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Chapter 18: Bad Girl  

Cherry Vanilla singer, Cherry Vanilla artist, Cherry Vanilla poet, punk singer, glam punk icon, avant-garde vocalist, performance poet, cult music figure, downtown NYC legend, David Bowie collaborator, Ziggy Stardust era, MainMan Records, glam rock muse, Bowie inner circle, 1970s glam scene, androgynous glam, theatrical rock persona, cosmic rock aesthetics, early punk scene, proto-punk attitude, CBGB era, downtown underground, raw stage presence, art-punk aesthetics, rebellious femininity, The Police connection, new wave origins, post-punk influence, spoken-word performance, experimental rock, vintage black-and-white portrait, 1970s New York nightlife, glam makeup, bold eyeliner, metallic fabrics, leather and vinyl, feather boa, platform boots, stage lights and smoke, dramatic pose, expressive hands, defiant, theatrical, sensual intellect, queer-coded glam, fearless femininity, outsider brilliance, underground royalty, downtown Manhattan 1970s, Max’s Kansas City, Warhol-adjacent scene,

There were moments on the road with the Police I remember as clearly as that starry night on Highway 1 in Mendocino. One was the time we all came within an inch of dying when Sting fell asleep at the wheel. And one was the time we stopped at a quaint, cozy roadside café for tea and scones with clotted cream and jam -- so deliciously comforting on a cold, rainy day.

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But my favorite time was when we drove down south to play Plymouth and Penzance and we stopped off at Stonehenge.

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We had to go miles out of our way to get there. 

And though it was almost evening when we arrived, I was astonished that there was no one else around but us--no guards, no tourists, no ticket office, and no concession stands. I remember how silent we all were and how long we stood there in the piercing cold wind. I remember Louie’s arms around me, keeping me warm, and how I wished that the others all had someone special there to hold as well.

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