanda, Cambodia, or Kosovo, as well as holocaust sites such as Auschwitz-Birkenau”.
In relation to the reasons for visiting dark tourism sites, Kuznik came up with seven main motivations for why we as humans seek out such experiences (i.e., curiosity, education, survivor guilt, remembrance, nostalgia, empathy, and horror) that are outlined below (please note that the descriptions are edited verbatim from Kuznik’s chapter)
- Curiosity: “Many tourists are interested in the unusual and the unique, whether this be a natural phenomenon (e.g. Niagara Falls), an artistic or historical structure (e.g. the pyramids in Egypt), or spectacular events (e.g. a royal wedding). Importantly, the reasons why tourists are attracted to dark tourism sites derive, at least in part, from the same curiosity which motivates a visit to Niagara Falls. Visiting dark tourism sites is an out of the ordinary experience, and thus attractive for its uniqueness and as a means of satisfying human curiosity. So the main reason is the experience of the unusual”.
- Empathy: “One of the reasons for visiting dark tourism sites may be empathy, which is an acceptable way of expressing a fascination with horror…In many respects, the interpretation of dark tourism sites can be difficult and sensitive, given the message of the site as forwarded by exhibition curators can at times conflict with the understandings of visitors”.
- Horror: “Horror is regarded as one of the key reasons for visiting dark tourism sites, and in particular, sites of atrocity…Relating atrocity as heritage at a site is thus as entertaining as any media depiction of a story, and for precisely the same reasons and with the same moral overtones. Such tourism products or examples are: Ghost Walks around sites of execution or murder (Ghost Tour of Prague), Murder Trails found in many cities like Jack the Ripper in London”.
- Education: “In much tourism literature it has been claimed that one of the main motivations for travel is the gaining of knowledge, and the quest for authentic experiences. One of the core missions of cultural and heritage tourism in particular is to provide educational opportunities to visitors through guided tours and interpretation. Similarly, individual visits to dark tourism sites to gain knowledge, understanding, and educational opportunities, continue to have intrinsic educational value…many dark tourism attractions or sites are considered important destinations for school educational field trips, achieving education through experiential learning”.
- Nostalgia: “Nostalgia can be broadly described as yearning for the past…or as a wistful mood that an object, a scene, a smell or a strain of music evokes…In this respect Smith (1996) examined war tourism sites and concluded that old soldiers do go back to the battlefields, to revisit and remember the days of their youth”.
- Remembrance: “Remembrance is a vital human activity connecting us to our past…Remembrance helps people formulate an identity, allowing them to learn from past mistakes, and to go forward with a clear vision of the future. In the context of dark tourism, remembrance and memory are considered key elements in the importance of sites”.
- Survivor’s guilt: “One of the distinctive characteristics of dark tourism is the type of visitors such sites attract, which include survivors and victim‘s families returning to the scene of death or disaster. These types of visitors are particularly prevalent at sites associated with Second World War and the holocaust. For many survivors returning to the scene of death and atrocity can achieve a therapeutic effect by resolving grief, and can build understanding of how terrible things came to have happened. This can be very emotional experience”.
Dr. Kuznik also developed a new typology of “dark places in nature”. The typology comprised 17 types of dark places and are briefly outlined below.
- Disaster area tourism: Visiting places of natural disaster after hurricanes, tsunamis, volcanic destructions, etc.
- Grave tourism: Visiting famous cemeteries, or graves and mausoleums of famous individuals.
- War or battlefield tourism: Visiting places where wars and battles took place.
- Holocaust tourism: Visiting Nazi concentration camps, memorial sites, memorial museums, etc.
- Genocide tourism: Visiting places where genocide took place such as the killing fields in Cambodia.
- Prison tourism: Visiting former prisons such as Alcatraz.
- Communism tourism: Visiting places like North Korea.
- Cold war and iron curtain tourism: Visiting places and remains associated with the cold war such as the Berlin Wall.
- Nuclear tourism: Visiting sites where nuclear disasters took place (e.g. Chernobyl in the Ukraine) or where nuclear bombs were exploded (e.g., Hiroshima and Nagasaki in Japan).
- Murderers and murderous places tourism: Visiting sites where killers and serial killers murdered their victims (‘Jack the Ripper’ walks in London, where Lee Harvey Oswald killed J.F. Kennedy in Dallas)
- Slum tourism: Visiting impoverished and slum areas in countries such as India and Brazil, Kenya.
- Terrorist tourism: Visiting places such Ground Zero (where the Twin Towers used to be) in New York City
- Paranormal tourism: Visiting crop circle sites, places where UFO sightings took place, haunted houses (e.g., Amityville), etc.
- Witched tourism: Visiting towns or cities where witches congregated (e.g., Salem in Massachusetts).
- Accident tourism: Visiting places where infamous accidents took place (e.g. the Paris tunnel where Princess Diana died in a car accident).
- Icky medical tourism: Visiting medical museums and body exhibitions.
- Dark amusement tourism: Visiting themed walks and amusement parks that are based on ghosts and horror figures (e.g., Dracula).
Looking at these different types quickly I reached the conclusion that I would class myself as a ‘dark tourist’ as I have engaged in many of these and no doubt reflects my own interest in the more extreme aspects of the lived human experience.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Ashworth, G., & Hartmann, R. (2005). Introduction: managing atrocity for tourism. In G. Ashworth & R. Hartmann (Eds.), Horror and human tragedy revisited: the management of sites of atrocities for tourism (pp. 1–14). Sydney: Cognizant Communication Corporation.
