Seedy CD*: A psychologist’s look at the music of Soft Cell
In a previous blog on examining all Adam Ant’s songs about sexual paraphilias, I noted that Soft Cell are probably the only other recording artists who come close to talking about the seedier side of sex. They are also artists that (like one of my other favourite bands, Throbbing Gristle) have never been afraid to sing about taboo topics including prostitution (‘Secret Life’, A Divided Soul’), a housewife’s sexual fantasy about the paper boy (‘Kitchen Sink Drama’), pure hedonism (‘Sensation Nation’), alternative therapies such as colonic irrigation, meditation, and crystal therapy (‘Whatever It Takes’), murder (‘The Best Way To Kill’, ‘Meet Murder My Angel’), suicide (‘Darker Times’, ‘Frustration’ and ‘Down In The Subway’ – “Jump on that train track and die”), incest (‘I Am 16’), psychopathic killers (‘Martin’ based on the story of a serial killer in a film of the same name), shopaholism (‘Whatever It Takes’), anorexia nervosa (‘Excretory Eat Anorexia’), and obsessional cleansing (‘Cleansing Fanatic’), to name but a few.
Soft Cell arguably saw themselves as outside of the norm. Their first official release, an EP entitled ‘Mutant Moments’ EP set out their psychological store (and where ‘Metro Mr. X’ was their “favourite mutant”). They also had a track on the seminal 1980 (various artists) Some Bizarre Album about a disfigured woman (‘The Girl With The Patent Leather Face’). Very few artists would ever sing about such topics (although there are a few exceptions such as Throbbing Gristle’s ‘Hamburger Lady’ based on the medical case notes of a badly burned woman).
Soft Cell’s reputation as a band that focused on the sleazy side of everyday life was cemented after the release of their 1981 debut album Non-Stop Erotic Cabaret (NSEC). The cover featured a photo of the band’s two members (Marc Almond and Dave Ball) taken outside the Raymond Revue Bar, a notorious strip joint in the heart of London’s Soho district.
Just as the Velvet Underground’s debut album was viewed as a ‘sex and drugs’ LP because of a couple of songs about sadomasochistic sex (‘Venus In Furs’) and drug-taking (‘Heroin’), NSEC’s reputation as a ‘sleazy sex’ album also rested on just a few songs – most notably ‘Seedy Films’ (about telephone sex as well as pornographic films), ‘Secret Life’ (about using prostitutes behind a wife’s back), and the (now infamous) ‘Sex Dwarf’ (a song glorifying sadomasochistic sex). Later songs and albums also touched on various aspects of sexuality (their third album This Last Night In Sodom raising a few eyebrows on its’ release in 1984). They wanted to “try all of the vices” (in ‘The Art Of Falling Apart’) and also sang about having sex in cars (‘It’s A Mug’s Game’ and ‘Where Was Your Heart [When You Needed It Most’).
One of my personal favourite in the Soft Cell canon is the 2002 song ‘Perversity’ which was a bonus track on their comeback single ‘Monoculture’ after reforming in 2001. It talked about studying at the “university of perversity” and provided me with the title to my series of blogs on the A-Z of little known paraphilias and fetishes. As Marc Almond and Friends, there was also a great cover version of Throbbing Gristle’s ‘Discipline’ (a song about sadomasochism) and ‘Sleaze It, Take It, Shake It’ (by Almond’s side-project, Marc and the Mambas)
Soft cell’s second hit single ‘Bedsitter’ summed up my formative years as a teenage clubber and shares some of the same lyrical DNA as The Smiths classic ‘How Soon Is Now?’ (going to nightclubs in search of love and/or sex but going home alone). I’d also argue that Soft Cell sometimes give The Smiths a run for their money when it comes to songs about misery (e.g., ‘Chips On My Shoulder’, ‘Mr. Self-Destruct’, ‘Bleak Is My Favourite Cliché’, ‘Forever The Same’, ‘Down In The Subway’ and ‘Born To Lose’).
