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

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

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

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

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

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

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

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

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

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

Further reading

Buckley, D. (2005). Strange Fascination: David Bowie – The Definitive Story. London: Virgin Books.

Cann, K. (2010). Any Day Now: David Bowie The London Years (1947-1974). Adelita.

Goddard, S. (2015). Ziggyology. London: Ebury Press.

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

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

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

Pegg, N. (2016). The Complete David Bowie (Revised and Updated 2016 Edition). London: Titan Books.

Seabrook, T.J. (2008). Bowie In Berlin: A New Career In A New Town. London: Jawbone.

Spitz, M. (2009). Bowie: A Biography. Crown Archetype.

Trynka, P. (2011). Starman: David Bowie – The Definitive Biography. London: Little Brown & Company.

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

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

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

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

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

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

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

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

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

Dr. Lam also talked about her treating upskirting voyeurs and recounted one case which she claimed was a compulsion. The case involved a male university student who was very sport active but who masturbated excessively whenever major sporting events or important exams were imminent as a coping strategy to relieve stress. Upskirting was another one of his coping strategies and he was eventually arrested for his behaviour. Dr. Lam then went on to report” 

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

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

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

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

Another source suggesting that upskirting may be an addictive activity comes from the details of those arrested and prosecuted. For instance, one infamous example in the UK (in 2015) was the case of Paul Appleby who managed to take 9000 upskirting photos in the space of just five weeks (suggesting that he was doing it all day every day to have taken so many photos). Appleby was finally caught when he was caught bending over to take a photo up a woman’s skirt in a Poundland shop. The Daily Mirror reported that:

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

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

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

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

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

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

Further reading

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

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

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

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

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

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

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

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

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

Test augmentation: 10 reasons why ‘Pokémon Go’ is so appealing

“Pokémon Go is a free-to-play location-based augmented reality mobile game developed…Making use of GPS and the camera of compatible devices, the game allows players to capture, battle, and train virtual creatures, called Pokémon [pocket monsters] who appear on device screens as though in the real world. The game is free-to-play, although it supports in-app purchases of additional gameplay items” (Wikipedia, 2016)

Unless you’re news-shy, off-grid, and/or a hermit, you can’t fail to have noticed all the media hype surrounding Pokémon Go. My youngest son and seemingly all of is friends have been out and about enjoying playing the latest gaming phenomenon. A lot of the press stories that I have read concentrate on the allegedly ‘addictive’ properties of the game (see ‘Further reading’ below). But what makes Pokémon Go such an appealing game? Here are my top ten reasons:

(1) It’s a popular franchise with a novel twist

Pokémon is a huge franchise with lots of associated spin-offs (animates films, carton television show, card games, figures to collect, etc.). And unlike some franchises, it’s a game that appears to be popular across age and gender but various aspects of the game (such as the use of augmented reality) give the game a novel twist on most other games (by utilizing real-world locations in which players explore their neighbourhood locality or wherever they happen to be).

(2) It’s fun, free to play, easy to play, and easy to access

Unlike many popular games, you don’t need a dedicated console to play the game. There is little in the way of barriers to entry. Anyone who has a smartphone can download Pokémon Go and it can be played anywhere at any time because it is played on a mobile device in which players try to catch Pokémon at specific locations (‘PokéStops’). This means that the number of potential users is huge, even in comparison to console games. In addition, there are no complicated buttons to press or controls to use. Most importantly it’s fun and free to play (but players can buy in-game items, an area that I’ve done a bit of research on which I outlined in a previous blog).

(3) It’s nostalgic and a ‘blast from the past’

Pokémon Go features many of the early ‘classic’ Pokémon characters (the ones that you could name in a pub quiz) hailing back to the 1990s. As well as attracting new and younger players, adults who loved Pokémon as a child or teenager can now re-live some of their childhood and adolescence. In short, some players can experience something new yet familiar. A research review carried out by Dr. Constantine Sedikides and Dr. Tim Wildschut demonstrated that “nostalgia has remarkable implications for one’s future. It strengthens approach orientation, raises optimism, evokes inspiration, boosts creativity, and kindles prosociality. Far from reflecting escapism from the present, nostalgia potentiates an attainable future”. A number of online articles coomenting on the popularity of Pokémon have included quotes about the game’s nostalgic element from Dr. Jamie Madigan (author of the 2015 book Getting Gamers: The Psychology of Video Games and Their Impact on People Who Play Them). He asserted that “if nostalgia is in play, and it evokes this positive emotion…our brain can substitute the question, ‘Does this make me happy’ for ‘Is this a good game?’”

(4) It’s a social game (if you want it to be)

Back in the early and mid-2000s I published a number of studies showing that the most important reason for playing online multiplayer games was for social reasons and to connect and interact with other players. The great think about Pokémon Go is that meeting other players face-to-face is almost inevitable as the game is played outside and on the move, and it’s easy to spot other like-minded players. People can make new friendships or consolidate existing ones. Players talk to each other and can share their experiences. Some may even have shared memories that plugs into feelings of nostalgia. However, Pokémon Go players (if they so wish) can play on their own too. The game is flexible enough to adapt to the player.

