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

  BROTHERS OSBORNE at Terminal 5 (Jan. 23, 8 p.m.). For those who appreciate their country music with a healthy dose of roadhouse-ready rock, this Maryland-based duo have released a series of up-tempo, guitar-heavy singles that have earned them both critical acclaim (including five Grammy nods) and a considerable following. Their rough-around-the-edges sound — relative to the slick Nashville aesthetic that’s currently in vogue — has endeared them to those country fans alienated by the genre’s radio-driven conformity. The show is sold out, but tickets are available through the resale market. 212-582-6600, terminal5nyc.com

  CAM’RON at S.O.B.’s (Jan. 19, 8 p.m.). This Harlem-based M.C. will bring his collection of irresistible, party-starting tracks to this intimate club in SoHo. As a member of the Diplomats, best known for their earthshaking self-titled anthem, Cam’ron helped shape the sound of uptown rap in the late 1990s. Soon after, his solo efforts translated into two massive crossover hits: the indelible “Oh Boy” and “Hey Ma.” Since then, he has remained beloved among rap aficionados for his bombastic, club-ready tracks, but he has enough memorable songs and collaborations to appeal to those newer to the genre. 212-243-4940, sobs.com

  ANTHONY HAMILTON at Kings Theater (Jan. 19, 8 p.m.). This R&B singer retains the aura of a different time — his rich, smooth voice and defiantly traditional instrumentation have long set him apart from many peers in the genre. His breakthrough in the early 2000s, for example, was fueled by an appearance on the bluesy, rustic Nappy Roots hit “Po’ Folks.” He has continued to draw on everything from classic gospel, with his 2016 single “Amen,” to barbershop harmonies, releasing a series of viral covers of rap hits with his quartet, the Hamiltones. 718-856-5464, kingstheatre.com

  KING PRINCESS at Warsaw (Jan. 23, 7 p.m.) and Irving Plaza (Jan. 24, 7 p.m.). “I hate it when dudes try to chase me,” sings Mikaela Straus at the opening of her hit single “1950,” which she released under her stage name, King Princess — and somehow that’s not even the song’s most memorable line. Catchy, romantic pop confections are quickly becoming the 20-year-old singer-songwriter’s specialty, despite the fact that she has yet to put out a full-length album. What she has created so far, though, stretches the boundaries of pop norms with titles like “Pussy Is God” and stories about women falling in and out of love with one another. Both shows are sold out, but tickets are available through resellers. 212-777-6800, mercuryeastpresents.com

  LARAAJI at the Park Church Co-op (Jan. 24, 7 p.m.). Though this septuagenarian’s big break came with the release of his Brian Eno-produced album “Ambient 3: Day of Radiance” in 1980, in recent years he’s garnered a number of new fans thanks in part to a series of reissues from the trendy electronic label Leaving Records. Laraaji makes serene New Age music on an array of instruments including the zither, the hammered dulcimer and the piano. This meditative set will, fittingly, take place in a Brooklyn church. Rachika S, a local ambient electronic composer, opens. eventbrite.com

  THIS IS HIP HOP at the Apollo Theater (Jan. 18, 8 p.m.). Hip-hop, with its generally spare instrumentation, has long been a good fit for festival-style concerts that squeeze in a number of acts. The legendary lyricist Rakim and a slew of local rap groups active from the 1980s to the early 2000s — the Lox, E.P.M.D., Black Moon and Brand Nubian — will be sharing the turntables and microphones at this old-school affair. For New York rap fans, it’s a head-nodding trip down memory lane; for those new to the genre, it’s a vital history lesson. 212-531-5305, apollotheater.orgNATALIE WEINER


  AARON BURNETT AND THE BIG MACHINE at the Cell (Jan. 19, 9 p.m.). Boisterous and urgent, the tenor saxophonist Burnett sounds like he could be living on the jazz avant-garde of the 1970s, or surviving a cyborg apocalypse three decades in the future. His new album with the Big Machine is “Anomaly,” full of original compositions with a weird, seductive darkness — from ballads to scorching, unsettled postbop. Burnett celebrates the disc’s release with an iteration of the Big Machine that includes Joel Ross on vibraphone, Carlos Homs on piano, Nick Jozwiak on bass and Dan Nadeau on drums. 646-861-2253, thecelltheatre.org

