Queens of Noise: The Real Story of the Runaways

by Evelyn McDonnell

In four years the teenage members of the Runaways did what no other group of female rock musicians before them could: they released four albums for a major label and toured the world. The Runaways busted down doors for every girl band that followed. Joan Jett, Sandy West, Cherrie Currie, lead guitarist Lita Ford, and bassists Jackie Fox and Vicky Blue were pre-punk bandits, fostering revolution girl style decades before that became a riot grrrl catchphrase.

The story of the Runaways has never been told in its entirety. Drawing on interviews with most of this seminal rock band’s former members as well as controversial manager Kim Fowley, Queens of Noise will look beyond the lurid voyeuristic appeal of a sex-drugs-rock ’n’ roll saga to give the band its place in musical, feminist, and cultural history.

Genres: Music, Biography, Nonfiction, History, Biography Memoir

360 pages, Hardcover

First published May 28, 2013

Reviews

[Nestor Rychtyckyj · Rating 5 out of 5]

Finally, a definitive history of the Runaways! At long last the the Runaways are getting their due with the Cherie Currie autobiography and the Runaways movie. This book covers the entire history of the band who managed to seemingly be one of the most influential bands that many are so quick to dismiss. The author Evelyn McDonnell managed to get virtually all of the people involved with the Runaways to participate (quite a feat in itself) and got access to the writings that the late Sandy West left with her family. From reading Cherie's book as well as watching Edgeplay - we pretty much kmow that life with the Runaways was going to be a very difficult episode that impacted and still affects the ex-members. Kim Fowley was an active participant in the book (he just tweeted that he in mentioned 161 times and I belive him) and comes off as a much more sympathetic character that he was in Edgeplay or the movie. He even admits that he was in no way ready or able to handle 5 teenage girls who were touring and releasimg an album 6 months into their career. The story that emerges is of a group of extremely dedicated girls who desperately believe in their music but are eventually beaten down by a system and industry that refuses to believe that women could play rock & roll. This is shown over and over with extracts from reviews that slander and insult the girls in a way that no male band would get treated.

The Runawys were neither punk nor rock and could not seem to find their place or base that would support them (as the Ramones and others could). When the Runaways played Detroit (one of my favorite memories) they played with bands like Rush, the Ramones, Cheap Trick & Tom Petty. The differences in music taste between Lita/Sandy and Joan and Cherie was pretty significant, yet they could certainly could play and make you forget about all these other things.

The book follows the Runaways to the present day; the overwhelming success of Joan Jett, the successful careers of Lita Ford in musis, Jackie Fox in law, Cherie Curie in music, acting and sculpting, Vicki Blue in movie-making and the sad and tragic end for Sandy West. For a Runaways fan like me, the most disheartening issue is the in-fighting between the band memebers that makes allmost any Runaways project (much less a reunion) difficult to imagine.

If you like the Runaways - this book is essential; the girls in the Runaways were their own worst enemies in many ways but this book finally gives them their due... BTW - they do rock !!!!!

[Drew · Rating 3 out of 5]

A quick moving read that delved way past where The Runaways movie went. Evelyn McDonnell turned her Master's program thesis on Sandy West into this tome on the history and fallout of the Runaways. In various turns, she protects the members of the band and then turns an scathing light on some of their heinous actions.

I learned quite a few new things, especially about the people who were associated with the band but that other documentaries, news stories or fictionalized films left out. I also learned about the many bassists that the Runaways burned through. As an amateur bassist myself, I was glad to finally hear a little bit besides just the singer and the guitarist(s). Drummers and their fans need not worry with the Runaways, as Sandy West was a formidable drummer, personality and founder of the band.

