<p id=”par-1_44″>Any good David Lynch <a href=”https://www.cheatsheet.com/movies/”>movie</a> will change your perception of a song forever. For example, Lynch’s use of <a href=”https://www.cheatsheet.com/entertainment/bono-said-1-classic-rock-song-broke-rules-pop-music.html/”>a classic rock hit</a> in a film got Bono hooked on the music of a certain singer. Afterward, Bono wrote a great tune for that singer.</p>
<h2 class=”wp-block-heading” id=”h-bono-said-1-song-from-a-david-lynch-movie-broke-all-the-rules”>Bono said 1 song from a David Lynch movie broke all the rules</h2>
<p id=”par-2_75″>Lynch’s films often feature expressive use of pop music. <em>Blue Velvet </em>is most associated with the Bobby Vinton song of the same title, but that’s not the only 1960s to appear in the film. In a memorable scene, Dean Stockwell lip-syncs to the track. It’s bizarre, creepy, and beautiful. Afterward, Dennis Hopper’s character becomes both sad and enraged. Lynch’s best work often juggles tones like this, making sure the audience is always on its feet.</p>
<p id=”par-3_68″>During a 1988 interview with <a href=”https://www.hotpress.com/music/happy-birthday-bono-revisiting-a-classic-interview-from-1988-22905048″ target=”_blank” rel=”noreferrer noopener”>Hot Press</a>, Bono discussed his feelings about one of Lynch’s most acclaimed films. “The song that stood out for me on the soundtrack of <em>Blue Velvet</em> — which was a film I really liked — was Roy Orbison’s ‘In Dreams,’” he said. “One night when I couldn’t sleep in London, just before we played Wembley Arena, I stayed up listening to this tape. </p>
<p id=”par-4_81″>“Y’know the way you can put a tape in, and it just keeps going ’round and ’round, and you come in and out of consciousness — well, I always seemed to wake up on that song, ‘In Dreams,’” he added. “And I thought it was the most extraordinary song ‘cos it breaks all the rules of pop music. And then there was that extraordinary baroque voice.” Critics often felt that Orbison’s voice resembled an opera singer’s more than a rock star’s.</p>
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<h2 class=”wp-block-heading” id=”h-the-movie-was-part-of-a-revival-of-roy-orbison-s-songs”>The movie was part of a revival of Roy Orbison’s songs</h2>
<p id=”par-5_62″>Bono was inspired by <a href=”https://www.cheatsheet.com/entertainment/roy-orbisons-oh-pretty-woman-inspired-devos-whip-it.html/”>the “Oh, Pretty Woman” singer</a>. “So next day I woke up and I started on this song, ‘She’s a Mystery to Me,’” he said. “I became a bore and talked about Roy Orbison all day. I played the song — or what I’d started of the song — to the others in the band and they liked that.”</p>
<p id=”par-6_52″><em>Blue Velvet </em>was just part of Orbison’s 1980s career revival that lasted beyond his lifetime. Bono got Orbison to record “She’s a Mystery to Me” for his final album, <em>Mystery Girl</em>. The record came out in 1989, the year following Orbison’s death. The record featured his final hit, “You Got It.” </p>
<p id=”par-7_61″>While Orbison’s death was sad, he went out on an artistic high note. Not only was he one of the rare artists to have a posthumous hit, <em>Mystery Girl</em> featured contributions from <a href=”https://www.cheatsheet.com/entertainment/1960s-classic-rock-stars-hits-1980s.html/”>classic rock icons like George Harrison</a>, Jeff Lynne, and Tom Petty. Most artists could only dream of releasing a final album as good or as vital as <em>Mystery Girl</em>.</p>
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<div class=”related-article related-article–simple”>
<span class=”related-article-flag”>Related</span>
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<h2 class=”wp-block-heading” id=”h-david-lynch-s-mulholland-drive-also-uses-a-roy-orbison-song-in-an-amazing-way”>David Lynch’s ‘Mulholland Drive’ also uses a Roy Orbison song in an amazing way</h2>
<p id=”par-8_71″><em>Blue Velvet</em> was not the only film by Lynch that made memorable use of an Orbison song. <em>Mulholland Drive</em> has a scene where a woman sings a Spanish cover of Orbison’s “Crying.” Midway through the performance, Naomi Watts’ character, Betty, realizes that the singer is lip-syncing rather than singing. She begins to cry. This moment is loaded with symbolism, and it’s key to understanding the film, which some viewers find opaque.</p>
<p id=”par-9_16″>Lynch and Orbison were both incredible artists and their work complemented each other in striking ways.</p>