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Prophesy: The King & Alpha Series Series, Book 1 , Hörbuch, Digital, ungekürzt, 410min, (USK 18)

Justice Volkov is the youngest Alpha Zenith to ever lead the wolf shifters. Following in his father's large paw prints was a responsibility he met head on. Now at age 33, he is alpha of the alphas. As a direct descendant of the original Siberian pack, his wolf is bigger and stronger than Justice himself is sometimes able to control. His wolf howled long and hard, but Justice kept it inside. It felt like a bass drum beating against his rib cage. The harsh breaths, angry snarls, and the determined pacing inside him were overtaking him. Justice takes his role of leadership and his legacy very seriously. He has little time for romance, not to mention a true mate. His packs are his priority. With a human government trying to regulate them, an uprising of rogue shifters, and a violent team of scientists trying to experiment on them, Justice has his hands way too full. Chadwick "Wick" Bentley is not enthusiastic when the captain of his escort tells him he has to leave his comfortable London home and go back to the States. As the Vampire King, he has no choice but to get his species back in line before they cause anymore chaos. At over 100 years old, Wick is no one to trifle with, but his smooth, charismatic manner makes him quite unique, despite the negative reputation vampires have. Wick has had nothing but time up to this point. He doesn't feel the need to make issues pressing. Nothing is urgent in his life. Until he meets Justice. His beloved. "Natural enemies can't be mates." Or so Justice thought. He knows his skepticism and rejection is hurting his mate, so while he fights their connection, Wick gets help from a source very close to Justice to help him win his beloved's heart. Wick is a force all on his own, but when he's blessed with a special gift from the Mother herself, not even Justice's powerful wolf can prevent the prophesy from being fulfilled. Contains mature themes. ungekürzt. Language: English. Narrator: Nathaniel Black. Audio sample: https://samples.audible.de/bk/tant/011456/bk_tant_011456_sample.mp3. Digital audiobook in aax.

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Price: 9.95 EUR excl. shipping

How Champions Think to Win: The Power and Possibility of Creative Mind , Hörbuch, Digital, ungekürzt, 848min

How champions think is what makes their paths master trends in a world of constant change - a globe without a wall, giving room for transitional leadership. Every day, new discoveries keep swallowing the old, and new generations keep overtaking existing histories, making new giants that keep emerging. There is a power of hidden potential in every man, but small minds focus on what happens, average mind focus on how things happen, great minds focus on why things happen, allowing them to unleash the hidden power within. Every dream that will see the light of the day must be exposed to thinking of new possibilities. No matter the shape, color, or size of your dream today, all you need to achieve it is your thinking habit - no road is not no way, after all. Life is like dropping with a parachute: If you just hang there in fate and enjoy the cool breeze and the shade from the sun while complaining about the loneliness, it will take you where the wind of life blows - in the ocean of hopelessness, wilderness of confusion, desert of dejection, or valley of past failures. You must take charge of your life by using the power of your thoughts. When you throw down a tennis ball with force, it bounces back with the same energy, only it rises higher. But when you throw down a glass cup, it shatters on the ground and scatters in pieces flung here and there. What happens? No energy to bounce up? No! There is energy, but it had been used to scatter the pieces here and there. The energy in your failure is the lessons and the experience. Now you know how it is not going to work. Now you are a coach in the making. To every action of falling, there will be an equal and opposite reaction. This could be a reaction of bouncing up or rolling on the ground or shattering in pieces. But be sure, this audiobook will remold your mentality to leap forward despite the odds. This masterpiece will walk you through how to: Grow your courage aga ungekürzt. Language: English. Narrator: Lynn Benson. Audio sample: https://samples.audible.de/bk/acx0/131535/bk_acx0_131535_sample.mp3. Digital audiobook in aax.

