1 00:00:00,720 --> 00:00:16,119 Speaker 1: Disgraceland is a production of Double Elvis. This is a 2 00:00:16,200 --> 00:00:22,480 Speaker 1: story about freaks and frauds, about the underground going mainstream, 3 00:00:22,880 --> 00:00:24,880 Speaker 1: and about some of the people who dragged it there. 4 00:00:25,680 --> 00:00:29,800 Speaker 1: It's about sex, drugs, and a teenage girl whose memory 5 00:00:30,240 --> 00:00:34,520 Speaker 1: was turned into a shrine for the alternative nation. It's 6 00:00:34,560 --> 00:00:38,120 Speaker 1: a story about Perry Ferrell, the outlaw who built a 7 00:00:38,240 --> 00:00:41,639 Speaker 1: church for the weird and then crowned himself as its 8 00:00:41,720 --> 00:00:45,960 Speaker 1: high priest. And it's also about the cost of control, 9 00:00:46,720 --> 00:00:49,760 Speaker 1: about what happens when the carnival barker becomes the cop. 10 00:00:50,760 --> 00:00:54,720 Speaker 1: This is the origin story of Jane's addiction. So it's 11 00:00:54,760 --> 00:00:59,200 Speaker 1: a story about great music. Unlike that music I played 12 00:00:59,200 --> 00:01:01,440 Speaker 1: for you at the top of the show. That wasn't 13 00:01:01,480 --> 00:01:05,280 Speaker 1: great music. That was a preset loop from my melotron 14 00:01:05,880 --> 00:01:12,080 Speaker 1: called Venice Beach Sweatbox MK. Two. I played you that 15 00:01:12,160 --> 00:01:15,039 Speaker 1: loop because I can't afford the rights to Vision of 16 00:01:15,120 --> 00:01:19,280 Speaker 1: Love by Mariah Carey. And why would I play you 17 00:01:19,400 --> 00:01:24,000 Speaker 1: that specific slice of multi octave vocal run cheese? Could 18 00:01:24,000 --> 00:01:27,880 Speaker 1: I afford it? Because that was the number one song 19 00:01:27,959 --> 00:01:32,280 Speaker 1: in America on August twenty first, nineteen ninety and that 20 00:01:32,440 --> 00:01:36,000 Speaker 1: was the day that Jane's Addiction released their second studio album, 21 00:01:36,240 --> 00:01:40,120 Speaker 1: Ritual de Loo Habitual, a record inspired by the tragic 22 00:01:40,240 --> 00:01:43,880 Speaker 1: death of one of Perry Ferrell's muses, a death that 23 00:01:44,040 --> 00:01:50,800 Speaker 1: foretold much darker days ahead. On this episode, freak scenes, 24 00:01:51,160 --> 00:01:58,680 Speaker 1: alternative Nations, outlaws, weirdos, Perry Ferrell in Jane's Addiction, I'm 25 00:01:58,800 --> 00:02:33,720 Speaker 1: Jake Brennan and this is disgrace Slam. Jane's Addiction lied. 26 00:02:35,360 --> 00:02:38,919 Speaker 1: It turns out that everything was shocking, or I should 27 00:02:38,919 --> 00:02:42,760 Speaker 1: say that everything still had the capacity to shock, even 28 00:02:42,800 --> 00:02:46,720 Speaker 1: in twenty twenty four, when we the audience, the fans, 29 00:02:47,040 --> 00:02:50,240 Speaker 1: those who had seen it all before, especially that well 30 00:02:50,240 --> 00:02:52,520 Speaker 1: worn chestnut of a tail, the one in which a 31 00:02:52,600 --> 00:02:56,680 Speaker 1: band always splinters apart from the inside out. We sat 32 00:02:56,760 --> 00:03:00,280 Speaker 1: there on a day in September, Miles agate jaw on 33 00:03:00,320 --> 00:03:03,840 Speaker 1: the floor, watching on our screens at the smartphone footage 34 00:03:03,880 --> 00:03:07,239 Speaker 1: taken at the previous night's Jane's Addiction show in Boston. 35 00:03:08,440 --> 00:03:12,080 Speaker 1: There's singer Perry Ferrell, dressed like Johnny Depp on Safari, 36 00:03:12,600 --> 00:03:16,680 Speaker 1: striking that rock star pose, standing ten feet tall and 37 00:03:16,760 --> 00:03:20,880 Speaker 1: letting the music shoot through him like lightning. WHI she 38 00:03:21,040 --> 00:03:24,320 Speaker 1: was right? Dave Navarro rips into a guitar soul during 39 00:03:24,360 --> 00:03:28,000 Speaker 1: the band's song Ocean Size, A fan favorite and a 40 00:03:28,040 --> 00:03:31,040 Speaker 1: favorite of mine as well, I guess because I've always 41 00:03:31,040 --> 00:03:34,720 Speaker 1: been a fan Anyways, Perry, He's on stage, grunting into 42 00:03:34,800 --> 00:03:38,840 Speaker 1: the mic, rhythmic tribal, finally in step with Eric Avery's 43 00:03:38,880 --> 00:03:42,560 Speaker 1: bass and Stephen Perkins's drums after a night in which 44 00:03:42,600 --> 00:03:47,880 Speaker 1: his timing had been alarmingly off. The grunts become shouts, 45 00:03:47,880 --> 00:03:52,400 Speaker 1: and then they become screams, and Perry turns to Dave 46 00:03:52,480 --> 00:03:56,240 Speaker 1: and quickly closes in, body checking the guitar player with 47 00:03:56,640 --> 00:04:01,760 Speaker 1: hate in his eyes. Dave is momentarily stunned. What the fuck? 48 00:04:02,400 --> 00:04:05,800 Speaker 1: And then Perry is screaming again, or this time not 49 00:04:05,920 --> 00:04:09,720 Speaker 1: into the mic, but in his guitar player, Dave Navarro's face. 50 00:04:10,520 --> 00:04:14,120 Speaker 1: Fuck you. Davis to stop shredding for a moment so 51 00:04:14,160 --> 00:04:16,000 Speaker 1: that he can hold up his picking hand and keep 52 00:04:16,040 --> 00:04:18,839 Speaker 1: Perry at bay as the singer is pushing into him again. 53 00:04:19,400 --> 00:04:24,159 Speaker 1: What that word? What? It keeps cycling through Dave Navarro's 54 00:04:24,200 --> 00:04:26,280 Speaker 1: head and coming out of his mouth. It's the only 55 00:04:26,320 --> 00:04:30,080 Speaker 1: word that he can think of at the moment. Perry, 56 00:04:30,120 --> 00:04:33,040 Speaker 1: on the other hand, is dumb with words. He goes 57 00:04:33,120 --> 00:04:36,360 Speaker 1: full jock now his elbow pushing into Dave again like 58 00:04:36,400 --> 00:04:39,000 Speaker 1: a right wing pushing past the defenseman into the crease. 59 00:04:39,360 --> 00:04:41,760 Speaker 1: And then Perry winds up quick and throws his stiff 60 00:04:41,880 --> 00:04:45,040 Speaker 1: right hand at Dave's chest. It connects with a thut, 61 00:04:45,160 --> 00:04:48,400 Speaker 1: and suddenly the band's guitar tack Dan Cleary jumps into 62 00:04:48,400 --> 00:04:51,400 Speaker 1: the frame, pulls Perry away, but Perry doesn't want to 63 00:04:51,400 --> 00:04:54,599 Speaker 1: be pulled away, so Eric Avery, the bassist, has to 64 00:04:54,640 --> 00:04:57,719 Speaker 1: throw down his guitar, get Perry in a headlock, and 65 00:04:57,800 --> 00:05:00,640 Speaker 1: start punching him repeatedly in the stomach in order to 66 00:05:00,680 --> 00:05:04,240 Speaker 1: subdue him. Meanwhile, David Navarro takes off his guitar and 67 00:05:04,279 --> 00:05:06,880 Speaker 1: places it gently down on the stage, but not before 68 00:05:06,960 --> 00:05:09,320 Speaker 1: turning the volume down so that a dozen feetback, you 69 00:05:09,360 --> 00:05:11,880 Speaker 1: know the son, we're told professionally, even in the turning 70 00:05:11,880 --> 00:05:15,760 Speaker 1: eye of chaos, and after which Dave just walks off stage. 