Over the past few months, ‘upskirting’ has been in the British news, particularly in relation to making it a criminal offence. A campaign initiated by freelance writer Gina Martin was started after she became a victim of upskirting. For those who don’t know what I’m talking about, upskirting refers to taking a photograph (typically with a smartphone) up someone’s skirt without their permission. Martin published an account of her ordeal for the World Economic Forum in April 2018 and reported that:
“Last summer, I was standing in a crowd of 60,000, on a hot summer’s day in London, waiting for The Killers to come on stage, when a man – whose advances I’d rejected – took pictures of my crotch by putting his phone between my legs as I chatted to my sister blissfully unaware. A few minutes later, I saw one of his friends looking at an intrusive picture of a woman’s crotch covered by a thin strip of fabric. I knew it was me. I grabbed the phone off him and checked. Tears filled my eyes and I began drawing attention to him: ‘You guys have been taking pictures of my vagina! What is wrong with you!?’ He grabbed me and pushed his face in front of mine, bellowing that I give him his phone back. I didn’t…The police arrived and were lovely. I was, understandably, a mess and they patiently calmed me down. What the police then did was ask him to delete the images – my evidence – and then, they told me they couldn’t do anything. ‘We had to look at the image, and although it showed far more than you’d want anyone to see, it’s not technically a graphic image. There’s not much we can do. If you weren’t wearing knickers it would be a different story.’ I was completely humiliated and devastated”.
Following this incident, and because upskirting wasn’t an offence, Martin began a campaign to get the act criminalized. Upskirting is currently an offence in Scotland but not in England and Wales. Upskirting is one of many sexual acts that are present among those individuals that have a voyeuristic disorder. In an article for the Law Gazette in July 2017 (‘Fifty shades of sexual offending’), forensic psychologist Dr. Julia Lam made countless references to upskirting in an overview of voyeuristic disorder. She noted that:
“Voyeuristic Disorder is a paraphilic/psychosexual disorder in which an individual derives sexual pleasure and gratification from looking at naked bodies and genital organs, observing the disrobing or sexual acts of others…Instead of peeping in situ using high-powered binoculars, with advances in technology such as camera phones and pin-hole cameras, voyeurs can now record the private moments with their devices: taking upskirt photos of unsuspecting individuals on escalators, or filming women in various states of undress in toilets and changing rooms. Voyeuristic behaviour is on the rise…Learning theory suggests that an initially random or accidental observation of an unsuspecting person who is naked, in the process of disrobing, or engaging in sexual activity, may lead to sexual interest and arousal; with each successive repetition of the peeping act reinforcing and perpetuating the voyeuristic behaviour”.
She reported that voyeurism is the most common type of sexual offence and that voyeurs can be men or women but that “men are commonly the perpetrators in the peeping acts/upskirt, with women being the victims”. She noted that the lifetime prevalence of voyeuristic disorder is around 12% among men and 4% in women, and that the causes of voyeurism are unknown. She then went onto say:
“The new vocabulary ‘upskirt’ is both a verb (the practise of capturing an image/video of an unsuspecting and non-consenting person in a private moment) and a noun (i.e. the actual voyeuristic photos or videos made; referred as “voyeur photography”)…While most voyeurs film for self-gratification (i.e. using upskirt materials for fantasy and masturbation), there are offenders who make upskirt photos and videos specifically for uploading onto the internet (e.g. fetish and pornographic websites and video-sharing sites like YouTube) for monetary profit…Upskirt is considered a ‘serious’ crime in Singapore as it intrudes upon the privacy of unsuspecting and non-consenting individuals. Offences typically take place on escalators, in fitting rooms, public toilets or shower rooms; with the offenders trying to capture what is underneath the ‘skirts’ or private moments of the victims with a recording device which may or may not be disguise”.
She also said that in recent years in Singapore, she had assessed “a considerable number” of voyeurs that had engaged in upskirting and who were arrested, prosecuted, and incarcerated for their actions. Most of these criminal voyeurs were ‘first-timers’ (i.e., arrested and charged with upskirting for the first time), had a long history of engaging in excessive masturbation and pornography use, and that the offences were non-violent. However, she did note that although they may have been arrested for the first time, their interest in peeping and upskirting usually stemmed from adolescence. Dr. Lam also claimed that:
“Getting apprehended for [upskirting] is more a norm than an exception in this group, as it is just a matter of time that the offender would be careless or daring enough to invite apprehension. Police arrest usually serves as a final ‘wake-up call’ that breaks the offending pattern, accompanied with a great sense of shame and embarrassment. Many of these voyeurs are amenable to treatment…Most of the sufferers of Voyeuristic Disorder who came for my assessment reported their urges to upskirt and use the materials to masturbate as overwhelming, to the extent that they gave in to temptation without considering the grave consequences of their acts”.
Dr. Lam also talked about her treating upskirting voyeurs and recounted one case which she claimed was a compulsion. The case involved a male university student who was very sport active but who masturbated excessively whenever major sporting events or important exams were imminent as a coping strategy to relieve stress. Upskirting was another one of his coping strategies and he was eventually arrested for his behaviour. Dr. Lam then went on to report”
“Every morning after he woke up, he would feel the urge to go out to find his ‘targets’. Although he knew it was very risky to take upskirt [photos] on MRT escalators, he felt compelled to satiate his urges and gratification, and was oblivious to his surroundings (e.g. passers-by security staff and CCTV) and the risk of being arrested. He could still feel the thrill and excitement, but he no longer enjoyed the act. It had become more like a compulsion…He was prescribed medication to manage his mood and urges to act out, and attended psychotherapy to work on his voyeuristic behaviour and learn more effective coping skills. He has since graduated from university, and has not breached the law with [upskirting] behaviour again”.
Dr. Lam, like other practitioners who treat sex offenders, often view extreme cases of voyeurism as a compulsion, obsession and/or an addiction. If extreme voyeurism (in general) can be seen as an addiction, there is no theoretical reason why upskirting couldn’t be viewed similarly. As far as I am aware, the case described by Dr. Lam is the only one in the academic literature of outlining and treating an individual with an upskirting disorder. As with other sexually non-normative behaviours I went online to see if there were any anecdotal accounts of addiction to upskirting and came across a few self-confessed accounts (particularly on The Candid Forum website):
- Extract 1: “I’m not sure if you could help me. I suppose it’s an addiction. I am obsessed with women’s knickers and constantly try to look up women’s skirts, even schoolgirls. I know it’s wrong but I love to see the secrets. One day I will be caught and arrested. Am I a pervert?” (‘Andy’).
- Extract 2: “I’m really starting to feel overwhelmed by this ‘addiction’ I have to upskirt videos…I just can’t seem to get enough, even when in the big picture, most of them are all the same. I have well over 3000 videos on my computer of just upskirts (not including other types of videos)…It’s also stressful to know that I may very well not get through them all, at least for a very long time (I still have yet to watch 1800 of them). There’s a lot of time involved in downloading them (waiting due to file hosting sites telling you [that] you have reached your daily limit etc., entering captcha codes). But all these videos actually amaze me at the same time, due to just how many times guys have gotten away with it…There’s a certain ‘wow’ factor I guess, but that also derives from the entire voyeur aspect of it to begin with, where a guy is able to creep up on a woman and she doesn’t even realize it…Do any of you share the same addiction as me, and do you want to get rid of it? (‘GD102’).
- Extract 3: “I used to be really addicted [to upskirting] until I made myself understand something you already know – once you’ve seen 200 asses, you’ve pretty much seen them all. There’s no point in wasting your time overindulging in the same thrill over and over again. Yeah, the excitement of seeing something you’re not supposed to see is hot as hell, but you have to set limits for yourself, and not try to fantasize too much about the upskirts you haven’t seen, and spend more time enjoying, and maybe sorting, the upskirts you already have. That’s what I’ve been doing lately” (‘Agent Ika’).
- Extract 4: “[Upskirting] really does get repetitive. For me the thrill now comes from pretending I’m a director of a film – getting new angles, upskirts from the front, whole body shots with the upskirt still showing, and always including faceshots” (‘Stimulus’).
Obviously I have no way of knowing whether these online forum confessions are true (but they seem to be). Based on these extracts, there is certainly the possibility raised that upskirting may be addictive to a very small minority of individuals. Extract 2 was particularly interesting in that the individual had never engaged in upskirting himself but his ‘addiction’ to watching upskirting videos takes up so much time in his life.
Another source suggesting that upskirting may be an addictive activity comes from the details of those arrested and prosecuted. For instance, one infamous example in the UK (in 2015) was the case of Paul Appleby who managed to take 9000 upskirting photos in the space of just five weeks (suggesting that he was doing it all day every day to have taken so many photos). Appleby was finally caught when he was caught bending over to take a photo up a woman’s skirt in a Poundland shop. The Daily Mirror reported that:
“The tubby pervert, who was ‘addicted’ to snapping upskirts, fled the store after he was spotted…when [police] officers found his camera and iPhone a staggering 9,000 ‘upskirt’ images were discovered. The photos had been taken between November 1 and December 4 last year. [Appleby] admitted two counts of committing an act of outraging public decency…and was given a three-year community order…[Appleby] had been prosecuted for a ‘similar matter’ of outraging public decency in London in 2010. Alistair Evans, defending claimed Appleby had committed the crime for ‘sexual gratification’ and his behaviour was a ‘compulsion and an addiction’ he needed treatment for”.
