In a previous blog, I briefly overviewed the influence that the Catalonian surrealist artist Salvador Dali had made on psychology (based on a couple of articles I had published about him earlier in my academic career – see ‘Further reading’ below). In that blog I briefly mentioned some of the strange aspects in his life relating to his sexuality and sexual desires but did not go into any details. In this article, I delve a little deeper into Dali’s sexual psychology and concentrate on some of the more extreme aspects of his life. I’m certainly not the first person to do this given that there are various online articles covering similar ground such as ‘Five sadistic and depraved secrets of Salvador Dali’, ‘10 depraved secrets of Salvador Dali’, and ‘17 unbelievably weird stories most people don’t know about Salvador Dali’. In a nutshell (and if you believe everything you read about him), Dali didn’t like sexual intercourse, was ‘addicted to masturbation’, was a sexual voyeur, was obsessed by buttocks, had an interest in necrophilia, was sexually attracted to Adolf Hitler and hermaphrodites, and was a candaulist (i.e., he liked to watch his wife have sex with other men).
The first observation to make concerning Dali is that he had little interest in sexual intercourse. All Dali’s biographers make reference to this because this was something that Dali admitted himself (for instance in his book The Unspeakable Confessions of Salvador Dali). In Ian Gibson’s (1998) biography The Shameful Life of Salvador Dali, it notes that Dali had been fixated on his unusually complex sexuality since his teenage years. Dali wrote that:
”For a long time I experienced the misery of believing I was impotent…Naked, and comparing myself to my schoolfriends, I discovered that my penis was small, pitiful and soft. I can recall a pornographic novel whose Don Juan machine-gunned female genitals with ferocious glee, saying that he enjoyed hearing women creak like watermelons. I convinced myself that I would never be able to make a woman creak like a watermelon”.
It was in his teenage years that Dali acquainted himself with the pleasures of masturbation even though he had a fear that it would cause homosexuality, impotence, and madness. However, sexual self-gratification became his primary (and many biographers allege only) sexual activity he engaged in throughout his life, often in front of a mirror. It’s also been noted by many authors that Dali “associated sex with decay” and that the roots of this association were due to his father’s strange form of sex education (such as being shown sexually explicit photographs of individuals with advanced, untreated sexually transmitted infections that Dali described as “the color of hell”). After viewing the pictures of grotesque genitalia, Dali started to associate sexual activity with decay and putrefaction (which came to the fore in his paintings). In his 1942 autobiography (The Secret Life of Salvador Dali) he even claimed that he became interested in necrophilia but was then later “cured” of it (but to what level his interest spanned is unknown). Dali had many obsessions including a deep fascination of buttocks (both men’s and women’s) as well as many phobias including female genitalia and a fear of castration (and appears to be the basis of his infamous painting The Great Masturbator). As a 2014 article by Jackie Fuchs noted:
“These fears and obsessions – along with a lifelong fascination with ants – became recurrent motifs in his paintings. In ‘The Great Masturbator’, Dali’s first significant work, a woman believed to be Dali’s future wife Gala rises out of a downward-facing head, which is suspended over a locust swarming with ants. The positioning of the woman’s mouth next to a thinly clad male crotch suggests fellatio, while the trickle of blood on the male figure’s thighs reflects Dali’s castration anxiety (see below)”.
A 2011 online article in Living in Philistia by Joshua White makes other allegations about Dali’s early childhood saying that he might have been sexually abused by one of his schoolteachers and that he might have had an incestuous relationship with his sister (although I’ve found little evidence of these allegations):
“[Dali] later pinned his ‘impotence’ on his father, as well as his mother, and naturally Dali went on to fantasise of sodomising his dying father. This also might explain the direct kind of gynophobia Dali later developed. It has been suggested that he was molested by a teacher who used to have Dali sit on his lap while he stroked him. That would explain the artist’s lifelong hatred of being touched. The subject of twelve of his early paintings was Dali’s sister Ana Maria, a number of which tellingly depict her from the rear, which has led some to conclude that the relationship between them may have been incestuous. The sex life of Salvador Dali was not a common one to say the least”.
An online article by Mateo Sol also alluded to Dali’s poor relationship with his parents. On one occasion Dali exhibited an artwork in which he wrote “Sometimes, I spit for fun on my mother’s portrait.” His father asked him to publicly apologise but Dali declined to do so. Following this incident, Dali sent his father a condom in the post (into which he had added his own semen) with a short note that simply read: “This is all I owe you”.
Dali’s wife and muse Gala (born in Russia as Helena Diakanoff Devulina) appears to have dominated Dali from their first meeting in 1929 (figuratively, psychologically, and arguably sexually given that almost no physical intimacy took place between Dali and Gala). It’s also generally agreed among scholars that Dali was a virgin when he married Gala (at least heterosexually) and they remained married for 53 years until Gala’s death. Gala was ten years older than Dali and had many sexual conquests before they married. Gala might perhaps best be described as a ‘swinger’, and at the time she met Dali was married to Paul Éluard (the poet) who both adhered to the sexual philosophy of ‘free love’.
Many biographers describe Gala as a highly-sexed nymphomaniac. Éluard and Gala were constantly sexually unfaithful to each other and (according to some accounts) encouraged each other’s infidelity. Gibson’s biography recounted Dali and Gala’s ‘mutual degradation’ of each other and Dali became some who tolerated all her extra-marital lovers. According to Zuzanna Stranska in a 2017 article in the Daily Art Magazine, Dali bought Gala a castle in Púbol (Girona) in 1968, but Dali was not allowed to visit without Gala’s written permission (and described in Joshua White’s article as Gala’s “fuck-nest” rather than a ‘love-nest’). It was here that Gala entertained her younger lovers.
It’s also been claimed that Dali had a homosexual relationship with poet Federico García Lorca (but has never been verified). It’s been alleged by a number of authors that Lorca twice tried to seduce Dali (and Dali said “Lorca tried to screw me twice”). Lorca was shocked when Dali married Gala because (according to a 2009 paper in the PsyArt Journal by Zoltán Kováry) “he was convinced that the painter had erection only with a finger in his anus”. Although Dali claims never to have had a relationship with Lorca, it appears they did have one sexual liaison because Dali wrote that: “I tried sex once with a woman and it was Gala. It was overrated. I tried sex once with a man and that man was the famous juggler Frederico Garcia Lorca. It was very painful”. Dali also wrote that:
“Deep down I felt that [Lorca] was a great poet and that I owe him a tiny bit of the Divine Dali’s asshole. He eventually bagged a young girl, and she replaced me in the sacrifice. Failing to get me to put my ass at his disposal, he swore that the girl’s sacrifice was matched by his own: it was the first time he had ever slept with a woman”.
According to the article by Joshua White, Dali was arguably more homosexual than heterosexual. He claimed that:
“[Dali] developed a penchant for persuading youths to drop their trousers and masturbate as he watched. He hoarded thousands of photos with many different lads. There has been a long speculation over the exact sexuality of the exhibitionist painter. We might be able to trace the misogynistic, or more accurately gynophobic, tendencies of Dalinian art down to Dali’s fear of a particular part of the female anatomy. To put it more bluntly, Salvador Dalí was a self-professed worshiper of the female posterior. The extent of this obsession drew the concern of his fellow Surrealists, he denied he was coprophagic one minute and in the next instance would state ‘true love would be to eat one’s partner’s excrement.’ Perhaps we should keep in mind that the Catalonians are a very scatological people, for it is custom before eating to exclaim “Eat well, shit hard.” The specific preference he had was for hermaphrodites, which he never encountered and only ever fantasised about. Not masculine or feminine, androgyne was the order of the day”.
Consequently, masturbation became Dali’s only physical sexual activity throughout his life. While this might be psychologically devastating for most people, his sexual psyche, tortured sexuality, and sexual inadequacy are critical to understanding the great art he produced. It certainly appears he had a great fascination with masturbation. For instance, Brian Sewell, the British art historian, claimed that Dali once asked him strip naked, lie down in the foetal position, and masturbate in front of a sculpture of Christ. Dali’s voyeuristic tendencies have also documented by others, most notably the alleged weekly orgies that Dali used to host which not only catered for Dali’s love of voyeurism but also his candaulism (where he would enjoy other men having sex with his wife). The most infamous story was told by American singer and actress Cher who arrived at Dali’s apartment mid-orgy. She picked up “a beautiful, painted rubber fish. Just fabulous. It has this little remote-control handset, and I’m playing with it, and the tail is going back and forth, and I’m thinking it’s a child’s toy. So I said to Salvador: ‘This is really funny.’ And he said: ‘It’s wonderful when you place it on your clitoris’”.
It has also been claimed that Dali had a perverse obsession with Nazi leader Adolf Hitler. Most individuals in the surrealist movement were politically left-wing but Dali was expelled for being a Nazi sympathiser (an allegation that Dali strenuously denied). Whether he was a Nazi sympathiser or not, Dali definitely painted a number of artworks featuring the ‘great dictator’ including The Enigma of Hitler and Hitler Masturbating. In his book (The Unspeakable Confessions) Dali also said that he “often dreamed of Hitler as a woman” and that Hitler “turned [him] on in the highest…His fat back, especially when I saw him appear in the uniform with the Sam Browne belt and shoulder straps that tightly held in his flesh, aroused in me a delicious gustatory thrill originating in the mouth and affording me a Wagnerian ecstasy”. An online article by Stephan Roget notes that there’s a good chance that Dali said such things for shock value, but also notes that Dali didn’t appear to have problems with what the Fuhrer was doing in Nazi Germany.
Most Dali scholars believe he was a sexual voyeur and derived great sexual arousal from watching other people (including his wife) have sex. According to the article by Jackie Fuchs:
“[Dali] was attracted to androgynous bodies – women with small breasts and men having feminine lines. Dali wrote of his ‘penetrating voyeur experiences’ during childhood and even titled one of his early paintings ‘Voyeur’.”
