Conscious Choice cover

From the press release: In this ground-breaking new history of early America, historian Robert Zimmerman not only exposes the lie behind The New York Times 1619 Project that falsely claims slavery is central to the history of the United States, he also provides profound lessons about the nature of human societies, lessons important for Americans today as well as for all future settlers on Mars and elsewhere in space.

Conscious Choice: The origins of slavery in America and why it matters today and for our future in outer space, is a riveting page-turning story that documents how slavery slowly became pervasive in the southern British colonies of North America, colonies founded by a people and culture that not only did not allow slavery but in every way were hostile to the practice.  
Conscious Choice does more however. In telling the tragic history of the Virginia colony and the rise of slavery there, Zimmerman lays out the proper path for creating healthy societies in places like the Moon and Mars.


“Zimmerman’s ground-breaking history provides every future generation the basic framework for establishing new societies on other worlds. We would be wise to heed what he says.” —Robert Zubrin, founder of founder of the Mars Society.


Available everywhere for $3.99 (before discount) at Amazon, Barnes & Noble, and all ebook vendors, or direct from the ebook publisher, ebookit. And if you buy it from ebookit you don't support the big tech companies and I get a bigger cut much sooner.

Ennio Morricone – The Good, The Bad and The Ugly

An evening pause: With yesterday’s evening pause in mind, here’s a classical orchestra showing us how they perform spaghetti western music.


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  • DDZ

    I like the Spaghetti Western Orchestra’s performance of spaghetti western music better than I like the concert orchestra’s performance. It seems to be a better fit.

  • PeterF

    sort of like drag racing in a Rolls Royce?

  • PeterF

    Sort of like drag racing in a Rolls Royce?

  • Edward

    At the risk of sounding like I am reviewing the music or some movies:

    Morricone’s music was used to great effect to keep audiences entertained during Sergio Leone’s long sequences in which little happened on screen. Leone did this in order to enhance suspense or to create other effects (e.g. in the movie “The Good, The Bad, And the Ugly,” he gave us a sense of sadness over the waste of life during the American Civil War). If it weren’t for the brilliance of Morricone, the images would not have had the same meaning, and the sequences would have had to be shortened, because the audience would want the film to move along, as in the other movies of the time. The combination of imagery and music heightened the audience experience, and that is why we so appreciate Leone’s brilliant movies. (In a way, I think that finding Morricone was the most brilliant move of Leone’s career.)

    Earlier, Hitchcock was able to do a similar 5-minute sequence in “north By Northwest” when Cary Grant’s character is waiting at a bus stop, but such imaginative filmmaking is rare. Together, Leone and Morricone were exceptional.

    All this is to say that it was the imagery that accompanied the music and the music that accompanied the imagery that were important. I think that the Spaghetti Western Orchestra understood this relationship and created new imagery to make the music come to life for us. The emotions that they elicit are different, but these enhanced emotions may be why some/many/most of us prefer their performance.

    On the other hand, the BBC Concert Orchestra, being a regular orchestra, heard only the music (still brilliant, but missing that special something).

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