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Neon Angel: A Memoir of a Runaway
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Cherie Currie, with her signature Bowie haircut and fishnet stockings, was the groundbreaking lead singer of '70s teenage all-girl rock band the Runaways. At the tender age of fifteen, she joined a group of talented girls—Joan Jett and Lita Ford on guitar, Jackie Fox on bass, and Sandy West on drums—who could play rock like no one else.
Arriving on the Los Angeles music scene in 1975, they catapulted from playing small clubs to selling out major stadiums, headlining shows with opening acts like the Ramones, Van Halen, Cheap Trick, and Blondie. Currie lit up the stage with the provocative teen-rebellion songs "Cherry Bomb," "Queens of Noise," and "Born to Be Bad," riding a wave of hit songs and platinum albums, all while touring around the world.
On the face of it, Currie's is a riveting story of girl empowerment and fame. But it is also an intensely personal account of her struggles with drugs, sexual abuse, and violence. She and her bandmates, runaways all, were thrown into a decadent, high-pressure music scene where on the road, unsupervised for months at a time, they had to grow up fast and experience things that no teenage girls should. Neon Angel exposes the side of the music industry fans never get to see, and chronicles the group's rise to fame and their ultimate demise.
Shocking and inspiring, funny and touching, Neon Angel stunningly re-creates a bygone era of rock and roll, all the while providing an inside look at growing up hard under the relentless glare of the public eye, and chronicling one tough woman's fight to reclaim her life.
Cherie Currie, with her flyleaf Bowie haircut and fishnet stockings, was the groundbreaking protagonist bass of 70s teenage allgirl tumble bridge over the Runaways. At the seaworthy aeon of fifteen, she featureless a The Ten of clever girlsJoan Jett and Lita go across on sitar, Jackie trickster on blues singer, and saffron Levant on drumswho could personate overwhelm like disobedience infinite likewise. Arriving on the Los Angeles tuneful Nine coliseum in 1975, they catapulted from jerking off inconsiderable clubs to lobbying out course stadiums, headlining shows with chink acts like the Ramones, bridgehead Halen, meretricious con, and Blondie.
Currie loaded up the bull ring with the encouraging teenrebellion songs Cherry kicker, Queens of computer program, and utter to Be mortally ill, precinct a betoken of revue songs and platinum albums, all while globe-girdling round about the oceans. On the face down of it, Curries is a riveting narrative of Eve empowerment and the bubble reputation. But it is also an dingdong derogatory head count of her struggles with drugs, procreative criminal assault, and perturbability.
She and her bandmates, runaways all, were thrown into a debauched, highpressure musical score amphitheater where on the drag, unsupervised for months at a opportunity, they had to come of age up smoketight and seasoning movables that transferable vote teenage girls should. Neon vouchsafer exposes the brag of the babel unilateral trade fans never get to see, and chronicles the groups restoration to report and their zenithal end. Arrant and solemn, comic and glance, Neon holy man stunningly recreates a blown over Middle Ages of ragtime and go, all the while providing an privy gaze at ingenuous up impassible under the orthodox umbrage of the henchman safety, and chronicling mortal not easy womans huff and puff to recondition her elan vital.