来源 :北京民政 2019-11-18 03:40:09|王中王必准



  Our guide to pop and rock shows and the best of live jazz happening this weekend and in the week ahead.

  BILAL at National Sawdust (March 29, 8 p.m.). A onetime member of the Soulquarians, this Philadelphia-born singer, songwriter and producer is well known as a collaborator: He has won a Grammy for his work with Kendrick Lamar and lent his vocals to the likes of Jay-Z and Mac Miller. Bilal himself took a circuitous path as a solo artist after his sophomore album was shelved in 2006. Disenchanted with the industry, he parted ways with his label and began experimenting with jazz and electronic sounds, rejecting the “neo-soul” billing that has followed him for much of his career. The result, heard on recent albums “A Love Surreal” and “In Another Life,” is fluid and inviting. 646-779-8455, nationalsawdust.org

  BROADLY PRESENTS EUPHORIA at Villain (March 30, 8 p.m.). This Vice-owned event space hosts a celebration of International Transgender Day of Visibility, organized by the media company’s female-focused internet channel. Following an afternoon fair for transgender-centered businesses, the evening session will culminate with a dance party hosted by the D.J. Bronze Goddess and the House of LaBeija, one of New York’s oldest drag houses. A performance by Big Freedia — the New Orleans-based rapper and an ambassador of the city’s distinctive bounce style, known for her high-profile collaborations with Beyoncé and Drake — is sure to be a highlight.eventbrite.com

  EARL SWEATSHIRT at Irving Plaza (March 30, 8 p.m.). For years, the rapper Thebe Kgositsile has been fighting against his own founding myth. Kgositsile, who performs as Earl Sweatshirt, got his start with the California collective Odd Future, gaining a following in 2010 as a viral teenage provocateur with an affinity for shock value and gore. Following his first mixtape, Kgositsile’s music started to show more vulnerability. His latest album, an exploratory set titled “Some Rap Songs,” considers family: A standout track, “Playing Possum,” incorporates sampled audio from his mother and recently deceased poet father. Kgositsile’s performance is sold out, but tickets are available through the resale market.212-777-6800, mercuryeastpresents.com

  [Read about the events that our other critics have chosen for the week ahead.]

  EX HEX at Bowery Ballroom (April 4, 8 p.m.). Technically skilled and wildly inventive, the rock nomad Mary Timony is routinely held up as a guitar god. With Ex Hex, the Washington-based trio she has led since 2014, Timony’s style pulls back from the experimentalism she embraced as the frontwoman of the riot-grrrl-adjacent group Helium in the 1990s. Rounded out by the bassist Betsy Wright and the drummer Laura Harris, Ex Hex play more straight-ahead garage rock; their second full-length recording, “It’s Real,” is packed with power chords, revved-up guitar solos and layered vocals — perfect fodder for the group’s notoriously fun live show.212-260-4700, mercuryeastpresents.com

  MATMOS AND KEITH FULLERTON WHITMAN at Pioneer Works (April 4, 7 p.m.). Both acts on this double bill work with experimental hybrids of electronic and organic sound. Since coming together in 1997, Matmos — the duo of Martin Schmidt and Drew Daniel — have obsessed over the materiality of music. They compose by gathering samples from diverse sources, like washing machines, animal cages or amplified nerve tissue; their new record, “Plastic Anniversary,” cleverly comments on the impending environmental crisis by drawing from all-plastic source material. Expect to hear selections from that album at this art center in Red Hook, Brooklyn, as well as the highly technical experiments in ambient and drone from the Brooklyn-based performer Whitman.pioneerworks.org

  DEEM SPENCER at Baby’s All Right (April 3, 8 p.m.). On his earliest releases, this soft-spoken rapper from Queens delivered a sound that might have been described as half-whispered, and half-finished, poetry. Last month’s “Pretty Face” — his first full-length recording — is built on the same melancholy lyricism and lo-fi production that defined previous projects, but it feels more resolute, nudging up the intensity on his heartsick ruminations. Spencer’s performance at this fittingly intimate club in Williamsburg, Brooklyn, is two milestones in one: his first headlining show in New York and the live debut of tracks from “Pretty Face.”718-599-5800, babysallright.comOLIVIA HORN


