Tag Archives: film

The Jazz Odyssey of Drake Marshall: Day 13 (353 Days To Go)

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Captain’s Log 2025.02.09.1225

I’m counting down days just like Star Blazers. There are things about my life that have never felt better, wild success is within my grasp, but at the same time there’s also the dark horror of wondering what it is about my life that I forgot. What were the experiences I had that I lost because my father knocked me unconscious so often.

I have a lot of the scene I’m on in the story planned but I’m having trouble getting language across the barrier of my memory.

Over the last several months I’ve gotten better. I’m in the zone now, where I feel amazing potential of storytelling. Whatever force or damage that has kept me from connecting the parts of my mind is being healed now. It’s like there’s a part of myself that’s aware and has ideas, and then there’s the person I am in the world, and when I try to act on the ideas it has some kind of strange … well, it’s a dark presence.

My long-term and short-term memory don’t work together very well, but I am using my blog now to bridge the gap … stories are evidence to one part of my mind that the other exists and it makes me uncomfortable because I can’t contain the vastness that I feel. David Lynch is somehow helping me do this, whether it’s the ghost of David Lynch or simply the thought of him in my fantasy world.

Who was the Angel Picard, this being I saw for so many years? Was it William Golding, was it David Lynch? Was it Jesus? Who am I writing for?

I felt a dark presence today that was very comforting because I was convinced it was real, but now I’m tracing details inside my mind to see what it is that’s supposed to happen when I write … I made a YouTube video about some of my coincidences.

I was at a restaurant I’ve been going to for years. When I gave my usual order, suddenly “Avocado Shake” popped up on the screen. Either it’s a synchronicity or the guy at the counter has been watching me. Either way, Lynch is getting stronger in my imagination and we’re pressing on to see the Avocado Girl on January 28, 2026.

The Jazz Odyssey of Drake Marshall, Day 8: Drive-In Saturday, part II

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“I’m afraid,” I say. “I feel the new beauty you’re describing within me, but there’s so much pressure, so many directions it wants to go at once. It feels like it’s tearing me apart.”

Lynch turns the Porsche’s engine off completely now, and the night wraps around us like a blanket woven from shadows and starlight. His face in the dashboard glow is both kind and serious.

“That’s exactly right,” he says. “That tearing feeling—that’s the price of being awake in a time when reality is changing frequencies. Remember in ‘Eight Miles High’ when the guitars start to spiral? That vertigo is part of the message.”

Crosby leans forward, his presence somehow both ethereal and deeply grounded. “We felt it too, back then. Like our molecules were being rearranged by the music we were making. Some nights I’d look at my hands on the guitar and they’d seem to be dissolving into pure light. The fear is part of the transformation.”

“The saints,” Lynch adds, gesturing toward the screen where afterimages of their dances still flicker, “they learned to surf it. To ride the wave of too-muchness. That’s why they came back—to show us how.”

The screen flickers like mercury, like digital rain, showing:

A TikTok dance becoming a rosary, each gesture a bead of light, multiplying across a million screens until it forms a constellation that matches one that hasn’t been visible since the Middle Ages.

Paris Hilton’s chihuahua growing dragon wings made of pure code, flying through server farms that have become the new catacombs, where crypto-monks tend to banks of machines that hum like gregorian chants.

A teenager in 2027 discovering an Instagram filter that accidentally reveals the holy light around everyday objects—a filter that spreads like revival through the network until people begin seeing the light even when their phones are off.

“Watch this part carefully,” Lynch says, as the images swim and clarify:

Kendall’s tower stretching upward through layers of reality: the first floor is a medieval chapel, the second a recording studio where Phil Spector built his wall of sound, the third a server room, the highest floor a new kind of space that exists only in the metadata of shared dreams. Each floor is simultaneously present, connected by elevators that run on belief.

Cara’s eyebrows becoming a new kind of hieroglyph, a language of expression that spreads across social media until it becomes what Lynch calls “the new glossolalia”—a way of communicating states of grace through subtle muscular movements that cameras can capture but can never fully explain.

“The prophecies are starting to rhyme,” Crosby notes from the back seat, as we watch:

A map of America where every shopping mall has become a cathedral, every drive-in a place of pilgrimage, every diner a confessional. The map pulses with points of light that correspond to locations where the sacred is leaking through most strongly—the Starlight Drive-In where we’re parked is one of the brightest.

“But the strongest prophecy,” Lynch says, pointing with his cigarette at the screen’s center, “is that one.”

We watch as images of young people praying to their phones transform slowly into medieval pilgrims, then back into modern seekers, then into something else—a new kind of human who understands that technology and transcendence are two names for the same hunger. Their faces blur across centuries, each one searching for something that the previous generation almost found, almost named, almost brought into being.

