Soft wake-up melodies for your morning. Live from Zurich every 3 weeks.

One hour special dedicated to David Lynch including soundtrack of Blue Velvet, Twin Peaks, Lost Highway, Wild at Heart and Mulholland Drive.

Track List:
Roy Orbison - In Dreams
Angelo Badalamenti - Mulholland Drive
Jocelyn Montgomery, David Lynch - Kyrie
Angelo Badalamenti - The Chair
Angelo Badalamenti - Blue Velvet Main Theme
Angelo Badalamenti - Laura Palmer’s Theme
Angelo Badalamenti - Twin Peaks Main Theme
Isabelle Rossellini - Blue Velvet
Julee Cruise - Mysteries of Love
Angelo Badalamenti - Dark Space Low
Rebekah Del Rio - Llorando 
Linda Scott - I've Told Every Little Star
Barry Adamson - Hollywood Sunset
Barry Adamson - Something Wicked This Way Comes 
Chris Isaak - Wicked Game
Chromatics - Saturday

@carocatt

The Aurora Show w/ caro - David Lynch Special @ Furka Radio - 23.01.25

I can tell you the exact date and place: October 16, 1986, at the Fine Arts Theater in downtown Chicago. I got to come of age as a moviegoer in the corporate dominated, era of the late 70’s and early 80’s. I was a child of "Jaws", "Star Wars", Indy and "Back to the Future". With occasional exceptions like "Stranger than Paradise" and "Blade Runner", American film in the early and mid 80’s felt corporate and soulless. And then I saw "Blue Velvet", and my moviegoing life was saved. Skip now to nearly four years later, to those glorious two months in the spring of 1990 when "Twin Peaks" changed everything that television was and could be. For these moments, and so many more, we use Episode 60 to pay a last tribute to Hollywood’s favorite Eagle Scout, the irreplaceable David Lynch. 

What separates Lynch from almost every other filmmaker, was that whereas most great directors were filmmakers who evolved into artists, Lynch was an artist (a celebrated painter, composer) who happened to choose filmmaking as his major means of expression. And when the filmmaking money dried up after "Inland Empire"’s failure, he simply turned to other art forms to express what he wanted to say. Lynch was most certainly a surrealist, every bit as much as Dali, Magritte or De Chirico were, but he was, as one critic termed him, a “populist surrealist”. In his films, the line between dream and reality (or between reality and film in his later works) is blurred. This makes sense, since surrealism is founded on dreams and dreamlike juxtapositions. Lynch, like those great painters he so admired and emulated, was an artist of the unconscious and the uncanny. But for all the serious artistic ambition, everything he created was leavened with that art-school sense of humor, off-center and dry as a bone.

For all of his unsettling imagery and the deep questions his work raised about the nature of identity, he seemed, at least from the outside, to have led the happiest of lives. Raised mainly in Missoula, Montana, Lynch often paid tribute to the simple quotidian beauties of life in small-town America (think Twin Peaks, Lumberton, the Iowa and Wisconsin towns we see in "The Straight Story") while also, as in the opening of "Blue Velvet", reminding us of the darkness that often lies just beneath those finely-manicured lawns. For all of his artistic sophistication, he never even came close to an artsy sense of condescending irony; it’s perfect that he spent the last years of his life sending in daily weather reports to the LA public radio station for broadcast. No winks, no air quotes—just the desire to share a genuine excitement about the miracles of nature. 

And for an artist who was such a unique stylist that he was one of the last to become an adjective (we all know “Lynchian” filmmaking when we see it), he was at the same time constantly paying tribute to film history; consider the endless "Wizard of Oz" references in "Wild at Heart", or casting just about all of the hot new movie stars of 1961 in the original "Twin Peaks" series. How perfectly fitting it was, then, to watch him, in his final and uncredited big screen appearance, playing a cranky John Ford in Spielberg’s "The Fablemans". 

For our tribute to Lynch (which is more than they did for him at this year’s Oscars), we eschewed our usual formula and chose not to do a chronological reckoning of Lynch’s work and its impact from "Eraserhead" to "Inland Empire". This episode, like the director’s work itself, is more associative and non-linear. In the end, we conclude that David Lynch, that Man from Another Place, is someone whose absence makes the world that much poorer a spot to live in. To quote the repeated incantation from "Blue Velvet", now it’s dark. 


Vintage Sand Episode 60: "Now It's Dark:" Reflections on David Lynch

Community online radio based in Zürich airing every Thursday 9AM-5PM.

Founded by @intermezzzo and @carocatt
Born during the residency in:dépendance 23.

Join the intrepid trio of Josh, Michael and John as we explore the history of film from the silent era through today’s releases, and from Hollywood to the far reaches of world cinema. Through lively discussion and occasional argument, these three old friends will take the listener on a highly opinionated tour of some of the more obscure recesses of film studies. If, as Alfred Hitchcock was fond of saying, film is life with the boring bits left out, then Vintage Sand will be film study with the boring bits left out. The creators will always approach film from the point of view of the fan, which above anything else defines who we are. From the obscure to the classic and back again, come with us and recall and rejoice in the joys of the big screen.

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