  GEORGE COLEMAN QUINTET at Jazz Standard (though Jan. 20, 7:30 and 9:30 p.m.). Particularly well known for his stint in Miles Davis’s band during the 1960s, this tenor saxophonist uses a lissome, slippery tone to craft melodies of scattered beauty. Now 83, Coleman appears this weekend in a band of straight-ahead jazz stalwarts: Harold Mabern on piano, Yotam Silberstein on guitar, Gerald Cannon on bass and George Coleman Jr. on drums. 212-576-2232, jazzstandard.com

  KEYON HARROLD at the Blue Note (Jan. 21-23, 8 and 10:30 p.m.). Harrold is technically gifted enough to have recorded the Miles Davis trumpet parts heard on the soundtrack to the 2016 film “Miles Ahead.” He’s also a ruggedly modern thinker, whose own most recent album draws inspiration from radio hip-hop, classic quiet storm, cinematic scores and contemporary jazz. He has long performed in the backing bands for figures like Maxwell, Jay-Z and Rihanna, but these days he is focusing more squarely on his own bandleading career. A native of Ferguson, Mo., Harrold here will perform a program titled “Jazz for Reflection, Protest, Justice and Unity.” 212-475-8592, bluenote.net

  INGRID JENSEN QUINTET at the Birdland Theater (Jan. 23-26, 7 and 9:45 p.m.). A trumpeter who’s as versatile as she is vigorous, Jensen released a standout album last year with the tenor saxophonist Steve Treseler. Titled “Invisible Sounds,” it pays tribute to Kenny Wheeler, an influential trumpeter and composer who died in 2014. Jensen and Treseler reinterpret nine of Wheeler’s compositions, which tend to be lyrical and songlike, whether moving at a quick clip or drifting as slowly as cloud cover. Though Jensen is the nominal bandleader for the gigs on Wednesday and Jan. 24, Treseler will also be there; they’ll be joined by Christine Tobin on vocals, Gary Versace on piano, Martin Wind on bass and Jon Wikan on drums. On Jan. 25 and 26, Jensen will revisit the material from her 2003 disc, “Project O,” with the pianist Gary Versace, the bassist Richie Goods and the drummer Jon Wikan. (The tenor saxophonist Joel Frahm will sit in on Jan. 25 only.)212-581-3080, birdlandjazz.com

  KASSA OVERALL WITH JASON MORAN at the Jazz Gallery (Jan. 18, 7:30 and 9:30 p.m.). In December, Overall — a drummer, producer and sometime rapper — launched a monthly residency at the Gallery called “Time Capsule.” He is welcoming a different high-profile pianist each month and will record every performance. The resulting tapes will form a capstone product, a hybrid recording that blends chopped-up elements from different performances. (There’s a visual element, too: Overall is collaborating with the artist Nate Lewis, who will create a work to accompany the record.) For this month’s show, Overall welcomes the eminent pianist Jason Moran. 646-494-3625, jazzgallery.nyc

  MATANA ROBERTS, HALEY FOHR AND SUZANNE LANGILLE at Issue Project Room (Jan. 19, 7 p.m.). In the first show of Issue’s 2019 season, Roberts, an alto saxophonist and multimedia artist, will perform a new work from her continuing series “I Call America,” using video, text and improvised music to address the intersection of societal concerns and personal frustrations. In a separate set, Haley Fohr — best known for her experimental folk outfit Circuit des Yeux — will perform a solo vocal work titled “Wordless Music.” And Suzanne Langille, another singer, will lead a quartet in an exploration of the overlap between vocal and instrumental expression. 718-330-0313, issueprojectroom.orgGIOVANNI RUSSONELLO

  For an overview of January and February’s cultural events, click here.



