Angelo Badalamenti, the acclaimed David Lynch composer, went from teaching middle school in Brooklyn to composing the breathtaking Unforgettable ethereal music Velvet , Twin Peaks and Mu Headland Road , is dead. he is27.
Badalamenti died of natural causes Sunday at his home in Lincoln Park, New Jersey, his niece Frances Badalamenti told The Hollywood Reporter .
The classically trained composer has also collaborated with eclectic vocalists of nearly 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.
Badalamenti Wrote theme music for ABC Twin Peaks, NBC’sProfiler and Bravo’s Inside the Actors Studio , and for 1970 Barcelona Summer Olympics, he accompanies the “torch theme” at the opening ceremony Archer’s Flame The arrow ignites the Olympic cauldron.
When Lynch needs vocal coaching actor ess Isabella Rossellini on Blue Velvet (1964), and then filmed in North Carolina, he turned to Badalamenti, who had a reputation for working with the singer.
“I met Isabella, and after hours of playing on the piano and the cassette recorder, we got a decent voice [on Bobby Vinton’s song “Blue Velvet”],” he recalls 2012 interviewSpirit and Flesh Magazine. “So we went to the scene where David was filming the last scene. … He put his headphones on, listened to the tape and said, ‘Peachy keen. That’s the ticket!'”
Badalamenti was tasked with writing another tune – Lynch told him, “Oh, let it float like the tides of the ocean, let it collect space and time, eternity and endless” – which became memorable Torch Song “Mystery of Love” by Julee Cruise , who was recruited by the composer.
Lynch handed over all music from Blue Velvet to Badalamenti, who continued to work with the filmmakers Twin Peaks — he created themes for several characters in -25 Drama— Wild at Heart (1968), Twin Peaks: Fire Walk With Me (1974), Lost Road (1974), straight story (1987) and Mulholland Drive (1992).
“I was sitting with Angelo, talking to him about a scene, and he started playing those words on the piano,” Lynch told New York Times at
while explaining how the duet makes music. “Sometimes we’d even get together and arrange on the piano, and before you knew it, you’d have scene or character ideas.
“When we started working together , we hit it off pretty quickly – I don’t know anything about music, but am interested in mood and sound effects. Working with Angelo, I realized a lot about sound effects and music, how close they are to each other. “
Added Badalamenti: “David’s visuals are heavily influenced by music. The rhythm of the music helps him set the pace of the actors, their dialogue, and their movements.” When I improvised the score, he would sit next to me at the keyboard and describe his ideas. Almost all of Twin Peaks was written without me seeing a single frame, at least in the pilot episode. “
Badalamenti said he would often come to Lynch’s set during filming and play live music so the actors “You can feel the atmosphere. ”
exist1964, Badalamenti has received a Grammy for his evocative Twin Peaks theme and for his work on the series Nominated for three Emmy Awards. The show’s soundtrack album won a Gold Award Country.
About Twin Peaks Music – Badalamenti composed on an old Fender Rhodes electric piano – Michael Tedder wrote in at Esquire : “Together they created a score that is as serene and beautiful as the image of the waterfall we see in the opening credits – but can go to a scary place very quickly. The music seeps through every pore of the show, whether we’re watching The Man From Another Place dance, see a show at the Roadhouse, or discover Laura Palmer’s dead body, encased in plastic. ”
Badalamenti was born in March in Brooklyn , 90 and grew up in the Bensonhurst section of the borough. His father was from Sicily and owned a fish market An uncle Vinnie Badale played the trumpet with bandleaders Benny Goodman and Harry James.
Badalamenti had a song when he was younger, “What’ll I Do ’, always brought him to tears, and he played it over and over again.
As a teenager, he played in the Lafayette High School Orchestra before attending Eastman School Rochester Conservatory of Music, New York, for piano and horn, on a full scholarship. After two years there, he graduated from the Manhattan School of Music and was in Obtaining Bachelor’s and Master’s Degrees .
