“Once you’ve heard Beefheart, it’s hard to wash him out of your clothes. It stains, like coffee or blood.” Tom Waites
Mixing a immense number of diverse and divergent musical genres and heritages, including blues, jazz, and atonal experimental and avant-gard sound art, Captian Beefhearts influence pivoted through the music scene from the notables of the 60’s including the Jefferson Airplane and Iron Butterfly to the 21st century’s musical spectrum of pulsing beat guitar/drum rock imagined in the White Strips through the neo-Goth tonal expressions of Scarling. Most within the music community will remember his largest and most influential presence being played out in the punk movement, and included the Sex Pistols, Butthole Surfers, and the like.
Playing out an ambivalent relationship with his close friend and always supporter Frank Zappa, Captain Beefheart at times had to look to his more prosperous long time friend for support, but Zappa, beginning from their close early childhood together, did this willing because of the vibrant inspiration and experimental fusions/production Captain Beefheart carried out and which informed Zappa in many of his own explorations. Though having the Birth name of Don Glen Vliet, he later changed his name to Don Van Vliet, and was to finally hit upon the Musical Stage name of Captain Beefhear through the suggestion of Zappa.
Working with a loose and changing conglomerate of musicians titled in his work the Magic Band, the group put out a dozen albums between 1960 and 1980, but his high mark was the collection of songs, poetry and sounds in his 1969 “Trout Mask Replica”.
After the 1980’s Van Vliet left the world of sound, where he had less success than his peers due to the experimental nature of his fusions, and concentrated on painting.
Though Known primarily for the Pink Panther Series (though the first film of this Series was titled “A Shot in the Dark”), and his work with Peter Sellers, Edwards’ magnificent hallmarks that he bestowed to cinema landscape (and which dealt in his best work with the capture of the gaze by the contradictions of subjective affect and the horrible pressures of the economic within the social) include the hazily melancholy class
Le Jazz Hot (Victor/Victoria) – Julie Andrews