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Premier Concerts, Asbestos Records, and Manic Presents:

$35.00

Tickets

This event is General Admission Standing Room on the Floor and Reserved Seated in the Balcony.

Special offer! A digital download of Flogging Molly’s forthcoming album, Life Is Good, is included with every ticket you order for this show. You will receive an email with instructions on how to receive your download following your ticket purchase.

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Flogging Molly
Founded in Los Angeles in 1997, Flogging Molly has always defied categorization. The infectious originality of their songs is a badge of honor and key to the band's creativity, their urgency. They infuse punk rock with Celtic instruments—violin, mandolin and the accordion—and they merge blues progressions with grinding guitars and traditional Irish music. "We're not a traditional band," explains Dublin-born frontman Dave King. "We are influenced by traditional music and inspired by it, but without question we put our own twist on it." Theirs is music of exile, rebellion, struggle and history. The band's only criteria for its music are simple and bone-deep: that it matter. The social and political awareness that drives Flogging Molly’s music is never more prominent than in their upcoming new album LIFE IS GOOD out on June 2nd (Vanguard Records). Their sixth studio album, LIFE IS GOOD is the band’s strongest release to date highlighting their finesse to tell meticulously crafted ‘stories’ with fierce and bravado arrangements. LIFE IS GOOD is the follow up release to 2011’s Speed of Darkness which landed at #9 on Billboard’s Top 200. In 2002, Drunken Lullabies was released and certified Gold. Float, released in 2008, was a deeply stirring and personal album recorded in King's native Ireland. Through all of this, Flogging Molly—first, last, and always is a live band— playing raucous and adrenaline-fueled shows in bars, pubs, and major rock festivals in North America, Europe, and Japan. "In Ireland," King says, "you go to the pub to have a conversation. That's what we do every night on stage, go to the pub and trade stories." In 2010, to showcase their unparalleled and limitless energy on stage, the band released Flogging Molly: Live at the Greek Theatre, a three disc set chronicling their legendary sold out shows at one of LA's most famous music venues. Flogging Molly has always put their fans before commercial success, and they've always put their music before marketability. The rewards of such independence and integrity are undeniable. You feel it from the first note to the last, the pathos and the passion, the sweeping and rollicking electricity of inspiration.
The White Buffalo
"I've always loved the combination of things that are really beautiful and things that are really dark or heavy. There's a lot of that on this album." So says Jake Smith, singer, songwriter, guitarist and sole charter member of the White Buffalo. He's assessing his new album Love And The Death of Damnation, the most impressive manifestation to date of the richly evocative songcraft that's established Smith as a singular creative force. Over the course of five albums, various EPs, and numerous prominent placements in such high-profile outlets as TV's Sons of Anarchy and Californication, Smith has built a powerful body of work that marks him as a genuine original. The California-bred artist writes timeless, vividly detailed character studies, tapping into the emotional lives of various misfits, outsiders and troubled souls with insight and compassion. His songwriting is matched by his rough-hewn, deeply expressive voice, and by his distinctive instrumental arrangements, which are simultaneously intimate and epic. Smith's songs, and the White Buffalo's recordings, have struck a responsive chord with a large and diverse fan base, and won praise from critics across the media spectrum. NPR's All Songs Considered hailed Smith as an "amazing storyteller," while a recent cover story in the Los Angeles Times' Sunday entertainment section noted, "Smith's baritone echoes with villains and misfits, drunks and philistines. It curls through loneliness, sets out on crooked highways. It is an American voice cured in recession, war and betrayal, a resonant map where the spectral bleeds into dreams. But in it, like mica in slate, is the glint of redemption, flashing just long enough to allow a man to keep a bead on whatever goodness might dwell in him." Those qualities are prominent throughout Love And The Death of Damnation, whose 11 compelling new Smith compositions build upon the creative achievements of the White Buffalo's 2013 breakthrough release Shadows, Greys and Evil Ways. The material ranges from the anthemic opener "Dark Days" to the haunting drug-deal-gone-sour scenario of "Chico" to the bittersweet balladry "Radio with No Sound" to the honest uplift of "Home Is In Your Arms" to the hard-bitten acceptance of "Where Is Your Savior" to the rousing gospel-soul of the album-closer "Come On Love, Come On In." The album also features Smith's first-ever duet, "I Got You," a pointed, warts-and-all love song that teams him with up-and-coming songstress Audra Mae, who he met through their mutual work on Sons of Anarchy. "With this album, I really wanted to get back to songs," Smith states. "Shadows, Greys and Evil Ways was kind of a concept album, so this time I wanted to get back to writing individual stories, as opposed to an extended narrative. I wanted each song to make you feel something. "In the past, the songs have almost always been pretty dark," he continues. "But this time, I was also able to