Salt Lake Magazine Ops: Two great wine events on the same night! Take your pick...2016-02-10T22:57:00+00:00Mary Brown Malouf/blog/author/mary/<p class="p1"> Time to toss your lucky coin, throw your I Ching sticks, get serious with eeny-meeny-miney-mo or consult your psychic—I’m presenting you with a<em> really hard decision</em>. </p> <p class="p1"> On February 17, two of my favorite places are presenting stellar wine-tastings and as far as I know, you still can’t be in two places at once. </p> <p class="p1">The choice is yours, but I wouldn't miss more than one of these!</p> <p class="p1"><strong><em><img alt="" height="500" src="/site_media/uploads/Feb%202016/wagnerwines.jpg" width="500"> Behind the first door:</em></strong></p> <p class="p1"> At <a href="/admin/blog/blogpost/add/">BTG</a>, Mike Gioia of Caymus Vineyards and the Wagner Family of Wines along with Francis Fecteau of Libation will be celebrating the 25th anniversary of Conundrum, which some call “California’s first great blended white wine” as well as pouring Chuck Wagner’s new Argentine Malbec, Jenny Wagner’s California Merlot and Charlie Junior’s new Mer Soleil Chardonnay from Santa Barbara. $40 Wine; $30 Food; call <a>801-359-2814</a> for reservations.</p> <p class="p1"> Chef Fred Moesinger will be serving five courses to pair with the wines: </p> <p class="p2">Conundrum White, 25th Anniversary, California 2012</p> <p class="p2"><em>Gambas al Ajillo</em></p> <p class="p1"> Mer Soleil, Chardonnay Reserve, Santa Barbara, 2012</p> <p class="p2"><em>Brown Butter Risotto   Grilled Butternut Squash   Crispy Shallots </em></p> <p class="p1"> Emmolo, Merlot, Napa Valley, 2012</p> <p class="p2"><em>Duck Confit Cassoulet   Fig Gravy</em></p> <p class="p2"> Caymus, Red Schooner, Voyage 2, Malbec, Mendoza/Napa</p> <p class="p2">G<em>rilled Beef Chimichurri   Black Pepper  Asiago  Crispy Potatoes</em></p> <p class="p1">Conundrum, Red, California, 2013</p> <p class="p2"><em>Dark Chocolate Mousse    Espresso Creme Anglaise   Toasted Chopped Almonds</em></p> <p class="p1"> </p> <p class="p2"><strong><em><img alt="" height="194" src="/site_media/uploads/Feb%202016/shallowshaft.jpg" width="259">And behind the second door: </em></strong></p> <p class="p1"> At <a href="">Shallow Shaft</a>, an event titled “Single vineyard wines from Sea Level to High Altitude” features wines from Poseidon Vineyards (at sea level) and Obsidian Ridge (2,640 feet high in the Mayacamas.) Arpad Molnar, founder of  Tricycle Wine Partners, will be on hand to discuss the wines. $60.00; Dinner $65.00; call <a>801-742-2177</a> for reservations</p> <p class="p1"> Wine paired with five courses: </p> <p class="p1"> Poseidon Vineyard Estate Chardonnay 2014</p> <p class="p3"><em>Scallop Bouride: Red Bell Pepper Rouille, Crostini</em></p> <p class="p4"> Poseidon Vineyard Estate Pinot Noir 2013</p> <p class="p3"><em>Smoked Duck Spring Roll: Shitake Mushroom, Scallion, Duck Cracklings, Cherry Ponzu</em></p> <p class="p3">Raspberry Thai Basil Sorbet</p> <p class="p3"> Obsidian Ridge Half Mile 2012</p> <p class="p3"><em>Venison Osso Bucco: Winter Root Vegetables, Fried Leeks, Cabernet Reduction</em></p> <p class="p3">Obsidian Ridge Cabernet Sauvignon 2013</p> <p class="p3"><em>Dark Chocolate Pudding: Meringue, Huckleberries, Sea Salt</em></p>The Pig and I: Hands-on butchering at Beltex Meats2016-02-10T13:57:00+00:00Mary Brown Malouf/blog/author/mary/<p>Two hundred and thirty-eight pounds of dead pig lies on the table in front of me.</p> <p> Fortunately, not far away, is a table set with delicious rillettes, sausage, pate and salumi (also dead pig.) And wine. Fortification for what the four of us are about to do: Break down this pig carcass into edible portions of chops, hams, bacon, tenderloin, cheeks and grind meat. Philip Grubisa, owner and main butcher at <a href="/admin/blog/blogpost/add/">Beltex Meats</a>, is leading the class. Grubisa worked with Chef Mark Sullivan at Spruce, was Executive Chef at The Farm, worked with Briar Handley at Talisker on Main and staged at The Fatted Calf. </p> <p><img alt="" height="500" src="/site_media/uploads/Feb%202016/beltexphilip2.jpg" width="375"></p> <p> He starts by sawing off the head, then cuts out the cheeks, one of the most prized cuts on a hog.