Rho-Xs: 6/1/21

Jun 21, 2021

CRASH

Not being a serious user of smartphones, I just maneged to log in at my blog to tell you all what's going wrong. My pc is going crazy, I'm not able to access anything useful-knot even something like safe mode. I can play music and video, but say a browser goes crazy scrolling down non-stop as does every other program. First I thought it had something to do with web slice gallery which suddenly appeared, without me asking for it-no idea what it was, it seems to be a legit tool for browsers working on windows 10, some how my Mozilla browser picked it up whilst running on windows XP and totally fucked up my computer. I have no idea what to do as all roads seem to be blocked. Cannot safe/delete anything-even the start button is unavailable. Personally I don't believe this as is a virus attack, but a mysterious windows malfunction, no idea when I'm back on line-but I will be, meanwhile feel free to share your Idea as to a solution to this debacle.

Jun 17, 2021

RhoDeo 2124 Expanse 46

https://youtu.be/UVUiL9385-c

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The Expanse is a series of science fiction novels (and related novellas and short stories) by James S. A. Corey, the joint pen name of authors Daniel Abraham and Ty Franck. The first novel, Leviathan Wakes, was nominated for the Hugo Award for Best Novel in 2012. The series as a whole was nominated for the Best Series Hugo Award in 2017.

As of 2019, The Expanse is made up of eight novels and eight shorter works - three short stories and five novellas. At least nine novels were planned, as well as two more novellas. The series was adapted for television by the Syfy Network, also under the title of The Expanse, then they dropped the ball despite the succes of the series, i suspect the whole thing got too serious (expensive) so once again Syfy network proved they can't handle success. Anyway fans were outraged and got Amazon Prime to pick it up for a fourth and fifth series and considering the mountain of money Jeff Bezos sits on i suspect several more as long as the fans keep cheering.

The Expanse is set in a future in which humanity has colonized much of the Solar System, but does not have interstellar travel. In the asteroid belt and beyond, tensions are rising between Earth's United Nations, Mars, and the outer planets.

The series initially takes place in the Solar System, using many real locations such as Ceres and Eros in the asteroid belt, several moons of Jupiter, with Ganymede and Europa the most developed, and small science bases as far out as Phoebe around Saturn and Titania around Uranus, as well as well-established domed settlements on Mars and the Moon.

As the series progresses, humanity gains access to thousands of new worlds by use of the ring, an artificially sustained Einstein-Rosen bridge or wormhole, created by a long dead alien race. The ring in our solar system is two AU from the orbit of Uranus, and passing through it leads to a hub of starless space approximately one million kilometers across, with more than 1,300 other rings, each with a star system on the other side. In the center of the hub, which is also referred to as the "slow zone", an alien space station controls the gates and can also set instantaneous speed limits on objects inside of the hub as a means of defense.

The story is told through multiple main point-of-view characters. There are two POV characters in the first book and four in books 2 through 5. In the sixth and seventh books, the number of POV characters increases, with several characters having only one or two chapters. Tiamat's Wrath returns to a more limited number with five. Every book also begins and ends with a prologue and epilogue told from a unique character's perspective.

Novels
#    Title            Pages    Audio
1    Leviathan Wakes    592    20h 56m
2    Caliban's War        595    21h
3    Abaddon's Gate    539    19h 42m
4    Cibola Burn        583    20h 7m
5    Nemesis Games    544    16h 44m
6    Babylon's Ashes    608    19h 58m
7    Persepolis Rising    560    20h 34m
8    Tiamat's Wrath        544    19h 8m
9    Unnamed final novel

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Babylon's Ashes is a science fiction novel by James S. A. Corey, the pen name of Daniel Abraham and Ty Franck, and the sixth book in their The Expanse series. The title of the novel was announced in early July 2015[1] and the cover and brief synopsis were revealed on September 14, 2015

Synopsis

Following the events of Nemesis Games, the so-called Free Navy, made up of Belters using stolen military ships, has been growing ever bolder. After the crippling attacks on Earth and the Martian Navy, the Free Navy turns its attention to the colony ships headed for the ring gates and the worlds beyond. The relatively defenseless ships are left to fend for themselves, as neither Earth nor Mars are powerful enough to protect them. James Holden and the crew of the Rocinante are called upon once again by what remains of the UN and Martian governments to go to Medina Station, now in the hands of the Free Navy, in the ring station. On the other side of the rings an alien threat is growing; the Free Navy may be the least of humanity's problems.

<a href="https://multiup.org/103caab14260961941dfa0591e3d242e">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 21-27 </a> ( 150min 69mb)

James S.A. Corey - The Expanse Babylon's Ashes 21-27 150min

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previously

<a href="https://multiup.org/ec2507a66facbe13b61c3d6aafd8b255">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min 63mb)
<a href="https://multiup.org/7c2db1bc4c8f93ff45f2df6e5a901aca">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min 78mb)
<a href="https://multiup.org/d627294ce680b55a5552ee26da80628d">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min 64mb)
<a href="https://multiup.org/71ffc68a701740415df5806f6db5c405">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min 64mb)
<a href="https://multiup.org/2ddc5eb96cece09aafae0029a72381fd">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min 67mb)
<a href="https://multiup.org/b9bbcfa99bc55b573b00e3c0287fedb7">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min 67mb)
<a href="https://multiup.org/37ee50c645c467428254dcfb0092550e">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min 60mb)
<a href="https://multiup.org/1d286bb56f1c77caf49144115f918da1">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min 48mb)
<a href="https://multiup.org/04e5eba5ae7d0b8714c747f135e97208">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min 66mb)
<a href="https://multiup.org/9d31e40248b2d9b26a7d0dbd9237ecb3">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min 72mb)
<a href="https://multiup.org/98823e0797656130ce7e51d3569dacfb">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min 64mb)
<a href="https://multiup.org/bc63015bb4e75014732fbd2558d1db22">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min 72mb)
<a href="https://multiup.org/66e48cef9a80992a672ae47c44cf7979">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min 63mb)
<a href="https://multiup.org/d643ce67098f78606be3c6209f56337b">James Corey - The Expanse Abaddon's Gate 36-42 </a> ( 131min 60mb)
<a href="https://multiup.org/a8ae55abe052929db05681aa453d8c65">James Corey - The Expanse Abaddon's Gate 43-49</a> ( 131min 60mb)
<a href="https://multiup.org/62fc21d2f4526401839898a34dba8c96">James Corey - The Expanse Abaddon's Gate 50-55</a> ( 99min 45mb)
<a href="https://multiup.org/f7f2f9b4f8c292baa4a10cc975434388">James Corey - The Expanse The Vital Abyss </a> ( 146min 67mb)
<a href="https://multiup.org/a342a96876aac55f56cc4d6d19a82489">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min 61mb)
<a href="https://multiup.org/231c93090b14ff8bbc0652e462a7498d">James S.A. Corey - The Expanse Cibola Burn (08-14) </a> ( 128min 59mb)
<a href="https://multiup.org/a7a9a2f96fb59f3986666a9b036c24b9">James S.A. Corey - The Expanse Cibola Burn (15-20) </a> ( 134min 59mb)
<a href="https://multiup.org/97725791bb5602961aee81fa64d12bee">James S.A. Corey - The Expanse Cibola Burn (21-27) </a> ( 135min 62mb)
<a href="https://multiup.org/856f2b0017a6269b4631a47417d8e44f">James S.A. Corey - The Expanse Cibola Burn (28-34) </a> ( 135min 62mb)
<a href="https://multiup.org/4f908544c40f49e4f188a0c811247d0d">James S.A. Corey - The Expanse Cibola Burn (35-41) </a> ( 126min 58mb)
<a href="https://multiup.org/f7d9a031a03c2f95e58047befb0c55f2">James S.A. Corey - The Expanse Cibola Burn (42-48) </a> ( 154min 70mb)
<a href="https://multiup.org/e7f40aef0212205f097fe4c62ab428b7">James S.A. Corey - The Expanse Cibola Burn (49-56) </a> ( 161min 74mb)
<a href="https://multiup.org/67ac8380f2bb0c46771fc0061357442b">James S.A. Corey - The Expanse Cibola Burn (57-64) </a> ( 154min 71mb)
<a href="https://multiup.org/d59d9633922ac0f97a8fc47b8801ae14">James S.A. Corey - The Expanse .Nemesis Games 01-07 </a> ( 138min 57mb)
<a href="https://multiup.org/040a3e90a7e112b6d090c5c47d6f5283">James S.A. Corey - The Expanse .Nemesis Games 08-14 </a> ( 135min 64mb)
<a href="https://multiup.org/5e317407ea60e9d49a011e716cb21ec3">James S.A. Corey - The Expanse .Nemesis Games 15-21 </a> ( 140min 64mb)
<a href="https://multiup.org/ce2df9efe1d9a4371fe8f9507755644e">James S.A. Corey - The Expanse .Nemesis Games 22-28 </a> ( 139min 64mb)
<a href="https://multiup.org/790127f58516fd066de7ff5212e87543">James S.A. Corey - The Expanse .Nemesis Games 29-35 </a> ( 130min 60mb)
<a href="https://multiup.org/758da9c4e04ad980dd8b6ee7d9f48d94">James S.A. Corey - The Expanse .Nemesis Games 36-42 </a> ( 136min 61mb)
<a href="https://multiup.org/a3cddf1625d64fb651d011bec20c55b9">James S.A. Corey - The Expanse .Nemesis Games 43-53 </a> ( 188min 78mb)
<a href="https://multiup.org/eb74cd576967f7dc224c554860e8f940">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 01-06 </a> ( 134min 62mb)
<a href="https://multiup.org/e2dead0405c993b3ee0194999c15982d">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 07-13 </a> ( 154min 71mb)
<a href="https://multiup.org/69b828aa78593eebccfe9a96d65537a5">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 14-20 </a> ( 157min 72mb)