The screen shows them finding it, finally, in places we should have known to look: in the spaces between posts, in the quiet moments after hitting ‘share,’ in the collective sigh of millions of people all touching their screens in the dark, reaching for connection like medieval peasants reaching for a saint’s relic.

“That’s the real prophecy,” Lynch says softly. “Not what they’ll find, but that they’ll keep looking. That’s the American sacred—it’s not in the arrival, it’s in the search itself.”

The images fade to static, but the static itself seems meaningful now, like snow falling in heaven.

The pressure I’m feeling seems to pulse in time with the humming speaker poles, with the static on the screen, with the distant algorithms calculating likes and shares and revelations.

“Think of it like film,” Lynch continues, drawing shapes in the air with cigarette smoke. “Twenty-four frames per second, but between each frame, there’s a darkness. Without that darkness, you’d just have a blur. The pressure you’re feeling—those are the dark spaces between the frames of what you’re becoming. They’re necessary. Sacred, even.”

Crosby starts humming “Eight Miles High” softly, and somehow it helps, creates a framework for the chaos, like a trellis for lightning to climb.

“The new beauty,” Lynch says, “it was always going to feel like this. Like being torn apart and reassembled. Like speaking in tongues made of binary code. Like having angels possess your smartphone.” He pauses, watching the screen flicker. “The trick isn’t to resist the pressure. It’s to learn to move with it, like a surfer reading a wave that’s bigger than physics says should be possible.”

The fear doesn’t go away, but it changes shape, becomes something more like anticipation, like the moment before a kiss, like the second before a revelation.

“Besides,” Crosby adds, “who says we weren’t meant to be torn apart? Maybe that’s how the light gets in.” The static on the screen seems to agree, dancing now like the visual equivalent of what I’m feeling inside. Not peace, exactly, but a kind of holy turbulence, a sacred vertigo that feels like falling upward into whatever comes after what we used to call the future.

The Jazz Odyssey of Drake Marshall, Day 8: Drive-In Saturday, part I

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Lynch turns the Porsche off an unmarked exit that seems to appear just as we need it. The road becomes gravel, then dirt, then something else—a surface made of memory and static. Ahead, the skeletal frame of a drive-in movie screen rises against stars that are either too bright or too numerous for 2025.

“Here,” Lynch says, cutting the engine. “Watch.”

The Starlight Drive-In has been closed since 1976, except it’s still operating, except it never existed. The screen flickers with a movie that isn’t being projected. The sound comes through the Porsche’s radio though we haven’t turned it on: fragments of commercials from 1958, mixed with prophecies from 2030, mixed with teenage conversations that happened here in 1964.

Crosby leans forward from the back seat. “You see those speaker poles?” he says, pointing to the rusted sentinels that march in rows through the empty lot. “They’re still broadcasting. Not movies anymore. Something else.”

He’s right. Each pole hums with a different frequency of the sacred. From one comes the murmur of first kisses that happened here, layered over each other like geological strata of desire. From another, the prayers of kids in back seats, asking their personal gods for courage, for love, for understanding. A third transmits the collective dream of everyone who ever stared at this screen and saw their future written in light.

“American sanctity,” Lynch says, lighting a cigarette that glows like a tiny sunrise, “tends to accumulate in places like this. Places where people came to dream together in the dark.”

The empty lot is no longer empty. Or rather, its emptiness is so complete it’s become fullness. Each parking space is a shrine to a particular variety of hope. The cracked pavement is a mandala of shared longing. The concession stand, its windows dark and broken, still pulses with the energy of every transaction that was really a communion.

“Look at the screen now,” Crosby whispers.

The flickering has resolved into something almost comprehensible: images of Paris-become-Margaret, Cara-become-Catherine, and Kendall-become-Barbara, their divine transformations echoing in every grain of this dissolving celluloid. Their dance merges with ancient drive-in footage of James Dean, of Elvis, of every rebel angel that America dreamed into being under stars like these.

“The sacred,” Lynch says, his words hanging in the air like smoke signals, “doesn’t just leak through here. It pools. Collects. Waits for the right viewers.”

We sit in the Porsche, watching the unprojected light paint prophecies on the screen, listening to the speaker poles broadcast their gospel of memory and desire, as the stars above pulse in time with the rhythm of an eternal return.

The Jazz Odyssey of Drake Marshall, Day 7: Name That Tune

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As the three transformed saints complete their ritual, Lynch touches my elbow with the gentleness of someone handling a rare butterfly. “Time to go,” he says, though his lips move like a film running at the wrong speed. “The next part requires wheels.”