</p> <p> “But there are only two per hog,” he reminds us. Customers come in wanting, say, eight cheeks to serve at a dinner party. That means something has to be done with the 1,000 pounds of pig left over from the eight cheeks. “We put the cheeks aside until we have enough to sell,” says Grubisa.</p> <p> Meanwhile, he sells the rest of the pig—his butcher shop is committed to selling the whole animal. He gets in four hogs a month from <a href="">Christiansen's Family Farm</a> and one or two cows a month from <a href="">Pleasant Creek Ranch</a>. In spring, he gets local, sustainably raised lamb. And unlike conventional grocery store butchers, which concentrate on the popular cuts—loin, mostly chops and steaks—he sells virtually all of every animal. By the time we have finished cutting up the front of our pig American-style, and the back of the pig, European style, there is only a handful of scraps, mostly glands, left over.</p> <p><img alt="" height="375" src="/site_media/uploads/Feb%202016/beltexphilip.jpg" width="500"></p> <p> The students in this Monday night class are chefs and amateurs serious about their food. For those of us (all of us) accustomed to buying pre-cut meat in plastic wrappings, it's enlightening to understand just where those chops, steaks, ribs and loins fit into a real animal's anatomy. At first we watch as Grubisa wields his knife, saw and fingers. Then we each get a turn with the tools. </p> <p> “You want to hear the knife against the bone,” says Grubisa, as he shows us how to cut along the chine. “That way, you know your yield is going to be high.”</p> <p> He peels the fat apart from the muscle with his hands, probing with his fingers and finding the natural break. Again, using your hands ensures a good yield—less meat is wasted. There are added benefits: “A butcher's hands are soft,” he says. “You're rubbing them in fat all day.”</p> <p> You can see the different kinds of fat and the distinct textures, the soft leaf fat usually rendered for lard and the stiffer back fat cured to make lardo, the luxurious “pig butter” beloved by the Italians.</p> <p>Grubisa cuts off the thick skin. Before the pig is butchered, it's blanched in boiling water to get the bristles off, with mixed results. “If it's nice and white, we make it into cracklings,” says Grubisa. “If it still has some little bristles, we make it into dog treats. The dogs never complain about a little hair.”</p> <p> You don't have to cut up your own pig to enjoy Beltex's handcut meats. You can sign up for a “meat share,” like a CSA share: Ten pounds of meat, various cuts, all from animals as local and ethically raised as possible. Or just drop in the small shop. Try the bacon.</p> <p><img alt="" height="500" src="/site_media/uploads/Feb%202016/beltexglen.jpg" width="375"></p> <p> Go to <a href=""><em></em></a> for more information about Beltex, which, by the way, is named after a hybrid sheep, a cross between a Belgian and a Texel, mainly raised in Britain. It's known for its heavy hindquarters. </p> <div class="mod"> <div class="_eFb"> <div class="_mr kno-fb-ctx">511 900 S, Salt Lake City, UT 84105</div> </div> </div> <div class="mod"> <div class="_eFb"> <div class="_mr kno-fb-ctx">Phone:<a class="fl r-iT9SND7Ppogk" title="Call via Hangouts">(801) 532-2641</a></div> </div> </div>Liquor vs. Lege: Update2016-02-10T00:33:00+00:00Glen Warchol/blog/author/glen/<p><strong><img alt="" height="263" src="/site_media/uploads/Feb%202016/dabcbroken.jpg" width="350"></strong></p> <p><strong>TASTINGS:</strong> After three years of pushing, Rep. Gage Foerer’s HB228 that would allow distilleries to offer tastings of their hooch to the public (wineries and breweries can already do this) cleared the House Business and Labor Committee and is on its way to the House floor.</p> <p>“We have hamstrung these manufacturers because we have prohibited them from offering samples,” Froerer explained to the committee. “I doubt a person would buy a new flavor from Baskin Robbins without a trying a sample.”</p> <p>The tastings would be closely regulated, he said: “No one is going to go into that manufacturer thinking they are going to have a good time getting drunk off samples.”