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23 November 2015

Know Your Terrorist


Most of us are still reeling over the mass murders in Paris and in Mali this week. I'm upset by the Americans of all nationalities and religions and races wanting to close our borders and keeping anyone who is Muslim from entering especially refugees from Syria. But I don't think this forum is a place to get too political because we talk about mysteries and writing.
However, a friend of mine named Sharan Newman is a mystery writer who writes historical mysteries usually set in Medieval Times. She also writes non-fiction books. She researches her books meticulously and when I read anything she has written I feel I can understand and also trust her research is as true as possible. She has written several articles on Know Your Terrorist. One she had written this week caught my eye and I asked if I could use it for my blog. She agreed. Then in trying to locate that article, she found one she had written earlier and I think is more informative. So following is a wonderful article on the known terror groups who are in our immediate headlines and does a lot to explain who is who.

Know Your Terrorist

The recent tragic events in France have made it clear that most of us are a little vague on the different terrorist groups operating in the world today. Even the terrorists there weren’t sure who they were working for. When I realized that even they were confused, it seemed like a good idea to give a simplistic explanation of the major non-governmental terrorists so that the next time someone takes you hostage and says that they are from the Broccoli Liberation front, you can explain to them why they should kill you for another reason, rather than to free oppressed broccoli.

Here are the most active free-lance groups. In my next essay, I'll consider the governmental and corporate terrorist organizations that have created the more openly violent cadres.

BOKO HARAM
As the link below and all the news reports seem to agree, Boko Haram, operating in Northeastern Nigeria, is the most brutal and least comprehensible of the active terrorists. They love mayhem, murder and rape and don’t seem to be making any ideological demands apart from a fuzzy connection to Islam. Originally a non-violent group that protested oppression by the Nigerian government, it grew to oppose any form of what it considers Western influence. This is why even Muslim children are killed or kidnapped at western-style schools. They say they are Islamic but, as with another group, ISIS/DAESH, they are imagining a mythical Islamic past. Actually, I think they are also imagining a mythical Africa derived from western films seasoned with Lord of the Flies.

For connected topics see: Nigerian Army, Nigerian Government, International Oil Cartels, Koch Brothers. A more academic explanation is here:
http://ijpr.org/post/nigeria-boko-haram-continues-its-campaign-terror

AL-QAEDA
This is not the oldest group but one of the most visible. It began in the late 1980s in the wake of the years of Soviet occupation of Afghanistan. “With Soviet forces withdrawing …, the idea of a global jihad suddenly seems possible, and al Qaeda, literally “the Base,” is born. “We used to call the training camp al Qaeda,” bin Laden would later recall. “And the name stayed.”´ [sic] (http://foreignpolicy.com/2014/03/17/al-qaeda-core-a-short-history) Doesn’t that sound cozy?

Al-Qaeda was founded by Osama bin-Laden, born in 1957 to a Syrian mother and Yemeni father. The senior bin-Laden was a self-made millionaire contractor who became the major builder for the Saudi Arabian monarchy. PBS Frontline has posted a fascinating biography, written by one of bin-Laden’s followers, portraying him as a pious young man who was doing contracting in Afghanistan when the invasion of Kuwait began: “While he was expecting some call to mobilize his men and equipment he heard the news which transferred his life completely. The Americans are coming. He always describes that as a shocking moment. He felt depressed and thought that maneuvers had to change. Instead of writing to the king or approaching other members of the royal family, he started lobbying through religious scholars and Muslim activists.”  [sic]

(http://www.pbs.org/wgbh/pages/frontline/shows/binladen/who/bio.html)

Al-Qaeda was born because of the American support of the Saudis and vice-versa. Osama was considered a terrorist by the Saudis and, under him, A-Qaeda organized mutual support with the Taliban. “The leader of Taliban Mulla Omer was keen to meet Osama. He met him early 1997 after two TV interviews, Channel 4 and CNN.[!?] Mulla Omer expressed respect and admiration but requested him to have low profile…. Bin Laden noticed that the driving force in Taliban were Ulema (religious scholars). He made very good links with them and lobbied specifically for the subject of American forces in the Arabian Peninsula. He was able to extract a fatwah signed by some 40 scholars in Afghanistan sanctioning the use of all means to expel the American forces from the Peninsula. The issue of that fatwah was an asset to him inside Taliban domain. He felt that Ulema were at his back and he could go high profile after long silence.” (ibid)

“His relation with Taliban would best be understood if Taliban themselves are understood properly. First of all Taliban are not simply another Afghan faction supported by Pakistan. Taliban are sincere to their beliefs, a religiously committed group unspoiled by political tactics. They would never bargain with what they see as matters of principle. Bin Laden for them is a saint. He is a symbol of sacrifice for the sake of jihad. They see him as very rich Arab from the Holy Land who gave up his wealth and luxury to fight for the sake of his brother Muslims in Afghanistan.” (ibid)

I wish there were more such biographies.  It is essential for us to comprehend the rationale of the many people who support the terrorists. One problem we have is understanding why these terrorist leaders are so protected. If you read the whole article, it continues explaining why the Taliban and Osama were so revered. The author doesn’t mention bombings, murder, or the oppression of women and minorities, of course.

