Cofounder and rhythm guitarist Sylvain Silvine died of cancer on Wednesday in the early 1950s in Proto-Punk, New York, according to a social media post published by his wife and multiple media reports. He was 69 years old.
Often lambusted in their era – either as the Rolling Stones knock-offs or for their glamorous looks – the dolls on either side of the Atlantic had the single biggest impact on the punk rock. Their huge influence can be heard in the New Yorkers Ramons, who followed them for only two years, as well as the sex pistol and the whole punk movement. Despite being addicted to drugs, fights and common sense, the puppets cast a long shadow over the four-year existence of their classic line. Their influence is far-reaching and unimaginable: the rock and roll of 1975 is not what happens without them.
When singer David Johnson was the classic Zagresek frontman and Johnny Thunders eroded the charisma and played the snarling lead guitar, Sylvain was the foundation of the group, bringing in textured riffs and rhythmic energy that embodied the melodies and blended with the bass and drums. His great guitar twing thunders flashes, fights against distorted leads and gives the group a melodic bedrock.
With Sylvan’s death, Johansen is the only surviving member of that classic lineup.
“As most of you know, Sylvain has been battling cancer for the past two years and a half,” wrote his wife, Wanda and Kelly Mizrahi. “Although he fought with courage, yesterday he moved away from this disease. When we mourn his loss, we know that he is finally at peace and out of pain. Please crank his music, light a candle, say a prayer and let’s send this beautiful doll on his way.
Patti Smith’s longtime guitarist and veteran music writer Lenny Kaye wrote briefly with the announcement of Sylvan’s death: “His role in the band was like that of Lichpin, keeping his bandmate’s rotating satellite properly. Although he made heroic attempts to keep the band going, in the end the moral fantasy of the puppets overwhelmed them, not before sowing the seeds of influence that could still reach many rock generations. “
Born in Cairo, Egypt on Valentine’s Day 1951, Sylvain Mizrahi was in France with his family before moving to New York. He befriended real puppet drummer Billy Marcia in junior high school and played in the band with him as a teenager. The pair worked in clothing stores and the fashion industry, including business across the street from a doll-repair shop called New York Doll Hospital, which led to their future group Monica. The two parted ways for a while before reuniting as group actresses with the Thunders (real name: John Gengel) and bassist Arthur “Killer” Kane. With the addition of Johansen, the group has taken the form of the New York Dolls.
Deliberately provocative and taking their clothes from cheap women’s clothing stores on New York’s Lower East Side – with Silvine and Marcia’s background skills in fashion – the puppets have made a splash from their 19 1971 format. Sylvain told the Brooklyn Vegan in 2003, “The reason the puppets stayed together was because of the monotony of the day’s ideals, which was like the stadium-rock era,” Sylvain told Brooklyn Vegan in 2006. Operat they were somehow annoying, they would lose their sexual appeal “”
The group first clashed when Rod Stewart was invited to open a British concert in 1972, when Marcia died in a drug-related accident during a trip. Isolated but determined, the group enlisted S drummer Jerry Nolan – future Ramon drummer Mark Bell and future kiss drummer Peter Chris also auditioned – and was signed to Mercury Records by A&R executive and veteran music writer Paul Nelson.
The group’s self-titled album cover pulled them all the way, but the interior music was full-risk rock and roll, with hard-ripping predecessors like MC5 having the same effect that pop members of the early ’60s girls’ group grew up – and New York There is no shortage of attitudes and accents. Songs like “Personality Crisis,” “Trash,” and “Looking for a Kiss,” and razor-sharp productions by Todd Rundgren – with whom the group fought, although they later admitted he did a great job – remain as a memorabilia album. Gone, though it proves the polarizing opinion encouraged at the time that the group popularly voted for both the Best New Group and the Worst New Group in a Cream Magazine readership poll.
Not surprisingly, the American interior was not ready for this type of group and they spread the bookings they were able to earn to support the album. Their ugly endeavor, the girls’ group Veteran Shadow Morton, produced in 1944 with the title “Too Very Early” and the first lacked punch and focus, although it did include “Babylon”, “Human” and several classic songs. Facing Boy Williamson’s “Don’t Start Me Talkin.”
Frustrated and controversial, the group forcibly joined future sex pistols Chevangel Malcolm McLaren, who – a few years later – dressed in red and gave them a communist theme in anticipation of the outrage. (Songs from this era are recorded directly on the “Red Patent Leather” album)) Excluding their record label, the band had a failed tour in front of the left before the formation of the heartbreaker by both the Thunders and Nolan, heavy heroin abusers ie Tom Petty will be confused with the band.) The group became part of a growing scene around the CBGB in New York – a scene that Dolls had a lot of owed to its existence – before moving to London and being considered a hero, before substance abuse dragged it down. (Lightning struck in 1991 after several years of heroin addiction; Nolan died the following year.)
Johansen and Sylvain 19 went on for another year in 1976 with a shifting cast of band members before saying one day. “What I failed to do with the New York doll was to try with a sex pistol,” McLaren said in classic punk history, “Kill me.”
Yet their influence has already taken root, and not just punk rock. It can certainly be argued that the aerosmith was a more mainstream version of the Dolls and that Kiss would probably not get the same image without them. And in the late 1970’s, Steven Morrisy, a British teenager – later Smith’s top singer who didn’t think anything of being a puppet, but copied some of their attitudes – formed a New York Dolls fan club. In the early 1980s and mid-1980s, the look of New York dolls was completely co-opted, commercialized, and degraded by hair-bands, often unknowingly, from motley crew and Poison – and many more musically satisfying gun n roses. .
Following the band’s breakup, Sylvain formed a band called Criminal, releasing a solo album – his self-titled, ’50s-flavored debut and more power-pop follow-up with a group called Teardrops – as well as the 1998 “Slip Baby Doll”. He also worked for a time as a cab driver in York and re-launched Satya and Sol as a fashion brand a few years ago.
Sylvain and Johansen reunited with Kane in 2004, although Kane died unexpectedly long after the reunion. The group has released and released three albums, “One Day Please Please Remember Me,” “Because I Sedge So” and “Dance Back in the High Heels” before the group folded again. Sylvain continued to perform with a band called Batusis and played South by Southwest in 2001.
“The other day someone was asking me, ‘If David and you die yourself, do you guys want to continue it?’ “Sylvain 200 spoke about the band’s new lineup in 2006.” And I said yes. ‘Because New York dolls are no longer just my band or anything I made. It’s a band of people now, if you will. It’s their baby. After Arthur was lost, I was emailing friends and back from Mauritius. He said, yes, you should continue your work, because Arthur not only wants you to tell the world about the New York doll, but you Required Tell the world about New York dolls. ‘I see it now and I think it’s a beautiful thing. “