Rock, Sex, and Art
Groupie culture, although familiar, has traditionally carried a negative connotation, and for valid reasons. However, Cynthia Plaster Caster emerged from this culture, carving out a unique niche for herself. This is a fascinating story of an ex-groupie who made her career by creating plaster casts of celebrities’ penises.
Cynthia Plaster Caste before her first-ever art exhibition in 2000. Photo credit: Getty Images.
A self-proclaimed ‘recovering groupie’, Cynthia’s life was a true story of rock’n’roll, sex, and art. While details about her early life remain elusive, it was in the 1960s that she found herself immersed in the free love movement and the vibrant rock music scene. It was not until her art class at the University of Illinois that she discovered the power of plaster casting. Tasked with creating something solid that would maintain its form, Cynthia came to the idea of casting erect penises which would then go flaccid to avoid getting stuck in the mould. As she was already in the groupie scene, she wanted to gain the attention of her favorite musicians and thus sought a way to stand out from other women. Her groundbreaking idea involved casting the genitalia of some of the most iconic figures in the history of rock music. The night following her assignment, she attended a Paul Revere and the Raiders concert and seized the opportunity at the after-party. Boldly approaching the lead singer and guitarist, she asked, in her own words, if she could “cast their solid somethings.” Despite being turned down, Cynthia left an indelible impression, swiftly becoming the talk of the scene.
At 19, Cynthia teamed up with her friend Dianne, whom she met in 1965 in the Rolling Stones’ hotel room, calling themselves “the Plaster Casters of Chicago.” The duo gained recognition after a 1966 Rolling Stones issue on groupies. However, as Cynthia’s career progressed, Dianne chose a different path, opting to step away from plaster casting after a brief period. Since 1968, Cynthia has cast over 48 renowned rock figures, including singers, guitarists, and managers. Her first celebrity client was Jimi Hendrix in 1968. At that time, Cynthia was still developing her skills in plaster casting and experimenting with her technique. Before working with celebrities, she tested her method on two friends. This technique involved dipping erect penises into a martini shaker filled with dental mold gel.
Photograph: Mick Hutson/Redferns.
Throughout her career, Cynthia expressed that Hendrix was her favorite client as he was the most laid back, relaxed, and quiet. However, dealing with other musicians, such as Aynsley Dunbar of Journey, presented more challenges. Over the years, various artists, including Jello Biafra, Chris Connelly, Wayne Kramer, and Jon Langford, along with bands like the Kinks, Foghat, Argent, the Beach Boys, Iron Butterfly, and the Lovin’ Spoonful, sought to model for Cynthia. On a different note, Cynthia found a patron in Frank Zappa. While Zappa had no interest in being cast himself, he recognized the commercial value in her work. Moving her from Chicago to Los Angeles, they attempted to set up an exhibition, but the idea was unsuccessful due to a lack of willing and interested rock stars. In 2000, she successfully held her first exhibition of the casts in New York City. Subsequently, she shifted her focus to casting women's breasts, which she continued to do for the next 13 years. Notable clients during this phase included Suzi Gardner of L7, Laetitia Sadier of Stereolab, Karen O of the Yeah Yeah Yeahs, and Sally Timms of the Mekons. In 2017, Cynthia held another solo exhibition at MoMA PS1. She also started selling reproductions of the plaster penises, using the original molds - which are still being sold - as well as offering commissioned pieces for a small fee.
The patronage with Zappa brought along its own set of challenges. In 1971, both Cynthia and Zappa decided that the casts should be preserved for a future exhibition, and the responsibility for safekeeping was placed in the hands of Zappa’s legal partner, Herb Cohen. However, after years of disagreements, by 1993, the year of Zappa's death, Cynthia found herself in court, fighting to regain possession of the 25 casts held by Cohen. Ultimately, she successfully retrieved all but three of them. Reflecting on the ordeal, she commented: “It’s more like a child custody battle. These things aren’t just pieces of plaster to me — they’re like my children. Each one holds precious memories for me.”
Cynthia showing off her process on Jake Shillingford. Photo credit: Getty Images.
One thing is certain, she was not just an ordinary groupie. The term carries a predominantly negative connotation, and with valid reasons. However, Cynthia’s actions shifted the narrative, focusing on men and masculinity, shedding light on their vulnerability. In her eyes, these men served as muses, mirroring the historical role of women as muses for male artists in art history. Reflecting on her clients, she expressed, “I was shocked and delighted to find that they were as insecure as I was.” But she would not just cast anybody. Sometimes, she immortalized the musicians she had intimate connections with, considering it the “world’s best groupie souvenir,” but only if she genuinely admired their music. This occurred during a period when women had limited agency in the predominantly male-dominated music industry, adding another layer to the significance of her work. Where other fans were often treated with disregard, Cynthia asserted control and embraced her own sexuality. To some, she was seen as a feminist icon, reclaiming her sexuality and sexual power, but to others, she was seen as pathetic.
In the end, though left with 48 plaster penises, Cynthia Plaster Caster became a legend among groupies and people alike. Kiss even wrote a song about her, naming it simply “Plaster Caster” (1977). Cynthia passed away in 2022, age 74, after a long illness, but her legacy - plaster penises - remains today as she continues to be celebrated for her courageous work and artistic audacity.
Cynthia Plaster Caster’s work at MoMA PS1 in March of 2017. Photograph: Sion Touhig/Sygma/Getty Images.