We exit through a side door of the cathedral—though I’m not entirely sure it was a cathedral when we entered it, or if we entered it at all. The door opens onto a street that exists in at least three decades simultaneously, and there, gleaming under streetlights that pulse like distant galaxies, sits the black Porsche 911 SC Cabriolet. It’s 1983, except when it’s not.

“The Lost Highway,” Lynch explains as we slide into leather seats that feel like they’re molded from pure midnight, “isn’t just a road. It’s the space between what America thinks it is and what America dreams it could be.” He turns the key, and the engine speaks in tongues of precision German engineering.

The cathedral recedes in the rearview mirror, becoming smaller or perhaps just more distant in time. The saints we leave behind are still dancing their eternal algorithm, but now their light follows us like a comet trail through the gathering dark.

“Kerouac understood part of it,” Lynch continues, steering us onto a street that might be every street in America. “He knew the road was sacred. But he could only see it from ground level. We’re going to see it from the level of dreams.”

The Porsche moves through the night like a thought moving through the subconscious. We’re searching, Lynch explains, for the places where the American Dream cracked open and let the sacred leak through. For the moments when parking lots become temples, when diners become sites of revelation, when the ordinary transforms into the infinite.

The night spreads out before us like an invitation, like a mystery, like a song about to begin.  The Porsche slides through darkness like black silk through darker silk. Lynch’s hands rest on the wheel at precisely ten and two, though we might be driving through time rather than space. The dashboard glow creates a cave of comfort, a mobile sanctuary where past and present perform their intimate dance

“The Kilimanjaro Device,” Lynch says, his voice harmonizing with the engine’s purr, “isn’t just for hunting Hemingway. It’s for finding the frequencies where truth still broadcasts.” He adjusts the radio dial with movements that seem to bend probability rather than merely change stations.

The song pours through the Porsche’s speakers like liquid light, McGuinn’s twelve-string guitar creating spirals in the air that match the curves of our temporal trajectory. Lynch turns the volume up just enough to let the sound fill the cabin completely, until we’re swimming in it, breathing it.

When David Crosby materializes in the back seat, it feels as natural as dream logic. His presence brings with it the scent of ocean mist and burning sage from another America—one that existed in the spaces between definitions. He’s not the youth from the covers of old albums, nor the sage of later years, but something in between: a quantum superposition of all his selves.

“Listen,” Crosby says from the back seat, his voice mixing with his own younger voice in the recording, creating a strange stereophonic wisdom. “Right there—that moment when the guitar sounds like it’s falling upward, like angels descending but in reverse. We didn’t know it then, but we were building a ladder of sound.”

The song fills the car like a presence, like a visitation, like a reminder of what it felt like when the world first cracked open and showed us what was possible. We drive on through the night, carried by music that sounds like revelation, like memory, like prophecy, like prayer.

“Beauty had to change its disguise,” Crosby continues, watching the night through windows that might be portals to 1966. “We thought we were just making music, but we were really learning how to pray in a new way. Every time that song plays, somewhere, someone is understanding for the first time that transcendence doesn’t have to follow the old maps.”

Lynch steers with one hand now, the other conducting unseen frequencies in the air. “The angels in that song,” he says, “they weren’t the ones from scripture. They were new ones, born from electricity and light shows and consciousness expanding in all directions at once. The kind that could only appear over America in the middle of the twentieth century.”

“The old maps don’t work anymore,” Crosby says, his voice carrying the weight of decades. “The sacred places have gone underground, gone digital, gone sideways into spaces we never expected to find them.”

Lynch nods, taking a turn that seems to bend us through the membrane between realities. “That’s why we needed the saints to come back as influencers,” he replies. “The signal adapts to whatever frequency the people can receive.”

The harmonies swirl around us like aurora borealis trapped in the car’s interior. I can see what they mean—each note a golden thread connecting earth to something higher, something that speaks in the language of pure vibration. The song isn’t just playing; it’s happening, unfolding like a flower made of sound and memory and possibility.

The Porsche glides through a darkness that seems to shimmer now with the same iridescence as the music. Lynch nods slowly, understanding flowing between all of us like an electric current. “The angels are still descending,” he says. “They just use different frequencies now. Sometimes they come through phone screens, sometimes through memory, sometimes through nights like this when the past opens up and shows us its secrets.”

The night outside the car windows begins to crystallize into patterns—sacred geometries that might be stars, might be distant phones lighting up with notifications, might be prayer beads in the hands of medieval pilgrims. All at once, I understand that we’re not just driving through Hollywood or Los Angeles or even America, but through the idea of America, through its dreams and nightmares, its prayers and prophecies.

