Industrial Symphony No. 1 is a very ethereal musical play created by David Lynch with music by Angelo Badalamenti and singing by Julee Cruise, which was performed in 1989, after Wild At Heart and foreshadowing, musically and thematically, the Twin Peaks series. I missed it on its release to VHS in 1990 but it’s also been released in the Lime Green Box Set and a lower quality version floats around on YouTube, as seen below.
The Moon through a Loud Speaker
The irrational is pervasive in Lynch’s work. Watching his films is akin to a swim through the sphere of Yesod on the kabbalistic tree of life. It is of little wonder to find the Moon as the loudest and most influential planet in his life: the sect light (Lynch was born at night), above the horizon, and in a feminine sign (i.e. in haym); strongly advancing to culmination on the MC (conjunct MC within 2 degrees); in the place of the Good Daimon or Spirit (the 11th house; pertaining to mental, spiritual, and social benefit); in the place of Love (i.e. place occupied by the Lot of Love, one of the 4 principal lots, and actually within 2.5 degrees of the lot); with her twelfth-part in the most important place, the 1st House; with some testimony in the Ascendant (participating triplicity and regard by sextile) and regarding and ruling the lord of the Ascendant (Mars in Cancer); also conjunct the twelfth-part of Fortune. Some of these indications make the Moon more prominent in a general way in the life as a whole, as if her volume has been turned up and she influences all affairs, while other indications pertain more to identity and personal influence.
Lunar themes of vivid depths of subjective experience, the emotive instinctuality and irrationality of the natural world, and the affection of the familiar and habitual (i.e. sentimentality) are also very apparent in his life and work. I am thinking particularly of his repeat use of familiar actors, the non-linearity of his work, the thematic grappling with the gap between the role we create for ourselves and the role we actually play, the complex and paradoxical subconscious evocations of rural life and the wilderness, and the influence of dreams, visions, coincidences, and spiritual experiences on our life events and states of mind.
His birth data is rated AA for accuracy and his chart is shown below with twelfth-parts and then with lots.
The Moon is in Virgo, a mutable sign, thus the Moon tends to express through transitory combination and interaction, as if between players, rather than having her primary mode of action through powerful changes (cardinal) or stable developments (fixed). Virgo is an earth sign, evoking the land, tradition, and the body. Virgo’s ruler, Mercury, is the messenger, and is in the 3rd House, the Joy of the Moon, herself a traveler, while Mercury delivers and communicates, adding a lot of movement, interaction, communication, and consultation to the prominent relationship between the Moon and Mercury. Mercury is in phasis and is most directly influenced by Venus and the Sun, with which he is assembled in the third house, Capricorn; Venus pertaining to love and art; the Sun to influence and publicity. This is especially so with Venus, as she is most closely assembled with Mercury and rules his bound (as well as being a triplicity lord of Capricorn). The combination of Venus, Mercury, and the Sun in a place of connection and conveyance is evocative of many important professional aspects of Lynch’s life, from artistic direction of important projects to bold use of music. While the 3rd house is most directly benefic, being occupied by the sect benefic and dominated (right-side square) by Jupiter, Mercury’s applying opposition to both malefics, and rulership by the out of sect Saturn, in the House of God, lend an aura of foreboding ethereal terror over matters of Mercury, Venus, the Sun, and the 3rd House.
The Moon pertains to family and childhood, especially the mother, and the Virgoan Mercurial influence and prominence of the 3rd house fits with Lynch’s mother being an English tutor and his father and agricultural research scientist. The prominence of the 3rd House, the Moon, mutability, and Mercury, all evoking travel and movement also fits with his experience of moving a half dozen times with his family as a child, and embarking on some formative trips as a young adult. The land, tradition, the elderly, fear, and emotional or physical handicap are all very Saturnine themes evoked in his work, as in his chart, as supernaturally lurking in the shadows of, and contrasted with, human innocence.
Malefics in the Lunar House of God Tugging on Venus
When it comes to Lynch’s personality, the main indicators are the lord of the Ascendant (Mars), Mercury, and the Moon. Mars is in sect and in a good place in the chart, but conjunct the out of sect malefic, Saturn, while strongly influenced by both benefics (benefics are in the stakes of Mars), and ruled by the very benefic Moon while in the bound of the benefic Jupiter. The overall sense with Mars is of an ambitious nature and one which can be irritable and rebellious, but is heavily influenced by goodness (sect, good place, benefic influence), and yet touched by the dark, dreadful, or macabre (Saturn). All in all, there is incredible complexity to the character because of all the planetary influences on the lord of the Ascendant. Mars additionally occupies the 9th Place, the House of God, drawing Lynch to spiritual matters.
