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Seedy CD*: A psychologist’s look at the music of Soft Cell

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’).

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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.

*With thanks to The Passage (one of my favourite bands) who used the homonym ‘Seedy’ when naming their first CD [C-D, geddit?] compilation.

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

Further reading

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

Art in the right place: Cosey Fanni Tutti’s ‘Art Sex Music’

Five years ago I wrote a blog about one of my favourite bands, Throbbing Gristle (TG; Yorkshire slang for a penile erection). In that article, I noted that TG were arguably one of “the most extreme bands of all time” and “highly confrontational”. They were also the pioneers of ‘industrial music’ and in terms of their ‘songs’, no topic was seen as taboo or off-limits. In short, they explored the dark and obsessive side of the human condition. Their ‘music’ featured highly provocative and disturbing imagery including hard-core pornography, sexual manipulation, school bullying, ultra-violence, sado-masochism, masturbation, ejaculation, castration, cannibalism, Nazism, burns victims, suicide, and serial killers (Myra Hindley and Ian Brady).

I mention all this because I have just spent the last few days reading the autobiography (‘Art Sex Music‘) of Cosey Fanni Tutti (born Christine Newbie), one of the four founding members of TG. It was a fascinating (and in places a harrowing) read. As someone who is a record-collecting completist and having amassed almost everything that TG ever recorded, I found Cosey’s book gripping and read the last 350 pages (out of 500) in a single eight-hour sitting into the small hours of Sunday morning earlier today.

cosey_fanni_tutti_paperback_signed

TG grew out of the ‘performance art’ group COUM Transmissions in the mid-1970s comprising Genesis P-Orridge (‘Gen’, born Neil Megson in 1950) and Cosey. At the time, Cosey and Gen were a ‘couple’ (although after reading Cosey’s book, it was an unconventional relationship to say the least). TG officially formed in 1975 when Chris Carter (born 1953) and Peter ‘Sleazy’ Christopherson (1955-2010). Conservative MP Sir Nicholas Fairburn famously called the group “wreckers of civilisation” (which eventually became the title of their 1999 biography by Simon Ford).

As I noted in my previous article, TG are – psychologically – one of the most interesting groups I have ever come across and Cosey’s book pulled no punches. To some extent, Cosey’s book attempted to put the record straight in response to Simon Ford’s book which was arguably a more Gen-oriented account of TG. Anyone reading Cosey’s book will know within a few pages who she sees as the villain of the TG story. Gen is portrayed as an egomaniacal tyrant who manipulated her. Furthermore, she was psychologically and physically abused by Gen throughout their long relationship in the 1970s. Thankfully, Cosey fell in love with fellow band member Chris Carter and he is still the “heartbeat” of the relationship and to who her book is dedicated.

Like many of my favourite groups (The Beatles, The Smiths, The Velvet Underground, Depeche Mode), TG were (in Gestaltian terms) more than the sum of their parts and all four members were critical in them becoming a cult phenomenon. The story of their break up in the early 1980s and their reformation years later had many parallels with that of the Velvet Underground’s split and reformation – particularly the similarities between Gen and Lou Reed who both believed they were leaders of “their” band and who both walked out during their second incarnations.

Cosey is clearly a woman of many talents and after reading her book I would describe her as an artist (and not just a ‘performance artist’), musician (or maybe ‘anti-musician in the Brian Eno sense of the word), writer, and lecturer, as well as former pornographic actress, model, and stripper. It is perhaps her vivid descriptions of her life in the porn industry and as a stripper that (in addition to her accounts of physical and psychological abuse by Gen) were the most difficult to read. For someone as intelligent as Cosey (after leaving school with few academic qualifications but eventually gaining a first-class degree via the Open University), I wasn’t overly convinced by her arguments that her time working in the porn industry both as a model and actress was little more than an art project that she engaged in on her own terms. But that was Cosey’s justification and I have no right to challenge her on it.

What I found even more interesting was how she little connection between her ‘pornographic’ acting and modelling work and her time as a stripper (the latter she did purely for money and to help make ends meet during the 1980s). Her work as a porn model and actress was covert, private, seemingly enjoyable, and done behind closed doors without knowing who the paying end-users were seeing her naked. Her work as a stripper was overt, public, not so enjoyable, and played out on stage directly in front of those paying to see her naked. Two very different types of work and two very different psychologies (at least in the way that Cosey described it).

Obviously both jobs involved getting naked but for Cosey, that appeared to be the only similarity. She never ever had sex for money with any of the clientele that paid to see her strip yet she willingly made money for sex within the porn industry. For Cosey, there was a moral sexual code that she worked within, and that sex as a stripper was a complete no-no. The relationship with Gen was (as I said above) ‘unconventional’ and Gen often urged her and wanted her to have sex with other men (and although she never mentioned it in her book, I could speculate that Gen had some kind of ‘cuckold fetish’ that I examined in a previous blog as well as some kind of voyeur). There were a number of times in the book when Cosey appeared to see herself as some kind of magnet for unwanted attention (particularly exhibitionists – so-called ‘flashers’ – who would non-consensually expose their genitalia in front of Cosey from a young age through to adulthood). Other parts of the book describe emotionally painful experiences (and not just those caused by Gen) including both her parents disowning her and a heartfelt account of a miscarriage (and the hospital that kept her foetus without her knowledge or consent). There are other sections in the book that some readers may find troubling including her menstruation art projects (something that I perhaps should have mentioned in my blog  on artists who use their bodily fluids for artistic purposes).

