#Nick Macri

[thebowerypresents]

Michael Shannon & Jason Narducy and Friends – Music Hall of Williamsburg – February 14, 2024

Brooklyn’s Michael Shannon and singer-songwriter and multi-instrumentalist Jason Narducy got to together to play R.E.M.’s universally acclaimed debut LP, Murmur, last summer in Chicago, celebrating its 40th anniversary, and it went so well that they decided to take their act on the road with the help of some very talented friends, drummer Jon Wurster, guitarist Dag Juhlin, bassist Nick Macri, and pianist Vijay Tellis-Nayak. And on Valentine’s Day, they closed out their brief February tour by playing the album in full at a sold-out Music Hall of Williamsburg.

Photos courtesy of Adela Loconte | www.adelaloconte.com

[dustedmagazine]

James Elkington and Nathan Salsburg — All Gist (Paradise of Bachelors)

In this third album of guitar duets, James Elkington and Nathan Salsburg perform a complicated sort of dance, their separate instruments executing, light and agile motifs, sometimes in concord, other times slightly out of sync. The melody refracts through their separate interpretations, so that you often feel like you’re hearing it from multiple angles or doubled with an echo. Though some of the songs have a twinge of melancholy, most of them explode with joy. Their two instruments chase each other like dogs at happy play.

Elkington and Salsburg pick up their musical conversation after a long hiatus. Ambsace, their last collaboration, came out in 2015. But like the best reunions, this one is free of awkwardness. They treat each other with warmth and respect throughout. The guitars tangle but never step on one another, each player leaving space for the other.

The pair also makes judicious use of other talent to bolster and deepen their sound. The opener “Death Wishes to Kill” gets a firm grounding from Nick Macri’s acoustic bass; he lends a steadiness to this playful tag in thumps that resonate and mark time without staking too prominent a place for themselves in the sonic mix. But even more striking is the wild skirl of violin that Wanees Zarour adds, wheeling around the guitar line in a throaty emotional timbre. Zarour played on the last Elkington/Salsburg disc. He is a Palestinian-American multi-instrumentalist and academic who teaches at the University of Chicago.

“Nicest Distinction” shows how the foundation that Elkington and Salsburg lay down can be opened up and expanded.  It begins in stately ritual, a madrigal with a little blues introduced in the way the phrases end with a vibrating bent notes.  It’s just the two of them for a good long while, one strumming splayed chords, the other picking a melodic path in and among the meditations. Yet this long piece kicks into a gallop towards the end, with wild tom-tom fill and woodwinds played by Wednesday Knudsen.

All Gist will likely be lumped into the folk category, being acoustic and not quite modern. Still there is really only one actual folk tune on it, the mortality-shaded frolic of “Rule Bretagne,” based, per the title, on the music of seagoing France. Well, maybe not. “Explanation Point” digs pretty deep into country blues, the notes sliding and tumbling down a sunlight rambling path. Here, as elsewhere, melodic lines zing off each other then carom back for a moment of concord.

But really, the most interesting cuts veer the furthest from conventional folk. “Well, Well Cornelius,” originally written for piano by the British composer Howard Skelton, offers a radiant procession of chords framed by the regular architecture of picking. It is serene and unhurried and really quite beautiful. So, is “Buffalo Stance” a Neneh Cherry song you might remember for its pop-locking hip hop beat and strobe lit video. These artists distill it down to melody—a tune you might not have focused on the original, very different version—and transform the cut into a gentle, bucolic ramble. Ironically, in the video, Neneh introduces her song with an aside of “how melodic” which feels like sarcasm, but these two guitarists heard it there all along. Just lovely.

Jennifer Kelly

[doomandgloomfromthetomb]

Joan Shelley - The Colony, Woodstock, New York, September 23, 2022

Joan Shelley went on a quick east coast tour last month — and thankfully, Eric from NYC Taper was on hand to record the opening night up in Woodstock. It is stardust, it is golden. Thank you, Eric! And thank you to Joan and her ace band, featuring Nathan Salsburg, Nick Macri and James Elkington. They sound great, of course, with a setlist full of favorites old and new. The Spur, Shelley's latest LP, is another masterpiece — if you haven't checked it out yet, you must. And if you're anywhere near Louisville, you'll definitely want to attend the Spur album release show in a couple of weeks.

[diarioelpepazo]

Stefano Malavé Macri. El Chase Field de Arizona vivió una fiesta de batazos en un derbi real entre la Gran Bretaña y Canadá por la segunda jornada del Grupo C del Clásico Mundial de Beisbol. El equipo norteamericano se adjudicaría la victoria luego de apabullar a los insulares. Si bien los europeos se fueron arriba en la primera entrada con un doble por regla de Nick Ward y un sencillo de Darnell Sweeney, Canadá logró voltear el marcador con un rally de cinco carreras en el que destaca un jonrón de Edouard Jullen. Para el segundo acto, ambas novenas anotarían una carrera, pero, en el tercero, la diferencia aumentaría con contundencia en favor del equipo de la hoja de maple, pues traería seis rayitas en el cuarto capítulo y el resultado estaría 16-8. Finalmente, un out forzado de Otto López en el quinto inning y otro de Jared Young en el sexto darían la ventaja necesaria a Canadá para provocar un KO. Esta sería la segunda vez que un juego finaliza antes de los nueve innings en el Clásico Mundial, luego de que Australia humillase a China con marcador de dos carreras por diez. Los británicos, por su parte, sufren su segundo revés y se perfilan como candidatos a la eliminación en primera ronda.     Para recibir en tu celular esta y otras informaciones, únete a nuestras redes sociales, síguenos en Instagram, Twitter y Facebook como @DiarioElPepazo El Pepazo/Meridiano

[nonesuchrecords]

Daughter of Swords has released a new single, "Prairie Winter Wasteland." The Jeff Tweedy–produced track, recorded at his Chicago studio The Loft, "is a reflection on the way our emotional experiences of place are shaped in powerful and mystical ways by the people we’ve know there," she says. Tweedy joins in on a variety of instruments, with his son Spencer on drums and Nick Macri on bass. Daughter of Swords begins a full-band US tour this weekend. Details here.