71 00:05:16,320 --> 00:05:18,960 Speaker 1: But those of us watching all of this transpire on 72 00:05:18,960 --> 00:05:21,880 Speaker 1: our screens again, miles gape, jaws on the floor, we're 73 00:05:21,880 --> 00:05:25,120 Speaker 1: all thinking the same thing. I think I just witnessed 74 00:05:25,160 --> 00:05:29,080 Speaker 1: the end of Jane's addiction. Now, as I said at 75 00:05:29,120 --> 00:05:31,880 Speaker 1: the top of the episode, this moment, which was quickly 76 00:05:31,920 --> 00:05:36,919 Speaker 1: disseminated all over the Internet, was capital S shocking, no doubt. 77 00:05:36,920 --> 00:05:39,280 Speaker 1: But for anyone who's ever been in a band before, 78 00:05:39,400 --> 00:05:42,840 Speaker 1: a touring band, a band with numerous, wildly different and 79 00:05:42,880 --> 00:05:46,919 Speaker 1: frequently competing ideas of creative direction, you know what it's like. 80 00:05:47,600 --> 00:05:49,440 Speaker 1: Even I had to admit that. Yeah, back in the 81 00:05:49,520 --> 00:05:51,120 Speaker 1: day when things got he did, I could have been 82 00:05:51,160 --> 00:05:53,720 Speaker 1: one bum note away from either being Perry or Dave 83 00:05:53,839 --> 00:05:57,799 Speaker 1: in that situation. But cooler heads typically prevail in moments 84 00:05:57,839 --> 00:06:01,040 Speaker 1: like these. Dirty laundry remains stop to way down inside 85 00:06:01,080 --> 00:06:03,839 Speaker 1: a Duffel bag in the backstage green room. And you 86 00:06:04,040 --> 00:06:06,640 Speaker 1: know that Mick and Keith or Bono on the Edge 87 00:06:06,720 --> 00:06:10,600 Speaker 1: have had moments like this in their decades of fragile brotherhood. 88 00:06:10,839 --> 00:06:14,280 Speaker 1: It's only natural and it's more than a little inevitable. 89 00:06:14,800 --> 00:06:17,880 Speaker 1: So why haven't guys like that come to blows publicly 90 00:06:18,160 --> 00:06:21,200 Speaker 1: in the way the Jains Addiction did. Because the Rolling 91 00:06:21,279 --> 00:06:24,880 Speaker 1: Stones or U two or whoever, they don't have a 92 00:06:24,920 --> 00:06:29,960 Speaker 1: Perry Farrell, a whole, unique, eccentric front man who made 93 00:06:29,960 --> 00:06:33,200 Speaker 1: it his job to champion the freaks and the outlaws 94 00:06:33,200 --> 00:06:35,599 Speaker 1: and the mystics and the dopers, and the Wanderers, the 95 00:06:35,600 --> 00:06:39,040 Speaker 1: one in the same Perry Ferrell, who had once loudly 96 00:06:39,320 --> 00:06:42,760 Speaker 1: and flamboyantly brought the so called alternative nation to the 97 00:06:42,760 --> 00:06:46,400 Speaker 1: front door of the corporate mainstream, only to grow up 98 00:06:46,480 --> 00:06:49,560 Speaker 1: and find that that transformative power of freakdom which he 99 00:06:49,640 --> 00:06:54,120 Speaker 1: wielded with startout pride, went and transformed him into the 100 00:06:54,279 --> 00:06:58,120 Speaker 1: very thing he vowed never to become, an authority figure. 101 00:07:00,920 --> 00:07:07,000 Speaker 1: Nineteen eighty four, Los Angeles. The cops were relentless, two 102 00:07:07,160 --> 00:07:10,400 Speaker 1: LAPD officers, one on either side of him, asking all 103 00:07:10,440 --> 00:07:14,040 Speaker 1: sorts of questions, where was he from, why was he here? 104 00:07:14,280 --> 00:07:17,480 Speaker 1: And what did he do for a living? Perry Ferrell 105 00:07:17,520 --> 00:07:20,200 Speaker 1: didn't want to answer that last one, or I should 106 00:07:20,280 --> 00:07:23,480 Speaker 1: say he didn't want to answer truthfully, because if he 107 00:07:23,560 --> 00:07:25,920 Speaker 1: was being honest, he was a twenty five year old 108 00:07:26,000 --> 00:07:29,320 Speaker 1: rogue musician, a feral artist, a rock on tour out 109 00:07:29,360 --> 00:07:31,560 Speaker 1: on the margins, a free spirit blown by the wind, 110 00:07:31,600 --> 00:07:33,840 Speaker 1: who spent the last six years living out of an 111 00:07:33,840 --> 00:07:37,120 Speaker 1: old Buick regal down in Newport Beach. He made a 112 00:07:37,120 --> 00:07:40,360 Speaker 1: little money waiting tables over at Oscars, but he wasn't 113 00:07:40,360 --> 00:07:43,920 Speaker 1: cut out for shift work or work work for that matter. 114 00:07:44,000 --> 00:07:47,680 Speaker 1: He was dubious of the promises made by others. His 115 00:07:47,720 --> 00:07:49,800 Speaker 1: mother had taken her own life when he was young, 116 00:07:50,280 --> 00:07:53,239 Speaker 1: and his father had filled the maternal void with lots 117 00:07:53,280 --> 00:07:57,400 Speaker 1: of young women in hard drugs. But Perry wasn't about 118 00:07:57,440 --> 00:08:00,760 Speaker 1: to say this to a couple of LA's finest. Instead, 119 00:08:00,840 --> 00:08:03,560 Speaker 1: he told him he was a successful interior designer with 120 00:08:03,600 --> 00:08:07,960 Speaker 1: a steady income, and at that the two cops were satisfied. 121 00:08:08,600 --> 00:08:10,760 Speaker 1: They handed Perry the keys to the house they co 122 00:08:10,840 --> 00:08:14,360 Speaker 1: owned at three sixty nine North Wilton, between Melrose and Beverly, 123 00:08:14,440 --> 00:08:17,400 Speaker 1: just outside Hancock Park and told him that rent was 124 00:08:17,480 --> 00:08:20,800 Speaker 1: due on the first of every month. The irony was 125 00:08:20,800 --> 00:08:24,360 Speaker 1: almost too much. Perry Farrell was about to fill this 126 00:08:24,480 --> 00:08:30,880 Speaker 1: six bedroom house with other like minded rule breaking artists, musicians, photographers, painters, junkies, 127 00:08:30,880 --> 00:08:34,160 Speaker 1: their girlfriends, their dealers, twenty four to seven partying and 128 00:08:34,200 --> 00:08:37,800 Speaker 1: conniving in criminal mischief, all of it taking place under 129 00:08:37,840 --> 00:08:41,520 Speaker 1: the roof of Johnny Law, his new landlord, in an 130 00:08:41,520 --> 00:08:44,680 Speaker 1: apartment he was renting in a house owned by a 131 00:08:44,720 --> 00:08:48,520 Speaker 1: couple of cops. At the height of Mayhem, there were 132 00:08:48,559 --> 00:08:51,080 Speaker 1: about twelve people living in what would become known as 133 00:08:51,400 --> 00:08:57,120 Speaker 1: the Wilton House, including Perry's friend Jane. Jane's habit, along 134 00:08:57,160 --> 00:08:59,920 Speaker 1: with her fucked up relationship with an abusive dealer named Sergei, 135 00:09:00,800 --> 00:09:04,960 Speaker 1: inspired the name for Perry's new band, Jane's Addiction, formed 136 00:09:05,000 --> 00:09:07,960 Speaker 1: after Perry's brief tenure in the post punk group's picon, 137 00:09:08,480 --> 00:09:12,120 Speaker 1: even though the name Jane's Addiction was also Perry's Addiction. 