According to Frantz, the treatment of his wife throughout the industry expressed blatant sexism.
While he used to come off as odd and distant, in the last two decades he has radiated nothing but warmth, positivity and charm. After the band complained, partial credits were awarded to other members (including guitarist Harrison) for three of the album’s songs. “She had great empathy for people like William Burroughs but, for kids who just got out of art school, zero.”When Frantz first heard about the Ramones, he thought they were a Mexican band.
But friends of mine assure me that he hasn’t. In his book, Frantz chronicles the band’s final meeting in 1991, when an exasperated Byrne yelled at the other members, “You should be calling me an asshole,” while they all kept their cool. “He started doing things like having to fly on the Concorde.
This “DAZZLING, JUBILANT AND RAPTUROUS" New York Times Critic’s Pick — featuring “altogether astonishing choreography by ANNIE-B PARSON” (The New York Times), with Tony ®-nominated ALEX TIMBERS (director of Moulin Rouge! Lou was a good friend and continued to be, despite that.”Still, the meatiest part of Frantz’s book bores into the relationship between Byrne and the other three Heads, including guitarist Jerry Harrison. As evidence, his book proudly details the artistic highlights of a band that rates as one of music’s most creative units – a group so visionary that, as he writes, “We were post-punk before punk even happened.”In his book, Frantz also writes about his 42-year marriage to Weymouth with a warmth and awe that inspired its title. He was supposed to be part of a group visual art show but sneaked into the gallery before the opening to rehang his own pieces in a front room, pushing the others to the back. “He’s like Mr Rogers now,” Frantz said, with a laugh.
When Frantz questioned Byrne about it, he claimed it was a mistake and that it would be changed, which it later was. On the first pressing of Fear of Music, in 1979, the writing credits all went to Byrne (save for one co-authorship with Eno on I Zimbra). It wasn’t only from men. The famously small-minded guitarist considered Talking Heads either pretentious or baffling. I think he probably just decided that he could catch more bees with honey.”Despite his many issues with Byrne, Frantz insists he isn’t bitter about their history. Frantz and Weymouth did receive co-writing credit for Talking Heads’ first single, Psycho Killer, which, the drummer revealed, was inspired by the wry morbidity of Alice Cooper.
“He was like an Archie Bunker type,” said Frantz, with a laugh. “‘If you think the guys are bad,’” Frantz says his wife told him, “‘You should have heard the chicks.’”Despite Talking Heads’ internal issues, they managed to produce incredible music through 1988’s Naked. At the same time, Frantz appreciates the once-in-a-lifetime opportunity the alchemy of Talking Heads provided for him and the other members. “I never understood why he did that. “We were very conscious that we should have a different demeanor than, say, the New York Dolls,” Frantz said.But by Talking Heads’ second album, More Songs About Buildings and Food, for which Frantz provided the title, they drew more on the funk and dance beats that had inspired the drummer since childhood. As a consequence, the other members did an end-run around him by starting their own jam sessions with Eno, inspiring Byrne, who felt left out, to join in. In the nearly 20 years since the demise of Talking Heads, one thing has changed dramatically: Byrne’s public persona. And we had to pay for it.”Byrne, too, was plotting his own path, allowing for some downtime for Talking Heads in 1981, which Frantz and Weymouth filled in a most creative way. He wanted to be billed as an equal member of Talking Heads on their album cover, which the band’s manager, eventually, talked him out of.
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