![]() ![]() “With Lynch, it’s impossible to tell for sure how much of the obsession with innocence lost is an affectation and what’s heartfelt. about the singer’s wistful middle-Americanisms,” Chris Willman wrote in a 1993 profile of Isaak for Musician magazine. As the director made explicit in Blue Velvet-where he first used Isaak’s music-there are some nasty bugs churning under the white picket fence, and that duality is personified in Isaak’s brief but memorable turn as FBI Special Agent Chet Desmond in Lynch’s Twin Peaks: Fire Walk with Me. But there might also be something deeper and darker to their affinity for midcentury culture than these kitschy idiosyncrasies suggest. As a young director, Lynch famously didn’t curse, and the young rocker didn’t drink or do drugs. On the surface, they share a seemingly unironic obsession with 1950s Americana: the coiffed hairdos, the rockabilly radio, the “peachy keen” attitude. David Lynch launched Chris Isaak’s career, arguably, and there’s a strange kinship between the two artists.
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