Even before Osama bin-Laden was killed, his grip on Al-Qaeda was slipping. Other groups in the Sudan, Nigeria and Syria, were not looking to them for leadership. Many, such as ISIS and Boko Haram, do not have a firm theological base other than, West and Jews = bad; our Islam = good.
See Taliban, George W. Bush, Oil Cartels

THE (so-called) ISLAMIC STATE
Of the Muslim-associated terrorist groups, this is the most interesting to me because, unlike the others, there is a medieval flavor about it. Sadly, as I mentioned above, they don’t seem to have any historians among them, so that the caliphate they plan is drawn from fantasy. They do appear to have some serious and competent Muslim scholars in their ranks, but they haven’t made it clear what school of Shari’a law they are working from. Of course, few people outside of fundamentalist Islam know that there is more than one branch. Have you ever noticed how many problems occur because no one thought to consult an expert in history?

ISIS grew from the Syrian al-Qaeda sector as a result of the Syrian civil war. The reasons for that war, beyond the Arab Spring, have been minutely dissected without any consensus. Suffice to say that ISIS is the richest and best-organized of the Islamist groups operating today. As with the first two groups, they succeeded because a dictator or other person in power was tormenting a minority group and they were able to come in and fill a vacuum. In this case, they began as rebels against the government of Bashir al Assad, which is not only dictatorial but heretical in their eyes. They state that they have set up is an Islamist Caliphate. The last Caliphate in the area was defeated by the Ottoman Empire over 600 years ago so the blueprint is rather old. Both the Abbasid and Umayyad Caliphates in the 8th through 11th centuries tended to be fairly easy going about minorities, even Islamic ones. I believe that, like Boko Haram, ISIS has been taken over by the psychopathic wing of the party. Their treatment of the Yazidi is an example of this. It’s not likely that their Caliphate will resemble the ancient ones.

Much has been made of the foreign volunteers coming to fight for ISIS. Some of these fighters arriving from other countries are devout Muslims who may be horrified by what they find. Indications are that others come in a spirit of adventure or from a feeling of failure at home. But too many recruits have come because they love having power and not having any rules of behavior. For historians out there, think French Revolution.

There are many other terrorist groups that have no religious attachments. Most of these are political or territorial. ETA, or Basque liberation, has been attempting to find a peaceful solution recently as has the socialist FARC, in Columbia. Greece has the far-right Golden Dawn; Ireland, the reformed Sinn Fein. All of these have used violence and terrorism in their quest to achieve their goals.
There have been many explanations for the success of the recent Islamist terrorists. Some say that it is a relic of European colonialism. Others that the terrorists are a reaction to oppressive governments and cultures of corruption and bribery at every level. Well, I don’t think any of these things helped. Certainly, many of the most violent groups are fighting against leaders who have ignored and oppressed sections of the society.

After much consideration, it seems to me that we and much of the media are looking at the problem from the wrong direction. We see the horrific actions of ISIS and Boko Haram, but these are distracting us from much more widespread and pernicious terrorism.

As I was working on this, I began to realize that, while we are busy trying to stop murderers, rapists and torturers, the people who are really responsible for their actions are thousands of miles away, moving pieces on metaphorical chess boards.
I do think it's fantastic to know quite a number of mystery writers, especially when you know one who has already done the huge amount of research that you thought you were going to have to do.

Thank you, Sharan, for allowing me to use your hard work here. Sharan is off to spend a month is Paris, doing research and although some folks ask if she might rethink going to France now, she reminds everyone...if we stay home and hide, the terrorists win. We can't let them rule our lives.

06 April 2012

Explosives 103: Non-Electric Blasting Caps & Fuse


A Quick Recap
1.The Explosive Train is a chain of explosions used to detonate a large, stable charge though what’s known as “Sympathetic Detonation” (one explosion causing another).
2.The first explosion in the chain is usually quite tiny; the next a little larger … and so on … until you manage to generate a walloping BANG!
3. The little explosive gadget most often used to initiate the Explosive Train is a Blasting Cap.
4. Blasting Caps come in two primary types: Electric and Non-Electric.
5. Last time, we covered general practices for using an Electric Blasting Cap.