Joshua White also noted that:
“Originally [Dali’s] art served as a vent for the eccentricities, fetishes and obsessions that lurked beneath the surface of a shy Catalonian boy. But as he crafted a persona through which he could express these same things with almost the same level of impunity, then the standard of his art went into a steep decline in his later years. The sexual ambiguity, explicit paraphilia and vivid androgyny found so exuberant in Dalinian artwork…The 20th Century leitmotifs of sex and paranoia are conjoined twins in Dali’s work…We find some of the worst nightmares of the 20th Century conjured up by the more sinister works he churned out, while the juxtaposition with sex introduces a sadomasochistic element into the situations portrayed”
Perhaps the best (or worst, depending upon your viewpoint) eye-opener concerning Dali’s alleged sex life was a book first published in 2000 by former dancer and (struggling) actor Carlos Lozano entitled Sex, Surrealism, Dali and Me (and translated into English by Clifford Thurlow; a reprinting of the book in 2004 with new material was published by Thurlow as The Sex Life of Salvador Dali: The Memoirs of Carlos Lozano). Given that Dali had been dead over a decade by the time this book was published it’s hard for any of the stories to be substantiated (particularly as Lozano died shortly after the book was published). After starting out as one of Dali’s nude models, Lozano claimed he became Dali’s young lover and was Dali’s main confidante in the last two decades of his life. Among the book’s revelations were that Dali: (i) orchestrated sex games for his celebrity guests (including the King of Spain, the artist Marcel Duchamp, actor Yul Brynner, and Prince Dado Ruspoli), (ii) was obsessed with humiliating friends for his own amusement and sexual gratification (such as forcing them to strip and then getting them to engage in sexual acts of his choosing) while he masturbated from the side lines, and (iii) forced a famous Hollywood actress to strip naked and crawl through a plastic ‘uterus’ to allow her to re-experience birth.
It is clear from reading about Dali’s various (s)exploits that his sexual behaviour and sexuality were extreme but that much of his early great art derived from his strange sexual psyche. While some of the alleged sexual behaviours may have been embellished over the years, all of the allegations appear to have some truth in them. Many may argue that Dali’s sex life (or absence of it) was as surreal as his paintings, but none of this takes away from the fact that his art is awe-inspiring to many (myself included).
Dr. Mark Griffiths, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Brennan, A. (2016). 11 seriously strange things you didn’t know about Salvador Dali. GQ, May 11. Located at: https://www.gq-magazine.co.uk/article/salvador-dali-facts
Dali, S. (1942). The Secret Life of Salvador Dali. Dial Press.
Dali, S. (1976). The Unspeakable Confessions of Salvador Dali. New York: W.H. Allen.
Fuchs, J. (2014). 10 depraved secrets of Salvador Dali. Listverse, May 26. Located at: http://listverse.com/2014/05/26/10-depraved-secrets-of-salvador-dali/
Gibson, I. (1998). The Shameful Life of Salvador Dali. New York: WW Norton & Company.
Griffiths, M.D. (1989). Salvador Dali and psychology. BPS History and Philosophy Newsletter, 9, 14-17.
Griffiths, M.D. (1989). Salvador Dali, surrealism and psychology. Psychology PAG Quarterly, 4, 15-17.
Griffiths, M.D. (1994). Heroes: Salvador Dali. The Psychologist: Bulletin of the British Psychological Society, 7, 240.
Kovary, Z. (2009). The enigma of desire: Salvador Dalí and the conquest of the irrational. PsyArt Journal, June 29. Located at: http://www.psyartjournal.com/article/show/kovry-the_enigma_of_desire_salvador_dal_and_th
Lopez, A. I. (2016). Five sadistic and depraved secrets of Salvador Dalí. Cultura Colectivia, August 22. Located at: https://culturacolectiva.com/design/the-sadistic-and-depraved-salvador-dali-secrets/
Maclean, A. (2016). Your ultimate guide to Salvador Dali. Dazed, September 27. Located at: http://www.dazeddigital.com/artsandculture/article/32985/1/your-ultimate-guide-to-salvador-dali
Roget, S. (no date). 17 unbelievably weird stories most people don’t know about Salvador Dali. Ranker. Located at: https://www.ranker.com/list/crazy-salvador-dali-facts/stephanroget
Stranska, Z. (2017). Dali and Gala – the love story. Daily Art Magazine, February 14. Located at: http://www.dailyartmagazine.com/dali-gala-great-love-story/
Sol, M. (2013). 7 eccentric things you didn’t know about Salvador Dali. Loner Wolf. Located at: https://lonerwolf.com/salvador-dali/
Thorpe, V. (2000). Hollywood, sex and the surrealist. The Guardian, February 20. Located at: https://www.theguardian.com/uk/2000/feb/20/vanessathorpe.theobserver
Thurlow, C. (2004). The Sex Life of Salvador Dali: The Memoirs of Carlos Lozano. Tethered Camel Publishing.
White, J. (2011). The divine anus of Salvador Dali. Living in Philistia, August 5. Located at: http://livinginphilistia.blogspot.com/2011/08/divine-anus-of-salvador-dali.html
According to the online Urban Dictionary, a ‘hucow’ (a portmanteau of ‘human cow’) is “a woman who chooses to be objectified for her large mammaries and ability to lactate constantly”. It also features ‘human cow’ separately and defines it as “a lactating female who allows herself to have her jugs [breasts] hooked up to a cow milking machine, usually wearing a cow mask and cow print leather chaps”. In the writing of my previous blogs on lactation fetishes and furries, I had come across ‘hucow’ fetishism but at the time there was little on which to write about. A few weeks ago, I was interviewed by Mark Hay of Vice magazine who wanted my views about the behaviour so this provided a spur for me to write this article. There is obviously nothing in the academic literature concerning the phenomenon (and to be honest, little anywhere else). A small article on the Kinkly website makes the following observations:
“A hucow is a submissive person, usually a woman, who enjoys participating in forced lactation. A hucow’s breasts are milked by a dominant partner, usually a man, as a real cow is milked by a farmer. Milking techniques can vary…A dominant partner may use a variety of techniques to milk a hucow. They may milk her by hand, by suckling her breasts with their mouth, or by using a breast pump. Some hucows and their partners stick to one preferred technique while others like to mix things up. Some people become hucows following childbirth, when they are lactating naturally. Others bring on lactation using a variety of techniques including using a breast pump, manual stimulation, suckling, and taking supplements including fenugreek powder”.
It’s hard to know where the person writing this article got their information although my own viewing of online hucow videos confirm much of what is claimed above although it’s questionable whether the women in such videos “enjoy” what they are doing because they may just be doing it for money. The article goes on to say:
“Hucows enjoy being cared for like a pet because it takes them away from their regular lives with adult responsibilities. The breast stimulation that comes with lactating is also very sensual. Men with hucows enjoy the dominance and power that comes from their role in the forced lactation. When women lactate, their breasts increase in size, which is also a real perk for many men. Some men also have breastfeeding fetishes and lactation fetishes that their hucows can satisfy. As with many alternative lifestyles, there are communities for hucows and erotic fiction and videos focused on their activities. Several erotic writers and bloggers focus their works on hucows. Their writing might include fictional accounts and scenarios or non-fiction posts about their own experiences as a hucow. Hucows are also represented on niche dating websites, including Fetlife, and social media platforms like Reddit and Tumblr”.
Again, some of this I’ve confirmed for myself as I found many examples of hucow fan fiction online as well as many porn sites catering for hucow fetishism. Another short article on the Manic Love website was written after its anonymous author was reading through the personal ads on Craig’s List and came across a personal ad that “depicted a cow milking machine on a woman and turned into someone’s personal hucow”. They wrote that:
“As you can imagine, a hucow is a woman pantomiming the experiences of a dairy cow. These particular women’s vaginas gush at the thought of having a slave collar put on their neck and having a milking machine hooked up to their nipples for hours at a time. Another facet of this fetish is the concept of breeding the hucows by the hucow milker. This is when the hucows partner (the Bull) mounts her and begins to [have sex with her]. All the while this lovely faux bovine is attached to an industrial device that is collecting her milk from the opened faucets of her [breasts]. The hucow fetish is a marvellous fusion of BDSM and lactation kinks”.
Again, how the writer knows the women involved like such activity is unknown. The author found a personal testimony from a hucow (a “baby-faced blonde with a curvy figure” called ‘Kate’) who described her hucow experiences:
“Once lactation had been induced on Katie the milking began. At first she used a simple breast pump to wring her mammary glands dry, but once Katie was used to the sensation of the pump she graduated to a milking machine that would be at home on a dairy farm. Katie related the sensation she felt while being milked…At first it was uncomfortable but the feeling grew on our dear Katie and before long she loved being a hucow. With the machine being attached to Katie’s nipples for hours she described how her nipples were becoming elongated – all the better for suckling… not only was her milking erotic but it also gave her a sensation of relief. Whenever a milking session was occurring Katie was always restrained; whether handcuffed to a rack or wearing a slave collar…Once the Bull [has sex with] Katie they begin to treat each other like true animals. They begin to rut like they belong on a farm”.
I was contacted by Mark Hay (with whom I’ve done various interviews in the past including ones on sea monster pornography, giantess pornography) who knew I’d written about lactation fetishes in my blog in the past. He asked me if I had ever come across hucow fetishes where “individuals fantasize about or play out scenes in which (usually) men treat (usually) women as livestock, forcibly milking them. Sometimes the women dress up like cows”. I told him that I had but that I’d never written about it. I told him that from a definitional perspective, ‘hucow’ fetishes were originally was the same thing as lactation fetishes. However, I told him that hucow fetishes now appeared to have expanded to include women dressing and/or acting like cows in which the milking was at the core of the fetish. I went on to say that this was not a type of furryism (where individuals dress up as animals and often have sex with other as animals) but was more akin to ‘pony play‘ because both ‘ponyplay’ and ‘hucow’ tend to have women in submissive modes and both have the animals’ most well-known type of behaviour at the heart of the fetish (i.e., milking in cows and riding/equestrianism in horses).
I was aware that there is a big niche market for this type of porn (even on mainstream porn sites like Pornhub). He was interested to hear that I thought the fetish had evolved and asked me (i) when, how, or why that might have happened, and (ii) whether I thought the fetish was especially visible, accessible, or common, and what that might say about the audience for it and the scale of its appeal. I have to admit I hadn’t many answers for these questions. I also had to clarify that I didn’t say the fetish had evolved but the definition of hucow had evolved (in my view, a subtle but important distinction). I believe the internet itself has played a major role in the dispersal of material that individuals can fetishise and hucow appears to be one of them. Most fetishes appear to have sub-divisions and at the edges they sometimes cross over into completely different fetishes. Hucow fetishism clearly has crossovers with lactation fetishism, pregnancy fetishism, infantilism/diaper fetishism (adults dressing up as a baby), transformation fetishism, and sadomasochism/BDSM, as well as having similarities with furries and ponyplay. Personally, I don’t believe it’s a common fetish because individuals have to go looking for it (as I did in researching this article).