</p> <p><strong>ZION CURTAIN:</strong> Undeterred that Rep. Kraig Powell, a Republican who represents a ski resort-infested area seems ready to throw in the towel on his proposal, HB76, that would bring down the much-maligned “Zion Curtain,” Sen. Jim Debakis, a Democrat who represents Salt Lake City’s restaurant- and bar-rich environment, is making his own nearly identical attempt at wall busting in SB141. The 7-foot barrier is meant to keep children from seeing the fun that surrounds drink making and thus become alcoholics. Others see the barrier as making Utah look idiotic and ornery towards fun-loving tourists.</p> <p>The Zion Curtain’s downfall is a <a href="/blog/2016/01/11/dabc-a-peculiar-institution/" target="_blank">priority</a> of the Salt Lake Area Restaurant Association, but lawmakers don’t seem <a href="/blog/2016/02/01/lege-1st-wave-of-alcohol-bills/" target="_blank">motivated</a> to discuss the issue—or any other alcohol-related bills for that matter.</p> <p>Though lawmakers, who are overwhelming members of the Church of Jesus Christ Latter-day Saints, deny the church has any special power over their decisions, it’s obvious that no liquor law will move very far this session until church lobbyists give the OK.</p> <p>Last year, lawmakers put a moratorium on any liberalization of alcohol laws after a church leader argued against it.</p>ARTlandish At UMFA2016-02-08T19:45:00+00:00Salt Lake magazine/blog/author/webintern/<p>The Utah Museum of Fine Arts (UMFA) introduces its newest series, featuring inspiration from the world around us in <em>ARTLandish: Land Art, Landscape, and the Environment</em>. Explore our relationship with nature and landscape with this month’s series of talks, films, meet-ups and more. <img alt="" height="211" src="/site_media/uploads/Feb%202016/alslideshow1.jpg" width="640"></p> <p>The <em>ARTlandish</em> series will be hosting a lecture with Mark Brest van Kempen, environmental artist, held on Tuesday, February 9<sup>th</sup> beginning at 7 p.m. Kempen will discuss his work and the influence that Land art has had on him.</p> <p>A one-night-only screening of <em>Land Art on Film</em> will be shown on Thursday, February 25<sup>th</sup> at 7 p.m. Eight feature films from various artists featuring visual documentation that capture artists interventions in the landscape from around the world.</p> <p><img alt="" height="211" src="/site_media/uploads/Feb%202016/alslideshow2.jpg" width="640"></p> <p>Both events are free to the public and will be held in the Gould Auditorium at the University’s J. Willard Marriott Library.</p> <p><a href="">Click Here</a> for more information on ARTlandish and other upcoming UMFA events.</p>Opening Friday: Fantastical new works from the digital imagination of Salt Lake magazine&#39;s Jarom West. 2016-02-08T17:05:00+00:00Mary Brown Malouf/blog/author/mary/<p>The monthly <a href="">Sugar House Art Walk</a>  has helped hundreds of people connect with the city's burgeoning art scene. The second Friday of every month, businesses all over Salt Lake City's favorite shopping area display art by local artists—rather than viewing art in the rarefied atmosphere of a gallery, art is hung in shops, coffee houses and working businesses.</p> <p>This Friday, from 6—9 p.m., <a href="">Sugar House Coffee</a> kicks off a month-long presentation of conceptual design, art by <a href="">Jarom West</a>. "Conceptual design is creating environments that don't exist," explains West. Think parageography, other worlds, imagination-based characters and landscapes.</p> <p>All the movies that so vividly create other worlds—<em>Lord of the Rings</em>, <em>Star Wars</em>, <em>Avatar</em>, <em>Tron</em>—start with a conceptual designer's vision. Classic science fiction illustrators, like the work of fantasy artist <a href="/admin/blog/blogpost/add/">Frank Frazetta</a>, one of West's inspirations, worked in traditional media like paint. Like "visual futurist" <a href="">Syd Mead</a>, West started working in paint (West worked with oils; Mead worked in gouache) and moved on to computer-generated imagery.</p> <p>It's called digital painting and generates a very organic image using the tools of technology.