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Jun 13, 2021

RhoDeo 2124 Sundaze

Hello, That was a double shock in Denmark tonight first superstar Christian Ericson suffered a heart attack during the match with Finland everyone witnessing was in shock, but luckily he was resuscitated and able to tell his team mates from the hospitalbed he was ok and to finish the game. Unfortunatly, despite being in control and getting a free penalty Denmark lost against debutant Finland 1-0 . Another shocker !

Today's artist might be considered as the main composer of contemporary sacred music. He is strongly influenced by the minimalist movement & Gregorian chant.
In 1958, he entered at the Tallinn Conservatoire & he became famous through USSR with his composition 'Our Garden'. At the beginning of the seventies, he began to use serialism in his works but he stopped. An interest for Gregorian chant & medieval music then brought a new dimension to his music. Mystic, restful & emotional might be some adjectives to describe his compositions. He is one of the most important composers of 'mystical minimalist movement' with John Tavener & Henryk Górecki. exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.

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Arvo Pärt is one of the most important living composers of concert music. His first works, dating from the 1950s, showed the influence of Prokofiev and Shostakovich, as heard in his two Sonatinas for piano (1958). But as his musical studies under Heino Eller continued, he was drawn toward serial techniques and turned out a number of works in the 1960s in this vein. His First Symphony (1961), for instance, displays this method and is dedicated to Eller. By the end of that decade, Pärt had become disenchanted by the 12-tone technique and began writing music in varying styles. In 1976, however, Pärt started composing in what he called his tintinnabulation (or tintinnabuli) method, which involves the prominent use of pure triads. This new style resulted in music so radically different from that which had preceded it, that many observed that it seemed to have come from a different hand altogether.

Unlike most composers of major rank, Pärt did not show remarkable talent in his childhood or even in his early adolescence. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band.

In 1957, Pärt enrolled at the Tallinn Conservatory where he studied under Eller. He graduated in 1963, having worked throughout his student years and afterward as a recording engineer for Estonian Radio. He wrote several film scores and other works during this period, among them his two Sonatinas for piano, from 1958, and Nekrolog, a serial work for orchestra, from 1960. He also wrote a number of choral pieces at this time, among which was the ethereal a cappella effort, Solfeggio (1964). Pärt continued to compose music mainly in the serial vein throughout the 1960s, but received little recognition, since that method of composition was generally anathema throughout the Soviet Union. In the late 1960s and early 1970s Pärt studied the music of Renaissance era composers, particularly that of Machaut, Josquin Desprez, and Obrecht. His Symphony No. 3 reflected these influences in its austere, Medieval sound world.

By the mid-1970s, Pärt was working on an altogether new style of composition. In 1976 he unveiled this method, the aforementioned tintinnabulation, with the piano work, Für Alina. A trio of more popular works followed in 1977, Fratres, for string quintet and wind quintet (later given additional arrangements by the composer), Cantus In Memoriam Benjamin Britten (revised 1980) and Tabula Rasa, for two violins, prepared piano, and string orchestra. Owing to the continued political oppression he found in Estonia, Pärt and his wife and two sons emigrated to the West in 1980, settling first in Vienna, then in West Berlin.In the 1980s and 1990s, Pärt, a devout member of the Eastern Orthodox Church, wrote a number of large-scale choral religious works, including the St. John Passion (1982), Magnificat (1989), The Beatitudes (1990), and Litany (1994). He has declared a preference for vocal music in his later years, and continues, like the English composer John Tavener, also an adherent of the Eastern Orthodox religion, to write much religious music.

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The music of Arvo Part is one of the great consolations of our age. Often described as out of step with the times, his choral compositions display continuity with the great liturgical music of the 16th Century and earlier. Richly-textured, driven by what seems to be an unshakeable faith and commitment, his church music is certainly composed from an ethical standpoint which few these days can share. Yet he is unmistakably of our time, and that is what makes him so wonderful. From the first notes of this wonderful Mass, we are aware that Part is a contemporary, a sufferer, the great soul we never expected to meet.

None of Part's religious music is more beautiful than the Missa Syllabica, and no listener need fear not finding it ravishingly enjoyable. While still a student, one of his teachers said of him that it was as if he had merely to shake his sleeve and notes fell out, and that richly inventive power remains. The increasingly chaotic music of his early career seems to have reflected his inability to deal with ever-receding boundaries, his own overflowing talents, and the sheer number of musical ideas that occurred to him. Though in the second part of his career he seems to have deliberately imposed restrictions on his musical materials, challenging himself to compose with a starkly reduced palette, and in rigorously disciplined formats, he has achieved wonderful things - and this music is among them.

<a href="https://www.imagenetz.de/WymT9"> Arvo Pärt - Beatus   .</a> (219 mb)

01 Statuit Ei Dominus 5:05
Missa Syllabica
02 I Kyrie 2:40
03 II Gloria 2:21
04 III Credo 6:42
05 IV Sanctus 1:26
06 V Agnus Dei   2:22
07 VI Ite, Missa Est 0:36
08 Beatus Petronius 5:04
Magnificat-Antiphonen
09 I O Weisheit 1:48
10 II O Adonai 2:37
11 III O Sproß Aus Isais Wurzel 1:10
12 IV O Schlüssel Davids 1:54
13 V O Morgenstern 1:42
14 VI O König Aller Völker 2:07
15 VII O Immanuel 2:12
16 De Profundis 5:35
17 Memento 8:48
18 Cantate Domino 2:44
19 Solfeggio 4:07

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There's a line in this disc's title track, from an Orthodox ode addressed to Saint Nicholas: "therewithal hast thou acquired: by humility - greatness, by poverty - riches." This might have been written about Arvo Pärt's compositional technique, here liberated from the minimalist strictures of earlier decades, treading a fine line between agony and ecstasy in a way unparalleled since Bach.

In his earlier vein, Pärt often reached spiritual feast through the technical famine of systematic patterning and repetition. In the music on this new cd, all composed between 1996 and 2002 and featuring six première recordings, Pärt instead suggests austerity through the use of a much broader and freer palette. This is particularly palpable in the Nunc Dimittis, where gorgeous textures, harmonies and sonorities conjure a feeling of purity and emptiness.

Elsewhere, Pärt has a couple of surprises up his sleeve. The opening track, Dopo la vittoria, begins in sprightly madrigalian form, entirely appropriate to a commission from the City of Milan. It sets an Italian text describing the conception of the Te Deum by Saints Ambrose and Augustine, an unusually postmodern exercise for Pärt, but one which does nothing to detract from the sincerity of the setting, suggesting instead a celebration of the sanctifying power of centuries of worshipful use.

The weirdest moment on the disc comes with My heart's in the Highlands, a setting of a Burns poem which apparently has a highly personal significance for the composer. It's one of only two tracks on the disc which recall Pärt's earlier, more systematic approach, giving Burns' wistful evocation of the bucolic North to a monotone counter-tenor over a strictly controlled organ accompaniment, and making the text suddenly sound like a mystical allegory of longing for the divine.

