The final doll: Remembering David Johansen

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As a gamer of music history, I’d say you’ll find the New York Dolls right where ’70s glam seamlessly blended into late ’70s punk. They were pioneers, leading the charge in a fresh wave of popular tunes, trading sincerity and skill for an edgy vibe and raw energy instead. This move was met with criticism back then, and even today, some hardcore rock enthusiasts still view it with a touch of disdain.

In contrast, if you were to visualize the evolution of popular music using a scattergraph, it’s likely that the New York Dolls, rather than the Eagles, had a greater influence on shaping the future and were more accurate prophets during the early ’70s, with the two bands seemingly representing opposite ends of the spectrum at that time.

The individual frequently seen, adorned with heavy makeup and exposing parts of his upper body, was David Johansen. Sadly, he passed away this past Friday at the age of 75.

New York Dolls front man David Johansen died at age 75

Among his bandmates from The Dolls, Johansen outlived them all. Rhythm guitarist Sylvain Sylvain passed away at the age of 69 a few years back. Arthur Kane, the bassist who sometimes seemed to merely stand on stage without playing, died about two decades ago at the age of 55. Johnny Thunders, often referred to as Johansen’s Keith Richards counterpart, tragically passed away in 1991 at only 38 years old. The original drummer, Billy Murcia, sadly succumbed to an overdose during a UK tour in 1972, when he was just 21.

It’s possible that Johansen living longer than everyone else means little, maybe just a stroke of luck. However, it could also imply something significant about Johansen as an artist. David Johansen, much like many artists during the rock era, had a clear understanding of his role.

To put it in my own words as a fan, I’d say: While he had the ability to sing, his talent wasn’t extraordinary compared to many other vocalists who didn’t garner the same level of fame. He could pen some witty, catchy tunes, but his songwriting was somewhat sparse and, let me be honest, a bit repetitive. Over time, he leaned heavily on covers instead of originals.

Johansen didn’t achieve success due to his natural talent alone; instead, he made it by possessing an exceptionally rare skill: the ability to spearhead a revolution in music while never being completely swallowed up by the very revolution he initiated. As the leader of the New York Dolls, Johansen recognized that his role was not just about having natural talent, but also about playing a character that caused seismic shifts within the New York City music scene during the pre-disco era. This character served as a catalyst for many significant musicians in both punk rock and Britpop movements over subsequent decades.

He donned eccentric attire, a blend of tribute and satire. Yet, the connection he forged with his audience during live performances was as authentic as it comes. The Dolls served as an emblematic case of a group whose worth couldn’t be encapsulated in the recording studio. Their essence could only be grasped by witnessing them live, which is why they were significant. Similar sentiments would be echoed about the B-52s and Bad Brains in the years to come.

Johansen honed his skills in theater during his teenage years by working with Charles Ludlam’s avant-garde group, the Ridiculous Theatrical Company based in New York. This groundbreaking ensemble, active from the mid-1960s, frequently highlighted gay characters and themes. The band known initially as Actress, later named The Dolls, incorporated bold, flamboyant sexuality into their powerful, rhythmic rock & roll music.

Listening to Johansen’s gruff vocals on the opening track of their self-titled first album might not evoke images of a man wearing lipstick and wild hair. When he sings “Personality Crisis,” his voice echoes that of Jagger – a more rugged, American version of him.

The first album, which Todd Rundgren produced, didn’t live up to the high expectations set by rock critics regarding the Dolls. It seems that Rundgren wasn’t the right fit for the job, but it’s questionable whether any producer could have managed the unruly group effectively. They weren’t a band that thrived in a studio setting.

This resulted in a split within their fledgling fan base. In 1973, they astoundingly won both the Best New Band and Worst New Band titles in Creem Magazine’s poll. However, when they embarked on a tour of Europe at year-end, Steve Jones (future Sex Pistols guitarist) and key members of what would evolve into Duran Duran and Ultravox were among their followers. One of their most renowned fans was 13-year-old Steven Patrick Morrissey, who would later become the frontman for the Smiths.

If Johansen had only been the lead singer of the Dolls and not ventured beyond that, he would be significantly important in rock history. However, his transformation into Buster Poindexter, with a new appearance, sound, yet maintaining the same level of theatrics, underscores Johansen’s understanding of rock music as a form of performance.

As a gamer, smoothly stepping into the role of an actor felt like leveling up to an epic boss stage. Over the years, I’ve starred in numerous movies and TV shows, but my most cherished role was teaming up with my pal Bill Murray as the Ghost of Christmas Past in the 1988 classic Scrooged.

Two years past, Martin Scorsese and David Tedeschi produced the documentary “Personality Crisis: One Night Only” about David Johansen’s career. Scorsese openly acknowledged that he leaned significantly on the debut album of the New York Dolls during his deep dive into directing his first film. Although the movie effectively portrays an extraordinary life, I can’t help but feel that it shares the same shortcomings as those initial New York Dolls albums. With David Johansen, you truly needed to be present.

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2025-03-01 22:30