Within five minutes of searching on the internet I located dedicated hucow porn (including material at sites including Pornhub, Heavy-R, Xvideos) as well as bespoke hucow fiction (Kobo, Literotica, and Amazon) and fantasy art (on Deviant Art). Hay’s article in Vice reported that the hucow Tumblr site has over 10,000 followers and that the hucow Reddit site has over 23,000 subscribers. Hay interviewed ‘Ed’, the person that runs the hucows.com website. According to Hay:
“[Ed] says his fans seem most excited by women being milked than anything else in his clips. Ditto Sally Anon, an amateur lactation fetish producer, who first encountered HuCow fetishists on lactophilia Reddit communities, who asked her to cross-post to their groups even though she didn’t dress up or act like a cow in the content she produced”.
In addition to interviewing me for the article. Hay also interviewed the ethicist Rebecca Kukla who has written about cultural perceptions of breastfeeding and made some interesting observations. She was quoted as saying:
“Lactation, of course, leads to increased breast size, which explains its appeal to some. Some women enjoy the breast stimulation of milking, so such fetishes are likely to be more about reciprocal pleasure than many others. Consuming breast milk plays into a common kinky urge to be infantilized. Perhaps most importantly, sexualizing something culturally asexual is an appealing form of transgression and re-appropriation. Many kinksters get erotic pleasure from playing at what they fear most, or find most violating of the proper order…[However] cows aren’t only good for milk production. They are the ultimate animals produced specifically for consumption, bred into highly artificial-looking consumer products. In HuCow, the cow-woman is simulating an object produced specifically to be consumed by her partner”.
This concurs with what I have written myself about why dominant and submissive types may enjoy hucow fetishism. As noted in my previous blogs, animal play in general often toys with transforming a complex human into a wholly service-oriented beast. Hay then goes on to say:
“As with many hard submissive fetishes, this may sound terrifying to those looking in from the outside. But even on their own fetishist-facing blogs, HuCow practitioners often acknowledge this is a well-negotiated fantasy, ideally built on mutual respect and desire in participants’ wider lives”.
Hay also quotes Sunny Megatron, an “adult sexuality educator and pleasure advocate” who asserts:
“Remember this is just fantasy role play where turning humans into fantasy cattle is fetishized. And just like any other kind of BDSM or fetish play, this is carefully negotiated by all participants and done consensually. Treating a woman – or anybody – as just a mere object is very wrong if it’s done without their consent. But if objectification is mutually desired by both partners, they’ve thoroughly and clearly talked about it ahead of time and then they play it out in a healthy fun fantasy sense, then that’s different…When BDSM scenes are negotiated they are done so according to the desires and limits of the submissive. The submissive calls the shots”.
As I know from my own empirical studies on eproctophilia (sexual arousal from flatulence) and dacryphilia (sexual arousal from crying), even within very niche fetishes, many sub-types start to develop and cross-fertilise with other more established fetishes and paraphilias, and hucow fetishism appears to be another niche sexual behaviour that (with the help of the internet) is continuing to evolve.
Dr Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Good Reads (2014). Definition of a Hucow. Goodreads.com, October 3. Located at: https://www.goodreads.com/author_blog_posts/7114274-definition-of-a-hucow
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.
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. (2012). The use of online methodologies in studying paraphilias: A review. Journal of Behavioral Addictions, 1, 143-150.
Griffiths, M.D. (2013). Eproctophilia in a young adult male: A case study. Archives of Sexual Behavior, 42, 1383-1386.
Hay, M. (2018). Inside HuCow, the fetish that imagines women as cows. Vice, April 24. Located at: https://www.vice.com/en_us/article/d3599y/inside-hucow-the-fetish-that-imagines-women-as-cows
Kinkly (2018). Kinkly explains Hucow. Kinkly.com. Located at: https://www.kinkly.com/definition/15836/hucow
Manic Love (2017). Learn about hucows. October 12. Located at: https://maniclove.com/free-blog/hucows
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
Earlier this week, an article by Felicity Monk was published on the Broadly website about macrophilia (individuals derive sexual arousal from a fascination with giants and/or a sexual fantasy involving giants) and also known as giant (or giantess) fetishism. Broadly is an offshoot of Vice.com and is a website is a website “devoted to representing the multiplicity of women’s experiences”. I have been interviewed by both Broadly and Vice over the last few years on a number of topics including gambling, dacryphilia, and Alice in Wonderland Syndrome. I was interviewed for the Broadly article mainly because I’m one of the few academics ever to have written an article on the topic. I was quoted as saying in the Broadly article that “no-one has ever published even so much as an interview with a macrophile in an academic journal”.
In the Broadly article, Monk managed to interview a couple of macrophiles including Katelyn, a bisexual female in her thirties (five foot two inches tall) who has a number of co-occurring fetishes including macrophilia (in which she is sexually aroused by the thought of being a giant). She also has her own giantess website (which can be accessed here, but please be warned that the site features sexually explicit content) which she set up so that macrophiles could come and “worship” her. For Katelin, her macrophilic tendencies started from watching Tom and Jerry cartoons and the disparate size of the characters. As Katelyn said:
“The first time I had a good tingly feeling was when I was watching Tom have so much fun trying to catch Jerry. I always liked how Jerry got away so that the game would continue. I so badly wanted to be that cat. Little did I know it was the start of my sexuality. [By the time I got to high school I] was fantasising about literally crushing [my] high school crushes, swallowing [my] boyfriends and girlfriends alive, and putting [my] entire foot through the school. Most of the time I felt out of place and very alone sexually. [My preferred size of being a giant] changes depending on what mood [I’m] in. Some days I’m in the mood to play with the entire earth/galaxy, and other times I’m in the mood to attack a lone city as a 100ft woman. I rarely go below 100 feet. Most commonly, however, I’m fantasizing about being mega – 3000-plus feet tall”.
Katelyn has now monetized her fetish by turning her website into a commercial venture. As the article in Broadly notes:
“[On Katelyn’s website you] will find videos for sale – many of which feature miniature, plastic people being swallowed or crushed under huge feet. There are also stories, comics, photographs, collages, a blog, and a link to Katelyn’s Amazon wish list, so her worshippers can purchase her gifts: underwear, Starbucks gift cards, vitamins so she can ‘grow’ bigger, and non-stick saucepans. Visiting the site is free, but each month around 700 of her fans make a purchase”.
My own research into macrophilia suggests that the overwhelming majority of macrophiles appear to be heterosexual males that are sexually attracted to female giantesses. However, I’ve also noted that even non-sexual scenarios involving giants can result in sexual stimulation. Each fantasy situation is different for every macrophile as the behaviour is fantasy-based. Even the preferred heights of the fantasy giants differ between individuals. For instance, some macrophiles have a preference for people only a few feet taller than themselves, whereas others involve giants who are hundreds of feet high.
In the Broadly article, Katelyn admitted she had other sexual fetishes including an “extreme mouth fetish” of similar intensity to her giantess fetish as well as furry and hentai fetishes (anime and manga pornography). This concurs with what I noted in my previous blog on macrophilia where I said that it had also been associated with other sexual paraphilias. I claimed the most noteworthy were:
- Breast fetishism: This is a sexual fetish in which an individual derives sexual arousal from being pressed against, or placed in between, the breasts of a giant woman.
- Dominance/submission: This is a sexual fetish in which an individual derives sexual pleasure being at the mercy of a giant, or from being in control of a tiny person.
- Sadism/masochism: This is a sexual paraphilia in which an individual derives sexual pleasure from being physically harmed or even killed (in this case by a giant).
- Vorarephilia: This is a sexual paraphilia in which individuals derive sexual arousal from the idea of being eaten, eating another person, or observing this process. Although there are cases of real life vorarephilia (that I wrote about in a previous blog), the behaviour is typically fantasy-based (e.g., fictional stories, fantasy art, fantasy videos, and bespoke video games).
- Zoophilia: This is a sexual paraphilia in which individuals derive sexual pleasure from sex with animals (in this case, the desire is to have sex with a giant animal that is given human characteristics (i.e., anthropomorphism). This also has some crossover with furries (those individuals who – amongst other behaviours – like to dress as animals when having sex)
- Crush fetishism: This is a sexual fetish in which an individual derives sexual arousal from being stepped or sat on by a giant person, and is also a variant of sexual masochism.
When Monk interviewed me, one of the most important questions she wanted an answer for was how people develop macrophilic tendencies. I told her that the roots of most fetishes lie in childhood and early adolescence where sexual arousal is, at first, accidentally associated with giants – maybe watching a TV programme where a giantess initiates feelings of sexual arousal. Over time the giant itself is enough to cause sexual arousal through classical conditioning. However, as there are no case studies in the literature, this is complete speculation on my part. However, she also interviewed one of Katelyn’s ‘worshippers’ (‘Mark’) who appeared to confirm my speculative thoughts.
“[I remember] seeing a re-run of Attack of the 50 Foot Woman when [I] was around 13 years old. The [point of view] of Allison Hayes walking across the desert was the first time I can recall being turned on. Seeing her tear the roof off of the building to get at her husband overwhelmed my young brain at the time. Shortly after that, another movie called Village of the Giants did the same thing. I can remember one of the giantesses in the movie said something like ‘Oh, why don’t I just step on him?’ which again turned my underage mind on like nothing prior. I would be uncontrollably drawn to [the giantess’] beauty and power despite the danger such an encounter would bring. As a superior being, she would have little regard for me other than supplying her own needs. Whether it be as food to nourish her superior body, or as a sexual play toy to be used and broken after, I would have no other choice other than submit myself to her. To have my life be hers to do with as she pleased would become the sole purpose for my existence. The exhilaration, danger, fear and sexual excitement would outweigh my very instinct for survival. I only wish it would become real”.
For her article, Monk also interviewed the Australian sex and relationship therapist Pamela Supple. Supple claimed that:
“Power, domination and vulnerability are at the heart of macrophilia. It’s allowing your mind to go wherever it wants to go, whilst engaging in play to gain the maximum sexual arousal. Some want to feel and experience terror – being crushed or controlled. Everyone is different in what they want to experience.”
Both I and Supple agree that macrophilia has enjoyed a massive surge in popularity in the past few years, with both of us citing the crucial role of the internet in helping to both create and facilitate the fetish “and, in some cases, introducing the fetish to those who have been looking for a name for what they feel”. This was confirmed by another one of Katelyn’s worshippers (‘Semeraz’). As he explained:
“[I didn’t know macrophilia’ was a thing” until [I] discovered Katelyn’s website. Before then, remember being in fifth grade and playing a game where the teacher assigned team names of ‘predator’ and ‘prey’ and becoming excited when a girl taunted him saying: ‘We’re going to eat you!’ But I never thought of it as a sexual fetish until running into Katelyn’s site”.