Cosey’s book is a real ‘warts and all’ account of her life including her many health problems, many of which surprisingly matched my own (arrhythmic heart condition, herniated spinal discs, repeated breaking of feet across the lifespan). Another unexpected connection was that her son with Chris Carter (Nick) studied (and almost died of peritonitis) as an undergraduate studying at art at Nottingham University or Nottingham Trent University. I say ‘or’ because at one stage in the book it says that Nick studied at Nottingham University and in another extract it says they were proud parents attending his final degree art show at Nottingham Trent University. I hope it was the latter.

Anyone reading the book would be interested in many of the psychological topics that make an appearance in the book including alcoholism, depression, claustrophobia, egomania, and suicide to name just a few. In previous blogs I’ve looked at whether celebrities are more prone to some psychological conditions including addictions and egomania and the book provides some interesting case study evidence. As a psychologist and a TG fan I loved reading the book.

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

Further reading

Cooper, D. (2012). Sypha presents … Music from the Death Factory: A Throbbing Gristle primer. Located at: http://denniscooper-theweaklings.blogspot.co.uk/2012/02/sypha-presents-music-from-death-factory.html?zx=c19a3a826c3170a7

Fanni Tutti, C. (2017). Art Sex Music. Faber & Faber: London.

Ford, S. (1999). Wreckers of Civilization: The Story of Coum Transmissions and Throbbing Gristle. London: Black Dog Publishing.

Kirby, D. (2011). Transgressive representations: Satanic ritual abuse, Thee Temple ov Psychick Youth, and First Transmission. Literature and Aesthetics, 21, 134-149.

Kromhout, M. (2007). ‘The Impossible Real Transpires’ – The Concept of Noise in the Twentieth Century: a Kittlerian Analysis. Located at: http://www.mellekromhout.nl/wp-content/uploads/The-Impossible-Real-Transpires.pdf

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

Sarig, R. (1998). The Secret History of Rock: The Most Influential Bands You’ve Never Heard Of. New York: Watson-Guptill Publications.

Walker, J.A. (2009). Cosey Fanni Tutti & Genesis P-Orridge in 1976: Media frenzy, Prostitution-style, Art Design Café, August 10. Located at: http://www.artdesigncafe.com/cosey-fanni-tutti-genesis-p-orridge-1-2009

Wells, S. (2007). A Throbbing Gristle primer. The Guardian, May 27. Located at: http://www.guardian.co.uk/music/musicblog/2007/may/29/athrobbinggristleprimer

One giant step for man: Another look at macrophilia

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”.

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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

Further reading

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/

The eat is on: Cannibalism and sexual cannibalism (revisited)

Recently, I was approached by Ben Biggs, the editor of the Real Crime magazine, who was running an article on the practicalities and psychology of cannibalism, with expert commentary running through it (and with me as the “expert”). The article has just been published in the May 2016 issue and I was assured that the feature would “highlight how nasty cannibalism is, not glorify it”. I responded to the questions as part of an email interview and today’s blog contains the unedited responses to the questions that I was asked.

What are the main reasons a human might eat another human being?

There are a number of possible reasons including:

Out of necessity – For instance, in 1972, a rugby team from Uruguay was in a plane crash in the Andes. Fifteen people died and the only way they prevented themselves starving to death was to eat the flesh of the deceased (which given the fact it took 72 days for them to be rescued, was one of the few viable options to prevent starvation).

As a way of controlling population size – The Aztecs were said to have eaten no less than 15,000 victims a year as – some have argued – a form of population control).

As part of a religious belief – There are some religious beliefs involving the need to eat human flesh as a way of sustaining the universe or as part of magical and ritualistic ceremonies.

As part of the grieving process – Some acts of cannibalism are where dead people’s body parts are eaten as either part of the grieving process, as a way of guiding the souls of the dead into the bodies of the living, and/or as a way of imbibing the dead person’s ‘life force’ or more specific individual characteristics.

As part of tribal warfare – Cannibalistic acts were most often carried out as part of a celebration victory after battles with rival tribes.

For sexual gratification – Some individuals have claimed to get sexually aroused from eating (or thinking about eating) the flesh of others. When it comes to sexual cannibalism in humans, there are arguably different subtypes (although this is based on my own personal opinion and not on something I’ve read in a book or research paper). Most of these behaviours I have examined in previous blogs:

  • Vorarephilia is a sexual paraphilia in which individuals are sexually aroused by (i) the idea of being eaten, (ii) eating another person, and/or (iii) observing this process for sexual gratification. However, most vorarephiles’ behaviour is fantasy-based, although there have been real cases such as Armin Meiwes, the so-called ‘Rotenburg Cannibal’.
  • Erotophonophilia is a sexual paraphilia in which individuals have extreme violent fantasies and typically kill their victims during sex and/or mutilate their victims’ sexual organs (the latter of which is usually post-mortem). In some cases, the erotophonophiles will eat some of their victim’s body parts (usually post-mortem). Many lust murderers – including Jack the Ripper – are suspected of engaging in cannibalistic and/or gynophagic acts, taking away part of the female to eat later. Other examples of murderers who have eaten their victims (or parts of them) for sexual pleasure include Albert Fish, Issei Sagawa, Andrei Chikatilo, Ed Gein, and Jeffrey Dahmer.
  • Sexual necrophagy refers to the cannibalizing of a corpse for sexual pleasure. This may be associated with lust murder but Brenda Love in her Encyclopedia of Unusual Sex Practices says that such cases usually involve “one whose death the molester did not cause. Many cases of reported necrophilia include cannibalism or other forms of sadism and it is believed that many others fantasize about doing it”.
  • Vampirism as a sexual paraphilia in which an individual derives sexual arousal from the ingestion of blood from a living person.
  • Menophilia is a sexual paraphilia in which an individual (almost always male) derives sexual arousal from drinking the blood of menstruating females.
  • Gynophagia is a sexual fetish that involves fantasies of cooking and consumption of human females (gynophagia literally means “woman eating”). There is also a sub-type of gynophagia called pathenophagia. This is the practice of eating young girls or virgins. Several lust murderers were known to consume the flesh of young virgins, most notably Albert Fish).
  • ‘Sexual autophagy’ refers to the eating of one’s own flesh for sexual pleasure (and would be a sub-type of autosarcophagy).

A recent 2014 paper by Dr. Amy Lykins and Dr. James Cantor in the Archives of Sexual Behavior entitled ‘Vorarephilia: A case study in masochism and erotic consumption’ referred to the work of Dr Friedemann Pfafflin (a forensic psychotherapist at Ulm University, Germany): 

“Pfafflin (2008) commented on the many phrases that exist in the English language to relate sex/love and consumption, including referring to someone as ‘looking good enough to eat’, ’that ‘the way to a man’s heart is through his stomach’, and describing a sexually appealing person as ‘sweet’, ‘juicy’, ‘appetizing’, or ‘tasty’. Christian religions even sanction metaphorical cannibalism through their sacrament rituals, during which participants consume bread or wafers meant to represent the ‘body of Christ’ and wine intended to represent the ‘blood of Christ’ – a show of Jesus’s love of his people and, in turn, their love for him, by sharing in his ‘blood’ and ‘flesh’. This act was intended to ‘merge as one’ the divine and the mortal”.

It’s not unusual for a serial killer to cannibalise parts of their victims. Why is this, and what can cause that behaviour? 

I think it’s a rare behaviour, even among serial killers. As noted above, in these instances the eating (or the thought of eating) others is sexually arousing. It has also been claimed that the sexual cannibal may also release sexual frustration or pent up anger when eating human flesh. Some consider sexual cannibalism to be a form of sexual sadism and is often associated with the act of necrophilia (sex with corpses). Others have claimed that cannibals feel a sense of euphoria and/or intense sexual stimulation when consuming human flesh. All of these online accounts cite the same article by Clara Bruce (‘Chew On This: You’re What’s for Dinner’) that I have been unable to track down (so I can’t vouch for the veracity of the claims made). Bruce’s article claimed that cannibals had compared eating human flesh with having an orgasm, and that flesh eating caused an out-of-body-experience experience with effects comparable to taking the drug mescaline.

In the case of Japanese cannibal Issei Sagawa, he said that he might have been satisfied with consuming some, non-vital part of his victim Renee Hartevelt, such as her pubic hair, but he couldn’t bring himself to ask her for it. Does the murder and the consumption of flesh stem from the same mental disorder, or is murder just a necessary evil? 

I have not seen these claims. I have only read that his desire to eat women was to “absorb their energy”.

Do you think Issei Sagawa would have been satisfied with eating her hair?

Again, I have never read about this. He seems to have claimed that he had cannibalistic desires since his youth and that his murder of women was for this reason and no other.

Serial Killer Jeffrey Dahmer said he liked to eat mens’ biceps, because he was a ‘bicep guy’. Does the body part consumed necessarily bear a direct relation to the part of the victim’s anatomy the cannibal has a sexual preference for?

Not that I am aware of. Most people that are partialists (i.e., derive sexual arousal from particular body parts such has hands, feet, buttocks, etc.) would be unlikely to get aroused if the body part was not attached to something living.

There are rarer cases where, rather than having a fantasy of eating a sexual partner, the ‘victim’ consents to being eaten by the killer. Does this stem from the same psycho-sexual disorder that leads to a cannibal killing?

This is something entirely different and is part of vorarephilia (highlighted earlier). My understanding is that the flesh eating would only occur consensually (as in the case of Armin Meiwes and Bernd Jürgen Brand).

What reason would there be for someone to eat their own body parts? 

The practice is very rare and has only been documented a number of times in the psychological and psychiatric literature (and all are individual case studies). It has sometimes been labeled as a type of pica (on the basis that the person is eating something non-nutritive) although personally I think this is misguided as it could be argued that human flesh may be nutritious (even if most people find the whole concept morally repugnant). However, there are documented cases of autosarcophagy where people have eaten their own skin as an extreme form of body modification. Some authors argue that auto-vampirism (i.e., the practice of people drinking their own blood) should also be classed as a form of autosarcophagy (although again, I think this is stretching the point a little).