Here, the mitigating factor for Appleby’s behaviour was that he was addicted to upskirting. The fact that Appleby did not receive a custodial sentence suggests the excuse of being ‘addicted’ to the behaviour led to the judge being more lenient. Another individual who avoided a custodial sentence for upskirting offences was Andrew MacRae who claimed he was addicted to sex. MacRae had amassed 49,000 upskirt photos and videos using hidden cameras at his workplace, on trains, and at the beach. He pled guilty to three counts of outraging public decency and seven counts of voyeurism. The judge said he would spare him jail if he was treated for his “compulsive voyeurism”. A report in the Daily Mail recounted what that Judge Jeremy Donne said:
“This was undoubtedly a sophisticated, organised, planned and long-running campaign of voyeurism – again with a significant degree of planning – and members of the general public, female commuters in the main, were caught by your voyeuristic activities. Your activities were undoubtedly despicable and will cause deep revulsion in all who hear them. Women will undoubtedly feel a need to be protected from such behaviour by the knowledge that the courts will deal with offenders severely, and men will thereby be deterred from committing such offences. On the other hand, you suffer from an illness that can be treated and you have submitted to that treatment. You have features of sexual addiction disorder with disorders of sexual preference, namely voyeurism and fetishistic transvestism – all defined in the international classification of diseases. You continue to receive treatment from psychiatrists who consider you to be at low risk of re-offending”.
Another recent British case highlighted the ingenious methods used to aid upskirting. Here, Stafford Cant used spy cameras hidden inside one of his trainers, his key fob, and his wrist watch to engage in upskirting women (as well as filming the backs of their legs) who were shopping in a Cheshire village. Acting on a tip-off, his house was raided and the police found 222,000 videos and pictures dating back seven years. ‘Addiction’ was again used as a mitigating factor in the crimes (along with depression and anxiety disorders) but this time it was not addiction to voyeurism but an addiction to collecting things. However, unlike the two cases above, Cant was jailed for three years after pleading guilty to outraging public decency, voyeurism and possessing and distributing indecent images.
Although there is little psychological literature on upskirting, there appears to be anecdotal evidence that the behaviour (in the extreme) could perhaps be conceptualized as an addiction and/or compulsion among a minority of individuals. The cases of those that have been arrested and prosecuted demonstrate that upskirting behaviour was time-consuming given the sheer number of photos and videos amassed, and that the behaviour was ultimately problem-inducing and undesirable. Given that the relatively recent rise of upskirting appears to mirror the rise in the use of smartphones and spy equipment available at affordable prices, I expect to see more such cases to be written about in psychological and criminological journals in the years to come.
Dr Mark Griffiths, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Fight The New Drug (2018). What’s “upskirting”, and how does porn culture feed this twisted trend? July 5. Located at: https://fightthenewdrug.org/whats-upskirting-and-how-does-porn-culture-feed-this-twisted-trend/
Jolly, B. (2015). Upskirt pervert who took 9,000 secret photos in just five weeks avoids jail. Daily Mirror, January 28. Located at: https://www.mirror.co.uk/news/uk-news/upskirt-pervert-who-took-9000-5058048
Keay, L. (2018). Live Nation executive who built-up sordid library of 49,000 upskirt pictures by filming women on trains, the beach and at work is spared jail as his wife stands by him. Daily Mail, January 5. Located at: http://www.dailymail.co.uk/news/article-5239815/LiveNation-executive-Andrew-MacRae-avoids-jail-upskirt.html
Lam, J. (2017). Fifty shades of sexual offending – Part 1. The Law Gazette, July. Located at: http://v1.lawgazette.com.sg/2017-07/1910.htm
Martin, G. (2018). What happened to me was wrong. Time to make it illegal, too. World Economic Forum, April 9. Located at: https://www.weforum.org/agenda/2018/04/what-happened-to-me-was-wrong-time-to-make-it-illegal-too/
Petter, O. (2018). Upskirting: What is it and why are people trying to make it illegal” The Independent, June 18. Located at: https://www.independent.co.uk/life-style/upskirting-explained-law-rules-criminal-offence-photos-skirt-consent-women-gina-martin-a8401011.html
Shepherd, R. & Smithers, D. (2018). The public school pervert who spent years secretly filming up women’s skirts in one of Britain’s wealthiest villages. Manchester Evening News, March 29. Located at: https://www.manchestereveningnews.co.uk/news/greater-manchester-news/alderley-edge-upskirt-film-pervert-14470375
The Strait Times (2016). Taking upskirt photos may be symptomatic of voyeuristic disorder. July 30. Located at: https://adelphipsych.sg/straits-times-taking-upskirt-photos-may-be-symptomatic-of-voyeuristic-disorder/
Wilson, H. (2004). Peeping Tom’s secret weapon. The Independent, July 8. Located at: https://www.independent.co.uk/news/science/peeping-toms-secret-weapon-552402.html
In a previous blog, I briefly overviewed the influence that the Catalonian surrealist artist Salvador Dali had made on psychology (based on a couple of articles I had published about him earlier in my academic career – see ‘Further reading’ below). In that blog I briefly mentioned some of the strange aspects in his life relating to his sexuality and sexual desires but did not go into any details. In this article, I delve a little deeper into Dali’s sexual psychology and concentrate on some of the more extreme aspects of his life. I’m certainly not the first person to do this given that there are various online articles covering similar ground such as ‘Five sadistic and depraved secrets of Salvador Dali’, ‘10 depraved secrets of Salvador Dali’, and ‘17 unbelievably weird stories most people don’t know about Salvador Dali’. In a nutshell (and if you believe everything you read about him), Dali didn’t like sexual intercourse, was ‘addicted to masturbation’, was a sexual voyeur, was obsessed by buttocks, had an interest in necrophilia, was sexually attracted to Adolf Hitler and hermaphrodites, and was a candaulist (i.e., he liked to watch his wife have sex with other men).
The first observation to make concerning Dali is that he had little interest in sexual intercourse. All Dali’s biographers make reference to this because this was something that Dali admitted himself (for instance in his book The Unspeakable Confessions of Salvador Dali). In Ian Gibson’s (1998) biography The Shameful Life of Salvador Dali, it notes that Dali had been fixated on his unusually complex sexuality since his teenage years. Dali wrote that:
”For a long time I experienced the misery of believing I was impotent…Naked, and comparing myself to my schoolfriends, I discovered that my penis was small, pitiful and soft. I can recall a pornographic novel whose Don Juan machine-gunned female genitals with ferocious glee, saying that he enjoyed hearing women creak like watermelons. I convinced myself that I would never be able to make a woman creak like a watermelon”.
It was in his teenage years that Dali acquainted himself with the pleasures of masturbation even though he had a fear that it would cause homosexuality, impotence, and madness. However, sexual self-gratification became his primary (and many biographers allege only) sexual activity he engaged in throughout his life, often in front of a mirror. It’s also been noted by many authors that Dali “associated sex with decay” and that the roots of this association were due to his father’s strange form of sex education (such as being shown sexually explicit photographs of individuals with advanced, untreated sexually transmitted infections that Dali described as “the color of hell”). After viewing the pictures of grotesque genitalia, Dali started to associate sexual activity with decay and putrefaction (which came to the fore in his paintings). In his 1942 autobiography (The Secret Life of Salvador Dali) he even claimed that he became interested in necrophilia but was then later “cured” of it (but to what level his interest spanned is unknown). Dali had many obsessions including a deep fascination of buttocks (both men’s and women’s) as well as many phobias including female genitalia and a fear of castration (and appears to be the basis of his infamous painting The Great Masturbator). As a 2014 article by Jackie Fuchs noted:
“These fears and obsessions – along with a lifelong fascination with ants – became recurrent motifs in his paintings. In ‘The Great Masturbator’, Dali’s first significant work, a woman believed to be Dali’s future wife Gala rises out of a downward-facing head, which is suspended over a locust swarming with ants. The positioning of the woman’s mouth next to a thinly clad male crotch suggests fellatio, while the trickle of blood on the male figure’s thighs reflects Dali’s castration anxiety (see below)”.
A 2011 online article in Living in Philistia by Joshua White makes other allegations about Dali’s early childhood saying that he might have been sexually abused by one of his schoolteachers and that he might have had an incestuous relationship with his sister (although I’ve found little evidence of these allegations):
“[Dali] later pinned his ‘impotence’ on his father, as well as his mother, and naturally Dali went on to fantasise of sodomising his dying father. This also might explain the direct kind of gynophobia Dali later developed. It has been suggested that he was molested by a teacher who used to have Dali sit on his lap while he stroked him. That would explain the artist’s lifelong hatred of being touched. The subject of twelve of his early paintings was Dali’s sister Ana Maria, a number of which tellingly depict her from the rear, which has led some to conclude that the relationship between them may have been incestuous. The sex life of Salvador Dali was not a common one to say the least”.
An online article by Mateo Sol also alluded to Dali’s poor relationship with his parents. On one occasion Dali exhibited an artwork in which he wrote “Sometimes, I spit for fun on my mother’s portrait.” His father asked him to publicly apologise but Dali declined to do so. Following this incident, Dali sent his father a condom in the post (into which he had added his own semen) with a short note that simply read: “This is all I owe you”.
Dali’s wife and muse Gala (born in Russia as Helena Diakanoff Devulina) appears to have dominated Dali from their first meeting in 1929 (figuratively, psychologically, and arguably sexually given that almost no physical intimacy took place between Dali and Gala). It’s also generally agreed among scholars that Dali was a virgin when he married Gala (at least heterosexually) and they remained married for 53 years until Gala’s death. Gala was ten years older than Dali and had many sexual conquests before they married. Gala might perhaps best be described as a ‘swinger’, and at the time she met Dali was married to Paul Éluard (the poet) who both adhered to the sexual philosophy of ‘free love’.
Many biographers describe Gala as a highly-sexed nymphomaniac. Éluard and Gala were constantly sexually unfaithful to each other and (according to some accounts) encouraged each other’s infidelity. Gibson’s biography recounted Dali and Gala’s ‘mutual degradation’ of each other and Dali became some who tolerated all her extra-marital lovers. According to Zuzanna Stranska in a 2017 article in the Daily Art Magazine, Dali bought Gala a castle in Púbol (Girona) in 1968, but Dali was not allowed to visit without Gala’s written permission (and described in Joshua White’s article as Gala’s “fuck-nest” rather than a ‘love-nest’). It was here that Gala entertained her younger lovers.