138 00:09:13,040 --> 00:09:15,840 Speaker 1: And I'm not talking about perro and addiction solely, but 139 00:09:16,200 --> 00:09:19,640 Speaker 1: the additional addictions to life stark corners, to its tattered 140 00:09:19,720 --> 00:09:23,600 Speaker 1: lunatic fringe, to sex, to violence, and things far beyond 141 00:09:23,720 --> 00:09:28,439 Speaker 1: any socially accepted norms. As a band, you didn't find 142 00:09:28,480 --> 00:09:30,920 Speaker 1: these sorts of things out in the more hallowed rooms 143 00:09:30,960 --> 00:09:34,200 Speaker 1: on the Sunset Strip, the Whiskey Ye Go Go, Doug 144 00:09:34,280 --> 00:09:39,080 Speaker 1: Weston's famous Troubadour. These venues were notoriously pay to play, 145 00:09:39,120 --> 00:09:41,920 Speaker 1: meaning that you the band, had to pony up cold 146 00:09:41,960 --> 00:09:44,680 Speaker 1: hard cash before the powers of b would put you 147 00:09:44,720 --> 00:09:48,319 Speaker 1: on a bill. What's that all about? Anyways, Perry didn't 148 00:09:48,320 --> 00:09:50,120 Speaker 1: want to be on a bill with some slick asshole 149 00:09:50,200 --> 00:09:52,559 Speaker 1: like Axel Rose, who Perry found to be nothing more 150 00:09:52,559 --> 00:09:55,800 Speaker 1: than a market corrected second coming of Vince Neil. And sure, 151 00:09:55,920 --> 00:09:58,080 Speaker 1: some of this could be chalked up to sour grapes, 152 00:09:58,400 --> 00:10:01,000 Speaker 1: as Perry and his band didn't. Actually we have the 153 00:10:01,040 --> 00:10:03,280 Speaker 1: funds to get themselves to be able to play the 154 00:10:03,320 --> 00:10:05,720 Speaker 1: Whiskey You Go Go, or on the Troubadour stage, for 155 00:10:05,760 --> 00:10:08,600 Speaker 1: that matter. But they had something else. They had the 156 00:10:08,800 --> 00:10:12,560 Speaker 1: ingenuity of the fiscally challenged. They had the backing of 157 00:10:12,600 --> 00:10:17,240 Speaker 1: the criminal underworld. Specifically, they were bankrolled by the earnings 158 00:10:17,240 --> 00:10:19,400 Speaker 1: of a sex worker who turned her tricks with b 159 00:10:19,559 --> 00:10:23,000 Speaker 1: list actors at the Capitol for early Jean's Addiction shows, 160 00:10:23,640 --> 00:10:28,679 Speaker 1: and soon Perry, Dave Navarro, Eric Avery, and Stephen Perkins 161 00:10:28,880 --> 00:10:31,880 Speaker 1: were clawing their way out of the underground and knocking 162 00:10:31,920 --> 00:10:36,000 Speaker 1: on the mainstream's door. And the only problem they knock 163 00:10:36,080 --> 00:11:11,720 Speaker 1: loud enough, and sometimes the mainstream answers. Bianca sat on 164 00:11:11,760 --> 00:11:14,200 Speaker 1: a stool outside the banged up door of an abandoned 165 00:11:14,240 --> 00:11:18,400 Speaker 1: warehouse somewhere on the outskirts of LA's underground. She was 166 00:11:18,520 --> 00:11:21,679 Speaker 1: naked from the waist up, with small strips of black 167 00:11:21,720 --> 00:11:25,480 Speaker 1: electrical tape covering the nipples of her exposed breasts, a 168 00:11:25,520 --> 00:11:29,160 Speaker 1: site which attracted welcome attention from passers by, while also 169 00:11:29,360 --> 00:11:33,680 Speaker 1: ensuring that the entire operation which she was overseeing remained 170 00:11:33,679 --> 00:11:36,520 Speaker 1: on the right side of the law, not that she 171 00:11:36,600 --> 00:11:40,000 Speaker 1: wasn't familiar with the wrong side. Her primary source of 172 00:11:40,040 --> 00:11:43,560 Speaker 1: income came from the wrong side, from her regular gig 173 00:11:43,600 --> 00:11:47,000 Speaker 1: as a sex worker, but tonight she was turning that 174 00:11:47,080 --> 00:11:50,839 Speaker 1: hard earned money into a legitimate side hustle. She was 175 00:11:50,880 --> 00:11:53,480 Speaker 1: the one who'd rented out this stump and was now 176 00:11:53,520 --> 00:11:56,480 Speaker 1: collecting the five dollars cover from any and all manner 177 00:11:56,520 --> 00:11:59,720 Speaker 1: of Hollywood freaks looking to experience something they couldn't find 178 00:11:59,760 --> 00:12:06,920 Speaker 1: anywhere else. Bianca knew it was a losing proposition. It 179 00:12:07,040 --> 00:12:10,960 Speaker 1: was nineteen eighty six, and in Los Angeles, the cohort 180 00:12:11,000 --> 00:12:15,120 Speaker 1: of Freaks, which was strong but finite, had many options 181 00:12:15,160 --> 00:12:18,120 Speaker 1: for music venues in which they could hoist their flags. 182 00:12:19,040 --> 00:12:22,439 Speaker 1: There was Lingerie on Sunset, where you could catch Fishbone 183 00:12:22,520 --> 00:12:26,160 Speaker 1: Ska Metal Hybrid, and the Anti Club over on Melrose, 184 00:12:26,400 --> 00:12:28,720 Speaker 1: where the Circle Jerks and the tube sock wearing pre 185 00:12:28,880 --> 00:12:32,160 Speaker 1: John Fruchiante Red Hot Chili Peppers did their aptly named 186 00:12:32,200 --> 00:12:35,040 Speaker 1: Freaky stylely thing. And then there were the pop up 187 00:12:35,040 --> 00:12:39,280 Speaker 1: clubs like Scream and Power Tools, which operated in basements, 188 00:12:39,480 --> 00:12:43,760 Speaker 1: lobbies and rooms of local hotels, stomping grounds for only 189 00:12:43,800 --> 00:12:47,559 Speaker 1: the fringe of the fringe, and so to attract attention. 190 00:12:47,760 --> 00:12:50,920 Speaker 1: Here now for a little known art metal band called 191 00:12:51,000 --> 00:12:54,600 Speaker 1: Jane's Addiction, a band that was the perverse inversion of 192 00:12:54,720 --> 00:12:58,800 Speaker 1: more popular local groups like Guns n' Roses. Well that 193 00:12:58,880 --> 00:13:01,280 Speaker 1: was a tall order, but that's what the tape on 194 00:13:01,320 --> 00:13:05,400 Speaker 1: the nipples was for. Anything helped, and Bianca, for one, 195 00:13:05,880 --> 00:13:08,720 Speaker 1: wanted to help out her friends. So she posed, with 196 00:13:08,800 --> 00:13:13,719 Speaker 1: her very being an invitation to something illicit and darkly seductive, 197 00:13:14,080 --> 00:13:17,120 Speaker 1: a cigarette burning between her lips, cash money in her 198 00:13:17,120 --> 00:13:20,440 Speaker 1: hands now, all the while taking the financial hit so 199 00:13:20,520 --> 00:13:24,040 Speaker 1: that Perry Ferrell, Dave Navarro, Eric Avery, and Stephen Perkins 200 00:13:24,360 --> 00:13:28,800 Speaker 1: could make a name for themselves. Inside the room was 201 00:13:28,840 --> 00:13:33,520 Speaker 1: sparsely populated. Smoke machines and flashing lights provided a dramatic 202 00:13:33,559 --> 00:13:37,760 Speaker 1: backdrop for fire eaters, strippers, hot dog vendors, and of 203 00:13:37,800 --> 00:13:42,280 Speaker 1: course Perry Ferrell and nothing but pantyhose leading Jane's Addiction 204 00:13:42,440 --> 00:13:46,560 Speaker 1: through a deafening tribal groove. Since forming the year prior, 205 00:13:46,920 --> 00:13:49,240 Speaker 1: the group had quickly found a voice as unique as 206 00:13:49,320 --> 00:13:53,200 Speaker 1: any of their so called alternative peers, while also sounding 207 00:13:53,360 --> 00:13:55,680 Speaker 1: like none of them. And they walked the same wide 208 00:13:55,720 --> 00:13:58,920 Speaker 1: open spaces as latter day led Zeppelin, to whom they 209 00:13:58,920 --> 00:14:02,559 Speaker 1: were frequently compared. He and Perry's high pitched whale was 210 00:14:02,600 --> 00:14:06,920 Speaker 1: admittedly in conversation with Robert Plants. But if Zeppelin was 211 00:14:07,040 --> 00:14:12,079 Speaker 1: muscular and mountainous, Jane's addiction was wiry, scrappy and almost 212 00:14:12,200 --> 00:14:15,959 Speaker 1: maniacally horny. They sounded as if a post punk band 213 00:14:16,000 --> 00:14:18,480 Speaker 1: Wire or Magazine or Gang of Four take your pick, 214 00:14:18,760 --> 00:14:22,560 Speaker 1: had swallowed Zeppelin whole, and then the ensuing indigestion had 215 00:14:22,560 --> 00:14:27,920 Speaker 1: brought on some sweaty night terrors. And that was the music, or, 216 00:14:28,120 --> 00:14:32,160 Speaker 1: as the La Times put it, psycho metal. That psycho 217 00:14:32,200 --> 00:14:35,600 Speaker 1: medal was being made mostly by guys who were barely 218 00:14:35,640 --> 00:14:39,440 Speaker 1: out of high school. The rhythm section, Eric Avery and 219 00:14:39,480 --> 00:14:44,600 Speaker 1: Stephen Perkins laid down hypnotic foundations which Dave Navarro would 220 00:14:44,640 --> 00:14:48,160 Speaker 1: then smother and effects laden guitar shrapnel. And then there 221 00:14:48,200 --> 00:14:52,080 Speaker 1: was the odd guy out Perry Farrell on vocals. Odd 222 00:14:52,120 --> 00:14:54,600 Speaker 1: guy out in this case because he was the one 223 00:14:54,640 --> 00:14:58,920 Speaker 1: pushing thirty, and also because he was just odd period. 