</p> <p><img alt="" height="281" src="/site_media/uploads/Feb%202016/12622021_956728831079670_4959329545683225033_o.jpg" width="500"></p> <p>That's what's in West's head and what he puts on heavy matte paper via his computer. The group of eight artworks shows a range of vision and varying degrees of reality. Don't miss it. </p> <p><img alt="" height="500" src="/site_media/uploads/Feb%202016/1075500_939991609420059_3939006464300852056_o.jpg" width="384"></p> <p>Born in Idaho, West has lived in Utah for six years, graduated from Utah State University and works here, at <em>Salt Lake</em> magazine. </p>Mary&#39;s Recipe: Asparagus Tips2016-02-08T13:59:00+00:00Mary Brown Malouf/blog/author/mary/<p class="p1">Daffodils and asparagus<span>—sure signs that winter is on its way out. </span></p> <p class="p1"><span>Some prefer thick spears, some prefer thin—we like both, and white asparagus, too. Because asparagus is one of the few vegetables that intensifies the taste called umami, it pairs well with proteins and makes a terrific base for a first course or luncheon dish. </span>To help make asparagus part of your springtime celebrations, we offer four easy-to-make recipes guaranteed to help you herald the season in very good taste.</p> <p class="p1"><span><img alt="" height="381" src="/site_media/uploads/March2014/crabby-asparagus.jpg" width="490"></span></p> <p class="p1"><strong>Crabby Asparagus</strong><strong> </strong><strong> </strong></p> <p class="p2">Dress asparagus with a lemon vinaigrette and arrange on plate. Mix 1 cup lump crabmeat with 1/2–3/4 cup mayonnaise, 3 tablespoons chopped green onion and the grated zest of one lemon. Season with salt and white pepper. Top asparagus spears with crab salad and garnish with a lemon slice.</p> <p class="p2"><img alt="" height="347" src="/site_media/uploads/March2014/bacon-asparagus.jpg" width="490"></p> <p class="p1"><strong>Bacon Asparagus</strong><strong>  </strong></p> <p class="p2">Make a vinaigrette combining one part rice wine vinegar with three parts canola oil. Dress the asparagus in the vinaigrette and arrange on the plate. Cross two slices of cooked bacon on top of asparagus spears on each plate and sprinkle with sliced toasted almonds. (For a supper dish, top with a poached or fried egg.)</p> <p class="p2"><img alt="" height="343" src="/site_media/uploads/March2014/pink-asparagus.jpg" width="490"></p> <p class="p1"><strong>Pink Asparagus </strong><strong> </strong></p> <p class="p2">Fold 3–4 tablespoons of tomato paste into 1 cup of whipped cream. Season with a pinch of smoked paprika. Place a dollop of tomato cream on asparagus and scatter with a handful of halved grape tomatoes.</p> <p class="p1"><span><img alt="" height="311" src="/site_media/uploads/March2014/asparagus-nicoise1.jpg" width="490"></span></p> <p class="p1"> </p> <p class="p1"><strong>Asparagus Nicoise   </strong><strong> </strong></p> <p class="p1"> </p> <p class="p2">Dress asparagus with vinaigrette and arrange on the plate. For each serving, slice small boiled red-skinned new potatoes and arrange around asparagus. Scatter with whole or sliced black olives, a tablespoon of chopped scallions and 1/2 of a hardboiled egg, chopped.</p> <p class="p2"><em>Photos by Adam Finkle</em></p>Valentine&#39;s Day Blooms2016-02-08T11:42:00+00:00Salt Lake magazine/blog/author/webintern/<p>Bring on the love. There is nothing more romantic than being surprised on Valentine's Day with a fresh, fragrant bounty of flowers. Florists are ramping up for the big day, including one of our favorites: Nicole Land of <a href="" target="_blank">Soil &amp; Stem</a>.</p> <p><img alt="" height="372" src="/site_media/uploads/Feb%202016/soil2.jpg" width="500"></p> <p>Young sproutlet Nicole Land is co-hosting a Valentine's fest at Madewell City Creek February 11th from 6-8pm. Don't miss out on the delicious sweets (crafted by the artful hand of <a href="" target="_blank">Tess Comrie</a>), the spectacular stems or the Madewell deals. See you there.</p> <p>Follow Utah's other gifted florists to see what they have in store for Valentine's Day. Here are a few of our favorites:</p> <blockquote> <ul> <li>Tinge Floral (<a href="" target="_blank">@tingefloral</a>)</li> <li>St. Thomas Floral Design (<a href="" target="_blank">@stthomasfloraldesign</a>)</li> <li>Blooms &amp; Blossoms (<a href="" target="_blank">@bloomsandblossoms</a>)</li> <li>Le Fleur Salt Lake (<a href="" target="_blank">@lefleursaltlake</a>)</li> <li>La Fete Floral (<a href="" target="_blank">@lafetefloral</a>).