But Soft Cell aren’t just about sex, they also like songs about love more generally although their take on love is more about the unrequited love, the disintegration of love (‘Tainted Love’, ‘Say Hello, Wave Goodbye’, ‘Where Did Our Love Go?’, ‘All Out Of Love’, ‘Together Alone’, ‘Desperate [For Love]’, ‘L.O.V.E. Feelings’, ‘Whatever It Takes’, ‘Last Chance’, ‘What’, ‘Barriers’, ‘Disease And Desire’, ‘Her Imagination’, ‘Desperate’, and ‘Torch’). In short they focus on (as they describe in their song ‘Loving You, Hating Me’) “the other side of love” and the “devil in my bed” (‘from ‘God-Shaped Hole’). The only other band that have explored the ‘darker’ side of love lyrically in so many different songs are Depeche Mode (which I discussed in a previous blog on obsessional lyrics in pop music). Their songs aren’t afraid to feature one-night stands and casual sex (‘Numbers’, ‘Surrender To A Stranger’, ‘Heat’, ‘Where Was Your Heart [When You Needed It Most’ and ‘Fun City’). It’s also worth noting that Soft Cell were never afraid to talk about drug use in their songs including cocaine (‘Frustration’), LSD (‘Frustration’), alcohol (‘It’s A Mug’s Game’), valium (‘Tupperware Party’, ‘My Secret Life’), heroin (‘L’Esqualita’) and their “dealer in the hall” (‘Divided Soul’).
They also made cover versions that were often better than the originals. They sexed the songs up or made them mean, moody and menacing. Soft Cell were huge fans of Northern soul and is evident in their covers of songs like ‘Tainted Love’, ‘The Night’ and ‘Where Did Our Love Go?’ but their other cover versions came from a wide variety of artists including Jimi Hendrix (their 11-minute ‘Hendrix Medley’ comprising ‘Hey Joe’, ‘Purple Haze’ and ‘Voodoo Chile’), Johnny Thunders (‘Born To Lose’), Suicide (‘Ghostrider’), Lou Reed (‘Caroline Says’ as Marc and the Mambas), and John Barry (‘007 Theme’ and ‘You Only Live Twice’). From the very first note, this were instantly Soft Cell even though they didn’t write the songs.
Lyrically (and musically), some of their best songs were on their final 2000 studio album Cruelty Without Beauty. For instance, ‘Caligula Syndrome’ depicts sadomasochism (“crawling down on your hands and knees like slaves”), orgies, and “every kind of deviation on demand”. The song ‘Grand Guignol’ is about the Parisian theatre that operated from 1897 until it closed in 1962. The theatre specialised in naturalistic amoral horror entertainment shows horror shows or as Soft Cell put it: “It’s Grand Guignol/It’s rock ‘n’ roll/It’s vaudeville and burlesque/All of human life is here/In the theatre of the grotesque”. A sentiment that (I would argue) also sums up the many of the blogs I have published on this website.
*With thanks to The Passage (one of my favourite bands) who used the homonym ‘Seedy’ when naming their first CD [C-D, geddit?] compilation.
Dr Mark Griffiths, Professor of Behavioural Addictions, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Almond, M. (1999). Tainted Life. London: Sidgwick and Jackson.
Almond, M. (2004). In Search Of The Pleasure Palace. London: Sidgwick and Jackson.
Fanni Tutti, C. (2017). Art Sex Music. Faber & Faber: London.
Lindsay, M. (2013). Sex music for gargoyles: Soft Cell’s The Art Of Falling Apart. The Quietus, December 12. Located at: http://thequietus.com/articles/14100-soft-cell-interview-marc-almond
Reed, J. (1999). Marc Almond: The Last Star. London: Creation Books.
Reynolds, S. (2006). Rip It Up and Start Again: Postpunk, 1978–1984. New York: Penguin.
Tebbutt, S. (1984). Soft Cell. London: Sidgwick and Jackson.
Wikipedia (2017). Marc Almond. Located at: https://en.wikipedia.org/wiki/Marc_Almond
Wikipedia (2017). Soft Cell. Located at: https://en.wikipedia.org/wiki/Soft_Cell
Glum drone pleasures: The psychology of Ian Curtis and Joy Division
“Now there’s a really good book…[by French economist] Jacques Attali wrote in the late [1970s] called ‘Noise: The Political Economy of Music’…and the main tenet of that book is that…music is the best form of prophecy that we have…so that working with music or sound is our best way of divining a future, and being able to show to ourselves what’s round the corner in that psychological, or even psychic sense” (writer and graphic designer Jon Wozencroft being interviewed for the 2007 film Joy Division)
As a poverty stricken teenager in the early 1980s, all of my minimal disposable income was spent on buying records, cassettes, and music magazines (and to be honest, 35 years later nothing much has changed except I now buy far too many CDs instead of cassettes). Unlike most of my friends at the time I refused to be pigeon holed as a new romantic, a punk, a mod, or a goth because I liked music from all those genres. In the early 1980s was as equally as likely to buy a record by Adam and the Ants and Bauhaus as I was to buy records by Secret Affair and The Clash. I was also into city music scenes with my favourites being the ‘Liverpool scene’ (Echo and the Bunnymen, Teardrop Explodes, Wah! etc.), the ‘Sheffield scene’ (Human League, Heaven 17, Cabaret Voltaire, etc.), and the ‘Manchester scene’ (Magazine, Buzzcocks, Joy Division, The Smiths, The Passage, etc.).