Since writing my article on macrophilia over four years ago, the presence of maxcrophilia online appears to have grown. Katelyn claims that her website was very niche when she set it up a number of years ago:
“It only had a handful of websites and contributors, a lot of lurkers – fetishes were much more taboo a decade ago – the content production was scarce and I was the only girl who had come out of the closet with the giantess fetish. Members thought there was no way a girl could have the giantess fetish. That made me feel alone, because I was the only giantess, and a lot of people doubted my sexuality. Nowadays, there’s so much giantess fetish content that you wouldn’t be able to see everything in a lifetime. There are millions of collages, stories, artists, producers, models, videos, and more.”
I’m not sure there are “millions of collages, stories, artists, producers, models, videos” out there on the internet but macrophilia is probably a lot less rare than I thought a few years ago.
Dr Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Biles, J. (2004). I, insect, or Bataille and the crush freaks. Janus Head: Journal of Interdisciplinary Studies in Literature, Continental Philosophy, Phenomenological Psychology and the Arts, 7(1), 115-131.
Bowen, J. (1999). Urge: A giant fetish. Salon, May 22. Located at: http://www.salon.com/1999/05/22/macrophilia/
Gates, K. (2000). Deviant Desires: Incredibly Strange Sex. New York: RE/Search Publications.
Love, B. (1992). Encyclopedia of Unusual Sex Practices. Fort Lee, NJ: Barricade Books.
Monk, F. (2016). The men who want to have sex with actual giants. Broadly, October 26. Located at: https://broadly.vice.com/en_us/article/macrophilia-fetish-the-men-who-want-to-have-sex-with-actual-giants
Pearson, G.A. (1991). Insect fetish objects. Cultural Entomology Digest, 4, (November).
Ramses, S. (undated). Introduction to macrophilia. Located at: http://www.pridesites.com/fetish/mac4black/intro2macro.htm
Slothrop, T. (2012). The Bible and Macrophilia: He Thong’s Goliath Art. Remnant of Giants, February 6. Located at: https://remnantofgiants.wordpress.com/2012/02/06/the-bible-and-macrophilia-he-thongs-goliath-art/
As regular readers of my blog will know, I have had a longstanding professional interest in the psychology of sexually paraphilic behaviour. My interest in the topic first began when I was a 14-year old teenager listening to Adam and the Ants B-sides (all of which were about different types of extreme and/or unusual sexual behaviours. In one of my previous blogs, I argued that Adam Ant’s music has covered more atypical sexual behaviours than any other recording artist that I can think of (e.g. sadism, masochism, bondage, fetishism, transvestism, voyeurism, etc.). There is little doubt that Adam’s music had a great influence on my career, but what were Adam’s influences that made him the person he became?
In addition to the sexual content of his lyrics, Adam’s earliest stage personas were also very sexual. Adam bought his clothes from ‘SEX’, the shop run by Malcolm McLaren and Vivienne Westwood which was also infamous for selling rubber and leather fetish wear. (McLaren later briefly became The Ants manager and even tried to get Adam and his band to star in a pornographic film with female punk band The Slits). The first t-shirt he ever bought there was provocative and controversial (featuring the ‘Cambridge Rapist‘). One of McLaren’s best-selling t-shirts (‘Vive Le Rock‘) later became the title of Adam’s 1985 single and album. Adam’s interest in sex was all-consuming and spilled over into most areas of his and The Ants lives. It was common at early gigs for Adam to be dressed in bondage gear.
One infamous incident happened at their debut gig at the Institute of Contemporary Arts in London (10th May 1977). To get the gig, Adam said his band were a country and western band. He then got on stage dressed in bondage trousers and a leather head mask, and performed the future S&M classic Beat My Guest (later to be a B-side of their first No. 1 hit Stand and Deliver). Predictably, they were ‘asked to leave’ after that opening number.
Early gigs (1977-1979) were known as places to buy lots of eye-catching merchandise (t-shirts, badges, posters etc.) featuring sadomasochistic and bondage sex-themes designed by Adam. Advertisements for the 1979 tour were the first to use the slogan ‘Antmusic for Sexpeople’. To Adam, ‘sexpeople’ were people who got off on sexual phenomena, who liked sexual imagery and enjoyed being sexual. In a Melody Maker interview he said ‘What weʼre basically dealing with here with is taboos, and a lot of my work as a kind of music therapy‘. Adam’s first major interview as cover star in (the now defunct) Sounds was where he was described as ‘the face that launched a thousand whips’. His breakthrough album Kings of the Wild Frontier (1980) may have surprised his new young fan base as it came with a free booklet full of sexual imagery.
Although Adam clearly has musical influences, most of those he talks about or name checks in his songs appear to have more to do with image than music or his overriding interest in sex. Early influences like Johnny Kidd and the Pirates may have inspired some of his later images. The first record he bought was Magical Mystery Tour by The Beatles, but rarely makes reference to them as any kind of musical influence. The early 1970s appear to have thrown up more influences where music and sexuality was talked about in relation to the person if not their songs (Jim Morrison, David Bowie, Iggy Pop, New York Dolls, Lou Reed, Roxy Music). For instance, he loved the New York Dolls ‘because they looked like drag queens‘. His inspiration for forming Adam & the Ants was seeing the Sex Pistols very first gig when they supported the first band he was in (a short-lived band called Bazooka Joe). It was after this that a plethora of sexual punky songs were written for the Ants.
In an interview with Derek Hardman (Inside Out magazine, 1979), Adam described the lyrical content of his songs as dealing with ‘subjects of interest, mystery and imagination‘ and that they came from ‘living my life, reading, films, events and history‘. This quote also carries the implicit assumption that musical influences paid little (if any) part in his lyrical obsessions. The only thing that really connects sex with music is the perception that being a ‘popstar’ will bring more sexual opportunities. For instance in the Antbox book, Adam says:
“I remember being in a room with four girls watching [Marc] Bolan on ‘Top of the Pops’ and it was the first time I had actually watched four girls just absolutely dripping, climaxing , looking at a guy… Whatever it is, I want some!”
Very few of his musical heroes wrote explicit songs about sex and it is clear that the (sometimes) extreme sexuality of his lyrics originate elsewhere. By digging a little deeper it becomes abundantly clear that his interest in art lay the foundations of his sexual interests. By looking at the individuals who Adam held in high esteem, it becomes very clear that Adam’s predisposition towards sex comes not from musical influences but from figures in the 20th century art world. Adam originally wanted a career in Art after seeing an exhibition of Pop Art at the Tate Gallery in London (1971). He ended up studying Graphic Design at Hornsey College of Art (now part of Middlesex University) in North London. His favourite class was the ‘Erotic Arts’ course taught by art historian Peter Webb. This concentrated on Indian, Chinese, and Japanese traditions of erotic painting, drawing, and sculpture. Adam was also interested by women’s role in society and he was the only male at his college to take the class in ‘Women In Society’.
Adam was inspired by the iconographic images of Andy Warhol, the autoerotic paintings of Allen Jones, the neo-sadomasochistic fantasies of Hans Bellmer, and ‘sexpop’ travellers like Eduardo Paolozzi, Francis Bacon and Stanley Spencer. All these people clearly influenced his music. In 1977, Adam said:
“The S&M thing stems from [when] I was at College Art School, with John Ellis (of the Vibrators), and all the time I was at Art College I was very influenced by Allen Jones the artist. All my college work is pretty much like this, this is just a musical equivalent of what I was visually doing at college. Iʼm not personally into S&M, I mean I never smacked the arse of anybody. It’s the power and the imagery. There’s a certain imagery involved with that which I find magnetic. It’s not done viciously, if you read S&M mags and spank mags or anything like that, it’s done with an essence of humour…war dress and stuff, that just appeals to my imagination.
While at Art College, Adam did a thesis on sexual perversion:
I read lots of books and discovered much to my surprise that it wasn’t just a kick, it was a deadly serious subject. A very sort of medical thing and I found I got a source of material for my songs. I wrote a song called ‘Rubber People’ which is a serious look at rubber fetishism. And I also wrote one about transvestism. Theyʼre not serious, none of my songs are serious, I mean fucking hell. Theyʼre serious to me. But the thing is that with, say, ‘Transvestism’ people just laugh at people. If somebody’s wearing a pair of rubber underpants under a pin-stripe suits it’s funny, y’know. But I don’t think itʼs funny. I don’t think it’s any more strange than watching fucking ‘Crossroads‘ every night”
It was perhaps Adam’s art heroes that most influenced him. By looking very briefly at each of Adam’s artistic heroes, it is easy to see where the inspiration for many of his early lyrics came from. The most important influences were Allen Jones, Stanley Spencer, Eduardo Paolozzi, Hans Bellmer, Francis Bacon (name checked in the song ‘Piccadilly‘), and Andy Warhol. These brief sketches show that his early music is a direct musical equivalent of his heroes’ artwork (particularly Jones, Bellmer and Paolozzi). The influence of Warhol, Bacon and Spencer is more subtle. These three individuals all produced controversial work (which Adam found inspiring).
It might also be argued that all three had a somewhat troubled or tortured sexuality. This again, may have been of interest to Adam. The only other artists that Adam has singled out are Pablo Picasso and the Italian futurists. Adam was impressed by Picasso’s “genius, energy and sexuality” and was the subject of one of Adam’s best album tracks ‘Picasso Visits The Planet of the Apes‘. A whole song (‘Animals and Men‘) is devoted to the Italian futurists on the debut album (Dirk Wears White Sox). In this song he writes about the influence of Filippo Marinetti (1876-1944), Giacomo Balla (1871-1958), Umberto Boccioni (1882-1916) and Carlo Carra (1881-1966). The Futurists were a 20th century avant garde movement in Italian art, sculpture, literature, music, cinema and photography. Their manifesto broke with the past and celebrated modern technology, dynamism and power. The combination of different art media was appealing to Adam although there was nothing overtly sexual in the work of its exponents.