It’s also been claimed that Dali had a homosexual relationship with poet Federico García Lorca (but has never been verified). It’s been alleged by a number of authors that Lorca twice tried to seduce Dali (and Dali said “Lorca tried to screw me twice”). Lorca was shocked when Dali married Gala because (according to a 2009 paper in the PsyArt Journal by Zoltán Kováry) “he was convinced that the painter had erection only with a finger in his anus”. Although Dali claims never to have had a relationship with Lorca, it appears they did have one sexual liaison because Dali wrote that: “I tried sex once with a woman and it was Gala. It was overrated. I tried sex once with a man and that man was the famous juggler Frederico Garcia Lorca. It was very painful”. Dali also wrote that:
“Deep down I felt that [Lorca] was a great poet and that I owe him a tiny bit of the Divine Dali’s asshole. He eventually bagged a young girl, and she replaced me in the sacrifice. Failing to get me to put my ass at his disposal, he swore that the girl’s sacrifice was matched by his own: it was the first time he had ever slept with a woman”.
According to the article by Joshua White, Dali was arguably more homosexual than heterosexual. He claimed that:
“[Dali] developed a penchant for persuading youths to drop their trousers and masturbate as he watched. He hoarded thousands of photos with many different lads. There has been a long speculation over the exact sexuality of the exhibitionist painter. We might be able to trace the misogynistic, or more accurately gynophobic, tendencies of Dalinian art down to Dali’s fear of a particular part of the female anatomy. To put it more bluntly, Salvador Dalí was a self-professed worshiper of the female posterior. The extent of this obsession drew the concern of his fellow Surrealists, he denied he was coprophagic one minute and in the next instance would state ‘true love would be to eat one’s partner’s excrement.’ Perhaps we should keep in mind that the Catalonians are a very scatological people, for it is custom before eating to exclaim “Eat well, shit hard.” The specific preference he had was for hermaphrodites, which he never encountered and only ever fantasised about. Not masculine or feminine, androgyne was the order of the day”.
Consequently, masturbation became Dali’s only physical sexual activity throughout his life. While this might be psychologically devastating for most people, his sexual psyche, tortured sexuality, and sexual inadequacy are critical to understanding the great art he produced. It certainly appears he had a great fascination with masturbation. For instance, Brian Sewell, the British art historian, claimed that Dali once asked him strip naked, lie down in the foetal position, and masturbate in front of a sculpture of Christ. Dali’s voyeuristic tendencies have also documented by others, most notably the alleged weekly orgies that Dali used to host which not only catered for Dali’s love of voyeurism but also his candaulism (where he would enjoy other men having sex with his wife). The most infamous story was told by American singer and actress Cher who arrived at Dali’s apartment mid-orgy. She picked up “a beautiful, painted rubber fish. Just fabulous. It has this little remote-control handset, and I’m playing with it, and the tail is going back and forth, and I’m thinking it’s a child’s toy. So I said to Salvador: ‘This is really funny.’ And he said: ‘It’s wonderful when you place it on your clitoris’”.
It has also been claimed that Dali had a perverse obsession with Nazi leader Adolf Hitler. Most individuals in the surrealist movement were politically left-wing but Dali was expelled for being a Nazi sympathiser (an allegation that Dali strenuously denied). Whether he was a Nazi sympathiser or not, Dali definitely painted a number of artworks featuring the ‘great dictator’ including The Enigma of Hitler and Hitler Masturbating. In his book (The Unspeakable Confessions) Dali also said that he “often dreamed of Hitler as a woman” and that Hitler “turned [him] on in the highest…His fat back, especially when I saw him appear in the uniform with the Sam Browne belt and shoulder straps that tightly held in his flesh, aroused in me a delicious gustatory thrill originating in the mouth and affording me a Wagnerian ecstasy”. An online article by Stephan Roget notes that there’s a good chance that Dali said such things for shock value, but also notes that Dali didn’t appear to have problems with what the Fuhrer was doing in Nazi Germany.
Most Dali scholars believe he was a sexual voyeur and derived great sexual arousal from watching other people (including his wife) have sex. According to the article by Jackie Fuchs:
“[Dali] was attracted to androgynous bodies – women with small breasts and men having feminine lines. Dali wrote of his ‘penetrating voyeur experiences’ during childhood and even titled one of his early paintings ‘Voyeur’.”
Joshua White also noted that:
“Originally [Dali’s] art served as a vent for the eccentricities, fetishes and obsessions that lurked beneath the surface of a shy Catalonian boy. But as he crafted a persona through which he could express these same things with almost the same level of impunity, then the standard of his art went into a steep decline in his later years. The sexual ambiguity, explicit paraphilia and vivid androgyny found so exuberant in Dalinian artwork…The 20th Century leitmotifs of sex and paranoia are conjoined twins in Dali’s work…We find some of the worst nightmares of the 20th Century conjured up by the more sinister works he churned out, while the juxtaposition with sex introduces a sadomasochistic element into the situations portrayed”
Perhaps the best (or worst, depending upon your viewpoint) eye-opener concerning Dali’s alleged sex life was a book first published in 2000 by former dancer and (struggling) actor Carlos Lozano entitled Sex, Surrealism, Dali and Me (and translated into English by Clifford Thurlow; a reprinting of the book in 2004 with new material was published by Thurlow as The Sex Life of Salvador Dali: The Memoirs of Carlos Lozano). Given that Dali had been dead over a decade by the time this book was published it’s hard for any of the stories to be substantiated (particularly as Lozano died shortly after the book was published). After starting out as one of Dali’s nude models, Lozano claimed he became Dali’s young lover and was Dali’s main confidante in the last two decades of his life. Among the book’s revelations were that Dali: (i) orchestrated sex games for his celebrity guests (including the King of Spain, the artist Marcel Duchamp, actor Yul Brynner, and Prince Dado Ruspoli), (ii) was obsessed with humiliating friends for his own amusement and sexual gratification (such as forcing them to strip and then getting them to engage in sexual acts of his choosing) while he masturbated from the side lines, and (iii) forced a famous Hollywood actress to strip naked and crawl through a plastic ‘uterus’ to allow her to re-experience birth.
It is clear from reading about Dali’s various (s)exploits that his sexual behaviour and sexuality were extreme but that much of his early great art derived from his strange sexual psyche. While some of the alleged sexual behaviours may have been embellished over the years, all of the allegations appear to have some truth in them. Many may argue that Dali’s sex life (or absence of it) was as surreal as his paintings, but none of this takes away from the fact that his art is awe-inspiring to many (myself included).
Dr. Mark Griffiths, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Brennan, A. (2016). 11 seriously strange things you didn’t know about Salvador Dali. GQ, May 11. Located at: https://www.gq-magazine.co.uk/article/salvador-dali-facts
Dali, S. (1942). The Secret Life of Salvador Dali. Dial Press.
Dali, S. (1976). The Unspeakable Confessions of Salvador Dali. New York: W.H. Allen.
Fuchs, J. (2014). 10 depraved secrets of Salvador Dali. Listverse, May 26. Located at: http://listverse.com/2014/05/26/10-depraved-secrets-of-salvador-dali/
Gibson, I. (1998). The Shameful Life of Salvador Dali. New York: WW Norton & Company.
Griffiths, M.D. (1989). Salvador Dali and psychology. BPS History and Philosophy Newsletter, 9, 14-17.
Griffiths, M.D. (1989). Salvador Dali, surrealism and psychology. Psychology PAG Quarterly, 4, 15-17.
Griffiths, M.D. (1994). Heroes: Salvador Dali. The Psychologist: Bulletin of the British Psychological Society, 7, 240.
Kovary, Z. (2009). The enigma of desire: Salvador Dalí and the conquest of the irrational. PsyArt Journal, June 29. Located at: http://www.psyartjournal.com/article/show/kovry-the_enigma_of_desire_salvador_dal_and_th
Lopez, A. I. (2016). Five sadistic and depraved secrets of Salvador Dalí. Cultura Colectivia, August 22. Located at: https://culturacolectiva.com/design/the-sadistic-and-depraved-salvador-dali-secrets/
Maclean, A. (2016). Your ultimate guide to Salvador Dali. Dazed, September 27. Located at: http://www.dazeddigital.com/artsandculture/article/32985/1/your-ultimate-guide-to-salvador-dali
Roget, S. (no date). 17 unbelievably weird stories most people don’t know about Salvador Dali. Ranker. Located at: https://www.ranker.com/list/crazy-salvador-dali-facts/stephanroget
Stranska, Z. (2017). Dali and Gala – the love story. Daily Art Magazine, February 14. Located at: http://www.dailyartmagazine.com/dali-gala-great-love-story/
Sol, M. (2013). 7 eccentric things you didn’t know about Salvador Dali. Loner Wolf. Located at: https://lonerwolf.com/salvador-dali/
Thorpe, V. (2000). Hollywood, sex and the surrealist. The Guardian, February 20. Located at: https://www.theguardian.com/uk/2000/feb/20/vanessathorpe.theobserver
Thurlow, C. (2004). The Sex Life of Salvador Dali: The Memoirs of Carlos Lozano. Tethered Camel Publishing.
White, J. (2011). The divine anus of Salvador Dali. Living in Philistia, August 5. Located at: http://livinginphilistia.blogspot.com/2011/08/divine-anus-of-salvador-dali.html
According to Dr. Anil Aggrawal in his 2009 book Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices nyctophilia is a sexual paraphilia where the individual derives sexual pleasure and arousal by a “love of night”. In the same book, Aggrawal defines similar (if not the same conditions) including scotophilia (“turned on by darkness”), lygophilia (“love of darkness”) and achluophilia (“arousal from darkness”). Another related condition is arguably amaurophilia (“arousal by a partner who is blind or unable to see due to artificial means such as being blindfolded or having sex in total darkness”, a paraphilia that I examined in depth in a previous blog). Other sources (such as Dr. Brenda Love’s Encyclopedia of Unusual Sex Practices doesn’t mention any of these, apart from amaurophilia) whereas other medical dictionaries conflate darkness and night together and define nyctophilia as a “preference for the night or darkness. Also called scotophilia”.
