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The Armageddon Rag: A Novel por George R. R.…
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The Armageddon Rag: A Novel (original 1983; edição 2007)

por George R. R. Martin (Autor)

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6572125,729 (3.73)33
One-time underground journalist Sandy Blair has come a long way from his radical roots in the '60s--until something unexpectedly draws him back: the bizarre and brutal murder of a rock promoter who made millions with the '60s band the Nazgûl. Now, as Sandy sets out to investigate the crime, he finds himself drawn back into his own past--a magical mystery tour of the pent-up passions of his generation. For a new messiah has resurrected the Nazgûl and the mad new beat may be more than anyone bargained for--a requiem of demonism, mind control, and death, whose apocalyptic tune only Sandy may be able to change in time.--From publisher description.… (mais)
Membro:JessGandy
Título:The Armageddon Rag: A Novel
Autores:George R. R. Martin (Autor)
Informação:Bantam (2007), 384 pages
Colecções:A sua biblioteca
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The Armageddon Rag por George R. R. Martin (1983)

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Mostrando 1-5 de 21 (seguinte | mostrar todos)
Got tired of waiting for the next GOT book so I read one of his very early works and it was very good. No surprise there right. Loved all his musical references in this book. ( )
  aldimartino | Nov 24, 2020 |
Got tired of waiting for the next GOT book so I read one of his very early works and it was very good. No surprise there right. Loved all his musical references in this book. ( )
  Andy_DiMartino | Nov 24, 2020 |
So in the early 80s George R. R. Martin has an early mid-life crisis and decides to go on an ill-advised literary trip down memory lane. But in trying to recapture his student days from the Sixties, he unfortunately creates, in The Armageddon Rag, something sophomoric.

At first, I was on board with Martin's "quixotic… gesture to [his] lost youth" (pg. 30); there's enough in the writing to suggest he doesn't look at the time solely with rose-tinted glasses, even if he does lower those shades from time to time. From the perspective of 1983, Martin's protagonist, Sandy Blair, sets out with a chip on his shoulder about when the dream turned sour and people sold out, only to come to the realisation that the capacity for violence, hysteria and malice was always there. There was always more Altamont than Woodstock, a seedy, rapey/druggy Sixties comprised of spaced-out drop-outs demanding sloppy blowjobs from underage groupies and runaways.

Martin doesn't shy away from this, and while that's a bad move from a nostalgic, storytelling perspective (it's grindingly depressing to read), it is admirable from a literary perspective – even if The Armageddon Rag doesn't approach literature. Particularly so as, by coincidence, I have read the book in early June 2020, where the decades-long fetishization of activism and street protest in the media and on campuses has seen people abandon a supposedly-essential pandemic lockdown in favour of the latest vogue 'happening' on the streets. While I was reading Martin's book, the unpleasant crescendo of people being whipped into hysteria by malicious agitprop and targeted manipulation, to a cry of "fuck the fascist authorities" (pp 321-2), I thought how I could just as easily have been reading the daily news. "On armageddon day… both armies will think they fight for good," Martin writes on page 319, and the agitation only makes the divide deeper. The bleeding will never stop, Sandy realises on page 323, in deciding to step away from the madness. He's right.

It's a shame, then, that The Armageddon Rag is a paltry vehicle for this idea. There are two reasons for this. The first is that Martin does not commit to it; the sentimental attachment to the 'aging hippies' (pg. 260) doesn't allow him to be too critical of that scene, even when it went bad. He just enjoys the free love, the sticking it to 'the Man', the lack of responsibility too much. "I tell the kids to put the spaghetti in their hair, and all they ask is how that will help them get a job," one teacher character moans on page 148, in a tone-deaf passage that is clearly intended to evoke sympathy.

The second is that, in its regular construction, the novel is just nothing very good. The murder-mystery that opens the book does not sustain; the suspense peters out during the indulgent nostalgia, and the plot is snipped anticlimactically towards the final act. Plenty of the characters are stereotypes and their relationships are undercooked. The writing itself contains a lot of wispy dream sequences and cringey sex scenes, including one guy who loves to have young women 'plunk his magic twanger' while he speaks in a frog voice (pg. 146). (No, I'm not kidding.) Even the protagonist can't once describe a woman without noting how her breasts sway under her shirt, or how erect her nipples are.