McDonnell tears apart the music industry for their sexism, money first, and predominantly US-focused metrics for success. Music journalists, other bands, record companies and even recording engineers are pretty damn misogynistic and narcissistic creatures! McDonnell quotes from a review of a Runaways show in Newcastle (UK) in 1977:

Sutcliffe had an interesting psychoanalytic reading of the verbal attacks. "Heavy music pulls blokes," he wrote. "When the musicians are, as usual, male, they are a macho mirror to their fans who worship them like a corporate Narcissus ogling himself. But when the musicians are female, it's no mirror, it's the real thing, the challenge of a relationship rather than a solo jerk-off–so the Runaways don't get any shadow boxing, they are in for the championship every time they go on stage."

On the down side, the author seems to be part academic and part starstruck fan. She makes an incisive point, then mocks the very next thing she talks about with an air of fan arrogance. It's hard to take the work seriously as a whole. Maybe that's why we're reading "Queens of Noise" instead of the thesis "Wild thing: how Sandy West was lost, the true story of a teenage runaway rock'n'roll outlaw". She also seems to say X is true, Y is not, and then turns around a few sections later professing the opposite. Such a strategy works in context, but yet again, on the whole, it detracts from the work.

This is a good read, especially if you're interested in the Runaways, the music industry and some flashes of growing up in the 1970s.

[Heather · Rating 4 out of 5]

I really enjoyed this book as it wasn't only about Joan Jett and Cherie Currie. The objectivity is in question as it becomes abundantly clear that the author is a fan but it's not a slavish fangirl torrent. The author tempers her praise with fair criticism and makes effort to portray every side.

However, I raise questions about the research done when the author makes a mention in the chapter "England's Dreaming" about the band opening for Metallica in London. The timeline of this chapter is 1976. Which is very odd considering Metallica did not form until 1981. Normally, I would give the benefit of the doubt and perhaps there was another Metallica back then but the author explicitly says "legendary metal band, Metallica." There is only one legendary metal band by the name of Metallica so where on earth did this come from? Was the author's research that shoddy or was it assumed that the facts were good because the author doesn't know much about Metallica's history and was unwilling to look into it because it wasn't germane?

It's a small detail but glaring and it lessened the enjoyment I had for the book. Sad that this one thing also takes away from a book that celebrates women who were trailblazers and influenced other women to take up instruments and rock hard too.

Aside from that, I really appreciate how kind the author was in her treatment of Lita Ford. Lita gets excluded from a lot of the Runaways history because she was the metal girl and well, metal is like really lame, you guys. The author treated Lita with much more respect and an appreciation for Lita's talent.

It's a worthwhile read and a welcome addition to chronicling women and they music they make.

[Jodi · Rating 4 out of 5]

If I were a better eBook reader, I’d have probably finished Cherie Currie’s memoir Neon Angel and found a lot of the information in Queens of Noise:The Real Story of the Runaways by Evelyn McDonnell old news. Lucky for me I hate reading books electronically and found McDonnell’s biography of the ground-breaking all-female rock & roll band a revelation.

Oh how I loved this fair and not wholly unbiased book about the band that spawned Joan Jett. It helps a bunch that the way The Runaways came into being is so damn entertaining and the women who formed this band so awesome. Read More.

[Rachele Maria · Rating 3 out of 5]

After I got used to the Behind the Music style writing, I was glad I took the time to learn more about The Runaways and all the different sides to their story. The book reads a lot like an article or review with a lot of name and place dropping that left me a little dizzy. I feel like it was written for someone already familiar with 70's LA. I appreciate that she doesn't write just about their personal lives, but also takes the time to talk about their music and talent. Giving them credit that often wasn't given to them when they were a band.

[J. · Rating 5 out of 5]

4.5 stars

Well where did 3 days go?

This book is pretty engrossing, fun and detailed, and does a good job of situating the Runaways within their context, both in time and location...Los Angeles is discussed and explained in ways that were new to me (eg, debates between 2 different architects about the city's nature). So, details and big picture are both points of reference.

