Today, a lovely and beautiful exclusive interview with one of the most beautiful voices in alternative rock, Johnette Napolitano of the band Concrete Blonde, formed in 1986 and hailing directly from the United States.
A rocket in the rock scene of the '80s and '90s, with her haunting and touching voice, Johnette Napolitano left her mark on the image of alternative rock.
We are very proud to share with you these magnificent moments of sincerity, gentleness, and kindness from the great Johnette Napolitano.
Devour with pleasure here...
Can we start by going back a little: what was your childhood like? Were you born and raised in Los Angeles?
Johnette Napolitano - I was. I don't talk about my childhood much out of respect for my family. It was difficult, but I am grateful for it. As difficult as the music business can be, it was easy compared to my childhood, but there were some special moments in the early days. I was the oldest of 5.
How did you discover music ?
Johnette Napolitano - Music discovered me: someone owed my father some money, and gave him an old upright piano as payment. I started playing it right away - I was very young, about 5, I think, and my parents realized I had a talent, a natural ability. My father bought me a guitar on my 9th birthday, if I remember correctly. I will always love him for that. He wasn't so happy when I'd decided that music was what I wanted to do with my life, however. I was 19 or 20 when we had a huge fight about it, he thought I should be married and have kids by then! We didn't speak for years.
Who were your first musical discoveries and your idols ?
Johnette Napolitano - My parents' records: my Dad loved Johnny Cash and Italian-Americans like Sinatra and Dean Martin, my mother loved musicals, Leonard Bernstein, and country singers like Patsy Cline. My mother actually had a lovely singing voice. Tom Jones, who I met much later, and who is actually performing this month not too far from me. He's an incredible singer. Ray Charles. There was music in the house all the time when I was young.
At what age did you start learning the bass?
Johnette Napolitano -
When I had to, in my 30's, I suppose. I'd wanted to form a band and since we didn't have a following or a record deal, nobody wanted to be in it. I decided to just pick it up and write whatever I was capable of playing, which wasn't much.
What other instrument do you play?
Johnette Napolitano -a little bit of everything. I have a vintage drum kit out in the barn. I'm down to a few guitars - the essentials: a Martin acoustic, a Fender electric and a Gibson Les Paul from the 80's. (Which isn't really vintage to me!) I did have quite a few vintage instruments but the desert is harsh on everything. Computers, instruments, anything rubber. After having neck issues, which a lot of musicians had back then from playing heavier vintage guitars (in my case, a Music Man bass) I switched to a Fender Lite, which I don't think they make anymore, but still play. A great instrument. This past Christmas I bought myself a Behringer keyboard/ MIDI controller. While I don't use MIDI, the keys are semi-weighted and the sounds are amazing. I love this thing!
How did you decide to start your first band ?
Johnette Napolitano - What I really wanted to be was a painter, an artist. I'd shown a lot of talent when I was very young, but as I got older it became apparent that it took money to get into a good art school, and my parents didn't have much money. They'd divorced when I was in junior high school, or maybe high school, and everything sort of fell apart. I knew I could sing, and I knew I could sing well. I remember staying after school to ask the music teacher if I could be in the school chorus, and she played a few notes on the piano for me to sing - when she told me I could join the chorus as a second soprano I was absolutely over the moon. As far as starting a band, I worked up to that - I'd sing with some local bands, but there wasn't anything to really do but be a backup singer. I wrote my first song when I was 12. I knew I wanted to write songs and I needed a band to be able to play them. Girls weren't taken very seriously in those days. I met Jim Mankey when we were both working for Leon Russell in the 80's. Leon was a genius. A very inspiring person.
In 1986, you formed Concrete Blonde with guitarist James Mankey. Where did the name Concrete Blonde come from ?
Johnette Napolitano - Well, everybody knows the answer to that but I'll answer it anyway!
We were the Dreamers, then the L.A. Dreamers, but Miles Copeland, who signed us to IRS Records, wanted another name for us - there were a lot of 'dream' bands around at the time. Miles was the only one who didn't screw with our music. Every other record company in town wanted us to cover songs, didn't understand a female lead singer who played bass. He'd just introduced the Police to the world, against all odds - if you haven't read Miles' book you should - and he saw our potential right away, and liked the songs. By then we were recording our first little record ourselves as Dream 6. REM were breaking big at the time, and the label weren't liking anything I came up with. Michael Stipe had mentioned Concrete Blonde as being a good name for a band to our mutual friend who was the art director at IRS Records in LA, Ron Scarselli, and I knew nobody would argue with Michael Stipe, so we went with it.