There's little of the balletic brilliance that Pärt displayed in such works as the Stabat Mater or Tabula Rasa, and mercifully as little of the thunderous severity of his Passio mode. Instead there's a quiet and cumulative power to these works, given performances of luminous purity by Polyphony and Stephen Layton. By the time we arrive at the Salve Regina, a kind of penitential cradle song which closes the disc, we're ready to fall at the feet of the Maker and beg for forgiveness, simultaneously harrowed and consoled.

<a href="https://mir.cr/1NMIOX7R">   Arvo Pärt - Triodion </a> ( flac 158mb)

01 Dopo La Vittoria 10:00
02 Nunc Dimittis 7:33
03 .. Which Was The Son Of ...7:30
04 I Am The True Vine 10:15
05 Littlemore Tractus 6:28
06 Triodion 14:13
07 My Heart's In The Highlands 9:11
08 Salve Regina 12:13

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Hats off to producer Maido Maadik, who no doubt selected the compelling and wildly entertaining pieces on this disc. Culled largely from Arvo Pärt’s experimental period of the sixties, this collection features astounding forays into serialism and aleatory techniques. Who else would begin his Symphony No 2 (1966) with the sounds of children’s squeak toys? Then the bad boy of the Estonian avant-garde, Pärt uses other “shocking” effects like clusters increasing in dynamics and chaos then dissolve, and calm sonorous moments assaulted with abrupt dissonance. This is not the composer most of us know, now a pious and placid figure whose work is more closely connected to the 16th century than the 20th. Pro and Contra (1966) is the most exciting piece on the disc. Its furious energy reminds me of the opening of Shostakovich’s 1959 Cello Concerto No. 1 (a piece that first-rate cellist Truls Mørk also plays). The third movement will both amuse and leave you breathless. Most uncanny is the inclusion of a socialist realist choral work from Pärt’s student days: Meie aed (Our Garden, 1959). An innocent-sounding girls choir sings of the joys of cultivating its school garden, a naïve metaphor for socialist society. Like Prokofiev’s terrified On Guard for Peace (1950) or Shostakovich’s four-square Song of the Forests (1949), it is completely tonal without a trace of irony. It provides a kick-in-the-pants contrast to the naughty works included with it. Järvi, who has recorded several Pärt discs for Virgin Classics, is stupendous.

<a href="https://multiup.org/cf3de0f89a9a21df14b683cd59f27ad0"> Arvo Pärt - Pro & Contra   </a> ( flac 330mb)

Pro Et Contra   (9:18)
01 I Maestoso 5:29
02 II Largo 0:31
03 III Allegro 3:18
Symphony No. 1 (19:56)
04 I Kaanonid 12:17
05 II Prelüüd Ja Fuuga 7:39
Collage Über B A C H (7:30)
06 I Toccata: Preciso 2:49
07 II Sarabande: Lento 3:06
08 III Ricercare: Deciso 1:35
09 Perpetuum Mobile 6:56
Meie Aed (11:10)
10 I Allegro 2:34
11 II Andantino Cantabile 4:08
12 III Allegro 1:44
13 IV Moderato - Allegro   2:41
Symphony No. 2(15:08)
14 I ♩ = 104-120 5:32
15 II 𝅗𝅥 = 112 3:18
16 III ♩ = 48-60   6:16
.

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Composed for piano and orchestra, Lamentate (also LamenTate) was commissioned by London’s Tate Modern and was inspired by Marsyas, the giant sculpture by Anish Kapoor (b. 1954), the British sculptor and multimedia artist of Indian origin. Hence the subtitle of the work, Homage to Anish Kapoor and his sculpture Marsyas.

Kapoor’s installation was intended to work as an interaction between visual-spatial and acoustic qualities. In composing the piece, Pärt also considered the specific acoustics of the space where Kapoor’s sculpture was displayed – the turbine hall of an old power house. This is also where Lamentate was premiered on 7 February 2003, performed by pianist Hélène Grimaud, and the London Sinfonietta conducted by Alexander Briger. Pärt made amendments to the piece after the premiere and the revised version of Lamentate premiered on 10 November 2003 at the Sejny Festival in Poland, performed by Marrit Gerretz-Traksmann and the Bialystok Philharmonic Orchestra conducted by Tõnu Kaljuste.

In Greek mythology, the satyr Marsyas was flayed alive by Apollo, the god of light, truth and fine arts, for daring to challenge him to a contest of music. Anish Kapoor’s take on the legend of Marsyas was the 150-metre-long, 35-metre-high bright red sculpture reminiscent of a flayed human body. Marsyas consisted of three steel rings joined together by a single span of plastic cover material, forming a trumpet-like shape.

Arvo Pärt: “My first impression was that I, as a living being, was standing before my own body and was dead – as in a time-warp perspective, at once in the future and the present. /.../ Death and suffering are the themes that concern every person born into this world. The way in which the individual comes to terms with these issues (or fails to do so) determines his attitude towards life – whether consciously or unconsciously. With its great size, Anish Kapoor’s sculpture shatters not only the concepts of space, but also – in my view – concepts of time. The boundary between time and timelessness no longer seems so evident. /…/ Accordingly, I have written a lamento – not for the dead, but for the living, who have to deal with these issues for themselves. /…/ A lamento for us, struggling with the pain and hopelessness of this world.

Lamentate is music for piano solo and orchestra. With respect to its form, however, the composition cannot really be described as a typical piano concerto. I chose the piano to be the solo instrument because it fixes our attention on something that is “one”. This “one” could be a person, or perhaps a first-person narrative. Just as the sculpture, despite its overwhelming size, leaves the viewer with a light and floating impression, the piano, largest of the instruments, allowed me to create a sphere of intimacy and warmth that no longer seems anonymous or abstract. We could say that my composition is shaped by two polar forces: brutal robustness and intimate fragility. These characters are not statically opposed to each other, but go through a development throughout the composition."

There are two sacred texts hidden in the music here. The dramatic culmination of the first musical passage is unravelled by the Dies irae sequence from the Mass of the Dead: Day of wrath and doom impending … However, a troparion in the Orthodox Prayer Book, reflecting upon death, brings the dimension of eternal peace to the music. It translates into English as follows: “With eyes of compassion, O Lord, look upon my low estate. For my life is gradually passing away, and there is no salvation for me from the works I have done. Wherefore I pray: With eyes of compassion, O Lord, look upon my low estate, and save me.” The text is carefully inscribed into the music that follows the number of syllables, punctuation marks and other parameters of the text.

<a href="http://depositfiles.com/files/t3zg8vqta"> Arvo Pärt - Lamentate </a> ( flac 138mb)

01 Da Pacem Domine 5:40
Lamentate (37:04)
02 Minacciando   2:38
03 Spietato 3:33
04 Fragile 1:04
05 Pregando 5:59
06 Solitudine – Stato D'Animo 5:25
07 Consolante 1:21
08 Stridendo 1:31
09 Lamentabile 5:46
10 Risolutamente 2:45
11 Fragile E Conciliante 6:56

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Jun 12, 2021

RhoDeo 2123 Grooves

Hello,

Today's Artist translated a seamless blend of jazz-rap, R&B, and reggae into huge success during the mid-'90s, when the New Jersey-area trio's seminal sophomore album The Score hit number one on the pop charts and sold over five million copies before winning a pair of Grammy Awards in 1997. Featuring the songs "Killing Me Softly" and "Ready or Not," the effort became a '90s classic, while each member went on to pursue solo careers that extended into the 2000s.N Joy

The trio formed in the late '80s in South Orange, New Jersey, where high school friends Lauryn Hill and Prakazrel Michel ("Pras") began working together. Michel's cousin Wyclef Jean joined the group, dubbed the Tranzlator Crew, and they signed to Ruffhouse/Columbia in 1993. After renaming themselves the Fugees (a term of derision, short for refugees, which was usually used to describe Haitian immigrants), they entered the studio to record their first official full-length, Blunted on Reality. Issued in early 1994, the album showcased a beat-driven, hip-hop crew vibe, with Hill, Jean, and Michel trading verses in a fashion similar to A Tribe Called Quest, Poor Righteous Teachers, and Digable Planets. While an underground favorite, the album didn't make much of a dent on the charts and they veered in a different, but ultimately more successful, direction on their follow-up.