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Price: 9.95 EUR excl. shipping

Aliens in the Forest: The Cisco Grove UFO Encounter , Hörbuch, Digital, ungekürzt, 226min

For the first time ever, the eyewitness in one of the world's most intriguing and least known UFO cases speaks out in public and gives complete information never previously revealed about his terrifying encounter with aliens in a dark forest near Cisco Grove, California. In the fall of 1964, an event much stranger than fiction took place in the ruggedly scenic foothills of the Sierra Nevada mountain range in the Tahoe National Forest. Into this remote wilderness stepped 26-year-old Donald Shrum, who planned to enjoy a relaxing weekend hunting deer with his bow and arrows. As he entered the forest, joking and laughing with his two hunting buddies, little did Shrum suspect that shortly he would be locked in the midst of a terrifying 12-hour struggle with alien forces. Armed only with his wits and one of mankind's most primitive weapons, Shrum expended every ounce of his strength in an all-night battle against invaders that seemed bent on overtaking him and carrying him away to a fate worse than death. This is the story that the world has been waiting for decades to hear. Because he worked for a company that made missiles for the US military, the eyewitness never revealed his true identity in connection with his UFO encounter until now. This is the first and only fully authorized account ever written about this astonishing UFO incident. This UFO case was called "the most spectacular report we have examined" by Coral Lorenzen of the Aerial Phenomenon Investigation Committee (APRO). Paul Cerny of the Mutual UFO Network (MUFON) said, "There is absolutely no doubt in my mind that this incident is factual and authentic. I have spent considerable time plus many visits with the main witness, and along with the testimony of the other witnesses, I can rule out any possibility of a hoax." The telling of this incredible tale for the first time ever is with the full cooperation and permission of Mr. Donald R. Shrum, the primary eyewitness, and his fami ungekürzt. Language: English. Narrator: Matthew Wiens. Audio sample: https://samples.audible.de/bk/acx0/062839/bk_acx0_062839_sample.mp3. Digital audiobook in aax.

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Price: 9.95 EUR excl. shipping

A Land Between Worlds: The Shifting Poetry of the Great American Landscape

In A Land Between Worlds, poet and photographer John Mack shares his vision on that part of the human condition which brings about our disconnection from nature, its further disconnection through smart devices, and provides clues that might lead us back to our natural unity with it. Covering nearly fifty of the most iconic U.S. National Parks, Mack uses poetry, landscape photography, and an interactive augmented reality app to invite us into a deep conversation about the encroaching digital landscape, our attachments to it, and the uncertain fate of our nature. After a four-year journey-flying more than 300,000 air-miles aboard over 200 flights, driving over 15,000 miles with the aid of over 25 car rentals, including hiking over 220 miles, 7 helicopter charters, 6 seaplane charters, 8 grizzly sightings, and 1 husky sled-poet and photographer John Mack returns with evidence of some of America's most iconic, natural sites and their current state of deterioration vis a vis the proliferation of smart devices and the encroaching virtual environment. In an attempt to shed light on the current state of our nature, Mack completes what he calls a "reconaissance mission," having crisscrossed the entire United States of America. Covering a land with length from Maine to Hawaii, a depth from the southern bend of Texas to the far reaches of Alaska's arctic circle, A Land Between Worlds shares Mack's vision of who we are in relation to our environment and looks for clues as to whether or not a balance between nature and today's increasingly seductive technology can be attained. Writes Mack, Today's world finds the human caught in a balancing act between technology and nature unlike ever seen before. With the invention of the smartphone, human beings across the planet are increasingly experiencing life through their screens. With the simple click of the on button, what was once intended to serve as a mere tool now serves as our reality. Caught in this maneuver is the fate of the human soul. As artificial as modern technology may seem, history has shown technology to be a natural and essential part of the human journey. Are we reaching a point, however, where this part of the journey might be taking over the journey's entirety? In these modern times of increasing dependence on digital devices, it behooves us to ask ourselves what, exactly, would allow such an overtaking to occur. Are the programmed lenses of the app-environment-gaming, social networking, news, lifestyle-so mesmerizingly colorful as to take precedent over the vibrant colors of life itself? Or, rather, is there a program already running inside our heads-one that first disconnects us from life's vibrance and only then finds us reaching for our screens to restore the vibrance for us? Comprised of gatherings from nearly fifty iconic U.S. National Parks, Mack uses poetry, landscape photography, and an interactive augmented reality app to invite us into a deep introspection about what it means to be human: What, if anything, can our National Parks teach us about the nature within us? A Land Between Worlds is evidence of hope in a world where nature, freedom, love, democracy, and reality itself are under attack. It's interactive juxtaposition of natural sanctuaries and their digital versions reveals the encroaching digital landscape, our attachments to it, and the uncertain fate of our nature. Available in signed, limited collector's editions and standard editions, A Land Between Worlds includes a "making of" video, reminding us of the art of human craft in an ever more digitized world. A Land Between Worlds is the official book of A Species Between Worlds: Our Nature, Our Screens, the exhibition showcased in New York City in January of 2022. The month-long exhibition attracted some of the most influential voices at the forefront of the battle to defend human awareness from the threats that unchecked use of computer-based technologies pose to our humanity. Available in signed, limited collector's editions and standard editions, the poetry book includes not only all of the exhibition's U.S. National Park images but also the project's entire collection of poems, many of which were not on display to the public.