Blom, T. (2000). Morbid tourism – a postmodern market niche with an example from Althorp. Norwegian Journal of Geography, 54(1), 29–36.
Dann, G. M., & Seaton, A. V. (2001). Slavery, contested heritage and thanatourism. International Journal of Hospitality & Tourism Administration, 2(3-4), 1-29.
Foley, M., & Lennon, J. (1996). JFK and dark tourism: A fascination with assassination. International Journal of Heritage Studies, 2(4), 198–211.
Foley, M., & Lennon, J. (2000). Dark tourism. Annals of Tourism Research, 19(1), 68-78.
Kuznik, L. (2018). Fifty shades of dark stories. In Mehdi Khosrow-Pour, D.B.A. (Ed.). Encyclopedia of Information Science and Technology (Fourth Edition). (pp.4077-4087). Pennsylvania: IGI Global.
Miles, W.F. (2002). Auschwitz: Museum interpretation and darker tourism. Annals of Tourism Research, 29(4), 1175-1178.
Podoshen, J. S. (2013). Dark tourism motivations: Simulation, emotional contagion and topographic comparison. Tourism Management, 35, 263-271.
Rojek, C. (1993). Ways of escape. Basingstoke, UK: Macmillan.
Seaton, A. V. (1996). From thanatopsis to thanatourism: Guided by the dark. International Journal of Heritage Studies, 2(4), 234–244.
Sharpley, R., & Stone, P. R. (Eds.). (2009). The darker side of travel: the theory and practice of dark tourism. Bristol: Channel View.
Smith, V. L. (1996). War and its tourist attractions. In A. Pizam & Y. Mansfeld (Eds.), Tourism, crime and international security issues (pp. 247–264). New York: John Wiley & Sons.
Stone, P. R. (2006). A dark tourism spectrum: Towards a typology of death and macabre related tourist sites, attractions and exhibitions. Tourism, 54(2), 145–160.
Strange, C., & Kempa, M. (2003). Shades of dark tourism: Alcatraz and Robben Island. Annals of Tourism Research, 30(2), 386-405.
Tarlow, P.E. (2005). Dark tourism: the appealing dark side of tourism and more. In M. Novelli (Ed.), Niche tourism – Contemporary issues, trends and cases (pp. 47–58). Oxford, UK: Butterworth-Heinemann.
Tunbridge, J.E., & Ashworth, G. (1996). Dissonant heritage: The management of the past as a resource in conflict. New York: John Wiley & Sons.
Although I love many musical groups and singers, the Beatles have always been (and always will be) my all-time favourite band. Being an obsessive fan of the group is not cheap because there is almost a never-ending supply of products that can be bought including records, CDs, DVDs, books, and other merchandise such as mugs, t-shirts, coasters, and games. I’m a sucker for it all and as a record collecting completist, I have to have every single track they have ever recorded on both official releases and bootlegs (my latest acquisition being the 6-disc collector’s edition of Sgt. Pepper’s Lonely Hearts Club Band). It’s both fun and expensive (but thankfully I have few vices) and the Beatles are one of the few artists that I have spent thousands and thousands of pounds indulging my passion for their music (others include David Bowie, Adam Ant, The Smiths [and Morrissey], Gary Numan, Velvet Underground [and Lou Reed and John Cale], John Foxx [and Ultravox], Art of Noise [and other ZTT bands], and Iggy Pop [and The Stooges]).
One of the reasons I chose to study psychology at university was because John Lennon underwent primal therapy (a trauma-based psychotherapy) in 1970 with its’ developer (US psychotherapist Dr. Arthur Janov). I read Janov’s first book (The Primal Scream) in 1983 just because of my love of Lennon’s work, and psychology sounded far more interesting than the ‘A’ levels I was doing at the time (maths, physics, chemistry and biology). As the Wikipedia entry on primal therapy notes:
“The musician John Lennon and his wife, Yoko Ono, went through primal therapy in 1970. A copy of the just-released The Primal Scream arrived in the mail at Lennon’s home, Tittenhurst Park (sources differ about who sent the book). Lennon was impressed, and he requested primal therapy to be started at Tittenhurst. Arthur Janov and his first wife, Vivian Janov, went to Tittenhurst in March 1970 to start the therapy, which continued in April in Los Angeles. Arthur Janov went to Tittenhurst after giving instructions in advance about the isolation period and giving instructions to Lennon to be separated from Ono. Lennon and Ono had three weeks of intensive treatment in England before Janov returned to Los Angeles, where they had four months of therapy. According to some sources, Lennon ended primal therapy after four months…Lennon commented after therapy, ‘I still think that Janov’s therapy is great, you know, but I do not want to make it a big Maharishi thing’ and ‘I just know myself better, that’s all. I can handle myself better. That Janov thing, the primal scream and so on, it does affect you, because you recognize yourself in there…It was very good for me. I am still ‘primal’ and it still works.’ and ‘I no longer have any need for drugs, the Maharishi or the Beatles. I am myself and I know why’”.
Lennon didn’t undergo primal therapy until just after the Beatles had split up and it was his 1970 solo LP (John Lennon/Plastic Ono Band) that included many songs that were rotted in his primal therapy experiences including ‘Mother’, ‘My Mummy’s Dead’, ‘God’, ‘Working Class Hero’, ‘Remember’, and ‘Well Well Well’. Many describe this LP as Lennon at his most raw and the album is all the better for it.