The Manchester music scene was incredibly buoyant although often portrayed by the music press at the time as psychologically and emotionally ‘miserablist’. My parents could never understand what I saw in the “depressing and alienating music” (as they saw it) of bands like Joy Division and The Smiths. But it was through these bands that I developed an interest in psychology and what could be described as ‘psychgeography of post-punk’. In the case of Joy Division, their geographical location in Manchester and its surrounding area (Salford, Macclesfield) was integral to their music. In fact, a number of commentators (such as Liz Naylor, the co-editor of City Fun fanzine) have asserted that Joy Division “relayed the aura of Manchester” in the late 1970s and early 1980s.
All of my information about Joy Division came from reading the NME, listening to the John Peel Show on Radio 1, and listening to their two studio LPs (Unknown Pleasures and Closer) and assorted singles (that I mainly taped off the radio as most of them were not widely available). I was too young to go to gigs and they rarely appeared on television. Of the four members of Joy Division – Ian Curtis (vocals), Peter Hook (bass guitar), Bernard ‘Barney’ Sumner (guitar), and Stephen Morris (drums) – it was Curtis that captivated my adolescent attention. It was through Curtis’ documented medical conditions that helped develop my interest in psychology. Curtis suffered from epilepsy (like one of musical heroes Jim Morrison of The Doors) and clinical depression. It has also been alleged that he suffered from bipolar disorder (i.e., what used to be called ‘manic depression’) although this was never formally diagnosed (and many of those close to Curtis claim that such a claim is speculative at best).
Descriptions of Curtis’ behaviour on first sight look like bipolar disorder given the reports by his wife and others of his severe mood swings (where on one day he could have feelings of happiness and elation but on the next day could have feelings of intense depression and despair). However, other members of the band claimed that the mood swings were caused by the epilepsy medication Curtis was taking. However, bipolar disorder is not uncommon among musicians given many other high profile rock and pop stars have suffered from it including Brian Wilson (Beach Boys), Syd Barrett (Pink Floyd), Kurt Cobain (Nirvana), Ray Davies (The Kinks), Sinéad O’Connor, Poly Styrene (X-Ray Spex), and Adam Ant (to name just a few). Curtis was never afraid to write about psychological and medical conditions and the song ‘She’s Lost Control’ is arguably the most insightful song ever written about epilepsy (based not on his own experiences, but his observations of a female epileptic client who died while he was an Assistant Disablement Resettlement Officer based at the Job Centre in Macclesfield).
As any Joy Division fan knows, as a result of his severe depression, Curtis committed suicide by hanging himself on May 18, 1980 (a date I always remember because it was my favourite gran’s birthday), just two days before Joy Division were due to go on their first US tour. Even as a 14-year old teenager, I remember going to my local library in Loughborough not long after his death to learn more about depression, epilepsy, suicide, and attempted suicide (as he had two previous attempts to commit suicide earlier that year). I’m not saying that this alone was responsible for my career choice but it certainly facilitated my growing interest in psychology and mental health issues.
It was also through Joy Division that I started to read history books (and still do) on various psychological and non-psychological aspects of Nazism (and is evidenced by my previous blogs on the personality of Adolf Hitler and Nazi fetishism). Back in the late 1970s and early 1980s, Joy Division were often accused of having Nazi tendencies. It didn’t help that their name came from the 1955 novella House of Dolls by Jewish writer and Holocaust survivor Yehiel De-Nu (writing under his pen name Ka-tzetnik 135633). The ‘Joy Division’ was the name given to a group of Jewish women in World War II concentration camps whose only purpose was to provide sexual pleasure to Nazi soldiers. I have to admit I’ve never read any of De-Nu’s books. According to an online article by David Mikies (‘Holocaust Pulp Fiction’), De-Nu’s writings were “often lurid novel-memoirs, works that shock the reader with grotesque scenes of torture, perverse sexuality, and cannibalism“. In the 2006 book Joy Division and the Making of Unknown Pleasures, Jake Kennedy asserted that “Curtis’ fascination with extremes would hint to anyone willing to look beyond the headlines that the choice of name was probably an old fashioned punk exercise, matter of old habits dying hard”.
