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Randy Newman July 28, 2008

Posted by Jamieson Ridenhour in Uncategorized.
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I’m not sure who the greatest songwriter of the last fifty years is–contenders include Paul Simon, Tom Waits, and yes, even Bob Dylan (though I don’t think it’s him). But it’s probably Randy Newman. He’s certainly the best at the craft of songwriting, and has undoubtedly more formal musical talent than any of those other guys. I’m partial to him because I wrote part of a master’s thesis on him and his musical version of the Faust legend, and because he does really smart untrustworthy narrators, something which is rare in popular songwriting. It’s a shame that most people only know him for Disney soundtracks and “Short People.”

At any rate, he has a new album coming out, his first in nine years. It includes “A Few Words in Defense of Our Country,” which attacks the Bush administration (though that’s nearly bandwagon rhetoric at this point). There’s a pretty good interview over at the Guardian as well.

A new album from Randy Newman is reason to celebrate–as his soundtrack work has expanded, his studio recordings of original songs have been fewer and farther between. The last album of original work was 1999’s Bad Love, which itself followed an 11-year hiatus. Newman is acutely aware of the fact that the majority of the listening public doesn’t warm to his songs, many of which are sung in the voices of bigots, drunks, slave traders, or other undesirables. He also likes to criticize religion, as in the brilliantly cruel “God’s Song,” narrated by a God who admits that “I burn down your cities/how blind you must be/I take from you your children/and you say ‘how blessed are we/you all must be crazy/to put your faith in me/that’s why I love mankind.” Like all of Newman’s work, it delivers biting commentary in the voice of the offender, a device guaranteed to make listeners uncomfortable (and thus pay attention).

Combined with a truly wicked sense of humor (check out the still-relevant “Political Science”), Newman’s ironic character sketches are for my money among the best and smartest music made in the rock and roll era. Go listen to him. He needs you. The new album is called “Harps and Angels.”

Eva Ridenhour–fine artiste July 25, 2008

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Not to be outdone by her rock and roll brother, Eva has just put up an art portfolio over at Artsonia. She exhibits there under the code name Eva187, and would love for you to join her fan club. Here’s an example, a piece called “Party:”

And here’s the artist herself, during our recent trip to Sullivan’s Island, SC:

Yet again, more Blind Mice July 22, 2008

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One more video. This is Ian singing “Broken Love,” which he wrote on the piano and then arranged for the band. This one’s all him–lyrics, music, and arrangement.

More Blind Mice July 22, 2008

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Here’s a video of Ian singing Taj Mahal’s “Chevrolet” last night:

Blind Mice in Mandan July 22, 2008

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Our amazing two-city summer tour kicked off last night in Mandan at the band shell in the park. It was a really fun show–we debuted quite a few new numbers, including four original tunes. “Carving Knife” and “See How They Run” are instrumental pieces written collectively by the band, and Ian sang two of his own compositions, “Broken Love” and “Rush Forward.” We had a great crowd, with lots of dancing in the grass led by Eva the Original Blind Mice Dancer. My new amp sounded great, Aaron wailed on the sax, and Ian sported a shock of blue hair. Ian also picked up a groupie, Aaron’s five-year-old daughter Sarah. Big fun all around. We’re looking forward to our other gigs. I was really proud of Ian, who sang and played and showed, as usual, no fear about performing whatsoever. Here are a few pics:

Artsy July 12, 2008

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We went last night to the opening of our friend Ali’s show at the Bismarck Art Gallery. She is showing jointly with another ND artist, Gretchen Bedermann, who does wonderful, vibrant portraits of her students at Dawson Community College. It was a lovely evening, with a goofily disparate group of patrons wandering amongst the art and food and wine. We talked and noshed and enjoyed ourselves immensely. But the real reason to be there was the art, about which I will now gush (you have been warned).

It was the first time I had seen Ali’s work in person. She’s got a great gallery of work at her web site, but as always it’s a different experience seeing paintings in the flesh, er, paint. For one thing, though this is visual art, the paintings are extremely physical objects. Ali often applies paint in thick squooges that leave textured swathes across the canvas, making me want to reach out and touch the image (an impulse I successfully resisted). She also frequently uses pieces of fabric underneath or within the painting to add texture, which makes everything much more interesting and layered.

But mainly, it’s Ali’s vision and its expression that impacts the viewer most strongly. Her work reaffirms the inherent duality of being human–there’s good and bad in the mortal condition, and often the twain shall meet. One of my favorite paintings of hers carries with it the text: “Sometimes in all the sweetness I hurt,” a statement which goes a long way towards defining the underlying premise of Ali’s art. Even though these paintings seem childlike at first glance, there is something else at work, something at once darker and more fully true. It’s funny, sad, uplifting, painful, exhilarating stuff, full of whimsical images and unexpected emotions. If you are near Bismarck, do yourself a favor and stop by the Bismarck Art Gallery and experience these lovely pieces of pain and joy for yourself. If you’re not, then spend some time looking around the virtual gallery at www.alilarock.com. You’ll be the richer for it.