Originally, Freezone had been just another offshore drilling project. The massive oil deposit a quarter-mile below the artificial island was still less than a quarter tapped out. The drilling platform was owned in common by the Moroccan government and a Texas-based petroleum and electronics products company. TexMo. The company that bought Disneyland and Disneyworld and Disneyworld II—all three of which had closed in the wake of the CSD: the Computer Storage Depression. Also called the Dissolve Depression.
A group of Arab terrorists—at least, the US State Department claimed that’s who did it—had arranged a well-placed electromagnetic pulse from a hydrogen bomb hidden aboard a routine orbital shuttle. The shuttle was vaporized in the blast, as well as two satellites, one of them manned; but when the CSD hit, no one took time to mourn the dead.
The orbital bomb had almost triggered Armageddon: three Cruise missiles had to be aborted, and fortunately two more were shot down by the Russians before the terrorist cell took credit for the upper atmospheric blast. Most of the bomb’s blast had been directed upward; what came downward, though, was the side effect of its blast: the EMP. An electromagnetic pulse that—just as had been predicted since the 1970s—traveled through thousands of miles of wires and circuitry on the continent below the H-blast. The Defense Department was shielded; the banking system, for the most part, was not. The pulse wiped out ninety-three percent of the newly formed American Banking Credit Adjustment Bureau. ABCAB had handled seventy-six percent of the nation’s buying and credit transferal. Most of what was bought, was bought through ABCAB or ABCAB related companies… until the EMP wiped out ABCAB’s memory storage, the pulse overburdening the circuits, melting them, and literally frying the data storage chips. And thereby kicking the crutches out from under the American economy. Millions of bank accounts were “suspended” until records could be restored—causing a run on remaining banks. The insurance companies and the Federal guarantee programs were overwhelmed. They just couldn’t cover the loss.
The States had already been in trouble. The nation had lost its economic initiative in the early twenty-first century: its undereducated, badly trained workers, the outsourcing of jobs and manufacturing made US industry unable to compete with the Chinese and South American manufacturing booms. The EMP credit dissolve kicked the nation over the rim of recession and into the pit of depression—and made the rest of the world laugh. The Arab terrorist cell responsible—hard-core Islamic Fundamentalists—had been composed of seven men. Seven men who crippled a nation.
But America still had its enormous military spread, its electronics and medical innovators. And the war economy kept it humming, like a man with cancer taking amphetamines for a last burst of strength, while the endless malls and housing projects—built cheaply and in need of constant upkeep—got shabbier, uglier, trashier by the day. And more dangerous.
The States just weren’t safe enough for the rich anymore. The resorts, the amusement parks, the exclusive affluent neighborhoods, places like Central Park West—all crumbled under the attrition of perennial strikes and persistent terrorist attacks. The swelling mass of the poor resented the recreations of the rich.
While the middle-class buffer was shrinking to insignificance there were still enclaves in the States where you could get lost in the media churn, hypnotized by the flashcards of desire into an iPad-trance fantasy of the American Dream as ten thousand companies vied for your attention, nagging you to buy and keep buying. Places that were walled city-states of middle-class illusions—like the place Hard-Eyes had come from.
But the affluent could feel the crumbling of their kingdom. They didn’t feel safe in the States. They needed someplace outside, somewhere controlled. Europe was out now; Central and South America, too risky. The Pacific theater was another war zone.
So that’s where Freezone came in.
A Texas entrepreneur—who hadn’t had his money in ABCAB—saw the possibilities in the community that had grown up around the enormous complex of offshore drilling platforms. A paste-jewel necklace of brothels and arcades and cabarets had crystallized on derelict ships permanently anchored around the platforms. Hundreds of hookers and casino dealers worked the international melange of men who worked the oil rigs.
The entrepreneur made a deal with the Moroccan government, bought the rusting hulks and shanty nightclubs. And then he fired everyone.
The Texan owned a plastics company… the company had developed light, super-tough plastic that the entrepreneur used in the rafts on which the new floating city was built. The community was now seventeen square miles of urban raft protected with one of the meanest security forces in the world. Freezone dealt in pleasant distractions for the rich in the exclusive section and—in the second-string places around the edge—for technickis from the drill rigs. And the second-string places sheltered a few thousand semi-illicit hangers-on, and a few hundred performers.
Like Rickenharp.
Rick Rickenharp stood against the south wall of the Semiconductor, letting the club’s glare and blare wash over him, and mentally writing a song. The song went something like, “Glaring blare, lightning stare/ Nostalgia for the electric chair.”
Then he thought, Fucking drivel.
All the while he was doing his best to look cool but vulnerable, hoping one of the girls flashing through the crowd would remember having seen him in the band the night before, would try to chat him up, play groupie. But they were mostly into wifi dancers.
And no fucking way Rickenharp was going to wire into minimono.
Rickenharp was a rock classicist; he was retro. He wore a black leather motorcycle jacket that was some seventy-some years old, said to have been worn by John Cale when he was still in the Velvet Underground. The seams were beginning to pop for the third time; three studs were missing from the chrome trimming. The elbows and collar edges were worn through the black dye to the brown animal the leather had come from. But the leather was second skin to Rickenharp. He wore nothing under it. His bony, hairless chest showed translucent-bluewhite between the broken zippers. He wore blue jeans that were only ten years old but looked older than the coat; he wore genuine Harley Davidson boots. Earrings clustered up and down his long, slightly too prominent ears, and his rusty brown hair looked like a cannon-shell explosion.
And he wore dark glasses.
And he did all this because it was gratingly unfashionable.
His band hassled him about it. They wanted their lead-git and frontman minimono.
“If we’re gonna go minimono, we oughta just sell the fucking guitars and go wires,” Rickenharp had told them.
And the drummer had been stupid and tactless enough to say, “Well, fuck, man, maybe we should go to wires.”
Rickenharp had said, “Maybe we should get a fucking drum machine, too, you fucking Neanderthal!” and kicked the drum seat over, sending Murch into the cymbals with a fine crashing, so that Rickenharp added, “you should get that good a sound outta those cymbals on stage. Now we know how to do it.”
Murch had started to throw his sticks at him, but then he’d remembered how you had to have them lathed up special because they didn’t make them anymore, so he’d said, “Suck my ass, big shot”and got up and walked out, not the first time. But that was the first time it meant anything, and only some heavy ambassadorial action on the part of Ponce had kept Murch from leaving the band.
The call from their agent had set the whole thing off. That’s what it really was. Agency was streamlining its clientele. The band was out. The last two download albums hadn’t sold, and in fact the engineers claimed that live drums didn’t digitize well onto the miniaturized soundcaps that passed for CDs now. Rickenharp’s holovid and the videos weren’t getting much airplay.