As far as I can ascertain, there is no empirical research on this topic at all. There are many references to the similar sounding scopophilia (viewed by many as another term for ‘voyeurism’) but as Dr. Aggrawal notes:
“Several terms have been used as synonyms of voyeurism, although some writers have constantly pointed out subtle differences. The terms scopophilia and scoptophilia are taken as synonyms to voyeurism by most writers. However, others have pointed out a minor difference. If the victim is unsuspecting and non-consenting, the act is voyeurism, but if the other party is consenting, the act is scopophilia or scoptophilia. Furthermore, if the person watched is in the act of disrobing, or nude, the act is voyeurism, but if the person watched is engaged in sex, the act is either mixoscopia (if the watched person is the voyeur’s lover) or allopellia (if the watched persons are complete strangers)”.
The reason I mention this is because in a paper by Dr. Patrick Mahony on voyeurism in a 1989 issue Journal of the American Psychoanalytic Association noted that the “alternate spelling scoptophilia, preferred by some of the older German psychoanalysts, must not be confused with scotophilia or love of darkness”. This appears to have happened in other academic papers I found directly referring to ‘scotophilia’. For instance, one paper dating back almost 70 years was that of Dr. F.S. Caprio who wrote a paper entitled ‘Scotophilia–exhibitionism: A case report’ in the Journal of Clinical and Experimental Psychopathology but it was actually a paper about voyeurism. More specifically, the paper reported the cases of a mother and son who constantly watched residents for sexual arousal in the mother’s rooming house via drilled holes in the wall. A 1966 theoretical review paper by Dr. Jerome Sattler on embarrassment and blushing published in the Journal of Social Psychology claimed that “stage-fright and erythrophobia [fear of blushing] are not simply expressions of the warding off of heightened exhibitionism and scotophilia but also develop as a result of previous instinctual conflict”. Here again, scotophilia appears to be a synonym for voyeurism rather than a sexual love of darkness.
I was pleasantly surprised to find dozens of references to nyctophilia in the scientific literature but the overwhelming majority of papers were biological in origin and all referred to non-human species. For instance, a recent 2016 paper Dr. Luis Espinasa and colleagues in the journal Subterranean Biology reported that cave amphipods are eyeless troglobitic crustaceans found in caves located in the Northeastern (Allegheny) region of the United States and who “exhibit nyctophilia” (literally meaning they love darkness, and has absolutely nothing sexual whatsoever).
I only managed to find one non-biological academic reference on nyctophilia and this was a 1994 paper by Dr. Lewis Lawson in the journal Papers on Language and Literature. In actuality, the use of the word ‘nyctophilia’ was mentioned in passing and noted that the term was defined by psychoanalyst Bertram Lewin as “an erotic pleasure in darkness, which enters as a wish-fulfillment element on fantasies of being in the ‘womb,’ or more properly, as the German word Mutterlieb suggests, of being in the mother’s body”. I was unable to track down the original source so I don’t know the context in which Lewin used the word but the definition is certainly used in a sexual sense rather than the general ‘love of darkness’ used in the biologically-based papers.
In a more general search on the internet, located dedicated photographic sites for nyctophilia, a number of fictional books with the title of Nyctophilia (such as the novel by Welsh author K.A. Hambly), and even the name of a 2014 film (although details about it are sketchy to say the least). I also came across one first-person account of nyctophilia online from someone who has written a number of different articles about the condition such as ‘What is nyctophilia?’, ‘What is it like to have nytophilia?’ and ‘Everything you wanted to know about nyctophilia symptoms’. However, detailed reading of these articles suggests that any sexual element is secondary to a general love of darkness. Here are a few extracts from the articles:
Extract 1: “I have a confession to make. I am a nyctophiliac…Well, a lot of people have told me that I am an insomniac. An insomniac is someone who has difficulty sleeping at night. But I have realized over time that I am not just an insomniac. Insomnia is a physical condition, not a psychological one. Nyctophilia, on the other hand, is purely a psychological condition. Many say that nyctophiliacs are sexually aroused by the dark. Is that true? Well, yes and no. I like darkness, but I am not always sexually aroused by it. I just love it for what it is. It gives me a sense of relief and it makes me happy”.
Extract 2: “To help you understand nyctophilia symptoms, [here] I reveal some uncomfortable details of my life. Every night, I try to sleep at 10 pm. I take sleeping pills such as Klonopin and get myself a good book to read. When I do fall asleep, at around 10:30 pm or 10:45 pm, I find myself waking up at 12:00 am sharp, as fresh as the day, as though I’ve been asleep for 9 hours. I am wide awake at this time and no matter what I do, I cannot go to sleep. Unlike an insomniac, who would turn the lights on and perhaps watch TV, that’s the last thing on my mind. I just want to sit in the bedroom chair in the dark, all alone, with just darkness as my company. I love the darkness. It makes me happy. I feel a sense of relief as I sit in the dark and listen to the sound of the clock ticking by. I know it’s not good for me to stay awake like this, like a ghost, in complete darkness. I tell that to myself several times and often I try my very best to sleep. That is when I get those dreams. Those horrible dreams. The nightmares. I find myself in impossible situations, either getting tortured like Mel Gibson in Braveheart or dying of a dreadful disease, like a child affected by the Ebola virus in Africa”.
Extract 3: “There isn’t much of an awareness of nyctophilia, or nyctophilia symptoms, out there on the Web…The UrbanDictionnary.com defines nyctophilia as ‘The love of darkness or night, or feeling like you belong in the dark” and adds that the condition ‘usually applies to those who often feel sadness!’ Nyctophilia is a condition that makes you want to sit in the dark all by yourself late at night, wide awake…You may wander off late at night in the dark. This will get you in trouble with the authorities, who do not really understand the nyctophilia meaning and cannot even comprehend how you feel. So you may get mistaken for a sex addict or a pervert, or possibly a criminal. Your neighbors would avoid you and report you to the law enforcement agencies. They would want you to leave the neighborhood and move somewhere else. They would feel distinctly uncomfortable about your condition and word would get around about the fact that you stay up all night in the dark, basically doing nothing”.
Extract 4: “There are many who say that nyctophialiacs find darkness sexually arousing. They compare the condition to a form of sex addiction. Indeed, have been given medication for sex addiction, such as GnRH, a long lasting gonadotropin releasing hormone that suppresses sexual desires. If you feel that you have any of the nyctophilia symptoms…it is important to get yourself treated by a qualified psychiatrist, preferably someone who has experience of working with modern or unusual psychiatric conditions. Take the medications that are suggested to you and ask support from your friends and family”
In all the reading I have done on this topic, there appears to be very little genuine evidence that scotophilia and nyctophilia exist, and if the condition does exist, few people appear to suffer major problems as a consequence, unless their love of the dark leaves the person feeling so sleep-deprived that it interferes with their day-to-day functioning. Maybe this condition is a sub-type of insomnia but that the underlying reasons for not going to sleep are very different from the usual reasons for not being able to sleep.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Aggrawal A. (2009). Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices. Boca Raton: CRC Press.
Caprio, F. S. (1949). Scoptophilia, exhibitionism; a case report. Journal of Clinical and Experimental Psychopathology, 10(1), 50-72.
Espinasa, L., Collins, E., Finocchiaro, A., Kopp, J., Robinson, J., & Rutkowski, J. (2016). Incipient regressive evolution of the circadian rhythms of a cave amphipod. Subterranean Biology, 20, 1-13.
Love, B. (1992). Encyclopedia of Unusual Sex Practices. Fort Lee, NJ: Barricade Books.
Lawson, L. A. (1994). The dream screen in The moviegoer. Papers on Language and Literature, 30(1), 25.
Mahony, P. J. (1989). Aspects of nonperverse scopophilia within an analysis. Journal of the American Psychoanalytic Association, 37(2), 365-399.
Sattler, J. M. (1966). Embarrassment and blushing: A theoretical review. Journal of Social Psychology, 69(1), 117-133.
I can’t remember exactly how, but one day last year I came across a website called ‘Hands On Her Hips’ which is totally dedicated to pictures of females posing with their hands on their hips. As the website states:
“The mission statement of this blog is very simple. The blog contains picture of women holding their hands on their hips. To me the pose is very feminine, attractive, powerful and confident. The simple gesture of a woman putting her hands on her hips appeals to me and this blog is dedicated to that pose”
However, I soon discovered on doing a little Googling that there appears to be a niche community of ‘hands on hip’ [HoH] fetishists out there. I’m not aware of any academic research on HoH fetishism but there are a number of online references to the practice. According to a short 2009 online article on ‘eight freaky fetishes’ by Grace Murano, she claims that:
“Hands on the Hip is a type of hand partialism, which means the attraction to a specific action performed by the hands. It’s very hard to explain the presence of a fetish site devoted entirely to women posing with their hands on their hips, standing defiantly and angrily in the way so many mothers do when their children misbehave. Somewhere, deep in the psyche of the site’s creator, he desperately wants to find a mother figure who will discipline him with nothing harsher than a time out and denial of television”.
Murano’s brief description appears to somewhat concur with Wikipedia’s brief entry on hand fetishism (that appears to have come from Dr. Ellen McCallum’s 1998 book Object Lessons: How to Do Things With Fetishism). This entry claims that hand fetishism:
“…may include the sexual attraction to a specific area such as the fingers, palm or nails, or the attraction to a specific action performed by the hands; which may otherwise be considered non-sexual – such as washing or drying dishes. This fetish may manifest itself as a desire to experience physical interaction, or as a source of sexual fantasy”.