[sinceileftyoublog]

James Elkington Live Show Review: 10/12, Evanston SPACE

BY JORDAN MAINZER

As he persistently repeated the words “sister of mine” to end the song of the same title, James Elkington turned to the crowd Sunday night at SPACE and dryly stated, “That song was called ‘Sister of Mine’.” The guitarist and singer-songwriter, who has released two very good solo albums via Paradise of Bachelors, played two socially distant outdoor shows alongside upright bassist and frequent collaborator Nick Macri; in a way, Elkington’s the perfect person to see play right now. Perhaps you know nothing about his music but are a fan of the 60′s and 70′s British folk and prog by which he’s inspired. Maybe you just saw him rip guitar solos with Jeff Tweedy in McHenry. Or you could be deep into the Chicago experimental or American finger-style folk scene, knowing both Elkington’s records and those of his collaborators like the back of your hand. However you came across Elkington and/or the show, there’s a warmth and familiarity to his music and performance that was on display. 

Beyond the lull of his voice and rhythms, Elkington’s guitar playing follows the same sort of circular patterns of recognition. That’s to say he doesn’t so much shred as he threads, doesn’t so much rip as he slowly tears, introducing a melody, piece-by-piece dismantling it and then stitching it back up. He was the most experimental I’ve ever seen him on Sunday, using his pedals to full atonal effect, cutting the sound in and out, at times almost looking like he was in a fight with his guitar. Similarly, Macri’s bass added a layer of picked shimmer and bowed depth to the spindly lines of “Nowhere Time” and jazzy slumber of “Leopards Lay Down”, and even to the more bare bones material of Elkington’s first album Wintres Woma. (The finger aerobics of “Make It Up” and “Greatness Yet to Come” are set highlights solo; with Macri, they’re given an undercurrent of electricity.)

Despite the poetry of Elkington’s lyrics, the set highlight was an instrumental, “Rendlesham Way”. He shared the story of the song after performing it, the song almost falling apart multiple times before Elkington saved it. It’s named after a treacherous hill in Elkington’s home village in England, down which his father lost control of the car, forced to choose between slamming into a wall or somebody’s house. (Given that Elkington was there to tell the tale, his father chose the house.) The connection between the story and the song? That Elkington admittedly barely knows how to play it, and performing it live makes him feel like he’s making the same choice his father made. For a player, singer, and lyricist as assured as Elkington, it’s hard to imagine him crashing and burning, but his humorous vulnerability was a remarkably human moment among many. 

Two sold out shows, even if they were limited capacity and, according to Elkington and Macri, they knew every single person at the afternoon performance, is not something to sniff at at any point in time, let alone during a pandemic that’s all but shut down the live music industry. Like Tweedy, Elkington knew he was lucky to be up there. What he might not have known is that, whether we knew his music or not, we, too, were lucky to receive such soul-lifting comfort and a dose of acquaintanceship.

[krispyweiss]

Album Review: Charles Rumback & Ryley Walker - Little Common Twist

Ryley Walker promised a collection of “super-far-out and pretty music” on his latest joint with Charles Rumback.

And Little Common Twist lives up to that billing.

Recorded in 2016 and 2017, the eight-track instrumental LP finds the drummer Rumback and the guitarist Walker - aided by bassist Nick Macri on one cut and producer John Hughes on synths and electronics on several others - toggling between lilting acoustic melodies (“Half Joking”) and atmospheric soundscapes (“If You’re Around and Down”).

The result is an LP not quite as strong as the duo’s 2016’s outing, Cannots. Common Little Twist’s lack of cohesion leaves listeners alternatively blissing out to songs such as “Ill-Fitting/No Sickness” and watching their cats’ ears rear back when tracks like “Menebhi” come around.

Grade card: Charles Rumback & Ryley Walker - Little Common Twist - B-

11/8/19

[still-single]

new HEATHEN DISCOS for you to listen to

Took a lot of shit from randos over doing Blaze posts about my radio show. Looks like that isn't even possible anymore, so you lucky fucks get to soak it all in now for free. 14 hours of music and talk here. Settle in.

HD 304 8/14/2022

HOUR 1

Conjunto Primitivo – Vagando

Phantasia – All the Flowers

Baston – Neptune

Bohannon – Let’s Start the Dance III

Paul Johnson – Construction Work

Minami Deutsch – Grumpy Joa

Golomb – Western Threshold

Double Wig – Broken Cup

Hammer – Forever Tonight

Lil Keke – Graped Up and Dripped Out (Textasy Jungle Remix)

Dichroics – The Invisible Floor

Kokoroko – Ewa Inu

Killing Joke – Wardance

HOUR 2

Regina Leather – Communicazione Due

The Sound Vandals – Extasy (Body & Soul Mix)

Stephen Mallinder – Galaxy

Lincoln – Benchwarmer

Scupper – Superbike

The Movers – Oupa Is Back

To Damascus – Behind Me Closer

208L Containers – Holograms

Ace of Spit – Lonedell Wild Flower

Siobhan – Calamity

Space Art – Nous Savons Tout

Angels and Images – Hold Me Tight

Ty Segall – Don’t Lie

Civic Center – Rival the Sun

The Leather Nun – No Rule

HOUR 3

Green Screen Door – Brooding Giants

Manufacture – Passion for the Future

International Music System – Nonline

Crystal Grass – Crystal World

Pankow – Gimme More (Much More)

Th Blisks – Alaska

Love Nation – Love Nation Theme

Dummy – Mono Retriever

Orchestre Massako – Temedy

RRR Band – Rock for Birds

Squarepusher – North Circular

I AM – Confessions of the Heart

HD 303 8/7/2022

HOUR 1

Naujawanan Baidar – Koh Har Qadar Boland Bashad Baaz Ham Sar-e Khod Rah Darad

Party Dozen – The Worker

Lifeguard – Fifty Seven

Joseph Jarman/Don Moye – Ode to Wilbur Ware

Charles Stepney – That’s the Way of the World

Thinking Fellers Union Local 282 – February

Killing Joke – Complications

Death Bells – Intruder

Workforce – Skin Scraped Back

Norma White – I Want Your Love

D’Arcangelo – Spacing Out

HOUR 2

Surface of the Earth – Causer Gird

My Bloody Valentine – To Here Knows When

Kirlian – Pulsingers Dream

Unique 3 – Weight for the Bass (Digi House Mix)

Barry White – It’s Ecstasy When You Lay Down Next to Me

The Movers – Oupa Is Back

Cupol – Kluba Cupol

Soho – Hippychick

The Cure – So What

Curleys – Florida Fights Back

The Sods – R.A.F.