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Price: 45.99 EUR excl. shipping

The Emerging Markets Century

The Emerging Markets Century - How a New Breed of World-Class Companies Is Overtaking the World: ab 14.99 €

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Price: 14.99 EUR excl. shipping

Cloud Empires

Cloud Empires - How Digital Platforms Are Overtaking the State and How We Can Regain Control: ab 28.49 €

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Price: 28.49 EUR excl. shipping

Blood Diamond

An ex-mercenary turned smuggler (Leonardo DiCaprio) and a Mende fisherman (Djimon Hounsou). Amid the explosive civil war overtaking 1999 Sierra Leone, these men join for two desperate missions: recovering a rare pink diamond of immense value and rescuing the fisherman's son, conscripted as a child soldier into the brutal rebel forces ripping a swath of torture and bloodshed across the alternately beautiful and ravaged countryside. Directed by Edward Zwick (Glory, the Last Samurai), this urgent, intensely moving adventure shapes gripping human stories and heart-pounding action into a modern epic of profound impact.

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Price: 11.68 EUR excl. shipping

Scenes

One of the delightful mysteries of music is the power it possesses to stimulate visual impressions in the minds of listeners. Certain works-even small musical fragments-can fire the imagination with images from our world. A chevron of birds in flight, a serene mountain lake, the morning after a snowstorm, a starry sky, a cityscape, all from melody, harmony, and rhythm. Certain musical strains can release floods of memories that instantly connect us with the poignancy of times and places that we long to glimpse again. Like many before me, pursued a lifelong quest to find and capture the notes that may move others to feel such things. The guitar has been an excellent musical companion in this pursuit. The range of musical styles into which it's voice fits has enabled me (in different seasons of my life) to delve into folk, rock, jazz, and sacred music in addition to the classical repertoire. Consequently, the pieces I've written for this album have been shaped by my passage through diverse stylistic territories. The suite Four Scenes From a New England Calendar offers pastoral impressions of the part of the country where I've spent most of my years. The individual movements bear the subtitles "January", "April", "August", and "October" and attempt to convey feelings about the seasons as experienced in America's Northeast. As well, each movement explores different guitar textures and techniques and harmonies. "January" employs block chords struck vigorously in an eighth note pulse throughout. "April" is an atmospheric but melodic waltz at a medium tempo. In my mind, the rolling triplet arpeggio texture of "August" suggests ocean waves. "October" is dark and introspective with a lyrical melody. It brings the suite to a close with a coda that's as warm and peaceful as glowing embers on a chilly night. Descent to a Dream explores the moments of waning consciousness as we drift into sleep. The piece opens with a serene melody that becomes more rhythmically animated as it develops. Whole-tone scale motives, suggestive of the dream state, appear periodically for transitions. Fragments of the main theme emerge again in the coda above a bass line and hypnotic arpeggios. Four long chords signal the final break with the waking world. In the blues Mississippi Revisited, astute listeners might detect inspiration drawn from various blues guitar stylists blended with harmonies slightly reminiscent of George Gershwin's music. The middle section with it's walking bass line and chord jabs gives a nod to jazzmen Joe Pass and Lenny Breau. Three Hymn Tunes is a group of settings of popular hymn melodies: "Where Can I Turn for Peace?" "Abide With Me," and "Come, Come Ye Saints." My