</li> </ul> </blockquote> <p><em>Photography by <a href="" target="_blank">Erich McVey</a></em></p>The Revamping of Jukebox the Ghost: on Writing, Touring, Staying Sane2016-02-08T09:52:00+00:00Salt Lake magazine/blog/author/webintern/<p class="p1">Not too many indie pop bands have done what <a href=""><strong>Jukebox the Ghost</strong></a> has in the music biz; that is, they’ve been around for 12 years and counting, have produced a steady stream of maturing albums, all while retaining their original members. </p> <p class="p1"><img alt="" height="334" src="/site_media/uploads/Feb%202016/jukebox_the_ghost_by_felix_kunze.jpg" width="500"></p> <p class="p2">Since meeting at alma mater George Washington University, Ben Thornewill (piano, vocals), Tommy Siegel (guitar, vocals), and Jesse Kristin (drums, vocals) have produced 5 albums (including a reboot of their 2014 self-titled LP) and toured with big names with cult followings who share their sensibilities for hook-laden, earnest, and affective music: most notably, <a href=""><strong>Jack’s Mannequin</strong></a>, Ingrid Michaelson, and Ben Folds.</p> <p class="p3">As they jangled along in their tour van, Siegel caught me up on the band’s latest projects, eccentric fans and how best to “not to go insane.” They will headline <a href=""><strong>The Complex</strong></a> on Tuesday, February 16 with supporting acts <a href=""><strong>The Family Crest</strong></a>.</p> <p class="p3"><img alt="" height="500" src="/site_media/uploads/Feb%202016/jukeboxtheghost_album_cover.jpg" width="500"></p> <p class="p4"><strong>CHARISSA CHE: How’s the tour going so far? </strong></p> <p class="p3"><strong>TOMMY SIEGEL: </strong>We’re only 3 weeks in and it’s been killer. We’ve joined up with The Family Crest, a great band that’s gonna be with us for the rest of the tour. We have a good feeling!</p> <p class="p4"><strong>CC: I saw on Twitter that you were doing doodles for fans while on the road. Is that a tradition? </strong></p> <p class="p3"><strong>TS:</strong> Yeah, it’s been a thing I’ve been doing for years now. It started just as a very casual thing, then enough built up that I made a book that’s like a compilation of all the fan doodle requests. So now it’s just kind of become a way to engage with fans while we’re on tour, and a way for me to not go out of my mind of boredom. </p> <p class="p4"><strong>CC: What’s the weirdest, quirkiest doodle request you’ve gotten? </strong></p> <p class="p3"><strong>TS: </strong>The weirdest ones are generally ones that have like a vaguely sexual vibe to it, like there was somebody who asked for the members of the band as characters of <em>Fifty Shades of Grey,</em> which I declined. There’s a lot of those in that category. </p> <p class="p4"><strong>CC: But that’s a bold request!</strong></p> <p class="p3"><strong>TS:</strong> It’s a <em>very</em> bold request.</p> <p class="p4"><strong>CC: What else do you do to pass the time while on the road? </strong></p> <p class="p3"><strong>TS: </strong>A lot of reading. Reading and band doodles. And then going crazy. </p> <p class="p4"><strong>CC: What are you reading? </strong></p> <p class="p4"><strong>TS: </strong>Well, I love Western novels. I just finished a Larry McMurtry book called<em> Streets of Laredo. </em>Now, I’m reading the autobiography of the drummer of The Grateful Dead.  </p> <p class="p4"><strong>CC: I first came across you guys from your song, “Postcard,” and from there, I was hooked. What went into writing it?</strong> </p> <p class="p1"><strong>TS:</strong> Ben had a really simply demo of it. That was actually the first song from the new record that we started working on. It was kind of the first time where we didn’t really have a lot of arrangement for it yet – we just started working on it in the studio immediately. So it all came together in a more piecemeal, fluid way than we would normally do, which resulted in a lot of different sounds that weren’t on our old records, like electronic loops and drums; a lot of synthetic textures. So, “Postcard” was the inspiration for the sound of the rest of the record in terms of what we could do, and we decided to go from there and see what else we could explore. </p> <p class="p4"><strong>CC: People have said that leading up to your most recent album that you’ve become more “pop.” Would you say that has some connotation to it?