Circus Lupus – Cat Kicking Jerk

Magazine – My Tulpa

Machine – There But For the Grace of God Go I

Nick Macri & Mono No Aware - … Without Jumping Out of Your Skin (for Tracy Pew)

Vision 3D – Hypnose

HOUR 3

Oogbogo – A Side

Judy and the Jerks – Scorpion

CB Radio Gorgeous – Asking for a Friend

Foxy – Get Off

Moss Icon – What They Lack

Unrest – Cherry Cream On

Hard Corps – Sacred Heart

Sam Prekop and John McEntire – Ascending By Night

T.U.M.E. – One on One

Pharaoh Sanders – Summun Bukmun Umyun

1990s – (My Baby’s) Double Espresso

Gang Starr – Step in the Arena

HD 302 7/31/2022

HOUR 1

Sonic Youth – Cotton Crown

Unwound – Honourosis

Polvo – Gemini Cusp

The Telephone Numbers – The Ballad of Doug

Nick Macri & Mono No Aware – How to Be in the Body…

Double Wig – Gone Circling

Sub Skin Cables – Closer to Myself

The Sleepers – Walk Away

Stephen Mallinder – Hush

Hard Corps – Respirer

400 Blows – Strangeways (Revisited)

The Great Unraveling – Left with Only Out

Minami Deutsch – Fortune Goodies

Hüsker Dü – Eight Miles High

HOUR 2

Teenage Fanclub – Every Picture I Paint

1990s – What’s Up with the Midnight Me?

Blank Realm – Falling Down the Stairs

Ray Barretto – Mercy, Mercy Baby

The Soft Boys – I Got the Hots

Slovenly – At Sea

Michael Beach – Out in a Burning Alley

Civic Center – Actualization

Public Image Ltd. – The Question Mark

U-Roy – Natty Kung Fu

Bernie Worrell – Insurance Man for the Funk

Galcher Lustwerk – Been a Long Night

Ron Trent – Cycle of Many

Slumber Party – I’m an Example

HOUR 3

Space Opera – Outlines

Terry Reid – Sea of Memory

Linton Kwesi Johnson – Song of Blood

Jackie Paris – Run for Your Life

Georgie Red – If I Say Stop, Then Stop!

Sam Prekop and John McEntire – Ascending at Night

Bomb the Bass – 10 Seconds to Terminate

Sparks – Amateur Hour

DAF – Mein Herz Macht Bum

Grace Jones – Warm Leatherette

Eric Copeland – Antibirth OST (side A)

HD 301 7/17/2022

HOUR 1

Sam Prekop and John McEntire – Crossing at the Shallow

Velocette – Stumm

Prince Charles and the City Beat Band – Jungle Stomp

Le Mystere – Opus 303

Busta Rhymes – Woo Hah!! Got You All in Check

Two Shell – Ghosts

Oogbobo – New State

VISION 3D – Blv Cbd

CB Radio Gorgeous – Devil

Thin Lizzy – The Hero and the Madman

Anthony Moore – Useless Moments

Sex Tourists – He Said

Jay & Yuta – Be More Kind

Wire – Being Sucked In Again (5th Demo)

Lower Tar – Brothers Pt. 1

Season of Life – 4:08

HOUR 2

A Certain Ratio – Do the Du

Doctor’s Cat – Feel the Drive

Night Communication – Nocturne Seduction

A Guy Called Gerald – Voodoo Ray

Bohannon – Cut Loose

Ndikho Xaba and the Natives – Makhosi

Miss Lie – Claustrophobia

Baby Ford – Flowers

Severed Heads – Never Fall in Love/Nazi Beach Party

Syamese – Absorbia

Mordicai Jones – All Because of a Woman

Terry Reid – Speak Now or Forever Hold Your Peace

High Mountain Hoedown – Pickin’ Berries

Funk Factory – Rien Ne Va Plus

Reg King – Merry-Go-Round

Flanger Magazine – Falls Fountain Removed

The Velvet Underground – Ocean (Live 1969)

HD 300 7/10/2022

HOUR 1

The Fall – And This Day

Gene Clark – No Other

Bernie Worrell – I’ll Be With You

Unrest – Imperial

Psychic Ills & Gibby Haynes – At Long Last

The Mice – Not Proud of the U.S.A.

Chain of Flowers – Death’s Got a Hold on Me

The Dils – I Hate the Rich

Flux of Pink Indians – Tube Disasters (JD Twitch Re-edit)

Tetsu Arrey – Go

Slices – Floodlight

Slug – Aurora F

Roller – Au (Yellow)

HOUR 2

Vision 3D – Rien a Dire

Portray Heads – Puppet

Kraus – Dear Giulietta

Poesie Noire – Pity for the Self

Liars – Pillars Were Hollow and Filled with Candy So We Tore Them Down

Sprung Aus Den Wolken – Junge Menschen

2 Body’s – Astoria

D’Arcangelo – Godsonix

Urge Overkill – Now That’s the Barclords

1990s – Diamond Drag

Cult Objects – When Will a Fire Come?

18th Dye – Play W/ You

Shizuka – Lunatic Pearl

Lelly Boone – When Will I Be Loved

Ron Trent presents WARM – Melt Into You

Charles Stepney – That’s the Way of the World

HOUR 3

Loose Ends – Slow Down

The Cure – Close to Me (Closer Mix)

Depeche Mode – Shake the Disease

Photon – Doin’ Our Thang (Radiant)

Time Machines – Psilocybin

Dump – International Airport

Slug – Swingers 

[luuurien]

Joan Shelley - The Spur

(Contemporary Folk, Singer/Songwriter, Americana)

With sensitive textures and raw nerves exposed, Joan Shelley's latest album is her most personal and skeletal listen yet. Desolate and desperate, yet hopeful in her quest for solace for both her current, past and future selves. The Spur's strikingly profound songwriting supports Shelley's emotional storytelling like it never has before, and James Elkington's delicate string arrangements add earthy textures to these wistful folk songs.