first serious exposure to hymn tunes began in 1984 when my wife MaryAnn and I joined the Church of Jesus Christ of Latter Day Saints and felt the uplifting power of hymns through singing them. The canon of American hymn tunes includes original melodies and adaptations of folk songs that have enjoyed long lives in both Europe and America. When I began making guitar settings of hymns in 1993, my approach was to take them out of the vocal domain and into the instrumental world and attempt to illustrate aspects and images inspired by the titles and lyrics. Joleen G. Meredith (1924-2004) wrote the melody to "Where Can I Turn for Peace" in 1971. Of the three hymns in this grouping, this melody has the shortest history, but has touched millions with a buoying message about turning to Christ for peace amid life's tumult. "Abide With Me" is considered a masterpiece of the Christian hymnody. British organist and composer William H. Monk (1823-1889) wrote this melody, which he titled "Eventide," and joined it with lyrics penned by Reverend Henry F. Lyte as the latter was succumbing to tuberculosis in 1847. The line "the darkness deepens, Lord abide with me" builds on a metaphor relating the inevitability of the close of the day to the end of life. "Come, Come, Ye Saints" is the best known of all Mormon hymn tunes. The melody is from an English folk song with lyrics written by William Clayton (1814-1879) after he and thousands of other Mormons were unlawfully ejected from their homes in Nauvoo, Illinois in the winter of 1846. This setting opens with the single-line melody accompanied by a snare drum effect (produced by plucking the fifth and sixth strings after crossing and fretting them at the midpoint of the guitar neck), alluding to the forced exodus and historic Mormon pioneer trek across America's plains. The ebb and flow of rhythmic and harmonic activity are meant to conjure up images of the energy and vibrancy of the pioneers who built a new city in the Salt Lake Valley. Malenky Etude is a short arpeggio study created to help master the right-hand fingering pattern found in "Etude 1" by Brazilian composer Heitor Villa Lobos. Virtually all classical guitarists have grappled with the unusual demands of that piece. "Malenky" is a Russian word for small, and the piece is dedicated to my Russian-born former teacher Dmitry Goryachev. Beneath the Lowering Sky seeks to portray the reaction to the sight of angry clouds overtaking a formerly clear sky. It's based on angular question-and-answer phrases built from the arrangement of nine tones. I worked this curious little melody through several permutations, presenting it in a number of harmonic and textural guises to fit a range of shifting moods. Metheny is a tribute to the great jazz composer and guitarist Pat Metheny. Over the years he has named several tunes for people. Two musicians whose work has moved him-songwriter James Taylor and bassist Jaco Pastorius-inspired the tunes "James" and "Jaco." I'm not aware of any musician returning the favor, so I named this piece for Pat. While it doesn't directly quote any of his music, it does contain allusions to aspects of his style in the articulations of certain melodies, unusual chord voicings and progressions, Latin rhythms, vigorous strumming, and a button ending. It's a tribute to an artist whose music has been a recurring theme in the soundtrack of my life since 1976. Farewell is the only piece I didn't write or arrange for this project. John Doan, best known for playing the 20-string harp guitar and for his Celtic-influenced compositions, came up with this gem. It's tinged with a bit of Irish dolor that affected me deeply the first time I heard it. Who hasn't experienced bittersweet resignation when the time for parting arrives and we desperately wish it could be postponed? John's simple but eloquent tune captures that sentiment perfectly, making it an ideal choice to close this album. -Mark Small.

