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The beast inside: The psychology of animal torture

A few days ago, I was interviewed by the Irish newspaper The Journal about someone deliberately trying to poison a dog by throwing three rat poison-stuffed chorizo sausages into Linda O’Byrne’s garden. But what typically possesses anyone to inflict such acts of intentional animal torture and cruelty (IATC)? In this particular case it may have been done as an act of revenge or as a way to shock O’Byrne to the amusement of the person who did it.

In addition to these reasons, rhere are many types of IATC including individuals that do it (i) as a religious ritual sacrifice, (ii) as an ‘artistic’ sacrifice (e.g., killing animals in films such as the controversial Cannibal Holocaust), (iii) because they have psychological disorders (such as anti-social/psychopathic personality disorders and engage in deliberate acts of zoosadism), and/or (iv) because they have sexually paraphilic disorders (such as crush fetishism in which small animals are crushed for sexual pleasure). Additionally, there is some research showing that in some circumstances, IATC is sometimes used to coerce, control and intimidate women and/or children to be silent about domestic abuse within the home. Although any animal torture is shocking, arguably the most disturbing type of IATC is that which occurs amongst those with anti-social personality disorders.

When the science of behavioural profiling began to emerge in the 1970s, one of the most consistent findings reported by the FBI profiling unit was that childhood IATC appeared to be a common behaviour among serial murderers and rapists (i.e., those with psychopathic traits characterized by impulsivity, selfishness, and lack of remorse). Many notorious serial killers – such as Jeffrey Dahmer – began by torturing and killing animals in their childhood. Dahmer also collected animal roadkill, dissected the remains, and masturbated over the animals he had cut up. Other killers known to have engaged in childhood IATC include child murderer Mary Bell (who throttled pigeons), Jamie Bulger’s murderer Robert Thompson who (who was cruel to household pets), and Moors murderer Ian Brady (who abused animals).

IATC is one of the three adolescent behaviours in what is often referred to the ‘Homicidal Triad’ (the other two being persistent bedwetting and obsessive fire-setting). Some criminologists and psychologists believe that the combination of two or more of these three behaviours increases the risk of homicidal behaviour in adult life. However, scientific evidence for this has been mixed. There has also been research into some of the contributory factors as to why a minority of children engage in IATC. Research has shown that the behaviours in the ‘Homicidal Triad’ (including IATC) are often associated with parental abuse, parental brutality (and witnessing domestic violence), and/or parental neglect.

A number of criminological studies have shown that around a third to a half of all sexual murderers have abused animals during childhood and/or adolescence (although I ought to add that sample sizes in most of these published studies are usually relatively small). However, most research has reported that one of the most important ‘warning signs’ and risk factors (specifically relating to the propensity for sex offending), is animal cruelty if accompanied by a sexual interest in animals. Other researchers have speculated that the zoosadistic acts among male adolescents may be connected to problems of puberty and proving virility.

Another ‘triad’ of psychological factors that have been associated with IATC are three specific characteristics of personality – Machiavellianism, narcissism, and psychopathy (the so-called ‘Dark Triad’). Studies carried out by Dr. Phillip Kavanagh and his colleagues have examined the relationship between the three Dark Triad personality traits and attitudes towards animal abuse and self-reported acts of animal cruelty. They found that the psychopathy trait is related to intentionally hurting or torturing animals, and was also a composite measure of all three Dark Triad traits.

In Germany, there have been an increasing number of violent crimes against horses. This offence of ‘horse ripping’ (i.e., violently cutting, slashing and/or stabbing of horses) has been accepted as a criminal phenomenon in Germany and has led to a number of studies on the topic. Horse ripping has been defined as a destructive act “with the aim to harm a horse or the acceptance of a possible injury of a horse, especially killing, maltreatment, mutilation and sexual abuse in sadomasochistic context”. In 2002, German researchers Dr, Claus Bartmann and Dr. Peter Wohlsein reported a study examining 193 traumatic horse injuries over a four-year period. They reported that at least ten of the injuries (including wounds from knives, spears, and guns) were acts of zoosadism.