(5) It features augmented reality

One of the defining features of Pokémon Go is that augmented reality is a fundamental (and arguably the main) part of the game. Augmented reality (AR) is defined as “a live direct or indirect view of a physical, real-world environment whose elements are augmented (or supplemented) by computer-generated sensory input such as sound, video, graphics or GPS [global positioning system] data”. Pokémon Go has successfully managed to embed AR into the game which some players claim makes characters feel “more alive”. An article on the phenomenon in Time magazine said that Pokémon Go provides “the illusion that wild Pokémon are out there in the real world, waiting to be caught”. There are also some claims (such as a paper by Dr. Keith Bujak and his colleagues in a paper published in a 2013 issue of the journal Computers and Education) that augmented reality can be potentially addictive. The authors claim that children are most at risk from AR addiction and assert that:

“Augmented reality does not separate the user from his reality but instead uses it and realistically transforms it…This effect can cause a high degree of surprise and curiosity in users”.

(6) It’s motivating

Any one who plays videogames or researches in the area knows that successful games have to be motivating to play. Rewards within Pokémon Go help players to foster achievement, and achieving goals within the game drives motivation. As an article on the Keep It Suitable website noted: “The self-confidence that arises from the achievement of a goal – catching a Pikachu – motivates people to play more and more…and ‘Pokémon Go’ players are indeed very motivated…The ease with which the reward comes every time your phone buzzes, alerting you that a Pokémon is nearby, is very basic psychological conditioning”.

(7) It involves collecting

In a number of my previous blogs I have written about the psychology of collecting and this also appears to be one of the attractions concerning all things Pokémon (in fact the Pokémon mantra has always been “Gotta catch ‘em all”). In my articles I have always referenced the work of Professor Russell Belk who has written a lot of books and papers on the topic. He was interviewed by Forbes magazine on the topic of Pokémon Go. The Forbes article noted:

“In a 1991 article published in the ‘Journal of Social Behavior and Personality’, Belk described two main types of collecting: aesthetic and taxonomic. Aesthetic collecting occurs when objects aren’t in limited supply and so adding things to your collection depends on personal preferences. This includes artwork, but not pocket monsters. ‘I expect no matter how beautiful or ugly the Pokémon is, there’s relatively little aesthetic judgment,” says Belk…’You want them all — or as many as possible’. Collecting Pokémon is a lot like building a coin or stamp collection. It involves taxonomy – the process of naming and classifying things into groups. Taxonomic collecting can end temporarily but continue later: the original Game Boy games (Pokémon Red and Pokémon Blue) featured 151 monster ‘species,’ but sequels have pushed that number over 700. If ‘Pokémon Go’ remains popular and profitable in the long term, the app’s developer will no doubt add new species. Belk adds that the desire to collect isn’t driven by a need to complete a collection. ‘You’re not striving for that closure as much as striving for bigger and better collections…That implies some social comparisons – that your collection is in some sense better than theirs.”

In the same article, reference was also made to a just published literature review (‘Extended self and the digital world’) by Professor Belk in the journal Current Opinion in Psychology. In the paper Belk claims collecting has now gone beyond physical items and can now include the collecting of digital artefacts. As Belk notes:

“Collecting digital objects can have advantages over physical possessions. While coins and stamps are kept in cabinets at home, you can store an entire collection of ‘Pokémon’ on your phone to show friends…One reason why ‘Pokémon Go’ is so popular is that it puts digital monsters in the real world. Like finding a rare book in an antique shop, this turns the discovery of Pokémon — the challenge or thrill of the chase — into a story. With augmented reality, they’ve made the ‘thrill of the hunt’ in a version where you can tweet about it, you can post about it on your website, you can carry around images of the Pokémon that you’ve collected…That’s a conversation piece, and something you can carry with you or brag about online.”

(8) It gets people active without them really knowing it

A number of articles on Pokémon Go have noted that playing the game has meant players having to go outdoors and walk miles to catch the Pokémon. In short, if you want to do well in the game, you have to get out the house and do some exercise. As one article summed up on this aspect: ‘The running meme is that Pokémon Go managed to do in 24 hours what Michelle Obama could not manage over the course of 8 years: get people outside and active…It turns out gamification of healthy activities can be done and that’s potentially a huge win for the gaming subset of our society that doesn’t exactly have the healthiest track record”. Personally, I’m not convinced that Pokémon Go is as good as more traditional ‘exergaming’ (such as playing Wii Sports) but I can’t deny that it gets people out of a sedentary routine.

(9) It’s a never-ending game

Pokémon Go is a non-linear game in which every user’s playing experience is different given that it uses the person’s individual geo-location. Like many massively multiplayer online games, there is no end to the game and some players continue playing because of FOMO (fear of missing out). Ultimately there is theoretically no limit to how many Pokémon a player can catch or how the game might evolve over time.