One of the bands earliest songs ‘Warsaw’ (which was also their band name prior to becoming Joy Division) is arguably a lyrical biography of Hitler’s deputy Führer Rudolf Hess. The song even begins with the lyric “3 5 0 1 2 5 Go!” (Hess’ prisoner of war serial number after he was captured after flying to the UK in 1941). Another of their early songs ‘No Love Lost’ features a spoken word section with a complete paragraph from The House of Dolls. A 2008 article by music writer Jon Savage in The Guardian newspaper noted that Curtis’ songs “such as ‘Novelty’, ‘Leaders of Men’ and ‘Warsaw’ were barely digested regurgitations of their sources: lumpy screeds of frustration, failure, and anger with militaristic and totalitarian overtones”.
Deborah Curtis (Ian’s wife) also remembered that her husband had a book by John Heartfield that included photomontages of the Nazi Period and that graphically documented the spread of Hitler’s ideals. The cover artwork of the band’s first record, the ‘An Ideal For Living’ EP, also featured a boy member the Hitler Youth drawn by guitarist Barney Sumner banging on a drum. Much of the flirtation with Nazi symbolism was arguably juvenile fascination and playful naivety. It’s also been noted that Joy Division’s early music concentrated on the nihilistic provocations of industrial music’s pioneers Throbbing Gristle (whose music I also examined at length in a previous blog). An interesting 2010 article by Mateo on the A View From The Annex website defended Joy Division’s use of Nazi imagery and lyrics:
“The Labour government´s betrayal of the working class during the 1970s and the rise of Thatcherism at the end of the 1970s heralded a future of mass unemployment, government repression and decaying industry. The perspective taken by Ian Curtis, the band´s sole lyricist, towards this growing authoritarianism and despair is crucial to understand if one is to place the references to fascism found in the band´s album art in the context intended by the artist, that is, a despairing anti-Nazism…Punk at that time was a unique music scene in which battles between anti-racists and neo-nazis were being thrashed out at concerts as the skinheads tried to appropriate the punk aesthetic and hijack the following of alienated, disillusioned working class youth who gravitated towards such a sub-culture in places like Manchester at the beginning of the 1980s…The lyrics of Ian Curtis made it clear that this was a presence suffered and feared as opposed to tolerated or toyed with by the band…Joy Division feared fascism, they did not flirt with it and the artwork and lyrics in ‘An Ideal for Living’ serves as a warning of growing fascistic tendencies in British society…For this, Curtis and his bandmates should be lauded for tackling such a controversial issue and expressing such a well-grounded fear and hostility towards such a veritable enemy of the working class during a swift turn to the right in Britain”.
By all accounts, Curtis was a voracious reader and read books by William Burroughs, Fyodor Dostoyevsky, Franz Kafka, Friedrich Nietzsche, Nikolai Gogol, Jean-Paul Sartre, Hermann Hesse and J.G. Ballard, many of which made their way into various Joy Division songs (an obvious example being their song ‘Interzone’ taken directly from a collection of short stories by William Burroughs). As Jon Savage noted:
“Curtis’s great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal. Distilled emotion is the essence of pop music and, just as Joy Division are perfectly poised between white light and dark despair, so Curtis’s lyrics oscillate between hopelessness and the possibility, if not need, for human connection. At bottom is the fear of losing the ability to feel”.
J.G. Ballard was a particular inspiration to Curtis (particularly the books High Rise and Crash, the latter of which was about the suffering of car accident victims and sexual arousal, and which I wrote about in a previous blog on symphorophilia). One of Joy Division’s best known songs (the opening ‘Atrocity Exhibition’ from their second LP Closer) took its’ name from Ballard’s collection of ‘condensed novels’ (and given its focus on mental asylums is of great psychological interest). So distinct is Ballard’s work that it gave rise to a new adjective (‘Ballardian’) and defined by the Collins English Dictionary as “resembling or suggestive of the conditions described in J.G. Ballard’s novels and stories, especially dystopian modernity, man-made landscapes and the psychological effects of technological, social or environmental developments”. Given this definition, many of Joy Division’s songs are clearly Ballardian as they examine the emotional and psychological effects of everything around them (including personal relationships on songs such as their most well known and most covered song, and only British hit ‘Love Will tear Us Apart’).