Another 2009 short online article by Gloria Brame asserts that HoH fetishism is actually an ‘action fetish’ (i.e., an individual who derives sexual arousal not from an object or body part but from an action that someone performs). Brame then goes on to assert that:
“For most, that includes seeing it, but it isn’t just a branch of voyeurism: the fundamental thrill attaches to the action itself, and not just its visual or auditory pleasures. One very broad example would be spankers who get off on the action (of spanking) itself, and not – as is more common among [sadomasochists] – the pain or humiliation or its place in a power dynamic…Some of us know SM players too who are turned on by the actions but not the psychological space…It’s a bit easier to sort out when the action fetish is highly particularized. For example, a fetish for watching a woman in stockings and high heels step on a car’s brakes, or a fetish for seeing a coed in her underwear bouncing on a big balloon There are scores of barely documented action fetishes, so I’m always happy when I see an enthusiast build a blog to his/her own fetish, like this one [Hands on her hips]”
In another list of ‘weird fetishes’ from 2007, Anthony Burch and Frank Movsesian also listed HoH fetish and tried to add in a bit of psychodynamic psychology into the mix. They claimed that HoH fetish sites prove that Sigmund Freud was right. I personally don’t adhere to this viewpoint at all but given the lack of any psychological insight and theorizing, they go as far as to say:
“There’s no other way to explain the presence of a fetish site devoted entirely to women posing with their hands on their hips, standing defiantly and angrily in the way so many mothers do when their children misbehave. Somewhere, deep in the psyche of the site’s creator, he desperately wants to find and have sex with a mother figure who will discipline him with nothing harsher than a Time Out and denial of television. I guess this fetish is for people who aren’t quite into sadomasochistic discipline, but think they might one day be. Bondage training wheels, if you will”.
There are loads of articles and papers on various aspects of non-verbal communication and to be honest (and because it is not my area of expertise) I haven’t got the time to read everything that’s been written about ‘hands on hips’ gestures, but most online sources appear to indicate that the ‘hands on hips’ stance helps give the appearance of being physically bigger and is a non-verbal cue that shows others that we are “ready for action” (i.e., a ‘readiness gesture’) but is sometimes mistaken for unfriendliness. One website claims that the people most likely to be observed in are “workaholics, athletes and productive people” and can demonstrate a show of authority and superiority. Another website article notes that:
“Hands-on-Hips is used by the child arguing with its parent, the athlete waiting for his event to begin, the boxer waiting for the bout to start and males who want to issue a non-verbal challenge to other males who enter their territory. In each instance the person takes the Hands-on-Hips pose and this is a universal gesture used to communicate that a person is ready for assertive action. It lets the person take up more space and has the threat value of the pointed elbows that act as weapons, preventing others from approaching or passing. The arms being half raised show readiness for attack and this is the position taken by cowboys in a gunfight. Even one hand on the hip will send the intended message, particularly when it’s pointed at the intended victim. It’s used everywhere and in the Philippines and Malaysia it carries the even stronger message of anger or outrage…Its basic meaning carries a subtly aggressive attitude everywhere. It has also been called the achiever stance, related to the goal-directed person who is ready to tackle their objectives or is ready to take action on something. Men often use this gesture around women to display an assertive male attitude”
If these observations are true, it would seem to suggest that those who have HoH fetishes may like being/feeling in submissive positions and being sexually dominated (although that’s pure speculation on my part as there is simply no empirical research whatsoever). I honestly can’t see HoH fetishes ever being the subject of serious scientific study as they are unlikely to have any appreciable negative impact in the lives of such people (if such people even exist).
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Brame, G. (2009). Action fetishes and hands on hips. July 28. Located at: http://gloriabrame.typepad.com/inside_the_mind_of_gloria/2009/07/hands-on-her-hips.html
Burch, A. & Movsesian, F. (2007). 10 really weird fetishes. Double Viking, November 9. Located at: http://www.doubleviking.com/bullet-points-10-really-weird-fetishes-6984-p.html
McCallum. E.L. (1998.) Object Lessons: How to Do Things With Fetishism. New York: State University of New York Press.
Murano, G. (2009). 8 freakiest fetishes. Oddee, June 18. Located at: http://www.oddee.com/item_96718.aspx
As regular readers of my blog will know, I have had a longstanding professional interest in the psychology of sexually paraphilic behaviour. My interest in the topic first began when I was a 14-year old teenager listening to Adam and the Ants B-sides (all of which were about different types of extreme and/or unusual sexual behaviours. In one of my previous blogs, I argued that Adam Ant’s music has covered more atypical sexual behaviours than any other recording artist that I can think of (e.g. sadism, masochism, bondage, fetishism, transvestism, voyeurism, etc.). There is little doubt that Adam’s music had a great influence on my career, but what were Adam’s influences that made him the person he became?
In addition to the sexual content of his lyrics, Adam’s earliest stage personas were also very sexual. Adam bought his clothes from ‘SEX’, the shop run by Malcolm McLaren and Vivienne Westwood which was also infamous for selling rubber and leather fetish wear. (McLaren later briefly became The Ants manager and even tried to get Adam and his band to star in a pornographic film with female punk band The Slits). The first t-shirt he ever bought there was provocative and controversial (featuring the ‘Cambridge Rapist‘). One of McLaren’s best-selling t-shirts (‘Vive Le Rock‘) later became the title of Adam’s 1985 single and album. Adam’s interest in sex was all-consuming and spilled over into most areas of his and The Ants lives. It was common at early gigs for Adam to be dressed in bondage gear.
One infamous incident happened at their debut gig at the Institute of Contemporary Arts in London (10th May 1977). To get the gig, Adam said his band were a country and western band. He then got on stage dressed in bondage trousers and a leather head mask, and performed the future S&M classic Beat My Guest (later to be a B-side of their first No. 1 hit Stand and Deliver). Predictably, they were ‘asked to leave’ after that opening number.
Early gigs (1977-1979) were known as places to buy lots of eye-catching merchandise (t-shirts, badges, posters etc.) featuring sadomasochistic and bondage sex-themes designed by Adam. Advertisements for the 1979 tour were the first to use the slogan ‘Antmusic for Sexpeople’. To Adam, ‘sexpeople’ were people who got off on sexual phenomena, who liked sexual imagery and enjoyed being sexual. In a Melody Maker interview he said ‘What weʼre basically dealing with here with is taboos, and a lot of my work as a kind of music therapy‘. Adam’s first major interview as cover star in (the now defunct) Sounds was where he was described as ‘the face that launched a thousand whips’. His breakthrough album Kings of the Wild Frontier (1980) may have surprised his new young fan base as it came with a free booklet full of sexual imagery.
Although Adam clearly has musical influences, most of those he talks about or name checks in his songs appear to have more to do with image than music or his overriding interest in sex. Early influences like Johnny Kidd and the Pirates may have inspired some of his later images. The first record he bought was Magical Mystery Tour by The Beatles, but rarely makes reference to them as any kind of musical influence. The early 1970s appear to have thrown up more influences where music and sexuality was talked about in relation to the person if not their songs (Jim Morrison, David Bowie, Iggy Pop, New York Dolls, Lou Reed, Roxy Music). For instance, he loved the New York Dolls ‘because they looked like drag queens‘. His inspiration for forming Adam & the Ants was seeing the Sex Pistols very first gig when they supported the first band he was in (a short-lived band called Bazooka Joe). It was after this that a plethora of sexual punky songs were written for the Ants.
In an interview with Derek Hardman (Inside Out magazine, 1979), Adam described the lyrical content of his songs as dealing with ‘subjects of interest, mystery and imagination‘ and that they came from ‘living my life, reading, films, events and history‘. This quote also carries the implicit assumption that musical influences paid little (if any) part in his lyrical obsessions. The only thing that really connects sex with music is the perception that being a ‘popstar’ will bring more sexual opportunities. For instance in the Antbox book, Adam says:
“I remember being in a room with four girls watching [Marc] Bolan on ‘Top of the Pops’ and it was the first time I had actually watched four girls just absolutely dripping, climaxing , looking at a guy… Whatever it is, I want some!”
Very few of his musical heroes wrote explicit songs about sex and it is clear that the (sometimes) extreme sexuality of his lyrics originate elsewhere. By digging a little deeper it becomes abundantly clear that his interest in art lay the foundations of his sexual interests. By looking at the individuals who Adam held in high esteem, it becomes very clear that Adam’s predisposition towards sex comes not from musical influences but from figures in the 20th century art world. Adam originally wanted a career in Art after seeing an exhibition of Pop Art at the Tate Gallery in London (1971). He ended up studying Graphic Design at Hornsey College of Art (now part of Middlesex University) in North London. His favourite class was the ‘Erotic Arts’ course taught by art historian Peter Webb. This concentrated on Indian, Chinese, and Japanese traditions of erotic painting, drawing, and sculpture. Adam was also interested by women’s role in society and he was the only male at his college to take the class in ‘Women In Society’.
Adam was inspired by the iconographic images of Andy Warhol, the autoerotic paintings of Allen Jones, the neo-sadomasochistic fantasies of Hans Bellmer, and ‘sexpop’ travellers like Eduardo Paolozzi, Francis Bacon and Stanley Spencer. All these people clearly influenced his music. In 1977, Adam said:
“The S&M thing stems from [when] I was at College Art School, with John Ellis (of the Vibrators), and all the time I was at Art College I was very influenced by Allen Jones the artist. All my college work is pretty much like this, this is just a musical equivalent of what I was visually doing at college. Iʼm not personally into S&M, I mean I never smacked the arse of anybody. It’s the power and the imagery. There’s a certain imagery involved with that which I find magnetic. It’s not done viciously, if you read S&M mags and spank mags or anything like that, it’s done with an essence of humour…war dress and stuff, that just appeals to my imagination.
While at Art College, Adam did a thesis on sexual perversion:
I read lots of books and discovered much to my surprise that it wasn’t just a kick, it was a deadly serious subject. A very sort of medical thing and I found I got a source of material for my songs. I wrote a song called ‘Rubber People’ which is a serious look at rubber fetishism. And I also wrote one about transvestism. Theyʼre not serious, none of my songs are serious, I mean fucking hell. Theyʼre serious to me. But the thing is that with, say, ‘Transvestism’ people just laugh at people. If somebody’s wearing a pair of rubber underpants under a pin-stripe suits it’s funny, y’know. But I don’t think itʼs funny. I don’t think it’s any more strange than watching fucking ‘Crossroads‘ every night”
It was perhaps Adam’s art heroes that most influenced him. By looking very briefly at each of Adam’s artistic heroes, it is easy to see where the inspiration for many of his early lyrics came from. The most important influences were Allen Jones, Stanley Spencer, Eduardo Paolozzi, Hans Bellmer, Francis Bacon (name checked in the song ‘Piccadilly‘), and Andy Warhol. These brief sketches show that his early music is a direct musical equivalent of his heroes’ artwork (particularly Jones, Bellmer and Paolozzi). The influence of Warhol, Bacon and Spencer is more subtle. These three individuals all produced controversial work (which Adam found inspiring).