There is no easy solution to childhood IATC. Given that most children learn anti-social behaviour from those around them, the best way to prevent it is teaching by example. Here, parents are the key. Pro-social behaviour by parents and other role models towards animals (such as rescuing spiders in the bath, feeding birds, treating pets as a member of the family) has the potential to make a positive lasting impression on children.

Note: A version of this article was first published in The Independent.

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

Further reading

Arluke, A., Levin, J., Luke, C., & Ascione, F. (1999). The relationship of animal abuse to violence and other forms of antisocial behavior. Journal of Interpersonal Violence, 14(9), 963-975.

Bartmann, C.P. & Wohlsein, P. (2002). Injuries caused by outside violence with forensic importance in horses. Dtsch Tierarztl Wochenschr, 109, 112-115.

Beetz, Andrea (2002). Love, Violence, and Sexuality in Relationships between Humans and Animals. Germany: Shaker Verlag.

Beirne, P. (1999). For a nonspeciesist criminology: Animal abuse as an object of study. Criminology, 37(1), 117-148.

Felthous, A.R. (1980). Aggression against cats, dogs, and people. Child Psychiatry and Human Development, 10, 169-177.

Furnham, A., Richards, S. C., & Paulhus, D. L. (2013). The Dark Triad of personality: A 10 year review. Social and Personality Psychology Compass, 7(3), 199-216.

Hickey, E. W. (2013). Serial murderers and their victims. Cengage Learning.

James, S., Kavanagh, P. S., Jonason, P. K., Chonody, J. M., & Scrutton, H. E. (2014). The Dark Triad, schadenfreude, and sensational interests: Dark personalities, dark emotions, and dark behaviors. Personality and Individual Differences, 68, 211-216.

Jonason, P. K., & Kavanagh, P. (2010). The dark side of love: Love styles and the Dark Triad. Personality and Individual Differences, 49(6), 606-610.

Kavanagh, P. S., Signal, T. D., & Taylor, N. (2013). The Dark Triad and animal cruelty: Dark personalities, dark attitudes, and dark behaviors. Personality and Individual Differences, 55(6), 666-670.

Macdonald, J.M. (1963). The threat to kill. American Journal of Psychiatry, 120, 125-130.

Patterson‐Kane, E. G., & Piper, H. (2009). Animal abuse as a sentinel for human violence: A critique. Journal of Social Issues, 65(3), 589-614.

Ressler, R., Burgess, A., & Douglas, J. (1988). Sexual homicide: Patterns and motives. Lanham, MD: Lexington Books.

Schedel-Stupperich, A. (2002). [Criminal acts against horses – phenomenology and psychosocial construct]. Dtsch Tierarztl Wochenschr, 109, 116-119.

Wochner, M. & Klosinski, G. (1988). Child and adolescent psychiatry aspects of animal abuse (a comparison with aggressive patients in child and adolescent psychiatry). Schweiz Arch Neurol Psychiatry, 139(3), 59-67.

Mack, the life: The psychology of Billy Mackenzie and The Associates

For the past month, the only music I have listened to on my iPod is all the albums by The Associates (along with the solo albums by their lead singer Billy Mackenzie), and have just finished reading Tom Doyle’s excellent biography of Mackenzie The Glamour Chasealso the title of their 1988 LP but remained unreleased until 2002). Mackenzie committed suicide in 1997, a few months before his 40th birthday. Following the death of his mother in the summer of 1996 (who he was very close to), Mackenzie became clinically depressed and took his on January 22nd, 1997 (following a previous suicide attempt on New Year’s Eve 1996).

I have loved The Associates since the early 1980s and became hooked on their music following the 1981 singles ‘White Car in Germany’ and ‘Message Oblique Speech’ (two of the great six singles they released that year and all available on their second LP, Fourth Drawer Down). Even if people don’t like Mackenzie’s recorded outputs, I doubt many people who have heard him sing would dispute how good his multi-octave voice was.

the-associates-billy-mackenzie-by-gilbert-blecken-1994-1images

Most people will know The Associates for their classic 1982 top ten album Sulk and the three British hit singles that year – ‘Party Fears Two’ (No.9), ‘Club Country’ (No.13), and ’18 Carat Love Affair’ (No. 21) but I’ve followed their whole career through thick and thin and have every one of their six albums (seven if you include the partial re-recording/remixing of their first album The Affectionate Punch) as well as the three BBC Radio 1 session LPs, the three compilation ‘greatest hits’ collections (Popera, Singles, and The Very Best of Associates), the rarities LP Double Hipness, and their only live album (Billy Mackenzie and The Associates In Concert).