At university, one of my favourite topics was Gestalt psychology and its basic tenet that ‘the whole is more than the sum of its parts’ to me encapsulates The Beatles as a whole. John Lennon, Paul McCartney, George Harrison and Ringo Starr were all brilliant in their own musical sphere but little of their best solo work – with the odd exception – was ever as good as the best of their work with the Beatles. For whatever reason, the Beatles working as a foursome – even when the songs had been written individually – produced music as a group that was better than music on their solo LPs. The Beatles early solo recordings (1970-71) included songs that had typically been written while they were still in The Beatles. For instance, many of the songs on George Harrison’s brilliant (and best) album, All Things Must Pass, had been practiced and rehearsed during the making of the Beatles’ final LP Let It Be.
In previous blogs I have looked at celebrities’ use of illicit drugs (one on celebrities in general and whether they are more prone to addiction, one on David Bowie, The Beatles and addiction, and a third one looking at the use of psychoactive substance use on the process of creativity). My first awareness of illicit drugs was reading about the Beatles’ use of various substances in many biographies I read during my early adolescence. When it came to drugs, the Beatles appeared to have seen and done it all. In their pre-fame days in early 1960s Hamburg they all lived on a diet of pills, poppers, and stimulants just to get through their hours of playing every single day. Like many hard working musicians they used a combination of ‘uppers’ and ‘downers’ to regulate their day-to-day living. By the mid-1960s they were all smoking marijuana and taking LSD which may or may not have helped the creative juices to flow. By the end of the 1960s, Lennon was hooked on heroin and recorded one of his most infamous hits about its withdrawal symptoms (‘Cold Turkey’).
By the late 1960s, the Beatles (along with many of the big pop stars of the day) were also searching for other mind altering experiences and the ‘meaning of life’ which led them to the Maharishi Mahesh Yogi (‘Maharishi’ meaning ‘great seer’) and his teachings on transcendental meditation (TM). I myself dabbled in TM during the early 1990s, and over the last few years I have developed a new line of research on mindfulness meditation with my colleagues Edo Shonin and William Van Gordon (see ‘Further reading’). The Beatles (and George Harrison particularly) stimulated me to learn more about Buddhist philosophy. One of the Beatles most innovative songs ‘Tomorrow Never Knows’ – the final track on the 1966 Revolver album – was written by Lennon after reading The Psychedelic Experience: A Manual Based on The Tibetan Book of the Dead written by Timothy Leary, Ralph Metzner and Richard Alpert. However, it was Harrison who was most swayed and his spiritual beliefs rooted in Buddhism stayed with him until his dying day. Although I am not religious in the slightest, the lyrics to some of Harrison’s best songs while he was in The Beatles dealing with Buddhist philosophy are simply beautiful (‘Within You, Without You’ and ‘The Inner Light’ being the best examples; arguably you could add Lennon’s ‘Across The Universe’ to this list).
When I first started listening to The Beatles at the age of around 5 or 6 years of age, it was the music and the melodies that I loved (particularly the 1962-1965 period). By my late teens it was the later songs (1966-1969) and the more sophisticated musical layers that I loved (and still do). Now when I listen to their songs I am most interested in what the songs are trying to say and their philosophical or psychological underpinnings. Any analysis of their songs over time demonstrates that they went from a repertoire dominated by songs about love and relationships (‘Love Me Do’, ‘Please Please Me’, ‘From Me To You’, ‘She Loves You’, and ‘I Wanna Hold Your Hand’, ‘Eight Days A Week’) to a much wider range of topics many of which covered psychological topics such as childhood nostalgia (‘In My Life’, ‘Strawberry Fields Forever’, and ‘Penny Lane’), mind-wandering (‘Fixing A Hole’), domestic violence (‘Getting Better’), jealousy (‘Run For Your Life’, ‘You Can’t Do That’, ‘What Goes On’), casual sex/one-night stands (‘The Night Before’, ‘Day Tripper’), prostitution (‘Polythene Pam’, ‘Maggie Mae’), [alleged] drug use (‘Dr. Robert’, ‘A Day In The Life’, ‘Happiness Is A Warm Gun’, ‘What’s The New Mary Jane‘), running away from home (‘She’s Leaving Home’), homelessness (‘Mean Mr. Mustard’), insomnia (‘I’m So Tired’), depression due to relationship troubles (‘I’m Down’, ‘I’m A Loser’, ‘Help’, ‘Baby’s In Black’, ‘Yesterday’, ‘You’ve Got To Hide Your Love Away’, ‘Ticket To Ride’, ‘For No-One’), suicide (‘Yer Blues’), murder (‘Maxwell’s Silver Hammer’), and death (‘She Said She Said’, ‘Tomorrow Never Knows’).
There were also those songs that were overtly political (‘Taxman’, ‘Revolution’), self-referential (‘Glass Onion’), and autobiographical (‘The Ballad of John and Yoko’, ‘Julia’, ‘Dear Prudence’, ‘Norwegian Wood [This Bird Has Flown]) to songs that were rooted in surrealism (most notably ‘I Am The Walrus’, ‘Lucy In The Sky With Diamonds’, ‘What’s The New Mary Jane‘) and the experimental avant garde (‘Revolution 9’, ‘You Know My Name [Look Up The Number]‘, and – the yet to be released and holy grail for Beatles collectors – ‘Carnival of Light’).
In short, repeated listening to The Beatles’ output brings me continued pleasure. I feel good when I listen to the Beatles. I can listen to The Beatles and create playlists to reflect the mood I’m in. I can simply read the lyrics to their songs and look for meanings that probably weren’t intended by the songwriter. In short, I am constantly rewarded by listening to (and analysing the lyrics of) The Beatles. For me, listening to The Beatles is quite simply “group therapy”!