The strength of the book is its thorough presentation of different members'/involvees' perspectives........this can be frustrating at times because it can get foggy (what DID really happen?) but it's also more honest than simply favouring 1 person's take to the detriment of a full view.

Although it's also confusing when individual members seem to shift their own moral assessments of the same situation at different times in the book...I'm not sure if this is due to using interview sources from different times (personal growth) or if this is lasting damage from the abusive environment they were surrounded by, a chronic quicksand from gaslighting.

Much as I personally loathe Kim Fowley for the multiple types of abuse he clearly perpetrated, overstating his creative role is insulting to the band and is the mirror-image of excusing his misogyny "because it was different then". He was abusive, AND the girls were doing what they wanted to do, as much as they could.
McDonnell does get that right & makes them the focus, not him.

The author steps around Fowley at times, playing into the unfortunately common idea that if women are "kickass" then how much can they really be exploited/abused?
BUT this is admittedly a pet peeve of mine (the idea that individual women acting strong will itself dismantle oppressive systems) so I may be projecting. But I don't think so!


McDonnell has a strong insight around the way the term "Svengali" is used, both to remove artists' agency and as a culturally deflective trope. (The term itself originates from an 1894 novel called "Trilby").

From page 231:

"...scholars have pointed out that the description of Svengali as a dark, coarse man with a big nose are laden with anti-Semitism. For centuries Western civilizations have deflected guilt about bloody capitalism by turning its agents into dirty money-changers--dark Jews, not good Christians. Pop fans are no exception.
.........by demonizing Svengalis, artists & consumers deny their own role in the star-making machine."

This is a rather interesting nugget that I want to think about some more. It certainly points a light back at why we (our culture) had such an oddly resentful yet hungry attitude towards the Runaways as a phenomenon, beyond the misogyny.


There is enough cultural criticism to chew on yet it's still a fun book to read (at least to someone with an interest in the Runaways & the 1970s).

I would take a half star off only for the poor copy-editing....too many instances of "sign" for "sing", "(ad)vantage point", using "glitter" instead of "punk" (glitter was NOT just starting in the late 70s lol). I'm probably a bit compulsive/irritable about book errors but they occasionally slowed down my reading of an otherwise excellent and fully engrossing book.

R.I.P. Sandy West <3

[Lisa Bowen · Rating 3 out of 5]

The book was ok. The story didn’t flow good. It was a bumpy ride. I feel like I should have been on the drugs to relate to this book. The author made Joan Jet look like a difficult person to get along with in her book. I Don’t think Joan’s was. I think the other band members were the problem.

[Homewrecker · Rating 3 out of 5]

“Queens of Noise the REAL story of the Runaways,” that title is ample warning to the reader for what lies ahead. A sensationalized story about a band of teen rockers. The book is enjoyable in the main and my complaints settle around how McDonnell chose to tell the story of this barrier-shattering group.

Queens of Noise is a follow-up to McDonnell’s thesis on Runaways drummer, Sandy West. For this book McDonnell takes us back again to the Sunset Strip in the 1970s with its proto-punk scene. It was fertile soil for the all-female rock band that Sandy played in. It’s a story that interests me. I grew up with Joan Jett’s music and had heard hints of the fabled band that she started, which included heavy metal guitarist, Lita Ford. I was onboard.

I wanted it to be exhaustive, but the book fell short. Some of the band members declined to be interviewed, forcing McDonnell to rely heavily on previous magazine and newspaper articles, and Vicki Blue’s (another Runaways bassist) documentary, “Edgeplay.” The first-hand accounts come primarily from the Runaways bassists and Kim Fowley, the band’s notorious manager, and the people around the group during the three or so hectic years of its existence.

There was one person I didn’t expect to be included in the Runaways’ story and that was McDonnell. Working primarily in an opinionated style reminiscent of ‘70s New Journalism, she comments on every player in the story even describing a music critic of the day as a “sh*tty writer” without offering anything to back up her opinion. Her subject would have been better served by not inserting herself into the narrative. The block quotes she included from interviews are enthralling and would have been much more effective with only minor editorial comment.

