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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.

  TONY BENNETT at Radio City Music Hall (April 13, 8 p.m.). For the better part of a century, this decorated singer from Astoria, Queens, has championed the great American songbook, bewitching audiences with renditions of pop and jazz standards by Cole Porter, Irving Berlin and others. More recently, the 20-time Grammy Award winner introduced himself to younger generations with a series of “Duets” albums, on which he sang alongside contemporary artists like Lady Gaga, John Legend and Amy Winehouse. Bennett still actively tours at the age of 92 and, per the title of his most recent book, is “just getting started.”212-465-6000, radiocity.com

  LAURA JANE GRACE & THE DEVOURING MOTHERS at Bowery Ballroom (April 18, 7 p.m.). This trio is a side project of Grace’s, whose work as the frontwoman of the Florida punk band Against Me! has highlighted her experiences as a transgender woman, particularly on albums like “Transgender Dysphoria Blues” and “Shape Shift With Me.” Alongside her Devouring Mothers — the drummer Atom Willard (also in Against Me!) and the bassist Marc Jacob Hudson — Grace writes more restrained songs that retain hints of her punkish invective. At this Lower East Side club, the trio will receive support from the New Jersey-based rock group Mercy Union and the Philadelphia-based noise-punk band Control Top. 212-260-4700, mercuryeastpresents.com

  ‘LIVE FROM HERE’ at the Town Hall (April 13, 5:45 p.m.). The mandolinist Chris Thile had already taken over hosting duties on the weekly radio variety show “A Prairie Home Companion” before its original host, Garrison Keillor, fell from grace. This rebranded program, like its predecessor, is recorded before a live audience, often traveling from its home base in St. Paul to theaters around the country. Among the guests at this week’s taping in Midtown is Sara Bareilles, the pop singer behind radio hits like “Love Song” and “King of Anything.” She shares the bill with the folk duo Milk Carton Kids and the comedian Aparna Nancherla. 212-997-6661, thetownhall.org

  NATALIE PRASS at Bowery Ballroom (April 17, 8 p.m.). As this singer-songwriter from Richmond, Va., knows, creating art with a political point of view can be risky. Her second album, last year’s “The Future and the Past,” was written largely in response to the 2016 presidential election; finding a label willing to release it took her longer than she had hoped. In the past year, Prass has toured the album tirelessly, as both a headliner and a supporting artist on Kacey Musgraves’s “Oh, What a World” Tour. On this stop, she’ll perform funk-flavored pop songs like “Oh My” and “Short Court Style,” as well as more orchestral holdovers from her 2015 debut. 212-260-4700, mercuryeastpresents.com

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

  PRETTY LOU’S THIRD ANNUAL CHARITY CONCERT at Irving Plaza (April 16, 6 p.m.). The New York hip-hop community rallied around the Brooklyn-based D.J., nightlife personality and Fat Joe affiliate Pretty Lou Ortega (not to be confused with the member of the 1990s rap group Lost Boyz, whose moniker he shares) after he learned he had the rare blood condition aplastic anemia, which has since developed into leukemia. In its third year, this annual showcase benefiting leukemia and A.L.S. research will feature Fat Joe and his fellow Terror Squad member Remy Ma, as well as Raekwon and Ghostface Killah of the Wu-Tang Clan, the Diplomats and others. 212-777-6800, mercuryeastpresents.com

  PRIESTS at Elsewhere (April 16, 8 p.m.). The members of this trio from Washington have long pushed back on the “political punk” label that critics often affix to their work; still, how they earned it is clear. The debut record from these firebrands is colored by brash guitars and the muscular vocals of their frontwoman, Katie Alice Greer, whose lyrics broach subjects like consumerism and free will. Riffing on the name of Thomas Frank’s 2004 book on the rise of populist conservatism, Priests titled their just-released follow-up “The Seduction of Kansas.” This album is similarly concerned with American politics and identity; this time, though, their sound is more polished. elsewherebrooklyn.comOLIVIA HORN


