'After lots of experiments with molding materials and a few attempts with male friends, she began her formal body of work in 1968 by casting Jimi Hendrix.' | marthabayne
. And she was a fixture on the local music scene, her infectious enthusiasm for music and musicians undimmed over the years, even as her fortunes waxed and waned.. In a duet with Ratso, the show’s puppet cohost, she crooned the title song from Stanley Donen’s 1967 Swinging London Dudley Moore-as-Faust vehicle.
“She had so many scenes that she was involved in,” says longtime friend Giulietta Karras, who was a teen in the late 1970s when she met Cynthia at a photo shoot formagazine. “There were so many Cynthia worlds that you didn’t know about. All of us saw a little piece of her, because she was a complicated person. . . . Her friends were her family.”
“She was ebullient,” says musician Chloe F. Orwell of the Handcuffs. “Although she was exclusive in her casts—she wouldn’t just cast anyone, you had to be asked—she was inclusive in her friendships. She was so willing to meet anyone, and she made everyone feel like they were her best friend.” “She did this incredibly brave thing,” says Jeff Economy, coproducer and cinematographer for Jessica Villines’s 2001 documentaryand a friend of Cynthia’s. “Her whole life was her art, and her ability to do what she did—regardless of whether she embraced the title [of artist] 100 percent of the time—is what matters.”
“We had a lot of fun,” says Babette Novak, who introduced Cynthia to the world of spas and pedicures. It was Novak who had the unenviable task of going on Facebook last week to confirm to the world the rumors of her close friend’s death. “She had a tough life, and if I were her, I probably wouldn’t be as optimistic,” Novak says. “But she was truly optimistic about a lot of things.”
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