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Jane's Addiction
Hooked Again
by William Shaw
Details - November 1997

Before alternative radio, before Lollapalooza, there was Jane's Addiction. The band that was mainlining when everyone else was mainstreaming comes clean to William Shaw on the eve of its reunion tour and the release of a new album.

"Most of the time," Perry Farrell says, frowning, "I would prefer never to play anything twice. So...," he trails off, shrugging. The last Friday in August is hot. Jane's Addiction are in Venice Beach, at Perry's management offices, about to plan their reunion tour. Typically, Perry prefers to call it a "relapse." At some point, all rock stars have to come to terms with a realization that what makes them relevant is no longer the present--it's the past. For Perry Farrell, who has always kicked against the conventions of rock stardom, this is a particularly tough one.

Farrell never intended the band he founded in 1986 to be conventional. That was part of the point of it all. Before Jane's Addiction, the territory of "alternative rock" was a seldom visited hinterland; nobody played it on the radio. All that changed. "I believe that Jane's Addiction made Pearl Jam and Nirvana possible--I totally do," insists onetime Jane's manager Tom Atencio, who now looks after No Doubt.

Perry captured the coming zeitgeist--a more hedonistic and far; far darker one that what had come before. Jane's Addiction started as anobscure L.A. band on a tiny independent label and grew in influence over five years. By 1991, their pulling power was so great that Perry used it to create Lollapalooza, a new type of rock tour--but also their farewell as a group.

Guitarist Dave Navarro is nervous about getting back together. It brings back bad memories. These days he plays in the Red Hot Chili Peppers, alongside bass player Flea, who has been asked to stand in for Jane's Addiction's original bass player, Eric Avery. Eric refused to rejoin the band. Perry and drummer Stephen Perkins have put their current band, Porno for Pyros, on hold.

"Well," Perry says, with the sort of candor that has always marked him, "There are two reasons why I personally do it. One's to make a living, and two, because it makes people happy...even though you might not be that happy." He pauses. "A lot of people have waited," he says. Then: "I don't know."

The players:

Eric Avery, 32: Jane's Addiction's former bass player; now plays in Polar Bear.

Carla Bozulich, 31: She was a prostitute around the time she befriended Perry and Eric. Now she is in the Geraldine Fibbers, whose album, Butch, is on Virgin.

Perry Farrell, 38: Founder and vocalist of Jane's Addiction.

Flea, 35: Bass player for the Red Hot Chili Peppers. He recently bought the house in the Hollywood Hills that the Velvet Underground lived in; the re-formed Jane's Addiction used the studio in his garage for their first rehearsals.

Dayle Gloria, 42: A cofounder of the L.A. club Scream; now works at the dress-shirts counter at Macy's.

Ice-T: Performed on the first Lollapalooza tour; is now filming his new TV series, "Players."

Ethan James: Former owner of Radio Tokyo studios; now America's best-known hurdy-gurdy player, he records for Hannibal/Rykodisc.

Dave Jerden, 46: Coproduced, with Perry Farrell, Jane's Addiction's two major-label albums. He is currently working with Stabbing Westward.

Gary Kurfirst: Now owns Radioactive Records.

Dave Navarro, 30: Former guitarist for Jane's Addiction; now in the Red Hot Chili Peppers.

Casey Niccoli: Perry's ex-lover and collaborator, was credited on "Nothing's Shocking" as "Art Assistant and Lover." Now makes jewelry under the company name Lonely Girl.

Stephen Perkins, 30: Former drummer for Jane's Addiction; still plays with Perry in Porno for Pyros.

Barton Saunders, 26: Longtime fan who saw the group play about thirty times, and who can be seen in the "Stop!" video. He is about to go teach English in Asia.

Michael Stewart, 38: A cofounder of the club Scream; still runs clubs like Helter Skelter, Stigmata, and Perversion in L.A.

Kelly Wheeler, 35: Played bass in Perry's first band, Psi Com. He now runs Kelly Wheeler Design.

Carla Bozulich: Farrell, that wasn't his real name. I remember he was trying to figure out his new name and he said, "What do you think of Perry Farrell?" And I said, "That's nice." And he said, "Get it? Get it?" "No." "Peri-pheral? Like peripheral vision?"

Perry Farrell: I never really liked my last name, Bernstein. I wanted nothing to do with my family. I didn't want them to know what I was doing because I knew they wouldn't approve. I was a runaway. I lived for the dirty side. I had to stay near bad activity.