☆☆☆☆

Joan Shelley braids Southern soul richness into the laid-back intimacy of a West Coast singer/songwriter better than anyone else out there, her music equal parts Townes Van Zandt and Joni Mitchell, and that quality is what's always given her music such a timeless feel. Her songs can often feel like echoes of the past, stories found in a dusty attic diary that you could keep reading for hours and hours on end, the kind of singer/songwriter whose work will feel as fresh fifty years in the future as it does now. Fittingly, her latest album The Spur orbits similar eternal, cyclical feelings, Shelley turning inward as she wrote these songs during her pregnancy and examined her life in full, worried of "...hurting a new human, of perpetuating the pain inflicted on me,", the album exploring her loneliness as a child and difficult times as both a daughter and a sister and the impact that still has on her today, how the political stress of today intertwines with the anxiety she felt as a child and how the struggles that came with growing up on the outskirts of Kentucky contributed to the person she is today. It's a quiet kind of heartache, the feelings that bubble up on a midnight walk and sit silently in your mind, The Spur a softhearted, graceful exploration of hurt and hope through Shelley's eyes. Bolstered by producer James Elkington's heavenly string and bass arrangements, there's an elegant and delicate beauty to The Spur that allows its slow-moving singer/songwriter style to still feel engaging and present. Shelley's guitar and piano playing might be the beating hard of it all, but without Lia Kohl's rustic cello backings on When the Light Is Dying or Nick Macri's thick upright bass tones, The Spur wouldn't feel so alive and organic, the woodsy feel of these songs evoking the vast Kentucky fields Shelley grew up around as she sings of loneliness and stardust and desire. The vocal arrangements also give extra weight to Shelley's words as others contribute to harmonies, Bill Callahan's crackling tenor sitting below her glowing contralto on dreamy highlight Amberlit Morning, while Meg Baird's sensitive croons on the melancholy opener Forever Blues and the barebones Between Rock and Sky are elusive with how they softly blend into Shelley's own voice. All the pastoral touches of The Spur act are more than just a cozy, wintry look for Shelley's music, her wistful arrangements a way to bring the simplicity and bliss of childhood to the music while giving enough textural depth to it all for her mature and perceptive songwriting to take shape. What's most special about The Spur is how well it's able to engage and immerse you in Shelley's music despite how minimal a project it is. Rarely is there more than her voice, a guitar, piano and some strings on these tracks, save for the occasional rollicking Americana tune like the title track or Like the Thunder, and the fact that a run of tracks like the one from Home to Breath for the Boy can be so engrossing with just a few instrumental elements is impressive in its own right, not even adding Shelley's heartbreaking songwriting and husky vocal presence to the mix. She runs through these songs at a slow pace, leaving you waiting for her next word as she plaintively moves from chord to chord through Breath for the Boy's resigned mourning or details the importance of stability over pensive guitar strums on Home, The Spur one of those albums you can lay back to on a muggy summer evening and feel like Shelley's singing right there next to you. There's a breadth to her music that integrates into Shelley's homegrown storytelling perfectly here, the restlessness in Completely woven deep into its sound as a light 3/4 groove implies a romance that her writing is reckoning with at the same time, the yearning desperation as she sings "Can't you admit that you're lonely?" a painful heartache you can feel in yourself the moment she lets those words out. The Spur's strongest weapon is its ability to make you easily empathize with Shelley's emotions throughout it, dealing with the same internal struggles as the rest of the world but able to give it a voice through her music. Natural life dots the edges of every one of Shelley's songs: ridgelines, rivers and leaves decorating her stories with an openness and vulnerability particular to the farm life she grew up knowing. She safeguards her emotions internally rather than pushing them onto others, the melancholy in her voice as she wonders "Am I safe in my skin?" on Fawn a short but powerful remark on how much we can sink into ourselves and the urge to flee the world when the pressure starts to build, but through that The Spur reveals something incredible about Shelley's music: that it never feels like it's trying to do anything in particular. Her songwriting is lightweight and floaty, drifting with the tide when it goes out and coming back to land with every new wave that crashes on the shore, her emotions present but never overwhelming the music by trying to force them in somewhere. The Spur's most potent moments of love, heartbreak and loss come naturally and sometimes unexpectedly, the same way they do in the real world, without warning and hitting you however they do, whenever that flash of a moment occurs. With Shelley's music as the conduit for it, these surprise turns in life are never something to fear - instead, The Spur offers to treat those changes as something to take in stride, letting those experiences soak into your skin and develop your mind and heart along the way. It takes time to get comfortable with, but Shelley's unadorned music makes it easy to follow in her footsteps.

[dustedmagazine]

Ibises — In the Swim (American Dreams Records)

Ibises might reasonably be considered a Chicago super-group, at least among fans of post-rock-influenced improvisational jazz. With Nick Macri of Stirrup on electric bass, Steve Marquette of Ken Vandermark’s Marker on guitar and Dan Bitney of Tortoise on drums, Ibises’ tone is familiar in certain comforting ways, but also pushes at its own edges.

In other words, this is not a difficult record to listen to, assuming the listener has at least a moderate tolerance for noisiness. But In the Swim is slippery. Recorded as a live improvisation, edited by “audio doula” Casey Rice, and presented as “Pt 1” and “Pt 2,” this record recalls the rapid and constant fluctuation of a timelapse nature video. Ideas blossom and wilt; An increasingly discordant guitar line wraps like a tangle of seaweed around a clamor of drums, then falls away, leaving a soft heartbeat of bass. 

As the title suggests, In the Swim’s natural habitat is under water. The chilly tumult of the record’s early few moments brings to mind a pond in winter, an active ecosystem trapped in a semi-frozen container. It feels, in one moment, that you are listening from the pier, the next cannonballing through the ice. Around the six-minute mark of the first part, the sediment settles – for the moment – and the sound warps and wobbles as though fully submerged. 

