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.David picked up enough voodoo theology to sing an invocation to thedeity Papa Legba in True Stories.More recently, David went down to the Riode Janeiro film festival with Edward Pressman to screen True Stories.Davidheard about all this heavy voodoo activity in the hills of Bahia a regionwith a climate and vegetation very similar to West Africa.David nosed around and found the citizens practiced Candombléand honored a multiple of gods orishas with names like Ogún andYemanja and Oshun.In Candomblé, women are the link between God andthe cult.And men are the link between the cult and the outer world.According to voodoo-ologist Luc Sante, men do this through pop music.Ha! David recalled seeing a photo of a man being possessed by aCandomblé force named Ogían.The man was smoking a cigar, half316slouched, half playing an air guitar.The epitome of rock n roll body attitude.Music for God.Hmm.David realized he had been a practicingCandomblé for most of his life.Jerry was in Milwaukee awaiting the birth of his first son.The pregnancyhad been a surprise.It was a good and sobering thing.Carol and Jerry lovedeach other very much.There was no question they would have the kid.Butthis new life changed the context of everything, the way the death of Jerry sfirst band, the Modern Lovers, and the death of his parents had.Jerry felthimself getting more and more serious about things.He and Carol were inMilwaukee because it was a much easier town for a baby than New York.Butmaybe they should move here permanently.New York was an expensive V o o d o o Da y splace to live.As for marriage, Jerry wanted to tie the knot, but not right now. This was a real busy time, he remembered. I didn t want to interrupt thatjust because we ought to get married. Jerry s creature of love, Griffin, was born March 12, 1987.The Rolling Stone article two months earlier had begun with Chris ragingabout the time that David tricked the New York Times Magazine into substituting the band shot with a portrait of himself for the cover, an event thathad happened a year and a half earlier back in 1985.The media loved referring to itself almost as much as it loved to let celebrities trash each other.The March 87 issue of Esquire did a story on bruised egos of the SoHo artworld starring Robert Longo along with fellow paint dribblers Julian317Schnabel, David Salle, and Eric Fischl.In 1987 there were few prominentart critics left who thought that the works of Robert Longo, Julian Schnabel,David Salle, and Eric Fischl were important.The collectors who boughtthose four s work had much money and no taste.After the Esquire writerpaid tribute to each young painter s ego and insecurities, readers learnedDavid Salle burned the Longo cover to a Glenn Branca record because Sallehated Longo s work.Schnabel, in turn, hated Fischl.The latter didn t carefor Schnabel s work but really hated Longo.Longo himself respected Salle,but disliked Schnabel and Fischl.All four liked to eat at a restaurant called Indochine.The article was illustrated with an energetic Robert Longo drawing of two businessmen fighting; a Julian Schnabel painting of an uglyimpressionistic realism via blotches; David Salle doing harmless magazinephotograph realism; and finally, a typical Eric Fischl depiction of nakedbourgeois.There were photos of all four artists.Julian Schnabel andRobert Longo posed with celebrities Schnabel with over-the-hill actressSylvia Miles, and Longo with his good friend David Byrne beside himlaughing.By spring, Longo s pal, David, was back in the States.David began talkingwith Ed Pressman about doing another film titled Shango.It would be a dramatic love story about Santería that would take place in Haiti and SanFrancisco.David also hooked up with one of his favorite writers, RobertFarris Thompson.Together they visited a canzo, a kind of voodoo initiation THIS MUST BE THE PLACEceremony in the Bronx.David joyfully drank a potion of rum, chicken blood,and gunpowder with Thompson at a voodoo ceremony in New Haven.Thetwo traveled to various Afro-Latin clubs in New York where David rockedout to a one-note bamboo Haitian trumpet as naturally as if he had grown updancing to such music which in a way he had, all those ethnographicrecords he checked out from the library as a kid.In late spring, David agreed to record again with Talking Heads.Notthat he had any songs.Neither did Tina.Under David s influence the bandreturned to a global pop vibe.In particular, David wanted to experiencevoodoo music influences the salsa beat along with the tried-and-trueAfrican rhythms and funk.No one seriously objected.The other Heads weregrateful that David was still considering Talking Heads as one of his creativeoutputs.The group met in a studio in New York and began improvising.They came up with forty grooves, which they distilled down to a dozen totake to.Paris.The band wanted to record in new terrain
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