  17082期胜负彩推荐【俩】【人】【就】【紧】【紧】【的】【靠】【在】【一】【起】,【而】【这】【句】【话】【却】【被】【南】【氏】【父】【母】【听】【到】【了】。 “【你】【们】【刚】【才】【说】【什】【么】?【什】【么】【忘】【记】【她】?” 【唐】【菀】【一】【听】【就】【上】【前】【问】【着】【南】【晶】【晶】:“【是】【不】【是】【心】【月】【回】【来】【过】?” 【南】【晶】【晶】【看】【着】【父】【母】【的】【眼】【神】,【觉】【得】【就】【像】【是】【十】【分】【担】【心】【姐】【姐】【的】【眼】【神】,【她】【就】【点】【了】【点】【头】:“【是】【的】,【她】【回】【来】【过】,【刚】【刚】【走】,【而】【且】【还】【抱】【着】【南】【宫】【侧】【妃】【的】【孩】【子】。” “【那】【她】【人】

  【皇】【上】【已】【经】【有】【很】【久】【未】【上】【朝】【了】,【诸】【位】【大】【臣】【的】【弹】【劾】【却】【日】【日】【不】【间】【断】【的】【往】【光】【耀】【殿】【里】【递】【着】。 “【又】【是】【那】【些】【折】【子】?”【皇】【上】【脸】【色】【苍】【白】【问】【道】。 【内】【监】【看】【了】【看】【门】【外】【有】【些】【担】【忧】【回】【道】:“【还】【有】【皇】【后】【娘】【娘】,【她】【今】【日】【又】【来】【了】,【如】【今】【是】【深】【秋】,【外】【面】【风】【疾】【的】【很】,【皇】【后】【娘】【娘】【病】【情】【刚】【转】【好】,【怕】【是】……。” 【皇】【上】【闻】【言】【眉】【头】【蹙】【了】【蹙】,【微】【微】【一】【叹】【气】。 “【让】【青】


  【宋】【清】【南】【这】【一】【天】【正】【在】【整】【理】【自】【己】【的】【东】【西】【却】【碰】【巧】【发】【现】【了】【这】【一】【天】【正】【在】【整】【理】【自】【己】【的】【东】【西】【却】【碰】【巧】,【却】【碰】【巧】【发】【现】【了】【以】【前】【一】【起】【拍】【过】【的】【一】【张】【照】【片】,【照】【片】【上】【的】【人】【是】【他】,【还】【有】【当】【时】【和】【他】【关】【系】【非】【常】【好】【的】【俞】【锦】【鲤】。 【宋】【清】【南】【这】【一】【番】【话】【说】【的】【实】【在】【是】【让】【他】【心】【里】【觉】【得】【紧】【的】【慌】。【但】【是】【他】【忽】【略】【了】【这】【些】【天】【的】【这】【些】【事】【情】。【之】【前】【总】【是】【想】【着】【应】【该】【没】【什】【么】【多】【大】【的】【问】【题】。【却】【因】

  【以】【为】【只】【是】【这】【样】【而】【己】【吗】? 【纪】【天】【祈】【心】【里】【冷】【笑】。 【不】,【这】【世】【界】【是】【相】【对】【性】【公】【平】【的】,【犯】【过】【多】【少】【错】,【十】【倍】【百】【倍】【的】【回】【赠】【给】【你】;【做】【过】【多】【少】【善】【事】,【十】【倍】【百】【倍】【的】【温】【暖】【你】。【如】【果】【有】【例】【外】,【那】【一】【定】【是】【被】【世】【界】【忽】【视】【了】。 【郑】【叔】【知】【道】,【这】【些】【话】【是】【说】【给】【自】【己】【听】【的】。 【在】【宋】【家】【几】【十】【年】,【他】【又】【怎】【会】【不】【知】【道】【老】【爷】【什】【么】【样】【的】【人】,【有】【句】【话】【说】【得】【好】:【生】【而】【为】【人】17082期胜负彩推荐【半】【个】【时】【辰】,【朋】【友】【之】【间】【吃】【顿】【饭】,【胡】【侃】【一】【会】,【尚】【且】【不】【够】。 【可】【这】【战】【斗】【才】【开】【始】【半】【个】【时】【辰】,【同】【为】【半】【步】【地】【无】【禁】【的】【龙】【玥】【却】【要】【落】【败】【了】。 【远】【处】【的】【天】【沐】【统】【领】【看】【着】【这】【一】【幕】,【一】【言】【不】【发】。【因】【为】【他】【有】【预】【想】【到】【现】【在】【这】【个】【局】【面】。 【龙】【玥】【属】【于】【那】【种】【用】【资】【源】【堆】【出】【来】【的】,【虽】【然】【自】【身】【天】【赋】【不】【错】,【可】【是】【缺】【乏】【大】【量】【的】【战】【斗】【经】【验】。 【虽】【然】【有】【绯】【月】【这】【等】【四】【级】【漩】【涡】