Shifting and morphing are par for the course in improvisation and this trio keeps it playful as they tune into one another. Midway through “Pt. 2,” the drums slow, and then build for what sounds like a running leap, only to peter out like a game of chicken. We all knew (or were) the kid who ran up to the edge but was a little too scared to jump. In this case, Ibises gives a friendly push, the water’s fine.

Margaret Welsh

[thotyssey]

Monday (12.3.2018)

UPTOWN

TOOLBOX: Charity bingo (9pm)

SUITE: Glam Gavin’s karaoke (10pm)

BOXERS WH: Latin night with Chachita (10pm)

HELL’S KITCHEN

POSH: DJ Xavier Mazara (9pm) 

HARDWARE: Sutton Lee Seymour, Cacophony Daniels & Paige Turner (10pm)

THERAPY: Marti Gould Cummings hosts STAGE FRIGHT with Josh Lamon & Katie Ladner (10pm)

RITZ: DJ John Marto with Nick Gaga (10pm)

ATLAS SOCIAL CLUB: Musical Mondays (10pm)

VSBU: “Reel Thirsty Mondays” movie viewing (10pm)

RISE: Jasmine Rice & Pissi Myles (11pm)

INDUSTRY: Tina Burner with Juicy Liu, Kari Kerning, Vinchelle & Iris Spectre (11pm)  

EAST SIDE

EVOLVE: STRIPPED MONDAYS (4pm)

UNCLE CHARLIE’S: Live piano (8pm)

MC 58 BAR: Sarah Glassman (10pm)

CHELSEA

REBAR: MARQUEE MONDAYS with Sherry Pie & Danny Marandola  (9pm) 

EAGLE NYC: Foot Fetish Night (10pm) 

BARRACUDA: Brenda Dharling (midnight) 

WEST VILLAGE

STONEWALL: Pass the Aux: Mariah Carey (7pm); Bingo with Kenny Dash downstairs (8pm) 

ROCKBAR: MUSICAL MONDAYS feat. Clarice DuBois (9pm) 

PIECES: MoMo Shade & Kandy Muse with Janelle No. 5 (9pm);  Shequida’s DRAG WARS (10pm)

MONSTER: DJ Nesto (10pm)

DUPLEX: Chandilier (11pm) 

EAST VILLAGE

THE COCK: PLAYPEN underwear party feat. Kareem McJagger (9pm)

NOWHERE: MACHO MONDAYS (9pm)

CLUB CUMMING: Pianist Lance Horne (9pm) 

BROOKLYN

3 DOLLAR BILL: Bingo with Stephanie Stone & Busted (6pm)

NATIONAL SAWDUST: NIGHTGOWNS feat.Scarlet Envy, Vander Von Odd, Untitled Queen, Sasha Colby, Neon Calypso, Chris of Hur, Horrorchata, Miss Malice & Lady Quesa'Dilla (7pm)

HOLLER: Bingo with Whendy Whaxwood (8pm) 

METROPOLITAN BAR: HOT FRUIT feat. Will Sheridan & DJ ECON withMocha Lite, Princess Bitch, Zenobia & Marshall Vincent (10pm) 

ROSEMONT: Karaoke (10pm) 

HAPPYFUN HIDEAWAY: Guest DJ (10pm)

MACRI PARK: Ruby Roo & Ragamuffin (midnight) 

QUEENS

TRUE COLORS: Poker happy hour (5pm)

ICON: Nicole Onoscopi (9pm)

ALBATROSS: Karaoke with Jacklynn Hyde (9pm) 

HOMBRES LOUNGE: Latin party (10pm)

CLUB EVOLUTION: Latin part feat. Laura Martinez (10pm)

NEW JERSEY

PARADISE: Cee’Mour Cox’s DRAG WARS (10pm)

Full List Here

[luizacarvalhocardoso]

“Ser ganancioso não faz de você um capitalista, mas um sociopata”

Os principais pontos que fizeram com que o neoliberalismo, criado na década de 70, ganhasse força como modelo socioeconômico a ser seguidos pelos principais países capitalistas do mundo é algo que gera controversas, principalmente pelos efeitos negativos que traz para trabalhadores e as democracias.

Celulares, carros, eletrônicos e até mesmo roupas. O progresso e modernização que a doutrina neoliberal trouxe para o mundo, e uma maior prestação de serviços por parte de empresas globalizadas, desenvolveu a economia global como um todo.

Porém, com o lucro sendo o principal foco desse sistema, políticas e regulamentações em prol dos trabalhadores acabam ficando de lado.

Como uma de suas principais bases é a falta de interferência do Estado na economia, o chamado “Estado mínimo”, os mercados acabam por se auto-regular. Com a privatização de estatais, prática comum do neoliberalismo, as grandes corporações ditam as regras dos mercados, abrindo brechas para que empresários criem suas próprias.

Weart - Ted Parker

Bons frutos, mas para quem?

A fala destacada no título desse artigo foi dita em uma palestra realizada no TED Talks, pelo empresário estadunidense e capitalista de risco Nick Hanauer. Ele entende que o principal motivo para o caos econômico e social que grande parte dos países estão vivendo é devido ao neoliberalismo, que para ele é um sistema econômico ultrapassado.

Antes da era neoliberal, os economistas, em sua maior parte, trabalhavam para o Estado. Porém, com a ascensão dessa prática, passaram a trabalhar para o crescimento poderosas multinacionais e enriquecimento de poucos acionistas.

Um dado bastante claro pode ser observado no relatório global da organização não governamental Oxfam, as 26 pessoas mais ricas do mundo detêm a mesma riqueza dos 3,8 bilhões mais pobres, que correspondem a 50% da humanidade.

A olhos nus, o modelo econômico que muita vezes aumenta o Produto Interno Bruto (PIB) dos países, parece render bons frutos apenas para os que estão com o controle do mercado. Ou seja, o PIB de um país não demonstra se ele tem miséria ou não; isso porque a riqueza pode estar nas mãos de pouquíssimas pessoas.

TED

Nick Hanauer em palestra para o TED Talks.