The practice has certainly come to the fore in some high profile examples in the fictional literature. Arguably the most infamous example, was in Thomas Harris’ novel Hannibal (and also in the film adaptation directed by Ridley Scott), where Hannibal ‘the Cannibal’ Lecter psychologically manipulates the paedophile Mason Verger into eating his own nose, and then gets Verger to slice off pieces of his own face off and feed them to his dog. In what many people see as an even more gruesome autosarcophagic scene, Lecter manages to feed FBI agent Paul Krendler slices of his own brain. In real life (rather than fiction), autosarcophagy is typically a lot less stomach churning but in extreme examples can still be something that makes people wince.

Depending on the definition of autosarcophagy used, the spectrum of self-cannibalism could potentially range from behaviours such as eating a bit of your own skin right through eating your own limbs. There are many reasons including for art, for the taste, for body modification, for protest (associated to mental illness), because they had taken mind-altering drugs, and for sexual pleasure. Here are four autosarcophagic examples that have been widely reported in the media but are very different in scope and the public’s reaction to them.

  • Example 1: Following a liposuction operation in 1996, the Chilean-born artist Marco Evaristti held a dinner party for close friends and served up a pasta dish with meatballs made from beef and the fatty liposuction remains. The meal was claimed by Evaristti to be an artistic statement but was highly criticized as being “disgusting, publicity-seeking and immoral”.
  • Example 2: On a February 1998 episode of the Channel 4 British cookery programme TV Dinners, a mother was shown engaging in placentophagy when she cooked her own placenta (with fried garlic and shallots), made into a pate and served on foccacia bread. The programme received a lot of complaints that were upheld by the British Broadcasting Standards Commission who concluded that the act of eating placenta pate on a highly watched TV programme had  “breached convention”.
  • Example 3: In 2009, Andre Thomas, a 25-year old murderer on Texas death row (and with a history of mental problems) pulled out his eye in prison and ate it.
  • Example 4: The German man Bernd Jürgen Brande who engaged in self-cannibalism (cutting off and then eating his own cooked penis) before being killed and eaten by Armin Meiwes, the ‘Rotenburg Cannibal’ (who also shared in the eating of Brande’s cooked penis).

Dr Friedemann Pfafflin (a forensic psychotherapist at Ulm University, Germany) and who has written about Armin Meiwes, the ‘Rotenburg Cannibal’ asserts that “apart from acts of cannibalism arising from situations of extreme necessity…the cannibalistic deeds of individuals are always an expression of severe psychopathology”.

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

Further reading

Aggrawal A. (2009). Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices. Boca Raton: CRC Press.

Ahuja, N. & Lloyd, A.J. (2007). Self-cannibalism: an unusual case of self-mutilation. Australian and New Journal of Psychiatry, 41, 294-5.

Arens, William (1979). The Man-Eating Myth: Anthropology and Anthropophagy. Oxford: Oxford University Press.

Beier, K. (2008). Comment on Pfafflin’s (2008) “Good enough to eat”. Archives of Sexual Behavior, 38, 164-165.

Beneke M. (1999). First report of nonpsychotic self-cannibalism (autophagy), tongue splitting, and scar patterns (scarification) as an extreme form of cultural body modification in a western civilization. American Journal of Forensic Medicine and Pathology, 20, 281-285.

Benezech, M., Bourgeois, M., Boukhabza, D. & Yesavage, J. (1981). Cannibalism and vampirism in paranoid schizophrenia. Journal of Clinical Psychiatry, 42(7), 290.

Beier, K. (2008). Comment on Pfafflin’s (2008) “Good enough to eat”. Archives of Sexual Behavior, 38, 164-165.

Betts, W.C. (1964). Autocannibalism: an additional observation. American Journal of Psychiatry 121, 402-403.

Cannon, J. (2002). Fascination with cannibalism has sexual roots. Indiana Statesman, November 22. Located at: http://www.indianastatesman.com/vnews/display.v/ART/2002/11/22/3dde3b6201bc1

de Moore, G.M. & Clement, M. (2006). Self-cannibalism: an unusual case of self-mutilation. Australian and New Zealand Journal of Psychiatry, 40, 937.

Gates, K. (2000). Deviant desires: Incredibly strange sex. New York: Juno Books.

Huffington Post (2009). Andre Thomas, Texas Death Row inmate, pulls out eye, eats it. TheHuffington Post, September 9. Located at: http://www.huffingtonpost.com/2009/01/09/andre-thomas-texas-death-_n_156765.html

Krafft-Ebing, R. von (1886). Psychopathia sexualis (C.G. Chaddock, Trans.). Philadelphia: F.A. Davis.

Love, B. (2001). Encyclopedia of Unusual Sex Practices. London: Greenwich Editions.

Lykins, A.D., & Cantor, J.M. (2014). Vorarephilia: A case study in masochism and erotic consumption. Archives of Sexual Behavior, 43, 181-186.

Mikellides, A.P. (1950). Two cases of self-cannibalism (autosarcophagy). Cyprus Medical Journal, 3, 498-500.

Mintz, I.L. (1964). Autocannibalism: a case study. American Journal of Psychiatry, 120, 1017.