Eric Avery: Perry was living on Wilton, in Hollywood. It was one of those houses where everyone in the music scene in the mid-80s seems to have done a lot of time, where every single closet was rented out.

Kelly Wheeler: It was before Perry was radically into drugs. He was really searching for something. Maybe that's why he chose drugs for such a long time. But when I knew him, his mind seemed to be really clear. He was the singer in Psi Com, I was the bass player. The group ended up recording an album at Radio Tokyo studios in, like, three nights.

Ethan James: Radio Tokyo studios was built in a house in Venice. I kind of recorded everybody's first record in the '80s--the Bangles, Pennywise, NoFX, Savage Republic. I worked a lot with Minutemen, Black Flag, Sonic Youth, Green On Red, Long Ryders, L7. That's why Psi Com came in.

Perry Farrell: Well, I was tired of Psi Com. The other guys in the band were really going into the ways of the Lord Krishna. They were studying the Gita. No sex with women? I wasn't up for that.

Kelly Wheeler: The drummer and the guitar player had their beliefs, but I don't think that was it at all. Maybe Perry felt he couldn't explore certain things when he was with them--like sex...and drugwise. He was dying to explore that, definitely.

Ethan James: At this point I don't think Perry was using any drugs particularly, but he was fascinated by it, so he surrounded himself with junkies all the time. It's like being a fag hag, only he was a junk hag.

Carla Bozulich: I was at the house on Wilton all the time. I didn't have a job except for making a mess of things. Actually, it was not Carla's shining time. I did this one recording called Invisible Chains, and everybody else that was in the band then is dead now.

Eric Avery: I originally met Carla when she was in drug treatment when we were both about sixteen.

Carla Bozulich: As soon as Psi Com's album came out, Perry was over it. He asked me about guitar players and bass players and I introduced him to a lot of people, one of whom was Eric.

Eric Avery: Carla asked me if I'd seen Psi Com and I said, "Yeah, I think they blow." And she went, "Oh, okay," and tried to move on to the next topic. So I said, "Why are you asking me?" "Well, they're looking for a bass player, but it doesn't matter." It was such a pivotal moment that could so easily have gone another way.

Perry Farrell: Eric was a hell of a bass player. I asked him to join Psi Com.

Eric Avery: At that point Perry was just a really charming, dynamic, crazy creative person. Our musical tastes were almost identical.

Ethan James: They quit as Psi Com and then formed Jane's Addiction.

Perry Farrell: It's such a classic name. Jane Doe.

Ethan James: I remember there was a stream of different guitar players associatated with them. You could tell two or three of them were on the verge of being too stoned to be reliable. And then Perry would bring in another one.

Dave Navarro: I was in a hard-rock band, Disaster, with Stephen Perkins. We were just in high school. Later on, Stephen was dating Eric's sister. I had actually seen Jane's Addiction play before. They were great. The drummer was off playing in another band called Kommunity FK. So Eric's sister recommended her boyfriend.

Stephen Perkins: They were auditioning drummers and I got the chance. Then I kept on telling them about my buddy Dave Navarro.

Dave Navarro: I went down, met the guys, and played with them. It kind of worked.

Perry Farrell: Our first manager was a prostitute. That's where the song "Whores" came from. She would get the money up for us to do shows. She loved the band and we loved her.

Eric Avery: Bianca. I don't know if she qualifies as a manager. She did that show with Tex and the Horsehead and a bunch of people and it was really successful.

Perry Farrell: Then came the first show we played as the full Jane's lineup--I had guys come in with motorcycles. I had this friend who worked in a lighting-rental place and we snuck all the laser lights out the back into a van after the place closed up. Then I got a transsexual dance revue. We went to this guy's loft and just went off. I figured, be noticed.

Eric Avery: We lost Bianca all kinds of money. She was out of the picture then.

Carla Bozulich: I think that they wrote almost all their songs--right up to that third album, with a few exceptions maybe--within maybe two months of meeting each other.

Stephen Perkins: The original songs were written in the house on Wilton. I remember showing up when everyone got off work, going into the garage, and writing all those songs--"Whores," "Pigs in Zen." It's like that moment you fall in love.

Flea: The Los Angeles music scene was a lot healthier in the mid-'80s. There was a sense of urgency. There was a feeling among the bands that it was of tremendous importance to make good art.

Dayle Gloria: Michael Stewart and I were DJs. We started Scream, and in 1986 started putting on live shows at the Ebony Theater, in this black neighborhood.