The overriding psychology and underlying philosophy of both Ian Curtis and Joy Division are both contradictory and complex but ultimately the band members were a product of the environment they were brought up in and the sum of their musical and literary influences. At the age of 24 years, Curtis’ suicide was undoubtedly tragic and like many other literary and musical ‘artists’, his death has been somewhat romanticized by the mass media. Although he didn’t quite make it into the infamous ‘27 Club’ of ‘rock martyr’ musicians that died when they were 27 years (e.g., Dave Alexander [The Stooges], Chris Bell [Big Star], Kurt Cobain [Nirvana], Richey Edwards [Manic Street Preachers], Pete Ham [Badfinger], Jimi Hendrix, Robert Johnson, Brian Jones [Rolling Sones], Janis Joplin, Jim Morrison [The Doors], Amy Winehouse) he is surely a candidate for being a prime honorary member (along with Jeff Buckley). Retrospectively looking at his lyrics (“In the shadowplay, acting out your own death, knowing no more” from ‘Shadowplay’, you can’t help but wonder (given that many of them were autobiographical) whether Curtis’ death could have been prevented by those closest to him.
Dr Mark Griffiths, Professor of Gambling Studies, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Curtis, D. (1995). Touching From A Distance. London: Faber and Faber.
Curtis, I., Savage, J. & Curtis, D. (2015). So This Is Permanence: Joy Division Lyrics and Notebooks. London: Faber and Faber.
Gleason. P. (2015). This Is the Way: “So This Is Permanence” by Ian Curtis. Located at: http://stereoembersmagazine.com/way-permanence-ian-curtis/
Hook, P. (2013). Unknown Pleasures: Inside Joy Division. London: Simon and Schuster.
Kennedy, J. (2006). Joy Division and the Making of Unknown Pleasures. London: Omnibus.
Mikies, D. (2012). Holocaust pulp fiction. The Tablet, April 19. Located at: http://www.tabletmag.com/jewish-arts-and-culture/books/97160/ka-tzetnik?all=1
Morley, P. (2007). Joy Division: Piece by Piece: Writing About Joy Division 1977-2007. London: Plexus Publishing.
Reynolds, S. (2006). Rip It Up and Start Again: Postpunk, 1978–1984. New York: Penguin.
Savage, J. (2008). Controlled chaos. The Guardian, May 10. Located at: http://www.theguardian.com/books/2008/may/10/popandrock.joydivision
Mould on tight: A brief look at plaster cast fetishism
Back in the early 2000s I remember watching Plaster Caster, a documentary film that looked at the life of artist and groupie, Cynthia Plaster Caster (i.e., Cynthia Albritton). Cynthia is in/famous for her plaster casting of rock star penises such as Jimi Hendrix and Noel Redding (both in the Jimi Hendrix Experience), Eric Burdon (The Animals), Wayne Kramer (MC-5), Jello Biafra (The Dead Kennedys), and Pete Shelley (Buzzcocks), She began her career in erotic plaster casting in 1968 but now includes women as her artistic clients (and typically makes plaster casts of their breasts). Her plaster casting skills have also been immortalized in song by both Kiss (‘Plaster Caster’) and Jim Croce (‘Five Short Minutes’). As her Wikipedia entry points out:
“In college, when her art teacher gave the class an assignment to ‘plaster cast something solid that could retain its shape’, her idea to use the assignment as a lure to entice rock stars to have sex with her became a hit, even before she made a cast of anyone’s genitalia. Finding a dental mould making substance called alginate to be sufficient, she found her first client in Jimi Hendrix, the first of many to submit to the idea. Meeting Frank Zappa, who found the concept of ‘casting’ both humorous and creative as an art form, Albritton found in him something of a patron”.
However, sexual plaster casting does not begin and end with Cynthia Plaster Caster. In a previous blog, I briefly mentioned the practice of mummification within a sadomasochistic context. According to Dr. Aggrawal’s 2009 book Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices, mummification is:
“An extreme form of bondage in which the person is wrapped from head to toe, much like a mummy, completely immobilizing him. Materials used may be clingfilm, cloth, bandages, rubber strips, duct tape, plaster bandages, bodybags, or straitjackets. The immobilized person may then be left bound in a state of effective sensory deprivation for a period of time or sensually stimulated in his state of bondage – before being released from his wrappings”.