The Score arrived in 1996 and was an instant hit. Retaining some of their earlier jazz-rap spirit, while incorporating traditional R&B that showcased Hill's singing abilities, the album topped charts across the globe and was certified multi-platinum around Europe and in the U.S. Featuring the soulful, chart-topping single "Killing Me Softly" and a top 40 cover of Bob Marley's "No Woman No Cry," The Score made significant dents in the commercial mainstream while retaining their existing fan base, becoming one of the surprise hits of 1996. At the 1997 Grammy Awards, the Fugees won Best Rap Album and Best R&B Vocal Performance by a Duo or Group for "Killing Me Softly."

Following the success of The Score, the Fugees took a break, pursuing solo endeavors that eventually made the hiatus permanent. Jean issued his first solo album, 1997's The Carnival Featuring the Refugee Allstars, while Michel joined Mya and Ol' Dirty Bastard for the hit single "Ghetto Superstar (That Is What You Are)." In 1998, Hill released her chart-topping, neo-soul opus The Miseducation of Lauryn Hill, which went on to outsell The Score and win five Grammy Awards in 1999. While Hill bowed out while on top of her game, Pras continued rapping and also pursued acting and film production. Meanwhile, Jean continued to release solo material -- issuing over a dozen albums -- and produced for artists, working with the likes of Destiny's Child, Santana, Shakira, Young Thug, and many more.

Almost a decade after peaking with The Score, they reconvened in 2005, performing together on a European tour and releasing the single "Take It Easy." However, the reunion was brief, and the trio disbanded once again. While their overall time together was short, The Score endures as one of the most critically acclaimed albums of all time and each Fugee remained active -- both musically and politically -- for decades to come. . .. N Joy

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The Fugees translated a seamless blend of jazz-rap, R&B, and reggae into huge success during the mid-'90s, when the New Jersey-area trio's seminal sophomore album The Score hit number one on the pop charts and sold over five million copies before winning a pair of Grammy Awards in 1997. Featuring the songs "Killing Me Softly" and "Ready or Not," the effort became a '90s classic, while each member went on to pursue solo careers that extended into the 2000s.

The trio formed in the late '80s in South Orange, New Jersey, where high school friends Lauryn Hill and Prakazrel Michel ("Pras") began working together. Michel's cousin Wyclef Jean joined the group, dubbed the Tranzlator Crew, and they signed to Ruffhouse/Columbia in 1993. After renaming themselves the Fugees (a term of derision, short for refugees, which was usually used to describe Haitian immigrants), they entered the studio to record their first official full-length, Blunted on Reality. Issued in early 1994, the album showcased a beat-driven, hip-hop crew vibe, with Hill, Jean, and Michel trading verses in a fashion similar to A Tribe Called Quest, Poor Righteous Teachers, and Digable Planets. While an underground favorite, the album didn't make much of a dent on the charts and they veered in a different, but ultimately more successful, direction on their follow-up.

The Score arrived in 1996 and was an instant hit. Retaining some of their earlier jazz-rap spirit, while incorporating traditional R&B that showcased Hill's singing abilities, the album topped charts across the globe and was certified multi-platinum around Europe and in the U.S. Featuring the soulful, chart-topping single "Killing Me Softly" and a top 40 cover of Bob Marley's "No Woman No Cry," The Score made significant dents in the commercial mainstream while retaining their existing fan base, becoming one of the surprise hits of 1996. At the 1997 Grammy Awards, the Fugees won Best Rap Album and Best R&B Vocal Performance by a Duo or Group for "Killing Me Softly."

Presents the Carnival
Following the success of The Score, the Fugees took a break, pursuing solo endeavors that eventually made the hiatus permanent. Jean issued his first solo album, 1997's The Carnival Featuring the Refugee Allstars, while Michel joined Mya and Ol' Dirty Bastard for the hit single "Ghetto Superstar (That Is What You Are)." In 1998, Hill released her chart-topping, neo-soul opus The Miseducation of Lauryn Hill, which went on to outsell The Score and win five Grammy Awards in 1999. While Hill bowed out while on top of her game, Pras continued rapping and also pursued acting and film production. Meanwhile, Jean continued to release solo material -- issuing over a dozen albums -- and produced for artists, working with the likes of Destiny's Child, Santana, Shakira, Young Thug, and many more.

Almost a decade after peaking with The Score, they reconvened in 2005, performing together on a European tour and releasing the single "Take It Easy." However, the reunion was brief, and the trio disbanded once again. While their overall time together was short, The Score endures as one of the most critically acclaimed albums of all time and each Fugee remained active -- both musically and politically -- for decades to come.

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Debut album by Fugees, hip-hop group from East Orange, New Jersey, formed by Samuel "Pras" Michel of New York, Wyclef Jean of Croix-des-Bouquets, Haiti, but raised between East Orange and Newark, and Lauryn Hill of South Orange, New Jersey. Pras and Hill meet at Columbia High School in Maplewood, New Jersey, and are later joined by Jean, shortly before Marcy Harriell left them. The group changed its name several times, when it reached an agreement with Ruffhouse Records, a label distributed by Columbia, it changed definitively from Tranzlator Crew (kept on the cover) to The Fugees, short for "refugees" and a derogatory term addressed to Haitian immigrants. The record has features typical of the '92 hip-hop season, having been recorded around that time, however, it wasn't officially released until early 1994 due to issues with the label. Rapping is provided by all three performers, while production is mainly done by Pras and Wyclef Jean, together with Khalis Bayyan, already known for his work with Kool & the Gang, Rashad Muhammad, Brand X, Stephen Walker, Jerry Duplessis and Salaam Remi. The rhythms are combined with live instrumentation performed mainly by Wyclef Jean on guitar and bass, and by Khalis Bayyan on sax and keyboards.

After the intro, Wyclef Jean quickly makes it clear that he'll be going hardcore on this record, delivering on a cheerful boom bap with decent jazzy samples and regular drum pounding. Pras is quite mediocre and meager right from this first track, while Lauryn Hill is easily better than the other two combined, spitting bars with a tight, flowing, flawless, dope flow. Track number three's actually a double track that features an opening short interlude, a one and a half-minute skit, and then a five-minute cut, with a verse each performed by the three MCs. Boom bap with accessible light pounding slow drum and tight horn sample in the background: Wyclef delivers hardcore, smooth, great flow, follows Lauryn Hill killing the song with a smooth, tight, dope style. An extravagant and irregular rapping by Pras closes. Fourth choice is dominated by Jean: jazzy boom bap, dirty and tight heavy thumping skinny drum machine, Lauryn Hill is better than the other two again, with great crisp flowing and quick rapping, Wyclef Jean delivers syncopated and quick. .

The album mirrors the East Coast sound and mixes it with ragga: the producers come up with honest rhythms, at best good, never excellent, composed of a dynamic drum and jazzy, funky, soul and pop samples. Thematically, the album varies between politics, racism, violence, life in the ghetto, braggadocio, crime, violence and represent, without a precise direction and with several socio-conscious extracts. At rapping, Lauryn Hill stands out above all and obscures the other performers in every track, boasting a dope flow

<a href="https://mir.cr/XQKIK6EY"> Fugees - Blunted on Reality </a> (flac 431b)

01 Introduction 1:1
02 Nappy Heads 4:29
03 Blunted Interlude 6:49
04 Recharge 5:10
05 Freestyle Interlude 1:08
06 Vocab 5:02
07 Special News Bulletin Interlude 0:20
08 Boof Baf 5:09
09 Temple 4:03
10 How Hard Is It? 3:52
11 Harlem Chit Chat Interlude 0:49
12 Some Seek Stardom 3:42
13 Giggles 4:21
14 Da Kid From Haiti Interlude 0:59
15 Refugees on the Mic 4:57
16 Living Like There Ain't No Tomorrow 4:00
17 Shout Outs From the Block 9:17
18 Nappy Heads (Remix) 5:22

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A breath of fresh air in the gangsta-dominated mid-'90s, the Fugees' breakthrough album, The Score, marked the beginning of a resurgence in alternative hip-hop. Its left-field, multi-platinum success proved there was a substantial untapped audience with an appreciation for rap music but little interest in thug life. The Score's eclecticism, social consciousness, and pop smarts drew millions of latent hip-hop listeners back into the fold, showing just how much the music had grown up. It not only catapulted the Fugees into stardom, but also launched the productive solo careers of Wyclef Jean and Lauryn Hill, the latter of whom already ranks as one of the top female MCs of all time based on her work here. Not just a collection of individual talents, the Fugees' three MCs all share a crackling chemistry and a wide-ranging taste in music. Their strong fondness for smooth soul and reggae is underscored by the two hit covers given slight hip-hop makeovers (Roberta Flack's "Killing Me Softly With His Song" and Bob Marley's "No Woman, No Cry"). Even when they're not relying on easily recognizable tunes, their original material is powered by a raft of indelible hooks, especially the great "Fu-Gee-La"; there are also touches of blues and gospel, and the recognizable samples range from doo wop to Enya. Their protest tracks are often biting, yet tempered with pathos and humanity, whether they're attacking racial profiling among police ("The Beast"), the insecurity behind violent posturing ("Cowboys"), or the inability of many black people in the Western Hemisphere to trace their familial roots ("Family Business"). Yeah, the Chinese restaurant skit is a little dicey, but on the whole, The Score balances intelligence and accessibility with an easy assurance, and ranks as one of the most distinctive hip-hop albums of its era.