Film – like art – was also important to Adam, and as a teenage usher at the Muswell Hill Odeon he saw lots of films in his formative years. Adam has gone on record many times to say that his film hero is Dirk Bogarde. The Ants first album (the aforementioned Dirk Wears White Sox) was named after him and some of his films provided inspiration for his songs. Many of his most notorious films (The Servant, Death In Venice, The Night Porter) dealt with taboo areas with which Adam identified and/or had a fascination with. All these films feature taboo sexual subjects (or at least taboo at the time the film was made) and probably appealed to Adam because of their taboo nature. These were all a direct influence on Adam’s early songwriting.
Outside of Dirk Bogarde and his films, Adam cites his film heroes as Clint Eastwood, Steve McQueen, Mongomery Clift and Charles Bronson. Adam makes few references to films or film stars in his song writing, although there are name checks for Michael Caine, John Wayne, Terence Stamp, and Charles Hawtrey in ‘Friends‘, Clint Eastwood in ‘Los Rancheros‘, Steve McQueen in ‘Steve McQueen‘, Robert de Niro in ‘Christian Dior‘, and Bruce Lee in ‘Bruce Lee‘. He also dedicated one song that he wrote about the film Psycho (‘Norman‘) to its star Anthony Perkins. Again, these film stars and their films (bar Bogarde) have had little influence on his sexually themed songs.
There are very few references to literary heroes in Adam’s work and even less that is sex-related. The gay playwright Joe Orton (1933-1967) is one influence who has impacted on Adam’s life. Adam wrote one song about Orton’s homosexual relationship with his lover Kenneth Halliwell (‘Prick Up Your Ears’ on the Redux LP). However, the lyrics didn’t fit the pirate theme of the second album (Kings of the Wild Frontier) and were changed. This song eventually became ‘The Magnificent Five‘. In 1985, as part of his acting career, Adam performed in Joe Orton’s play Entertaining Mr. Sloane on stage at the Manchester Royal Exchange. Adam claimed that the ‘idea of playing a psychotic bisexual thug was good’. Ortonʼs comedies (Entertaining Mr. Sloane, Loot, and What The Butler Saw) are all black, stylish, and violent. Furthermore, they all have an emphasis on corruption and sexual perversion. With such content it is easy to see why Adam enjoyed these. However, it is not known when Adam was first aware of Orton’s work. The likelihood is that his appreciation of Orton was after many of his initial songs were written.
The German philosopher and poet Friedrich Nietzsche (1844-1900) was also one of Adamʼs literary inspirations and the subject of early live favourite ‘Nietzsche Baby‘. Nietzsche is most well known for his rejection of Christian morality (which no doubt appealed to Adam) and the ‘revision of all values’. Despite the influence, there was little in his writings that would have inspired Adam’s sex- related writings. Passing reference to both the US ‘beat generation’ writer Jack Kerouac (1922-1969) and the French novelist and playwright Albert Camus (1913-1960; a protagonist of the ‘Theatre of the Absurd‘ movement) make an appearance on his 1985 song ‘Anger Inc..‘ Again, these influences appear to be post-musical success and would have had little impact on his early sexual songwriting.
As a psychologist myself, I couldnʼt help make reference to Adam’s ‘psychological’ influences. The only time he has made reference specifically to a psychologist is a name check of Erich Fromm in his song ‘Friends’. It is obvious that Adam has read some of Fromm’s work as there are Frommian influences in his work. The ‘dog eat dog’ personality type (consciously or unconsciously) inspired his first big hit single (‘Dog Eat Dog‘). The ‘masochistic’ personality type permeates many of his early songs. The ‘marketing’ subtypes who concern themselves with image and style (and who feel inadequate if they are not admired) could be argued to be Adam himself. Alternatively he may have seen himself as the ‘productive’ type because of his creativity and ability to change himself.
By just scratching a little deeper at the surface of Adam’s influences, we see the roots of his lyrical sexuality. As time has gone on, less and less of Adamʼs songs have concerned sex. Furthermore, more love songs have made an appearance ( the LP Wonderful being a prime example). Maybe this is just an overt sign of the maturation process. Whatever it is, there is little to take away Adam’s crown as the king of sexual diversity.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Ant, A. (2007). Stand and Deliver: The Autobiography. London: Pan.
Griffiths, M.D (1999). Adam Ant: Sex and perversion for teenyboppers. Headpress: The Journal of Sex, Death and Religion, 19, 116-119.
Wikipedia (2013). Adam and the Ants. Located at: http://en.wikipedia.org/wiki/Adam_and_the_Ants
Wikipedia (2013). Adam Ant. Located at: http://en.wikipedia.org/wiki/Adam_Ant
According to Dr. Aggrawal’s 2009 book Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices, zelophilia is a sexual paraphilia and refers to individuals who derive sexual pleasure and arousal from jealousy. This is the only academic definition I have come across and as academic definitions go, it is not the most helpful as it doesn’t say what kind of jealousy sexual arousal is linked to. Anecdotally, I am assuming that at the heart of zelophilia is a person being turned on by their sexual partner having a sexual and/or romantic relationship with another person. For instance, here are a few online posts to the Is It Normal? website:
- Extract 1: “Is it normal to get horny over being jealous? When my boyfriend gets hit on by other girls it really turns me on and I’ve even fantasized about walking in on him having sex with another girl even though I know it’d make me angry and upset and I’d probably dump him”.
- Extract 2: “I have the same turn on. I always picture me being tied down and having to watch someone else f**k my girlfriend. I don’t want them too, but she does. I think it’s part of the whole humiliation/submissive fetish I have”.
- Extract 3: “I can relate to the idea of being turned on by jealousy. My [boyfriend] has been on at me to have a [threesome] for about 18 months now finally I’m thinking about it. When I asked him why he wants me to do this he said he’d like to see another man giving me a good time an that he’d be jealous as hell, but as long as I was safe and having a good time then he’d be okay with that. He wants me to try a [foursome] but I can’t cope with girl on girl action, but the thought of another girl sucking him is a turn on even though I’m secretly jealous that he might prefer her to me”.
If zelophilia genuinely exists, then these online posts suggest that some people have indicative signs of what I would expect zelophiles to experience. They would also seem to psychologically and behaviourally overlap with cuckold fetishes (which I covered in a previous blog). A short article on zelophilia at the Kinkly website (like Dr. Aggrawal) says that the primary source of the sexual arousal is jealousy but also makes other (unsubstantiated) claims. More specifically it noted that:
“Zelophilia is a condition in which a person becomes sexually aroused by feelings of jealousy. This is a diagnosed medical condition that can be managed if the sufferer is able to learn to deal with and accommodate the fetish in some way. However, if zelophilia becomes an issue, it can be treated with psychoanalysis, hypnosis and therapy…While jealousy most often leads to harsh words, angry feelings, tears and sometimes break-ups, those with the zelophilia fetish get sexually aroused by jealous feelings. Managing this fetish within a healthy sexual relationship can be a real challenge”.
The information that was in the Kinkly article may have been based on the zelophilia entry at the Right Diagnosis online medical website as the wording and claims are very similar. The Right Diagnosis website claims that:
“Treatment [for zelophilia] is generally not sought unless the condition becomes problematic for the person in some way, or they come under scrutiny of the legal system, and become compelled to address their condition. Many people simply learn to accept their fetish and manage to achieve gratification in an appropriate manner”.
There are quite a few online articles on zelophilia but most of these are just personal opinion pieces with almost zero academic content (such as the one written by ‘Kinky Kelly’). However, another interesting online article I came across was one by Drew Albright who examined the (sometimes) paradoxical relationship between jealousy, envy and the BDSM scene. She made the following observation:
“In many ways envy and jealousy in relation to sex is a paradox. On the one hand, envy and jealousy is at the core of eroticism – I want that, ‘I want to do that’, ‘That body is mine!’ are all examples of lust, a.k.a envy. Fetish and BDSM play and behaviors are ways that many find fun to explore and safely let their inner piggy out! On the other hand, when we are unaware of our own propensity for envy on the grand scale and in our everyday lives, we can act them out in sexualized power struggles, which ultimately have nothing to do with sex or sex interest itself”.
While researching this blog I also came across the following post at the Answers Yahoo website.
“I thought I’d ask this in the dating section but I figured I would get better answers here. It is not out of insecurity because truthfully (call me whatever you want) I am considered extremely attractive and I can say myself that I get plenty of attention whenever I am out. For some reason I have this sick and disgusting addiction to making guys jealous. Especially the confident type. If I can tell a guy is sweet and genuine I do it still but less. However, when the guy seems shady to me and is approaching and pursuing me, I for some reason LOVE for him to see me hit on my other guys, etc. I see their reactions and it turns me on like none other. It is an addiction and a sick one. Not sure what to do what is wrong with me? Maybe I am insecure and don’t know it?”
This online self-admission appeared to fit Dr. Aggrawal’s definition of zelophilia but is different from the self-confessions at the beginning of this article because the person gets aroused from making her sexual partners jealous rather than the sexual arousal being caused by the sexual partner being with another person. My own observation that zelophilia shares similarities with cuckold fetish, has also been made by others. For instance, the article on zelophilia by the (admittedly non-academic) ‘Fetish University’ run by female dominatrix ‘Empress Ivy’ on her Masturbation Fascination website noted:
“I see this particular fetish most frequently with cuckold and coerced [fellatio] or bisexual fantasies. Most start out with the admission of their wife’s infidelity and they go into great detail about how jealous they felt that their wife was with another man. A man that is stronger, more masculine, has a bigger [penis], and can sexually satisfy her in ways the husband could not. Obviously the initial admission of this would spark jealousy, or perhaps resentment, but at the same time – when these events are recalled the callers clearly become aroused by it”.
Zelophilia appears to be yet another sexual paraphilia of which we know next to nothing about, and although there appears to be some anecdotal evidence that it exists, the “evidence” (such that it is) is far from conclusive.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Aggrawal A. (2009). Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices. Boca Raton: CRC Press.
Albright, D. (2005). Fetish & BDSM: Fantasy Fun or Envy & Jealousy Taken to the Extreme, World of Jimmy Star. Located at: http://worldofjimmystar.com/Issue10/fetish_bdsm_fantasy_fun_or_jealousy_to_extreme_drew_albright.htm
Harris, C. R. (2002) Sexual and romantic jealousy in heterosexual and homosexual adults. Psychological Science, 13, 7–12.