  EMMET COHEN TRIO at Dizzy’s Club Coca-Cola (April 16, 7:30 and 9:30 p.m.). Cohen, 28, has a breezy, phlegmatic command at the keyboard, and a deep well of historical jazz references at his fingertips. He has worked as a side musician for such luminaries as Christian McBride and Herlin Riley, and has recorded with the elder statesmen Ron Carter and Jimmy Cobb. If he wasn’t already an obvious heir apparent to the neo-traditional jazz mantle, his win at last weekend’s 2019 American Pianists Awards ought to make it official. At Dizzy’s, he will be joined by the bassist Philip Norris and the drummer Kyle Poole. They will draw some of the night’s material from Cohen’s recent trio album, “Dirty in Detroit.”212-258-9595, jazz.org/dizzys

  MIHO HAZAMA AND M_UNIT at Jazz Standard (April 17, 7:30 and 9:30 p.m.). The crossbreeding of classical and jazz has a long history, stretching back to the Third Stream movement of the 1960s. And new approaches to this amalgam have been thick on the ground of late: Just try to count how many young jazz musicians are writing for string quartet these days. One of the boldest thinkers and most delightful composers in this vein is Hazama, who studied Western classical music in Japan before making the jump to jazz. Her chamber orchestra, m_unit, blends strings and horns and mallet percussion in service of her resplendent, highly singable compositions. At the Standard, the group will be playing selections from the recently released “Dancer in Nowhere.”212-576-2232, jazzstandard.com

  BEN MONDER, TONY MALABY AND TOM RAINEY at Public Records (April 17, 8 p.m.). This newly opened music club, cafe and bar in Gowanus, Brooklyn, has a high-fidelity sound setup in two different rooms. In the back, which is laid out like a typical nightclub, electronic and experimental shows run throughout the week. Every Wednesday going forward, the barroom hosts a weekly jazz series. The group playing this Wednesday is a trio featuring three esteemed, New York-based improvisers with a long history of collaboration: the dark-toned, harmonically sophisticated guitarist Ben Monder, the undersung saxophone titan Tony Malaby and the roving, idiosyncratic drummer Tom Rainey.publicrecords.nyc

  BRANDON ROSS’S PHANTOM STATION at the Jazz Gallery (April 12, 7:30 and 9:30 p.m.). Ross, a guitarist best known for his work in the jazz-rock power trio Harriet Tubman, doesn’t just play a slew of different instruments (banjo, soprano guitar, regular old electric guitar, etc.), he also ranges freely from sweet and lyrical playing to wavy, confrontational distortion. Phantom Station is not a band; it’s an opportunity for him to embrace his proclivity for newness and change. He performs under this name with a wide variety of collaborators and formations. On Friday, the ensemble will include Graham Haynes on cornet and electronics, J. T. Lewis (also a member of Harriet Tubman) on drums and Hardedge on sound design. 646-494-3625, jazzgallery.nyc

  STRETCH MUSIC FESTIVAL at Harlem Stage Gatehouse (April 12, 7:30 p.m.). The trumpeter Christian Scott aTunde Adjuah is about to close the book on a three-year residency at Harlem Stage. As part of that, since 2017 he has convened an annual Stretch Music Festival, comprising educational events, discussions of art and activism, and performances. (The event’s title is a reference to the way Scott refers to his own music; it’s an effort to wriggle free from the limitations of genre.) He is coming off the release last month of “Ancestral Recall,” an impressive album on which West African-derived rhythms and whispery synthesizers fortify his bristling trumpet playing and the strident, subversive poetry of Saul Williams. Friday’s festival will include performances by Scott, the saxophonist Logan Richardson and Freelance, a band that fuses contemporary R&B with backpacker hip-hop and jazz.212-281-9240, harlemstage.org

  JOHN ZORN’S NEW MASADA QUARTET at the Village Vanguard (April 14, 3 p.m.). Last year, Zorn, the eminent alto saxophonist and downtown arts organizer, released “The Book Beriah,” the final portion of his 613-song epic, “Masada,” a collection of experimental, often lovely compositions based in Jewish folk song, klezmer and free jazz (613 is the number of commandments, or mitzvot, in the Torah). As is the wont of this serial collaborator, Zorn featured a different ensemble on each of “Beriah’s” 10 CDs (11, including the bonus disc). Here he plays material from “Masada” in a new quartet featuring three talented improvisers: Julian Lage on guitar, Jorge Roeder on bass and Kenny Wollesen on drums. 212-255-4037, villagevanguard.comGIOVANNI RUSSONELLO