Spirituality itself is a complex and prominent matter in Lynch’s life. On the one hand, their would seem to be much animosity toward religion given the strong association between spirituality and evil, signified by the presence of both malefics in the 9th, the retreat of Jupiter in the 12th house of the Evil Daimon or Evil Spirit, and the identification with rebellious Mars and intellectual Mercury. However, there is an overwhelming prominence and personal investment in matters of spirituality, truth, belief, and dream in his life, symbolized by 5 of 7 planets occurring in the 9th and 3rd, including both Mars and Mercury, and with rulership of the 9th by the sect light, the Moon, despite their dark associations. While Mercury is strong in some ways, it lacks the overwhelming pervasiveness of the more subjective and irrational lunar influence over the life. Through twelfth-parts we also find the identification with the Moon and Venus, as their parts are in the Ascendant, and we find Jupiter, planet of faith and spirit, playing a more prominent role in career and administrative aspects of the life, being positioned in the 10th of actions and authority.
Fear-inducing (Saturn) and violent (Mars) spiritual entities (9th place) tended over by the irrational Moon, mistress of nature, night, and instinct, comes cropping up frequently in his work. It is little wonder that the influence of the malefics figure prominently in his work, as they oppose and rule his Venus, the goddess of beauty, who rules over works of art. Venus is in the 3rd House, the Joy of the Moon, in the nocturnal house of Saturn (Capricorn), in the bound of Mars, and with the Moon as the primary triplicity lord. Her twelfth-part is in the 1st House, that of the self, in the nocturnal house of Mars (Scorpio), in the bound of Jupiter. Venus is the primary planet pertaining to his aesthetic and it is fitting to find her dominated by subjective and spiritually-tinged maleficence (Mars and Saturn in the 9th, in the bound of Jupiter, ruled by the Moon) and irrationality (Venus in the Joy of the Moon, general pervasiveness of the Moon, Venus and Moon twelfth-parts co-present in the 1st of self and identity). The 3rd house journey/transportation themes also occur frequently in Lynch’s work. Wild At Heart, Lost Highway, and even The Straight Story are road movies, while main characters are often visiting outsiders.
In my opinion, a pivotal year in Lynch’s life was 1966, when he moved to Philadelphia to attend an art school which held more promise than the last one, got his future wife pregnant, created his first short film (Six Men Getting Sick), and became acquainted with the fear of crime-ridden urban living.
He would have been Age 20 at the time, thus the annual profection would have been to his 9th House, Cancer, occupied by the malefics, Mars and Saturn, with the Moon as lord of the year, all key influential planets in the life and especially in terms of relationship and artistic matters (Venus). Lunar years are typically quite varied and eventful, as the Moon is prominent and moves quickly. In this case, the Moon herself profected to the 7th of partnership, ruled by Venus. It was as if in this year Lynch stepped into the house of the Moon, finding Mars and Saturn there creating fear and violence, but with the Moon lording over things and guiding them, in terms of pregnancy, bonds, and the artistic promises of the 3rd house.
At the time of the solar return the Moon was in the 3rd house, conjunct natal Mercury, putting a spot-light on the work of that house. Mars and Venus of the return were both in the 4th of home and family, while Saturn was in the 5th of children just as Saturn’s natal twelfth-part is, signalling weight and apprehension in the house of children.
The importance of a year in terms of one’s professional objectives is primarily seen through zodiacal releasing of Spirit. In October of 1965 the 1st Level of Spirit’s releasing made its first transition from its starting period in Gemini to its new period in Cancer where it would stay until 1990. This started off with a 2nd Level period also in Cancer until October 1967. Therefore, both of the two main levels of Spirit’s releasing were to the 9th House, Cancer, ruled by the Moon, occupied by both malefics, and additionally activated at the Age 20 profection.
The activations by planetary year were also interesting. Age 20 is most prominently a Mercury year, while also a year in which Venus-Jupiter (8+12) relationships come into play, such as his Jupiter in sign and bound of Venus and dominating her, signifying artistic benefit and children (both planets confer children, and both are the main rulers of the House of Children, the 5th, Pisces).
There were many other pivotal years in his career but 1990 stands out as particularly important and prolific. He won the Palme d’Or at Cannes for Wild at Heart, Twin Peaks was hitting TV audiences, he released the Industrial Symphony No. 1, and his early paintings were in exhibition. Interestingly, 1990 marked another profection to the 9th House, Cancer. The Moon, lord of the year, was transiting through the 1st house of the Self at the time of the solar return, which was also a Venus return, as Venus was at 27 degrees Capricorn in the return, almost exactly conjunct her natal position at 26 Capricorn, strongly realizing Venus’s artistic birth promises.
When we look at the releasing of Spirit for 1990, we find that it marked the next major transition of the Level 1 releasing, from Cancer (the period which started in 1965) to Leo, the 10th house, ruled by the Sun. Thus this next major transition in his professional life marked a new period, ruled by the Sun, which is with Venus in the 3rd, and emphasizing the 10th house of actions, honors, and authority. It was as if Lynch had received his throne (the 10th and the Sun both pertaining to rulership/kings).
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