224 00:14:59,480 --> 00:15:02,080 Speaker 1: The way he saying what he's saying, the way he 225 00:15:02,200 --> 00:15:05,680 Speaker 1: dressed or didn't dress, the drugs he did. He was 226 00:15:05,720 --> 00:15:09,080 Speaker 1: provocation in Carnie, pushing right up against the line of 227 00:15:09,120 --> 00:15:12,880 Speaker 1: what was socially acceptable and frequently crossing that line too. 228 00:15:13,880 --> 00:15:15,960 Speaker 1: Not that some of the other guys like Dave weren't 229 00:15:15,960 --> 00:15:19,840 Speaker 1: doing hard drugs as well, because they were, But Perry 230 00:15:19,960 --> 00:15:22,520 Speaker 1: was the one introducing those drugs to a girl who 231 00:15:22,600 --> 00:15:25,800 Speaker 1: he allegedly began dating when he was an adult and 232 00:15:25,840 --> 00:15:29,440 Speaker 1: she was still in her early teens. And to be clear, 233 00:15:29,960 --> 00:15:33,040 Speaker 1: I'm not saying that's provocative, not just pointing it out 234 00:15:33,040 --> 00:15:37,160 Speaker 1: because it's gross, not to mention illegal. I'm also now 235 00:15:37,200 --> 00:15:39,360 Speaker 1: getting ahead of the story, so more on all of 236 00:15:39,360 --> 00:15:44,280 Speaker 1: that in a bit. But a funny thing happened in 237 00:15:44,320 --> 00:15:47,000 Speaker 1: the mid eighties when Jane's Addiction was working hard to 238 00:15:47,000 --> 00:15:49,880 Speaker 1: be the weirdest, most psycho metal band in Los Angeles. 239 00:15:50,400 --> 00:15:55,600 Speaker 1: They began to gain momentum. They graduated from Bianca's independently 240 00:15:55,640 --> 00:15:58,800 Speaker 1: funded warehouse one offs and got themselves a real reputation 241 00:15:58,960 --> 00:16:02,880 Speaker 1: in an otherwise crowded music scene. They found themselves at 242 00:16:02,880 --> 00:16:05,480 Speaker 1: the center of a record label bidding war, and it 243 00:16:05,520 --> 00:16:07,760 Speaker 1: was all because there were others out there who were 244 00:16:07,840 --> 00:16:11,000 Speaker 1: just like them, and maybe these others, maybe they were 245 00:16:11,120 --> 00:16:13,600 Speaker 1: hiding behind a start shirt or inside a three piece 246 00:16:13,680 --> 00:16:17,040 Speaker 1: suit that maybe they were having a three martini corporate launcher, 247 00:16:17,320 --> 00:16:19,680 Speaker 1: smoking a pipe while wrapped in the warm embrace of 248 00:16:19,760 --> 00:16:25,080 Speaker 1: tenure at UCLA. But deep down they were all freaks too, 249 00:16:25,200 --> 00:16:28,720 Speaker 1: and they, just like Jane's Addiction, were tired of the 250 00:16:28,760 --> 00:16:31,920 Speaker 1: same old things that the mainstream kept force feeding them 251 00:16:32,040 --> 00:16:34,840 Speaker 1: as if there were some chirping little pet They were 252 00:16:34,960 --> 00:16:38,480 Speaker 1: bored with that shit. They were bored with Madonna and 253 00:16:38,520 --> 00:16:42,280 Speaker 1: Cindi Lauper and Prince and Tom Petty, and Prince was 254 00:16:42,320 --> 00:16:44,560 Speaker 1: just a horn dog and Cindy Lauper was nothing but 255 00:16:44,640 --> 00:16:48,880 Speaker 1: an older, punky brewster. These were safe, monoculture approved versions 256 00:16:48,920 --> 00:16:52,680 Speaker 1: of the rebel. Jane's Addiction, on the other hand, were not. 257 00:16:53,280 --> 00:16:58,440 Speaker 1: They were actually dangerous. They were actually rebellious. They were 258 00:16:58,640 --> 00:17:01,960 Speaker 1: actually transgressive, and they were on their way out of 259 00:17:01,960 --> 00:17:05,919 Speaker 1: the Hollywood underground and into the storefront windows on America's 260 00:17:05,920 --> 00:17:15,440 Speaker 1: busy main street, or so they thought. January nineteen eighty seven, late, 261 00:17:16,320 --> 00:17:19,280 Speaker 1: a long black limousine pulled up along the Sunset Strip, 262 00:17:19,760 --> 00:17:23,440 Speaker 1: just outside the legendary Rainbow Bar and grow the Limos 263 00:17:23,520 --> 00:17:26,440 Speaker 1: back door opened in forty nine year old Jack Nicholson 264 00:17:26,520 --> 00:17:30,600 Speaker 1: and all his raised eyebrowed cheshire cat grinning glory stepped out. 265 00:17:31,640 --> 00:17:34,920 Speaker 1: He straightened out a suit jacket, adjusted the black sunglasses 266 00:17:34,920 --> 00:17:37,600 Speaker 1: that he wore even at nighttime, and wondered if he'd 267 00:17:37,600 --> 00:17:41,200 Speaker 1: find that giant mutton shop having let me Killmeister of Motorhead, 268 00:17:41,240 --> 00:17:43,000 Speaker 1: nursing a jack and coke at the end of the 269 00:17:43,000 --> 00:17:49,520 Speaker 1: bar inside. The year prior, Jack Nicholson had been nominated 270 00:17:49,520 --> 00:17:52,119 Speaker 1: for his eighth Academy Award for his role as a 271 00:17:52,119 --> 00:17:55,320 Speaker 1: love struck hit man in Prizzi's Honor, which took place 272 00:17:55,480 --> 00:17:57,960 Speaker 1: just two years after he'd won Best Supporting Actor for 273 00:17:58,080 --> 00:18:01,960 Speaker 1: Terms of Endearment. How executives from Warner Brothers were pressing 274 00:18:02,040 --> 00:18:04,720 Speaker 1: him to play the Joker in Tim Burton's radical new 275 00:18:04,800 --> 00:18:09,560 Speaker 1: vision for Batman. Suffice to say, at this moment, Jack 276 00:18:09,640 --> 00:18:12,720 Speaker 1: Nicholson was at the top of his game, not to 277 00:18:12,800 --> 00:18:17,680 Speaker 1: mention the consummate embodiment of a Hollywood icon, and Jack 278 00:18:17,760 --> 00:18:20,440 Speaker 1: was only a few feet from the Rainbow's door when 279 00:18:20,440 --> 00:18:22,760 Speaker 1: a scrawny figure came running down the block from the 280 00:18:22,800 --> 00:18:27,920 Speaker 1: nearby Roxy Theater. Yo. The scrawny guy was yelling now, 281 00:18:28,160 --> 00:18:30,199 Speaker 1: and as he got closer, Jack saw the clash of 282 00:18:30,240 --> 00:18:34,600 Speaker 1: clothing styles. The silver jacket, the white boy dreadlocks, and 283 00:18:34,680 --> 00:18:37,560 Speaker 1: this was a familiar scene. Some homeless dude looking for 284 00:18:37,600 --> 00:18:39,760 Speaker 1: a fistful of dollars from the a lister who just 285 00:18:39,800 --> 00:18:43,080 Speaker 1: stepped out of the shiny black car. Some stray dog 286 00:18:43,240 --> 00:18:49,280 Speaker 1: chasing after a rolls Royce Yo yo, Jack shit, scrowny, 287 00:18:49,359 --> 00:18:53,040 Speaker 1: dreadlocked homeless guy knew his name, Jack panicked looking for 288 00:18:53,080 --> 00:18:56,480 Speaker 1: his bodyguard, while simultaneous engaging how fast he'd have to 289 00:18:56,520 --> 00:18:59,760 Speaker 1: move to make it to the Rainbow's front door unscathed. Jack. 290 00:19:00,040 --> 00:19:02,880 Speaker 1: I'm man, The guy was now mere feet away from 291 00:19:02,880 --> 00:19:06,120 Speaker 1: the movie star. Jack. My band, we're playing over there tonight. 