Her description of ‘70s LA evokes a curious version of the sinner/saint idolizing of women that flourished then. It was a dichotomy where few female rock groups could find success. Placing the Runaways in its milieu of the hedonistic Sunset Strip gives clarity. These straightforward passages, untainted by opinion, were where I found some of the best writing.

Before long, McDonnell focused on the Runaways through her own lens of understanding. It is a viewpoint that is not insightful and at times reads like a fan thwarted access to her idols.
She does address the myth that they were a confectionery out of Fowley’s fevered mind. While affirming that the young women created the band with Fowley’s help, McDonnell continually lists everything Kim Fowley did for them.

The band was never allowed to be the subject of its own story but always the object. McDonnell even uses them as objects in her book. She dwells over imagery about Lita Ford’s tight clothes. According to McDonnell, Ford’s shorts were snug enough that part of her anatomy was in public view. She repeatedly mentions how pretty they were, imagines the reactions of the primarily male audiences, and describes guitarist, Joan Jett’s “sweaty grinding” on a bandmate. These short anecdotes are included for no other reason than prurient interest. One despairs that the Runaways will never be able to run away. Instead they find themselves trapped in another gilded cage to be adored, admired, and defined by others.

Errors or editing gaffs in the book are glaring. For instance, claiming that the Runaways opened for Metallica before Metallica had a formed left me wondering which band she meant. Listing Jett’s role in The Rocky Horror Show as “Columbine” instead of “Columbia.” Strange nouns or verbs muddled what McDonnell wanted to say. Perhaps she too struggled to grasp their meaning? For example, the word “gobbing” or stating Lita playing a “wank” on her guitar. While I can hazard out the meaning, it drug me out of the story. I’m still trying to figure out what a “totem manager” is and if she didn’t mean “token manager.” There were also repetitions of blocks of text in different chapters. A few but not all of Jett’s solo hits that were mentioned did not list the songwriter. The reader is left with the impression that Jett wrote “I Love Rock n’ Roll” and “Crimson & Clover” which is not the case.

The Runaways’ story could have been better served by letting the people who lived it simply tell their stories. As is, Queens of Noise is an impediment with uncited interpretations that cloud a fascinating tale of teens who took the world by storm. Despite the morass, the Runaways and their story managed to get through, much as they did in the ‘70s, demonstrating the wit, the panache, and the perseverance required to bring their sound to the world.

[Norville · Rating 3 out of 5]

*I'd first off like to say that I read this book as an ebook, and apologize if any error I mention has been changed since the publication I read.*

Here's my problem with this book:
Though it does go into great detail about the Runaways, there are certain factual errors that I caught with little trouble.

Some examples:
- At one point, McDonnell talks about the Runaways opening for Metallica in Europe. The Runaways broke up in 1979, while Metallica did not form until the early '80s.
- Later, when talking about the band Boston, McDonnell says that Fran Sheehan is the singer, when in reality he played bass.
- Near the end when talking about the lives of the Runaways after they broke up, McDonnell begins to talk about Joan producing the Germs' album. She states that Darby Crash was the singer and Pat Smear was the drummer, when Pat actually was the guitarist. Again, it is only a slight error, but soon after, McDonnell uses quotes from the drummer of the Germs, saying he is the drummer (not Pat Smear).

I know these mistakes are minor, but you would think that they would easily be caught. It makes me question the factuality of a great deal of information put forward in the book.

[Ann · Rating 1 out of 5]

DNF. Read to p 140. But disliked and had to push myself to get that far. Skip it, read Wikipedia on the band’s story as it is adequate enough.

Depressing story. Little in the story or the book as a redeeming quality. Perhaps the multiple people and layers of stories and lies and abuses just make this a hard book to write. But I was confused about who author was talking about more times than not. Overall was not impressed with the writing. Moved on to read something else I will enjoy more.