</strong> </p> <p class="p1"><strong>TS: </strong>I think people use the term, “pop” in confusing ways that have a lot of social baggage attached to it, that’s does not necessarily have anything to do with music itself. There’s a form we’re used to hearing in Western music that people react to and it generally has a verse; pre-chorus; chorus; maybe a post-chorus; maybe a bridge. To me, that’s all pop music is; music that adheres to popular form. </p> <p class="p1">But the new record was a deliberate attempt to make it sound bigger and more modern than our previous stuff. We wanted to see if we could do it. And I know there are probably bands who have reacted to it negatively, but I think overall, it went over well. </p> <p class="p4"><strong>CC:</strong> <strong>How did you revamp your self-titled album?</strong></p> <p class="p1"><strong>TS: </strong>There’s a bonus track. And Ben’s a classically-trained pianist so we did a full bonus album of classical, abstract interpretations of the songs in the record. He took the melodies from the original and turned them into improvisational, classical pieces. </p> <p class="p4"><strong>CC:</strong> <strong>A lot of the songs feel very autobiographical. Do they come from first-hand experiences, at least on your end?</strong></p> <p class="p1"><strong>TS: </strong>Yes and no, kind of abstractly. In my mind, writing a song is like writing a book. When [you] read a fictional book, you draw from your own life, ‘cause you have to. That’s your own experience of the world. But it might be a heightened or altered version of what you’re going through. </p> <p class="p4"><strong>CC:</strong> <strong>“The Great Unknown” is made really emotive by the piano, and evokes Jack’s Mannequin. Do you find that you and the artists you tour with feed off of each other in your songwriting?</strong> </p> <p class="p1"><strong>TS: </strong>You know, I think so, but in a subconscious way. Maybe less in songwriting and style and more in instrumentation and live shows. But there’s a couple bands we’ve played with that opened us up to the idea of using electronic drums live, and synthesizer samples: more modern toys that we’d shied away from. </p> <p class="p4"><strong>CC: Do you have a favorite band that you’ve toured with?</strong></p> <p class="p1"><strong>TS:</strong> So many. We’ve been touring for so long and had so many great tours. Jack’s Mannequin was a great band; Ben Folds and Guster were great, Adam Green (The Moldy Peaches). Honestly, I can’t even think of one I would smack talk. We’ve been touring since 2007, and we’ve had a really good ride. </p> <p class="p4"><strong>CC: It’s really rare to see a band that has been at it for as long as you have, and kept its original members. Would you say there’s a formula to your longevity? </strong></p> <p class="p4"><strong>TS:</strong> I think it helps that we were friends before we started taking music seriously. We all went to college together and were playing gigs and writing songs, but there wasn’t any pretense of, “Oh, we’re gonna make a living off of this.” We were doing a lot more hanging out than we were performing together. And I think that created a foundation that has stuck around, where at the end of the day, the human relationship matters more than the music does. </p> <p class="p4"><strong>CC: Have you seen your fanbase change over the years? And if so, has it surprised you? </strong></p> <p class="p3"><strong>TS: </strong>More than anything, what surprises me is that the audience stays the same age while we kept getting older. It’s kind of stayed in the 16-25 range. Which is good; a fanbase that gets older is kind of a bad thing (laughs). It sort of means your time is limited. </p> <p class="p4"><strong>CC: But if they get older with you, that can also mean they’re following you, right? </strong></p> <p class="p3"><strong>TS: </strong>Well, I mean, those people stick around, but as you get older, you go to less concerts. It’s not good to have a fanbase that’s all in their 40s and 50s ‘cause you’re gonna have a seated show, let’s say (laughs). </p> <p class="p4"><strong>CC: What can audiences expect in Utah? </strong></p> <p class="p3"><strong>TS: </strong>We’ve had great shows in the past [at The Complex], and we’ve got a new set and tricks up our sleeve. We’re making a live record on this tour, too, so we’re recording every show that we’ll hopefully use for later on.