Dr. Mark Griffiths, Professor of Behavioural Addictions, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
The Beatles (1988). The Beatles Lyrics: The Songs of Lennon, McCartney, Harrison and Starr. London: Omnibus Press.
Davies, H. (2009). The Beatles: The Authorised Biography. London: Ebury.
Goldman, A. (1988). The Lives of John Lennon. W. Morrow.
Lewisohn, M. (1990). The Complete Beatles Chronicle. London: Harmony Books.
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.
Norman, P. (2011). Shout! the Beatles in their generation. New York: Simon and Schuster.
Sheff, D., & Golson, G. B. (1982). The Playboy Interviews with John Lennon and Yoko Ono. New York: Penguin Group.
Shonin, E., Van Gordon W., Compare, A., Zangeneh, M. & Griffiths M.D. (2015). Buddhist-derived loving-kindness and compassion meditation for the treatment of psychopathology: A systematic review. Mindfulness, 6, 1161–1180.
Shonin, E., Van Gordon W., & Griffiths, M.D. (2014). Current trends in mindfulness and mental health. International Journal of Mental Health and Addiction, 12, 113-115.
Shonin, E., Van Gordon W., & Griffiths M.D. (2014). The emerging role of Buddhism in clinical psychology: Towards effective integration. Psychology of Religion and Spirituality, 6, 123-137.
Shonin, E., Van Gordon, W. & Griffiths, M.D. (2015). Does mindfulness work? Reasonably convincing evidence in depression and anxiety. British Medical Journal, 351, h6919 doi: 10.1136/bmj.h6919.
Shonin, E., Van Gordon, W., & Griffiths, M.D. (2016). Mindfulness and Buddhist-derived Approaches in Mental Health and Addiction. New York: Springer.
Van Gordon, W., Shonin, E., & Griffiths, M.D. (2017). Buddhist emptiness theory: Implications for the self and psychology. Psychology of Religion and Spirituality, in press.
Van Gordon W., Shonin, E., Griffiths M.D. & Singh, N. (2015). There is only one mindfulness: Why science and Buddhism need to work together. Mindfulness, 6, 49-56.
Wenner, J. (2001). Lennon Remembers. Verso.
Wikipedia (2017). Arthur Janov. Located at: http://en.wikipedia.org/wiki/Arthur_Janov
Wikipedia (2017). Primal therapy. Located at: http://en.wikipedia.org/wiki/Primal_therapy
Five years ago I wrote a blog about one of my favourite bands, Throbbing Gristle (TG; Yorkshire slang for a penile erection). In that article, I noted that TG were arguably one of “the most extreme bands of all time” and “highly confrontational”. They were also the pioneers of ‘industrial music’ and in terms of their ‘songs’, no topic was seen as taboo or off-limits. In short, they explored the dark and obsessive side of the human condition. Their ‘music’ featured highly provocative and disturbing imagery including hard-core pornography, sexual manipulation, school bullying, ultra-violence, sado-masochism, masturbation, ejaculation, castration, cannibalism, Nazism, burns victims, suicide, and serial killers (Myra Hindley and Ian Brady).
I mention all this because I have just spent the last few days reading the autobiography (‘Art Sex Music‘) of Cosey Fanni Tutti (born Christine Newbie), one of the four founding members of TG. It was a fascinating (and in places a harrowing) read. As someone who is a record-collecting completist and having amassed almost everything that TG ever recorded, I found Cosey’s book gripping and read the last 350 pages (out of 500) in a single eight-hour sitting into the small hours of Sunday morning earlier today.
TG grew out of the ‘performance art’ group COUM Transmissions in the mid-1970s comprising Genesis P-Orridge (‘Gen’, born Neil Megson in 1950) and Cosey. At the time, Cosey and Gen were a ‘couple’ (although after reading Cosey’s book, it was an unconventional relationship to say the least). TG officially formed in 1975 when Chris Carter (born 1953) and Peter ‘Sleazy’ Christopherson (1955-2010). Conservative MP Sir Nicholas Fairburn famously called the group “wreckers of civilisation” (which eventually became the title of their 1999 biography by Simon Ford).
As I noted in my previous article, TG are – psychologically – one of the most interesting groups I have ever come across and Cosey’s book pulled no punches. To some extent, Cosey’s book attempted to put the record straight in response to Simon Ford’s book which was arguably a more Gen-oriented account of TG. Anyone reading Cosey’s book will know within a few pages who she sees as the villain of the TG story. Gen is portrayed as an egomaniacal tyrant who manipulated her. Furthermore, she was psychologically and physically abused by Gen throughout their long relationship in the 1970s. Thankfully, Cosey fell in love with fellow band member Chris Carter and he is still the “heartbeat” of the relationship and to who her book is dedicated.
Like many of my favourite groups (The Beatles, The Smiths, The Velvet Underground, Depeche Mode), TG were (in Gestaltian terms) more than the sum of their parts and all four members were critical in them becoming a cult phenomenon. The story of their break up in the early 1980s and their reformation years later had many parallels with that of the Velvet Underground’s split and reformation – particularly the similarities between Gen and Lou Reed who both believed they were leaders of “their” band and who both walked out during their second incarnations.
Cosey is clearly a woman of many talents and after reading her book I would describe her as an artist (and not just a ‘performance artist’), musician (or maybe ‘anti-musician in the Brian Eno sense of the word), writer, and lecturer, as well as former pornographic actress, model, and stripper. It is perhaps her vivid descriptions of her life in the porn industry and as a stripper that (in addition to her accounts of physical and psychological abuse by Gen) were the most difficult to read. For someone as intelligent as Cosey (after leaving school with few academic qualifications but eventually gaining a first-class degree via the Open University), I wasn’t overly convinced by her arguments that her time working in the porn industry both as a model and actress was little more than an art project that she engaged in on her own terms. But that was Cosey’s justification and I have no right to challenge her on it.