(10) The rewards are unpredictable

Over the years I have written countless papers talking about the role of random ratio reinforcement schedules (operant condition processes) that underlie repetitive behaviour (that in extreme cases can result in gambling and gaming addictions). In simple terms, playing a videogame or a slot machine results in intermittent and unpredictable rewards. Knowing when a reward is coming gets boring in the long run but games where the player doesn’t know when the next reward is coming (like when in the Pokémon Go game, the player will next see a Pokémon to catch). Anticipated rewards (similarly to actual rewards) also facilitate dopamine (one of the most important ‘feel good’ neurotransmitters in the human body) release in the body. In fact, a paper by Dr. Patrick Anselm and Dr. Mike Robinson published in the journal Frontiers in Behavioral Neuroscience argued that dopamine release “seems to reflect the unpredictability of reward delivery rather than reward per se” and suggests that the motivation to gamble or play videogames “is strongly (though not entirely) determined by the inability to predict reward occurrence”. In short, playing Pokémon Go can keep you playing longer than you might have originally intended.

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

Further reading

Anselme, P. & Robinson, M.J.F. (2013) What motivates gambling behavior? Insight into dopamine’s role. Frontiers in Behavioral Neuroscience, 7, 182. doi: 10.3389/fnbeh. 2013.00182

Belk, R. W. (1991). The ineluctable mysteries of possessions. Journal of Social Behavior and Personality, 6(6), 17-55.

Belk, R. (2016). Extended self and the digital world. Current Opinion in Psychology, 10, 50-54.

Bujak, K.R., Radu, I., Catrambone, R., Macintyre, B., Zheng, R., & Golubski, G. (2013). A psychological perspective on augmented reality in the mathematics classroom. Computers & Education, 68, 536-544.

Chamary, J.V. (2016). Science explains why you’re addicted to Pokémon GO. Forbes, July, 12. Located at: http://www.forbes.com/sites/jvchamary/2016/07/12/science-collecting-pokemon/#276f49ac6d2e

Cleghorn, J. & Griffiths, M.D. (2015). Why do gamers buy ‘virtual assets’? An insight in to the psychology behind purchase behaviour. Digital Education Review, 27, 98-117.

Cole, H. & Griffiths, M.D. (2007). Social interactions in Massively Multiplayer Online Role-Playing gamers. CyberPsychology and Behavior, 10, 575-583.

Griffiths, M.D., Davies, M.N.O. & Chappell, D. (2003). Breaking the stereotype: The case of online gaming. CyberPsychology and Behavior, 6, 81-91.

Griffiths, M.D., Davies, M.N.O. & Chappell, D. (2004). Demographic factors and playing variables in online computer gaming. CyberPsychology and Behavior, 7, 479-487.

Griffiths, M.D., Davies, M.N.O. & Chappell, D. (2004). Online computer gaming: A comparison of adolescent and adult gamers. Journal of Adolescence, 27, 87-96.

Duhi, A. (2016). Caught ’em all?: Why Pokémon Go is so addicting. FSU News, July 19. Located at: http://www.fsunews.com/story/news/2016/07/19/caught-em-all-why-pokemon-go-so-addicting/87309612/

Eadiccio, L. (2016). Psychology experts explain why ‘Pokemon Go’ is so addictive. Time, July 12. Located at: http://time.com/4402123/pokemon-go-nostalgia/

Goodwin, R. (2016). Why the hell is everyone so addicted to Pokemon Go? Know Your Mobile, July 14. Located at: http://www.knowyourmobile.com/games/pokemon-go/23690/why-hell-everyone-so-addicted-pokemon-go

Keep It Suitable (2016). 10 Reasons from real users: Why is Pokemon Go so addictive? July 16. Located at: http://www.keepitusable.com/blog/?p=3579

Kubas-Meyer, A. (2016). Pokémon GO Is the most addictive gaming app ever. Daily Beast, July 11. Located at: http://www.thedailybeast.com/articles/2016/07/11/pokemon-go-is-the-most-addictive-gaming-app-ever.html

Sedikides, C., & Wildschut, T. (2016). Past forward: Nostalgia as a motivational force. Trends In Cognitive Sciences, 20(5), 319-321.

Smith, C. (2016). Science explains why you’re so addicted to Pokemon Go. BGR.com, July 13. Located at: http://bgr.com/2016/07/13/pokemon-go-game-addiction/

Wikipedia (2016). Pokémon Go. Located at: https://en.wikipedia.org/wiki/Pokémon_Go

Williams, C. (2016). Why everyone is addicted to Pokemon Go. Looper, July 14. Located at: http://www.looper.com/18330/everyone-addicted-pokemon-go/

Fanable Collector: A personal insight into the psychology of a record-collecting completist

Regular readers of my blog will know that I have described myself as a “music obsessive” and that I am an avid record and CD collector. When I get into a particular band or artist I try to track down every song that artist has ever done – irrespective of whether I actually like the song or not. I have to own every recording. Once I have collected every official recording I then start tracking down unofficially released recordings via bootlegs and fan websites. I have my own books and printed lists (i.e., complete discographies by specific bands and solo artists) that I meticulously tick off with yellow highlighter pen. (In some ways, I am no different to a trainspotter that ticks off train numbers in a book).