[Beth · Rating 4 out of 5]

Excellent. Read it even if you have already read Neon Angel. Way more info. on the band as well as the scene in LA at the time. Well written and a page turner, for sure.

[P.V. LeForge · Rating 3 out of 5]

I am giving this book 3.5 stars, which isn’t a great rating, but that’s not because of what’s is in the book, nor to author McDonnell’s writing style, which is just about as good as it gets. In fact, most of the book is fascinating. The disappointment is because of what's not in it--some of the principle characters refused to talk to McConnell and those that did tended to have selective memories.

Another problem the book has is that McDonnell—along with several of the Runaways themselves, show Runaways manager and creator, Kim Fowley, as the devil. Most complained about their scant wages and his marine-like supervision of their practice sessions. After the book was published, Jackie Fox even accused him of raping her when she was 16 in front of a roomful of witnesses, which began a twitterstorm. But McDonnell could not disguise the guy’s absolute brilliance. In every scene in which he appears (this is also true in the terrible Kristin Stewart movie, The runaways) he is completely dominant. In fact, I suspect that his florid and very poetic way of speaking influenced and inspired McConnell to new heights in her own language.

Fowley, according to McConnell, was such a grandstander and con artist that he consented to be interviewed only if he had musicians playing in the background. That way, he could say that his answers were part of a song and that would require her to pay him royalties if they were used. She never actually said whether she took him up on that offer, but the quotations coming from his mouth—either from her interview or from interviews published earlier—are worth the price of the book, especially for aspiring writers. She does a good job with him.

But her inability to get Joan Jett to talk to her at all is a flaw that no comprehensive book about the Runaways can afford. McDonnell disguises this as best she can by taking quotes from previous interviews with Jett in various magazine articles, but her refusal to talk to McConnell often leaves gaps in the narrative. So does the death of Runaways drummer Sandy West before McConnell could ask for an interview. Of the original Runaways, only Lita Ford seems to be totally forthcoming.

If you buy this book, be sure to watch Edgeplay, Victory Tischler-Blue’s documentary on the group, which fleshes out some of the things that McConnell either misses or glosses over. For one thing, Sandy West and Joan Jett both preferred female sexual partners while Fox and Ford were straight. Lead singer Cherie Currie liked both sexes and not only got pregnant from her nights with the Runaways road manager, but had very fond memories of affairs with Jett and West as well.

But a lot of information on the actual making of Runaways’ music is absent—including what went on in the studio. Perhaps this is because McConnell is not a musician or she had limited space in the book. One of the positives I got from this book though, was the desire to listen to all the Runaways music again and to watch some of the early videos. What I got from all this was not only a renewed appreciation for what they accomplished, but insights into each member. The truth is, the band was never as good after Cherie left (those who say that Joan’s vocals were as good or better are just wrong) and none of the replacement bass players was as good as Jackie. Maybe this is why the book becomes less interesting halfway through.

It is possible that the reason some of the Runaways—Jett in particular—would not talk to McConnell is because Jett and Currie were in negotiations to turn the latter’s autobiography into the Stewart movie. Too bad. The movie was an unwatchable mess and Currie’s bio is reputed to be a sanitized one. Until Jett comes out with her own book of memories—assuming they are accurate—we’ll probably never have a true picture of what went on during the years 1975-1977.In the meantime, we have Queens of Noise, and that will have to do.