What I found even more interesting was how she little connection between her ‘pornographic’ acting and modelling work and her time as a stripper (the latter she did purely for money and to help make ends meet during the 1980s). Her work as a porn model and actress was covert, private, seemingly enjoyable, and done behind closed doors without knowing who the paying end-users were seeing her naked. Her work as a stripper was overt, public, not so enjoyable, and played out on stage directly in front of those paying to see her naked. Two very different types of work and two very different psychologies (at least in the way that Cosey described it).
Obviously both jobs involved getting naked but for Cosey, that appeared to be the only similarity. She never ever had sex for money with any of the clientele that paid to see her strip yet she willingly made money for sex within the porn industry. For Cosey, there was a moral sexual code that she worked within, and that sex as a stripper was a complete no-no. The relationship with Gen was (as I said above) ‘unconventional’ and Gen often urged her and wanted her to have sex with other men (and although she never mentioned it in her book, I could speculate that Gen had some kind of ‘cuckold fetish’ that I examined in a previous blog as well as some kind of voyeur). There were a number of times in the book when Cosey appeared to see herself as some kind of magnet for unwanted attention (particularly exhibitionists – so-called ‘flashers’ – who would non-consensually expose their genitalia in front of Cosey from a young age through to adulthood). Other parts of the book describe emotionally painful experiences (and not just those caused by Gen) including both her parents disowning her and a heartfelt account of a miscarriage (and the hospital that kept her foetus without her knowledge or consent). There are other sections in the book that some readers may find troubling including her menstruation art projects (something that I perhaps should have mentioned in my blog on artists who use their bodily fluids for artistic purposes).
Cosey’s book is a real ‘warts and all’ account of her life including her many health problems, many of which surprisingly matched my own (arrhythmic heart condition, herniated spinal discs, repeated breaking of feet across the lifespan). Another unexpected connection was that her son with Chris Carter (Nick) studied (and almost died of peritonitis) as an undergraduate studying at art at Nottingham University or Nottingham Trent University. I say ‘or’ because at one stage in the book it says that Nick studied at Nottingham University and in another extract it says they were proud parents attending his final degree art show at Nottingham Trent University. I hope it was the latter.
Anyone reading the book would be interested in many of the psychological topics that make an appearance in the book including alcoholism, depression, claustrophobia, egomania, and suicide to name just a few. In previous blogs I’ve looked at whether celebrities are more prone to some psychological conditions including addictions and egomania and the book provides some interesting case study evidence. As a psychologist and a TG fan I loved reading the book.
Dr Mark Griffiths, Professor of Behavioural Addictions, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Cooper, D. (2012). Sypha presents … Music from the Death Factory: A Throbbing Gristle primer. Located at: http://denniscooper-theweaklings.blogspot.co.uk/2012/02/sypha-presents-music-from-death-factory.html?zx=c19a3a826c3170a7
Fanni Tutti, C. (2017). Art Sex Music. Faber & Faber: London.
Ford, S. (1999). Wreckers of Civilization: The Story of Coum Transmissions and Throbbing Gristle. London: Black Dog Publishing.
Kirby, D. (2011). Transgressive representations: Satanic ritual abuse, Thee Temple ov Psychick Youth, and First Transmission. Literature and Aesthetics, 21, 134-149.
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Reynolds, S. (2006). Rip It Up and Start Again: Postpunk, 1978–1984. New York: Penguin.
Sarig, R. (1998). The Secret History of Rock: The Most Influential Bands You’ve Never Heard Of. New York: Watson-Guptill Publications.
Walker, J.A. (2009). Cosey Fanni Tutti & Genesis P-Orridge in 1976: Media frenzy, Prostitution-style, Art Design Café, August 10. Located at: http://www.artdesigncafe.com/cosey-fanni-tutti-genesis-p-orridge-1-2009
Wells, S. (2007). A Throbbing Gristle primer. The Guardian, May 27. Located at: http://www.guardian.co.uk/music/musicblog/2007/may/29/athrobbinggristleprimer
In a previous blog I examined my favourite board game (Scrabble) and the extent to which someone could become addicted to it. Today’s blog takes a broader look at the psychology of play more generally. Arguably, many of the topics that I research involve the psychology of playing games with video games and gambling games being my two most obvious areas of interest.
It’s been argued by myself (and others) that the ritualized play of several childhood games provides ‘training’ in the acquisition of gambling behaviour and that some games are pre-cursors to actual gambling (e.g., playing marbles, card flipping, etc.). Some authors (such as Igor Kusyszyn) hold the view that gambling is in itself ‘adult play’. Unsurprisingly, Freud was one of the first people to concentrate on the ‘functions’ of play and concluded that play in all its varieties (a) provides a wish-fulfilment, (b) leads to conflict reduction, (c) provides temporary leave of absence from reality, and (d) brings about a change from the passive to the active.
Since Freud, most psychologists have concentrated on the idea of ‘conflict reduction’ and in doing so have ignored his other three postulations. A more modern approach in the 1970s by Mihalyi Czikszentmihalyi asserted that during play a person can “concentrate on a limited stimulus field, in which he or she can use skills to meet clear demands, thereby forgetting his or her own problems and separate identity” (and provides one of the reasons that a small minority of people can develop problems playing games). Seminal research on the sociology of play by Roger Caillois states notes that play is a “free and voluntary activity”, “a source of joy and amusement” and “bounded by precise limits of time and space” whereas Erving Goffman views it as a “world building activity”.
