The music of Twin Peaks and David Lynch's other masterpieces have been in every Twin Peaks/David Lynch fan's heart and soul since the very beginning. It's the fire that walks with us throughout our lives once we experience it. The many composer geniuses, including the late Angelo Badalamenti, gave us something that's out of this world... as out of this world as the legacy of Twin Peaks, every David Lynch film, and surrealism as a whole.
Audrey said it best to Donna at the Double R Dinner:
"Isn't it too dreamy?"
It really truly is, and fortunately, she isn't the only one who thinks so, especially the Little Man in the Red Room.
We, the audience, relish the music's dream-like melodies. Whether they be upbeat, sad, lonely, romantic, mysterious, or terrifying. They are the soundtrack within us... the soundtrack of understanding human love, suffering, and fear. Nothing will ever compare to the music of Angelo Badalamenti. His creative bond with Lynch provided us with the greatest gift of all, starting with Blue Velvet revealing within us the hidden darkness in our souls and minds, and then waltzing into Twin Peaks with the song of a girl running through the dark woods, fearing for her life, approaching us, and slowly, very slowly leaving us into darkness... (Theme of Laura Palmer).
Sometimes, I feel like the music could be used by Lynch as secret codes to the abstractions behind his storytelling. Agent Cooper once made an intriguing point about using dreams as the special agents' way to solve cases. Cracking the code within them to eventually reveal the answer. That's how I perceive music within the Lynchian Universe. As dreams for their dream-like qualities. They affect our brainwaves in some way that they always stick with us as if they have some meaning beyond our comprehension (similar to dreams). To me, the music is the red curtain we must go through to enter the Black Lodge of our minds and discover what was there all along. Within Twin Peaks and every David Lynch film, the music could lead to significant clues. Perhaps the formula of Transcendental meditation and the music could lead to a further extent in going further into the depths of our minds to grasp the aspects of surrealism and the mind of David Lynch.
Right after I started the Facebook group called Twin Peaks... From Another Place back in February of last year, I began writing The Birdwatcher. This is the prequel story to the Twin Peaks: Chasing A Blue Rose series, and it is based somewhere amid Season 2. In this story arose another character... a character that would help pave the way through the events that might've occurred after the season ended. Special F.B.I. Agent Cheryl J. Preslocke emerged from the subconscious of the mind. A strange human being who connects herself with nature - in particular, birds - and watches over Ghostwood Forest and its neighboring town. This character was created by the songs: The Nightingale and The Love Theme of Twin Peaks. Of our beloved Twin Peaks, she is the nightingale and is one who always loves a certain character (not going to spoil it for those who haven't read the stories). Love is always on her side and fighting for love against evil is her main strength as much as it is her worst downfall - similar to that of Cooper.
Without the music, this new storyline would've never been created to continue Twin Peaks from where it ended back in 1991. I believe the mission I've undertaken to expand and hopefully satisfy readers all over the world is well-sourced by the music of the one and only Angelo Badalamenti. I give him full credit, despite the show being entirely Lynch and Frost's brainchild. The music leads me to a dream-like state and, with that, lets me unleash the stories we've all wished (or not) could've happened.
The music could unfold the answers we've all been missing. To decipher it deeply with an open, peaceful mind could be the dreams we were all meant to decipher.
No comments:
Post a Comment