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Price: 27.40 EUR excl. shipping

Minimal Flute

The movement is older than it's name - the term "minimal music" evolved in the early 1970's. Michael Campillo used it with reference to "Minimal Art", others who named this genre were the composers Michael Nyman and Tom Johnson. When predominantly serial music was taught in the 1950's and 1960's, several young composers based in the USA were looking for a simple musical language analyzable by the ear. Influences from Asia and Africa played an important role: Around 1970, La Monte Young and Terry Riley became students of the Indian raga singer Pandit Pran Nath, while Philip Glass worked with Ravi Shankar, among others, and Steve Reich studied Balinese gamelan, African drumming and Jewish cantillation. In the process, two approaches emerged. La Monte Young felt an early attraction to static sounds (trio for strings 1958). A similar approach had Charlemagne Palestine or Phill Niblock, whereas Terry Riley and Steve Reich experimented with infinite tape loops in the 1960's, thus creating music with repetitive structures with which we are dealing on this CD. Steve Reich made the break-through 1965 with the tape piece "It's gonna rain". The piece uses the recording of a sermon about the end of the world, given by a black street-preacher. Two identical tape loops were started at the same time, but as the two recorders didn't synchronize, you could soon hear an offset in time. This inspired Reich to use the phase shifting technique on instrumental compositions, for the first time ever in "Piano Phase" for two pianos (1967). Both parts have identical lines of music, the second part overtaking the first occasionally by a note. This performance of shifting tone patterns creates new patterns, called "resulting patterns", a kind of musical moiré effect. "Vermont Counterpoint" for solo flute and tape (11 prerecorded flute parts) doesn't use the phase shifting technique any longer. The canon voices are constantly shifted by three sixteenth notes, and by five sixteenth notes in the third of the four sections. The solo flute (also alto flute and piccolo) has two jobs: On one hand, it introduces new canon voices, first interspersed with rests, then becoming more and more complete until they merge into the ensemble, on the other, it emphasizes the resulting patterns, which partly form in turn a canon voice of their own in the following section. The piece, written in 1982, kicked off a series of counterpoints in which an instrumentalist is playing with one's taped self. At the age of 8, Philip Glass became flute student at the Peabody Conservatory in Baltimore. The "Arabesque in Memoriam" for solo flute (1988) was written in remembrance of his former teacher Britton Johnson, principal flutist of the Baltimore Symphony Orchestra. When the French composer Eric Satie heard that his music was regarded shapeless, he wrote in answer to this accusation his "Trois Morceaux en Forme de Poire" for four-handed piano. The title of the "Piece in the Shape of a Square" (1967) for two flutes by Philip Glass is based on Satie. Stylistically, it's still far from Glass' later opera and movie music, it starts with a motive full of holes and rests, which is filled more and more with notes with the entry of the second voice, passing eventually into ascending scales. It was first performed at Jonas Mekas's Film-Makers Cinemathèque in New York on May 19, 1968 - a concert contributing considerably to the composer's fame. Glass and Jon Gibson arranged the scores in a square and moved in different directions through the piece until meeting again at the end. "In C" by Terry Riley, written in 1964, is a freely configurable concept. On a sheet of paper, 53 short phrases are noted, which are repeated by several performers and played in canon. Steve Reich played a part in the first performance, and it was his idea to play a repeated eighth notes pulse of high Cs on the piano in order to keep the piece together. On this CD, Hans Balmer has recorded 36 tracks with piccolo, alto and bass flute by using the technique of overdubbing.

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Price: 17.92 EUR excl. shipping

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