What memories do you have of these concerts around the world ?
Johnette Napolitano - soooo many. Many years are blurry, were were constantly touring - which was another thing Miles liked about us. I do remember constantly writing: the isolation was good for that. People aren't isolated anymore, you can't get away from your devices, phones, etc.
Is there a country or city that stood out in your life, and why?
Johnette Napolitano - Australia, because we received our first gold record there and I'll always have a special place in my heart for Australia - and China. It was an honor to play China, we did a festival in Hangzhou. I don't know a lot of bands who've played China, but the people are great wherever we've been - I really haven't felt the same about live shows since IPHONES, etc., there used to be a real connection, people's faces - now all I see are screens and devices where their faces should be. Nobody seems to really be 'in the moment'.
After several breakups, Concrete Blonde finally split up in 2012, what was the reason?
Johnette Napolitano - In retrospect, we should have called it quits years before. Jim and I weren't being very kind to each other, and the band wasn't the same.
The lineup with Paul Thompson, to me, was the best version of Concrete Blonde. I'm still very much in touch with Paul.
In 1995, the album Pretty & Twisted came out. Tell us about this project with Marc Moreland and Chris Bailey.
Johnette Napolitano - We met Wall of Voodoo when we opened for them in Australia. They were one of the best bands in LA, and we all became very good friends.
I met Chris in Australia, also, and am finishing a song we started many years ago. I was shattered when he passed away, and he visits in dreams - he's been in my dreams 3 times now. He opened for Concrete Blonde in the States, and is - it's hard for me to say 'was' - an incredible songwriter and poet, 24/7. It's like drinking with Oscar Wilde. We hung out in France, too, as a matter of fact. A true artiste. Now that I think of it, Marc's band, Ensenada Joyride, opened for Concrete Blonde in France. They were great - Marc was great, a true original. He's visited, too.
Also, tell us about your collaboration with Holly Vincent for Vowel Movement ?
Johnette Napolitano - I don't remember much of it, to be honest. We were waitresses at a Chinese restaurant in LA before either of us made records, she was in an all-girl band called Backstage Pass.
You left the madness of Hollywood to save horses and create art in the spiritual mecca of Joshua Tree. Tell us about all that.
Johnette Napolitano - Well, the writing was on the wall - LA was getting crowded and expensive, and I couldn't really see myself gracefully aging in LA, it had started to change. Nobody ages gracefully in Hollywood. I'd originally intended to move to the beach, but had to find a place to rent after I sold my Hollywood house - a very old place which used to be a dressing room for Mary Pickford. It was very haunted. I couldn't find a place to rent with my dogs, and the further I drove out the more I thought, I should just move out to the desert. That was over 20 years ago, and JT is not the same as it was then. Not at all. If the developers had their way they'd put resorts and hotels up everywhere. I have a small place, a barn, and a lot of land reserved for wildlife. That was my intention, and although they'd love to get rid of us 'old people', The OG desert locals are tough as nails. It's ugly, the land grabbing going on - but that's everywhere now, I'm afraid.
Tell us about your spiritual path and your commitment to it.
Johnette Napolitano - I've heard and seen things all my life that couldn't be explained. The supernatural to me is completely natural. I don't really know my 'path' - a higher power is in charge of that - I just trust, and appreciate my ancestors and God. I shouldn't be here - so many aren't. If I'm still here, there must be a reason.
You studied pottery with a master in Mexico. Then flamenco dancing and singing in Spain. your passion for tattoos. Tell us about all these activities over the years..
Johnette Napolitano - I've inked myself since I was a kid, and I did go to school and get a license, but I don't really enjoy doing it and respect the art and tradition too much to just dabble. Flamenco I've always had a passion for, it's deep culture, and I respect that, too. The late Jesus Montoya, an internationally known singer, was on my last album 'Exquisite Corpses' (2022). I did idolize Jesus. Flamenco comes from the soul - it's an unwritten history, an important preservation.
You came to the suburbs of Paris for a summer. Can you share your memories of that stay in France?
Johnette Napolitano - I met Danny Montgomery, an American, there who later became the drummer for the (short lived) 3 piece I formed with Mark Moreland, Pretty & Twisted. I love Paris, it's a Virgo city, and I'm a Virgo! Serge Gainsbourg's house has opened to the public since I was last there, and I don't really plan on doing a lot of travelling in the future but I would love to visit his house. I love France. I used to climb up to Montmartre early every morning with a little wine, chevre, and a baguette and have my breakfast there.