<a href="https://multiup.org/1ac480d12aa227a2ca77854c83075f00"> Fugees - The Score </a> (flac 426mb)

01 Red Intro 1:51
02 How Many Mics 4:28
03 Ready or Not 3:47
04 Zealots 4:20
05 The Beast 5:37
06 Fu-Gee-La 4:20
07 Family Business 5:43
08 Killing Me Softly 4:58
09 The Score 5:02
10 The Mask 4:50
11 Cowboys 5:23
12 No Woman, No Cry 4:33
13 Manifest / Outro 5:59
14 Fu-Gee-La (Refugee Camp Remix) 4:23
15 Fu-Gee-La (Sly & Robbie Mix) 5:27
16 Mista Mista 2:42

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Bootleg Versions is the remix album released by R&B and reggae fusion group The Fugees. The album was released on November 26, 1996. The album features only eight tracks, including seven remixes, and one new recording. The Fugees was an American hip hop group who rose to fame in the early-1990s. Their repertoire included elements of hip hop, soul and Caribbean music, particularly reggae. The members of the group were rapper/singer/producer Wyclef Jean, rapper/singer/producer Lauryn Hill, and rapper/producer Pras Michel. Deriving their name from the term refugee, Jean and Michel are Haitian, while Hill is American. In 2007, MTV ranked them the ninth greatest hip hop group of all time. It's fun and it's funky... especially the vocally agressive "Vocab" remixes.

<a href="http://depositfiles.com/files/d1pndc0yt"> Fugees - Bootleg Versions</a> (flac 223mb)

01 Ready or Not (Clark Kent / Django Remix) 5:17
02 Nappy Heads (Mad Spider Mix) 4:27
03 Don't Cry Dry Your Eyes 4:14
04 Vocab (Salaam's Remix) 7:00
05 Ready or Not (Salaam's Ready for the Show Remix) 4:41
06 Killing Me Softly With His Song (Live at the Brixton Academy) 2:41
07 No Woman, No Cry (Remix With Steve Marley) 5:27
08 Vocab (Refugees Hip Hop Remix) 4:37

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Wyclef crafted an eclectic album here, and the other Fugees members make appearances as well. The production is rather unique, as Wyclef experiments with a wide variety of styles, both old and modern. There's even rapping and singing in Creole. I could've done without all the pointless interludes, which added nothing to the proceedings, but they're a small blemish on an otherwise solid effort. This is a pretty overlooked album, so be sure to check it out if you haven't already.

<a href="https://www.imagenetz.de/APj4J"> Wyclef Jean - The Carnival featuring Refugee Allstars </a> (flac 422mb)

1 Intro / Court / Clef / Intro (Skit / Interlude) 3:15
2 Apocalypse 3:49
3 Guantanamera 4:31
4 Pablo Diablo (Interlude) 0:40
5 Bubblegoose 3:49
6 Prelude to "To All the Girls" (Interlude) 0:31
7 To All the Girls 4:17
8 Down Lo Ho (Interlude) 1:13
9 Anything Can Happen 4:37
10 Gone Till November 3:27
11 Words of Wisdom (Interlude) 0:46
12 Year of the Dragon 4:07
13 Sang Fézi 4:02
14 Fresh Interlude 1:46
15 Mona Lisa 4:30
16 Street Jeopardy 3:57
17 Killer M.C. (Interlude) 0:33
18 We Trying to Stay Alive 3:12
19 Gunpowder 4:24
20 Closing Argument (Interlude / Skit) 1:36
21 Enter the Carnival (Interlude) 0:24
22 Jaspora 4:03
23 Yelé 5:24
24 Carnival 5:06

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Jun 10, 2021

RhoDeo 2123 Expanse 45

Hello, now Babylon's in Ashes but we humans don't loose our hubris that easy after all we are used to celebrate ignorance..Anyway the story continues......

Here today, naturally my mission of trying to breakthough the wall of nonsense build by the supposed smartest men on the planet is continuing as chinks start to appear, their arrogant stupidity set us back decades if not more, electro-magnetics is clean energy and would have delivered us not only flying cars, but flying saucers aswell and who knows a pathway into other dimensions..Meanwhile i got a request to continue the Expanse, and as this is one of the greatest SF series of our days and within it Abaddon's Gate one of it's highlights no reason to stop there then, so i won't...N Joy..

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Before Einstein created his unique theorems on relativity, deflating Newton’s theories on gravity, Nikola Tesla posited the idea that electricity and energy were responsible for almost all cosmic phenomena. Tesla saw energy and electricity as an “incompressible fluid” of constant quantity that could neither be destroyed nor created.

If you want to find the secrets of the universe, think in terms of energy, frequency, and vibration.

— Nikola Tesla

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Throughout human history the planet Mars has held mankind’s rapt attention.

When telescopes were sufficiently advanced by the late nineteenth century, the red planet seasonally fogged over with dust storms. After such storms it appeared to darken in spots with what was thought to be vegetation. But when the Mariner 4, 6, and 7 flybys of the late 60s and the Mariner 9 orbiter in 1971 and Viking I and II landings in 1976 showed a barren, lifeless terrain, with no evidence of even the lowliest forms of vegetation, the “greening” of Mars was thought to result from the inorganic oxidation and reduction of ferruginous soils on the planet’s surface. This brief essay proposes a speculative mechanism for such a transformation.

Periodically the inclement winds on Mars are estimated to gale in excess of 200 miles per hour (>300 kph), sending dust particles high into the thin atmosphere. This atmosphere, consisting mainly of carbon dioxide with traces of water vapor, is less than one percent the air pressure we enjoy on planet Earth.

Thus, airlifted and suspended dust particles themselves are mainly microscopic, taking days or weeks to settle. But the extreme velocity of the surface winds also blows larger particles about to collect in drifts and to scour the landscape. And, over periods measured in eons, many features have been eroded and smoothed to show a wasteland marked by a grand canyon (Valles Marineris), scattered craters, an enormous extinct volcano (Olympus Mons) among several others, and numerous other gross outcroppings, but the planet’s surface is largely devoid of finer detail. However, a few craters do show little evidence of erosion and may be relatively recent events in Martian geological history.

Mars rotates diurnally in approximately 24 hours and 40 minutes, and its axis is tilted at an angle of some 25°, not dissimilar in either respect to Earth. It revolves in its orbit about the Sun in 1.88 Earth years, and consequently it has much longer seasons. But every spring in the northern hemisphere, there is a partial melting or sublimation of the polar ice cap, preceded by keening windstorms, which in turn is followed by a gradual darkening of the Martian landscape extending down toward the equator. It was this darkening—this “greening”—which gave credence to the idea that vegetation likely existed on Mars.

The illustration of the microcosmic Martian landscape in the quart bottle looks for all the world like a Ludek Pesek painting in miniature, replete with ruddy arroyos, canyons, and peaks, but with a darker greenish detritus in simulated moraines. The particles which make up this scene are actually the Buell dust product of a high temperature rotary kiln. They comprise agglomerated microspheres of fused magnesium oxide (periclase) of fairly uniform size (20-40 μm), with patina-like coatings of red (oxidized) and green (reduced) iron oxides, as determined by the McCrone Research Institute of Chicago. Under microscopic examination, the colors appear more reddish-orange and yellowish-green in hue.