Hailing from Dundee (Scotland), The Associates (Billy Mackenzie and Alan Rankine the two lynch-pin members) formed as punk exploded in 1976. Before changing their name to The Associates in 1979 they used the moniker Mental Torture (a name that biographer Doyle described as “biographically embarrassing”) but as a psychologist a choice of name that I find interesting. The ‘classic’ line-up of The Associates ended at the height of their commercial success in 1982 when Rankine left the band. Following that, many view the next three Associates’ LPs as Billy Mackenzie solo albums in all but name and that he never reached such critical acclaim ever again. That’s a viewpoint I share (despite there being many other great songs in his post-1982 catalogue). The creative and artistic chemistry he shared with Rankine was never bettered in the last 15 years of his life, and even the handful of demos he recorded with Rankine in a short-lived reunion in 1993 (available on the Double Hipness album and on the latest The Very Best of Associates compilation) clearly demonstrated Gestalt psychology’s underlying maxim that the whole was greater than the sum of its parts.

So what was it in Mackenzie’s psyche that killed the goose that laid the golden egg? Rankine didn’t leave the band because of clichéd “creative differences” but left after Mackenzie refused to go on a lucrative US tour (and Rankine knew that touring to promote their music was the only viable option to maintain a successful national and international profile). There appeared to be a combination of factors that led to Mackenzie’s decision including stage fright (i.e., performance anxiety which surfaced throughout his career) and the fact Mackenzie didn’t want to do the usual cycles of making an album, doing the obligatory media circuit, followed by the big tour. In short he didn’t want to play by the accepted rules and conventions – something the underpinned his whole persona. He wanted to be a ‘studio band’ – something that Rankine thought would never work.

My blog had always focused on life’s extremities and much of what Mackenzie did was about living life at the extreme. The liner notes of The Associates most recent CD compilation by Martin Aston neatly sums it up:

“In some ways, The Associates music mirrored their behavioural excess, pioneered by the naughty boy that was Billy Mackenzie, music both lush and visceral, abrasive and ravishing, pure pop and reckless adventurism, devoured and sprayed over an unsuspecting audience”.

(The “sprayed over an unsuspecting audience” was more in reference to the fact that Mackenzie had an unusual ‘gift’ of being able to projective vomit and something he demonstrated on fans in the front row in an early gig where The Associates supported Siouxsie and the Banshees). When it came to music, most of Mackenzie’s collaborators (musicians, singers, producers) describe him as obsessive and a perfectionist. Michael Dempsey, a founding member of The Cure and bass guitarist with The Associates in the early 1980s said: “He was obsessive, always on top of every detail. It was even down to whether you were wearing the right shoes because that was part of the composition and the production to him”. Tom Doyle’s biography is full of stories about Mackenzie taking hours in the studio to get the sound of one right or taking 40 takes to do one song (almost the opposite of David Bowie – one of Mackenzie’s musical heroes – who often recorded songs in one or two takes). Musical collaborators also talk about Mackenzie’s ability to “see” music in his head (which is perhaps not as strange as it sounds as there are countless reports in the psychological and neurological literature of synaesthesia (a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway” – for example, some people can see specific colours when they hear a particular piece of music). His obsessiveness was not just restricted to music. His flatmates described his “mildly obsessive hygiene and beauty routines: using an entire tube of toothpaste in one single brushing, spending an eternity rubbing lotions into his skin before he would shave”.