[Dave Schwensen · Rating 3 out of 5]

I had to take some time after finishing this book to let it soak in. If you’re a diehard fan of The Runaways, it is definitely written for you. For the rest of us it’s a researched look into a 1970’s rock group that is best remembered for its all-teenage girl lineup and as a launching pad for Rock Hall of Famer Joan Jett.
*
The author thoroughly covers the practically revolving door of members that came and went, including Lita Ford (heavy metal) and Cherie Currie (films), who both went on to have showbiz careers. There is also focus on the various bass players that never seemed to fit in with the hard partying core of the group, and the eventual tragic ending of hard core partying drummer, Sandy West. Along with their backgrounds, family situations and music, there is plenty of booze, drugs and sex that is also part of The Runaways legacy.
*
But the main player in this story of “teenage rock girls gone wild” is their manager, creator and puppeteer, Kim Fowley. He’s depicted as a sinister character and villain mastermind on the Hollywood music scene who acted as a casting director in putting the girls together. The Runaways was his idea, but he ended up losing control. In a way (and Runaway fans won’t like this) it was reminiscent of how The Monkees were cast for television in the mid-1960's and broke away from the musical supervision of Don Kirshner - only with a much harder edge.
*
I can’t truly say I enjoyed the book, but that’s probably because I’m not a Runaways fan and only picked it up at a library for casual reading. Like most rock fans I had at least heard of them, but hadn’t listened to their music and knew nothing about the individual members other than Jett. Now I do. If you’re a fan, by all means read and enjoy. If you’re not, this book won’t turn you into one.

[Elizabeth Desole · Rating 3 out of 5]

Kudos to my former downstairs neighbor for this very well-researched book on The Runaways. It really was amazing how much information she got and how well she ties it into what was going on in the industry around them. I was left wishing that the beginning was better organized and she had kept some of her own opinions to herself. The second half of the book flowed well but the beginning had a tendency to jump around a lot. It almost felt like she didn't expect everyone to read to the end so she kept adding in "spoilers". She would often mention something and then what would happen with that in the future. It was completely unnecessary since she actually writes about what happens in the future later in the book.
I guess my other complaint has to do with the fact that Evelyn is a rock critic, not a biographer. I really could have done with fewer opinion comments from the author like calling people "fucks" and decribing situations as "shitty" and along those lines. Not that I in general object to cursing but it felt unprofessional, juvenile and overly judgemental in this format.
As a side note, this was probably not the right book to read as a break after reading the "Far From the Tree" chapter on children of rape. The earlier part of this book felt similar to the case studies of statutory rape

[Stephen · Rating 4 out of 5]

Another book for which I had the option of a half star so I could go with a 3.5 star rating. A thorough history of the formation, short recording history and demise of a band whose influence far outweighed it's record sales, Queens of Noise suffers a bit from it source material (the author's master's thesis) and falls into occasional stretches of academic lanagusge that disrupts the flow of the story, particularly in the initial chapters. There are occasional lapses in accuracy as well such as referring to the Runaways opening up for Metallica long before that band formed and referencing Bon Jovi as "glam inspired." Still Ms. McDonnell clearly knows her subject matter, is fairly evenhanded in discussing the origins of the band's downfall and includes a detailed review of the band member's activities since The Runaways broke up. Her affection for the band and it's members is obvious but she remains clear eyed regarding the likely distortions of information regarding events from many years ago and filtered through time, conflicting egos and considerable drug use. Her writing, with the exceptions noted above, is very accessible and the subject matter was long overdue for a recounting of a seminal act. I'm glad I read it and if you like rock and roll you will be too.

[Tlingit · Rating 3 out of 5]

It gave me what I wanted the facts, but wasn't very personal. It was like viewing what happened to these young women from a remote control helicopter. Evelyn McDonnell, the author is a music journalist. She writes like one. It's almost like a Paparazzo(a?) became familiar with the band except she wasn't allowed to get close to them. Real feelings (and if you read the book you better believe there were many emotional highs and lows,) are not explored. Any articles researched seemed to include very little about what these girls' ideas, dreams, relationships or fears were. No stand is taken on morality but the journey through a grueling ride of a Rock Band trying to keep itself afloat while pieces of the members drop off and they get taken advantage of even as they power their way through onstage shows that impress fans but end up trashed by misogynistic critics.
It's funny. As a teenager I used to buy the teen rags just to look at the pop boys my favorites ending up on my wall. I remember a Creem review about The Runaways that made me embarrassed to be female.
I guess I was hoping to read about some real people. Strangely I felt that the 2010 Movie The Runaways better conveyed their story. This book needed some life in it. It had the drama.