Neoliberalismo e a América Latina de 2019

Desigualdade, falta de direitos, enriquecimento de um lado e exploração do outro, concentração de renda. Recentemente dois países da América do Sul estão dando uma resposta negativa ao neoliberalismo e as suas consequências para o povo.

Há mais de um mês, o Chile vive um estado de convulsão social. Tudo começou com estudantes insatisfeitos com o aumento nas tarifas de metrôs e ônibus do país. Porém, com o passar dos dias, a situação saiu de controle, levando um alto número de cidadãos às ruas para protestar não somente contra os aumentos, mas contra a política neoliberal que existe desde a ditadura de Pinochet.

Água, escolas, saúde, transporte, rodovias e até mesmo a previdência. No nosso país vizinho quase tudo é privatizado. É caro viver, principalmente para o trabalhador, que paga toda a conta.

Segundo relatório elaborado pela Comissão Econômica para a América Latina e o Caribe, intitulado Panorama Social da América Latina, de 2018, 1% da população mais rica do Chile possui 26,5% da riqueza de todo o país, enquanto 50% de pessoas baixa renda representavam 2,1% de toda riqueza do país.

Na Argentina o movimento foi menos caótico, porém no mesmo sentido. Nas eleições presidenciais de 2019, o candidato a reeleição Maurício Macri, que defende práticas neoliberais, acabou perdendo para seu opositor, o peronista Alberto Fernández.

Weart - Ted Parker

Já o Brasil seguiu outro caminho. Logo no inicio de seu mandado na presidência, Jair Bolsonaro e sua equipe econômica, que tem como figura na linha de frente o Ministro Paulo Guedes, adotaram medidas duramente neoliberais.

A principal reforma aprovada no primeiro ano de governo, a previdência social, inseria em sua proposta original um modelo de capitalização, onde cada trabalhador pagaria seu próprio fundo previdenciário, como é no Chile, ao contrário do que acontece atualmente, onde todos depositam em um mesmo fundo, com o dinheiro sendo utilizado para pagar a aposentadoria de todos. No entanto esse modelo foi retirado do texto final da reforma da previdência.

As privatizações também são uma marca do novo governo brasileiro. O objetivo é que ao menos 17 empresas estatais sejam passadas para a iniciativa privada. Recentemente, o Brasil leiloou áreas de campo do pré-sal para países interessados na sua exploração, obtendo lucro de 70 bilhões de reais.

Além disso, na PEC do Pacto Federativo, apresentado pelo governo, foi incluído uma proposta que tira obrigação da construção de escolas públicas, o que levaria à um processo de privatização das escolas, com cada vez mais unidades de ensino particulares.

Enquanto medidas que priorizam o mercado e o lucro são tomadas, a desigualdade no Brasil continua crescendo. Em pesquisa realizada pelo IBGE, o valor que o 1% da população mais rica ganha mensalmente é 38,3 maior que a renda de 50% dos mais pobres, que recebem R$ 820,00 em média. Vale dizer que a desigualdade social no país só cresceu desde 2015, segundo estudo da FGV.

Um novo caminho a seguir

O neoliberalismo modernizou, expandiu os mercados e fez com que a economia mundial evoluísse. Porém, ao mesmo passo em que os mercados começaram a ditar as regras do jogo, com influências diretas na sociedade e até mesmo na política, as revoltas das classes trabalhadoras, bem como as crises, também apareceram.

Segundo Nick Hanauer, o que precisa ser feito é superar o neoliberalismo para um modelo econômico mais igualitário, próspero e sustentável. O capitalista explica que os mercados são compostos de pessoas, em seus mais variados níveis. Ao priorizar grandes corporações em detrimento à trabalhadores, ele alerta que a crise chegará uma outra ou outra. Econômica ou socialmente.

Apesar de não ter um nome próprio, teorias vem sendo desenvolvidas para uma nova economia. De acordo com Hanauer, alguns passos precisam ser seguidos para a queda do neoliberalismo e a implantação de um novo sistema mais justo.

As economias devem ser tratadas como jardins, e não selvas. Assim como as flores de jardins precisam ser cuidadas, as economias também merecem essa atenção. Porém, sem regulamentar grandes corporações e sem políticas verdadeiramente democráticas, os mercados neoliberais acabam criando mais problemas do que soluções.

Weart - Ted Parker

A inclusão é um outro ponto importante para o crescimento econômico. Diferente do que sugerem os ideias neoliberais, fazer com que um funcionário de uma grande empresa de veículos, por exemplo, tenha condições de comprar um dos carros dessa mesma fábrica, através de políticas que o ajude a crescer e conseguir ganhar mais, é um ponto crucial.

Economia é feita por todas as pessoas de um sistema. Quando somente um dos lados prospera, não há equilíbrio. Cooperar não significa apenas enriquecer acionistas. É preciso melhorar o bem estar de todos que participam do sistema. Clientes, trabalhadores, comunidade e acionistas. Isso sem contar o próprio planeta, que acaba sendo destruído em prol do crescimento econômico – como explicamos aqui.

Nick Hanauer alerta que a ganância em um sistema econômico não te torna um capitalista bem sucedido, mas um sociopata. Em uma sociedade que precisa de cooperação – empresários precisam de trabalhadores, e vice-versa – ser ganancioso só torna as coisas ruins para os negócios e para a sociedade, afinal, querer que somente um vença não é sustentável.

Por fim, o capitalista de risco propõe que, para mudar a economia, basta querermos. Diferente das leis da física, que são imutáveis nesse plano, as práticas sócio-econômicas não são, dependem apenas da nossa conscientização e união.

Assista ao vídeo completo (com legenda):

O post “Ser ganancioso não faz de você um capitalista, mas um sociopata” apareceu primeiro em Almanaque SOS.

“Ser ganancioso não faz de você um capitalista, mas um sociopata” Publicado primeiro em http://www.almanaquesos.com/

[sinceileftyoublog]

Joan Shelley’s Natural Bridge

BY JORDAN MAINZER

The truth is often somewhere in the middle. On her fifth solo album Like The River Loves The Sea, Kentucky folk singer-songwriter Joan Shelley fades back and forth between sweet devotion and ultimately independent realism, whether looking at the seasons of a relationship or the changing earth that’s a muse for so many of her songs. Inspired by her home of Kentucky, recorded in Iceland, sounding like Laurel Canyon--Shelley has never been more attuned as she is here to the topography of place and how it affects how we live our lives.