  【楚】【玉】【倒】【了】【一】【杯】【茶】【水】,【递】【道】【了】【德】【妃】【的】【手】【边】: “【额】【娘】,【您】【先】【不】【要】【着】【急】。【您】【叫】【了】【我】【们】【进】【宫】,【那】【里】【就】【是】【您】【的】【错】【了】? 【这】【不】【是】【皇】【阿】【玛】【忽】【然】【到】【了】【吗】?【孩】【子】【又】【想】【要】【出】【去】。 【您】【莫】【要】【担】【心】,【您】【想】,【皇】【阿】【玛】【抱】【着】【孩】【子】【出】【去】,【又】【有】【谁】【会】【不】【长】【眼】【的】【敢】【伤】【了】【孩】【子】? 【再】【者】,【皇】【阿】【玛】【既】【然】【抱】【着】【弘】【晖】【出】【去】【了】,【一】【定】【就】【会】【护】【好】【他】【的】,【再】【不】【济】【六】【弟】

  【三】【天】【后】 【伦】【敦】【股】【票】【交】【易】【市】【场】1【月】6【日】【收】【盘】。 【电】【脑】【上】,【汇】【丰】【银】【行】【股】【价】【出】【现】【一】【道】【惊】【心】【动】【魄】【的】【破】【位】【大】【阴】【线】,【最】【终】【定】【格】【在】【每】【股】2.68【英】【镑】,【令】【做】【多】【者】【脸】【色】【惨】【绿】。 【偌】【大】【操】【盘】【机】【房】【里】【死】【一】【般】【的】【寂】【静】,【没】【人】【敢】【大】【声】【的】【喧】【哗】。 【每】【股】2.68【英】【镑】【意】【味】【着】【什】【么】? 【仅】【三】【天】【时】【间】,【汇】【丰】【银】【行】【股】【价】【蒸】【发】【了】【三】【分】【之】【一】,【高】【达】12

  【合】【盛】【科】【技】【的】【老】【总】【目】【光】【微】【闪】,【还】【算】【平】【静】,【视】【线】【隐】【晦】【地】【投】【向】【沈】【春】【和】,【带】【着】【外】【人】【难】【以】【察】【觉】【的】【询】【问】【之】【意】。 【沈】【春】【和】【心】【思】【飞】【转】。 【他】【与】【合】【盛】【科】【技】【的】【老】【总】【事】【先】【有】【约】【定】,【如】【果】【竞】【价】【不】【超】【八】【亿】,【只】【要】【他】【家】【叫】【到】【最】【高】,【那】【么】【沈】【春】【和】【就】【认】【了】。 【可】【一】【旦】【竞】【价】【超】【过】【八】【亿】,【非】【合】【盛】【科】【技】【承】【受】【范】【围】,【他】【家】【则】【继】【续】【叫】【价】,【但】【目】【的】【已】【经】【不】【是】【为】【了】【拿】【地】

  “【对】【对】【对】,【请】【尊】【重】【一】【下】【我】【们】【的】【领】【路】【人】【好】【不】【好】?【别】【害】【人】【害】【己】【啊】,【呕】……”【凌】【九】【幽】【说】【着】,【又】【低】【头】【作】【呕】【了】【起】【来】…… 【帝】【倾】【见】【此】,【赶】【忙】【抬】【手】【为】【她】【拍】【背】…… 【这】【场】【面】…… 【还】【真】【是】…… 【血】【腥】【难】【闻】【的】【很】! “【赶】【紧】【收】【拾】【战】【场】,【没】【看】【到】【她】【受】【不】【了】?”【帝】【倾】【看】【了】【凉】【白】【和】【夜】【无】【邪】【一】【眼】,【当】【即】【吩】【咐】【道】。 “【九】【爷】【不】【是】【说】【要】【炖】【蛇】【羹】独家珍藏五肖必中特“【不】【不】【不】,【这】【位】【夫】【人】【请】【你】【住】【嘴】,【我】【不】【知】【道】【你】【是】【不】【是】【我】【的】【母】【亲】,【不】【过】【今】【天】【正】【好】【说】【了】。【以】【前】【你】【把】【我】【给】【了】【妈】,【从】【那】【个】【时】【候】【开】【始】,【我】【就】【只】【有】【一】【个】【妈】,【我】【不】【管】【你】【有】【什】【么】【苦】【衷】,【你】【以】【前】【没】【出】【现】,【现】【在】【也】【不】【用】【出】【现】,【请】【你】【离】【开】【我】【的】【家】,【请】【不】【要】【再】【出】【现】【在】【我】【面】【前】。” 【妇】【人】【有】【些】【激】【动】:“【不】【不】【不】【不】【不】,【我】【是】【你】【的】【母】【亲】,【你】【怎】【么】【能】【够】【这】【样】【对】