[Eric Henderson · Rating 4 out of 5]

This is probably the best book that will ever come out about The Runaways, and if you're a fan of the band, this is the one you've been waiting for. The author interviewed everyone connected with the band, and plays fair, which means Kim Fowley comes out looking like a jerk and a creep, but not like as a Svengali-esque villain. The whole, long story is pieced together, which (almost 40 years later) is a pretty amazing accomplishment. It's terrific that it came out after the movies Edgeplay and The Runaways, too, because it adds perspective to where both of those projects came from and how subjective they were. The whole book has a (much-needed, esp. for this subject) solidly pro-female perspective. There are a few weird little factual errors that big fans will catch, and once where the author pops in to give her own negative opinion about a song, then proceeds to mis-quote the lyrics. So it's not perfect, but it's really good, and probably the best Runaways fans will ever get.

[natalie · Rating 4 out of 5]

I’m not crazy about the writing in this book. It feels too wordy. Sometimes it reads like a grad student dissertation -the first few chapters in particular. I don’t want to read quotes from scholars, architects and 19th century authors in a book about The Runaways. Also, author is clearly trying hard to be objective – tries especially hard to be objective about Kim Fowley – and then just breaks down and calls him a dick. Seems author is torn between expressing herself like a fan and a disinterested party.
That said I couldn’t put the book down. I want to know more about what it was like for the band members but I won’t unless each writes their own story. Book contains countless reminders of conflicting memories of the integral players. I have a Joan bias and I feel she is treated fairly in the book. The author tries hard to paint accurate pictures of all the girls.

[Ruby · Rating 4 out of 5]

I bought this book in an attempt to learn more about Joan Jett, as she was one of my musical inspirations as a teen. I hadn't really known who the Runaways were, so I was shocked to learn that Lita Ford (another inspiration for me) was also part of this band. This book chronicles the lives of teens that were musically ahead of their time, but never had the chance to show the U.S. what they could do. They were teens that were thrust into the spotlight without true nurturing and guidance of the adults around them. While I enjoyed reading this book, I felt that there was more attention paid to the climate around them than the band and their music. Still, it was a good read, and I would recommend this to females, especially young girls who feel different than their peers.

[Tracy Ohama · Rating 5 out of 5]

Wow! What a book!!

I never knew about the runaways, until I watched the movie. Joan jett and the blackhearts was my first cassette. Joan has been my idol since I was 10 years old laying in bed with my walkman listening to, " I love rock and roll"!! I have become obsessed with all the girls. But I have to say I am mostly interested in Sandy. I truly wish I could go back in the past and lead her down a different path. I will definitely be reading this book again. I cried for Sandy, congratulate joan, got pissed at lita for being such a bully, but still I think she's an awesome musician. Wish I could of told cherie to really think about her decisions with everything. And as far as the bassist's not much to say. I give this book 5 stars for being so thorough. Awesome book.

[Wendi Manning · Rating 1 out of 5]

For a woman who wrote a thesis on Sandy West and complains endlessly throughout the book about how much attention was paid to Currie and not to the whole band, she can't stop talking about Currie and Jett. Too many factual errors, too much time spent on the sexualization of the band, while doing it herself. Her own descriptions of band members include the word labia. Her off topic wondering about which female Joan Jett was singing about. This woman wrote a book that completely summed up all the problems the Runaways faced, and then proved that she still thinks the same way. In her world, Cherie's still in her corset, Joan's still a butch bitch cruising chicks, and Lita's still showing her ass. What a shame.