It might also be argued that all three had a somewhat troubled or tortured sexuality. This again, may have been of interest to Adam. The only other artists that Adam has singled out are Pablo Picasso and the Italian futurists. Adam was impressed by Picasso’s “genius, energy and sexuality” and was the subject of one of Adam’s best album tracks ‘Picasso Visits The Planet of the Apes‘. A whole song (‘Animals and Men‘) is devoted to the Italian futurists on the debut album (Dirk Wears White Sox). In this song he writes about the influence of Filippo Marinetti (1876-1944), Giacomo Balla (1871-1958), Umberto Boccioni (1882-1916) and Carlo Carra (1881-1966). The Futurists were a 20th century avant garde movement in Italian art, sculpture, literature, music, cinema and photography. Their manifesto broke with the past and celebrated modern technology, dynamism and power. The combination of different art media was appealing to Adam although there was nothing overtly sexual in the work of its exponents.
Film – like art – was also important to Adam, and as a teenage usher at the Muswell Hill Odeon he saw lots of films in his formative years. Adam has gone on record many times to say that his film hero is Dirk Bogarde. The Ants first album (the aforementioned Dirk Wears White Sox) was named after him and some of his films provided inspiration for his songs. Many of his most notorious films (The Servant, Death In Venice, The Night Porter) dealt with taboo areas with which Adam identified and/or had a fascination with. All these films feature taboo sexual subjects (or at least taboo at the time the film was made) and probably appealed to Adam because of their taboo nature. These were all a direct influence on Adam’s early songwriting.
Outside of Dirk Bogarde and his films, Adam cites his film heroes as Clint Eastwood, Steve McQueen, Mongomery Clift and Charles Bronson. Adam makes few references to films or film stars in his song writing, although there are name checks for Michael Caine, John Wayne, Terence Stamp, and Charles Hawtrey in ‘Friends‘, Clint Eastwood in ‘Los Rancheros‘, Steve McQueen in ‘Steve McQueen‘, Robert de Niro in ‘Christian Dior‘, and Bruce Lee in ‘Bruce Lee‘. He also dedicated one song that he wrote about the film Psycho (‘Norman‘) to its star Anthony Perkins. Again, these film stars and their films (bar Bogarde) have had little influence on his sexually themed songs.
There are very few references to literary heroes in Adam’s work and even less that is sex-related. The gay playwright Joe Orton (1933-1967) is one influence who has impacted on Adam’s life. Adam wrote one song about Orton’s homosexual relationship with his lover Kenneth Halliwell (‘Prick Up Your Ears’ on the Redux LP). However, the lyrics didn’t fit the pirate theme of the second album (Kings of the Wild Frontier) and were changed. This song eventually became ‘The Magnificent Five‘. In 1985, as part of his acting career, Adam performed in Joe Orton’s play Entertaining Mr. Sloane on stage at the Manchester Royal Exchange. Adam claimed that the ‘idea of playing a psychotic bisexual thug was good’. Ortonʼs comedies (Entertaining Mr. Sloane, Loot, and What The Butler Saw) are all black, stylish, and violent. Furthermore, they all have an emphasis on corruption and sexual perversion. With such content it is easy to see why Adam enjoyed these. However, it is not known when Adam was first aware of Orton’s work. The likelihood is that his appreciation of Orton was after many of his initial songs were written.
The German philosopher and poet Friedrich Nietzsche (1844-1900) was also one of Adamʼs literary inspirations and the subject of early live favourite ‘Nietzsche Baby‘. Nietzsche is most well known for his rejection of Christian morality (which no doubt appealed to Adam) and the ‘revision of all values’. Despite the influence, there was little in his writings that would have inspired Adam’s sex- related writings. Passing reference to both the US ‘beat generation’ writer Jack Kerouac (1922-1969) and the French novelist and playwright Albert Camus (1913-1960; a protagonist of the ‘Theatre of the Absurd‘ movement) make an appearance on his 1985 song ‘Anger Inc..‘ Again, these influences appear to be post-musical success and would have had little impact on his early sexual songwriting.
As a psychologist myself, I couldnʼt help make reference to Adam’s ‘psychological’ influences. The only time he has made reference specifically to a psychologist is a name check of Erich Fromm in his song ‘Friends’. It is obvious that Adam has read some of Fromm’s work as there are Frommian influences in his work. The ‘dog eat dog’ personality type (consciously or unconsciously) inspired his first big hit single (‘Dog Eat Dog‘). The ‘masochistic’ personality type permeates many of his early songs. The ‘marketing’ subtypes who concern themselves with image and style (and who feel inadequate if they are not admired) could be argued to be Adam himself. Alternatively he may have seen himself as the ‘productive’ type because of his creativity and ability to change himself.
By just scratching a little deeper at the surface of Adam’s influences, we see the roots of his lyrical sexuality. As time has gone on, less and less of Adamʼs songs have concerned sex. Furthermore, more love songs have made an appearance ( the LP Wonderful being a prime example). Maybe this is just an overt sign of the maturation process. Whatever it is, there is little to take away Adam’s crown as the king of sexual diversity.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Ant, A. (2007). Stand and Deliver: The Autobiography. London: Pan.
Griffiths, M.D (1999). Adam Ant: Sex and perversion for teenyboppers. Headpress: The Journal of Sex, Death and Religion, 19, 116-119.
Wikipedia (2013). Adam and the Ants. Located at: http://en.wikipedia.org/wiki/Adam_and_the_Ants
Wikipedia (2013). Adam Ant. Located at: http://en.wikipedia.org/wiki/Adam_Ant
In a previous blog, I examined vorarephilia (usually shortened to ‘vore’) – a sexual paraphilia in which people are sexually aroused by (i) the idea of being eaten, (ii) eating another person, and/or (iii) observing this process for sexual gratification. A few weeks ago, the Archives of Sexual Behavior published an interesting paper by Dr. Amy Lykins and Dr. James Cantor entitled ‘Vorarephilia: A case study in masochism and erotic consumption’. The authors presented a new case study accompanied by a brief overview of the previous literature including some cases that I had never come across (because the material was in non-academic texts and/or not listed in the academic databases that I usually search). They also referenced the same academic sources as I did in my previous blog on the topic – particularly the papers by Dr Friedemann Pfafflin (also in the Archives of Sexual Behavior). For instance, they wrote that:
“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”.
Lykin and Cantor also made reference to two case studies in Katharine Gates’ book Deviant Desires. One of the cases was a man that allegedly fantasized that the witch in the Hansel and Gretel fairy tale both cooked and ate him. The other case involved ‘The Turkey Man’. In Lykins and Cantor’s version:
“The Turkey Man was a travelling businessman who regularly hired a dominatrix to meet him in his hotel room to ‘cook’ him. He had designed a facsimile of an oven from a cardboard box, including rudimentary knobs and a door that could be opened and closed. He would lie down in this box, on his back, wearing only socks, while the dominatrix would describe in great detail the process of his body being cooked and eaten by her. The Turkey Man could become so aroused by this fantasy that he was able to orgasm without any physical stimulation of his penis”.
Lykins and Cantor also noted the difference between vorarephilia and cannibalism:
In most cases [of vorarephilia], the victim is swallowed whole – in fact, several requests for fantasies included a specific ban on the chewing of the victim. This is an important aspect that separates persons interested in vore versus those interested in sexual cannibalism – in vore, the victim is swallowed whole, while still alive. Though consumption most often occurred through the mouth, it also occurred through the vagina, the anus, or the breasts (through the nipples) of the consumer”.