One of the more interesting features of the mixture of these microspheres is that the red ones are magnetically permeable while the green are not, being easily separated by a teflon-coated stirring magnet despite the tenuous coating of the iron moiety. It was this peculiar property that was first noted in the mid-1960s and which drew my attention to the phenomenon associated with the then-known weather patterns on Mars. Namely, if the cohesiveness of the reddish particles, inherent in their magnetic permeability, were in any respect related to the occurrences on Mars, then such Martian particulates themselves would exhibit similar permeability as well as weak magnetism. In fact, in 1976 the Viking landers found as much as 4% magnetic permeability of the Martian soil, which was considerably higher than expected.

Other than iron itself, we know that magnetite (Fe3O4), maghemite (Fe2O3), and pyrrhotite (Fe5S6 to Fe16S17) are magnetically permeable, although their colors tend to range from yellowish brown to black. However, the surface of Mars from the viewpoint of both the Viking and 1997 Surveyor probes has been a rather uniform ruddy color. And yet, the airborne magnetically permeable particulates were found to have a darker albedo (reflectance) than the soil samples, which may merely indicate that the airborne particles did not have the ruddy overlay which heavily coated the soil samples.

The postulated microspherules on Mars are conjectured to come in two varieties, an oxidized orange-red ferric iron and a reduced yellow-green ferrous iron assortment. The ferric iron spherules would be magnetically permeable while the ferrous would not. The significance of the two kinds of spherules is that the magnetic cohesiveness of the permeable ferric glasslike particles would impart the characteristic red color to the surface of Mars, as well as contributing to its comparative stickiness, while the greenish ferrites would give the deceptive impression of vegetation growing in select regions of the planet following the violent windstorms of a Martian winter, as well as contributing to the appearance of moraine-like flows in various arroyos.

These windstorms occur approximately every two of our own years, and although the blustering gales are extremely tenuous they race around the planet in excess of 200 mph and raise voluminous dust clouds which obscure the surface (an early Soviet space probe landed during one of these storms and ceased operating within two hours). When these winds ultimately subside, there is a notable “greening,” or at least a darkening of the planet—a phenomenon which was first attributed something over a century ago to the growth of vegetation. Thus, the false foliage might be more of a physical event than a chemical one, much less a biotic episode. However, for purposes of this speculation, oxidation-reduction processes effected by solar radiation and the Martian atmosphere are expected to contribute significantly to the anomalous color changes.

An early in situ experiment to discover biota in Martian samples found an anomalous oxidation process that was attributed to peroxides in or on the soil. It still isn’t clear to this author whether this was due to vagaries of the analyzing instrument, an isolated non-reproducible incident, or solar-induced oxide enhancement of the Martian soil. It is, of course, well-known that ultraviolet radiation can dissociate otherwise well-behaved molecules into higher energy states to form such peroxide molecules.

I opt in favor of this for at least two reasons: Peroxide reactions, especially in the presence of activating ultraviolet light, would favor the conversion of hematite or the hydrated limonite into magnetite. Secondly, magnetite might be reduced in the presence of peroxide to maghemite, which itself can exist in a magnetic or nonmagnetic (hematite) state. This is because, as is well-known to almost every bench analyst who’s dirtied his or her hands as a wet-chemist, under certain conditions peroxides can act as either oxidizing or reducing agents. The exotic conditions on Mars certainly qualify for an unusual laboratory environment on a planetary scale.

Such peroxides on Mars would most probably come from the dissociation of the CO2 or sparse water vapor in the atmosphere. Moreover, the disturbance of the windstorms, abetted by the otherwise anomalous peroxide reduction of hematite to the ferrous state (FeO), perhaps might also—if accompanied by water from the poles—convert mineral iron compounds to the nonmagnetic greenish ferrous hydroxide or even to the darker ferric hydroxide, geothite.

The origin of these hypothetical microspheres would most likely be in some ancient disaster that wracked the planet, where an asteroidal impact or volcanic event, or both, brecciated the surface and boiled off both atmosphere and ocean, leaving a glassy vestige of microscopic tektites on the ground and very little residual airmass.

Conclusion

The speculation that Mars is covered by microspherules of glassy particles stems from observations of earthbound samples that have experienced extraordinary thermal conditions. Based on the geohistory of Mars as it is currently surmised, it is anticipated that such microspheres may be primarily composed of refractory minerals other than iron, in either amorphous or crystalline forms, and imbued with a patina of mineralized iron compounds to impart their characteristic coloration to the sands of Mars.

Frederic Jueneman

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In recent months, according to a number of scientific reports, the dusty winds and sand dune formations on the planet Mars have grown even more mysteries. In this episode, we explore why Electric Universe geology may hold the key to resolving both the mysterious processes in Mars' past, and those happening today.

If you see a CC with this video, it means that subtitles are available. To find out which ones, click on the Gear Icon in the lower right area of the video box and click on “subtitles” in the drop-down box. Then click on the subtitle that you would like.

https://youtu.be/uELU6xi5J5U

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The Expanse is a series of science fiction novels (and related novellas and short stories) by James S. A. Corey, the joint pen name of authors Daniel Abraham and Ty Franck. The first novel, Leviathan Wakes, was nomi

nated for the Hugo Award for Best Novel in 2012. The series as a whole was nominated for the Best Series Hugo Award in 2017.

As of 2019, The Expanse is made up of eight novels and eight shorter works - three short stories and five novellas. At least nine novels were planned, as well as two more novellas. The series was adapted for television by the Syfy Network, also under the title of The Expanse, then they dropped the ball despite the succes of the series, i suspect the whole thing got too serious (expensive) so once again Syfy network proved they can't handle success. Anyway fans were outraged and got Amazon Prime to pick it up for a fourth and fifth series and considering the mountain of money Jeff Bezos sits on i suspect several more as long as the fans keep cheering.

The Expanse is set in a future in which humanity has colonized much of the Solar System, but does not have interstellar travel. In the asteroid belt and beyond, tensions are rising between Earth's United Nations, Mars, and the outer planets.

The series initially takes place in the Solar System, using many real locations such as Ceres and Eros in the asteroid belt, several moons of Jupiter, with Ganymede and Europa the most developed, and small science bases as far out as Phoebe around Saturn and Titania around Uranus, as well as well-established domed settlements on Mars and the Moon.

As the series progresses, humanity gains access to thousands of new worlds by use of the ring, an artificially sustained Einstein-Rosen bridge or wormhole, created by a long dead alien race. The ring in our solar system is two AU from the orbit of Uranus, and passing through it leads to a hub of starless space approximately one million kilometers across, with more than 1,300 other rings, each with a star system on the other side. In the center of the hub, which is also referred to as the "slow zone", an alien space station controls the gates and can also set instantaneous speed limits on objects inside of the hub as a means of defense.

The story is told through multiple main point-of-view characters. There are two POV characters in the first book and four in books 2 through 5. In the sixth and seventh books, the number of POV characters increases, with several characters having only one or two chapters. Tiamat's Wrath returns to a more limited number with five. Every book also begins and ends with a prologue and epilogue told from a unique character's perspective.

Novels
#    Title            Pages    Audio
1    Leviathan Wakes    592    20h 56m
2    Caliban's War        595    21h
3    Abaddon's Gate    539    19h 42m
4    Cibola Burn        583    20h 7m
5    Nemesis Games    544    16h 44m
6    Babylon's Ashes    608    19h 58m
7    Persepolis Rising    560    20h 34m
8    Tiamat's Wrath        544    19h 8m
9    Unnamed final novel

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Babylon's Ashes is a science fiction novel by James S. A. Corey, the pen name of Daniel Abraham and Ty Franck, and the sixth book in their The Expanse series. The title of the novel was announced in early July 2015[1] and the cover and brief synopsis were revealed on September 14, 2015

Synopsis

Following the events of Nemesis Games, the so-called Free Navy, made up of Belters using stolen military ships, has been growing ever bolder. After the crippling attacks on Earth and the Martian Navy, the Free Navy turns its attention to the colony ships headed for the ring gates and the worlds beyond. The relatively defenseless ships are left to fend for themselves, as neither Earth nor Mars are powerful enough to protect them. James Holden and the crew of the Rocinante are called upon once again by what remains of the UN and Martian governments to go to Medina Station, now in the hands of the Free Navy, in the ring station. On the other side of the rings an alien threat is growing; the Free Navy may be the least of humanity's problems.