I wouldn’t say I am a particularly materialistic person but I love knowing (and feeling) that I have every official recorded output by my favourite musicians. My hobby can sometimes cost me a lot of money (I am a sucker for deluxe box sets) although most of the time I can track down secondhand items and bargains on eBay and Amazon relatively cheaply (plus I have downloaded thousands of bootleg albums for free from the internet). Tracking down an obscure release is as much fun as the listening of the record or CD (i.e., the ‘thrill of the chase’). Almost every record I have bought over the last decade is in mint condition and unplayed (as many records now come with a code to download the record bought as a set of MP3s).

As a record collector, one of the things that make the hobby both fun and (at the same time somewhat) infuriating is the number of different versions of a particular song that can end up being released. As a collector I have an almost compulsive need to own every version of a song that an artist has committed to vinyl, CD, tape or MP3. However, I am grateful that I am not the type of collector that tries to own every physical record/CD released in every country. (My love of The Beatles would mean I would be bankrupt). I only buy releases in other countries if it contains music that is exclusive to that country (e.g., many Japanese CD releases contain one or two tracks that may not be initially released in any other country).

For most artists that I collect from the 1960s to early 1980s, it is fairly easy to collect every officially released song. Artists like The Beatles may have up three to four official versions of a particular song (the single version, the album version, a demo version, a version from another country with a different edit, etc.). With bootleg recordings, the number of versions might escalate to 30 or 40 versions by including live versions, every studio take, etc.). It can become almost endless if you start to collect bootleg recordings of every gig by your favourite artists. (I know this from personal experience).

It was during my avid record buying days in the early 1980s that the ‘completist’ in me started to take hold. Some of you reading this may recall that in 1984, Frankie Goes To Hollywood (FGTH) became only the second band ever to reach the UK No.1 with their first three singles – ‘Relax’, ‘Two Tribes’ and ‘The Power of Love’ (the first band being – not The Beatles, but their Liverpool friends and rivals – Gerry and The Pacemakers). One of the reasons that FGTH got to (and stayed for weeks at) number one was there were thousands of people like me that bought countless different versions of every variation of every single released. For instance, not only did I buy the standard 7”, 12”, cassettes, and picture discs of both ‘Relax’ and ‘Two Tribes’, I bought every new mix that FGTH producer Trevor Horn put out.

Every week, all of the money that I earned from my Saturday job working in Irene’s Pantry would go on buying records from Castle Records in Loughborough. I didn’t care about clothes, sweets, books, etc. All I cared about outside of school was music. Some of my hard earned money went on buying the NME (New Musical Express) every Thursday along with buying other music weeklies if my favourite bands were featured (Melody Maker, Record Mirror, Sounds and Smash Hits to name just a few).

When I got to university to study Psychology at the University of Bradford, my love of music and record buying increased. Not only did I discover other like-minded people but Bradford had a great music scene. One of the first things I did when I got to university was become a journalist for the student magazine (Fleece). Within seven months I was one of the three Fleece editors and I was in control of all the arts and entertainment coverage. The perks of my (non-paid) job was that (a) I got to go to every gig at Bradford University for free, (b) I was sent lots of free records to review for the magazine (all of which I kept and some of which I still have), and (c) I got to see every film for free in return for writing a review. I couldn’t believe my luck.

During this time (1984-1987) my three favourite artists were The Smiths, Depeche Mode, and (my guilty pleasure) Adam Ant. I devoured everything they released (especially The Smiths). As a record collector I not only loved the Smiths music but I loved the record covers, the messages scratched on the vinyl run-out grooves, and Morrissey’s interviews in the music press. It was also during this period that I discovered other bands that later went onto become some of my favourite bands of all time (Propaganda and The Art of Noise being the two that most spring to mind). As a Depeche Mode fan, collecting every track they have ever done has become harder and harder (and more expensive) as they were arguably one of the pioneers of the remix. Although Trevor Horn and the ZTT label took remixing singles to a new level for record collectors, it was Depeche Mode that arguably carried on the baton into the 1990s.

During 1987-1990, my record buying subsided through financial necessity. I was doing my PhD at the University of Exeter and the little money I had went on food, rent, and travel (to see my then girlfriend who lived over 300 miles away). I simply didn’t have the money to buy and collect records the way I had before. Buying singles stopped but I would still buy the occasional album. This was the only period in my life that I didn’t really buy music magazines. (My thinking was that if I didn’t know what was being released I couldn’t feel bad about not buying it).

In the summer of 1990 I landed my first proper job as a Lecturer in Psychology at Plymouth University. For the first time in my life I had a healthy disposable income. My first purchase with my first pay cheque was an expensive turntable and CD player. I also bought loads of CD albums on my growing wish list. What I loved about my hobby was that I could do it simultaneously with my job (i.e., I could listen to my favourite bands at the same time as preparing my lectures or writing my research papers – something that I still do to this day).