<strong> </strong>It’s probably gonna our like, 15<sup>th</sup> show in Salt Lake City. </p> <p class="p4"><strong>CC: So what direction do you see your music going, say in the next 5 years? </strong></p> <p class="p4"><strong>TS: </strong>We’re already starting to work on material for the new record, and I can say that it’s different than our last record. We’re very tempted to go in a more rock ‘n’ roll direction and less of an electronic pop direction. I think we got our fill of that style, for the moment, and we’re ready to make some live-sounding rock music again. </p> <p class="p5"><strong>Listen to Jukebox the Ghost at </strong><a href=""><strong>their official website</strong></a><strong>, and get tickets to see them live </strong><a href=""><strong>here</strong></a><strong>. </strong></p>Review: Ira Glass at Eccles Center2016-02-08T06:02:00+00:00Christie Gehrke/blog/author/ChristieG/<p>Ira Glass came onto the Eccles Center stage on Saturday night surrounded by darkness, “Not seeing creates a power in itself,” he told the sold-out crowd before the house lights came back on.</p> <p> <img alt="" height="480" src="/site_media/uploads/Feb%202016/img_0242_copy.jpeg" width="360"></p> <p>The evening quickly became what can fairly be described as a workshop in storytelling, led by a suited Glass, who paced the stage armed only with an iPad and his trademark spectacles. He played audio clips from his public radio show, <em>This American Life</em>, as well as clips from TV news shows, in an effort to display the contrast between the two mediums.</p> <p>Glass says the benefit of radio is being able to tell the stories with nuance. He claims that being able to see a person allows us to project things onto them in a way that radio does not allow for, “We are a very judgey species,” he said with a shrug.</p> <p>“The job of journalism,” Glass says, “Is not to tell us what's new. It's to tell us what is.”</p> <p>And, Glass claims, his show has found a way to tell us what is in a unique way. In comparing an upcoming <em>This American Life</em> piece to a <em>New York Times</em> article he said, “In their version, everything is told at the beginning. In our version, you know someone got shot. You just don't know why.” And so, he says, this inside-out way of telling stories keeps listeners engaged in the story and has accounted for more than one of those famous NPR “driveway moments”—those times you've stayed in your car to hear how a story ends. </p> <p>As for Glass, the radio host was warm and engaging as he paced the stage, rambling a little, but always getting back to his point, even when he asked the audience about sex in the woods while hiking, even when he waxed poetic about Jeb Bush (“Both syllables of his name just make me sad... and tired.”) and most especially when he zinged the Serial podcast, a podcast born from This American Life (“It's an unsatisfying ending. There's no resolution at all. It's like the first season of Serial,” followed quickly by, “I don't mean that at all. Please don't tweet that!”)</p> <p>At the end of the evening, Glass took a half hour's worth of questions from the audience, and after a recording a Carl Kasell inspired voice mail on a birthday girl's phone and a few other questions, he was asked what the This American Life producers assume about their audience. “It's simple,” he said, “We don't give a f*ck who they are.” As long as they like a good yarn, that is.</p> <p> </p>Robert Breault and Joel Rosenberg’s Paradigm Chamber Orchestra2016-02-08T06:00:00+00:00Salt Lake magazine/blog/author/webintern/<p class="p1">When Robert Breault sang the title role in Wolfgang Amadeus Mozart’s 1780 opera<em> Idomeneo</em> back in 2006, he kept thinking, “We need to do it in Utah.”</p> <p class="p1"><img alt="" height="593" src="/site_media/uploads/robert_breault.jpg" width="475"></p> <p class="p1"><em>Robert Breault</em></p> <p class="p1">Finally, 10 years later, Breault is getting his wish fulfilled. Breault’s University of Utah Lyric Opera Ensemble will be presenting Mozart’s early masterpiece Feb. 12-13 at 7:30 p.m. in Libby Gardner Concert Hall in collaboration with Joel Rosenberg’s Paradigm Chamber Orchestra.