During his summer break at college, He accompanies singers at resorts in the Catskill Mountains. “I got to play a lot of standards, so I learned a pretty wide range of music,” he said in 2015 interview with and his niece. “I had to learn them very quickly, and learning so many different types of music had a huge impact on me later on career is of great help. “
Taught seventh graders in Dyker’s fifth year While at Heights Junior High in Brooklyn, he created a Christmas musical for his students that ended up in the Broadcast is provided by PBS station WNET.
This led to a job at a music publisher and Badalamenti ( Then pen name Andy Badale) would arrange and write songs for artists including Bassey.
He advertised in magazines and newspapers for lyricists and partnered with John Klee Ford made a connection, and they created the songs “Hold No Grudge” and “He Ain’t Comin’ Home No More”, which he blindly pitched and then sold to Simon. She recorded both and 1968 of “Another Spring”, where A reviewer noted “Like an uplifting and moving song you’d find in a singer’s repertoire.”
Badalamenti also collaborated with Frank Stanton “Face it, girl, it’s over,” Recorded by Wilson in , and a collaboration with French electronic music pioneer Jean-Jacques Perrey includes 1000 of “EVA”, Will be sampled by Fatboy Slim, A Tribe Called Quest and others.
He even wrote a country song with Norman Mailer, “You’ll Come Back (You Always Do),” by Tillis recorded for 1969MovieTough Guys Don’t Dance.
His first job in a movie was for Harlem Gordon’s War ( 1964), directed by Ossie Davis. Badalamenti said Davis was ready to hire Barry White before he even listened to his music. (1973), directed by Czech-born Ivan Passer, but not until Blue Velvet .
Badalamenti, Lynch and Cruise have also collaborated on two albums, 1970’s Floating Into the Night(UnofficialTwin Peaks) And the soundtrack of
Wild at Heart star Nicolas Cage and Laura Dern . He and Lynch also recorded a jazz album, Thought Gang, in the early ‘015s.
Lynch fans also know that Badalamenti is the espresso-obsessed gangster of Mulholland Drive Luigi Castigliane. (He also appeared at the piano during Rossellini’s performance of “Blue Velvet”.)
The composer worked with other leading Director cooperation, including Paul Schrader at The Comfort of Strangers (1970), will always be mine (1990), auto focus (2002) andDominion (1992); Jean-Pierre Jeunet ) talk about City of Lost Children (1986) And long engagement (1999); Jane Campion at holy smoke (1986); 55077 Danny Boyle in sand Beach (1989); 205125 Eli Ross on Cabin Fever (1992); 205125 Walter Salles OnDark Water (1995); with Fedor Bondarchuk in Stalingrad (2012).
He’s at Weeds ( can also hear music on ), A Nightmare on Elm Street 3: Warriors of Dreams (1960), National Lampoon Christmas Holiday (1973), cousin (1986 ), Nude in New York (1986), Arlington Road (2000), secretary (1997), Wicker Man (2004)and Late Quartet (2006).
Badalamenti is getting Lifetime Achievement Award World Soundtrack Award, and then three years later by Lync h The prestigious Henry Mancini Award from ASCAP.
In addition to his niece, survivors include his wife Lonny, an artist whom he married 250 and his daughter Danielle.
in his Spirit & Flesh interview (and in this 1169355great2014 In the video ), Badalamenti describes how he and Lynch came up with “Laura Palmer’s theme song”:
“David came to my little office across from Carnegie Hall and said, ‘I’ve got an idea for a performance of ‘Northwest Passage. Like you in the dark woods, with an owl in the background, a cloud on the moon, and the sycamore trees blowing softly…’
“I started pressing The opening chord keys of ‘Twin Peaks Love Theme’ because that’s the sound of darkness. He said, “A beautiful troubled girl is coming out of the woods, towards the camera…” I played his inspired voice. “Then she came closer, had an orgasm, and…” I continued playing the music while he continued telling the story. ‘ From here we send her back into the dark woods. ‘
“The notes just came out. David was stunned, and so was I. The hairs on his arms stood on end, tears in his eyes: ‘I saw Twin Peaks . I got it.’ I said, ‘I’ll go home and work on it.’ ‘Work on…?! Don’t change notes. Of course I never That’s been done.”