Ronee Blakley
| Ronee Blakley | |
|---|---|
Blakley in 1976.
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| Born |
August 24, 1945 Nampa, Idaho, U.S. |
| Occupation | Actress, singer |
| Spouse(s) | Wim Wenders (m. 1979–81) |
| Website | http://roneeblakley.com/ |
Ronee Sue Blakley (born August 24, 1945) is an American entertainer. A singer-songwriter, composer, producer and director, she is perhaps best known for her work as an actress. Her most well-known role was the fictional country superstar Barbara Jean in Robert Altman's 1975 film Nashville, for which she won a National Board of Review Award for Best Supporting Actress and was nominated for an Academy Award. She also had a role in A Nightmare on Elm Street (1984).
Blakley was born in Nampa, Idaho, the daughter of civil engineer Ronald Blakley and his wife Carol (née Brown; 1923–2009). Blakely has three siblings, brothers John and Stephen Blakly, and a sister Marthetta "Muffie." Ronee's brother Stephen died of AIDS in 1996, at age 44. Carol Blakely became a champion of gay rights after her son came out to their religious family. Blakley’s early years were spent in the Pacific Northwest where she was selected as Idaho's representative to Girl's Nation while in high school. She studied at Mills College, Stanford University, and went to New York to attend Juilliard for post-graduate work.
Blakley began in New York improvising vocally with Moog synthesizers in Carnegie Hall to music by Gershon Kingsley. Her first soundtrack was composed for the 20th Century Fox film Welcome Home, Soldier Boys and earned her a spot in Who's Who in America.
In 1972, Blakley released her self-titled debut album on Elektra Records. The album featured Blakley’s original songs, self-accompanied on piano. Blakley also made the musical arrangements. The song “Bluebird” featured a duet with Linda Ronstadt. Blakley's songs were published by her own company, Sawtooth Music.
Her second album, Welcome was released on Warner Bros. in 1975, produced by Jerry Wexler and recorded at Muscle Shoals Sound Studio in Alabama. The Los Angeles Herald Examiner wrote it was a "near perfect album."
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