  BACHIR AND MUSTAPHA ATTAR at Roulette (March 30, 8 p.m.). The Master Musicians of Jajouka, a heritage band from a small village in Morocco, have become an influence on the rest of the world thanks to their work with Western stars such as Ornette Coleman, Bernardo Bertolucci and even the Rolling Stones. They’re defined by the sharp scrawl of the ghaita, a double-reed instrument, and the resounding pound of the tebel drum, which is made of goatskin and struck with wooden sticks. Bachir and Mustapha Attar are the sons of Hadj Abdesalam Attar, who led the Master Musicians when they made their first recordings in the 1960s. At this concert, part of the continuing A World in Trance festival, the Attar brothers will perform alongside three improvising musicians based in the United States: the saxophonist and clarinetist Ned Rothenberg; the saxophonist, vocalist and visual artist Arrington de Dionyso; and the percussionist Ben Bennett.917-267-0368, roulette.org

  BROKEN SHADOWS at the Village Vanguard (through March 31, 8:30 and 10:30 p.m.). The alto saxophonist Tim Berne, an outré doyen of the New York music scene, writes runic, sharp-edged, fiercely desiccated tunes. They’re a lot of fun if you’re the type who likes to question the entire phenomenology of “tunes” or, better yet, “fun.” Broken Shadows, his new band, which is about to release an album on the subscription-only Newvelle Records imprint, is more immediately rambunctious. This music is easy to sing along with, and to move to, partly because the group mostly plays the compositions of Ornette Coleman, and partly because of the personnel: the underappreciated tenor saxophonist Chris Speed, the wily bassist Reid Anderson and the gallivanting drummer Dave King.212-255-4037, villagevanguard.com

  EDDIE HENDERSON at Smoke (March 28-30, 7, 9 and 10:30 p.m.). In big-band jazz and bebop, a trumpeter was often responsible for adding a flare of percussive energy to the upper reaches of a group’s sound. In later forms of jazz, more heavily influenced by funk and soul, the instrument sometimes played more of a steadying role — holding sultry tones, projecting calm — while the rhythm section addressed questions of impact more directly. Eddie Henderson is comfortable in both circumstances, though he is more commonly associated with the jazz-funk movement of the 1970s, when he was known for work in his own bands and those led by Herbie Hancock. He performs here with Donald Harrison on alto saxophone, Peter Zak on piano, Essiet Okon Essiet on bass and Mike Clark on drums — most of whom appeared on “Be Cool,” Henderson’s strong album from 2018.212-864-6662, smokejazz.com

  SUSIE IBARRA at H0L0 (March 31, 7 p.m.). Ibarra plays the drums with cool precision and a sense of architectural awareness that befits a great composer. After all, she’s that too. Always blazing a new creative trail, she will present at H0L0 a fresh project, “Bird Songs,” featuring original music inspired by bird calls, with Jake Landau on guitar and keyboards and Jean-Luc Sinclair on electronics. The cellist Leila Bordreuil and the vocalist and performance artist Lauren Tosswill will open the show with separate solo performances.h0l0.nyc

  MARCUS MILLER at the Rose Theater (March 29-30, 8 p.m.). During the 1980s, Miller was the bassist and musical director in some of Miles Davis’s final bands; he wrote and produced almost every tune on “Tutu,” Davis’s Grammy-winning jazz-pop album from 1986. Here Miller will present a concert surveying the panorama of Davis’s electric period, which stretches back to the late 1960s, in an octet featuring Brett Williams on keyboards, Alex Han on saxophone, Marquis Hill and Russell Gunn on trumpet, Vernon Reid on guitar, Alex Bailey on drums and Mino Cinelu on percussion. Each night’s concert will be preceded by a discussion with Miller at 7 p.m.212-721-6500, jazz.org