Lykins and Cantor then went on to describe in vivid detail a case study of a middle-aged male (who they called ‘Stephen’) who had multiple sexual paraphilias including vorarephilia. Stephen described himself as heterosexual with little or no problems sexually during his teenage years. At the time that Stephen was assessed he had experience of three female sexual partners but masturbation was his current sexual outlet (two to three times weekly. The authors conducted phallometric testing and the results confirmed that Stephen had a “clear sexual preference for adult females” rather than any other age or group of people. Back in 2002 he had sought psychiatric help for two specific fetishistic sexual behaviours (i.e., analingus and podophilia [foot fetishism]). He also reported that he engaged in voyeurism (but was not wanting treatment for it). More recently he sought help for more unusual sexual fantasies. The authors’ reported that Stephen had developed an intense “interest in ‘being’ a woman’s anus”. In fact, he appeared to have some kind of anal fixation as it was reported that:
“Stephen described an intense sexual interest in analingus. He reported this interest to have begun around age 13–15, during which he reported having performed analingus on five to ten children (both male and female, ranging in age from 3 to 1 years). He described having done this when the children were asleep and he stated he believed they were unaware of what he had done. He reported experiencing sexual arousal both during those events and subsequently during masturbation, despite experiencing significant guilt and distress about having engaged in the behavior, and he denied any specific interest in children as sexual partners…Stephen’s interest in analingus crossed over into sexual arousal associated with coprophilia and seemed also to be related to his vorarephilic interests. He described fantasizing about being consumed and destroyed by a very large, dominating woman, who would later defecate him as her feces. He often fantasized about being feces or semen and being expelled by a person. Stephen reported having stuck his hand in human fecal matter, smelling it on several occasions, and having eaten feces out of a toilet on two occasions. On one occasion, he reported feeling traumatized and distraught about an unexpected negative event: To cope with those feelings, he went into the woods and masturbated while eating cow feces. Consistent with his previous assessment, Stephen reported sexual arousal associated with the thought of being someone’s anus…Following the assessment, we diagnosed Stephen on DSMIV-TR Axis I with Paraphilia [Not Otherwise Specified] NOS (partialism for women’s feet), Paraphilia NOS (vorarephilia), and Sexual Masochism, with a prior diagnosis of Dysthymic Disorder, a rule-out diagnosis of Social Phobia, and diagnosis deferred on Axis II.2”
Although a lot of what Lykins and Cantor reported could arguably be viewed as coprophilic, the coprophilic elements are clearly symptomatic of the vorarephilic primary sexual fantasy (i.e., being eaten by a large, female dominatrix and then being defecated by her). Dying was not part of the fantasy – what he really wanted was to be ‘‘taken in and then expelled (as feces)”. Stephen had no desire himself to eat anyone (fantasy or otherwise) and only became sexually aroused when he thought of himself in his vore fantasy as the victim. Lykins and Cantor then went on to speculate that:
“Stephen’s reported fantasies highlighted the focus on both the act and the result of consumption – total destruction of being and personhood – and his sexual arousal associated with such acts. Consistent with fantasies produced by the vore community, Stephen reported no interest in cannibalism (having his flesh eaten or chewed). It seems possible that Stephen’s interest in feces and anal play may relate to the most tangible outcome of the possibility of having acted out these behaviors, specifically human waste and its immediate sources. Alternatively, it also seems reasonable to posit the reverse: that his interest in feces and anal play may have led him to vorarephilic fantasy. This directionality remains difficult to ascertain. Stephen’s fantasies were not entirely consistent with the typical vore fantasy, in that he appeared to be much more focused on the end result (himself as feces) than the majority of the fantasies found in online vore erotica…It is interesting to speculate whether the set of interests Stephen experienced represent a cluster of multiple interests or a single interest which happens to overlap or only superficially resemble multiple, more common categories…Stephen’s case suggests itself as an example of a progression in paraphilic interests. It is unfortunate Stephen ceased clinical contact again after the latter interview. Although some individuals refer to a very specific episode in early life in which they first experienced a fascination with a stimulus that later served as their erotic focus, Stephen may have experienced a slower progression over the course of adulthood”.
The authors also claimed that many features reported by Stephen had never before appeared in the academic, clinical or popular literature. More specifically, they claimed that “sexual arousal to the idea of actually being body parts (e.g., an anus) and bodily products (e.g., feces, semen)” had – to their knowledge –never appeared in print before. The authors concluded in the hope that their published case study would be a good “starting point in the exploration of this unusual paraphilia”.
Dr. Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Adams, C. (2004). Eat or be eaten: Is cannibalism a pathology as listed in the DSM-IV?The Straight Dope, July 2. Located at: http://www.straightdope.com/columns/read/2515/eat-or-be-eaten
Beier, K. (2008). Comment on Pfafflin’s (2008) “Good enough to eat”. Archives of Sexual Behavior, 38, 164-165.
Gates, K. (2000). Deviant desires: Incredibly strange sex. New York: Juno Books.
Lykins, A.D., & Cantor, J.M. (2014). Vorarephilia: A case study in masochism and erotic consumption. Archives of Sexual Behavior, 43, 181-186.
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.
Today’s blog is based on an updated version of an article that I originally published in a 1999 issue of Headpress (The Journal of Sex, Death and Religion).
I have been a fan of Adam Ant and his music for over thirty years. Furthermore, as someone who takes more than a passing interest in human sexual paraphilic behaviour (as evidenced by many of the blogs I write), I would argue that Adam’s music has covered more atypical sexual behaviours than any other recording artist that I can think of (e.g. sadomasochism, bondage, transvestism, voyeurism, fetishism, etc). Anyone who has followed Adam’s career will recall that his music was billed in the late 1970s and early 1980s as “Antmusic for Sexpeople”. Adam’s followers (according to the free booklet given away with early copies of the 1980 LP ‘Kings of the Wild Frontier‘) were the “sexpeople” who “get off on sexual phenomena; people who like sexual imagery and enjoy being sexual”. For me, Soft Cell are probably the only other recording artists who come close (no pun intended) to talking about the seedier side of sex.
There are very few songs in the Ant repertoire that are about what I would call straight sex (i.e., ‘vanilla sex’). Adam’s most obvious songs here are ‘S.E.X.’ (1981; from ‘Prince Charming‘ LP) where he proclaims in the chorus that “Sex is sex, forget the rest/The only one that’s free/The only great adventure left/To humankind, that’s you and me”, ‘Beautiful Dream’ (1995; from ‘Wonderful‘ LP) where “Sex is emotion in motion”, ‘Good Sex Rumples The Clothing’ and ‘Doggy Style’ (both from the 2005 Deluxe Edition of the ‘Vive Le Rock’ LP), and ‘Sexatise You’ (1993; from the unreleased ‘Persuasion’ LP). For me this is very bland stuff that is also echoed in many songs from the 1983 ‘Strip‘ album including the title track, ‘Baby Let Me Scream At You’, ‘Libertine’ and ‘Navel To Neck’. ‘Straight sex’ in the form of sexual promiscuity rears it’s head in both a third person male account in one of Adam’s own favourite songs, ‘Juanito the Bandito’ (1982; B-Side of ‘Friend or Foe’), in which Adam (singing in a Latino-type accent) says “Young ladies he likes to ravish/He knows how to make them wet/And if he can’t, he’ll dig himself a hole/Or go looking for your favourite pet”. I’m not quite sure whether that’s some reference to a potential bestial act or just a bad rhyming couplet but still pretty tame as far as I’m concerned. The more humorous side of promiscuity is also outlined in 1983’s ‘Playboy’ from the album ‘Strip‘ when Adam asks “What do you wear in bed?/Some headphones on my head/What do you like to hold?/’My breath’ she said”. Adam also makes indirect scientific reference to human orgasm (“Resolution – the fourth and final part”) on ‘Can’t Set The Rules About Love’ (1990; from the ‘Manners and Physique’ LP.
Other types of ‘vanilla sex’ include dressing up in sexy clothes (‘Spanish Games’; from the ‘Strip‘ LP, 1983), high-class prostitution (‘High Heels in High Places’ from the 2000 ‘Antbox’ CD-set), and sex in aeroplanes (from the 1981 ‘Prince Charming‘ LP) in the shape of the non-subtle ‘Mile High Club’ (“747 or a VC 10/Winter, summer, who knows when?/Take off passion, fly away love/Mile High Club”). There is also a whole song about sex in the bathroom (‘Bathroom Function’; 1978 from ‘Antmusic for Sexpeople‘ bootleg LP) which makes lots of references to lathering and rubbing unhygienic places and soap-on-rope. However, the lyrics make it hard to decide whether the sex in question is masturbatory or copulation-based.
Very few of Adam’s songs refer to homosexuality and lesbianism except when he is singing in the third person. The most striking examples of this appear on his 1989 ‘Manners and Physique’ album. One song ‘Bright Lights, Black Leather’ is an observation of the gay scene in West Berlin (There they go, the buccaneers/Hand in hand in leather glove/So fast, so crazy/With a creepy kind of love). The other song is about the rent-boy scene in Piccadilly (appropriately entitled ‘Piccadilly’). There’s also the more obvious ‘All Girl Action’ (1993; from the unreleased ‘Persuasion’ LP). Another song where Ant takes a third person view of a sexual behaviour is in ‘Cleopatra’ (1979; from the ‘Dirk Wears White Sox‘ LP) where he makes reference to the Egyptian queen’s alleged penchant for fellatio. As Adam observes “Cleopatra did 10,000 in her lifetime/Now that’s a wide mouth/Cleo gave service with a smile/She was a wide-mouthed girl/She did a hundred Roman Centurians/For after-dinner mints”.
Many of Adam’s songs make passing references to activities associated with the more extreme fringes of sex such as sexual body piercing (“She’s got a little chain through her tit/And she doesn’t seem to mind it”, from ‘Punk in the Supermarket’, 1978; ‘Antmusic for Sexpeople‘ bootleg LP), tattoos (“I’ve got a hear on my arm/It says ‘PURE SEX’/It hurt/I mean it/I got it till I die/Or until I reach orgasmo (sic)”, from ‘Red Scab’, 1982; B-side of ‘Goody Two Shoes‘), and fat fetishes (‘Fat Fun’ from the 2000 ‘Antbox’ CD-set). He also hints at bestial pleasures and clitoral stimulation in the 1982 song ‘Why Do Girls Love Horses?’ (“Is it ‘cos they’re round?/Or ‘cos they’re six feet off the ground?/Is because they’re on top?/Or the clippety-clop?”) (B-side of ‘Desperate But Not Serious’).
It is when we start to examine Adam’s earlier output that things get far more interesting. Transvestism may have been covered implicitly in The Kinks‘ ‘Lola‘ or Lou Reed’s ‘Walk on the Wild Side‘ but I don’t know another song like “Greta-X” (1985; B-side of ‘Vive Le Rock’) which includes the chorus “I’m a joyous glad TV/Why don’t you come TV with me/I know a girl who likes to dress me/Up like this and then caress me”. Some may claim that the “TV” here may not necessarily be about transvestites but the last verse clears up any ambiguity! (Underwear all tidied away/Thirty eight bust just for a day/Heels so high, my furs so fine/All a woman’s things, they are mine”).
One of the most salient themes through much of Adam’s early work is sadomasochism and bondage. Live favourites such as ‘Physical (You’re So)’, ‘Ligotage’ and ‘B-Side Baby’, being typical of the genre. An early stage favourite was ‘Beat My Guest’ (1981; B-side of ‘Stand and Deliver‘) which would often disturb club owners:
“Well tie me up and hit me with a stick/Yeah, use a truncheon or a household brick/There’s so much happiness behind these tears/I’ll pray you’ll beat me for a thousand years/Well use a truncheon or a cricket bat/A good beating’s where it’s really at”
Their other early SM classic ‘Whip In My Valise’ with the immortal chorus line “Who taught you to torture? Who taught ya?” was the first song that my Dad questioned my musical taste. When you look at some of the lyrics, you can perhaps appreciate why my father was concerned about what his thirteen-year old son was listening to.