292 00:19:06,840 --> 00:19:10,000 Speaker 1: With this, the guy motioned back to the roxy next door. 293 00:19:10,280 --> 00:19:13,600 Speaker 1: We're actually making a record there tonight. It's our first album, 294 00:19:13,800 --> 00:19:16,440 Speaker 1: a live album. Jack. Would you come over and introduce 295 00:19:16,520 --> 00:19:19,040 Speaker 1: us to the crowd. It would be so good, Jack. 296 00:19:19,880 --> 00:19:22,840 Speaker 1: By this point, Jack's bodyguard had stepped in between his 297 00:19:22,880 --> 00:19:25,480 Speaker 1: boss and the scrawny, silver jacketed dreadlock guy, who just 298 00:19:25,520 --> 00:19:28,760 Speaker 1: stood there vibrating, looking equal parts strung out and anxious 299 00:19:28,800 --> 00:19:32,160 Speaker 1: and waiting for an answer. I'm sorry, the bodyguard said, 300 00:19:32,560 --> 00:19:35,040 Speaker 1: putting a hand out to keep What jackiet clearly clocked 301 00:19:35,080 --> 00:19:38,680 Speaker 1: is some completely delusional crack pod at a safe distance. 302 00:19:39,800 --> 00:19:46,159 Speaker 1: Mister Nicholson doesn't do requests. Then Jack Nicholson was whisked 303 00:19:46,200 --> 00:19:49,399 Speaker 1: to safety inside the Rainbow Bar and Grill, while Perry 304 00:19:49,400 --> 00:19:52,679 Speaker 1: Farrell walked himself back to the Roxy, where Jane's Addiction 305 00:19:52,840 --> 00:19:55,840 Speaker 1: recorded their debut live album in front of a packed 306 00:19:55,840 --> 00:19:58,320 Speaker 1: house that included members of Fishbone and the Red Hot 307 00:19:58,400 --> 00:20:01,400 Speaker 1: Chili Peppers and Thelonious mon They're watching from the audience, 308 00:20:01,480 --> 00:20:06,440 Speaker 1: But no, Jack Nicholson didn't matter. The little freak show 309 00:20:06,440 --> 00:20:10,000 Speaker 1: that Bianca had once financed, and that Perry conducted, the 310 00:20:10,080 --> 00:20:13,640 Speaker 1: nipple tape, the pantyhose, the psycho metal that was all kindling, 311 00:20:14,080 --> 00:20:16,960 Speaker 1: and now a fire was starting to catch somewhere far 312 00:20:17,040 --> 00:20:22,679 Speaker 1: beyond the Strip. And something else followed, something darker, something 313 00:20:22,720 --> 00:20:26,000 Speaker 1: the band carried with them, something that would take center 314 00:20:26,040 --> 00:20:35,600 Speaker 1: stage right along with the music. We'll be right back 315 00:20:35,840 --> 00:20:45,320 Speaker 1: after this. We're We're, We're after, sending Jack Nicholson, reeling 316 00:20:45,400 --> 00:20:48,680 Speaker 1: with terror and confusion, straight into the safe and capable 317 00:20:48,840 --> 00:20:52,520 Speaker 1: arms of his bodyguard. Perry Farrell and his Freaks came 318 00:20:52,560 --> 00:20:57,880 Speaker 1: from mainstream America next. But why did they succeed? Why 319 00:20:57,920 --> 00:21:01,960 Speaker 1: were weirdos like Jane's Addictions being wilfully injected into the 320 00:21:02,000 --> 00:21:07,320 Speaker 1: bloodstream of Western popular culture. The answer was actually quite simple. 321 00:21:07,880 --> 00:21:12,960 Speaker 1: It wasn't personal, It was business. To paraphrase Michael Azibrad, 322 00:21:13,000 --> 00:21:15,879 Speaker 1: who has written extensively about the indie rock that defined 323 00:21:15,920 --> 00:21:19,320 Speaker 1: this moment in history. When Jane's Addiction signed to Warner 324 00:21:19,320 --> 00:21:22,360 Speaker 1: Brothers in nineteen eighty seven, all the other major labels 325 00:21:22,359 --> 00:21:24,719 Speaker 1: opened their eyes to this organic movement that had been 326 00:21:24,760 --> 00:21:29,000 Speaker 1: steadily growing beneath the surface. And in that organic movement, 327 00:21:29,440 --> 00:21:33,119 Speaker 1: the major labels saw dollar signs. But even as it 328 00:21:33,240 --> 00:21:38,200 Speaker 1: was quickly becoming corporatized, so called alternative rock proudly saw 329 00:21:38,200 --> 00:21:41,840 Speaker 1: itself as the antithesis to the corporatization of music and art. 330 00:21:42,920 --> 00:21:46,240 Speaker 1: One of the alternative nation's selling points was its sense 331 00:21:46,440 --> 00:21:49,760 Speaker 1: of freedom. There was the freedom to express oneself with 332 00:21:49,880 --> 00:21:53,560 Speaker 1: sounds that were distorted and dissonant, freedom to ignore along 333 00:21:53,640 --> 00:21:58,160 Speaker 1: held and well established conventions or expectations. And those freedoms 334 00:21:58,160 --> 00:22:00,600 Speaker 1: could be heard on Jane's Addiction self time titled debut 335 00:22:00,680 --> 00:22:04,159 Speaker 1: live album, and then again on Nothing Shocking, their second album, 336 00:22:04,320 --> 00:22:07,280 Speaker 1: a studio effort, this time which came out in the 337 00:22:07,320 --> 00:22:10,080 Speaker 1: summer of nineteen eighty eight, in which features one of 338 00:22:10,160 --> 00:22:13,680 Speaker 1: the only songs I know about Ted Bundy, but I digress. 339 00:22:14,280 --> 00:22:17,240 Speaker 1: Perry Farrell flaunted his own freedom every time he got 340 00:22:17,280 --> 00:22:20,399 Speaker 1: on stage and went full Jim Morrison, tossing aside the 341 00:22:20,440 --> 00:22:24,480 Speaker 1: shackles that evening scantily clad outfit, a corset perhaps, or 342 00:22:24,520 --> 00:22:27,560 Speaker 1: a pair of rubber pants, to let both his inhibitions 343 00:22:27,600 --> 00:22:31,199 Speaker 1: and his penis run wild. But there was a price 344 00:22:31,320 --> 00:22:35,000 Speaker 1: for all that freedom. Many record stores refused to carry 345 00:22:35,000 --> 00:22:38,280 Speaker 1: Nothing Shocking because they took offence to the cover art, 346 00:22:38,880 --> 00:22:42,040 Speaker 1: a sculpture created by Perry and his girlfriend Casey Nikolai, 347 00:22:42,280 --> 00:22:45,760 Speaker 1: which depicted a pair of naked, conjoined female twins with 348 00:22:45,840 --> 00:22:49,440 Speaker 1: their hair on fire. And MTV refused to air the 349 00:22:49,520 --> 00:22:52,880 Speaker 1: music video for their single Mountain Song because it contained 350 00:22:52,920 --> 00:22:57,280 Speaker 1: graphic nudity and that was just the commercial cost of things. 