Johnette Napolitano - You caused the rusty wheels in my mind to start turning, and I couldn't get them to stop! I must tell you an important Parisian moment - my favorite.
I stayed in Pigalle, because it reminded me of Hollywood in the old days - the Gipsy Kings used to play there a lot before they were famous, and there were eccentrics everywhere - it suited me and inspired me. One day I was walking down the street and a mime started to follow me. A mime. In full makeup, etc., he was very persistent, and insisted I meet him for a drink (he actually did speak to me, he didn't mime the invitation). My life is full of surreal moments like this, typical, actually. I wanted to see Flamenco, and there was a tiny Spanish place in Le Bastille,
another arrondissement I liked, so I took the Metro that night to see a show and meet him. When I got there, the place was packed full...no room, so went across the street to another old bar. I didn't know more than a few words in French, so ordered some wine from the handsome bartender and took a seat at the bar. I was happy to hear him respond in English - I wasn't fooling anyone with my terrible French - with a Scottish accent. We talked, and I'd mentioned where I had been staying in Montmarte. I was surprised when my phone rang a few days later and that
beautiful Scottish accent was on the other end of the line. His name was Steven Hale, and he was a writer and sculptor living in an atelier with a group of artists in Le Bastille, and I began to visit, enjoy the company of the artists, who were from everywhere, and bring lunch. Truly my Paris fantasy come to life. Steven had been a model and his work - a masculine, original combination of welded rebar, glass, & tartan - had been purchased by the major fashion houses of Paris, and when I had to go back to the States, we made plans for him to follow soon after. L.A. wasn't the romantic atmosphere that Paris was, though, and I was back to the demands of my career at the time. In hindsight, that may have been the right time to make a life change - but there was pressure, and people depending on me, and I didn't.
We had a truly magical time, especially in Mexico, where it seemed we could relax and just enjoy life again - be inspired - but he had to return to Paris and was getting work in London, creating lamps and fixtures for the bars in Camden. When he returned, he was detained at the airport having overstayed his last visa and turned back. We were both devastated, but that ended the relationship. Logistics got in the way - although we remained friends. Steven married an architect and had 2 sons, which was his beautiful destiny, and passed away some years ago. I think of him often - he would have, and we would have, been great here in Joshua Tree, where there is space, and he could have fulfilled his dream of completing his ultimate masterpiece - a giant dinosaur made of old cars. It was incredible watching him work - smoking, drinking (preferably Guiness) and staring at a pile of rusty, scrap metal. Then, in a sudden mad rush of inspiration and a flash of vision, he jump up and start welding it all into something poetic.
All because of a mime in Pigalle!
In 1992, you opened for Nick Cave and The Bad Seeds, notably at the Zenith in Paris. How did you meet Nick Cave?
Johnette Napolitano - I've never met Nick Cave. I don't think they liked us very much.
Is there an anecdote about your meeting with Jerry Lee Lewis? Tell us about it?
Johnette Napolitano - Fuck him, he was a racist.
Tell us about your drug and alcohol addictions ?
Johnette Napolitano -
Coffee is my only addiction these days! But my main vices were wine and weed. I did what I had to do to do what I had to do, period. But people are fucked up: they like their rockstars to OD,
drop dead onstage, or kill themselves, in the way that people pull over to ogle traffic accidents. There was no way any of that was going to happen to me. I've had stage fright and social anxiety all my life.You have to constantly be meeting people and that's uncomfortable for me. It's interesting, I had this conversation yesterday with a friend, a podcaster based in the UK : it is a fact that the music industry glamorizes drug use, and I can't promote that. I'll just say that I wish I would have taken better care of myself, but once again, I needed to do my job - and a lot of my job was 'people pleasing'. I was in the (Talking) Heads for awhile, and read an interview in a Mexican magazine where Chris Franz said I had problems with prescription drugs. Total bullshit. I never missed a rehearsal or fucked up a gig in the Heads. I'd then realized that after I quit the band he'd had to make up some excuse to the record company. So he threw me under the bus. Total, utter bullshit. He is full of shit.
You live as a recluse in the Joshua Tree desert in California. Tell us about this way of life today?