<a href="https://multiup.org/69b828aa78593eebccfe9a96d65537a5">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 14-20 </a> ( 157min 72mb)

James S.A. Corey - The Expanse Babylon's Ashes 14-20 157min

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previously

<a href="https://multiup.org/ec2507a66facbe13b61c3d6aafd8b255">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min 63mb)
<a href="https://multiup.org/7c2db1bc4c8f93ff45f2df6e5a901aca">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min 78mb)
<a href="https://multiup.org/d627294ce680b55a5552ee26da80628d">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min 64mb)
<a href="https://multiup.org/71ffc68a701740415df5806f6db5c405">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min 64mb)
<a href="https://multiup.org/2ddc5eb96cece09aafae0029a72381fd">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min 67mb)
<a href="https://multiup.org/b9bbcfa99bc55b573b00e3c0287fedb7">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min 67mb)
<a href="https://multiup.org/37ee50c645c467428254dcfb0092550e">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min 60mb)
<a href="https://multiup.org/1d286bb56f1c77caf49144115f918da1">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min 48mb)
<a href="https://multiup.org/04e5eba5ae7d0b8714c747f135e97208">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min 66mb)
<a href="https://multiup.org/9d31e40248b2d9b26a7d0dbd9237ecb3">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min 72mb)
<a href="https://multiup.org/98823e0797656130ce7e51d3569dacfb">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min 64mb)
<a href="https://multiup.org/bc63015bb4e75014732fbd2558d1db22">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min 72mb)
<a href="https://multiup.org/66e48cef9a80992a672ae47c44cf7979">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min 63mb)
<a href="https://multiup.org/d643ce67098f78606be3c6209f56337b">James Corey - The Expanse Abaddon's Gate 36-42 </a> ( 131min 60mb)
<a href="https://multiup.org/a8ae55abe052929db05681aa453d8c65">James Corey - The Expanse Abaddon's Gate 43-49</a> ( 131min 60mb)
<a href="https://multiup.org/62fc21d2f4526401839898a34dba8c96">James Corey - The Expanse Abaddon's Gate 50-55</a> ( 99min 45mb)
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Jun 6, 2021

RhoDeo 2123 Sundaze

Hello,

Today's artist might be considered as the main composer of contemporary sacred music. He is strongly influenced by the minimalist movement & Gregorian chant.
In 1958, he entered at the Tallinn Conservatoire & he became famous through USSR with his composition 'Our Garden'. At the beginning of the seventies, he began to use serialism in his works but he stopped. An interest for Gregorian chant & medieval music then brought a new dimension to his music. Mystic, restful & emotional might be some adjectives to describe his compositions. He is one of the most important composers of 'mystical minimalist movement' with John Tavener & Henryk Górecki. exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.

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Arvo Pärt is one of the most important living composers of concert music. His first works, dating from the 1950s, showed the influence of Prokofiev and Shostakovich, as heard in his two Sonatinas for piano (1958). But as his musical studies under Heino Eller continued, he was drawn toward serial techniques and turned out a number of works in the 1960s in this vein. His First Symphony (1961), for instance, displays this method and is dedicated to Eller. By the end of that decade, Pärt had become disenchanted by the 12-tone technique and began writing music in varying styles. In 1976, however, Pärt started composing in what he called his tintinnabulation (or tintinnabuli) method, which involves the prominent use of pure triads. This new style resulted in music so radically different from that which had preceded it, that many observed that it seemed to have come from a different hand altogether.

Unlike most composers of major rank, Pärt did not show remarkable talent in his childhood or even in his early adolescence. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band.

In 1957, Pärt enrolled at the Tallinn Conservatory where he studied under Eller. He graduated in 1963, having worked throughout his student years and afterward as a recording engineer for Estonian Radio. He wrote several film scores and other works during this period, among them his two Sonatinas for piano, from 1958, and Nekrolog, a serial work for orchestra, from 1960. He also wrote a number of choral pieces at this time, among which was the ethereal a cappella effort, Solfeggio (1964). Pärt continued to compose music mainly in the serial vein throughout the 1960s, but received little recognition, since that method of composition was generally anathema throughout the Soviet Union. In the late 1960s and early 1970s Pärt studied the music of Renaissance era composers, particularly that of Machaut, Josquin Desprez, and Obrecht. His Symphony No. 3 reflected these influences in its austere, Medieval sound world.

By the mid-1970s, Pärt was working on an altogether new style of composition. In 1976 he unveiled this method, the aforementioned tintinnabulation, with the piano work, Für Alina. A trio of more popular works followed in 1977, Fratres, for string quintet and wind quintet (later given additional arrangements by the composer), Cantus In Memoriam Benjamin Britten (revised 1980) and Tabula Rasa, for two violins, prepared piano, and string orchestra. Owing to the continued political oppression he found in Estonia, Pärt and his wife and two sons emigrated to the West in 1980, settling first in Vienna, then in West Berlin.In the 1980s and 1990s, Pärt, a devout member of the Eastern Orthodox Church, wrote a number of large-scale choral religious works, including the St. John Passion (1982), Magnificat (1989), The Beatitudes (1990), and Litany (1994). He has declared a preference for vocal music in his later years, and continues, like the English composer John Tavener, also an adherent of the Eastern Orthodox religion, to write much religious music.

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Arvo Part's Kanon Pokajanen is a work of starkly radiant beauty, a deeply felt plea for forgiveness so resonant it seems to bear its own expiatory power. The piece is a choral setting of the Russian Orthodox Church's canon of repentance, believed to have been composed by St. Andrew of Crete sometime in the late seventh century. Part had experimented with the canon in earlier works, but when the Cologne Cathedral commissioned him to compose a choral piece for its 750th anniversary, he took the opportunity to immerse himself in it completely. Over two years of intense quality time with the work, Part produced an 80-minute choral setting of the entire canon that mines each word of the original Church Slavonic (a language used exclusively in ecclesiastical texts) for its maximum musicality and meaning. Part believes language to be more important to a choral work than the music. In the liner notes, he explains that he wants each word "to find its own sound, to draw its own melodic line." The result is a piece that moves slowly and deliberately through the canon, making ample use of the silences between the words. The juxtaposition of the deep bass men's voices with the high soprano women's voices, sung in the dissonant harmonic style of medieval chant, parallels the canon's night and day symbolism. Part's version, performed in an immaculate recording by the Estonian Philharmonic Chamber Choir, captures the sunrise feeling of a song that is still sung at the break of day in European monasteries. Marina Bobrik-Fromke's liner notes describe it beautifully: "The canon is heard in the nave, barely illuminated by the flickering candles, while the door to the sanctuary still remains closed. As soon as the canon has come to an end, this entrance...opens. The church is filled with light, signifying the presence of Christ." Asked by an interviewer how best to listen to the piece, Part laughed. "First of all," he said, "Turn off the television." If you're looking for background music, Kanon Pokajanen is not your best choice. This is music to soak in, music to meditate to. Music of searing intensity that finds that part of the soul, so often neglected in today's fast-paced lifestyle, that is starved for reverence, fear, and awe, longing to say "Come out to seek me; lead me up to Thy pasturage and number me among the sheep of Thy chosen flock. Nourish me with them on the grass of Thy Holy Mysteries."

<a href="https://multiup.org/dfc5da6480c9c82e75fb84b27d9cb1ea"> Arvo Pärt - Kanon Pokajanen .</a> (240 mb)

01 Ode I 7:34
02 Ode III 11:43
03 Ode IV 7:12
04 Ode V 7:59
05 Ode VI 8:18
06 Kondakion 2:23
07 Ikos 2:57
08 Ode VII 7:12
09 Ode VIII 8:44
10 Ode IX 8:14
11 Prayer After The Kanon 11:02

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Arvo Pärt is a living national treasure to Estonia, and this album reveals such intimate access to his faith, sadness, and humility. Structured in five parts, Alina is a simple, chilling invocation of heartfelt desire comprised of only two movements that alternate with subtle variation. The opening lullaby of "Spiegel im Spiegel" is a gentle and melancholy embrace between Sergej Bezrodney on piano and Vladimir Spivakov on violin, where every note steps gracefully forward, as if ascending a fragile staircase. In contrast, the two movements of "Für Alina" leave a little room for structured improvisation, as the top note in each chord is left for the performer to, as Pärt puts it, "explore within themselves." Thus, Alexander Malter deserves special recognition for breathing such mournful sweetness into these passages through every fingertip; every delicate cluster of notes shines like a distant star through a wintery black night. Malter stays on for the middle section of "Spiegel im Spiegel" and, with violoncello from Dietmar Schwalke, adds a more somber deliberateness to the piece that pianist Bezrodney shies away from in his performances (tracks one and five), instead opting for restrained tenderness. The disc closes much in the same way it opens: as if a prayer of deepest longing were just whispered into the still air. Frequent ECM producer Manfred Eicher calls upon his usual strengths, by letting the instruments speak for themselves in the right acoustical settings -- less is certainly more, and the stark beauty of Alina comes partly from what we hear between the notes: such a rich and gorgeous silence. This is perhaps one of Pärt's finest releases on compact disc, though one of his quietest. These are the tears of ghosts.

