Background: "Sympathy for the Devil" is a samba rock song by the Rolling Stones, written by Mick Jagger and Keith Richards. Sung by Jagger, the song refers to the Devil, written in the first-person narrative, recounting atrocities committed throughout the history of humanity as if they were somehow "inspired" (or at least witnessed) by him. Although it has been deemed by some as "a homage", in reality, no admiration (or even sympathy, for that matter) is declared for the Devil in the song -other than his "own" request. It is performed in a rock arrangement with a samba rhythm, first appearing as the opening track on their 1968 album Beggars Banquet.
Context: In an interview with Creem, Jagger said, "[When people started taking us as devil worshippers], I thought it was a really odd thing, because it was only one song, after all. It wasn't like it was a whole album, with lots of occult signs on the back. People seemed to embrace the image so readily, [and] it has carried all the way over into heavy metal bands today. Some people have made a living out of doing this; for example, Jimmy Page."  Of the change in public perception the band experienced after the song's release, Richards said in a 1971 interview with Rolling Stone, "Before, we were just innocent kids out for a good time, they're saying, 'They're evil, they're evil.' Oh, I'm evil, really? So that makes you start thinking about evil... What is evil? Half of it, I don't know how much people think of Mick as the devil or as just a good rock performer or what? There are black magicians who think we are acting as unknown agents of Lucifer and others who think we are Lucifer. Everybody's Lucifer."  Contrary to a widespread misconception, it was "Under My Thumb" and not "Sympathy for the Devil" that the Rolling Stones were performing when Meredith Hunter was killed at the Altamont Free Concert. Rolling Stone magazine's early articles on the incident misreported that the killing took place during "Sympathy for the Devil", but the Stones in fact played "Sympathy for the Devil" earlier in the concert; it was interrupted by a fight and restarted, Jagger commenting, "We're always having--something very funny happens when we start that number." Several other songs were performed before Hunter was killed.
Question: what came of the devil worshippes?
Answer: People seemed to embrace the image so readily, [and] it has carried all the way over into heavy metal bands today.

Background: Giambattista Vico (B. Giovan Battista Vico, 23 June 1668 - 23 January 1744) was an Italian political philosopher and rhetorician, historian and jurist, of the Age of Enlightenment. He criticized the expansion and development of modern rationalism, was an apologist for Classical Antiquity, a precursor of systematic and complex thought, in opposition to Cartesian analysis and other types of reductionism, and was the first expositor of the fundamentals of social science and of semiotics. The Latin aphorism Verum esse ipsum factum ("What is true is precisely what is made") coined by Vico is an early instance of constructivist epistemology. He inaugurated the modern field of the philosophy of history, and, although the term philosophy of history is not in his writings, Vico spoke of a "history of philosophy narrated philosophically."
Context: As he relates in his autobiography, Vico returned to Naples from Vatolla to find "the physics of Descartes at the height of its renown among the established men of letters." Developments in both metaphysics and the natural sciences abounded as the result of Cartesianism. Widely disseminated by the Port Royal Logic of Antoine Arnauld and Pierre Nicole, Descartes's method was rooted in verification: the only path to truth, and thus knowledge, was through axioms derived from observation. Descartes's insistence that the "sure and indubitable" (or, "clear and distinct") should form the basis of reasoning had an obvious impact on the prevailing views of logic and discourse. Studies in rhetoric - indeed all studies concerned with civic discourse and the realm of probable truths - met with increasing disdain.  Vico's humanism and professional concerns prompted an obvious response that he would develop throughout the course of his writings: the realms of verifiable truth and human concern share only a slight overlap, yet reasoning is required in equal measure in both spheres. One of the clearest and earliest forms of this argument is available in the De Italorum Sapientia, where Vico argues that  to introduce geometrical method into practical life is "like trying to go mad with the rules of reason," attempting to proceed by a straight line among the tortuosities of life, as though human affairs were not ruled by capriciousness, temerity, opportunity, and chance. Similarly, to arrange a political speech according to the precepts of geometrical method is equivalent to stripping it of any acute remarks and to uttering nothing but pedestrian lines of argument.  Vico's position here and in later works is not that the Cartesian method is irrelevant, but that its application cannot be extended to the civic sphere. Instead of confining reason to a string of verifiable axioms, Vico suggests (along with the ancients) that appeals to phronesis (phronesis or practical wisdom) must also be made, and likewise appeals to the various components of persuasion that comprise rhetoric. Vico would reproduce this argument consistently throughout his works, and would use it as a central tenet of the Scienza Nuova.
Question: Did he agree or disagree with De Cartes?
Answer:
Vico's position here and in later works is not that the Cartesian method is irrelevant, but that its application cannot be extended to the civic sphere.