The fatal flaw, however, is not any of this; it is that the music scene does not work. Martin writes the propulsive beat of the band ('The Nazgûl') well enough, but they're not quintessentially Sixties, and 'Ragin'' and 'The Armageddon Rag' reminded me more of 'Stonehenge' than 'Stairway to Heaven'. The band, and the book, is unfortunately a Spinal Tap that Martin takes seriously. ( )
1 vote Mike_F | Jun 7, 2020 |
I loved this novel, and the author. this is the first time I've ready his work, and I was addicted from the very beginning. All day long, I couldn't wait to get back to it, and find out what happened next. And as a child of the 60's, I have to say the tone and FEEL of this novel was SPOT ON.
Constantly while reading, scenes played out in my head like I was watching a movie. Novels like this are few and far between, and I was addicted to the sound of the characters and their lives, and their voices, throughout. I have been to many rock concerts, inside and outside, and their feel was positively perfect, in the novel.

The strange thing is, you wouldn't think a supernatural-based mystery would fit in with a heavy metal band, and it's touring issues... but it does. Not only is there a reason for all of this, but when you realize what is really going on, you are floored... could this be possible?? NAH!! And yet.... what if?

You can tell that Martin had spent a lot of time with 60's music, or on tours with some kind of rock band, or SOME kind of background such as this. There is far too much he could not possibly know, not even with research, about these times.
And I found the entire novel very enjoyable. ( )
  stephanie_M | Apr 30, 2020 |
'The Armageddon Rag: Or, Old Man Martin Yells at Those Kids to Get Off His Lawn' is a pretty good book once you get past the bitter, out-of-touch quality the narrator and hero brings to the story. I'm all for celebrating the 60s, but when your former radical journalist everyman starts sincerely grumbling about the "green-haired teenyboppers" running around these days there's a huge problem. At times the whole book threatens to be subsumed by musty waves of regressive sentiment.

Sandy Blair gets a call from his former friend/colleague who still edits 'The Hedgehog', an alternative magazine that's not 'Rolling Stone', that is now a "Lifestyles" journal. It turns out a famous rock promoter has been ritually killed up in Maine and Blair is just the guy to write up the story.

Once up there, Blair finds evidence of a connection between the man's death and the end of a famous seminal hard rock group, Nazgûl, not Led Zeppelin, whose lead singer had been assassinated onstage ten years before and whose death symbolized the death of the sixties. His investigation leads him to revisit his past exploits in the "underground" in memory and in visiting his friends from those days as the mystery gets stranger and darker.

George R.R. Martin is kind of a big deal these days, what with the success of 'A Song of Ice and Fire' and the 'Game of Thrones' series. I've read quite a bit of his other work so I was glad to come across this in a used bookstore. Martin's a good writer but I can see why 'The Armageddon Rag' wasn't a huge success when they reissued it to capitalize on Martin's resurgence in popularity. Martin sometimes creates a great atmosphere with real events and his imagined history, but its constantly undermined by reliance on stereotypical characters and cheap nostalgia. Blair is kind of a big idiot, prone to badly written sexual episodes and taking an awfully long time to figure out what to do at the end.

I wouldn't discourage anyone reading this book, Martin is a professional and the novel works on a couple levels, but it didn't take off the way I hoped it would. ( )
  ManWithAnAgenda | Feb 18, 2019 |
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Nome do autorPapelTipo de autorObra?Estado
George R. R. Martinautor principaltodas as ediçõescalculated
Charles, MiltonArtista da capaautor secundárioalgumas ediçõesconfirmado
Oaks, TerryArtista da capaautor secundárioalgumas ediçõesconfirmado
Robert, PeterTradutorautor secundárioalgumas ediçõesconfirmado
s.BENešArtista da capaautor secundárioalgumas ediçõesconfirmado

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It was not one of Sandy Blair's all-time great days.
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One-time underground journalist Sandy Blair has come a long way from his radical roots in the '60s--until something unexpectedly draws him back: the bizarre and brutal murder of a rock promoter who made millions with the '60s band the Nazgûl. Now, as Sandy sets out to investigate the crime, he finds himself drawn back into his own past--a magical mystery tour of the pent-up passions of his generation. For a new messiah has resurrected the Nazgûl and the mad new beat may be more than anyone bargained for--a requiem of demonism, mind control, and death, whose apocalyptic tune only Sandy may be able to change in time.--From publisher description.

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