<a href="http://depositfiles.com/files/n5oj025b0"> Arvo Part - Alina </a> ( flac 123mb)

01 Spiegel Im Spiegel 10:36
02 Für Alina 10:47
03 Spiegel Im Spiegel 9:12
04 Für Alina 10:53
05 Spiegel Im Spiegel 9:48

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This is one of the finest Arvo Part recordings ever to appear, worthy of ECM's release some years back of "Te Deum." That disc closed with the eight-movement "Berliner Messe," and so does this disc, but the original organ accompaniment conceived by the composer has been revised and re-instated, bringing an added 'liturgical' sound to the work. This is sung one-to-a-part by the Theatre of Voices (including Paul Hillier as the bass singer) and is sensitively accompanied by Christopher Bowers-Broadbent. The clarity of sound throughout is unfailingly sharp, a credit to the singers more than anything else, and the music is beautifully enhanced by the acoustics of Ely Cathedral where these last tracks were recorded. Even if you already have the "Berliner Messe" (as recorded by Tonu Kaljuste on the ECM CD), it is worth getting this and listening to the organ version. The notes are the same, but the sound world is very different - and very compelling.The first half of the programme features the unaccompanied Pro Arte Singers, conducted by Hillier, who explore the eponymous "I am the True Vine" (written for a recent celebratory service in Norwich Cathedral) along with some other short works, all dating from within the past ten years. This is some impressive music, a generous slice of Part's acclaimed tintinnabuli style in various forms (despite the disc's running time). A number of the tracks are premiere recordings: of note, "The Woman with the Alabaster Box" and "Tribute to Caesar" are marvellously written settings of passages from the Gospels, showing as did "The Beautitudes" the ways in which Part deals with the English language. A particularly pleasant touch is the opening track, "Bogoroditsye Dyevo," which Part wrote for the Festival of Nine Lessons and Carols at King's College, Cambridge, in 1992 - this is a sprightly and joyful number that distills all of Part's hallmarks as a composer whilst managing to be brief and very 'Christmassy'!
It is not hard to see why Paul Hillier and Arvo Part have a successful working relationship. Part has supplied Hillier's various ensembles with some luscious and engrossing works (despite the overall simplicity of his style, some of the tracks on this disc really do keep you listening). In return, Hillier has directed them with aplomb and sensitivity, seeing that justice is done to each and every note. This recording is a wonderful testament to that relationship: the sound is beautifully crafted; indeed, it is hard to imagine it being sung any better.
A gem in many respects.

<a href="https://www.imagenetz.de/Yfjz4"> Arvo Part - I am the True Vine </a> ( flac 219mb)

01 Bogoróditse Djévo 1:14
02 I Am The True Vine 8:15
03 Ode IX, From Kanon Pokajanen (Nýnje K Wam Pribjegáju) 10:40
04 The Woman With The Alabaster Box 6:35
05 Tribute To Caesar 7:24
Berliner Messe (23:28)
06 Kyrie 3:07
07 Gloria 3:25
08 Erster Alleluiavers 1:02
09 Zweiter Alleluiavers 1:22
10 Veni Sancte Spiritus 4:05
11 Credo 4:00
12 Sanctus 3:55
13 Agnus Dei 2:28

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Passio has a very important place in our musical heritage as the Hilliard Ensemble. It was really the defining moment that introduced us fully to Arvo Pärt’s music. And it was performing Passio, coming to know and understand Passio, that sort of sealed our relationship – the realisation that this is really something unique. If you look at the score of Passio and analyse it, it is very, very spartan, very sparse in the sense that there are actually only three keys used. And then at the very end, just for the very end, at the critical moment when Christ is on the cross and is about to die, suddenly, the four Evangelists come together on one unison A-note. And then there’s this silence, this death – he gave up the ghost, we’d say, his spirit isn’t in him, he gave up his spirit. And then there’s this extraordinary moment when the choir and everybody comes in, in D-major. So this chord comes in and it just goes right through your body! It’s an amazing moment – every time, it sends shivers down my spine. It’s like the richest Brahms you’ve ever heard, and you realise that there is life afterwards. This is the most important moment, the death, but it's actually looking forward, it’s for a reason, it’s a positive thing, and I think that this last page is the most stunning page of music you could ever wish to hear.

<a href="https://mir.cr/0MRAUX2G"> Arvo Pärt - Passio </a> ( flac 221mb)

Passio Domini Nostri Jesu Christi Secundum Joannem   (1:01:51)
01 Jesus Is Betrayed And Arrested In Gethsemane (Exordium 18:1-12) 9:38
02 Jesus Is Interrogated By The High Priest And Denied By Peter (John 18:13-27) 11:28
03 Jesus Is Judged By Pilate And Reviled By The People (John 18:28-19:15) 26:18
04 Jesus Is Crucified At Golgotha (John 19:16-30; Conclusio) 14:27

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The name of Arvo Pärt has become something of an institution in the consumer culture of classical music. The “New Spiritualism” heralded by such seminal recordings as his Tabula rasa and Te Deum crystallized a sentiment that listeners were craving in the ruins of a postmodern malaise. Yet with this music came a host of expectations: it was supposed to heal us, guide us to an inner light, and provide an inexpensive and convenient means of achieving (temporary) peace. It was something to rely upon, a sonic friend that would never leave us. In believing this, however, we began to lose sight of our own powers and the tremendous dependence we were placing upon recorded media to wrestle with moral dilemmas in our stead. Beautiful and, yes, spiritual though these media are, they can never be a substitute for the enlightenment we read into them.

The frame of Orient & Occident captures the dark side of Pärt’s compositional moon. Stand too close to it, and its darkness overwhelms; too far and it becomes a mere block of shadow. Wallfahrtslied (Pilgrim’s Song), a German setting of Psalm 121, positions us at a median distance and allows us to appreciate the best of both worlds. Composed in 1984 in memory of the composer’s close friend, Estonian director Grigori Kromanov, and since revised for men’s choir and strings, it is a harrowing slice of emotion. The music seems to grit its teeth in a slow, seething discontinuation as voices lay themselves at the orchestral altar. Strings try to remain passive, yet cannot help but break free from their subordinate position with cries of supplication. Before long, they stretch themselves into the thinnest of layers, through which one may see the translucence of the “self” and the “other” and acknowledge that the same light passes through and gives both substance.

The seven-minute title composition, penned in 2000, is for strings only and continues the path that Pärt first began laying with Psalom and Trisagion. It is a grand statement, to be sure, but works its effect through tiny sonic miracles and primes us for the sojourn that awaits us in Como cierva sedienta (1998), a Spanish setting of Psalms 42-43 for women’s choir and orchestra. Exquisite winds recall 1989’s Miserere and rock like a cradle for soprano soloist Helena Olsson’s spiraling invocations. This is music firmly entrenched in its surroundings, while also content to break free from its compulsory resolutions. Strictly choral passages add pastoral unrest. Words tumble out of their own volition, filled with outbursts and infectious proclamations. Like the soul in this final Psalm, downcast even in the light of salvation, I realize that I fall into traps only of my own making. Every time I pull myself out of one, I am reminded that sounds like these are more than incidental to that struggle. Rather, they embody it to the fullest, a collective reminder of the physicality of living experience and the lessons it provides.

The title of Pärt’s eighth ECM album makes me think of colonialism and its feeble justifications for subversion. That being said, I don’t think this is what the music is about. It deals instead with the gap that links these two words and the sacrifices that fill it with song. It is the blood flowing through that emptiness, and we the plunger pulling back to suction out the contagion of enslavement that prevents us all from staring into the face of love......

<a href="https://multiup.org/17cad5683ce99f5d427bd881b1f043f3">   Arvo Pärt - Orient Occident </a> ( flac 183mb)

01 Wallfahrtslied / Pilgrim's Song   8:49
02 Orient & Occident 7:05
Como Cierva Sedienta
03 I 7:16
04 II 4:09
05 III 5:36
06 IV 3:27
07 V 10:53

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