Mackenzie arguably had only three passions in his life – his music, his family, and his love of dogs (and more specifically whippets). He never had any significant romantic relationship in his life (although had a very brief marriage in his teens to American Chloe Dummar when he briefly lived in California). Like Morrissey, Mackenzie was fiercely private about his sexuality and rarely talked about his personal life to the press. It was only in a 1994 interview in Time Out magazine that he first spoke publicly of his bisexuality. I mention Morrissey because it was rumoured that Mackenzie had a brief relationship with him and that Mackenzie was the subject of The Smiths‘ British (No.17) hit single ‘William, It Was Really Nothing’. This appeared to have some legitimacy when during the Associates brief 1993 re-union, Mackenzie wrote a song called ‘Stephen, You’re Really Something’ (Stephen, of course, being Morrissey’s first name).

In both Doyle’s biography (and in a profile piece on The Associates in the latest issue of Mojo magazine by Tom Sheehan), it is noted that Mackenzie had a “particular idea of his own sexuality” and that it was “beyond male and female, beyond sexuality”. Martha Ladly (of one-hit wonders Martha and the Muffins, and backing singer in The Associates in the 1980s) describes him as being “omnisexual…he didn’t see sexuality in people, he saw it in situations and in all things”. The online Urban Dictionary says that omnisexual is “generally interchangeable with pansexual, one whose romantic, emotional, or sexual attractions are geared towards others regardless of sex and/or gender expression” – check out my previous blog on pandrogyny in relation to Throbbing Gristle’s lead ‘singer’ Genesis P. Orridge). In the Mojo article, Rankine said Mackenzie was “very compartmentalised. All the way through [The Associates] it never occurred to me that Bill was having affairs. Everyone he came across he was shagging”. He was arguably a little vain (and overly conscious of his receding hairline in the last decade of his life) and always sought reassuring compliments from those around him about his looks. His obsessive grooming habits appear to provide a good indication of how important his look was to him but I’ve read nothing to suggest that he was narcissistic (although perfectionism is known to be a trait associated with narcissism).

The other personal characteristic that Mackenkie was infamous for was spending money and loved life’s luxuries. One of my research areas is shopping addiction and compulsive buying but on reading Doyle’s biography I don’t think Mackenzie would be classed as a shopaholic or compulsive spender by my own criteria (but did end up bankrupt so was a problematic spender at the very least). Like many people, Mackenzie believed that money was for spending and he spent loads of other people’s money (usually the record company’s) on everything from clothes and daily taxis (including many a black cab ride from London to Dundee), to the best hotel rooms. My view is that he was much more of an impulsive (rather than compulsive) spender.

Many people were surprised (including me) that he was clinically depressed during the last few months of his life because up to the point of his mother’s death, he appeared was always outgoing and extraverted. In his earlier life he was hedonistic and engaged in heavy alcohol drinking and recreational drug use but as he matured the use of psychoactive substances all but disappeared from his life. No-one around him thought he would be the type of person to commit suicide (although it’s worth noting there appears to be an association between perfectionism and depression, and depression is one of the major risk factors for suicide along with stress caused by severe financial difficulties).

One of Mackenzie’s best known songs in The Associates back catalogue is Rezső Seress’ Hungarian suicide song ‘Gloomy Sunday’ (from their 1982 masterpiece Sulk). The Wikipedia entry about the song has a dedicated sub-section on urban legends connected to the song and Doyle’s biography also discussed it:

“While Mackenzie had first encountered ‘Gloomy Sunday’ through the version recorded by Billie Holiday in 1941 that – along with ‘Strange Fruit‘ – remained one of the dark show-stoppers forming a significant element of her repertoire, the song has a morbid history that stretches back to pre-war Hungary. Rezro [sic] Seress composed the mournful song in 1933, the lyric expressing a feeling of futility and helplessness following the death of a loved one, unusual in that it is directed at the person, the narrator detailing numberless shadows and conveying thoughts of suicide”.