Johnette Napolitano - I'm hardly reclusive! I don't go to clubs or bars anymore, but I just collaborated with a London based American Deep House DJ/artist, Alley Cat, on some tracks for her album, 'The Widow Project', which made it to the Apple Dance music chart in the UK and was named one of the Top 10 Electronic records on 2024. We're still working together. I co-wrote a couple tracks with Iannis Papanikitas, who lives at the Holy Mountain, Athos, in Greece, on 'Exquisite Corpses'. We also collaborated on a beautiful track, 'Song for Sinead', which is on Spotify, all that - he's very talented, I love his tracks. I love that I can collaborate with people all over the world. It's a good time to be alive, but as far as technology, the tail shouldn't wag the dog. I'm lucky to have learned from some of the pioneers of recording - Leon, the engineers at Gold Star, who recorded Phil Spector's greatest hits. I also was one of the first of anyone I knew to invest in ProTools - I love the studio, and I knew damn well if I wanted to keep making records into my 40's, 50's and 60's nobody was going to open up a checkbook for me.
Also, tell us about your strength and passion for defending the environment ?
Johnette Napolitano - I'm watching Pepe, one of my ground squirrels, outside the window right now. The doves and rabbits know dinner will be served shortly -
I have an amazing relationship with animals. I have a horse and now, a miniature donkey who had lost his own horse-mate, the poor horse died suddenly. He's a sweet little thing! Makes everyone smile. My 3 little dogs are getting older. I'll never not have animals.
You bequeathed your two-hectare plot of land to the Mojave Desert Land Trust and asked that four hectares remain entirely untouched. Do you still live there ?
Johnette Napolitano - it's 5 acres, I live on 1/3 of it. It is no longer bequeathed to the Land Trust, but they do incredible work and I will hope that the place continues to be reserved for wildlife. Since I've lived here, 2 species have been listed as endangered: the burrowing owl and desert tortoise. That makes me sad. People don't seem to care. They just want to build Air BnB's. It's slowed down a bit, but not much. There is a new generation of young people who do seem to care about it, though, re-planting native vegetation and very conscious. I'm hopeful.
The "Sketchbook" albums from 2002, 2005, and 2009 were a bit like a trilogy. Tell us about their genesis and recording process.
Johnette Napolitano - I'm compiling another one now. They're limited editions, things that don't seem to fit anywhere else, miscellaneous instrumentals, experiments. Neither fishes not fowls. Alley Cat actually just sent me a remix today of something from the first one, I think 'Mileva Einstein's Scream'. She'd brought up 'The Matilda Effect', and we were corresponding about women in science whose work was credited to someone else - which happens too often, but as I pointed out to my younger collaborator, it's also happened to men, and to artists: Thomas Edison, for example, taking credit for Nikola Tesla's work - Rodin getting credit for Camille Claudel's work. Elon Musk is the Thomas Edison of our time.
After a good ten-year hiatus, you're back in 2015 with the album "Naked." Was it a different way of working for you, both creatively and in the studio ?
Johnette Napolitano - Well that was a long time ago now! Yes, my friend and former Leon Russell guitarist and all around engineering genius Brian Mansell rolled his mobile unit out to my place here in JT and mic'd up the house. We also recorded John Trudell here, and Harold Budd. I still can't believe John Trudell was here. John was an amazing and inspirational human being.
Tell us about your anecdotes with John Trudell ?
Johnette Napolitano - well, there aren't really any. He was a quiet man, but in spite of everything he's been through, he had a sense of humor. When he was here (he'd never been to Joshua Tree before) we recorded on the porch - the piece was called 'Too Much Sky'. As far as I can tell, he wrote it on the spot - the sky is vast and limitless where I live, it's hard to not be in awe. It's easy to feel small. I played guitar and punctuated John's poetry with a few backup vocal riffs. Longtime Concrete Blonde drummer, Gabriel Ramirez, played congas, and it was great. He re-recorded it with his band. I was meant to play bass on it, but horribly, had the date wrong, and didn't make the session. It is on one of his albums, but everything is meant to be, and I did not like the album version.
Not at all. Had I been in the studio, it would have been hard for me to sit quietly by, so when I heard the finished mix, was very glad I hadn't been there. I had gone to see John & his band - 'Bad Dog' I think they were called - at a club in Hollywood, but they easily overpowered John. The club was small, and he was the only one who really needed a mic onstage at all. Had it been up to me I would have re-mic'd up the whole stage - or at least taken most of them down. 2 overheads and 1 vocal would have been plenty. Once again, it wasn't my place.