Kinky Kelley (2011). Fetish: Zelophilia, January 26. Located at: http://kinkykelleykicksthekurse.wordpress.com/2011/01/26/fetish-zelophilia/
Simons, I. (2009). On fetishes and clean pencil tips. Psychology Today, March 8. Located at: http://www.psychologytoday.com/blog/the-literary-mind/200903/fetishes-and-clean-pencil-tips
Wikipedia (2013). Cuckold. Located at: http://en.wikipedia.org/wiki/Cuckold
The words ‘sex’ and ‘radiator’ probably don’t appear in the same sentence too often but today’s blog is the result of a bet I made with a good friend of mine who – knowing some of the weird topics and behaviours that I have covered in my blog – wagered that I couldn’t write a blog on ‘radiator sex’ (whatever that is). Obviously there is no academic literature on such a topic and the sources that I have used in this article are far from being scientific and empirical. But being a Professor of Gambling Studies, a bet is a bet.
In a previous blog I examined objectophilia (or ‘objectum sexuality’ [OS] as it is known within the scientific and sexology community). OS refers to those individuals who develop deep emotional and/or romantic attachments to (and have relationships with) specific inanimate objects or structures. Such objectophiles express a loving and/or sexual preference and commitment to particular items or structures. Such individuals rarely (if ever) have sex with humans and they develop strong emotional fixations to the object or structure. Unlike sexual fetishism, the object or structure is viewed as an equal partner in the relationship and is not used to enhance or facilitate sexual behaviour. Some objectophiles even believe that their feelings are reciprocated by the object of their desire.
In my previous OS blog, I briefly recounted the story of 41-year-old Joachim A. from Germany, a man who self-admittedly fell head over heels “into an emotionally and physically very complex and deep relationship, which lasted for years.” His partner as a teenager was a Hammond organ. He now claims to have been in a steady relationship for years with a steam locomotive The reason I mention this case was that Joachim A. was interviewed by the German magazine Der Spiegel and was reported as saying:
“We’re by no means just straightforward fetishists…For some people, their car becomes a fetish which they use to put themselves in the limelight. For the objectum-sexual, on the other hand, the car itself – and nothing else – is the desired sexual partner, and all sexual fantasies and emotions are focused on it…A love affair could very well begin with a broken radiator…You can reveal yourself to an object partner in an intimate way, in a way that you would never reveal yourself to any other person [including the desire to] experience sexuality together”.
Obviously the reference to a love affair for an objectophile beginning with the “broken radiator” was probably hypothetical on Joachim’s part (although there’s always the possibility he was speaking from personal experience). Whether actual or hypothetical, the fact that an objectophile gave the example of possible love and sex with a radiator suggests there might be a few individuals out there who are sexually attracted to radiators. My next (predictable) course of action was to type ‘radiator fetish’ into Google. On one website I came across the following post written by a woman entitled ‘Hot sex fetish (very weird)’ that if true (and I can’t prove it is but it appears genuine) appears to suggest that ‘radiator fetishism’ exists:
“I’m about to buy a house and be locked into it for the next 15-20 years because I have a radiator fetish. What can I do? It started way back in school. i had got my first period and was whisked off to the gym’s changing rooms with my friend. Blood in my panties and it had started to show on my trousers as well. So [I] had a shower, washed out my panties and give my trousers a bit of a scrub. Now half naked with just spare towel around me I cuddled against the radiator next to my clothes in an attempt to dry them and keep warm so I didn’t have to wear the lost property. [I then talked to one of my friends]. We just chatted for about 20 minutes about random stuff until the topic got on to the subject of boys and sex…At this point, I have to say I’ve never even kissed a boy, never mind sex…but my friend was telling me how hot a penis feels and started to rub herself up the corner of the radiator saying this feels like him on top of you and it just kinda started from there.
Throughout my teenage years I’d leave my homework until last moment and copy other girls, just so I could do it [in] the break before class. I’d stay in the hall way out of sight of the teachers and other students and lean over a radiator onto the shelf while I [copied the] work, rubbing myself (making it look like I was tapping my feet as I was rushing, in case anyone caught me) until I mostly [reached orgasm] and then off to class I’d trot, happy and red face glowing. Later on, I needed that ‘warm’ feeling all the time to orgasm. It’s now 15 years later and I still masturbate while sitting on a hot radiator, the smell of the heat or just catching an unexpected glimpse of a radiator gets me wet. Not any radiator will do though, they have to be the old cast iron, column ones like I had at school. I’ve had sex in more pubs then I’d like to remember, but mostly because they commonly have the cast iron type that I can get pushed up against or layback on.
My fetish has escalated to the point its out control now. I have a really nice boyfriend who doesn’t know about my fetish. I just tell him I like Victorian features, hot water bottles are for period cramps, etc. We’re just about to get a mortgage on a house because [it has] a bay window with a large cast iron radiator in the middle. We’ve already had sex over one like it several times before (yes I told you it was out of control) from a house I rented a few years back… and can’t wait for winter when the heating will be set to max. What do I do to stop this weird fetish? Do I embrace it or stop it? Very confused”
To me, this story sounds very believable and fits the adolescent development pattern of other accounts of how other fetishes often develop (i.e., through early associative pairing and classical conditioning). I also came across another online snippet that bore similarities with the story above:
“There used to be a picture (maybe there still is) on a DJ Black hard drive of three girls bending over a radiator to look out a window with their bare bottoms showing…You have to wonder if there is a fetish about radiators. At school the girls used to sit on the radiators that teachers had to start handing out detentions like sweeties to keep them off them. Okay so this is tenuous, but a while back there was a brief discussion on one of the boards about who got the cane and why. One of the women said she had got the cane for ‘persistently sitting on school radiators’. Being 16, at the time she thought the worst thing was being teased about sitting and punishments fitting the crime. That is until she was 18 and ended up at the school leaving do with some friends and beers in the head’s office. One of the kids went through his files and pulled out her school record. There in black and white were the words ‘caned, six strokes, deterrent against sitting on school radiators.’ You have got to wonder if she ever looked at a radiator the same way again”
Again, this observation suggests that a few females may have developed a strong liking for sitting on warm radiators because they produce a warm sexual feeling that leads to repetitive behaviour. Another person claimed to be turned on by a radiator on the Intimate Medicine website (but provided no details)
The only other type of sexual behaviour that I have come across (where radiators are part of the sexual act) are within sadomasochistic acts where individuals handcuff their sexual partners (consensually or non-consensually) to old style radiators (like the examples described above). Fictionally, there are a number of examples of people being handcuffed to radiators that have sexual connotations. Perhaps the most infamous recent example is in the film Black Snake Moan where Samuel L. Jackson’s character chains a skeletal Christina Ricci to his radiator in an attempt to “cure her of promiscuity”. The New York Times noted it their review of the film that:
“No doubt ‘Black Snake Moan’ is a provocative title, but a more accurate one might be ‘Chaining Miss Daisy to the Radiator in Her Underwear’”
A more real-life example was reported in a 2011 Daily Mail story. A judge, Patricia DiMango declared that sadomasochism can be criminal even if it’s consensual. The ruling occurred during the trial of 45-year old New York man John Hopkins, a self-confessed sex-slave master accused of raping a 27-year-old female sex slave from Wisconsin “who would be flogged and chained to a radiator if she disobeyed his rules”. Hopkins pleaded not guilty to all charges claimed that they were a couple into sadomasochistic role-playing. DiMango was quoted as saying:
“In these types of situations, with the facts presented by both sides, both the consensual and criminal can co-exist. At some point, it can change to a situation where no means no. There comes a time when they’re not playful fun any more and they become dangerous – criminally dangerous”.
I’ll end today’s blog (and win my bet) by briefly recounting another radiator sex story that appeared in many news outlets (and arguably has some similarities with the infamous Gimp scene in Quentin Tarantino’s Pulp Fiction). Viktor Jasinski, a Russian man broke into Olga Zajac’s hair salon looking for cash but instead of calling the police (and using her black belt martial arts expertise), the salon owner beat up the Russian, tied him to a radiator with a hair dryer cord in the salon’s back room, and kept him as a sex slave for three days (using Viagra against the man’s will) before letting him go.
My brief examination of sexual radiator use hopefully shows that radiator fetishism may exist (and that it appears to be more female-based than male-based), that it’s theoretically possible for a human being to fall in love with a radiator (and have sexual relationship should they so wish), and that sadomasochistic practitioners may use radiators as part of their sexual role-playing games (either consensually or by coercion).
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Daily Mail (2011). S&M can be ‘criminal even if it’s consensual’ says judge in Craigslist sex-slave case. March 12. Located at: http://www.dailymail.co.uk/news/article-1365531/S-M-criminal-consensual-says-judge-Craigslist-sex-slave-case.html
Marsh, A. (2010). Love among the objectum sexuals. Electronic Journal of Human Sexuality, 13, March 1. Located at: http://www.ejhs.org/volume13/ObjSexuals.htm
Moylan, B. Robber beat up by hair salon owner and kept as sex slave. The Gawker, July 12. Located at: http://gawker.com/5820419/robber-beat-up-by-hair-salon-owner-and-kept-as-sex-slave
Stopera, M. (2010). The 15 hottest objectum-sexual relationships. Buzz Feed. Located at: http://www.buzzfeed.com/mjs538/the-15-hottest-objectum-sexual-relationships
Thadeusz, F. (2007). Objectophilia, Fetishism and Neo-Sexuality: Falling in Love with Things. Der Spiegel, November 5. Located at: http://www.spiegel.de/international/spiegel/0,1518,482192,00.html
In previous blogs, I have looked at various aspects of sexually masochistic behaviour. However, some masochistic behaviours have religious (rather than sexual) motivations. Many people’s first awareness of religious masochism might have been Paul Bettany’s portrayal of the self-flagellating albino Catholic monk (Silas) in The Da Vinci Code film (based on Dan Brown’s bestseller). Silas was a member of Opus Dei, a branch of the Catholic Church that has a reputation of being highly secretive. The inflicting of pain upon oneself by Opus Dei adherents is one of a number of self-initiated behaviours involved in the practice of mortification. According to the Wikipedia entry on Opus Dei:
“Mortification the voluntary offering up of discomfort or pain to God; this includes fasting, or in some circumstances self-inflicted pain such as self-flagellation. Mortification has a long history in many world religions, including the Catholic Church. It has been endorsed by Popes as a way of following Christ, who died in a bloody crucifixion and who gave this advice: ‘let him deny himself, take up his cross daily and follow me’ (Lk 9:23). Supporters say that opposition to mortification is rooted in having lost (1) the ‘sense of the enormity of sin’ or offense against God, and the consequent penance, both interior and exterior, (2) the notions of ‘wounded human nature’ and of concupiscence or inclination to sin, and thus the need for ‘spiritual battle’, and (3) a spirit of sacrifice for love and ‘supernatural ends’, and not only for physical enhancement. Critics claim that such practices that inflict pain are counterproductive given modern advances. As a spirituality for ordinary people, Opus Dei focuses on performing sacrifices pertaining to normal duties and to its emphasis on charity and cheerfulness. Additionally, Opus Dei celibate members practise ‘corporal mortifications’ such as sleeping without a pillow or sleeping on the floor, fasting or remaining silent for certain hours during the day”.