Michael Stewart: I think Jane's Addiction were the first band we had play. It was only their second or third gig. It was our first night in this space. The neighborhood didn't like us. A Molotov cocktail was thrown at the door that night.

Dayle Gloria: We were scared. We were little white kids who just wanted to do our own gothic thing.

Michael Stewart: Perry was dressed in nylons. He had nothing on underneath.

Dayle Gloria: Then we moved to the Embassy Hotel. Jane's Addiction must have been playing once every five or six weeks.

Dave Navarro: Scream was like an underground word-of-mouth-type club that was in the very dingy, dark basement of a hotel. It was a very cool place in the early days, the kind of place where the freaks came out.

Stephen Perkins: What it was, was staying away from your normal rock clubs on Sunset--the Roxy, the Whiskey. There was a whole scene going on there with Ratt and Mötley Crüe.

Dayle Gloria: I used to have people give drugs to me instead of money to get into the club. At the end of the night I would empty out my pockets and go "Waaaah!"

Perry Farrell: Scream was some of the best shit because it's so nice to have a week to repair when you're young. And you get geared up and you can just explode in a way you can never get to do these days.

Dave Jerden: I went down to a show at Scream. There were four thousand kids waiting to get in. Unbelievable, the power that was onstage there. Perry had on a corset and he was jumping around, while Dave had his foot on the monitor, leaning into the crowd like he was leaning into a hurricane. The whole band was like, dancing with the beast-master himself.

Perry Farrell: I met Casey Niccoli when I was in Psi Com. She was going out with the drummer from another band when I first laid eyes on her. You know how that goes? It happens to a guy three times in his life.

Kelly Wheeler: I think gradually she influenced him with the drugs--definitely--and exposed him to different literature.

Perry Farrell: Then I found out that she wasn't going out with the drummer anymore. Except that my best friend, Barry McGough said, "Guess what? I'm going out with Casey." It turned out she was going out with him in order to try to hang out with me. She couldn't understand why I wouldn't go out with her, and it was because she was going out with my best friend! So she moved to Guam. When she came back--she's a very forceful girl--she pretty much insisted she move in with me because she had nowhere to live. (laughs) And it was eight years before she moved out...

Casey Niccoli: He was extremely intelligent, motivated...he was charismatic and beautiful. I wanted to have his babies.

Barton Saunders: I was sixteen in 1987. Right after the first record came out on Triple X there was a review in BAM. A couple of weeks later I was in a record shop and it was there on the shelf. That was it. I went home, put it on, and I loved it.

Perry Farrell: Barton was everywhere. You'll get way better stories out of Barton than me.

Casey Niccoli: Perry and I kind of became one person. We shared each other's clothes. If I put on a dress and he liked it, then I had to take it off so he could wear it for a gig. He stretched out all my lingerie.

Barton Saunders: You listen to the songs, probably 80 percent are about her. There's this line in "Classic Girl" where he sings "Such a classic girl, gives her man great ideas," and well, that's fairly true. The message on their answering machine said they were Perry and Casey, the King and Queen of Los Angeles. They very much billed themselves as that.

Perry Farrell: (sadly) It's nice to be that in love. I haven't been that in love in a long time, you know? I must be grateful for those days.

Dayle Gloria: At that point Guns n' Roses got signed, Jane's Addiction got signed, Faster Pussycat got signed. All of a sudden everyone got signed, the money started coming in, and things started to change.

Stephen Perkins: The bidding war was kind of silly. All we wanted to do was make a record where no one would fuck with our music or our artwork.

Eric Avery: We were signed to Warner Bros. in 1987. Now I had the money and the time to destroy my health with vigor.

Perry Farrell: I'll be honest. Money got in the way of things.

Dave Jerden: Recording "Nothing's Shocking" was wild. It started out with lots of enthusiasm because it was their first major-label album. Then three weeks into it a definite pall came over things. Perry said he had been talking to an attorney.

Perry Farrell: One guy brought in his dad's lawyer to represent the three of them...when we had our own lawyer. That caused a tremendous division.

Eric Avery: We started talking about publishing splits and that did not go well. The seed of resentment was planted there.

Kelly Wheeler: Perry told me that he and Eric just hated each other.

Eric Avery: We actually broke up for a couple of days.

Dave Jerden: I came to the studio one day and they were all driving off. "Well, it's over," they were saying. But when they actually got down to work, it was brilliant.

