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Reconstruction on Ground Zero – Musical Composition by Rodney Rawlings

Reconstruction on Ground Zero – Musical Composition by Rodney Rawlings

The New Renaissance Hat
Rodney Rawlings
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The Rational Argumentator again renders available Rodney Rawlings’s composition envisioning the rebuilding of the World Trade Center after the terrorist attacks. The beginning signifies quiet contemplation of the ruins; the hammering notes – the construction; the ending – the completed tower.

Listen to the MP3 file of the composition here.

Length: 4:05

Image below by Sailko – available via a Creative Commons Attribution 3.0 License here.

One World Trade Center Under Construction in New York City – January 22, 2014

Rodney Rawlings is a Toronto writer and composer/songwriter. He arrived at the concept of hypercomplex numbers independently, using Ayn Rand’s philosophy of Objectivism to guide him.  See his YouTube Channel

“To Venus and Mars” by Rodney Rawlings – Amanda Neal, Soprano – World Premiere

“To Venus and Mars” by Rodney Rawlings – Amanda Neal, Soprano – World Premiere

The New Renaissance Hat
Rodney Rawlings and Amanda Neal
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Soprano Amanda Noelle Neal performed Rodney Rawlings’s song “To Venus and Mars” at New Brew Chicago’s “A Warm Welcome” concert on May 16, 2017, at The Elbo Room, Chicago, Illinois. This was the first live, public performance of the full song.

Watch the video of Ms. Neal’s performance here


Description by Rodney Rawlings (March 22, 2004)

“To Venus and Mars (The Spaceman’s Lament)” is another song from my musical The Watcher on the Shore, offered in the hope of sparking interest in the play’s production. The theme of the song is the homesickness that would undoubtedly be felt at times by a lone explorer of deep space—especially if he thought he might never return to Earth. Utterly alone and impossibly far from one’s home planet, would the thought of perhaps never again experiencing earthly life be bearable?

Of course, many pioneering spirits would not be afflicted with thoughts like this; their deep-seated passion to explore and learn would overwhelm all other considerations. In fact, in the play, the song is sung by one who does not wholly identify with such spirits. But one must admit that the case of outer space is extreme, and I can’t help but think that even the strongest souls might now and then succumb to such a sentiment. Especially in the coming early years of interplanetary travel, travelers may have to contend with a new malady consisting in a soul-destroying longing and nostalgia.


Lyrics for “To Venus and Mars” (May 29, 2017)

While children down here in the fields
Catch fireflies in jars,
So grown men chase evening light …

… To Venus and Mars
Someday a brave man will go,
Someone who can bear to be launched
And leave us below.

But deep in the sky
He will lose sight of the earth
Ere catching that one final glimpse—
Stuff of memoirs—
Knowing he’s bound on a course
To Venus and Mars.

—-

Now he must seek other realms instead.
It was time for those last looks to end.
Echoes remind him of what they said
When he first heard their call to ascend:
“Do you find most of this globe absurd,
“With its throngs, restless passions, and tears?
“This world is vain, as we’ve often heard.
“Do you long for a mission that’s one-way
“To Venus and Mars—to Venus and Mars—?”

—-

Near Venus and Mars,
Yet might he grow ill at ease
To gaze on them, visions of Earth
Taint all that he sees?
This trav’ler may soon
Dream he will one day return
To mingle on streets full of life,
To chase falling stars
And quite serenely look up to Venus and Mars.

(Spoken:) And quite serenely look up
(Sung:) To Venus and Mars.


Rodney Rawlings is a Toronto writer and composer/songwriter. He arrived at the concept of hypercomplex numbers independently, using Ayn Rand’s philosophy of Objectivism to guide him.  See his YouTube Channel

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Amanda Noelle Neal is a Chicago-based lyric soprano with degrees in Vocal Performance from Roosevelt University’s Chicago College of Performing Arts and Loyola University New Orleans. While pursuing her Master’s Degree at CCPA, Amanda performed the roles of Genovieffa in “Sour Angelica”, Ariadne in “The Abandonment of Ariadne”, and The Unseen Voice in “The Deliverance of Theseus”, both by Darius Milhaud.

Amanda has sung lead and supporting vocals in multiple bands in Chicago. She is a member of the all-female opera-improv troupe Forte Chicago. See her YouTube channel.