[Lisa · Rating 4 out of 5]

I was only slightly aware of the Runaways when they were together - by the time I was really paying attention to music, Joan Jett was already a solo artist. And for that reason, until reading this book I didn't fully appreciate the impact on rock music, particularly in terms of women in rock, that the band had.
This book was really well written - thoroughly researched, serious and respectful of the band, but honest about their shortcomings. A great view into the business side of the music business, and a case study in how easy it is for everything to go wrong even with talented, hardworking and passionate musicians creating music that should be popular.

[Matt Stevens · Rating 3 out of 5]

Was disappointed in this book. Growing up as a music junkie through the eighties the runaways were always part of the discussion. A discussion that led to glam rock, punk, metal.
I was really looking forward to this book. The information in it is mostly he said, she said. I can understand this as bands are made up of people and peoples views of things don't always match up.
I just felt the book was super disjointed. Start here. No here. Now here. Back to here again. It just felt like jumbled gossip to me more than anything.
For a band that truly was the first of its kind, I was hoping for more.

[Patty · Rating 4 out of 5]

Far less salacious than your average rock-n-roll tell-all, this book kept to the facts. I found it refreshing that the author told a well-rounded version of this girls-done-wrong saga. Sure it's got plenty of sex, drugs and of course, rock-n-roll, but it focuses more on the struggle of these musical pioneers and the tremendous hurdles they faced in the perennially misogynist music industry. It also tells the tale of woe common to the music industry - even with a record deal, some artists just don't make it big, no matter how worthy they are. A great read for grrl band lovers!

[John R · Rating 3 out of 5]

It was a good, full account of the history of the Runaways, but it was difficult to get through due to the writer's use of prose and jumping timelines. Plus, there was little on what happened after the Runaways broke up except for the movie. Wanted them to discuss a bit more about Cherie filming Foxes and Joan Jett and LIta's solo careers. Good tribute to Sandy West and her troubles along with the split of the band after Edgeplay the documentary was released. Only good if you were a fan of the Runaways or the movie and wanted to get another side of the story.

[Mike Balsom · Rating 5 out of 5]

It was hard to put this book down. As a 13 year old boy when the Runaways burst on to the music scene I was enthralled by their sound and their image. I knew about their Svengali manager Kim Fowley and how he was apparently the one pulling the strings behind them. But McDonnell's book delves deeper into the story with a focus on the girls and their strengths. In her opinion, Fowley wasn't the one responsible for the Runaways' talent but more importantly part of the reason they never truly found the success they deserved.

[Laurah · Rating 4 out of 5]

I learned a bit in this book and overall I enjoyed it. The writing was thorough, but flat. It's more of a long-ass research paper for a middle-school audience than a narrative of the band. Even so, it's quite clear with whom the writer's allegiances lie. And since we agree on this point, I dug the book. If you are looking for more personal stories, read Jackie Fox's Blog, The Runaways Remembered, or read Currie's Neon Angel.

[Readtheclassics · Rating 3 out of 5]

Was looking forward to this read and was slightly let down. The author left much unfinished and directions suddenly lost. A fair bit of filler over story substance. The Runaways story, buried in and around the filler, was good, sad and tragic for these trailblazing pioneers. Took me a while to get through this story and I am a voracious reader. The author failed to maintain my attention or grip me....sadly.

[Stephanie · Rating 3 out of 5]

I found the story interesting to a point. At times the book reads like a thesis, with detailed expositions on the importance of The Runaways LA geographic roots, etc. The author even mentions in notes at the end of the book that it started as a thesis, and that tone remained in certain portions. Part thesis, part music critic, part VH1 special episode.

[Joe Mason · Rating 4 out of 5]

I'm not that prudish, but what's with the author's profanity? It doesn't really work with third person narration and just seems forced.

The book made me go back and listen to the Runaways, which was a bit underwhelming. Joan Jett sharpened up as a song writer and Lita Ford became Lita Ford.