Games provide the opportunity to prove one’s superiority, the desire to challenge and overcome an obstacle, and a medium by which to test one’s skill, endurance and ingenuity. Games, unlike some activities (including life itself!), tell us whether we have won or lost. As observed by James Smith and Vicki Abt in the 1980s:
“…in the context of a competitive and materialistic culture that has become increasingly regimented and standardized with little room for individual creativity and personal achievement, games (including gambling) offer the illusion of control over destiny and circumstance”.
Perhaps the best categorisation of game types was formulated by Roger Caillois who listed four classifications – agon (competition), alea (chance), mimicry (simulation), and ilinx (vertigo). In the context of games involving gambling, alea and agon are crucial in that they offer a combination of skill, chance and luck. As was previously asserted, most people desire opportunities to test their strength and skill against an adversary, and those games which offer a component of skill or talent combined with luck and chance provide the most favourable conditions. This is particularly prevalent in males who are deemed ‘masculine’ if during the socialization process they show (socially) important traits such as courage, independence, and bravery.
According to Caillois, play is “an occasion of pure waste: waste of time, energy, ingenuity, skill, and often of money” and is a “free and voluntary activity that occurs in a pure space, isolated and protected from the rest of life”. According to Caillois, play is best described by six core characteristics:
- It is free, or not obligatory.
- It is separate (from the routine of life) occupying its own time and space.
- It is uncertain, so that the results of play cannot be pre-determined and so that the player’s initiative is involved.
- It is unproductive in that it creates no wealth and ends as it begins.
- It is governed by rules that suspend ordinary laws and behaviours and that must be followed by players.
- It involves make-believe that confirms for players the existence of imagined realities that may be set against ‘real life’.
Back in 2000, I published an article on the psychology of games in Psychology Review and what makes a good game. I noted that:
- All good games are relatively easy to play but can take a lifetime to become truly adept. In short, there will always room for improvement.
- For games of any complexity there must be a bibliography that people can reference and consult. Without books and magazines to instruct and provide information there will be no development and the activity will die.
- There needs to be competitions and tournaments. Without somewhere to play (and likeminded people to play with) there will be little development within the field over long periods of time.
- Finally – and very much a sign of the times – no leisure activity can succeed today without corporate sponsorship of some kind.
I was recently interviewed by Lucy Orr for an article on board games for The Register – particularly about the psychology of winning. For instance, why is winning so important? I responded to Orr by pointing out that winning makes us feel good both psychologically and physiologically. Winning something – especially if it is a result of something skilful rather than by chance – can feel even better (unless the chance winning is something life changing like winning the lottery). Winning something using your own skill can demand respect from other competitors and brings about esteem (that can feed into one’s own self-esteem). Winning can be a validation that what you are doing is worthwhile. Other parts of my interview were not used.
I was asked whether beating other people makes winning more rewarding? Of course it does. Any time we engage in a behaviour that feels good we want to do it again (and again). Winning can be reinforcing on many different levels. There may be financial rewards, social rewards (peer praise, admiration and respect from others), psychological rewards (feeling better about oneself and feeling that the activity is a life-affirming and life-enhancing activity that feeds into self-esteem), and physiological rewards (increases in adrenaline and serotonin that trigger dopamine and makes us feel happy).
For some people, winning can become addictive. You can’t become addicted to something unless you are constantly reinforced and rewarded for engaging in the behaviour, and (as mentioned above) there are many different types of rewards (e.g., financial, social, psychological and physiological). Any (or all of these) could lead to repetitive and habitual behaviour and in a small minority of cases be addictive. However, as I have noted in a number of my papers, doing something to excess is not addiction. The difference between a healthy excessive enthusiasm and an addiction is that excessive enthusiasms add to life and addictions take away from it. For most people, winning behaviour – particularly in the context of playing board games – will be highly rewarding without being in any way problematic
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Brown, J. (2011). Scrabble addict. Sabotage Times, May 16. Located at: http://sabotagetimes.com/life/scrabble-addict/
Caillois, R. (1961). Man, play and games. Paris: Simon and Schuster.
Csikszentmihalyi, M. (1976). Play and intrinsic rewards. Journal of Humanistic Psychology, 16, 41-63.
Goffman, E. (1967). Interaction Ritual: Essays on face-to-face behavior. Garden City, New York: Doubleday Anchor.
Griffiths, M.D. (2000). The psychology of games. Psychology Review, 7(2), 24-26.
Griffiths, M.D. (2005). A ‘components’ model of addiction within a biopsychosocial framework. Journal of Substance Use, 10, 191-197.
Griffiths, M.D. (2010). The role of context in online gaming excess and addiction: Some case study evidence. International Journal of Mental Health and Addiction, 8, 119-125.
Kusyszyn, I. (1984). The psychology of gambling. Annals of American Academy of Political and Social Sciences, 474, 133-145.
Orr, L. (2016). Winner! Crush your loved ones at Connect Four this Christmas. The Register, December 16. Located at: http://www.theregister.co.uk/2016/12/15/beating_your_family_and_winning_this_christmas/
Smith, J. F. & Abt, V. (1984). Gambling as play Annals of the American Academy of Political and Social Sciences, 474, 122-132.