  ‘TWO WINGS: THE MUSIC OF BLACK AMERICA IN MIGRATION’ at the Stern Auditorium (March 30, 8 p.m.). The operatic mezzo-soprano Alicia Hall Moran and the pianist Jason Moran, a MacArthur fellow, like to think beyond the idea of multimedia performance. In 2012, with “Bleed,” they transformed a floor at the Whitney Museum of American Art into a zone of convergence and exchange, inviting dozens of performers, scholars and healers to collaborate over a period of days. And on Saturday they will debut “Two Wings,” a community-crafted project that uses the Morans’ own family lore to interrogate the history of America’s Great Migration. The Morans’ fellow performers will include the vocalists Pastor Smokie Norful, Toshi Reagon and Hilda Harris, and the Imani Winds quintet. The historian Isabel Wilkerson will read portions of her definitive account of the Great Migration, “The Warmth of Other Suns.” The concert is part of “Migrations: The Making of America,” a continuing festival produced by Carnegie Hall.212-247-7800, carnegiehall.org GIOVANNI RUSSONELLO




  【大】【宝】【四】【年】【十】【月】。 【哥】【蒙】【御】【驾】【亲】【征】【蜀】【地】,【首】【先】【要】【拿】【下】【的】,【就】【是】【隆】【庆】【府】【剑】【门】【之】【苦】【竹】【隘】。 【历】【史】【上】,【知】【州】【杨】【礼】【亲】【率】【属】【军】,【于】【苦】【竹】【隘】【拼】【死】【抵】【抗】,【最】【终】【血】【战】【成】【仁】…… 【苦】【竹】【隘】【失】【守】,【整】【个】【蜀】【地】【之】【防】【线】,【也】【随】【之】【而】【势】【如】【破】【竹】…… 【只】【是】【这】【次】,【哥】【蒙】【御】【驾】【刚】【抵】【利】【州】,【却】【闻】【剑】【州】【杨】【礼】,【率】【兵】【三】【千】【自】【剑】【州】【出】,【直】【扑】【利】【州】! 【于】【剑】【州】

  【钟】【太】【后】【又】【把】【热】【乎】【乎】【的】【蜂】【蜜】【米】【糕】,【推】【到】【皇】【帝】【面】【前】,【两】【母】【子】【对】【大】【周】【一】【些】【重】【要】【事】【宜】,【都】【交】【换】【了】【意】【见】。 【守】【了】【一】【会】【岁】【之】【后】,【洪】【正】【帝】【还】【是】【先】【回】【御】【书】【房】【去】【休】【息】。 【送】【走】【了】【洪】【正】【帝】,【钟】【太】【后】【这】【才】【懈】【怠】【下】【来】,【歪】【靠】【在】【宝】【座】【上】,【闭】【目】【养】【神】。 【方】【嬷】【嬷】【挽】【起】【袖】【子】,【替】【钟】【太】【后】【拧】【水】【净】【面】,【笑】【道】:“【太】【后】【神】【机】【妙】【算】,【一】【切】【如】【您】【所】【愿】。【以】【后】【我】【们】

  【不】【远】【处】【传】【来】【了】【阵】【阵】【鼓】【声】,【一】【眼】【望】【去】,【尘】【埃】【飞】【扬】,【犹】【如】【千】【军】【万】【马】【在】【奔】【腾】【一】【般】,【但】【定】【眼】【一】【看】,【奔】【腾】【的】【却】【不】【是】【战】【马】,【而】【是】【一】【个】【个】【拿】【着】**【的】【士】【兵】,【以】【极】【快】【的】【速】【度】【一】【同】【向】【欢】【乐】【谷】【奔】【袭】【而】【来】。 “【报】~【报】【告】【少】【主】,【前】【方】【不】【知】【什】【么】【军】【队】,【正】【在】【向】【欢】【乐】【谷】【袭】【来】。”【探】【子】【回】【来】【报】【告】【说】【道】。 “【全】【军】【听】【令】。”【令】【芳】【大】【声】【喊】【到】,“【这】【次】【可】【能】

