{"id":156314,"date":"2022-12-13T07:25:16","date_gmt":"2022-12-13T07:25:16","guid":{"rendered":"https:\/\/harchi90.com\/david-lynchs-blue-velvet-composer-was-85-the-hollywood-reporter-2\/"},"modified":"2022-12-13T07:25:16","modified_gmt":"2022-12-13T07:25:16","slug":"david-lynchs-blue-velvet-composer-was-85-the-hollywood-reporter-2","status":"publish","type":"post","link":"https:\/\/harchi90.com\/david-lynchs-blue-velvet-composer-was-85-the-hollywood-reporter-2\/","title":{"rendered":"David Lynch’s ‘Blue Velvet’ Composer Was 85 \u2013 The Hollywood Reporter"},"content":{"rendered":"
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\tAngelo Badalamenti, the acclaimed David Lynch composer who went from teaching in junior high school in Brooklyn to creating haunting, ethereal music for the filmmaker’s Blue Velvet<\/em>, Twin Peaks<\/em> and Mulholland Drive<\/em>, has died. He was 85. <\/p>\n \n \tBadalamenti died Sunday of natural causes surrounded by family at his home in Lincoln Park, New Jersey, his niece Frances Badalamenti told The Hollywood Reporter<\/em>.<\/p>\n \n \tThe classically trained composer also collaborated with an eclectic mix of singers in virtually every genre during his long career, from Nina Simone, Nancy Wilson, Shirley Bassey, Patti Austin, David Bowie, Paul McCartney, Marianne Faithfull, Liza Minnelli, Mel Tillis and Roberta Flack to Pet Shop Boys, Anthrax, Dolores O’Riordan, Tim Booth and LL Cool J.<\/p>\n \n \tBadalamenti composed the theme music for ABC’s Twin Peaks,<\/em> NBC’s Profiler<\/em> and Bravo’s Inside the Actors Studio<\/em>and for the 1992 Summer Games in Barcelona, \u200b\u200bhis \u201cTorch Theme\u201d during the opening ceremony accompanied by an archer’s flaming arrow that ignited the Olympic cauldron.<\/p>\n \n \tWhen Lynch needed a vocal coach for actress Isabella Rossellini on Blue Velvet<\/em> (1986), then filming in North Carolina, he turned to Badalamenti, who had developed a reputation for working with singers.<\/p>\n \n \t\u201cI met with Isabella and after a couple of hours with a piano and a little cassette recorder, we got a decent vocal [on the Bobby Vinton song \u2018Blue Velvet\u2019],\u201d he recalled in a 2015 interview for Spirit & Flesh<\/em> magazine. \u201cSo we go over to the set where David is shooting the last scene. \u2026 He puts on the earphones, listens to the recording and says, ‘Peachy keen. That’s the ticket!’\u201d<\/p>\n \n \tBadalamenti was tasked to write another tune \u2014 Lynch told him, \u201cOh, just let it float like the tides of the ocean, make it collect space and time, timeless and endless\u201d \u2014 and that became the memorable torch song \u201cMysteries of Love, \u201d performed by Julee Cruise, who was recruited by the composer.<\/p>\n \n \tLynch turned over all the music for Blue Velvet<\/em> to Badalamenti, who went on to collaborate with the filmmaker on Twin Peaks<\/em> \u2014 he created themes for several characters in the 1989-91 drama \u2014 Wild at Heart<\/em> (1990), Twin Peaks: Fire Walk With Me<\/em> (1992), Lost Highway<\/em> (1997), The Straight Story<\/em> (1999) and Mulholland Drive<\/em> (2001).<\/p>\n \n \t\u201cI sit with Angelo and talk to him about a scene and he begins to play those words on the piano,\u201d Lynch told The New York Times<\/em> in 2005 in explaining how the duo made music. \u201cSometimes we would even get together and make stuff up on the piano, and before you know it that leads to the idea for a scene or a character.<\/p>\n \n \t\u201cWhen we started working together, we had an instant kind of a rapport \u2014 me not knowing anything about music but real interested in mood and sound effects. I realized a lot of things about sound effects and music working with Angelo, how close they are to one another.\u201d<\/p>\n \n \tAdded Badalamenti: \u201cDavid’s visuals are very influenced by the music. The tempo of music helps him set the tempo of the actors and their dialogue and how they move. He would sit next to me at a keyboard describing what he was thinking as I would improvise the score. almost all of Twin Peaks<\/em> was written without me seeing a single frame, at least in the pilot.\u201d<\/p>\n \n \tBadalamenti said he would often come to Lynch’s set and play live music during filming so the actors \u201ccould feel the mood.\u201d<\/p>\n \n \tIn 1990, Badalamenti received a Grammy Award for his evocative Twin Peaks<\/em> theme and three Emmy nominations for his work on the series. The show’s soundtrack album went gold in 25 countries.<\/p>\n \n \tAbout that Twin Peaks<\/em> music \u2014 which Badalamenti composed on an old Fender Rhodes electric piano \u2014 Michael Tedder wrote in 2017 in Esquire<\/em>: \u201cTogether they created a score that was often as serene and beautiful as the images of the waterfall that we see in the opening credits \u2014 but one that could quickly go to a macabre place. Music oozed out of every pore of the show, whether we were watching The Man From Another Place dance, checking out a performance at the Roadhouse or discovering Laura Palmer’s body, wrapped in plastic. \u201d<\/p>\n \n \tBadalamenti was born in Brooklyn on March 22, 1937, and raised in the Bensonhurst section of the borough. His father, from Sicily, owned a fish market. An uncle, Vinnie Badale, played trumpet with bandleaders Benny Goodman and Harry James.<\/p>\n \n \tWhen Badalamenti was young, there was one song, Irving Berlin’s \u201cWhat’ll I Do,\u201d that always brought him to tears, and he played it over and over.<\/p>\n \n \tAs a teenager, he played piano and French horn in the Lafayette High School orchestra before attending the Eastman School of Music in Rochester, New York, on a full scholarship. After two years there, he graduated from the Manhattan School of Music with his bachelor’s and master’s degrees in 1960.<\/p>\n \n \tDuring summers in his college years, he accompanied singers at resorts in the Catskill Mountains. \u201cI had to play a lot of the standards, so I learned quite a wide range of music,\u201d he said in a 2019 interview with his nice. \u201cI had to learn them very quickly, and learning so many different types of music was a tremendous help later on in my career.\u201d<\/p>\n