Walsh, J. (2004). Scrabble addicts. The Independent, October 9. Located at: http://www.independent.co.uk/news/uk/this-britain/scrabble-addicts-535160.html
Following my recent blogs where I outlined some of the papers that my colleagues and I have published on mindfulness, Internet addiction, gaming addiction, youth gambling, workaholism, exercise addiction, and sex addiction, here is a round-up of recent papers that my colleagues and I have published on strange and/or surprising addictions and behaviours.
Foster, A.C., Shorter, G.W. & Griffiths, M.D. (2015). Muscle Dysmorphia: Could it be classified as an Addiction to Body Image? Journal of Behavioral Addictions, 4, 1-5.
- Background: Muscle dysmorphia (MD) describes a condition characterised by a misconstrued body image in which individuals who interpret their body size as both small or weak even though they may look normal or highly muscular. MD has been conceptualized as a type of body dysmorphic disorder, an eating disorder, and obsessive–compulsive disorder symptomatology. Method and aim: Through a review of the most salient literature on MD, this paper proposes an alternative classification of MD – the ‘Addiction to Body Image’ (ABI) model – using Griffiths (2005) addiction components model as the framework in which to define MD as an addiction. Results: It is argued the addictive activity in MD is the maintaining of body image via a number of different activities such as bodybuilding, exercise, eating certain foods, taking specific drugs (e.g., anabolic steroids), shopping for certain foods, food supplements, and the use or purchase of physical exercise accessories). In the ABI model, the perception of the positive effects on the self-body image is accounted for as a critical aspect of the MD condition (rather than addiction to exercise or certain types of eating disorder). Conclusions: Based on empirical evidence to date, it is proposed that MD could be re-classified as an addiction due to the individual continuing to engage in maintenance behaviours that may cause long-term harm.
Griffiths, M.D., Foster, A.C. & Shorter, G.W. (2015). Muscle dysmorphia as an addiction: A response to Nieuwoudt (2015) and Grant (2015). Journal of Behavioral Addictions, 4, 11-13.
- Background: Following the publication of our paper ‘Muscle Dysmorphia: Could it be classified as an addiction to body image?’ in the Journal of Behavioral Addictions, two commentaries by Jon Grant and Johanna Nieuwoudt were published in response to our paper. Method: Using the ‘addiction components model’, our main contention is that muscle dysmorphia (MD) actually comprises a number of different actions and behaviors and that the actual addictive activity is the maintaining of body image via a number of different activities such as bodybuilding, exercise, eating certain foods, taking specific drugs (e.g., anabolic steroids), shopping for certain foods, food supplements, and purchase or use of physical exercise accessories. This paper briefly responds to these two commentaries. Results: While our hypothesized specifics relating to each addiction component sometimes lack empirical support (as noted explicitly by both Nieuwoudt and Grant), we still believe that our main thesis (that almost all the thoughts and behaviors of those with MD revolve around the maintenance of body image) is something that could be empirically tested in future research by those who already work in the area. Conclusions: We hope that the ‘Addiction to Body Image’ model we proposed provides a new framework for carrying out work in both empirical and clinical settings. The idea that MD could potentially be classed as an addiction cannot be negated on theoretical grounds as many people in the addiction field are turning their attention to research in new areas of behavioral addiction.
Maraz, A., Király, O., Urbán, R., Griffiths, M.D., Demetrovics, Z. (2015). Why do you dance? Development of the Dance Motivation Inventory (DMI). PLoS ONE, 10(3): e0122866. doi:10.1371/ journal.pone.0122866
- Dancing is a popular form of physical exercise and studies have show that dancing can decrease anxiety, increase self-esteem, and improve psychological wellbeing. The aim of the current study was to explore the motivational basis of recreational social dancing and develop a new psychometric instrument to assess dancing motivation. The sample comprised 447 salsa and/or ballroom dancers (68% female; mean age 32.8 years) who completed an online survey. Eight motivational factors were identified via exploratory factor analysis and comprise a new Dance Motivation Inventory: Fitness, Mood Enhancement, Intimacy, Socialising, Trance, Mastery, Self-confidence and Escapism. Mood Enhancement was the strongest motivational factor for both males and females, although motives differed according to gender. Dancing intensity was predicted by three motivational factors: Mood Enhancement, Socialising, and Escapism. The eight dimensions identified cover possible motives for social recreational dancing, and the DMI proved to be a suitable measurement tool to assess these motives. The explored motives such as Mood Enhancement, Socialising and Escapism appear to be similar to those identified in other forms of behaviour such as drinking alcohol, exercise, gambling, and gaming.
Maraz, A., Urbán, R., Griffiths, M.D. & Demetrovics Z. (2015). An empirical investigation of dance addiction. PloS ONE, 10(5): e0125988. doi:10.1371/journal.pone.0125988.
- Although recreational dancing is associated with increased physical and psychological well-being, little is known about the harmful effects of excessive dancing. The aim of the present study was to explore the psychopathological factors associated with dance addiction. The sample comprised 447 salsa and ballroom dancers (68% female, mean age: 32.8 years) who danced recreationally at least once a week. The Exercise Addiction Inventory (Terry, Szabo, & Griffiths, 2004) was adapted for dance (Dance Addiction Inventory, DAI). Motivation, general mental health (BSI-GSI, and Mental Health Continuum), borderline personality disorder, eating disorder symptoms, and dance motives were also assessed. Five latent classes were explored based on addiction symptoms with 11% of participants belonging to the most problematic class. DAI was positively associated with psychiatric distress, borderline personality and eating disorder symptoms. Hierarchical linear regression model indicated that Intensity (ß=0.22), borderline (ß=0.08), eating disorder (ß=0.11) symptoms, as well as Escapism (ß=0.47) and Mood Enhancement (ß=0.15) (as motivational factors) together explained 42% of DAI scores. Dance addiction as assessed with the Dance Addiction Inventory is associated with indicators of mild psychopathology and therefore warrants further research.