Monasterio, E. & Prince, C. (2011). Self-cannibalism in the absence of psychosis and substance use. Australasian Psychiatry, 19, 170-172.

Pfafflin, F. (2008). Good enough to eat. Archives of Sexual Behavior, 37, 286-293.

Pfafflin, F. (2009). Reply to Beier (2009). Archives of Sexual Behavior, 38, 166-167.

Prins, H. (1985). Vampirism: A clinical condition. British Journal of Psychiatry, 146, 666-668.

Reuters (1997). Meatballs made from fat, anyone? May 18. Located at: http://uk.reuters.com/article/2007/05/18/oukoe-uk-chile-artist-idUKN1724159420070518

Sunay, O. & Menderes, A. (2011). Self cannibalism of fingers in an alzheimer patient. Balkan Medical Journal, 28, 214-215.

Unlimited Blog (2007). Sexual cannibalism and Nithari murders. November. Located at: http://sms-unlimited.blogspot.co.uk/2007/11/sexual-cannibalism-and-nithari-murders.html

Wikipdia (2012). Cannibalism. Located at: http://en.wikipedia.org/wiki/Cannibalism

Wikipedia (2012). Sexual cannibalism. Located at: http://en.wikipedia.org/wiki/Sexual_cannibalism

Insect asides: The psychology of Adam Ant

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 Peoplewhich 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

Further reading

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

Jealous high: A brief look at zelophilia

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

Further reading

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

Heat strokes: A brief look at radiator sex

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

Further reading

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

Turn on the eating: A beginner’s guide to sexual cannibalism

“People who have consumed human blood and flesh reportedly claim to experience an intoxicating euphoric effect. This reaction is similar to that experienced by anyone who satisfies a strong sexual craving that is not considered normal (exhibitionism, necrophilia, rape, etc.). However, in this case, it must have reinforced the beliefs of worshippers that indeed their god was present in the victim” (Dr. Brenda Love, Encyclopedia of Unusual Sex Practices).

Today’s blog takes a brief look at sexual cannibalism in humans. I added “in humans” at the end of the sentence because sexual cannibalism is quite common in some animal species. As Dr. Brenda Love notes in her Encyclopedia of Unusual Sex Practices, sexual cannibalism is known to occur in some types of spider, praying mantis, scorpion, cricket, grasshopper, and fly. The Wikipedia entry also notes that sexual cannibalism has been observed in various types of crustacean (e.g., amphipods, copepods), slugs and snails (i.e., gastropods), and squids and octopuses (i.e., cephalopods). In the non-human species, it is typically the female that kills and eats the male before, during or after sexual union has taken place. Amongst humans, sexual cannibalism is extremely rare, and most humans who engage in cannibalistic acts for sexual purposes are generally considered sociopaths.

Of course, cannibalism for non-sexual purposes – known I more scientific circles as anthropophagy – has long been known among certain tribes and cultures. Throughout history, cannibalism has been practiced in many forms across Asia, Australia, Europe, and the Americas. Though rare today, it is believed to be still practiced in a few remote parts of Asia.  Cannibalism can be classed as either endocannibalism (i.e., consumption of another human being from within the same group or community) or exocannibalism (i.e., consumption of another human being from outside the group or community). Some acts of endocannibalism are actually acts of necro-cannibalism (i.e., the eating of flesh from dead humans also known as necrophagy) where dead people’s body parts are eaten as either part of the grieving process, as a way of guiding the souls of the dead into the bodies of the living, and/or as a way of imbibing the dead person’s ‘life force’ or more specific individual characteristics. Such endocannibalistic practices were common among certain tribes in New Guinea (which led to the prion disease kuru that I examined in a previous blog). However, it is known that many males among various tribes would not consume females for fear of emasculation. Exocannibalistic acts were most often carried out as part of a celebration victory after battles with rival tribes. There are various theories from many perspectives on why cannibalism may occur. These have included:

  • Religious theories (e.g., religious beliefs involving the need to eat human flesh as a way of sustaining the universe or as part of magical and ritualistic ceremonies).
  • Political theories (e.g., eating human flesh as a political tool to intimidate and control potential hostiles or subordinates).
  • Socio-psychological theories (e.g., eating human flesh due to unconscious factors such as a response to trauma).
  • Ecological theories (e.g., eating human flesh as a way of controlling the size of the population. The Aztecs were said to have eaten no less than 15,000 victims a year as – some have argued – a form of population control).
  • Dietary theories (e.g., eating human flesh as a source of protein).

There are of course other reasons (including sexual ones) that may be the root of someone’s cannibalistic desire to eat human flesh. One reason could be out of necessity. For instance, in 1972, a rugby team from Uruguay was in a plane crash in the Andes. Fifteen people died and the only way they prevented themselves starving to death was to eat the flesh of the deceased (which given the fact it took 72 days for them to be rescued, was one of the few viable options to prevent starvation). At its simplest level, human sexual cannibalism is usually considered a psychosexual disorder and involves individuals’ sexualizing (in some way) the consumption of another human being’s flesh. One online article claims that:

“This does not necessarily suggest that the cannibal achieves sexual gratification only in the act of consuming human flesh, but also may release sexual frustration or pent up anger. Sexual cannibalism is considered to be a form of sexual sadism and is often associated with the act of necrophilia (sex with corpses)”.