</p> <p class="p1">Both Breault and Rosenberg agree that <em>Idomeneo </em>is a magnificent opera. “This is really an incredible piece of music,” Breault said. In Rosenberg’s opinion it’s one of Mozart’s best stage works. “It’s one of his most wonderful operas,” he said, adding that it was also one of the composer’s favorites. “Of all his operas Mozart gave his highest praise to <em>Don Giovanni </em>and <em>Idomeneo</em>.”</p> <p class="p1"><em>Idomeneo </em>is one of those operas that people have heard about but have rarely seen. And until fairly recently it’s been mostly neglected, especially in this country. “It wasn’t done in the U.S. until the middle of the last century,” Breault said. “Now it’s done occasionally.” </p> <p class="p1">The major drawback in staging <em>Idomeneo </em>is its length. Clocking in at over four hours it taxes the endurance of today’s audiences, Breault said. “It’s very hard to cut.” But he and Rosenberg have managed to pare it down to a more acceptable length for a modern audience. “We’re going to be starting in the middle of the second act,” Rosenberg said. “From there on to the end it will be pretty much intact.”</p> <p class="p1"><img alt="" height="700" src="/site_media/uploads/joel_475x700.png" width="475"></p> <p class="p1"><em>Joel Rosenberg</em></p> <p class="p1">Breault added that they’ll be doing some of the cut numbers before the actual performance. “We’ll be featuring some of the arias with piano accompaniment. So if anyone wants to come an hour before the performance they’ll be able to hear them.” The free pre-show concert is at 6:30 p.m. in Thompson Chamber Music Hall in David Gardner Hall.</p> <p class="p1">The opera’s plot deals with Idomeneus (Idomeneo in Italian), the king of Crete, and takes place at the end of the Trojan War. The stage for the three-act opera is set when Idomeneus sails into a terrible storm on his way home from Troy. He swears to Poseidon that if he gets home safely, he will sacrifice the first human he sees. Unfortunately, the first person he encounters when he returns is his son. And therein lies the intricacies of the story, which, contrary to convention, is resolved happily and the opera ends on a joyous note.</p> <p class="p1">It’s a typical <em>opera seria</em>, a serious opera as the name implies, that was the favored operatic form well into the late18th century. Most of George Frideric Handel’s serious operas, such as <em>Giulio Cesare</em>,<em> </em>fall into this category.<em> </em>But by the time Mozart wrote <em>Idomeneo</em>,<em> opera seria </em>was already out of fashion, although it still played a significant role, especially when an opera was commissioned to celebrate or commemorate an important event.</p> <p class="p1">But Mozart being who he was wasn’t content in following the rules for <em>opera seria</em>. In his hands it’s much more than just a vehicle for the singers. “The music is angelic,” Rosenberg said. “It conveys the meaning of the text brilliantly.” </p> <p class="p1">“The melodies are so sophisticated, and his use of harmonies is also very sophisticated,” Breault said. “The music is really progressive, and, strangely, more daring than his later works.”</p> <p class="p1">This will ostensibly be the first performance of <em>Idomeneo </em>in Utah. After doing some research neither Breault nor Rosenberg found any indication that it had been done here in the past. </p> <p class="p1">The production will be costumed and semi-staged with the orchestra onstage to one side, Rosenberg said. It will also be double cast. </p> <p class="p1">He and Breault are excited to be doing this project, their fifth Mozart collaboration. “We have the singers to do it now,” Breault said, adding that he has two strong tenors, David Sauer and Anthony Buck, as well as a strong group of sopranos and mezzo-sopranos who’ll do justice to the music. </p> <p class="p1">Buck is also stage directing the production. “He’s a very experienced director and he has some great ideas,” Breault said.</p> <p class="p1">“We’re hoping for a big audience each night,” Rosenberg said. “For opera lovers this will be a breath of fresh air. They’ll be able to forget the hurry of their lives and enjoy a great sense of leisure.”</p> <p class="p1">Tickets are $15 for general and $10 for students and seniors. Tickets can be purchased at the door prior to each performance. </p>