Tell us about that 2016 solo concert in Fort Worth. What really happened that made it so important ?
Johnette Napolitano - was it important? Well I suppose it's a good opportunity to tell my side of the story.
I was not well at all for a few years, but Concrete Blonde was involved in a legal tangle with Universal - nothing hostile, just a contractual mess - that was very expensive to straighten out, and our royalties were held up for a long time. I was working way too hard and burning the candle at both ends, but we paid our legal bills and worked it all out. I couldn't afford to stop working. I just dropped after a few songs, just collapsed and of course, everybody assumed I was drunk or on drugs or whatever. I didn't have a supportive crew or tour manager or anyone. I felt terrible about it, but they still talk about it as one of the most memorable gigs at that club, the name of it I don't even remember - I'm sure the other bands and artists who play that place are happy to share the list with me! I would have refunded everyone's money, but somebody who worked there recorded it on their IPHONE or whatever - even though I always have signs saying no recording allowed - and posted it on the internet. It was taken down, but fuck them. I do feel bad for the audience, though. But compared to all the shows I've done around the world in my career, I'm entitled to it. Everyone has taken a fall onstage at some point. I've had to learn how to take care of myself. Pace myself. Rest. It's not natural to me.
Over the years, you've done several film soundtracks. Is this a complementary or different way of working for you ?
Johnette Napolitano - it really depends on who calls me in to do it. Usually, someone just wants to use a song. I'm rarely called upon to write something original.
I have a YOUTUBE channel (Joshua Tree Recording Company is the name of my production company) and like to shoot videos for my songs, but I haven't in awhile. I feel like the desert imagery is played out. Marilyn Manson made my favorite 'Joshua Tree' video, 'God's Gonna Cut You Down'. Brilliant. That's the Joshua Tree I know: the dark side. Every fashion shoot and truck commercial has Joshua Trees in it now. It's all very Coachella.
You've collaborated with many artists: Danny Lohner (Nine Inch Nails, A Perfect Circle, Black Light Burns), John Trudell, Bad Religion, Paul Westerberg of The Replacements, Steve Wynn. What memories do you have of all this ?
Johnette Napolitano - Billy Howerdel wouldn't be happy you didn't use the name of his band, Ashes Divide - it wasn't A Perfect Circle (you're welcome, Billy!) but it was a lot of work. A nice record, well-crafted, you could say. Mankey and I worked with Bad Religion on their very first single/EP, and we did some European festivals with Bad Religion back in the day. It's interesting, most of the people you mentioned, it was quite natural to just sit around drinking beer, playing guitar, and writing songs together. There was nothing else to do backstage, or after the bars closed. Bands would hang out with bands at the hotel bars where everyone was staying. I worked and toured quite a bit with David J. from Bauhaus/Love and Rockets. It's always a lot of fun to work with Danny Lohner, who is now with Til Lindeman of Rammstein. I recorded some vocals here in JT for the MC5 tribute album, there are a lot of great people on that. Paul wrote some lyrics on a piece of music I had for the Pretty & Twisted album, and I do remember singing on the Replacements album in NYC, but Paul was so full of himself at the time. I got bored. I went out to the store or something and didn't bother going back. I did that again when he was working on some movie in LA, the director was in the studio and I'm very much an 'essential personel only' person, and he wasn't. It either happens quick or it doesn't, I have a short attenton span. Steve I lived with for awhile, so we were close at one time. He's an amazing writer.
2022 album "Exquisite Corpses" and your latest album, tell us about them ?
