Queens of Noise: The Real Story of the Runaways by Evelyn McDonnell

Author:Evelyn McDonnell [McDonnell, Evelyn]
Language: eng
Format: epub, azw3, pdf
Tags: Biography & Autobiography, Composers & Musicians, Entertainment & Performing Arts, Music, Genres & Styles, Rock, Individual Composer & Musician, Social Science, Women's Studies
ISBN: 9780306821561
Google: XPUUAgAAQBAJ
Amazon: 0306820390
Publisher: Da Capo Press
Published: 2013-07-08T12:00:00+00:00

The Runaways fought plenty amongst themselves, too, verbally and physically. Ford’s tempers and West’s strength were legendary. Usually, they turned these traits on obnoxious outsiders. Sometimes, they turned them on each other.

One day Cherie became fed up with Kim’s hectoring; she saw herself as a blossoming rock star, while he kept calling her “dog piss” and “dog cunt.” She stormed out of the rehearsal room.

“The next thing I knew, I was being thrown over a Porsche 914,” she remembers. “I landed clear on the other side.”

Sandy—short but muscular—had grabbed the skinny singer and tossed her. The drummer bounded around the car to dust Currie’s butt off.

“I’m so sorry,” West said. “But we have to stop this. I can’t lose this band.”

It was rare for West to turn on any of the girls, particularly Cherie. Sandy usually acted as protector, not assailant. She was sweet but fearless.

“When we were on the road being humiliated by these guys and bands, she’d jump up and posture,” Currie says. “I always felt so safe with Sandy. She could have this tough posturing and exterior, with this huge, beautiful smile on her face.”

One time Sandy went ballistic on Fox, who had been complaining publicly about Currie’s increasingly diva-like behavior. “Sandy in particular could be really aggressively protective of Cherie,” Fox says. Fowley, too, came down on Jackie, banning her from attending parties for a while—until she had the opportunity to be seen in public with Sweet singer Brian Connolly. Kim wanted that kind of publicity.

Cherie and Jackie generally got along. Compared to their tough bandmates, they were “soft”—friendly, feminine, user-friendly, so to speak. But sometimes—like when she had to wait for Currie to get ready when their roadie would pick them up to take them to rehearsals—Fox would lose her patience. During performances of “Dead End Justice,” Jackie and Lita would mock beat up the singer. On certain nights, the bassist would throw a little extra into that act.

Figuring out whom to room with on the road was a measure of shifting alliances. Jackie says sometimes she stayed with Currie, sometimes Ford, sometimes Jett, sometimes Kent Smythe, “because I got to the point where I didn’t want to be anywhere near the band.” Fox and West did not get along personally—not a good sign for a rhythm section. “She was a drug-addicted lesbian who wasn’t that bright,” Fox says. “What did I have in common with her?” Smythe says Jackie annoyed everyone and no one else wanted to room with her, though for a while at least, he got along with her fine. In Edgeplay , Ford also talks about the band not liking Jackie. The former student councilor was a know-it-all, a complainer, and a bit of a girly-girl.

One morning, Ford and Fox were sharing a hotel room. The guitarist had been out all night; the bassist needed to make a phone call. She tried to speak quietly, but Lita still woke up, screaming, “Shut the fuck up!” Ford grabbed the phone, hit Fox

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