When CD singles became popular in the 1990s I became a voracious buyer of music again. Typically bands would release a single across multiple formats with each format containing tracks exclusive to the record, CD and/or cassette. Artists like Oasis and Morrissey (two of my favourites during the 1990s) would release singles in three or four formats (7” vinyl, 10”/12” vinyl, CD single, and cassette single) and I would buy all formats (and to some extent I still do). It was a collector’s paradise but I could afford it. In fact, not only could I afford to buy all the music I wanted, I could buy all the monthly music magazines at the time (Vox, Select, Record Collector, Q, and then a little later Uncut and Mojo), and I could go to gigs and still have money left over.

Since the mid-1990s only one thing has really changed in relation to my music-buying habits and that is there are less and less new bands that I have become a fan of. I still buy lots of new music but I don’t tend to collect the work of contemporary bands. However, the music industry has realized there are huge amounts of money to be made from their back catalogues. I am the type of music buyer that will happily buy a ‘classic’ album again as long as it has an extra disc or two of demo versions, rarities, remixes, and obscure B-sides, that will help me extend and/or complete music collections by the bands I love. Over this year I have already bought box sets by The Beatles, The Velvet Underground, Throbbing Gristle, and David Bowie (to name just four). I have become a retro-buyer but I still crave “new” music by my favourite artists. Yes, I love music and it takes up a lot of my life. However, I am not addicted. My obsessive love of music adds to my life rather than detracts from it – and on that criterion alone I will happily be a music collector until the day that I die.

Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Belk, R.W. (1995). Collecting as luxury consumption: Effects on individuals and households. Journal of Economic Psychology, 16(3), 477-490.

Belk, R.W. (2001). Collecting in a Consumer Society. New York: Routledge.

Moist, K. (2008). “To renew the Old World”: Record collecting as cultural production. Studies in Popular Culture, 31(1), 99-122.

Pearce, S. (1993). Museums, Objects, and Collections. Washington, D.C.: Smithsonian Institution Press.

Pearce, S. (1998). Contemporary Collecting in Britain. London: Sage.

Reynolds, S. (2004). Lost in music: Obsessive music collecting. In E. Weisbard (Ed.), This Is Pop: In Search of the Elusive at Experience Music Project (pp.289-307). Cambridge, MA: Harvard University Press.

A world of disc-overy: Record collecting as an addiction

Regular readers of my blog will know that (a) some of my friends describe me as a “music obsessive” and (b) that I have written blogs on both compulsive hoarding and ‘collecting’ as an addiction‘ (including a separate blog on murderabilia). Today’s blog briefly looks at a really interesting 2008 paper I came across on ‘record collecting’ as an addiction written by Professor Kevin Moist in the journal Studies in Popular Culture. (Moist also has a new co-edited book – Contemporary Collecting: Objects, Practices, and the Fate of Things – that has just been published by Scarecrow Press).

According to research papers and books by Dr. Russell Belk, around one in three people in the United States collects something – yet one of the observations that Moist makes is that collectors (in general and not just relating to record collectors) are often portrayed negatively as “obsessive, socially maladjusted oddballs in thrall to acquisitive drives”. I have to admit that those closest to me certainly see my passionate interest in collecting music by certain recording artists as “obsessive” (although arguably not “socially maladjusted”). I’ve also been described as “no different to a trainspotter” (but said in such a way that it obviously relates to something negative).

Research by Dr. Susan Pearce (published in her 1998 book Contemporary Collecting in Britain) shows that collectors as a group are “quite average, socially speaking”. Additionally, Dr. Belk claims that the image of a ‘collector’ acts as “an unwitting metaphor for our own fears of unbridled materialism in the marketplace”. Belk then goes on to say that his research has led him to the conclusion that collectors cherish things about objects “that few others appreciate” and are not necessarily materialistic in their motivations for collecting. Belk also talks about collecting behaviour being on a continuum of the ‘heroic passionate’ collector at one end of the spectrum and the ‘obsessive-compulsive type’ at the other with most collectors falling somewhere between the two. I briefly dealt with the motivations to collect things in my previous blog but in her book Museums, Objects, and Collections, Dr. Pearce argues collecting falls into three distinct (but sometimes overlapping) types. As Moist summarizes:

“One of these she calls ‘souvenirs’, items or objects that have significance primarily as reminders of an individual’s or group’s experiences. The second mode is what she calls ‘fetish objects’ (conflating the anthropological and psychological senses of the term), relating primarily to the personality of the collector; the collector’s own desires lead to the accumulation of objects that feed back into those desires, with the collection playing a central role in defining the personality of the collector, memorializing the development of a personal interest or passion. The third mode, ‘systematics’, has the broader goal of creating a set of objects that expresses some larger meaning. Systematic collecting involves a stronger element of consciously presenting an idea, seen from a particular point of view and expressed via the cultural world of objects”.