When it comes to sexual cannibalism in humans, there are arguably different subtypes (although this is based on my own personal opinion and not on something I’ve read in a book or research paper). Most of these behaviours I have examined in previous blogs (so click on the links if you want to know more:

  • Vorarephilia is a sexual paraphilia in which individuals are sexually aroused by (i) the idea of being eaten, (ii) eating another person, and/or (iii) observing this process for sexual gratification. However, most vorarephiles’ behaviour is fantasy-based, although there have been real cases such as Armin Meiwes, the so-called ‘Rotenburg Cannibal’.
  • Erotophonophilia is a sexual paraphilia in which individuals have extreme violent fantasies and typically kill their victims during sex and/or mutilate their victims’ sexual organs (the latter of which is usually post-mortem). In some cases, the erotophonophiles will eat some of their victim’s body parts (usually post-mortem). Many lust murderers – including Jack the Ripper – are suspected of engaging in cannibalistic and/or gynophagic acts, taking away part of the female to eat later. Other examples of murderers who have eaten their victims (or parts of them) for sexual pleasure include Albert Fish, Issei Sagawa, Andrei Chikatilo, Ed Gein, and Jeffrey Dahmer.
  • Sexual necrophagy refers to the cannibalizing of a corpse for sexual pleasure. This may be associated with lust murder but Brenda Love in her Encyclopedia of Unusual Sex Practices says that such cases usually involve “one whose death the molester did not cause. Many cases of reported necrophilia include cannibalism or other forms of sadism and it is believed that many others fantasize about doing it”.
  • Vampirism as a sexual paraphilia in which an individual derives sexual arousal from the ingestion of blood from a living person
  • Menophilia is a sexual paraphilia in which an individual (almost always male) derives sexual arousal from drinking the blood of menstruating females.
  • Gynophagia is (according to Dr. Anil Aggrawal’s 2009 book Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices) a sexual fetish that involves fantasies of cooking and consumption of human females (gynophagia literally means “woman eating”). There is also a sub-type of gynophagia called pathenophagia. This (according to Dr. Brenda Love) is the practice of eating young girls or virgins. Several lust murderers were known to consume the flesh of young virgins, most notably Albert Fish). 

Added to this list, is something I would call ‘sexual autophagy’ which refers to the eating of one’s own flesh for sexual pleasure (and would be a sub-type of autosarcophagy discussed in a previous blog). I am basing this sub-type on an entry I came across in Brenda Love’s Encyclopedia of Unusual Sex Practices and relating to a case study reported by Krafft-Ebing:

“Krafft-Ebing recorded the case of a man who at 13 [years of age] became infatuated with a young white-skinned girl. However, instead of desiring intercourse, he was overwhelmed by the urge to bite off a piece of her flesh and eat it. He began stalking women, and for years he carried a pair of scissors with him. He was never successful in accosting a woman, but when he came close he would cut off and eat a piece of his own skin instead. This act produced an immediate orgasm for him”.

This account seems to be confirmed by some online articles on sexual cannibalism claiming that cannibals feel a sense of euphoria and/or intense sexual stimulation when consuming human flesh. All of these online accounts cite the same article by Clara Bruce (‘Chew On This: You’re What’s for Dinner’) that I have been unable to track down (so I can’t vouch for the veracity of the claims made). Bruce’s article claimed that cannibals had compared eating human flesh with having an orgasm, and that flesh eating caused an out-of-body-experience experience with effects comparable to taking the drug mescaline. In another publication that I’ve failed to track down, the following snippet appears on at least 20 websites with articles on sexual cannibalism:

“Lesley Hensel, author of ‘Cannibalism as a Sexual Disorder’ [says] eating human flesh can cause an increase in levels of vitamin A and amino acids, which can cause a chemical effect on the blood and in the brain. This chemical reaction could possibly lead to the altered states that some cannibals have claimed to have experienced. However, this theory has not been substantiated by scientific evidence”.

As I’ve covered many of the cannibalistic sub-types in previous blogs, I tried to do some further research on gynophagia. There is almost nothing written from an academic or clinical perspective about gynophagia (in fact when I typed in ‘gynophagia’ only one reference turned up – a paper on ‘the psychophysical basis of feelings’ published by Dr. C.L. Herrick in an 1892 issue of the Journal of Comparative Neurology that only mentioned gynophagia in passing). However, there are quite a few dedicated gynophagia websites out there including dedicated pages on the Deviant Art website and an interesting set of cannibalistic links (that you can check out for yourself on the Indie Film website. There is also a reasonably lengthy article in the Urban Dictionary but it features little of any substance. The person writing the article makes the following observations:

“Gynophagia is the fetish of a person becoming food for someone else as a fantasy. As a fantasy it’s just as taboo as BDSM or other kinks…Gynophagia can really be a more gentle fetish than BDSM because torture is almost never applied. Honestly, when you boil it down to its essentials (no pun intended), gynophagia is an extension of the ‘Damsel in Distress’ scenario…Gynophagia is present in a lot of the older media we have, the most widely recognized being a helpless woman being boiled alive by a native tribe when the hero rescues her. Another example would be in Little Red Riding Hood where the wolf devours Red Riding Hood, but this could also be classified as a separate but similar fetish called Vorarephillia. One of the more widely known scenarios of gynophagia is known as the Dolcett method which usually centers around the main female character of a Dolcett comic being spit roasted alive and enjoying every moment of it. But again I must stress that gynophagia is one of those few fetishes that can only be a fantasy and should not be practiced in real life”.