351 00:22:58,080 --> 00:23:01,840 Speaker 1: A few disgusted retailers, some pearl clutchers at cable TV 352 00:23:02,000 --> 00:23:05,959 Speaker 1: in the age of the PMRC, the real price was 353 00:23:06,000 --> 00:23:09,720 Speaker 1: paid elsewhere, because when you live with that much freedom, 354 00:23:10,160 --> 00:23:13,640 Speaker 1: without rules, without limits, and a world of your own 355 00:23:13,720 --> 00:23:17,639 Speaker 1: making where anything goes and everything is fuel for your music, 356 00:23:17,720 --> 00:23:26,720 Speaker 1: your art, eventually someone gets burned. Eighteen year old Lisa 357 00:23:26,840 --> 00:23:31,200 Speaker 1: Chester aka's Iola Blue walked inside her New York City 358 00:23:31,240 --> 00:23:34,760 Speaker 1: apartment and dropped her keys on the counter. The place 359 00:23:34,840 --> 00:23:37,320 Speaker 1: was a mess, but she told herself she'd pick it 360 00:23:37,400 --> 00:23:40,159 Speaker 1: up later. She had so much on her mind her 361 00:23:40,200 --> 00:23:42,800 Speaker 1: head was spinning. The last few weeks have been a blur, 362 00:23:43,560 --> 00:23:45,920 Speaker 1: especially those three days she spent out in la with 363 00:23:46,000 --> 00:23:49,560 Speaker 1: her ex boyfriend Perry Farrow and his current girlfriend Casey. 364 00:23:50,640 --> 00:23:53,960 Speaker 1: Three days of sex and dope, three days of getting high, 365 00:23:54,080 --> 00:23:56,720 Speaker 1: shooting up and listening to the flicker of candle flames 366 00:23:56,840 --> 00:23:59,920 Speaker 1: lapped the sticky air while two pairs of naked arm 367 00:24:00,119 --> 00:24:03,840 Speaker 1: and legs wrapped around her body. But had she really 368 00:24:03,920 --> 00:24:08,040 Speaker 1: heard that the candle flame or was it something else? 369 00:24:09,160 --> 00:24:12,919 Speaker 1: She heard it again, now, almost like an echo. It 370 00:24:13,000 --> 00:24:17,280 Speaker 1: followed her around like Perry, and even though Iola was 371 00:24:17,320 --> 00:24:19,679 Speaker 1: no longer in a relationship with him, it was like 372 00:24:19,720 --> 00:24:22,959 Speaker 1: some kind of spell he cast. She was young and 373 00:24:23,000 --> 00:24:26,880 Speaker 1: impressionable when they first met, Ziola in her mid teens 374 00:24:27,400 --> 00:24:31,040 Speaker 1: and Perry ten years older. Perry gave her heroin for 375 00:24:31,080 --> 00:24:34,560 Speaker 1: the first time, and from then on she was hooked. 376 00:24:35,640 --> 00:24:38,600 Speaker 1: She was still hooked, and maybe that's what was calling 377 00:24:38,640 --> 00:24:42,600 Speaker 1: out to her. She realized she was sweating, She got 378 00:24:42,600 --> 00:24:45,720 Speaker 1: out her gears so she could fix and a few 379 00:24:45,760 --> 00:24:52,680 Speaker 1: hours later she was dead. The freak scene had devoured 380 00:24:52,760 --> 00:24:56,840 Speaker 1: z Iola Blue, and while she was being mourned, Perry Farrell 381 00:24:56,920 --> 00:25:00,520 Speaker 1: turned his grief into something he could memorialize, something that 382 00:25:00,560 --> 00:25:03,600 Speaker 1: he thought would hold meaning, and the place he chose 383 00:25:03,640 --> 00:25:06,960 Speaker 1: to do that was Jane's Addiction's next album, Ritual De 384 00:25:07,040 --> 00:25:11,439 Speaker 1: Loo Habitual. He put the pain and loss on tape, 385 00:25:11,880 --> 00:25:16,800 Speaker 1: specifically on the record's centerpiece, Three Days, a nearly eleven 386 00:25:16,880 --> 00:25:20,320 Speaker 1: minute epic inspired by his three day trysts with Ziola 387 00:25:20,400 --> 00:25:23,760 Speaker 1: and Casey, and for the album's cover art, Key and 388 00:25:23,840 --> 00:25:28,320 Speaker 1: Casey created a mixed media sculpture out of chicken wire, newspaper, 389 00:25:28,640 --> 00:25:31,360 Speaker 1: flower paste, and twine that depicted the two of them, 390 00:25:31,640 --> 00:25:34,840 Speaker 1: along with Ziola during their three day tryst, and the 391 00:25:34,880 --> 00:25:38,439 Speaker 1: graphic image got Jane's Addiction in hot water again, and 392 00:25:38,560 --> 00:25:42,359 Speaker 1: this time the record company created a sanitized, text only 393 00:25:42,480 --> 00:25:45,879 Speaker 1: alternate cover to appease the stories that were refusing to 394 00:25:45,920 --> 00:25:48,280 Speaker 1: stalk a record with three naked people on the front. 395 00:25:48,960 --> 00:25:51,920 Speaker 1: But regardless of which version was on sale at Tower 396 00:25:51,960 --> 00:25:54,800 Speaker 1: Records down the street, Perry Farrell had done what he 397 00:25:54,800 --> 00:25:57,600 Speaker 1: had set out to do. He turned a dead teenage 398 00:25:57,640 --> 00:26:02,679 Speaker 1: girl into a saint for the alternate Nation. Ziola's family 399 00:26:02,720 --> 00:26:07,399 Speaker 1: did not approve. They blamed Perry for glamorizing Ziola's junkie life. 400 00:26:08,119 --> 00:26:10,359 Speaker 1: They said he was cashing in on a tragedy in 401 00:26:10,440 --> 00:26:13,480 Speaker 1: order to line his pockets, just like all those major 402 00:26:13,560 --> 00:26:18,040 Speaker 1: labels that cashed in on LA's music Underground. Ziola was gone, 403 00:26:18,080 --> 00:26:22,240 Speaker 1: and now she was nothing but raw material, the emotional 404 00:26:22,320 --> 00:26:26,600 Speaker 1: clay that Perry was molding in his exploitative hands. Similar 405 00:26:26,640 --> 00:26:30,359 Speaker 1: claims emerged later when Casey Nikolai accused Perry is stealing 406 00:26:30,440 --> 00:26:35,560 Speaker 1: her ideas, her input, and her influence. Casey made music 407 00:26:35,680 --> 00:26:38,639 Speaker 1: videos for the band. She made a bizarre docudrama for 408 00:26:38,720 --> 00:26:42,480 Speaker 1: them called Gift. She was the muse and those were 409 00:26:42,520 --> 00:26:46,399 Speaker 1: her clothes and her style that Perry appropriated. But in 410 00:26:46,440 --> 00:26:50,720 Speaker 1: the end, again according to Casey, she was essentially erased 411 00:26:50,920 --> 00:26:55,040 Speaker 1: from the Jane's Addiction low. By the time Ritual de 412 00:26:55,160 --> 00:26:58,399 Speaker 1: Loo Habitual was released on August twenty first, nineteen ninety, 413 00:26:58,960 --> 00:27:04,800 Speaker 1: Jane's Addiction had nearly erased themselves. Eric Avery, newly clean 414 00:27:04,880 --> 00:27:09,040 Speaker 1: and sober, and suddenly acutely perceptive to the exhausting bullshit 415 00:27:09,119 --> 00:27:11,359 Speaker 1: of artzy FARTSI freaki diki, dudes on a lot of 416 00:27:11,400 --> 00:27:13,959 Speaker 1: drugs could hardly be in Perry's presence for more than 417 00:27:14,000 --> 00:27:16,840 Speaker 1: a few minutes at a time. And Eric's old buddy 418 00:27:16,880 --> 00:27:19,320 Speaker 1: Dave Navarro, who used to split a joint, a line 419 00:27:19,359 --> 00:27:21,120 Speaker 1: of blow and a six pack of beer before high 420 00:27:21,119 --> 00:27:24,760 Speaker 1: school every day with him, was now a full blown junkie. 