Yes, many of her previous songs, like “Cost of the Cold” or “If The Storms Never Came”, explicitly reference “the elements.” But Shelley’s never written a song like, for instance, “The Fading”, political, philosophical, and spiritual at once. It’s a song about taking solace in nature fighting back against humanity. “I’ve been a resident of Kentucky under the power of Mitch McConnell my whole life,” Shelley told a sold-out crowd at the Old Town School of Folk Music on Sunday, eliciting many a groan. Her clarification that “he can’t take away the beauty” is two-fold. If you’re an optimist, you might think that she means one man doesn’t have power over the stunning forests and caves of the state. But Shelley defines beauty in the song as the very destruction brought upon by Mother Earth. “I saw the river / Thick with mud / Break through the banks and run / And I confess I liked it / I cheered the flood / When the water hit the wall and won,” she sings triumphantly. There’s beauty, too, in friendship--Shelley wants to be “holding my dear friends and drinking wine” when the end of the world comes, and on the studio version, she gloriously harmonizes with beloved Louisville native Bonnie “Prince” Billy--but the acceptance of existence as a finite entity is a mode of thought that prepares one for the inherently lonely death of all things. 

A similar wavering occurs on the aptly titled “The Sway”, which Shelley describes as her “wedding slow dance song”. “Here on this night / Here on this floor / Everything I will call mine / I want to rot with yours,” she sings with uncharacteristically corporeal character. She then envisions a life with another person, “The pain will crack / The fence will break / But you got the key to my door,” before clarifying, “We were only made / For one sweet romance / And then we fade.” Or, as she sings on “Cycle”, “We were always good friends / But we left it all on the floor / These strange cycle romances.” The studio version’s quivering strings add to the unease of the track; live, it was bolstered by Nick Macri’s bow playing on upright bass. And she introduced “Any Day Now” as being “Concise and sad like Dolly [Parton]”, entirely universal: “Any day now you could get that feeling / That your leaving time has come.”

Indeed, Shelley’s songs are multi-layered to the point that sometimes, she can give context live that’s entirely different from what appears on the page. “High On the Mountain” she dedicated to Eastern Kentucky miners, but the song comes across as more personal, combining the location with the relationship that once thrived at the location: “Osage Orange tree here just the same / I could stare at her thorns for hours,” she introduces, before revealing the association: “Thinking of the last time and place / When the bed wasn’t mine but ours.” For the most part, though, the tying thread in Shelley’s songs lies in devotion in the face of hardship, but not smothering collectivism. “No one taught you to pull in close / When danger was near / All your tender parts exposed / Out there in the clear,” she sings on “Coming Down for You”; her harmonies with BPB’s Will Oldham on the studio version and with Nathan Salsburg and Daughter Of Swords’ Alexandra Sauser-Monnig live provided a strong, unifying force with enough room for the individual parts to wander on their own. 

The balance is best achieved on the album’s “Tell Me Something”, when Shelley declares, “I can meet you under the weight of any storm” but concludes after an intimate moment that “I’m telling you now / What I told you once before / I’m gonna get my way.” It’s not an act of selfishness. Shelley doesn’t aim to hurt and is aware when she has unintentionally done so on “Teal” when she sings, “Like a glimpse into cold, dark space / Where I go when I’ve been short with you / And bad with words / And I have hurt the tender things around me.” Live, drummer Spencer Tweedy used drumsticks on the song, hitting the snares with purpose as opposed to his gentle, subdued brushwork that pervaded most of the set, as if to exemplify the seriousness of the tune. But no, really, Shelley knows what we do, too, about creating music, enacting change, or even promising yourself to someone else: that making another person or each other better is as much about individual self-actualization as it is for the good of the collective. The river doesn’t serve the sea. It loves it and thereby flourishes itself.

Album score: 8.3/10

[toothtub05-blog]

Sneak Preview: November Classes at COOK

Events

Tickets go on sale Monday. But you can get an early look at the offerings right here.

Devoted foodies and restaurant newbies love Foobooz. Sign-up now for our twice weekly newsletter.

November is a month made for eating. It’s also a month made for cooking, and if you’re looking to learn a few new tricks, taste some interesting things or just hang out and drink wine with a bunch of Philly chefs, COOK is the perfect place for you in November.

They’ve got Joncarl Lachman previewing his new restaurant, Becca O’Brien doing a vegetarian Thanksgiving, an alpine cheese tasting with the crew from Whole Foods, a night with Joe Monnich and Steve Gullo from Stove & Tap, CBD cocktails from the Vernick bar staff and a whole lot more. Tickets go on sale Monday, October 8th at 2pm, but you can check out the full schedule right here, right now, and be ready when the light turns green.

COOK November Class Schedule

November 1: 6PM Private Event with Becca O’Brien of Two Birds Catering & Canning November 2: COOKbook Author Series: “CUBA COOKS: Recipes and Secrets from Cuban Paladares and Their Chefs” with Guillermo Pernot November 4: 2PM My Grandmother’s Favorite Holiday Desserts with Joe Green of Affinity Confections November 5: COOKbook Author Series: “The Beer Pantry” with Adam Duyle and Michael Harlan Turkell November 6: Restaurant Sneak Peek: Winkel with Joncarl Lachman of Noord November 9: Around the (Plant-Based) World with Elizabette Andrade of Cooking Alchemy November 11: 1PM COOKbook Author Series: “Searing Inspiration: Fast, Adaptable Entrees and Fresh Pan Sauces” with Susan Volland November 14: An Evening with Mackenson Horebe of Square 1682 November 16: Vegetarian Thanksgiving with Becca O’Brien of Two Birds Catering and Canning November 17: 6PM COOKbook Author Series: “The Vermont Non-GMO Cookbook” with Tracey Medeiros November 18: 3PM Alpine Cheese: Old World vs. New World Tasting with Kealan O’Donnel of Whole Foods November 19: Regional Mexican Cooking with Owen Lee of Park Plates Restaurant November 20: An Evening with Joe Monnich and Steve Gullo of Stove & Tap November 25: 12PM Soul Food Brunch with Malik Ali of South November 26: 6PM CBD Delicious: Incorporating CBD Into your Cocktail Experience with Max Tuttleman of Bouquet and JB Bernstein of Vernick Food + Drink November 28: Wine + Swine: Lazio with Mitch Skwer of The Wine Merchant and Nick Macri of La Divisa Meats

Source: https://www.phillymag.com/foobooz/2018/10/05/sneak-preview/

[alleyblack2-blog]

Sneak Preview: February Classes at COOK

Events

Tickets go on sale Monday, January 7th at 2 p.m.