channel some happier stuff and write a couple of actual feel-good songs. It's also more varied musically. I really made an effort to expand my sound, and to get out of my comfort zone as a songwriter." Smith recorded Love And The Death of Damnation—whose birth cycle is chronicled in the ten-part web series Ernie Ball presents Capturing The White Buffalo: The Recording of an American Songwriter, which can be viewed at www.ernieball.com—with producers Bruce Witkin and Ryan Dorn, who also run Smith's longtime label Unison Music Group, with Witkin on bass and longtime cohort Matt Lynott on drums. "This is the first time we did preproduction, instead of just going in blindly with the songs," Smith notes, adding, "I wanted the songs to be as big and dynamic as possible. I want to make records that have some dynamics and some epic moments, rather than just being a singer-songwriter guy with an acoustic guitar." Love And The Death of Damnation's arresting cover photo, depicting Smith standing chest-deep in a large body of water, is an appropriate one, since the artist has gravitated towards the deep end for most of his musical career. The son of a college professor and a nurse, he was born in Oregon and raised in Huntington Beach, California. His parents helped to instill an abiding love for country music during his childhood, and he subsequently gravitated towards punk rock and the ambitious songwriting of such troubadours as Bob Dylan and John Prine. He was just exiting his teen years when he first picked up a guitar and began writing songs that combined country's storytelling tradition with singer-song introspection and punk's visceral immediacy. Smith adopted the White Buffalo as his performing pseudonym early on. "A couple of guys thought I needed a stage name and threw some names in a hat," he recalls. "I pulled out the White Buffalo, and it seemed to make sense, because I'm a big white motherfucker, and because it created some mystery." Smith's compositions first gained attention via cassettes that he made for family and friends. Those tapes eventually circulated more widely, leading to one of his songs, "Wrong," being featured in the popular surf movie Shelter. In 2002, he released the White Buffalo's debut album, Hogtied Like A Rodeo (which he rerecorded six years later as Hogtied Revisited). The debut effort was followed by a trio of EPs, The White Buffalo, Prepare for Black and Blue and Lost and Found. The latter disc marked the beginning of Smith's productive relationship with Unison Music Group, which subsequently released his album Once Upon A Time In The West, followed by the ambitious concept effort Shadows, Greys and Evil Ways, which won widespread acclaim from fans and critics alike. The White Buffalo's public profile has been raised substantially by the inclusion of several of Smith's songs in various films and television shows, most notably TV's Sons of Anarchy, on whose soundtrack his compositions have become a frequent presence. Smith's raw-nerved lyrical themes and edgy performances have proven to be a good match for Sons of Anarchy's dramatic themes, and the show's success has helped to expand the White Buffalo's fan base. Many of those fans have embraced Smith's work on a deeply personal level. "I hear all kinds of stories from people who say that the songs helped me get through stuff," Smith says, adding, "I have all these veterans who've come up to me and said that the last album helped them through hard times. As a songwriter who's trying to write stuff that hits people in a real way, it's pretty powerful to hear that kind of thing." Smith plans to support Love And The Death of Damnation's release the old-fashioned way. "There's definitely gonna be some major touring," he promises. "We're a hard-working band, and we're used to driving 400 miles between gigs. The live show is super-emotional; we just try to bring it in a way that's organic and real and honest, and I try to take people on a ride. We're like a power trio with acoustic guitar. "I'm not a rock star, and I don't have a huge machine behind me," Smith concludes. "I'm just a guy who's trying to do my job and bring something home for my family. I don't have an agenda. I'm just trying to write good songs that make people feel something."
Dylan Walshe
Renowned Dubliner Dylan Walshe is an Irish Muddy Roots recording artist. Armed with his own blend of Celtic folk blues originals, he also sings traditional songs of the working classes reinterprets a wide spectrum of songs in his own inimitable style. An ever growing name on the international circuit, Dylan is known for his robust guitar playing and warm unique vocal style, where songwriting is his craft his lyrics are both insightful poetic. An artist steeped in tradition, but never bound by it. With a debut record released on Muddy Roots Records of Nashville, where Dylan currently resides, Dylan has since shared the stage with legendary music pioneers such as Ralph Stanley Del McCoury many of Dylan's songs are now being recorded for international release by other artists. Flogging Molly also invited Dylan to perform on their punk rock cruise through the Bahamas. Never one to be easily tagged with generic genres, Dylan has been billed for shows representing a variety of areas in music such as Folk, Singer Songwriter, Blues, One Man Band, Rock 'N' Roll, Celtic, Punk, Country, Traditional A cappella to name just a few...
Venue Information: College Street Music Hall. 238 College Street New Haven, CT, 06510 Belle Tote Bag Eugenia Kim Fake Cheap Online TCY9CPoGnY
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"No, that's journalism. The truth is whatever you can't escape."