When it comes to record collecting, I appear to most fit the second (i.e., fetish) type. The artists that I collect are an extension of my own personality and say something about me. My tastes are diverse and eclectic (to say the least) and range from the obvious ‘classic’ artists (Beatles, David Bowie, Rolling Stones, Led Zeppelin, Lou Reed), the not so obvious (Adam Ant, The Smiths, Bauhaus, Heaven 17, Depeche Mode, Gary Numan, Divine Comedy), the arguably obscure (Art of Noise, John Foxx, Propaganda, David Sylvian, Nico) and the downright extreme (Throbbing Gristle, Velvet Underground). Arguably, most people’s conceptions of record collecting (if they are not collectors themselves) are likely to be based on media and cultural representations of such individuals (such as John Cusack and Jack Black in High Fidelity, or Steve Buscemi in Ghost World). I agree with Professor Moist who asserts:

“Most record collectors fit well within Belk’s definition, passionately acquiring sets of records both as objects and cultural experiences. As with most types of collecting, the ‘thrill of the chase’ is a major part of the experience…[However] today, with eBay and other online resources, the amount of time required for the hunt has been reduced, and collecting is also less of a face-to-face social activity since one can search in private rather than actually traveling to find records…Music writer Simon Reynolds notes that record collecting also ‘involves the accumulation of data as well as artifacts’, a factor that can be seen in magazines devoted to record collecting such as Goldmine and Record Collector, and that has only increased as collecting has gone online”.

The above paragraph could have been written about me. I am one of those record collectors that collect as much for the cultural experience as for the object itself. I have loads of mint condition singles and LPs that I haven’t even played (but listen to the music on my i-Pod). I have bought Record Collector magazine every month for over 30 years and have never missed an issue. Every month I buy a wide range of other music magazines including Mojo, Q, Uncut, Vive Le Rock, Classic Rock and Classic Pop (as well as the occasional issue of Rolling Stone, NME, The Wire, Future Music and Shindig). In short, almost a lot of my disposable income goes on buying music or reading music. My records, CDs and music magazines can be found in almost every room in my house. To me, my collection is priceless (and I mean that in an emotional sense rather than a financial one). I am an archivist of the artists I collect as much as a collector. Professor Moist comments that: “While such fanatical and obsessed collectors do exist…they are clearly outliers on the scale of collecting passion…For such people collecting is a real problem”. However, I am a true fanatic of music but don’t believe I am addicted (based on my own criteria). My love of music and collecting it adds to my life rather than takes away from it. As Moist also notes (and which I again wholeheartedly agree:

“Most record collectors collect as much for the content as for the object: one is far less likely to find a collector whose collecting criteria is ‘records with yellow labels’ than to find one whose focus is ‘west coast jazz’ or ‘pre-war blues’. Collectors might follow particular artists (Charlie Parker, the Sex Pistols), musical genres (reggae, soul, classical), records from certain cultural/geographic areas (New Orleans, South Africa), records from specific labels (Sun, Stax, Rough Trade), records for special types of use (sound effects, ‘library’ music), records from a historical era (the 1960s), records with covers by particular graphic artists, special editions of records (first/original pressings are again popular), particular types of records (45s, LPs), records that embody memory on a more personal scale (those played by a favorite local DJ, or listened to in one’s youth, etc.), and many more besides. For many collectors, records’ status as bearers of personal and/or collective meaning is most significant”.

Moist’s chapter also features a number of case studies of people that appear to be addicted to record collecting – an activity that completely takes over (and conflicts with) almost every area of their lives. Moist concludes:

“Is there something about recorded music that lends itself to this sort of collecting? It could be that records’ dual levels of significance – objects themselves, and materializations of sound – make such types of activity more likely, that the status and possibilities of the object itself provide for certain approaches to collecting it…more research is needed on other types of collecting before such conclusions can be reached, though certainly the era of mass production has seen popular collecting expand greatly, and the digital era should see even further changes”.

I (for one) would love to carry out research in the area of record collecting but I guess I would get little research funding to carry out such studies. To me, the psychology of record collecting is fascinating but I know only too well that most others I know simply cannot fathom what it is I love about music and collecting music.

Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Belk, R.W. (1995). Collecting as luxury consumption: Effects on individuals and households. Journal of Economic Psychology, 16(3), 477-490.

Belk, R.W. (2001). Collecting in a Consumer Society. New York: Routledge.

Moist, K. (2008). “To renew the Old World”: Record collecting as cultural production. Studies in Popular Culture, 31(1), 99-122.

Pearce, S. (1993). Museums, Objects, and Collections. Washington, D.C.: Smithsonian Institution Press.

Pearce, S. (1998). Contemporary Collecting in Britain. London: Sage.

Reynolds, S. (2004). Lost in music: Obsessive music collecting. In E. Weisbard (Ed.), This Is Pop: In Search of the Elusive at Experience Music Project (pp.289-307). Cambridge, MA: Harvard University Press.

Completing the ‘killection’: A brief look at ‘murderabilia’

In a previous blog, I examined the psychology of collecting and whether collecting can (in extreme cases) be classed as an addiction. Yesterday, the Daily Mail’s front page story was about collectors that buy ‘Holocaust memorabilia’ on eBay such as the striped pyjamas that prisoners were forced to wear in Nazi concentration camps during Word War II. This type of collecting is closely related to collectors that buy ‘murderabilia’. Although the word ‘murderabilia’ is fairly new (and is an amalgam of ‘murder memorabilia’), the act itself has a long history and basically refers to collectibles that relate to murder, murderers and/or violent crimes (including such items as artwork produced by incarcerated serial killers, as well as houses, vehicles, clothes, and weapons used in crimes by mass murderers).

