Pioneer cover

From the press release: From the moment he is handed a possibility of making the first alien contact, Saunders Maxwell decides he will do it, even if doing so takes him through hell and back.

Unfortunately, that is exactly where that journey takes him.

The vision that Zimmerman paints of vibrant human colonies on the Moon, Mars, the asteroids, and beyond, indomitably fighting the harsh lifeless environment of space to build new societies, captures perfectly the emerging space race we see today.

He also captures in Pioneer the heart of the human spirit, willing to push forward no matter the odds, no matter the cost. It is that spirit that will make the exploration of the heavens possible, forever, into the never-ending future.

Available everywhere for $3.99 (before discount) at amazon, Barnes & Noble, 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.

John Williams – Theme from Jaws

An evening pause: Performed by the Boston Pops orchestra.

Hat tip to Phil Berardelli, author of Phil’s Favorite 500: Loves of a Moviegoing Lifetime. As Phil noted to me, “The audience seems to love it.” I think many of them had seen the film, and when they heard that first note couldn’t help feeling a deep down bit of squeamish nervousness about what it signified.


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  • Edward

    As Jack Black’s character noted in the movie “The Holliday”:

    “Two notes, and you’ve got a villain.”

  • Phil Berardelli

    Thanks, Bob. Spielberg has told two stories about the creation of the “Jaws” theme. In the first, he described the first conference he had with Williams about the possible music for the movie. He said he had in mind something sinister and creepy, such as the score Williams had composed for Robert Altman’s “Images” in 1972 ( Williams reacted to the suggestion by saying, “No, no, no, dear boy! This is a pirate movie!” He meant that his concept for “Jaws” would convey a sense of high adventure, particularly in the second half of the movie, where it’s three men in a boat against the shark. Spielberg’s second story was about the day Williams invited him to hear what he had composed. Sitting in Williams’s living room, Spielberg heard Williams play the now-famous shark theme with two fingers on the piano, including the pauses. When Williams finished, Spielberg said he laughed and thought it was a joke. “No, no,” Williams said, again, “this is it.” I think we can safely say Williams was right on both counts. And as Spielberg eventually wrote about Williams for the movie score’s album cover, “He has made our movie more adventurous, gripping and phobic than I ever thought possible.” Indeed!

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