One type of restrictive mummification practice not mentioned by Dr. Aggrawal is that of plaster cast fetishism. Although there is little academic research on the topic, a quick Google search throws up many dedicated online sites and hundreds of video clips for sale and/or sharing. For instance, I came across the Casted Angel website (that claims to be the oldest ‘cast and bandage site’), the Cast Fetish website, the Cast Paradise website, and the Fantacast website (please be warned that if you click on any of the links, all of these sites are sexually explicit)
The Wikipedia entry on mummification reports that such activity is typically used to enhance the feelings of total bodily helplessness (which would be totally fulfilled by those engaging in plaster cast fetishism), and is incorporated with sensation play (i.e., a group of erotic activities that facilitate particular physical sensations upon a sexual partner). As a 2010 article on ‘The Erotic Secrets of the Mummy’ notes:
“A variant of this extreme and spectacular form of bondage is mummification made with plaster…Anyone who has taken an arm or leg immobilized by a cast can imagine how restrictive it is to use this material for bondage. Obviously there are safety precautions which must be taken: you must cover the body of the person to be bound with a protective layer (e.g. plastic) so the plaster does not come into direct contact with skin, and make sure to have safety scissors around for easy removal of the bindings. It is also important to note that mummification increases body temperature and therefore sweating, so you must make sure to hydrate the person being bound. An example of complete plaster mummification can be seen in a nonsexual context, in the comedy After Hours by Martin Scorsese”.
As well as being a form of extreme mummification, plaster cast fetishism is also a sub-variant of ‘cast fetishism’ that according to the Encyclopedia Dramatica comprises erotic “concentration on orthopedic casts (plaster, polymer, bandage, etc.) It is usually related to the fetishes of feet, stockings, shoes and amputees”. Cast fetishists derive sexual pleasure and arousal from people (typically the opposite sex) wearing casts on their limbs (but may also be additionally aroused by people using crutches or who have a limp). I’ve come across dozens of people who have posted in online forums and claiming they have cast fetishes and/or fixations. Here are just a few:
- Extract 1: “It is no bad thing to have a cast fetish when you have an ongoing foot injury. This morning I got [a plaster cast] for my left leg as my foot is giving trouble. Wanting to keep my foot up when riding in my friend’s car I put the window down and rested my cast on the top of the door. The wind blowing across my bare casted toes as we drove down the street was just the ultimate turn-on!”
- Extract 2: “Since I was a child I had a strong fetish for casts and bandages. When I was 6 or 7 years old I saw a girl in at the local hospital, with a freshly applied plaster [cast] in her right leg, and how she cleaned her toes with a damp cloth. That’s still one of the memories that arouses me. Two years ago, I had a girlfriend, who came to know about my fetish, it was kinda difficult for me to say, but she liked the idea and I put her in a homemade [plaster cast], then I painted her toenails and put a toe-ring. It was a shame that it was one night only and the plaster didn’t dry at all, but it was so good to stay with her and kiss her toes wiggling out of her cast. It was one of the most pleasant nights that I’ve had”.
- Extract 3: “I have been in love with casts since about 13 yrs old. I have had the chance to [wear a] dual hip [cast] and several short and long term casts but want to wear possibly a full body one day if I find the right cast partner”.
- Extract 4: “I’ve had an interest seeing girls in casts for quite some time now. I think it started when I was a little kid and broke my leg. Probably since then I have always wanted to be in a cast, but didn’t want to hurt myself! I just recently discovered the ease and community around the world of recreational casting. I have a short leg cast and it’s an amazing feeling!”