The fact that people collect such extreme memorabilia doesn’t surprise me in the least. To me, such behaviour is only one step removed from ‘disaster tourism’ where people pay money to see places, sites, and/or artefacts related to death and disaster. One recent example involved a travel company selling €10 tours to see the sunken cruise liner Costa Concordia off the Tuscan island of Giglio (Italy). Another related type of collecting are the thousands of people that collect Nazi memorabilia (including high profile cases such as the lead singer of Motörhead – Lemmy). As Lemmy’s Wikipedia entry notes:

“Lemmy collects German military regalia, and has an Iron Cross encrusted on his bass, which has led to accusations of Nazi sympathies. He has stated that he collects this memorabilia for aesthetic values only, and considers himself an anarchist or libertarian, and that he is ‘anti-communism, fascism, any extreme’ saying that ‘government causes more problems than it solves’. According to Keither Emerson’s autobiography, two of Lemmy’s Hitlerjugend knives were given to Emerson by Lemmy during his time as a roadie for The Nice. Emerson used these knives many times as keyholders when playing the Hammond Organ during concerts with The Nice and Emerson, Lake & Palmer”.

As I noted in my previous blog on collecting as an addiction, Dr. Ruth Formanek suggested five common motivations for collecting in a 1991 issue of the Journal of Social Behavior and Personality. These were: (i) extension of the self (e.g., acquiring knowledge, or in controlling one’s collection); (ii) social (finding, relating to, and sharing with, like-minded others); (iii) preserving history and creating a sense of continuity; (iv) financial investment; and (v), an addiction or compulsion. Formanek claimed that the commonality to all motivations to collect was a passion for the particular things collected. None of these motivations beyond passion appears to explain why people collect murderabilia (unless the collectors themselves identify with the person and/or actions of the murderabilia they collect). Crime writer Leigh Lundin claims such individuals may be interested in the macabre, and that many believe by collecting such items offers the collector power and control. My own opinion is that such collectors want to possess unique items that no-one else has and also believe that possess a piece of history (even if the item is connected with actions or people that are sadistic, depraved and/or deluded). Arguable this latter motivation may be related to the motivation of ‘preserving history’.

Back in May 2001, eBay banned the sale of murderabilia items but all this has done is move the murderabilia industry elsewhere (for instance, on websites like Supernaught.com that claims on its’ homepage that it is “the first and longest running website providing true crime collectibles”; among the items they were selling were bricks from [Milwaulkee Cannibal] Jeffrey Dahmer’s apartment at $300 a time). The Australian Caslon Analytics website also noted that:

“Contemporary murderabilia has included items owned or created by serial killers, including postcards from Charles Manson, what are claimed as his fingerprint cards, the license plate of the van used by John Wayne Gacy, a murder weapon used by Gary Gilmore, letters from the ‘Yorkshire Ripper’ [Peter Sutcliffe] and the ‘Acid Bath Killer’ [John George Haigh] in the UK, drawings by Gacy and other US killers, the radiator cap from the Bonnie & Clyde ‘death car’, Heinrich Himmler’s limousine, earth supposedly from the house where Gacy buried some of his victims and the clothing of some killers. 2009 saw artworks by UK gang leaders Ronnie and Reggie Kray auctioned for £17,125, along with £3,105 for a canvas by poisoner Graham Young”.

The academic literature on murderabilia is mostly in the field of law and/or morality. However, I did unearth a few interesting academic pieces on the topic. There are also some interesting pieces written from a media studies perspective. For instance, Dr. Melinda Wilkins in her PhD ‘A Comfortable Evil’ noted that:

“The serial murder epidemic also generated within the popular media a lucrative moral controversy to negotiate via films, television movies, docu-dramas, true-crime accounts, novels, and memoirs. There were serial-killer comic books and serial killer trading cards to sell; there were serial-killer records to play, taped interviews with Edmund Kemper, Ted Bundy, Henry Lee Lucas, and Kenneth Bianchi billed as ‘honesty about violence’; and for a while during the early 2000s, there was even an eBay web site devoted to the sale of ‘Murderabilia’, memorabilia of one sort and another from various notorious murderers in prison. The epidemic provided American journalists with an apparently inexhaustible topic guaranteed to draw readers and viewers”.

