At their core, David Lynch films are the juxtaposition of the innocent and the obscene -- something the auteur has repeatedly explored in every filmic vehicle save for his adaptation of Frank Herbert's novel Dune. This juxtaposition very much carries over to his film's soundtracks and scores -- the innocent and the obscene.
Over the past few months I've been increasingly preoccupied with the bubblegum pop that made up the 1950s and early . . .
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