But she also remembered a question that didn’t make the piece.
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I wasn’t surprised when she told me how pleased she was that David ate his afternoon breakfast at Chock Full o’ Nuts, a chain whose disappearance from Manhattan’s fast food options she’ll mourn in perpetuity. It was my fellow fan and sometime rock critic Carola Dibbell, whose recall memory remains one of the wonders of my life.
Unmentioned in my account is that I was accompanied by a colleague on this assignment, and not some photographer either. īut as I was saying, my Johansen fandom knows few limits, and while he’s had a few downs as well as many ups musically, you needn’t be a superfan to admire the version of himself who proved both vain and modest enough to sniff the underarms of his old black T-shirt with a reporter watching in his modest apartment south of Gramercy Park. Published June 1978 in The Village Voice, “Kid Patriarch Makes His Move” is just about as close as I’ve ever come to writing one of those formulaic staples of arts journalism, a celebrity profile, and that includes 2006’s Johansen-dominated “ Sensualistic, Polytheistic ,” celebrating the superb Dolls comeback album Some Day It Will Please Us to Remember Even This that closes my 2017 collection Is It Still Good to Ya? As I mentioned in my And It Don’t Stop appreciation of Martin Scorsese’s Johansen documentary Personality Crisis, “when it comes to the New York Dolls, my fandom is off the charts.” That’s why I felt compelled to leave “Kid Patriarch” out of my 1998 collection Grown Up All Wrong in favor of the 5500-word Dolls summum I wrote for Greil Marcus’s Stranded.
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