According to a BBC news story on why Catholics engage in self-flagellation the article asserted that such behaviour is acted out for symbolic purposes during penitential processions (typically in Mediterranean countries during Lent – to remind devout believers that Jesus was whipped before he was crucified). It was even alleged that Pope John Paul II (who was made a saint by the Catholic church earlier this week) possibly engaged in self-flagellation. Other devotees in other countries (such as the Philippines, and some South American countries) participate in ‘Passion Plays’ where people will engage in painful practices that draw blood.
Last year, I was interviewed about religious self-harm as part of the television series Forbidden – a program on which I was the resident psychologist. The documentary focused on a man from Brazil (Adriano Da Silva) who was totally devoted to God. However, weekly praying wasn’t enough to prove their dedication and faith. As the production notes reported:
“They are hardcore penitents who feel to get closer to God you need to endure the literal suffering of Jesus Christ – you need to cut yourself with razor blades…[Adriano is a] very spiritual man, he prays many times a day, reads his bible, and attends church. However, Adriano is about to take his faith to a completely new level. He’s about to undergo the biggest change of his young life. He is about to become the leader of a group of hardcore and extreme religious penitents, The Brotherhood of Canindezinho. He’s been in training for this moment for a long time, self inflicted punishment is what being a penitent is all about. He’s gone without food for days, walked for miles and miles in the desert to get closer to God. But before he can become leader he must do something he’s never done before. He must make a leap of faith he’s observed for years but always been too frightened to go ahead with. On the biggest day of their religious calendar, Adriano will self-flagellate for the first time, cutting himself with blades until the blood runs down his back and drips to the street below”.
Adriano was taking over as the leader of the ‘Brotherhood of Canindezinho’ (Chico Varela). In fact, Chico was the person that taught Adriano how to attach the razor blades to the string and mentored him through the process of how to psychologically prepare himself for the self-inflicted harm he was about to undertake. His first self-flagellation took place in front of his fellow penitents in the resurrection ritual – the largest religious event of the Brotherhood calendar:
“This is a mass self-flagellations event where The Brotherhood of Canindezinho join up with a neighbouring group of penitents – The Brotherhood of Varzea Alegre [led by Antonio Viera]. They will meet up in the local town square and then drag a giant cross through the town till they get to the cemetery. It is here that they will then begin to cut themselves. Chico will be performing a vital task during the event. He’ll be monitoring Adriano and the other penitents to ensure their safety so that they don’t lose too much blood. ‘When consumed with the passion of the Christ it is easy to lose yourself in the pain, your own safety becomes secondary, this is why it’s important for us to look after our fellow Brothers’. The sun goes down over the cemetery and still the penitents continue to lash themselves…As blood drips down, the penitents report feeling no pain or withstanding the pain for a higher purpose: ‘Jesus gives me the power’, says a penitent”
For the Brotherhood of Canindezinho, the purpose of self-flagellation ritual is to (i) purify their soul and redeem them on unholy acts, such as women and alcohol, as a step to be closer to God; and (ii) thank God for granting them graces they previously petitioned for (e.g., somebody recovering from a serious illness or somebody that got themselves out of a serious financial situation). The television production notes also reported that:
“The selected penitents take their shirts off, at once, and go at it. They self-flagellate for 20 minutes, approximately, hitting their backs with sharp razor blades attached to the end of a string relentlessly. Children, from age 10 up can also participate in the ritual. Women, on the contrary cannot, since they are already believed to be ‘sufferers’. Once the self-flagellating is over, the penitents put their shirts back on – as if nothing just happened, and go home to cleanse the wounds”.
Other articles on religious flagellation (such as one by Geoffrey Abbott in the online version of Encyclopaedia Britannica) also claim that self-flagellation is used as a way to drive out evil spirits, to purify, and “as an incorporation of the animal power residing in the whip” but that none of these reasons encompass the whole range of the religious custom. In fact, Abbott claimed:
“In antiquity and among prehistoric cultures, ceremonial whippings were performed in rites of initiation, purification, and fertility, which often included other forms of physical suffering. Floggings and mutilations were sometimes self-inflicted. Beatings inflicted by masked impersonators of gods or ancestors figured in many Native American initiations. In the ancient Mediterranean, ritual floggings were practiced by the Spartans, and Roman heretics were whipped with thongs of oxtail, leather, or parchment strips, some being weighted with lead”.
During my research for this article, I came across numerous academic papers that noted religious and cultural factors may influence self-harm but none of these papers indicated how prevalent religious self-harm was (but I am assuming it was rare given the lack of statistics). Given that we know little about the incidence or prevalence of such behaviour, this is certainly an area worthy of further academic research.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Abbott, G. (2013). Flagellation. Encyclopaedia Britannica Online, June 6. Located at: http://www.britannica.com/EBchecked/topic/209255/flagellation
Babiker, G. & Arnold, L. (1997). The Language of Injury: Comprehending Self-Mutilation. Leicester: British Psychological Society Books
BBC News (2009). Why do some Catholics self-flagellate? November 24. Located at: http://news.bbc.co.uk/1/hi/magazine/8375174.stm
Walsh, B.W. & Rosen, P.M. (1988) Self-Mutilation: Theory, Research and Treatment. New York:Guilford Press.
Wikipedia (2014). Mortification of the flesh. Located at: http://en.wikipedia.org/wiki/Mortification_of_the_flesh
Wikipedia (2014). Opus Dei. Located at: http://en.wikipedia.org/wiki/Opus_Dei
In previous blogs I have examined both people’s fascination with death and human near death experiences (NDEs). Another aspect to NDEs that I didn’t mention in those articles was the idea of people being “addicted” to NDEs. Arguably, most people’s perceptions of ‘near death addiction’ are probably based on the 1990 US film Flatliners. In that film, a group of five medical students (played by Keifer Sutherland, Kevin Bacon, Julia Roberts, Oliver Platt and William Baldwin) attempt to examine whether there is anything beyond death by carrying out experiments into NDEs. Keifer Sutherland’s character (Nelson) is continually made to experience clinical death (i.e., flatlining with no heartbeat) before being brought back to life by his classmates.
This Hollywood portrayal of possible ‘near death addiction’ bears little resemblance to the academic literature – most of which has been written from a psychodynamic perspective – and relates more to continual self-destructive experiences (usually by adolescents or young adults). The concept of ‘addiction to near death’ (ATND) originates from the writings of Dr. Betty Joseph, a distinguished psychoanalytic clinician often lauded as “the psychoanalysts’ psychoanalyst” and known for her work with highly resistant ‘difficult to treat’ patients. Dr. Joseph first wrote about the ‘addiction to near death’ concept in a 1982 issue of the International Journal of Psychoanalysis. This form of masochistic pathology was a concept that she found useful when working with psychologically dysfunctional adolescents. As Dr. Janet Shaw noted in a more recent 2012 paper on ATND in the Journal of Child Psychotherapy:
“At [the adolescent] stage of development, there is a tendency for adolescents who are troubled to turn to destructive or self-destructive behaviour, suicidal ideation, self-harm, self-starvation and inappropriate sexual behaviour. This is often profoundly shocking and alarming to others, especially if the young person finds the impact on others pleasurable. [Betty] Joseph described a patient addicted to near death as being caught up in a wish to gain pleasure by destroying both himself and the analytic relationship…[She] described masochistic destruction of the self taking place with libidinal satisfaction, despite much concomitant pain. The masochistic position is deeply addictive and this way of using pain for the purposes of pleasure becomes habitual. She summed this up as, ‘the sheer unequalled sexual delight of the grim masochism’ and described the awful pleasure that is achieved in this way”.
However, as Dr. Shaw rightly points out, not all types of destructive and self-destructive behaviour fall into such a category. In her 1982 paper, Dr. Joseph outlined case studies she had treated psychoanalytically from her private practice. Here, she described the masochistic dynamics of her patients, and how hard it was for them to alter these dynamics and get better. She noted that one of the key aspects of the dynamics she described was that her patients derived immense libidinal satisfaction from engaging in destructive near-death behaviours. More specifically, she wrote:
“There is a very malignant type of self-destructiveness, which we see in a small group of our patients, and which is, I think, in the nature of an addiction – an addiction to near-death. It dominates these patients’ lives; for long periods it dominates the way they bring material to the analysis and the type of relationship they establish with the analyst; it dominates their internal relationships, their so-called thinking, and the way they communicate with themselves. It is not a drive towards a Nirvana type of peace or relief from problems, and it has to be sharply differentiated from this. The picture that these patients present is, I am sure, a familiar one – in their external lives these patients get more and more absorbed into hopelessness and involved in activities that seem destined to destroy them physically as well as mentally, for example, considerable over-working, almost no sleep, avoiding eating properly or secretly over-eating if the need is to lose weight”.
In a 2006 issue of Psychanalytic Psychology, Dr. William Gottdeiner also noted that the ATND is such a strong motive that successful treatment of such individuals is unusually difficult. However, Dr. Gottdeiner asserted that one of the severe weaknesses of Joseph’s writings is that she failed to provide in-depth clinical examples of anyone who had engaged in potentially deadly activities. This, Gottdeiner contended, threatened the validity of the ATND construct. Despite such inherent weaknesses, Gottdeiner still believed the ATND construct had strong face validity (i.e., “there are people who seem to repeatedly engage in potentially lethal behavior, making the ATND construct plausible”). Consequently, Gottdeiner tested the construct validity of ATND on females with substance use disorders (SUDs). His argument was that:
“If individuals who are diagnosed with an SUD are successfully treated and they continue to engage in potentially deleterious behavior, then that finding would support the notion that the individual has an addiction to near-death experiences, and that the individual’s substance abuse was a comorbid disorder”.