Doyle goes on to tell some of the stories that came to be associated with the song being cursed:

“The first reported death associated with ‘Gloomy Sunday’ was that of Joseph Keller, a Budapest shoemaker whose suicide note in 1936 quoted the lyric. In the Hungarian capital alone, seventeen other similar deaths apparently followed, bearing some connection with the song: a couple were said to have shot themselves while a gypsy band performed ‘Gloomy Sunday’; there was talk that a fourteen-year-old girl had thrown herself into a river clutching the sheet music. The song was eventually banned in Hungary, although even these days the occasional piano rendition is performed in the Kis Papa restaurant in Budapest where Seres first aired the song. The legend of ‘Gloomy Sunday’ grew as its apparent effects became further reaching. In New York in the [1940s], there were reports that a typist gassed herself, leaving instructions for the song to be played at her funeral. In London, a policeman was alerted to the fact that a recorded instrumental of the song was being repeatedly played by an unseen female neighbour who, when her flat was entered, was discovered to have overdosed on barbiturates while an automatic phonograph played the song over and over again. Doubtful these tales have been embellished over the years in an effort to emphasize the myth surrounding ‘Gloomy Sunday’, but certain facts remain: the BBC ban imposed on the song in the [1940s] has not been lifted to this day: Holiday suffered a tragic premature death at forty-three form heroin-related liver cirrhosis in 1959; Seress, the song’s composer, himself committed suicide in 1968”.

The Wikipedia entry on ‘Gloomy Sunday’ covers similar ground but is a bit more sceptical. It also references an article on the myth-busting website Snopes.com and notes the BBC ban on the song was lifted in 2002:

“Press reports in the 1930s associated at least nineteen suicides, both in Hungary and the United States, with ‘Gloomy Sunday’, but most of the deaths supposedly linked to it are difficult to verify. The urban legend appears to be, for the most part, simply an embellishment of the high number of Hungarian suicides that occurred in the decade when the song was composed due to other factors such as famine and poverty. No studies have drawn a clear link between the song and suicide. In January 1968, some thirty-five years after writing the song, its composer did commit suicide. The BBC banned Billie Holiday’s version of the song from being broadcast, as being detrimental to wartime morale, but allowed performances of instrumental versions. However, there is little evidence of any other radio bans; the BBC’s ban was lifted by 2002”.

Here is Doyle’s take in relation to Mackenzie in the months after Mackenzie’s mother had died where Mackenzie was having a ‘house leaving’ party:

“The personal grief at the time imbues the song’s lyrics an uneasy resonance that could not have escaped [Mackenzie]. As he lay there singing in the early hours of the Sunday morning following the party, Billy alternated the line ‘Let them not weep, let them know that I’m glad to go’ with his own lamenting alternative: ‘Let them not weep, let them know that I’m sad to go’”.

Arguably his life was a paradox personified. It took him years to get noticed but when he finally made the limelight, he appeared to shun the fame. He lived life his own way on his own terms. Thankfully, while Mackenzie is no longer with us, his music – and his legacy – lives on.

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

Further reading

Dalton, S. (2016). 18-carat love affair. Electronic Sound, 2.0, 70-75.

Doyle, T. (2011). The Glamour Chase: The Maverick Life of Billy Mackenzie (Revised Edition). Edinburgh: Bloomsbury Publishing.

Mikkelson, D. (2007). Gloomy Sunday: Was the song ‘Gloomy Sunday’ banned because it led to too many suicides? Snopes.com, May 23. Located at: http://www.snopes.com/music/songs/gloomy.asp

Reynolds, S. (2006). Rip It Up and Start Again: Postpunk, 1978–1984. New York: Penguin.

Sheehan, T. (2016). Beautiful dreamer. Mojo, 272, 50-55.

Vive Le Rock (2016). A rough guide to…The Associates, Vive Le Rock, 35, 84-85.

Wikipedia (2016). Alan Rankine. Located at: https://en.wikipedia.org/wiki/Alan_Rankine

Wikipedia (2016). Billy Mackenzie. Located at: https://en.wikipedia.org/wiki/Billy_Mackenzie

Wikipedia (2016). Gloomy Sunday. Located at: https://en.wikipedia.org/wiki/Gloomy_Sunday

Wikipedia (2016). Martha Ladly. Located at: https://en.wikipedia.org/wiki/Martha_Ladly

Wikipedia (2016). Michael Dempsey. Located at: https://en.wikipedia.org/wiki/Michael_Dempsey

Wikipedia (2016). The Associates (band). Located at: https://en.wikipedia.org/wiki/The_Associates_(band)