421 00:27:25,400 --> 00:27:28,840 Speaker 1: And Jane's Addiction wasn't really a band anymore, not in 422 00:27:28,840 --> 00:27:32,560 Speaker 1: any traditional sense. They have built altars to sex and 423 00:27:32,600 --> 00:27:36,680 Speaker 1: transgressive self destruction into the promises of freak centric freedom, 424 00:27:36,680 --> 00:27:40,320 Speaker 1: no matter the cost. They were in their own way, 425 00:27:40,400 --> 00:27:43,000 Speaker 1: and also in the same way that many bands are 426 00:27:43,040 --> 00:27:48,440 Speaker 1: worshiped a religion, and Perry Ferrell had become their self 427 00:27:48,480 --> 00:28:04,240 Speaker 1: appointed high priest. All right, guys. Earlier in this episode 428 00:28:04,280 --> 00:28:07,240 Speaker 1: I mentioned the band Psycom, which was Perry Faroll's first 429 00:28:07,280 --> 00:28:09,560 Speaker 1: band before Jane's Addiction, that he had formed in the 430 00:28:09,600 --> 00:28:11,840 Speaker 1: early eighties. Now, what I didn't have time to get 431 00:28:11,840 --> 00:28:14,080 Speaker 1: into here in this episode was this crazy incident in 432 00:28:14,160 --> 00:28:16,840 Speaker 1: nineteen eighty five when Perry was attending this huge free 433 00:28:16,960 --> 00:28:19,920 Speaker 1: music festival in Los Angeles, part of which was shut 434 00:28:19,960 --> 00:28:22,600 Speaker 1: down by well over one hundred cops, many of them 435 00:28:22,680 --> 00:28:26,000 Speaker 1: on horseback, and more specifically, I didn't get into how 436 00:28:26,000 --> 00:28:28,960 Speaker 1: the ensuing riot actually wound up playing an important part 437 00:28:28,960 --> 00:28:32,280 Speaker 1: in the origins of Jane's addiction. But if you want 438 00:28:32,280 --> 00:28:35,520 Speaker 1: to hear that wild story, we've got you covered. As always, 439 00:28:35,520 --> 00:28:37,520 Speaker 1: you can hear it as part of this week's mini 440 00:28:37,560 --> 00:28:41,680 Speaker 1: episode of Disgraceland, which is available exclusively for All Access members. 441 00:28:41,920 --> 00:28:43,800 Speaker 1: To become a member and get more content like we 442 00:28:43,880 --> 00:28:46,720 Speaker 1: leave bonus mini episodes, add free listening, and more, just 443 00:28:46,760 --> 00:28:49,600 Speaker 1: go to disgraylandpod dot com for more info and to 444 00:28:49,640 --> 00:28:52,719 Speaker 1: sign up. All right now for the conclusion to our 445 00:28:52,720 --> 00:28:58,600 Speaker 1: Part two episode on Jane's Addiction. When Jane's addiction came 446 00:28:58,640 --> 00:29:01,520 Speaker 1: to their inevitable end the first time around in nineteen 447 00:29:01,600 --> 00:29:06,000 Speaker 1: ninety one, they went out with a bang. I briefly 448 00:29:06,000 --> 00:29:08,760 Speaker 1: covered the inaugural Lollapalooza festival tour in our Part one 449 00:29:08,760 --> 00:29:12,200 Speaker 1: episode on Jaine's Addiction, mostly about how the festival doubled 450 00:29:12,200 --> 00:29:15,280 Speaker 1: as a traveling farewell for Perry, Dave, Eric and Stephen. 451 00:29:16,080 --> 00:29:19,400 Speaker 1: But what made Lallapalooza so impactful and so cutting edge 452 00:29:19,800 --> 00:29:22,600 Speaker 1: was that it embraced a sense of freedom. In its curation, 453 00:29:23,440 --> 00:29:25,880 Speaker 1: it brought together bands that you normally would never have 454 00:29:25,960 --> 00:29:28,320 Speaker 1: seen in the same bill. For example, here's who took 455 00:29:28,360 --> 00:29:32,760 Speaker 1: part that first year, Jane's Addiction, Iced Tea, Nine Inch Nails, 456 00:29:32,800 --> 00:29:35,800 Speaker 1: the Rawlins Band, the Butthole Surfers, and the Living Color. 457 00:29:36,440 --> 00:29:39,640 Speaker 1: In effect, the programming of Lollapalooza was an attempt to 458 00:29:39,680 --> 00:29:41,680 Speaker 1: tear down some of the walls that have been put 459 00:29:41,760 --> 00:29:47,440 Speaker 1: up for decades by music obsessives. Music was identity. It 460 00:29:47,560 --> 00:29:50,720 Speaker 1: defined the social or ideological group in which you fit. 461 00:29:51,240 --> 00:29:54,400 Speaker 1: It was shorthand for who you were, what you believed in, 462 00:29:54,480 --> 00:29:57,560 Speaker 1: and what you hated. Therefore, if you rolled with Iced Tea, 463 00:29:57,760 --> 00:29:59,960 Speaker 1: chances are you didn't also roll with Nine Inch No. 464 00:30:00,800 --> 00:30:03,360 Speaker 1: And honestly, it sounds a little nuts now, but back then, 465 00:30:03,640 --> 00:30:05,560 Speaker 1: if you were into Living Color, you probably didn't give 466 00:30:05,600 --> 00:30:09,120 Speaker 1: a fuck about Jane' Addiction. Those two bands represented very 467 00:30:09,120 --> 00:30:12,320 Speaker 1: different ideas, different cultures, different styles of thinking and playing 468 00:30:12,360 --> 00:30:14,920 Speaker 1: and dressing. I mean, Living Color had a bona fide 469 00:30:14,920 --> 00:30:17,560 Speaker 1: top ten hit album, which is something that Jan's Addiction 470 00:30:17,680 --> 00:30:22,760 Speaker 1: was never able to accomplish. That divide between mainstream and alternative. 471 00:30:23,160 --> 00:30:25,520 Speaker 1: It's a big part of what I'm talking about, and 472 00:30:25,600 --> 00:30:28,760 Speaker 1: at the time, Jane's Addiction was often pointed to as 473 00:30:28,800 --> 00:30:33,080 Speaker 1: the anti Sunset strip band. They weren't slick and radio friendly, 474 00:30:33,240 --> 00:30:35,840 Speaker 1: and they didn't attract jocks and meatheads like their La 475 00:30:35,920 --> 00:30:39,040 Speaker 1: neighbors Guns n' Roses and so. In that same year, 476 00:30:39,320 --> 00:30:42,840 Speaker 1: nineteen ninety one before Jane's Addiction called it quits, when 477 00:30:42,920 --> 00:30:46,280 Speaker 1: Dave Navarro got a phone call from Axel Rose. Dave 478 00:30:46,440 --> 00:30:51,280 Speaker 1: was torn. Axel was obsessed with Jane's Addiction. He loved 479 00:30:51,400 --> 00:30:54,480 Speaker 1: everything about the band, but most of all, he loved 480 00:30:54,520 --> 00:30:59,480 Speaker 1: Dave's playing, and Axel had news busy Stradlin Guns n' 481 00:30:59,560 --> 00:31:03,280 Speaker 1: Roses rhythm guitarist the Johnny thunders Foil to slash his 482 00:31:03,360 --> 00:31:07,480 Speaker 1: meat and potatoes pentatonic scale shredding was on his way out. 483 00:31:07,920 --> 00:31:11,000 Speaker 1: G and R needed someone to replace him, and Axel 484 00:31:11,080 --> 00:31:14,320 Speaker 1: wanted it to be Dave. Okay, So again, at the time, 485 00:31:14,920 --> 00:31:18,600 Speaker 1: this was practically heresy. This is like Robert Evans calling 486 00:31:18,720 --> 00:31:22,400 Speaker 1: up John Cassavettis and asking the alternative indie director to 487 00:31:22,600 --> 00:31:26,960 Speaker 1: direct the mainstream studio film Love Story. Dave Vivarro didn't 488 00:31:26,960 --> 00:31:29,280 Speaker 1: know what to do. Here was the opportunity of a 489 00:31:29,320 --> 00:31:31,960 Speaker 1: lifetime for any guitarist to join the biggest rock and 490 00:31:32,000 --> 00:31:34,160 Speaker 1: roll band on the planet and to make all the 491 00:31:34,200 --> 00:31:36,320 Speaker 1: money for christ sakes, and to get all the chicks too, 492 00:31:36,320 --> 00:31:38,800 Speaker 1: by the way, But Dave knew what would happen if 493 00:31:38,840 --> 00:31:42,600 Speaker 1: he said yes. He'd be called a sellout, a turn code. 494 00:31:43,040 --> 00:31:46,280 Speaker 1: He would expose himself as a phony, no longer a 495 00:31:46,280 --> 00:31:49,000 Speaker 1: card carrying member of the freak scene. He'd aligned himself with. 496 00:31:49,840 --> 00:31:51,960 Speaker 1: Sure he'd get the paycheck, but he'd also lose the 497 00:31:52,000 --> 00:31:56,760 Speaker 1: street credit. So Dave Navarro said no. Dave remained with 498 00:31:56,800 --> 00:31:59,440 Speaker 1: Perry and the others because the stigma of crossing over 499 00:31:59,480 --> 00:32:03,440 Speaker 1: that invisible divide between the alternative and the mainstream was 500 