If you really want to find out what gynophagia disciples are into, I suggest you check out the Carnal Consummations fetish website (but you’ve been warned!).

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

Further reading

Aggrawal A. (2009). Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices. Boca Raton: CRC Press.

Arens, William (1979). The Man-Eating Myth: Anthropology and Anthropophagy. Oxford: Oxford University Press.

Beier, K. (2008). Comment on Pfafflin’s (2008) “Good enough to eat”. Archives of Sexual Behavior, 38, 164-165.

Benezech, M., Bourgeois, M., Boukhabza, D. & Yesavage, J. (1981). Cannibalism and vampirism in paranoid schizophrenia. Journal of Clinical Psychiatry, 42(7), 290.

Cannon, J. (2002). Fascination with cannibalism has sexual roots. Indiana Statesman, November 22. Located at: http://www.indianastatesman.com/vnews/display.v/ART/2002/11/22/3dde3b6201bc1

Krafft-Ebing, R. von (1886). Psychopathia sexualis (C.G. Chaddock, Trans.). Philadelphia: F.A. Davis.

Love, B. (2001). Encyclopedia of Unusual Sex Practices. London: Greenwich Editions.

Pfafflin, F. (2008). Good enough to eat. Archives of Sexual Behavior, 37, 286-293.

Pfafflin, F. (2009). Reply to Beier (2009). Archives of Sexual Behavior, 38, 166-167.

Prins, H. (1985). Vampirism: A clinical condition. British Journal of Psychiatry, 146, 666-668.

Unlimited Blog (2007). Sexual cannibalism and Nithari murders. November. Located at: http://sms-unlimited.blogspot.co.uk/2007/11/sexual-cannibalism-and-nithari-murders.html

Wikipdia (2012). Cannibalism. Located at: http://en.wikipedia.org/wiki/Cannibalism

Wikipedia (2012). Human sacrifice in Aztec culture. Located at: http://en.wikipedia.org/wiki/Human_sacrifice_in_Aztec_culture

Wikipedia (2012). Sexual cannibalism. Located at: http://en.wikipedia.org/wiki/Sexual_cannibalism

Banned on the run: The extreme world of Throbbing Gristle

“I don’t think there’s any point in doing anything unless you push yourself. When in doubt – be extreme” (Genesis P-Orridge)

“[We] were interested in taboos. What the boundaries were, where sound became noise and where noise became music and where entertainment became pain, and where pain became entertainment. All the contradictions of culture” (Genesis P-Orridge)

Today’s blog is a little leftfield and as I write this, I’m not quite sure where it’s going to end up. Regular readers will know from some of my previous blogs that I am a bit of a music obsessive and that music is one of the most important things in my life. Given that one of the things I like to examine in my blog is extreme behaviour, I thought I would have a brief look at one of the most extreme bands of all time – Throbbing Gristle (TG) – who coincidentally happen to be one of my all-time favourite groups. (In fact, I have surreptitiously snuck in TG references in previous blogs, the most blatant example being my blog on sexual sadism that I entitled Entertainment Through Pain – the name of TG’s most recent ‘best of’ album).

I have no idea how much any of you reading this knows about TG, and if you do know about them, you will no doubt be aware that listening to them is an experience (to say the least) and they were the first (and best) group to make ‘industrial music’ (in fact they coined the term and formed their own record label Industrial Records). TG’s live shows (which incidentally were all recorded and all made commercially available to buy albeit in limited editions) were notorious and highly confrontational. They featured highly provocative and disturbing imagery including hard-core pornography and scenes from Nazi concentration camps. TG continually said that that their mission was “to challenge and explore the darker and obsessive sides of the human condition rather than to make attractive music”. This they did to great effect!

I’ll start with a brief history. TG grew out of the ‘performance art’ group COUM Transmissions in the mid-1970s. COUM Transmissions comprised Genesis P-Orridge (born Neil Megson in 1950) and Cosey Fanni Tutti (born Christine Newby in 1951), and both took a great interest in radical counter-culture. TG officially formed in 1975 when Chris Carter (born 1953) and Peter ‘Sleazy’ Christopherson (1955-2010) joined Genesis and Cosey. The final performance by COUM Transmissions was the highly controversial show Prostitution at London’s Institute of Contemporary Arts Gallery in September 1976. The final show featured transvestite guards, a female stripper, and used tampons in glass. In the print media, Conservative MP Sir Nicholas Fairburn famously called the group “wreckers of civilisation” (which eventually became the title of their 1999 biography by Simon Ford). Even their name is subversive – ‘Throbbing Gristle’ is actually Yorkshire slang for a penile erection. Roni Sarig in the 1998 book The Secret History of Rock: The Most Influential Bands You’ve Never Heard, notes that in relation to their propensity to shock audiences:

“[Throbbing Gristle] spent a number of years shocking and provoking even the most open-minded members of the avant-garde art world with shows featuring body fluids, dead animal parts, and nude photos of Cosey (a part-time stripper), that pushed the limits of obscenity and taboo. By the mid-‘70s, the group…determined that the best avenue for continuing their cultural assault was music. [They used] an array of instruments (most of which they couldn’t play), as well as tape machines and various electronic effects”.