Distress by Greg Egan

In "The Categories Were Made for Man, Not Man for the Categories" , the immortal Scott Alexander argues that proposed definitions of concepts aren't true or false in themselves, but rather can only be evaluated by their usefulness. Our finite minds being unable to cope with the unimaginable complexity of the raw physical universe, we group sufficiently similar things into the same category so that we can make similar predictions about them—but this requires not only a metric of "similarity", but also a notion of which predictions one cares about enough to notice, both of which are relative to some agent's perspective, rather than being inherent in the world itself.

And so, Alexander explains, the ancient Hebrews weren't wrong to classify whales as a type of dag (typically translated as fish ), even though modern biologists classify whales as mammals and not fish, because the ancient Hebrews were more interested in distinguishing which animals live in the water rather than which animals are phylogenetically related. Similarly, borders between countries are agreed upon for a variety of pragmatic reasons, and can be quite convoluted. While there may often be some "obvious" geographic or cultural Schelling points anchoring these decisions, there's not going to be any intrinsic, eternal fact of the matter as to where one country starts and another begins.

All of this is entirely correct—and thus, an excellent motte for the less honest sort of Slate Star Codex reader to appeal to when they want to obfuscate and disrupt discussions about empirical reality by insisting on gerrymandered redefinitions of everyday concepts.

Alexander goes on to attempt to use the categories-are-relative-to-goals insight to rebut skeptics of transgenderedness:

I've seen one anti-transgender argument around that I take very seriously. The argument goes: we are rationalists. Our entire shtick is trying to believe what's actually true, not on what we wish were true, or what our culture tells us is true, or what it's popular to say is true. If a man thinks he's a woman, then we might (empathetically) wish he were a woman, other people might demand we call him a woman, and we might be much more popular if we say he's a woman. But if we're going to be rationalists who focus on believing what's actually true, then we've got to call him a man and take the consequences.

Thus Abraham Lincoln's famous riddle: "If you call a tail a leg, how many legs does a dog have?" And the answer: "Four—because a tail isn't a leg regardless of what you call it."

I take this argument very seriously, because sticking to the truth really is important. But having taken it seriously, I think it's seriously wrong.

An alternative categorization system is not an error, and borders are not objectively true or false.

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Even with the best intentions, the insurance industry can be quite confusing at times. A great example is the subtle yet important concept of “Occurrence” business insurance policies vs. “Claims Made” business insurance policies. These are relatively obscure sounding terms that can have big consequences on how your coverage responds.

Occurrence policies respond to events that happen while the policy that was in effect. This is true regardless of how far back that event was from the time the actual claim was reported to the insurance company, or whether the same insurance company is currently insuring your business. An example is someone who trips in an office, but doesn’t experience back pain until several months later. By this time, the business may have switched insurance companies. However, the claim would be handled by the insurance company providing coverage at the time that the slip occurred. Most General Liability insurance policies are written on Occurrence based policy forms.

Most General Liability insurance policies are written on Occurrence based policy forms.

A Claims Made policy is one in which the current insurance company is responsible for claims made during the current policy period only, even if the event that gave rise to the claim occurred during a previous time. In the above example, the business owner’s current insurance company would be responsible for the claim, not the insurance company providing coverage when the actual slip occurred. Most Professional Liability (aka EO) insurance policies are written on a Claims Made based policy form.

Most Professional Liability (aka EO) insurance policies are written on a Claims Made based policy form.

Claims Made policy holders, use caution! Under some circumstances, Claims Made policies may not respond to events that happened before your current policy period. To avoid this, it is important to pay attention to something called the “retroactive date” on the policy. This is what determines how far back in time your coverage will respond. Most insurance companies are willing to backdate this to the first date you purchased the coverage, as long as you can show that you have had insurance in place continuously during that time and that you have not had any claims filed.

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