One US academic – Professor David Schmid – has written a number of articles and books on the general public’s consumption of fame including murderabilia including one on this very topic in the M/C Journal (an academic journal concerning media and culture). As Professor Schmid observes:

“The sale of murderabilia is just a small part of the huge serial killer industry that has become a defining feature of American popular culture over the last twenty-five years. This industry is, in turn, a prime example of what Mark Seltzer has described as ‘wound culture,’ consisting of a ‘public fascination with torn and open bodies and torn and opened persons, a collective gathering around shock, trauma, and the wound’. According to Seltzer, the serial killer is ‘one of the superstars of our wound culture’ and his claim is confirmed by the constant stream of movies, books, magazines, television shows, websites, t-shirts, and a tsunami of ephemera that has given the figure of the serial murderer an unparalleled degree of visibility and fame in the contemporary American public sphere”

Schmid’s paper examined how the celebrity culture concerning serial killers has developed and the ethics of collecting such items. He provided examples of how collectors buy the hair and nail clippings of murderers as if they were religious icons. Citing from an old book chapter by US sociologist Leo Lowenthal (‘Biographies in Popular Magazines’), Lowenthal argued that magazine biographies underwent a striking change in the first half of the twentieth century with a new type of social biography emerging. His main argument was that biographies had changed from ‘idols of production’ (those in politics, science, sports, business, etc.) to ‘idols of consumption’ (those in film, music, literature, etc.). This latter group has also evolved to include the lives of infamous criminals. As Schmid then notes:

“With Lowenthal in mind, when one considers the fact that the serial killer is generally seen, in Richard Tithecott’s words, as ‘deserving of eternal fame, of media attention on a massive scale, of groupies’, one is tempted to describe the advent of celebrity serial killers as a further decline in the condition of American culture’s ‘mass idols’. The serial killer’s relationship to consumption, however, is too complex to allow for such a hasty judgment, as the murderabilia industry indicates”.

Schmid also discusses the 2000 US documentary Collectors (directed by Julian P. Hobbs) and discusses some of the multiple connections between serial killing and consumerism.

“Hobbs points out that the serial killer is connected with consumerism in the most basic sense that he has become a commodity, ‘a merchandising phenomenon that rivals Mickey Mouse. From movies to television, books to on-line, serial killers are packaged and consumed en-masse’…But as Hobbs goes on to argue, serial killers themselves can be seen as consumers, making any representations of them implicated in the same consumerist logic: ‘Serial killers come into being by fetishizing and collecting artifacts – usually body parts – in turn, the dedicated collector gathers scraps connected with the actual events and so, too, a documentary a collection of images’…Hobbs implies that no one can avoid being involved with consumerism in relation to serial murder, even if one’s reasons for getting involved are high-minded”.

Schmid then goes on to say:

“The reason why it is impossible to separate neatly ‘legitimate’ and ‘illegitimate’ expressions of interest in famous serial killers is the same reason why the murderabilia industry is booming; in the words of a 1994 National Examiner headline: ‘Serial Killers Are as American as Apple Pie’. Christopher Sharrett has suggested that: ‘Perhaps the fetish status of the criminal psychopath…is about recognizing the serial killer/mass murderer not as social rebel or folk hero…but as the most genuine representative of American life’. The enormous resistance to recognizing the representativeness of serial killers in American culture is fundamental to the appeal of fetishizing serial killers and their artifacts”.

Even if the murderabilia market carries on ‘making a [financial] killing out of a killing’, it is unlikely to wane in popularity (unless the mass media stops reporting such behaviour). Furthermore, even if legislation outlaws such a practice, the activity will simply go (and likely burgeon) underground. There will always be individuals that are fascinated by the macabre (myself included) and no law will ever stop people collecting such items, however immoral, bizarre and/or depraved.

Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK

Further reading

Chang, S. (2004). Prodigal son returns: An assessment of current Son of Sam laws and the reality of the online murderabilia marketplace. Rutgers Computer and Technology Law Journal, 31, 430.

Daily Mail (2012). ‘Disaster tourism’ boom for Giglio as day-trippers visit the Costa Concordia site. August 15. Located at: http://www.dailymail.co.uk/travel/article-2188623/Costa-Concordia-tragedy-Disaster-tourism-boom-Giglio-day-trippers-visit-stricken-ship.html

Formanek, R. (1991). Why they collect: Collectors reveal their motivations. Journal of Social Behavior and Personality, 6(6), 275-286.

Jarvis, B. (2007). Monsters Inc.: Serial killers and consumer culture. Crime, Media, Culture, 3(3), 326-344.

Lowenthal, L. (1961). The Triumph of Mass Idols. Literature, Popular Culture and Society (pp.109-140). Englewood Cliffs, NJ: Prentice-Hall.

Schmid, D. (2004). Murderabilia: Consuming fame. M/C Journal: A Journal of Media and Culture, 7(5). Located at: http://journal.media-culture.org.au/0411/10-schmid.php

Sharrett, C. (1999). Introduction. Mythologies of Violence in Postmodern Media. (pp. 9-20). Detroit: Wayne State University Press.

Tithecott, R. (1997). Of Men and Monsters: Jeffrey Dahmer and the Construction of the Serial Killer. Madison: University of Wisconsin Press.

Wikipedia (2013). Murderabilia. Located at: http://en.wikipedia.org/wiki/Murderabilia

Wilkins, M. P. (2004). A Comfortable Evil. Doctoral Dissertation, Pennsylvania State University).