There are dozens of TG recordings available but the most well known LPs are arguably The Second Annual Report, D.o.A. – The Third and Final Report, 20 Jazz Funk Greats, and Heathen Earth (and if you want to just dip in and see what all the fuss is about try The Taste of TG featuring on the front cover a manipulation of a still from the Pasolini film adaptation of the Marquis de Sade’s The 120 Days of Sodom). They broke up in 1981 and reformed again in 2004 (until 2010).

Their musical performances were often improvised but there were certainly sonic soundscapes that could be described as actual ‘songs’. Most of the fans’ favourites covered extreme, controversial and/or provocative subjects and lyrics including (but not limited to): sadomasochism (Discipline), masturbation (Five Knuckle Shuffle), ejaculation (Something Came Over Me), sexual manipulation (Persuasion), the Moors murderers Myra Hindley and Ian Brady (Very Friendly), the gassing of Jews in Nazi Germany (Zyklon B Zombie), Nazism (National Affront), misogyny (We Hate You Little Girls), school bullying (Blood On The Floor), burns victims (Hamburger Lady), ultra-violence (Subhuman, Dead Ed, and Hit By A Rock), castration and foetus eating (Slug Bait), and suicide (Weeping). A really good paper written by Dr. Danielle Kirby in a 2011 issue of Literature and Aesthetics highlighted the cultural space that TG’s music inhabited:

“[Throbbing Gristle] both musically and magically, constitute an integral element of what Christopher Partridge calls ‘occulture’. Occulture, a neologism attributed to Genesis P-Orridge, has come to express a socio-spiritual milieu encompassing ‘those often hidden, rejected and oppositional beliefs and practices associated with esotericism, Theosophy, mysticism, New Age, [and] Paganism’ amongst other subcultural ideas and lifestyles”.

Psychologically they are simply one of the most interesting groups I have ever come across. They lived life on the fringes, and much of their performance whether it was art, drama and/or music was extreme and morally provocative. In one interview, Genesis P-Orridge revealed perhaps one of his most depraved artistic improvisations:

“I used to do things like stick severed chicken’s heads over my penis, and then try to masturbate them, whilst pouring maggots all over it…At the ICA I did a performance where I was naked, I drank a bottle of whiskey and stood on a lot of tacks. And then I gave myself enemas with blood, milk and urine, and then broke wind so a jet of blood, milk and urine combined shot [out and] then [I] licked it off the not-clean concrete floor. Then I got a 10-inch nail and tried to swallow it, which made me vomit. Then Cosey helped me lick the vomit off the floor. And she was naked and trying to sever her vagina to her navel with a razor blade and she injected blood into her vagina which then trickled out, and we sucked the blood from her vagina into a syringe and injected it into eggs painted black, which we then tried to eat. And we vomited again, which we then used for enemas. Then I urinated into a large glass bottle and drank it all while it was still warm. This was all improvised. And then we gradually crawled to each other, licking the floor clean. ‘Cause we don’t like to leave a mess, y’know; after all, it’s not fair to insult an art gallery. Chris Burden, who’s known for being outrageous, walked out with his girlfriend, saying, ‘This is not art, this is the most disgusting thing I’ve ever seen, and these people are sick’.”

I have no idea if my brief look into the world of Throbbing Gristle has totally put you off exploring their art and music, but as a group, their artistic mission and philosophy complements much of the more extreme academic material that I have featured in my blog.

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

Further reading

Cooper, D. (2012). Sypha presents … Music from the Death Factory: A Throbbing Gristle primer. Located at: http://denniscooper-theweaklings.blogspot.co.uk/2012/02/sypha-presents-music-from-death-factory.html?zx=c19a3a826c3170a7

Ford, S. (1999). Wreckers of Civilization: The Story of Coum Transmissions and Throbbing Gristle. London: Black Dog Publishing.

Kirby, D. (2011). Transgressive representations: Satanic ritual abuse, Thee Temple ov Psychick Youth, and First Transmission. Literature and Aesthetics, 21, 134-149.

Kromhout, M. (2007). ‘The Impossible Real Transpires’ – The Concept of Noise in the Twentieth Century: a Kittlerian Analysis. Located at: http://www.mellekromhout.nl/wp-content/uploads/The-Impossible-Real-Transpires.pdf

Sarig, R. (1998). The Secret History of Rock: The Most Influential Bands You’ve Never Heard Of. New York: Watson-Guptill Publications.

Walker, J.A. (2009). Cosey Fanni Tutti & Genesis P-Orridge in 1976: Media frenzy, Prostitution-style, Art Design Café, August 10. Located at: http://www.artdesigncafe.com/cosey-fanni-tutti-genesis-p-orridge-1-2009

Wells, S. (2007). A Throbbing Gristle primer. The Guardian, May 27. Located at: http://www.guardian.co.uk/music/musicblog/2007/may/29/athrobbinggristleprimer

Horsing around: A beginner’s guide to pony-play

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., humananimal 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.

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

Further reading

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.