- Extract 5: “I have always had a fascination for seeing people in a cast, and in particular girls in long leg casts. It may have something to do with the restricted movement I don’t know. I am not interested in the associated, implied pain aspect but more the caring aspect. I always thought that this was an idea peculiar to me but, I was recently inspired to search the net and found a whole community subscribing to the cast fetish idea with many images…I have never fractured a limb so I have never had a cast but, I have made a couple of attempts at self-casting”
- Extract 6: “I love being in a cast. For years I have studied the casting processes in both plaster and fiberglass. I have honed these skills to the point [that] nobody, [not] even an orthopedic assistant can tell it was not applied professionally”
- Extract 7: “I have always wanted to have a cast on my leg and or arm. I have tried hitting my hand on the ground but I still have not fractured it…I would even pay someone to break both my arm and leg”
One of the most detailed I have come across is this one:
“I have a strong sexual attraction to, and erotic fascination with, the sight of the female leg wearing an orthopaedic cast, particularly along its full extent, from toes to hip. Now in my mid-forties, I have been aware of this ‘interest’ since my early teens, which might explain my particular attraction to plaster casts, as were the norm at such a time, which somehow seem heavier and more of a physical entity than contemporary casts. For many years, I assumed this peculiar attraction to be mine alone, and looked forward to those rare occasions when I might see a woman with a leg in plaster in public or otherwise find a picture in a newspaper or magazine, which I would collect. However, since the advent of the internet, I have become aware that a number of like-minded souls exist all over the world, that the ‘cast fetish’ is out there in the world of cyberspace, is shared and enjoyed by people and is practised recreationally in the real, everyday world by those who have the inclination and means to do so”.
“As the online aspect of this fetish has developed over recent years, I now find I am able to better satisfy my visual needs through the large number of available images, of both medically and recreationally-worn leg casts. I have obsessively built a large collection of pictures of women wearing leg casts, and frequently enjoy these. Sometimes I feel a certain frustration that my need to satisfy the desire to find and see more images consumes more time than I have available to ‘waste’, but this is not something over which I have full control – it is a compulsion and needs to be fulfilled in this way, in the manner of such a condition, even if it never seems possible to have quite enough of such images, there is always the thrill of the anticipation of finding a new, ‘perfect’ picture of a cast and its wearer. I have always assumed that my obsession is based on the aesthetics of the leg cast, being related as it is to my general attraction to women’s legs, feet, toes, boots, etc. The leg cast is very much an ‘object of desire’ in its appearance and in the manner it objectifies the leg inside, I enjoy the way a cast looks and find this arousing”.
“However, I wonder whether my ‘interest’ may have other underlying, hidden causes and inspirations, and exactly what might have triggered this fetish? I wonder this because although I have never had occasion to wear a cast myself (and thus experienced the physical restrictions imposed by one), and neither has anyone with whom I might spend regular, extended periods of time, such as a family member or close friend, I have often imagined that female friends might have to have a leg in plaster that I might be around them, or that I might meet and form a relationship with a woman in such a situation (not that I have any desire to see anyone come to harm, suffer an injury, etc, but I would love to see the effect of such – the wearing of a cast – if it ever occurred). I have a very strong desire to be in the presence of a leg cast as it is being worn, that I might interact with it and the wearer, that I might experience the sexuality of such, and it is something about which I have frequent sexual fantasies, being the most arousing situation I am able to imagine”.
In a short 2006 article on ‘Women with Plaster Casts’ at the online Trendhunter website, Hernando Gomez Salinas wrote about the Cast Fetish website and then used the writings of Sigmund Freud to provide some theoretical insight into the fetish:
“According to Freud, fetishism is considered a paraphilia or sexual deviation as a consequence of an infantile trauma with the fear of castration. When a kid discovers the absence of penis in his mother, he looks away from her terrified, and the first object he stares at after the trauma turns into his fetish object. So, according to Freud, it is possible that the fans of [the Cast Fetish webpage] saw their fathers or a relative with a plaster cast”
I am not a fan of Freud’s theorizing, and I personally believe that the origin of such fetishes is most likely behavioural conditioning (classical and/or operant). However, given the complete lack of empirical research, this was the only article I came across that featured anything vaguely academic in relation to the fetishizing of plaster casts. It would appear from both anecdotal evidence that plaster cast mummification (particularly within a BDSM context) comprises a significant minority interest and is probably nowhere near as rare as some other sexual behaviours that I have covered in my previous blogs.
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.
Forbidden Sexuality (2004). Mummification bondage. Located at: http://www.forbiddensexuality.com/mummification_bondage.htm
Salinas, H.G. (2006). Women with plaster casts. Trend Hunter, November 29. Located at: http://www.trendhunter.com/trends/weird-fetishism-women-with-plaster-casts
Wikipedia (2013). Sensation play (BDSM). Located at: http://en.wikipedia.org/wiki/Sensation_play_(BDSM)
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