  【在】【这】【深】【渊】,【除】【了】【镇】【狱】【之】【龙】【以】【外】,【还】【不】【存】【在】【对】【奥】【利】【安】【娜】【会】【有】【什】【么】【威】【胁】【的】【家】【伙】。 【不】【过】,【对】【于】【其】【他】【人】【可】【并】【非】【如】【此】。 【这】【里】【能】【被】【称】【为】【最】【危】【险】【的】【地】【方】,【也】【是】【有】【其】【缘】【故】。 【越】【是】【往】【下】,【越】【是】【危】【险】,【而】【黎】【能】【待】【在】【更】【下】【面】? 【光】【是】【这】【点】,【奥】【利】【安】【娜】【便】【是】【惊】【奇】【不】【已】:“【他】【居】【然】【能】【在】【下】【头】【生】【存】?【这】【怕】【是】【要】【到】【墨】【渊】【了】。” 【而】【在】【这】【墨】

  “【哇】……【这】【个】【鱼】【生】【吃】【起】【来】,【这】【么】【鲜】【啊】。”【雅】【美】【吃】【着】【洋】【流】【鲑】【鱼】【做】【成】【的】【生】【鱼】【片】,【不】【禁】【赞】【叹】【道】。 【其】【实】【唐】【德】【森】【也】【知】【道】【有】【些】【鱼】【生】【吃】【会】【更】【加】【鲜】【美】,【但】【又】【担】【心】【有】【寄】【生】【虫】,【给】【奇】【鲁】【和】【唐】【小】【林】【吃】【了】【对】【他】【们】【身】【体】【不】【好】,【就】【一】【直】【没】【有】【做】【过】。【后】【来】【惠】【心】【给】【唐】【德】【森】【科】【普】,【除】【了】【加】【热】【以】【外】,【冰】【冻】【也】【可】【以】【杀】【死】【寄】【生】【虫】,【而】【且】【还】【可】【以】【使】【肉】【质】【更】【加】【紧】【致】【有】【弹】


  【宁】【姒】【回】【到】【豫】【州】【的】【时】【候】【已】【经】【是】【冬】【天】。 【清】【扫】【卫】【神】【宗】【余】【孽】【的】【任】【务】【交】【给】【兰】【花】【率】【领】【的】【灵】【族】,【夙】【徒】【院】【从】【旁】【协】【助】。【明】【明】【只】【需】【要】【发】【号】【施】【令】【就】【可】【以】【了】,【但】【她】【还】【是】【陪】【着】【季】【牧】【之】【去】【了】【趟】【荡】【丘】【山】。 【一】【来】【将】【玄】【天】【刀】【物】【归】【原】【主】,【二】【来】【季】【牧】【之】【要】【辞】【掉】【院】【主】。 【原】【因】【很】【简】【单】,【他】【不】【想】【被】【任】【何】【身】【份】【羁】【绊】,【宁】【姒】【也】【不】【想】【当】【什】【么】【院】【主】【夫】【人】。 【听】【说】【夙】【徒】

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