Gottdeiner’s paper attempted to validate the ATND construct via secondary analysis “of data from a treatment outcome study of individuals who were in residential therapeutic community treatment for SUDs and who received simultaneous safe-sex education during treatment”. His study findings showed that despite safe-sex education and sexual activity in the therapeutic communities being prohibited, that some of the participants still engaged in risky sexual behaviour (irrespective of whether their sexual partners were HIV-positive or not). Gottdeiner argued that these findings tentatively supported the ATND construct. However, Gottdeiner was the first to admit that his study had inherent weaknesses. As he noted:
“The limitations were: data were from retrospective self-reports [and] contained no baseline measures of sexual activity, safe-sex knowledge, condom use, HIV status; it had no male participants, no specific questions about near-death behavior, nor whether alternative safe-sex activities were practice…The limitations of [the] study are considerable, and some might even argue that the connection between the ATND construct and the data presented herein is too much of a stretch to be scientifically useful…Obviously, stronger data would lead to stronger conclusions. Despite the limitations of this study, the findings should motivate clinicians to more seriously consider the existence of an addiction to near-death in their clients”.
More recently, Dr. Janet Shaw examined the ATND construct through the description and evaluation of an in-depth case study account of an adolescent female (‘Susan’). Her paper explored “the way in which pleasure, which is sadistic and masochistic in nature, is associated with cruelty towards the self or others in adolescence”. Dr. Shaw wrote that it felt as if Susan’s main aim was to torment her. As Shaw reported:
“In addition to suicide threats, similar to those she made in the assessment, she made constant reference to systematically starving herself. She was painfully thin, although not actually anorexic and she was poisoning herself by repeatedly taking paracetamol. Susan’s threats to self-harm had a deeply disturbing quality and she clearly enjoyed making them. There was a wish to punish me, as well as herself, through her phantasised attacks…The case material is an example of an adolescent girl with ‘an addiction to near death’ constituting a dominant way of relating to others. Her relentless and manipulative references to self-harm, suicide and dangerous behaviour at various stages of the work were designed to shock and alarm…Susan’s self-destructive behaviour was also continuing in relation to her self- starvation. She said she took laxatives in an attempt to lose more weight. She was becoming dangerously thin and three years into her psychotherapy an appointment with the referring psychiatrist resulted in a diagnosis of anorexia nervosa”.
This quote doesn’t do justice to the very detailed account that Dr. Shaw provided in her lengthy paper. However, her written account is heartfelt and brutally honest. Shaw concludes that the compelling power of addiction overviewed in Susan’s case mustn’t be underestimated. As she notes:
“The narcissistic idealisation of sadistic and masochistic behaviour offers some protection from fear and terror for the patient, but the consequence is to severely limit capacity for thought and imagination, and to restrict awareness. ‘Addition to near death’ forms a small but significant component of the clinical casework of a child and adolescent psychotherapist: it is hoped that Susan’s case material serves to illuminate the phenomenon further and its technical challenges”.
Whether the clinical case of Susan provides any more evidence for validation for Joseph’s ATND construct than the more empirical work of Gottdeiner is debatable. However, this is certainly a fascinating – if somewhat harrowing – area of clinical and academic work that certainly warrants further empirical examination.
Gottdiener, W.H. (2006). A preliminary test of the Addiction-to-Near-Death construct. Psychoanalytic Psychology, 23, 661-666.
Joseph, B. (1982). Addiction to near death. International Journal of Psychoanalysis, 449-456.
Joseph, B. (1988). Addiction to near death. In Bott Spillius, E. (Ed.) Melanie Klein Today (pp.311-323). London and New York: Routledge.
Ryle, A. (1993). Addiction to the death instinct? A critical review of Joseph’s paper ‘Addiction to near death’. British Journal of Psychotherapy, 10, 88–92.
Shaw, J. (2012). Addiction to near death in adolescence. Journal of Child Psychotherapy, 38, 111-129.
In a previous blog I examined the Furry Fandom (FF) and the people who like to dress up as animals and have sex dressed as animals. One particular subset of the FF is a group of people who engage in ‘pony-play’ (PP). PP is overtly more sexualized than FF and is a form of bondage that involves a person dressed as a ‘pony’ and a ‘rider’. The human pony (the submissive partner) can comprise ‘ponyboys’ or ‘ponygirls’ typically wears stylized horse adornments including riding straps, a leather saddle, reins, and a bit in the mouth. The human rider (the dominant) also wears stylized riding accessories such as a riding crop or a horse-whip. The riders may sit on the human pony and/or get the pony to cart them around. In his 2010 book, Pony training: Five case studies on pony play, ownership and kinky submission, Dr. Garth Mundinger-Klow notes that “Ponygirl, Ponyboy” was:
“A classic [sadomasochistic] fantasy immortalized in the drawings of of John Willie and used in the Sleeping Beauty Triology by Anne Rice. Typical pony garb includes a horsehair tail attached to a butt plug, a bit gag and/or bridle head harness, and reins. Often very high heels, a corset, and feather plumes in the hair are added. The arms are typically bound behind the back”.
However, many people’s views of PP (if they even have them) may have come from the documentary film Born In A Barn. This film was:
“An intimate and occasionally humorous look into the extraordinary erotic lives of four seemingly ordinary people. Born In A Barn takes us deep into the world of pony play, a fetish in which enthusiasts role-play as human ponies and handlers. Revealing the complex motives that drive each character to pursue this unusual passion and following them as they each confront the questions that being an erotic equine present, Born In A Barn is a film about finding an identity in the pursuit of an unconventional desire”.
Role-play is nothing new and the Greek philosopher and polymath Aristotle is alleged to have loved being ridden like a horse. In fact, PP is (in some circles) referred to as ‘The Aristotelian Perversion’. In her 2000 book Deviant Desires, Katharine Gates makes reference to the fact that ponyplay was depicted in Assyrian art dating back to 2000 B.C. More recently Gates notes that in the 19th century human ponyplay existed as an erotic amusement for the upper classes in British colonies.
As mentioned in my previous blog on the FF, the primary theme of such animal role-play is often the voluntary (and sometimes) involuntary reduction (or transformation) of human beings to animals, and a subsequent focus on the altered mind-space created by the transformation. The ponies in PP comprise three different groups although the activities are not mutually exclusive for the participants.
- Cart ponies: These are human ponies that pull a sulky with their rider (A sulky is a lightweight two-wheeled cart with a seat for the rider). These ponies wear bit-bridles and harnesses, blinkers, walk standing up, and have their hands secured behind their backs.
- Riding ponies: These are human ponies that are ridden on while they are on all fours or partly standing up on two legs by their rider (custom made saddle or bareback). Some (usually male) ponies prefer their riders to be on their shoulders. Riding ponies are harnessed, bridled and may wear blinkers.
- Show ponies: These are human ponies that show off their skills in dressage (e.g., choreographed pony-dance, cantering, etc.), can walk standing up or on their hands and knees, and typically wearing ornate and elaborate harnesses, plumes, etc.).
For the human pony, the sexual thrill rarely involves normal sexual contact. The sexual thrill is the fantasy of actually being a horse under the control of their dominant rider. The only time that actual sex takes place in PP is when the human ponies are engaged in a ‘stud service’ and one pony is bred to another. This requires explicit permission from the human pony’s “owner”. The practice of stud farming may also be role-played and fantasy-based (i.e., no real sexual intercourse taking place). It is believed that many submissive human ponies and their dominant riders are in a romantic, emotional and/or sexual relationship outside of PP although some only know each other in the context of PP.
In an online essay on PP, Malfouka makes the point that this particular fetish is “not for the lazy” as the preparation involved for all PP participants (i.e., trainers, owners, groomers and riders) is time intensive. Malfouka gives a detailed description of the main PP protagonists.
- Trainers: These are the people who actually train the human pony (and may train many such people). The trainer is responsible for turning those who wish to be pony into an actual pony. Malfouka says “this distinction is important in that in the world of ponyplay, there is protocol to follow”. The most important thing to take on board is that no-one is a pony simply because they pretend to be one. It takes a long time of training for the human pony be taught the appropriate stance, demeanour, behaviour, showmanship and submission. Trainers can also be owners, riders, and/or groomers.
- Owners: These are the people who “own” the human pony and are typically the riders too (i.e., the masters or mistresses). Owners plan the pony’s schedule, dress, and all associated activities (including which other riders can access the pony). Owners can also be trainers, riders, and/or groomers.
- Groomers: These are the people (often trainers and/or owners) who take charge of pony care (washing, bathing, petting, massaging, brushing hair), bathing.
- Riders: These are the people who ride the pony. Riders can comprise anyone that the owner and/or trainer have given permission to ride.
To date, there has been little empirical research on the topic of pony-play. An anthropological paper by Margot Weiss (Wesleyan University, US) in a 2006 issue of Anthropologica, examined the BDSM community in the San Francisco Bay Area (US). Her interviewees included people who identified themselves primarily as a pony (within a BDSM context). She argued that BDSM sexuality (including those who self-identified as a pony) should be conceptualized as a form of ‘working at play’ (WAP). WAP recognizes the ways that BDSM practitioners move between registers of work (productive labour) and play (creative recombination). Weiss’ analysis situates BDSM (and other sexualities) within “the shifting cultural geography of U.S. late-modernity, drawing attention to the ways sexuality blurs boundaries between individual-social, real-pretend and leisure-labour)”.
At the end of 2011, Dr Anil Aggrawal (Maulana Azad Medical College, New Delhi, India) published an interesting paper on zoophilia in the Journal of Forensic and Legal Medicine (which I examined in a previous blog) and categorized those into pony-play as Class I zoosexuals (i.e., human–animal role-players). According to Aggrawal, Class 1 zoosexuals never have sex with actual animals but become sexually aroused through wanting to have sex with humans who pretend to be animals and who engage in pseudo-zoophilic acts (e.g., pet play, pony play, ponyism or pup-play). Personally, I don’t class this as a type of zoophilia at all but I can see Aggrawal’s logic in including the Furry Fandom and PP communities.
Aggrawal, A. (2011). A new classification of zoophilia. Journal of Forensic and Legal Medicine, 18, 73-78.
Gates, K. (2000). Deviant Desires: Incredibly Strange Sex. New York: RE/Search Publications.
Love, B. (1992). Encyclopedia of Unusual Sex Practices. Fort Lee, NJ: Barricade Books.
Malfouka (undated). My Little Pony: The Aristotelian Perversion. Maximum Awesome. Located at: http://www.maximumawesome.com/pervfriday/ponypeople.htm
Mundinger-Klow, G. (2010). Pony training: Five case studies on pony play, ownership and kinky submission. Olympia Press.
Weiss, M.D. (2006). Working at Play: BDSM Sexuality in the San Francisco Bay Area. Anthropologica, 48, 229-245.