  【玄】【黄】【大】【世】【界】,【洞】【天】【秘】【境】【无】【数】。【然】【不】【提】【这】【诸】【多】【神】【异】【之】【地】,【十】【大】【王】【朝】【之】【地】【之】【外】,【便】【是】【无】【尽】【海】【洋】【了】。【什】【么】【海】【外】【仙】【岛】,【什】【么】【蛮】【荒】【大】【陆】【更】【是】【多】【不】【胜】【数】。【除】【却】【那】【些】【已】【然】【登】【临】【长】【生】【秘】【境】【的】【万】【古】【巨】【头】【以】【外】,【谁】【也】【不】【曾】【知】【晓】【其】【中】【究】【竟】【隐】【藏】【了】【多】【少】【秘】【密】。 【而】【就】【算】【在】【无】【尽】【神】【秘】【的】【海】【洋】【之】【中】,【南】【海】【也】【一】【定】【是】【最】【为】【神】【秘】【的】【那】【一】【个】。【万】【归】【仙】【岛】,【神】【秘】

  【看】【着】【风】【落】【还】【要】【往】【里】【面】【闯】【时】,【突】【然】【被】【一】【束】【光】【拦】【了】【下】【来】,【出】【来】【的】【离】【烁】【看】【到】【这】【擅】【闯】【菻】【幽】【崖】【的】【人】【后】【愣】【了】【愣】,【随】【后】【嗷】【呜】【一】【声】【叫】【了】【出】【来】。 “【你】【们】,【真】【的】【是】【你】【们】?” 【离】【烁】【看】【到】【三】【人】【有】【些】【激】【动】,【他】【们】【找】【了】【他】【们】【十】【年】,【如】【今】【出】【现】【在】【这】【里】,【离】【烁】【激】【动】【的】【想】【要】【不】【停】【的】【对】【天】【狼】【嚎】。 “【离】【陌】【呢】?【当】【年】【究】【竟】【发】【生】【了】【什】【么】【事】?” “【让】【开】”

  【君】【言】【疯】【狂】【的】【一】【笑】“【我】【若】【是】【死】,【谁】【也】【别】【想】【活】!【同】【归】【于】【尽】【吧】!” 【他】【抬】【手】,【将】【那】【黑】【白】【球】【猛】【地】【一】【拍】,【欧】【阳】【墨】【凝】【聚】【的】【手】【掌】【刚】【一】【将】【那】【黑】【白】【球】【抓】【住】,【便】【听】“【轰】——”【的】【一】【声】,【接】【着】【所】【有】【的】【声】【音】【都】【消】【失】【了】。 【如】【月】【惊】【恐】【的】【睁】【大】【了】【眼】【睛】,【她】【用】【力】【喊】【出】【的】【声】【音】,【却】【被】【天】【塌】【地】【陷】【的】【恐】【怖】【景】【象】【完】【全】【的】【给】【吞】【噬】,【她】【看】【不】【到】【身】【后】【的】【自】【己】【姐】【妹】【与】【精】【灵】

  (【求】【收】【藏】!【求】【订】【阅】!【求】【推】【荐】!) 【的】【确】【有】【人】【被】【清】【除】【了】。 【但】【不】【是】【步】【凡】,【而】【是】【被】【嫉】【妒】【心】【控】【制】【了】【理】【智】【的】【查】【理】【曼】! 【加】【里】【塔】【诺】【把】【查】【理】【曼】【下】【放】【到】【了】【二】【队】。 【这】【迫】【使】【查】【理】【曼】【自】【己】【主】【动】【提】【出】【转】【会】。 【打】【二】【队】,【他】【丢】【不】【起】【那】【个】【人】! 【把】【查】【理】【曼】【清】【除】【出】【队】【后】。 【莱】【加】【内】【斯】【队】【内】,【便】【没】【有】【了】【不】【和】【谐】【的】【声】【音】。 【而】【四】【天】【后】,【球】

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