Devoted foodies and restaurant newbies love Foobooz. Sign up now for our twice weekly newsletter.

It’s a new year at COOK, and for those of you looking to learn a little something, eat a little something, drink a little something, or just hang out and have a unique experience this year, you should definitely check out what the crew has in store next month. From Chinese New Year dinners to Filipino feasts, soul food, a pizza party, or a beer and chocolate pairing, COOK has something for everyone.

And we’ve got a sneak preview for you right here. Tickets for all classes go on sale Monday, January 7th at 2 p.m. and they sell out fast, so make a plan and be ready.

COOK’s February Classes

February 1: Tailgating with Becca O’Brien of Two Birds Catering and Canning February 2: 6 p.m. Chinese New Year Dinner with Judy Ni and Andy Tessier of Baology February 5: A Filipino Feast with Jill Encarnacion, Resa Mueller, Neal Santos and Michael Cher of LALO February 6: An Evening with Joe Monnich of Stove & Tap and Steve Gullo of The Bercy February 8: 6 p.m. Beer + Chocolate Pairing with Meredith Rebar of Home Brewed Events and Kevin Paschall and Laurel Burmeister of Shane Confectionery February 9: 6 p.m. A Night In Tuscany with Paul Cullen and Claudia Baudo February 10: 6 p.m. Sushi-101 with Matt Kemp of Shoon February 11: 6 p.m. A Very Vegan Valentine’s Day with Rachel Klein of Miss Rachel’s Pantry February 13: Wine + Swine Along the Rhine with Mitch Skwer of Wine Merchant and Nick Macri of La Divisa Meats February 14: Valentine’s Day Dinner with Laura Frangiosa and Maureen Stoebenau February 15: 6 p.m. Empanada Making Happy Hour with Jezabel Careaga of Jezabel’s February 16: 12 p.m. Pizza Party with Peggy Paul Casella of Thursday Night Pizza February 17: 1 p.m. COOKbook Author Event: “Vegan Chocolate” with Fran Costigan February 18: Spice World: Expanding Your Home Cooking Spice Repertoire with Brian Ricci of Philabundance February 19: Winter Soul Food with Malik Ali of South February 20: 6 p.m. Sour Happy Hour with James Cleland of Boardroom Spirits February 23: 12 p.m. Food For The Gods: Vegetarian Indian with Rupen Rao of Rupen’s February 25: An Evening with Ben Moore of Harper’s Garden February 26: Cooking On the Maginot Line: An Alsatian Dinner with Joncarl Lachman of Noord and Winkel February 28: The Cheese Course with Laura Sutter and Rachel Freier

Source: https://www.phillymag.com/foobooz/2019/01/04/february-classes-cook-philadelphia/

[needlejudge68-blog]

Sneak Preview: January Classes at COOK

Events

Tickets go on sale Monday, December 3rd.

Devoted foodies and restaurant newbies love Foobooz. Sign-up now for our twice weekly newsletter.

Tacos, vegetarian comfort food, cider and cheese pairings, a CBD happy hour. All of those sound like excellent Christmas gifts for the gastronaut in your life. And COOK has all of them coming in January — everything from Nick Macri and Joey Baldino doing a collaboration dinner to the Mission Taqueria crew throwing a little taco party.

A pair of tickets make excellent gifts. Just sayin’. And tickets for January’s classes at COOK go on sale Monday, December 3rd at 2 p.m., so be ready.

Here’s what’s going on the rest of the month.

January Classes at COOK

January 3rd: An Evening with Kenneth Bush of Bistrot La Minette January 5th: 6 p.m. An Evening with Bobby Saritsoglou of Stina January 6th: 12 p.m. My Mom’s Vegetarian Indian Tiffin with Rupen Rao of Rupen’s January 9th: Southeast Asian Soups and Stews with Robin Admana and Sandy Trinh of Foolish Waffles January 11th: Vegetarian Comfort Foods with Becca O’Brien of Two Birds Catering and Canning January 12th: 12 p.m. Food As Medicine Vegan Brunch with Jonathan Adams of Rival Bros and Dr. Duffy January 13th: 1 p.m. New Year’s Resolutions Desserts with Abigail Dahan of Parc January 14th: Hearty Winter Fare with Kealan O’Donnel of Whole Foods January 16th: An Evening with John Rodriguez of Mission Taqueria January 17th: Back To My Roots with Frankie Ramirez of Enoteca Tredici January 18th: 6 p.m. CBD Happy Hour with Max Tuttleman of Bouquet and Laura Frangiosa January 20th: 12 p.m. Brunch on The High Seas with Anthony Bonnet and Len Boris of The Moshulu January 21st: Local 130 Seafood Dinner with Ian Maroney and Hillary Bor of Pumpkin BYOB January 22nd: An Evening with Joey Baldino of Zeppoli and Palizzi Social Club and Nick Macri of La Divisa Meats January 24th: An Evening with Ryan Bloome and Robert Toland of Terrain January 26th: 4 p.m. Cider + Cheese Pairing Adventure with Ben Wenk of Ploughman Cider and Jamie Png January 27th: 1 p.m. Pasta Makes Perfect with Scott Megill January 29th: A Taste of Friuli Part 2 with Lucio Palazzo of Loco Pez January 30th: Winter Greek Comfort Foods with Frances Vavloukis

Source: https://www.phillymag.com/foobooz/2018/11/30/january-cook-classes/