The Lip-Synching Scene in David Lynch's Blue Velvet as a Touchstone Transcendent Moment

David Lynch is 76 years old today -- happy birthday!  That made me think about my favorite scene in all of David Lynch's great work, and, for that matter, probably in any movie I've ever scene: Dean Stockwell lip synching Roy Orbison's "In Dreams" in Blue Velvet back in 1986, with Dennis Hopper doing a fine job as that deeply sick guy, who tries to join in the lip-synching, but whose demons won't allow him the succor of dreams.

That scene also represents what I think of as a nexus in popular culture, with several different careers revived and propelled in that one scene.  Dean Stockwell had been a moderately important star, playing angry and sensitive young men, in the 1950s and 1960s.   Lynch had begun using him in Dune in 1984, but his performance in that Blue Velvet lip synching was incandescent and brought him to everyone's attention, including the people who cast him in a co-starring role in Quantum Leap.  Blue Velvet had nothing to do with science fiction, but that Roy Orbison moment would forever and anon and make Stockwell a science fiction icon.

Meanwhile, Orbison's career, which also had been flagging, suddenly skyrocketed in the next few years. His voice in The Traveling Wilburys was one of the most prominent parts of their signature sound, and made them the best supergroup ever, surpassing Crosby, Still, and Nash, the previous holders of that position, in my humble opinion.  Orbison's solo 1989 "You Got It" was also at least a minor masterpiece. And here I always mention Anne Reburn (and her clones)' cover of "You Got It" as a high water mark of music video production.

Science fiction and rock music have been my life's two cultural passions.  Blue Velvet the movie was neither, but it gave rebirth to careers and soaring performances in both,  and made David Lynch an enduring hero well before Twin Peaks and all the rest.

The Kid in the Video Store - science fiction about the 1988 

Roy Orbison and Friends, A Black and White Night concert

Jeff Lynne's ELO at the Prudential Center

There are few groups who are almost as good as The Beatles (none are as good as them).  Jeff Lynne's ELO (Electric Light Orchestra) is one of those few. (I'm reminded of what John Lennon said about ELO in his 1974 interview by Dennis Elsas: "Son of Beatles"). Their string of hits through the 1970s into 1981 - "Can't Get It Out of My Head," "Evil Woman," "Strange Magic," "Livin' Thing," "Telephone Line," "Turn to Stone," "Sweet Talkin' Woman," "Don't Bring Me Down," and "Hold On Tight" are my favorites - are every bit as a good as part of the Beatles output (e.g., "Golden Slumbers," "You Never Give Your Money," etc), and this puts ELO in the rarefied company of the Beach Boys and the Rolling Stones.

But Lynne after he left ELO also went on to do some extraordinary work.  He was a member of the Traveling Willburys supergroup with George Harrison, Bob Dylan, Roy Orbison, and Tom Petty.  He produced and co-wrote (along with Petty) Orbison's "You Got It" (last record before his death).  He did the same for Petty's huge hits "I Won't Back Down" and "Free Falling".  And just to top it off, he produced Lennon's posthumous beauties with the Beatles, "Free as a Bird" and "Real Love" (hey, here's the beginning of a reading I did at Readercon just this past Sunday of a new story I wrote about that song that's an alternate history Beatles tale).

Indeed, there was always something science fictional about ELO, with their other-worldly sounds, which is another reason I love their music.   Add to that Lynne's integration of media-theory themes into his lyrics - in "Telephone Line" and "Sweet Talkin' Woman" ("insufficient data coming through") - and how could I not be crazy their music?  It connects to my three greatest interests in popular culture - the Beatles, science fiction, and the impact of media.

I was really looking forward to Lynne's ELO concert last night, and my wife and I were not disappointed.  They played everyone of my favorite songs except "Strange Magic" and "Hold On Tight," and that's a pretty good hit list.  Lynne's still in fine voice - indeed, better than ever in "Can't Get It Out of My Head" and "Sweet Talkin' Woman" - and the performances and arrangements were top-notch.  "Sweet Talkin' Woman" (yeah, I've always especially loved that song) was replete with a cool electronically modulated "sweet talkin' woman" interspersed throughout the song, and Dhani Harrison (who did a good nine song opening set) singing his father's lead part in "Handle With Care," and Ian Hornal doing a fine rendition of the Orbison part.  (I did miss Rosie Vela, though, who was good in those year 2000 concerts.)

Few of the greats of the 60s, 70s, and even the 80s can put on a show like this any more.  Paul McCartney is a remarkable and unsurprising exception.  I would say that Jeff Lynne, in terms of the great songs he wrote, produced, and still performs in fine voice, is a very close second.  Right up where he belongs.   Catch him if you can.

George's Guitar Gently Weeps Through the Ages

Apropos my Traveling Willbury's kick, I've just been listening to George Harrison's "While My Guitar Gently Weeps," performed when Harrison was posthumously inducted into the Rock 'n' Roll Hall of Fame in 2004.

There must be more than a dozen versions of this great song on YouTube, starting with George Harrison and Eric Clapton's performance at the 1971 Concert for Bangladesh and progressing through the years to the two concerts that, sadly, outlived George. One is the 2002 Memorial Concert in which Lynne also plays, but Clapton is featured, and the other the 2004 performance, which is my favorite.

Tom Petty and Jeff Lynne share the lead, and do a splendid job. Even more incredible is the two+ minute guitar solo at the end by Prince - about the finest guitar work I've ever heard.

Here it is ... rest in peace, George. Your music will live forever.

Roy Orbison's Guitar

Know what I’m talking about?

The Traveling Wilburys were – in my opinion, and that of many critics and fans – the best rock supergroup to ever have existed. Bob Dylan, George Harrison, Jeff Lynne, Tom Petty, and Rob Orbison recorded under that name from 1988-1990. Their best-known songs – and justifiably so – were “Handle with Care” and “End of the Line”.

Roy Orbison died at the age of 52 in December, 1988. When the time came to record a video of that song, the Wilburys put Orbison’s rocking guitar in a rocking rocking chair in the part of the song, starting at 1 minute 44 seconds, where Orbison carried the lead. You can also see the rocking guitar at the very end of “End of Line”.

You can read all about that on the Wikipedia entry on The Traveling Wilburys.

You can see the video, and this moving tribute to Orbison, any time you like on YouTube – in your home, office, or, if you have mobile device such an iPhone that connects to YouTube, from any place you like.

Here it is, right here:


That’s what I’m talking about when I say YouTube is increasingly making every part of our popular culture ever recorded in any form available to anyone, anytime, anywhere in the world.

YouTube, in other words, has robbed death of some of its meaning – at least insofar as it pertains to popular culture. And that’s pretty far, indeed. The end of line for audio-visual popular culture is immortality on YouTube. Roy Orbison and his ever-rocking guitar proves it.