Casey Niccoli: Our love was really strong then. We had two desert tortoises named Lenny and Honey, after Lenny Bruce and his girl. They had a tragic love affair, which is kind of what happened to Perry and me.

Perry Farrell: At the time, Casey and I were living in a storefront around the border of Silverlake--with a rooster. I don't know what the fuck I was thinking. Roosters shit, and they start crowing around three-thirty in the morning. Man. That's where I did the sculpture of Casey for the cover of "Nothing's Shocking."

Barton Saunders: The sleeve was two plaster castings of Casey, molded together as Siamese twins. Obviously nude and sitting on a wicker chair. Their heads are on fire.

Stephen Perkins: I remember Perry talking about his dream about the Siamese twins on fire. Soon after, we heard about some record-store owner getting arrested for selling pornography...

Dayle Gloria: I had a barbecue for Iggy Pop at my house. Iggy had wanted to pick a local band to open for him on tour. Jane's Addiction really looked up to him. I can remember Perry sitting at his feet in my bedroom, listening to Iggy.

Dave Navarro: The whole Iggy tour was one big blur. Just one shock wave of color--kind of a big swipe of magenta with green shooting out of it. That's all I remember.

Eric Avery: Everyone was just loaded and running around having a wild time--just out of control.

Barton Saunders: Lots of times they were totally smacked out. But they had a tremendous energy...

Stephen Perkins: Sometimes someone would want to be clean for a month. If one person is trying to stay clean and the other's not, you feel that energy.

Eric Avery: In a sense that was also what made Jane's Addiction really successful--that sense of impending doom, that everything was about to snap.

Dave Navarro: When you're twenty-one, you think you know everything. When you think you know everything and you're miserable, man, it's really hard to see any light at the end of the tunnel.

Barton Saunders: I think it's common knowledge that Dave was witness to a pretty brutal family murder as a child. Before his mother was murdered by a boyfriend, he also came from a broken home.

Eric Avery: Jane's Addiction was usually most healthy when we first got back into town from a tour, because at some point along the way, everybody usually dropped off their habit. If your problem is heroin, then it's really tough to maintain a habit on the road. The perception is that there's someone standing right next to you going, "What do you need?" I remember being upset by the fact that that wasn't the case. You spend a lot of time being miserable and sick.

Gary Kurfirst: I became their manager when they were recording "Nothing's Shocking." I was managing Talking Heads and the Eurythmics, Big Audio Dynamite, Debbie Harry. I thought that they could change the musical scene.

Stephen Perkins: As a strategist, Kurfirst was great. He definitely knew what he was doing to make a record break. But Perry said, "Well, I ain't going to do all those proven tools--MTV interviews, Jay Leno." Proven tools don't go with Perry's ideas.

Perry Farrell: I thought I was getting ripped off. When I was introduced to his wife, she said, "This is the guy who is going to feed you for the next six years." I never forgot that.

Gary Kurfirst: Perry told me they were leaving. It's something I don't want to discuss really. It was a terrible time in my life. [Kurfirst sued the band for breach of contract in 1990, claiming that the drug problems clouded their judgment.]

Stephen Perkins: I knew we'd lose. We had no reason to get out of the contract, legally. I was crushed. The guy made money out of me until 1995. The bad broke up in 1991. Bad, karma, right?

Dave Navarro: Dude. You know what? After we broke up I made a record with Deconstruction and then the Chili Peppers. Kurfirst was still getting a piece of that.

Gary Kurfirst: Well...let's not discuss that. I think they're all doing well now. They've all come back from really tough times in their lives. It doesn't pay for me to be the one to bring it up again.

Barton Saunders: Gift was billed as a Jane's Addiction video, but the band wasn't in it, really, apart from a few scenes.

Perry Farrell: Part of our interest, Casey and me, was film. In 1989 I asked Warner Bros. to let me do a movie. I said, "Within that movie, I'll do five videos for you." We had an abstract idea of a guy who comes home to find his woman dead. What do you do? Do you spend your final night with your lover? Do you call the cops right away and have them take the body away?

Barton Saunders: There's a Santeria wedding scene of Casey and Perry. It's pretty beautiful.

Perry Farrell: One of the most memorable moments of my life was going down to Mexico with Casey and my film crew, meeting up with this Santerian priestess. Casey and I had this ritual wedding.