Johnette Napolitano - Yes. One of the things that hit me hard also was the death of Chris Tsangerides, the legendary producer who we worked with on 'Bloodletting' and who had brought Paul Thompson (Roxy Music) into the band, which changed everything. Chris was a very good friend and a huge supporter when no one else was. He really believed in us, and he really believed in me. They played 'Joey' at his funeral. I'm told. if it wasn't for Chris we wouldn't have a dime today. I put together some songs that had existed already, and recorded a few more. Another huge loss was Benjamin Wood, who was an amazing player and had a band called 'Flametal', fusing Flamenco and Metal, which was so original and brilliant, people's heads exploded. I'd hoped to have Ben in the touring band after 'Corpses', but he got cancer and passed away - within months of Jesus Montoya - and they're both on the same song, 'Riding the Moon'. Michael Gudinski, a major force and pioneer in the Australian music scene and who presented us with our first Gold record on a boat in Sydney Harbor - had also passed away. It just seemed that the closest people in my life were all dying, and I was hugely depressed. Bring French, you know what the 'Corpses' game is, we used to play it in the cafe's in Paris like the surrealists - that's my favorite time, the 20's, people sitting around talking shit all night in Paris cafes. I felt a thread connecting the songs and the people. I became acutely aware of my own mortality. Everything was closed, of course, and there was quarantine and lockdown. I personally liked the isolation. 'Breakfast In Vegas' is one of my favorites, people being priced out of their homes, having to move - 'Exquisite Corpses' the song is my Parisian cafe fantasy, I wanted to sing it in Marlene Dietrich's voice, or Edit Piaf's. it's not on the vinyl, but the piece in 3 parts - the 'movie for your head' I call it - about Pacific Coast Highway is one of the best things I feel I've ever done, for my Dad, who I lost, as well as my 2 brothers who were killed a year apart to the day, although I'm quite sure the second was suicide. It's on the CD, but not the vinyl. I want to do more like that, but I don't think I could do better. My cousin, who I've never met in person, played some seriously inspired Eddie Van Halen-ish guitar on 'Watching the Dinosaurs Die' and 'Leonard Cohen's Roses' is a true story, he did send me roses, and I was pretty excited to have a real sitar on that song (Tiffany Lantello) which was Paul Horabin's idea, the engineer and owner of Ready Mix Music, the studio in LA where I recorded it. I'd started to think about what kind of old lady I would be - and it wasn't that one, the one in the bar. I damn well wasn't going to die onstage, either. Was a very gloomy year. I thought, this may very well be the last record I ever make and it had better be good. I worried about the Feng Shui of the title, which turned out to be a valid worry. It's hard to believe that was only 4 years ago - the record reverts back to me in '26, I'll probably re-release it with lyrics and notes, maybe another track.
Looking in the mirror, what would you like to keep or erase from your memory ?
Johnette Napolitano - Hmm. Not sure that's a choice, exactly. I had a house in Mexico for awhile, before there was a phone line down there, and I used to sit on the roof and look at the ocean and drink tequila and read & paint. There are a lot of Americans down there now, and they're building a lot, but there were tomato fields and I'd buy fresh tortillas and garlic and grill on the roof. Lived next to an old Mexican couple who were like parents to me. I was very happy there, I had a couple ADAT's and would record, but not much. I have that vibe here, which is what I was after...was just out for sunset, putting the horse & burro to bed. I've never been a peaceful person before now. Quit drinking awhile ago, though, after Chris Bailey died. It's just not fun anymore, all my best drinking pals are gone, and no one wants to be the oldest bitch in the bar!
What do you think of politics in the United States today ?
Johnette Napolitano - Well, Musk is finally out of there, apparently. I belong to no party, I haven't in years. Trump did not win the last election, period. Ironically, the one thing that the Republicans and Democrats have in common is the fact that neither of them voted for Elon Musk. The market has crashed, and they simply have to remove Trump, and I believe they will.
What are you listening to today ?
Johnette Napolitano -Well, I have a 'sleep music' channel I love, and I play it all day. It's atmospheric and keeps me relaxed. I like YOUTUBE channels, what the kids call 'study' music - Chilled Cow, there are a lot of them. I have some things to work on and it's a pretty easy week, had a hay delivery today so now I can work on some music the rest of the day. I can't stay up late anymore, and have to be up at sunrise to feed the equines. I'm at my best in the morning, study a bit and record and post my podcast by 9:00. Sets my mind in thoughtful direction (Coffee & A Card) and I like learning - I always have to research a symbol or a fact, or some historic detail.
What are your projects today ?
Johnette Napolitano - compiling writings, and I've finished a plaster mould for clay - have an idea for some plaster work. I'm wanting to build a brick kiln to do some firing this summer, and clearing hay out of the corral - it's Spring, and the snakes will start coming out. Can't have things too comfortable for them around here. I had a rattler under my desk once.
Do you have anything to add or a message to convey ?
Johnette Napolitano - I adore you, France. I always have. I've always been inspired by you and hope to see you again. Be well.
Thank you Johnette for this lovely interview and we hope to see you again very soon.
6 Avril 2025
Interview Thierry CATTIER
Photos : 1/2/6 Unknown DR 3/5 Amber@fringe19
4 Ellen Stone 7 Johnette