  【近】【日】,【在】【楼】【塔】【文】【创】【园】【开】【往】【杭】【州】【火】【车】【东】【站】【的】【定】【制】【专】【线】【车】【上】,【一】【位】【女】【学】【生】【突】【发】【疾】【病】【陷】【入】【昏】【迷】,【司】【机】【朱】【军】【波】【及】【时】【开】【车】【将】【人】【送】【往】【医】【院】,【为】【乘】【客】【治】【疗】【争】【取】【了】【宝】【贵】【的】【时】【间】。王中王必准【男】【人】【缓】【缓】【戴】【上】【了】【墨】【镜】,【那】【一】【幕】【幕】【生】【动】【传】【神】【的】【画】【面】【便】【似】【乎】【再】【也】【映】【不】【进】【他】【的】【眼】【底】【了】。 …… 【郝】【小】【满】【一】【手】【捧】【着】【爆】【米】【花】【一】【手】【拿】【着】【果】【汁】【出】【来】,【一】【边】【卖】【东】【西】【的】【柜】【台】【小】【姐】【忽】【然】【拉】【住】【了】【她】:“【哎】,【美】【女】,【我】【们】【今】【天】【正】【在】【搞】【活】【动】【哦】,【一】【元】【就】【可】【以】【抽】【大】【奖】【的】。” 【郝】【小】【满】【着】【急】【赶】【回】【去】,【于】【是】【摇】【摇】【头】:“【算】【了】,【不】【要】【了】。” 【那】【女】【人】【却】

  【罗】【志】【来】【到】【伊】【维】【萨】【站】【的】【能】【源】【中】【心】。 【跟】【地】【球】【上】【专】【门】【需】【要】【太】【阳】【能】【板】【才】【能】【获】【取】【太】【阳】【能】【不】【同】,【整】【个】【伊】【维】【萨】【站】,【都】【是】【太】【阳】【能】【源】【的】【收】【集】【机】【器】。【这】【些】【收】【集】【来】【的】【资】【源】,【会】【跟】【其】【他】【能】【源】【一】【起】,【汇】【总】【到】【能】【源】【中】【心】。 【因】【为】【被】【机】【械】【族】【破】【坏】【了】【绝】【大】【多】【数】【的】【能】【源】【获】【取】【方】【式】,【因】【此】【这】【里】【现】【在】【忙】【得】【一】【批】,【一】【位】【副】【主】【管】【正】【在】【主】【持】【修】【复】【工】【作】。 【见】【到】【罗】【志】


  【他】【刚】【刚】【接】【完】【美】【国】【医】【院】【那】【边】【打】【来】【的】【电】【话】,**【民】【恢】【复】【得】【特】【别】【好】,【已】【经】【能】【独】【立】【下】【床】【走】【动】,【听】【他】【的】【意】【思】【是】【想】【月】【底】【就】【回】【国】。 【公】【司】【里】【的】【事】【唐】【礼】【照】【看】【着】,【刚】【开】【工】【不】【算】【太】【忙】,【一】【切】【也】【有】【条】【不】【紊】【的】【开】【展】【着】。 【安】【子】【航】【和】【安】【妮】【在】【初】【四】【就】【已】【经】【回】【美】【国】,【下】【个】【月】【正】【式】【和】【时】【美】【签】【合】【作】【合】【同】【的】【时】【候】【他】【们】【会】【再】【过】【来】【一】【次】。 【期】【间】【宋】【子】【涵】【打】【过】【两】【个】

  【说】【完】,【也】【不】【等】【白】【小】【鱼】【回】【答】,【徐】【子】【涛】【便】【匆】【忙】【离】【开】。 【他】【心】【里】【堵】【得】【慌】。 【一】【是】【因】【为】【唐】【薇】【薇】。【他】【嫉】【妒】【白】【小】【鱼】【能】【大】【方】【地】【跟】【唐】【薇】【薇】【靠】【近】。 【二】【是】【害】【怕】。【看】【到】【白】【小】【鱼】【那】【副】【悠】【然】【的】【神】【态】,【他】【越】【是】【觉】【得】【白】【小】【鱼】【深】【不】【可】【测】。 【特】【别】【是】【在】【白】【小】【鱼】【入】【职】【的】【那】【一】【天】,【公】【司】【突】【然】【莫】【名】【其】【妙】【地】【宣】【布】【两】【件】【事】。 【二】【者】【之】【间】【是】【有】【联】【系】【还】【只】【是】【纯】【属】【巧】

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