Ice-T: Ernie-C, the guitarist from Body Count, had hooked up with Perry. He said, "Yo, Perry wants to meet you." I met him and he said, "I'm trying to do this Sly Stone song, 'Don't Call Me Nigger, Whitey.' You know it?" I said "Yeah, I'm with it." He said, "Well, we got the cameras right here, man." We actually shot that film of us singing that for Gift that first day. We just knocked it out.

Barton Saunders: It's a home video that most anybody could have done. In one scene, Casey calls up her dominatrix friend, and later while she's on the phone, she wraps the cord around her arm and shoots up. Very casually. At that point, it wasn't even their secret obsession. It was their life.

Casey Niccoli: It was an insane period. We were both in another zone. I pretty much came up with the whole idea. In a way, I think I was trying to tell people this lifestyle is not glamorous.

Barton Saunders: When they came off tour in 1989 and played a week of homecoming shows at the John Anson Ford Theater--that's when you knew they were getting big.

Eric Avery: Everything was poised to take off. I remember strapping in and thinking, This is going to be hell of a ride if I can keep an even keel. It wasn't hard quitting drugs. It was easy for me to see what drugs and alcohol were doing to people on a daily basis. I wanted to be able to go out for the first time in my life and play completely clean.

Dayle Gloria: On night when Perry was at the Roxy, everybody was saying, "Oh, Perry's up there in the opera box, smoking a crack pipe." Everybody was talking about how bad he was becoming.

Dave Jerden: We started recording "Ritual de lo Habitual" in the middle of summer. Perry didn't show up for the first three weeks. I said, "When Perry's ready, we'll start again." We didn't start until November.

Perry Farrell: We were still trying to decide who was managing us. Swinging between four managers at the same time as trying to be creative was difficult.

Dave Jerden: Mostly the guys would come in and lay their parts down by themselves. There was one song in particular where the record company came down to watch. The whole band came in and played "Three Days" from beginning to end.

Barton Saunders: Talk to most people and they'll say "Three Days" is their favorite Jane's Addiction song.

Dave Jerden: That was the last time they played together in the studio, and the only time on that record. It was a magic moment.

Barton Saunders: The cover of Ritual had a statue of three figures--two women and a man.

Perry Farrell: The figures in the sculpture are me, Casey, and Xiola Bleu.

Casey Niccoli: Xiola was Perry's lover before he met me. She was very young, very intelligent, and very beautiful. I became friends with her. She died of an overdose at nineteen. So we kind of put her on a pedestal.

Barton Saunders: I always had this theory that Xiola wasn't a person, it was heroin.

Perry Farrell: There was a doll on the cover of Ritual holding up a medical test result that said "Positive." I put it next to a wedding album on the cover--it was a pregnancy test, a joke. But this guy from Spin thought there was some kind of hermetic suggestion that I had AIDS. [Perry subsequently took an HIV test; the result was negative.]

Barton Saunders: AIDS or heroin--it always looks the same when someone is strung out. Perry was in bad shape. There was no doubt about it.

Stephen Perkins: After Ritual came out in 1990, we did a lot of touring. "Caught Stealing" was breaking, and the shows were tight. Friendships were fading, though. The band broke up in 1991.

Perry Farrell: Mark Geiger, our booking agent, said, "This last tour, you can do anything you want." Anything? So I started writing a list. I got most things. I didn't get the hot air balloons, though.

Ice-T: I think Perry Farrell should be commended for having a rap group at that first Lollapalooza. You can't give him enough praise for saying, "Fuck what everyone is going to say, this is going to work."

Stephen Perkins: The first show, in Phoenix, was a strange one. There was a lot of pressure. It was 108 degrees. We had already talked about breaking up and now we're starting a big tour...

Eric Avery: We were playing, and Perry and David would take runs at each other onstage and bump into each other. It turned into a fight.

Ice-T: Dave threw his whole guitar-pedal shit in the pit.

Eric Avery: When I heard the guitar go quiet I didn't think anything of it, because we were one of those bands who were always stepping on wires accidentally. And then all of a sudden I hear Stephen stop too. I turn around and everyone's gone and I'm just standing in front of 60,000 people going duh-duh duh-duh duh-duh. I shrugged and walked backstage, where David and Perry--who were totally fucked up--were wrestling and had to be separated.

Dave Navarro: We weren't even sure whose fault it was. It was a hard time. I know I wasn't really a, uh, healthy person when that was going down.

Barton Saunders: The last time I saw them play was at Lollapalooza outside L.A. I was almost relieved. I was probably twenty, twenty-one by now. You sort of grow out of that being-very-ecstatic-about-rock-music phase. They only played one show after that, September 27, 1991 in Honolulu.