00:32:03,520 --> 00:32:09,520 Speaker 1: that intense over the years after Lallapalooza, that invisible divide 501 00:32:09,600 --> 00:32:13,000 Speaker 1: those walls. They went away, and Dave joined the Red 502 00:32:13,040 --> 00:32:15,840 Speaker 1: Hot Chili Peppers for one album in nineteen ninety five, 503 00:32:16,440 --> 00:32:19,280 Speaker 1: and the Chili Peppers bass player Flee joined Jane's Addiction 504 00:32:19,480 --> 00:32:22,440 Speaker 1: for their reunion tour in nineteen ninety seven, and Dave 505 00:32:22,480 --> 00:32:24,480 Speaker 1: even wound up playing on a Guns and Roses song 506 00:32:24,520 --> 00:32:27,600 Speaker 1: called oh My God in ninety nine, and in twenty 507 00:32:27,680 --> 00:32:30,840 Speaker 1: twenty four, Dave reunited once again with the band he 508 00:32:30,880 --> 00:32:34,320 Speaker 1: had chosen to be faithful to decades prior. But just 509 00:32:34,320 --> 00:32:36,719 Speaker 1: as things had changed when it came to the musical 510 00:32:36,720 --> 00:32:41,160 Speaker 1: divide over genre and popularity, things had changed within Jane's Addiction. 511 00:32:41,840 --> 00:32:44,280 Speaker 1: All that freedom at the core of the band's genesis, 512 00:32:44,440 --> 00:32:47,240 Speaker 1: the freedom of expression to be whoever you want it 513 00:32:47,240 --> 00:32:49,360 Speaker 1: to be, no matter what it looked or sounded like, 514 00:32:50,120 --> 00:32:54,000 Speaker 1: that was gone, almost like it had never existed. Now 515 00:32:54,240 --> 00:32:58,800 Speaker 1: was replaced by control. Perry wanted to assert control. According 516 00:32:58,800 --> 00:33:01,840 Speaker 1: to people in the Jains Addiction camp, Perry attempted to 517 00:33:01,840 --> 00:33:04,840 Speaker 1: control what the show's looked like, involving other people on 518 00:33:04,920 --> 00:33:06,920 Speaker 1: stage when the rest of the guys just wanted to 519 00:33:06,960 --> 00:33:09,880 Speaker 1: play just the four of them, and when Perry didn't 520 00:33:09,880 --> 00:33:13,160 Speaker 1: get what he wanted, he lost control. We all saw 521 00:33:13,200 --> 00:33:16,320 Speaker 1: that the meltdown on stage in Boston, the shove and 522 00:33:16,360 --> 00:33:19,640 Speaker 1: the punch, but what we didn't see was that it 523 00:33:19,720 --> 00:33:24,760 Speaker 1: continued backstage. And backstage, Dave confronted Perry. He wanted to 524 00:33:24,800 --> 00:33:27,840 Speaker 1: know what the fuck was going on, and Perry responded 525 00:33:27,840 --> 00:33:30,360 Speaker 1: by throwing another punch and hitting Dave in his face, 526 00:33:30,680 --> 00:33:33,040 Speaker 1: and Dave vowed to never play with Perry again, and 527 00:33:33,120 --> 00:33:35,840 Speaker 1: the remaining fifteen dates of the twenty twenty four Jane's 528 00:33:35,840 --> 00:33:40,560 Speaker 1: Addiction tour were immediately canceled. Just recently, more than a 529 00:33:40,640 --> 00:33:43,600 Speaker 1: year after the violent incident, a year in which Perry 530 00:33:43,680 --> 00:33:46,240 Speaker 1: and the other members of Jane's Addition spent suing each other, 531 00:33:46,760 --> 00:33:50,320 Speaker 1: the band released a statement on their Instagram account. It read, 532 00:33:50,440 --> 00:33:54,360 Speaker 1: in part, after that show, without notice to Perry, we 533 00:33:54,520 --> 00:33:57,640 Speaker 1: unilaterally determined it would be best not to continue the tour. 534 00:33:57,920 --> 00:34:02,680 Speaker 1: It made inaccurate statements about perry mental health, which we regret. Today, 535 00:34:02,760 --> 00:34:04,720 Speaker 1: we are here to announce that we have come together 536 00:34:04,800 --> 00:34:07,880 Speaker 1: one last time to resolve our differences so that the 537 00:34:07,960 --> 00:34:11,120 Speaker 1: legacy of Jane's Addiction will remain the work the four 538 00:34:11,160 --> 00:34:14,360 Speaker 1: of us created together. We now look forward to the 539 00:34:14,400 --> 00:34:17,960 Speaker 1: future as we embark on our separate musical and creative endeavors. 540 00:34:18,760 --> 00:34:21,839 Speaker 1: Jane's Addiction will forever live in our hearts. We are 541 00:34:22,000 --> 00:34:26,160 Speaker 1: proud of the music we created together, and with that 542 00:34:26,640 --> 00:34:28,560 Speaker 1: they can only hope that the legacy of one of 543 00:34:28,560 --> 00:34:32,640 Speaker 1: the defining bands of the alternative nation wasn't left in 544 00:34:32,840 --> 00:34:51,439 Speaker 1: utter disgrace. I'm Jake Brennan, and this is Disgraceland, all right, guys, 545 00:34:51,440 --> 00:34:54,239 Speaker 1: Thanks for rolling with me through this Jane's Addiction episode 546 00:34:54,280 --> 00:34:56,520 Speaker 1: Part two. If you haven't heard part one, yikes, get 547 00:34:56,520 --> 00:34:58,520 Speaker 1: back there and listen to that one. Yeesh. Get a 548 00:34:58,560 --> 00:35:00,279 Speaker 1: listened to part one before the part two. Listen to 549 00:35:00,320 --> 00:35:03,040 Speaker 1: Apple podcasts listeners. Get auto downloads turned on, so you 550 00:35:03,080 --> 00:35:05,719 Speaker 1: never missed an episode of disgrace Slam. Give Disgraceland a 551 00:35:05,760 --> 00:35:08,640 Speaker 1: review on Apple Podcasts or Spotify and win some free merch. 552 00:35:08,719 --> 00:35:10,920 Speaker 1: The question of the week this week is is Jane's 553 00:35:10,920 --> 00:35:13,319 Speaker 1: Addiction the band that best embodies the nineties? For you? 554 00:35:13,360 --> 00:35:16,200 Speaker 1: All right? Who is the most emblematic band of the 555 00:35:16,320 --> 00:35:20,000 Speaker 1: nineteen nineties in your opinion? That is a tough question 556 00:35:20,040 --> 00:35:22,759 Speaker 1: to answer, so many great bands that define that era. 557 00:35:23,160 --> 00:35:25,239 Speaker 1: Hit me up sixty one seven, nine oh six sixty 558 00:35:25,280 --> 00:35:28,239 Speaker 1: sixty three eight, voicemail and text to let me know 559 00:35:28,360 --> 00:35:30,840 Speaker 1: your answer to the question of the week. I'm available 560 00:35:30,840 --> 00:35:34,399 Speaker 1: on Instagram and everywhere else at disgracelampod and here comes 561 00:35:34,440 --> 00:35:38,320 Speaker 1: from Credits. Disgraceland was created by Yours Truly and is 562 00:35:38,360 --> 00:35:41,960 Speaker 1: produced in partnership with Double Elvis. Credits for this episode 563 00:35:42,040 --> 00:35:44,840 Speaker 1: can be found on the show notes page at disgracelampod 564 00:35:44,880 --> 00:35:48,680 Speaker 1: dot com. If you're listening as a Disgraceland All Access member. 565 00:35:48,920 --> 00:35:51,399 Speaker 1: Thank you for supporting the show. We really appreciate it, 566 00:35:51,719 --> 00:35:53,960 Speaker 1: and if not, you can become a member right now 567 00:35:54,000 --> 00:35:57,560 Speaker 1: by going to disgracelampod dot com, rate and review the show, 568 00:35:57,600 --> 00:36:00,360 Speaker 1: and follow us on Instagram, TikTok, Twitter, and facebok. Booked 569 00:36:00,360 --> 00:36:03,840 Speaker 1: at disgrace lamppod and on YouTube at YouTube dot com, 570 00:36:03,880 --> 00:36:12,680 Speaker 1: slash at Disgracelampod, rock a Rolla, He's a baddad man.