Greenhill, R. & Griffiths, M.D. (2015). Compassion, dominance/submission, and curled lips: A thematic analysis of dacryphilic experience. International Journal of Sexual Health, 27, 337-350.
- Objectives: Dacryphilia is a non-normative sexual interest that involves enjoyment or arousal from tears and crying, and to date has never been researched empirically. The present study set out to discover the different interests within dacryphilia and explore the range of dacryphilic experience. Methods: A set of online interviews were carried out with individuals with dacryphilic preferences and interests (six females and two males) from four countries. The data were analyzed for semantic and latent themes using thematic analysis. Results: The respondents’ statements focused attention on three distinct areas that may be relevant to the experience of dacryphilia: (i) compassion; (ii) dominance/submission; and (iii) curled-lips. The data provided detailed descriptions of features within all three interests, which are discussed in relation to previous quantitative and qualitative research within emotional crying and tears, and the general area of non-normative sexual interests. Conclusions: The study suggests new directions for potential research both within dacryphilia and with regard to other non-normative sexual interests.
Atroszko, P.A., Andreassen, C.S., Griffiths, M.D. & Pallesen, S. (2015). Study addiction – A new area of psychological study: Conceptualization, assessment, and preliminary empirical findings. Journal of Behavioral Addictions, 4, 75–84.
- Aims: Recent research has suggested that for some individuals, educational studying may become compulsive and excessive and lead to ‘study addiction’. The present study conceptualized and assessed study addiction within the framework of workaholism, defining it as compulsive over-involvement in studying that interferes with functioning in other domains and that is detrimental for individuals and/or their environment. Methods: The Bergen Study Addiction Scale (BStAS) was tested — reflecting seven core addiction symptoms (salience, mood modification, tolerance, withdrawal, conflict, relapse, and problems) — related to studying. The scale was administered via a cross-sectional survey distributed to Norwegian (n = 218) and Polish (n = 993) students with additional questions concerning demographic variables, study-related variables, health, and personality. Results: A one-factor solution had acceptable fit with the data in both samples and the scale demonstrated good reliability. Scores on BStAS converged with scores on learning engagement. Study addiction (BStAS) was significantly related to specific aspects of studying (longer learning time, lower academic performance), personality traits (higher neuroticism and conscientiousness, lower extroversion), and negative health-related factors (impaired general health, decreased quality of life and sleep quality, higher perceived stress). Conclusions: It is concluded that BStAS has good psychometric properties, making it a promising tool in the assessment of study addiction. Study addiction is related in predictable ways to personality and health variables, as predicted from contemporary workaholism theory and research.
Atroszko, P.A., Andreassen, C.S., Griffiths, M.D. & Pallesen, S. (2016). Study addiction: A cross-cultural longitudinal study examining temporal stability and predictors of its changes. Journal of Behavioral Addictions, 5, 357–362.
- Background and aims: ‘Study addiction’ has recently been conceptualized as a behavioral addiction and defined within the framework of work addiction. Using a newly developed measure to assess this construct, the Bergen Study Addiction Scale (BStAS), the present study examined the one-year stability of study addiction and factors related to changes in this construct over time, and is the first longitudinal investigation of study addiction thus far. Methods: The BStAS and the Ten Item Personality Inventory (TIPI) were administered online together with questions concerning demographics and study-related variables in two waves. In Wave 1, a total of 2,559 students in Norway and 2,177 students in Poland participated. A year later, in Wave 2, 1,133 Norwegians and 794 Polish who were still students completed the survey. Results: The test-retest reliability coefficients for the BStAS revealed that the scores were relatively stable over time. In Norway scores on the BStAS were higher in Wave 2 than in Wave 1, while in Poland the reverse pattern was observed. Learning time outside classes at Wave 1 was positively related to escalation of study addiction symptoms over time in both samples. Being female and scoring higher on neuroticism were related to an increase in study addiction in the Norwegian sample only. Conclusion: Study addiction appears to be temporally stable, and the amount of learning time spent outside classes predicts changes in study addiction one year later.
Greenhill, R. & Griffiths, M.D. (2014). The use of online asynchronous interviews in the study of paraphilias. SAGE Research Methods Cases. Located at: http://dx.doi.org/10.4135/978144627305013508526
Greenhill, R. & Griffiths, M.D. (2016). Sexual interest as performance, intellect and pathological dilemma: A critical discursive case study of dacryphilia. Psychology and Sexuality, 7, 265-278.
Griffiths, M.D. (1996). Behavioural addictions: An issue for everybody? Journal of Workplace Learning, 8(3), 19-25.
Griffiths, M.D. (1999). Dying for it: Autoerotic deaths. Bizarre, 24, 62-65.
Griffiths, M.D. (2001). Stumped! Amputee fetishes. Bizarre, 44, 70-74.
Griffiths, M.D. (2001). Heaven can wait: The psychology of near death experiences. Bizarre, December, 63-66.
Griffiths, M.D. (2012). The use of online methodologies in studying paraphilia: A review. Journal of Behavioral Addictions, 1, 143-150.
Griffiths, M.D. (2013). Bizarre sex. New Turn Magazine, 3, 49-51.
Griffiths, M.D. (2013). Eproctophilia in a young adult male: A case study. Archives of Sexual Behavior, 42, 1383-1386.