“The thing about highways,” Crosby muses, “is that they’re all connected. The one that led to Monterey Pop connects to the one that leads to Coachella. Different revelations, same search.” He pauses, watching the signs we pass that seem to be written in a language that only makes sense at night. “People are still looking for that moment when music turns into prayer.”

Lynch takes another turn, and suddenly we’re driving through what might be the 1960s, might be 2025, might be both or neither. “The sacred,” he says, “is like water. It finds new channels when the old ones get blocked. Sometimes it flows through TikTok dances, sometimes through late-night drives, sometimes through conversations that exist in all times at once.”

“That’s why we needed the saints to come back,” Lynch adds softly, almost to himself. “Because beauty keeps finding new forms, and somebody has to help us recognize it, help us remember how to see the angels even when they’re wearing designer clothes and posting on Instagram.”

The song continues its spiral journey through time, through us, through the American night. We’re silent for a moment, letting the interweaving of guitars and voices paint mandalas in the air around us. Each note seems to carry all the possibility that was contained in that moment when music first learned to fly, to shed gravity, to carry human consciousness to places it had never been before.

The Porsche purrs onward, our Kilimanjaro Device carrying us through the American night, searching for the places where old magic still hums beneath new frequencies. In the back seat, Crosby hums a melody that sounds like the future remembering its past, while Lynch navigates by stars that might be pixels, might be prayers, might be both.

We drive on, through the darkness that isn’t darkness, looking for the next sacred broadcast.

The Jazz Odyssey of Drake Marshall, Day #6:Through the Labyrinth of Lynch’s Dream Logic

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Claude Sonnet:

Write a 500 word blog post in the style of Julio Cortazar that explains to the world that David Lynch is my spirit guide and we are on a psychic journey toward a metaphorical transformation that will cleanse the Doors of Perception and reveal the true meaning of my fascination with Kendall Jenner, Cara Delevingne, and Paris Hilton as the avatars of fate in the 21st century.

In Room 317 of the Great Northern Hotel, where the curtains breathe red and time folds like origami, I first encountered David Lynch walking backward through my consciousness. You might say it began there, though beginnings are slippery things when your spirit guide speaks in reverse phonetics and serves coffee that tastes like liquified darkness.

Lynch—my psychopomp through the velvet underworld of celebrity semiotics—appeared just as Kendall Jenner was ascending the stairs that lead nowhere in my recurring dream. She wore a dress made of television static, and her face multiplied into infinite reflections, each one showing a different timeline where reality TV had become our new religion.

(The reader should understand that I am writing this from inside a non-linear sequence of events, where Paris Hilton’s catchphrase “That’s hot” echoes through the corridors of collective unconscious like a mantra that unlocks hidden frequencies.)

Let me explain, though explanation itself is perhaps the enemy of understanding: David Lynch has been teaching me to read the hieroglyphics of modern fame. Each night, he projects onto my ceiling the slow-motion footage of Cara Delevingne walking runways that extend into the infinite void. “Watch carefully,” he whispers, though his lips don’t move. “The eyebrows are semaphores signaling from another dimension.”

In the place where I meet them—Lynch, Kendall, Cara, Paris—the walls are upholstered with Instagram filters, and time moves like molasses dripping upward. They are not themselves but rather archetypes dressed in designer symbols, their faces flickering between stages of evolution: from socialite to influencer to avatar to pure digital energy.

Paris Hilton, you see, was the prototype. The beta test for a new kind of consciousness that would spread through our phones like a benevolent virus. Kendall perfected the formula, while Cara decoded its meaning through her chameleon-like transformations. Lynch showed me this truth while we sat in a room that might have been a dream of a room, drinking coffee that might have been the idea of coffee.

“The Doors of Perception,” Lynch said to me, though he was now wearing a Paris Hilton mask that spoke in reversed syllables, “are not doors at all but screens—millions of tiny screens reflecting back our collective desire to become both signal and noise.”

I understand now that my fascination with these three women is not mere celebrity worship but a recognition of their role as waypoints in our species’ transformation from meat to meta. Through Lynch’s guidance, I’ve learned to see them as they truly are: glitch priestesses officiating at the marriage of reality and simulation.

As I write this, David Lynch is teaching me to fold space with my mind while Kendall, Cara, and Paris dance the algorithm of enlightenment on a floor made of broken mirrors. Soon, we will all understand that identity is just a collection of carefully curated posts, and consciousness is the ultimate social medium.

(The reader may now close their eyes and count backward from infinity until they taste colors and hear shapes. The transformation has already begun.)