“When I met you, you were just sixteen/Pulling the wings off flies/When the old lady got hit by the truck/I saw the wicked in your eyes/You put my head into the stocks/And then went to choose a cane/But hey, your cat has got nine tails/You like to leave me lame”
Very few of Adam’s later songs return to these themes although there are a few exceptions including the self-explanatory ‘Human Bondage Den’ (1985; from the ‘Vive Le Rock‘ LP) and ‘Rough Stuff’ (1989; from the ‘Manners and Physique‘ LP), the latter of which was a big hit in the US. The world of rubberites is explored in another self-explanatory song ‘Rubber People’. Adam proclaims that: “Rubber people are lovely people/They long for latex on their skin/A hole in the ceiling/A nice strong gag/Nicely wrapped and strapped”. This again has strong sadomasochistic overtones especially when references are made to being “bound to discipline” and spanking. Spanking only appears in one other Ant song – the aforementioned ‘Whip in My Valise’ (1979; B-side of ‘Zerox‘). Voyeurism with naïve sadomasochistic overtones also appear in the early live favourite “Lady” (1979; B-side of ‘Young Parisians’) when Adam sings “I saw a lady and she was naked/I saw a lady she had no clothes on/I had a good look through the crack/She had footmarks up her back/How did they get there?”
Although Adam sings about many sexual fetishes, the only direct references to fetishism appear in the classic ‘Christian D’Or’ (1981; B-side of ‘Prince Charming‘) and ‘Survival of the Fetish’ (1993; from the unreleased ‘Persuasion’ LP). In ‘Christian D’Or’, Adam reels off a whole list of fetishes and concludes there is something wrong with him (“I’ve got a fetish for black/A fetish for green/A fetish for those arty magazines/I’ve got a fetish for Brando/A fetish for cats/A fetish for ladies in Christian Dior hats/I’ve got a fetish and that means I’m sick/So very sick”).
I have also come across some early (1977) songs that feature other types of sexual behaviour (including cunnilingus, swinging, rape, necrophilia, knicker fetishes, and – possibly – amputee fixations). These tapes feature sex-based songs, many of which have never found their way onto record. Song titles include ‘Weekend Swinger’, ‘Underwear’, ‘Hooray, I’m a Hetero’, ‘Punishment Park’, ‘The Throb (True Love)’, ‘Swedish Husbands’, ‘Sit On My Face’, ‘Get On Your Knees’, ‘Female Rape’, ‘Deanecrophilia’ and ‘Saturday A.M. Pix’ (AMPIX was a company that specialised in products for those with a sexual amputee fixation but this may not be about amputee fetishes at all as I have never heard the song).
The one song I have not been able to decide whether it is about a sexual paraphilia is ‘1969 Again’ (1995; from ‘Wonderful‘ LP). In this song Adam sings that “Oh how you make me wish I was a baby/Yeah, when you’re playing Miss Swish/Knickers on – you’re my big agony nanny/With your big towel protection”. To me, this looks like a song about paraphilic infantilism (i.e., people who get sexual kicks from being adult babies) but I could be wrong. There is also the reference to Miss Swish that suggests some spanking reference (Swish is a spanking magazine) but maybe that’s wishful thinking.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Ant, A. (2007). Stand and Deliver: The Autobiography. London: Pan.
Griffiths, M.D (1999). Adam Ant: Sex and perversion for teenyboppers. Headpress: The Journal of Sex, Death and Religion, 19, 116-119.
Wikipedia (2013). Adam and the Ants. Located at: http://en.wikipedia.org/wiki/Adam_and_the_Ants
Wikipedia (2013). Adam Ant. Located at: http://en.wikipedia.org/wiki/Adam_Ant
In the 2000 film American Psycho, the anti-hero Patrick Bateman (played by Christian Bale) contains a scene in which while having sex with two female escorts, looks at himself in the mirror admiringly. Even when one of the escort girls tries to attract his attention, he seemingly prefers to look at himself rather than the women he is making love to. Quite clearly a narcissist, Bateman may have also been a kataptronophile. According to Dr. Anil Aggrawal’s 2009 book Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices, katoptronophilia is a sexual paraphilia defined as sexual pleasure and arousal from having sex in front of mirrors.
Having said that, somewhat confusingly, Aggrawal also says that individuals who derive sexual arousal “from looking at oneself in a mirror [and] arousal from image in mirrors” is called spectrophilia. (However, I examined this in a previous blog and most credible sources state that spectrophilia relates to those who derive sexual arousal and pleasure from having sex or sexual thoughts about ghosts). A short online article on katoptronophilia on the Wikipedia website goes a little further and defines it as:
“…a paraphilia for mirrors (the Greek word for mirror is katoptron). It may include activities such as having sex in front of mirrors, masturbating in front of mirrors, enacting other paraphilias in front of a mirror, having an orgy in front of a mirror, or enacting stripping fetishism in front of mirrors. Enacting katoptronophiliac fantasies may involve constructing environments for erotic activity in which one is completely surrounded by mirrors, sometimes including even on the ceiling. A person who is a katoptronophiliac may put mirrors all over their house so they can have sex in any room in the house”.
On first look, katoptronophilia appears to be a sub-type of voyeurism where the key distinguishing feature is the use of mirrors as part of the voyeuristic act. However, voyeurism is usually defined as the act of gaining sexual arousal from the watching of others either naked and/or engaging in sexual behaviour. I stressed the word ‘others’ as katoptronophila involves the watching of oneself having sex via the use of mirrors. Technically, kataptronophilia is a sub-type of scoptophilia (sometimes called scopophilia). According to Dr. George Pranzarone in his 2000 Dictionary of Sexology, scoptophilia/scopophilia is
“A paraphilia of the solicitational [and] allurative type in which sexuoerotic arousal and facilitation or attainment of orgasm are responsive to, and contingent on watching others engaging in sexual activity, including sexual intercourse [from Greek, skopein, to view + -philia]. The condition in which a person is dependent on looking at sexual organs and watching their coital performance in order to obtain erotic arousal and facilitate and achieve orgasm. It is not surreptitious, as in voyeurism. The reciprocal paraphilic condition is sometimes also referred to as scoptophilia; or by its own name, autagonistophilia. Synonyms, mixophilia; mixoscopia; scopophilia”.
Just complicate things a little further, many online definitions of mixophilia (which as in the definition by Dr. Pranzarone above appears to be another word for scoptophilia) often mention mirrors in the definitions. For instance, the Fetish List website defines mixophilia as gaining sexual arousal and pleasure from watching “their partner or themselves engage in sexual activity. Usually this means watching themselves in a mirror”. This is similar to the definition for mixophilia in the online Gay Slang Dictionary that notes:
“A person with this fetish [mixophilia] likes to watch his partner or the both of them engage in sexual activity. Usually this means watching themselves perform in a mirror. A common theme in gay porn pictures is the presence of a mirror in which part or all of the action is reflected”
I’ve yet to come across a single academic article on the topic and most of the theorizing is speculative to say the least. In 2003, Mark Pendergrast published his cultural history of mirrors (Mirror, Mirror: A History of the Human Love Affair with Reflection), but did not specifically examine katoptronophilia (although did mention the sexual use of mirrors). The one thing I learned was that the Etruscans [an ancient Italian civilization originating around what is now known as Tuscany] often featured sex scenes painted on the back of their mirrors). In relation to why katoptronophilia exists, one online snippet I came across claimed that:
“Theories suggest that katoptronophilia is fed from a basal narcissistic instinct. It is a combination of narcissism and degradation and a feeling of over powering dominance. It’s like watching a live porno of yourself. The most advanced stage of voyeur there is”
This appears to be somewhat corroborated by the Wikipedia entry (and the fictionalized account that opened this blog) that notes that:
“Many pornographic films show porn stars having sex in front of mirrors. Many people enjoy having sex in front of mirrors and have mirrors in their bedrooms in which they can watch themselves have sex. They sometimes engage in this activity for their personal enjoyment. On a deeper level this could relate to the person’s need to reflect and critique themselves, and also being on a mental state of narcissism. The person often is solely absorbed in themselves and likes to watch their actions so as to admire”.
A 2007 online article on kataptronophilia at the Journals of an Intelsexual website argues that the fetish is evolving and that “technology is also expanding on this fetish; live stream cameras, multiple cameras, big screen monitors…the possibilities are limitless”. I’m not convinced that evolving technology providing more ways to watch yourself having sex is actually katoptronophilia as the key distinguishing feature of the paraphilia is the use of mirrors (not the watching of yourself). I seriously doubt if this type of paraphilic behaviour (and I have some doubts as to whether it is a paraphilic behaviour anyway) will ever be the subject of serious academic research as it’s highly unlikely that such behaviour is problematic un any way.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Aggrawal A. (2009). Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices. Boca Raton: CRC Press.
DeMure, K. (2007). Word of the week: Katoptronophilia. Lust Puddle, November 6. Located at: http://lustpuddle.blogspot.co.uk/2007/11/word-of-week-katoptronophilia.html
Forbidden Light (2007). Katoptronophilia: Love for mirrors. Journals of an Intelsexual, December 4. Located at: http://intelsexualism.blogspot.co.uk/2009/12/katoptronophilia-love-for-mirrors.html?zx=ac769a5283ebf462
Milner, J.S., & Dopke, C.A., & Crouch, J.L. (2008). Paraphilia not otherwise specified: Psychopathology and theory. In D. R. Laws & W. O’Donohue (Eds.), Sexual deviance: Theory, assessment, and treatment (2nd ed., pp. 384-428). New York: Guilford.
Pendergrast, M. (2003). Mirror, Mirror: A History of the Human Love Affair with Reflection. New York: Basic Books.
Pranzarone, G.F. (2000). The Dictionary of Sexology. Located at: http://ebookee.org/Dictionary-of-Sexology-EN_997360.html
Wikipedia (2012). Kataptronophilia. Located at: http://en.wikipedia.org/wiki/Katoptronophilia