Dave Navarro: I was spiritually dead by the time we played our last concert.

Stephen Perkins: I was just thinking, "Is this the last time we play this?" I knew me and Perry would be working together on Porno for Pyros.

Eric Avery: I was just like, "Am I going to get out of this without getting into a big fistfight?"

Perry Farrell: You know, I couldn't wait to say good riddance.

Stephen Perkins: It was probably the hottest show we ever played. A lot of people don't know that I was naked the whole time. I played naked a few times. But that day Perry sees me and it's like, "Oh, you're naked? I'll get naked." He takes his clothes off and he gets all the press!

Perry Farrell: You know when everything's off? It's time to put something new on.

Barton Saunders: Perry was arrested on October 16, 1991, at the Holiday Inn in Santa Monica.

Casey Niccoli: We were living at the Holiday Inn because our apartment in Venice was too messy. You know what? We couldn't clean our apartment. We couldn't do what normal functioning adults do. We didn't go to the laundry. We just bought new clothes. Instead of cleaning, we would just condemn a room.

Baron Saunders: My understanding of it was he had this freebase unit set up in his hotel room and this maid saw it. She called the manager. They called the police.

Perry Farrell: Getting arrested was an embarrassment to me in so many ways. It got out of hand, I was dragged through Los Angeles like an animal. That bothered me.

Kelly Wheeler: I got together with Perry a couple of years ago for an interview for Musician. We spent half a day together. Whenever you hear Perry talking, you can tell that something has seriously taken its toll. But that's the way it goes.

Barton Saunders: I was fairly shocked when I heard that Casey and Perry split.

Perry Farrell: I've been thinking about Casey. We had a pretty great time there. I had a secondary partner for art. But she began to feel that she had to be part of everything that we did. It's not that she didn't have good ideas, but first and foremost, she was my girlfriend.

Casey Niccoli: It got to the point where we couldn't stand the sight of one another. Of course, I would have done anything to stay with him.

Perry Farrell: The drugs split us more than anything.

Casey Niccoli: I don't know if it was drugs. If you took drugs out, there were still problems there. You know what? I don't think I had a solid foundation there before the drugs. Drugs were good for him. From what I can tell, he still finds some kind of comfort in that lifestyle.

Barton Saunders: They had a premiere of Gift at Laemmle's on Sunset. As far as I know, that's the only time it was ever shown in a movie theater. Pretty much everyone was there--except Perry.

Casey Niccoli: He had some new girlfriend and we were all supposed to go together. It was like, whatever. Go with the flow with Perry. Then we got into a big fight, so I smoked a bunch of crack and went to the premiere. Perry had decided that he didn't like the typeface on the titles and he changed all that and spelled my name wrong. I freaked out. I had been with this guy for eight years, and he can't spell my name.

Barton Saunders: Casey was crying. She was very upset that Perry wasn't there.

Perry Farrell: When I last saw Casey, neither of us were in a very healthy state of mind. I hope she's better now.

Dave Navarro: And then Perry, Stephen, Flea, and I did the "Hard Charger" thing on the Howard Stern soundtrack...

Flea: It felt good to feel the power, to play.

Dave Navarro: It just came about. And we thought, "We'll record 'Kettle Whistle'"--which is an old Jane's Addiction song I always loved--"and we'll put some live tracks together and do some shows."

Flea: Has Dave changed? It's hard for me to know. I only know the post-junkie, post-complete-fuckup Dave who joined Red Hot Chili Peppers.

Eric Avery: I wound up deciding against it. I met Perry for lunch. It was like going to have lunch with the powerful old girlfriend from your past. It was stiff. But it went south when I said I didn't want to play, and it wound up deteriorating to where I was eight years ago.

Dave Navarro: When the idea came about, I was "Fuck right, yeah, let's do it!" But I wish I had realized. I would have been more prepared. Because going through the old Jane's Addiction catalogue and pictures and talking to the press...That stuff is really gnarly to me right now--"here's a picture of me when I was really unhappy."

Perry Farrell: I've changed so much since those days. Number one, I got older. Instead of just arguing about how fucked up the world is, my attitude is I'll do something about it. And the way to do something about it is through love. Because love is the strongest chemical we've got. That's not exactly what I was standing for back then. I sang love songs, but I was also very mad. People at that age, that's what they're up to. Unfortunately for some people, that's not what I'm up to anymore. They'd like me to be like that. I don't blame them. (giggles)