So, this time we’ll be turning our eyes toward:

Non-Electric Blasting Caps
Note: Should anyone be familiar with a product or firing system known as NONEL, please be forewarned: NONEL is not what we’re going to look at today; it’s a completely different kettle of fish, which permits a blaster to fire a charge almost instantaneously (in fact it’s so nearly instantaneous, that’s it’s often referred to as being “an instantaneous firing system”). Standard non-electric blasting caps work differently, using Time Fuse, which is NOT an instantaneous ignition source, so it’s important not to confuse the two.
The picture on the left shows a bundle of non-electric caps rubber-banded together.

I’m sure we’ve all seen action heroes light a fuse that’s connected to a bundle of explosives, in a movie. When a character lights a fuse to set off an explosion, that person is — generally speaking — using a Non-Electric Blasting Cap to set off the charge. Technically, the first non-electric blasting cap was patented in 1867 by Alfred Nobel (because he needed something that would set off the dynamite he’d also invented).

Below are a couple of “cutaway” drawings that should give you a serviceable idea of what’s inside a non-electric blasting cap. One picture is a little more detailed than the other, but both clearly reveal how a non-electric cap is contained within a metal tube, which holds a primary explosive (also sometimes called a “booster”), and a secondary or output explosive — just as an electric blasting cap has. But, they also have an initiating charge that starts the explosive ball rolling.




The diameter of the blasting cap’s metal tube usually runs about a quarter-inch wide by two to three inches in length. (A quarter-inch equals 0.25 inches, versus the 0.241-inch measurement at the base of the cap [right side] in the lower drawing, and the 0.260-inch dimension at the open [left] end in the same drawing.) In both cases, the area to the left of the ignition charge (the charge labeled Pyrotechnic Ignition Mix in the color drawing) is hollow. This hollow section of tube is there so you can slide your Time Fuse into it, butting the end of the Time Fuse up against the initiator, and crimping the fuse in place so it won’t slip out.

The idea, of course, is that one lights the far end of the Time Fuse, then the powder train inside the fuse burns slowly along its length, until that flame spurts out at the other end — right into the initiator (or Pyrotechnic Ignition Mix), which is highly volatile and explodes because that tiny little spurt of white-hot flame is enough to set it off.

The initiator’s small explosion sets off the Primary Explosive (AKA: intermediate charge, or “booster”), which makes a greater explosion, which in turn sets off the Secondary Explosive ( AKA: base charge; AKA: output explosive), which is large enough to (hopefully) detonate the dynamite, TNT or C-4 (or whatever) that the blasting cap is snuggled up inside of. And . . . WHAMMO!

Fuse

Generally speaking, one sets off a non-electric blasting cap by lighting a fuse. That fuse runs into the blasting cap, so the fire from the lit end of the fuse can find the place where it can set off the explosive chain.

Fuses come in many different types, depending on what you want to classify as a fuse. A fuse is essentially anything with black powder (or other well-burning substance) running through the middle of it. If you’re like me, you may have disassembled the fuse of a Black Cat fire cracker in your youth, and discovered that it was primarily a black powder train running through (wrapped in a tube of) something similar to newsprint. That’s a pretty simple fuse.

But, what makes a fuse, a fuse?

When Richard Sharpe (of the Sharpe’s Rifles series, set during the Napoleonic era) pours a line of black powder along the ground, from an ammunition dump, then lights the far end of that powder line in order to blow up the ammo dump — is this a fuse? Well, maybe. But, the word “fuse” usually connotes the idea that the “burning agent” (such as black powder) is combined with some sort of fibrous material to make it more reliable.

In that Sharpe’s Rifles example, for instance, the powder train could easily be disrupted by kicking apart the loose powder on the ground. If that were to happen, the flame would burn along the black powder train right up to the point where it ran out of any more flammable material, at which point the flame would fizzle — and that ammo dump wouldn’t blow up.

If you soaked a string in kerosene or gasoline, you’d have a rudimentary sort of fuse that couldn’t be so easily disrupted. Nobody could just kick it apart, for instance; they’d have to take additional time to cut it apart. However, it wouldn’t have a long life (because things like kerosene or gasoline evaporate fairly quickly), and it wouldn’t necessarily burn at a steady rate. Black powder, however, doesn’t lose its efficacy as quickly, and it does tend to burn in a fairly uniform manner. As noted earlier, though, a black powder train — in and of itself — can easily be disrupted.

One obvious solution is to weave a line of black powder into a line (string or rope) as the line is being braided. (In case you’re not familiar with the term, “braiding” a rope means making a rope by twining several lengths of twine or string together. If anyone is interested in the details, let me know and maybe I can do a post about Pioneering [the use of rope, for lashing poles in the construction of towers, derricks, or cranes, for instance].)

When a black powder train is woven into a line (string, rope), in a manner that insures the powder train runs all the way through without interruption, the result is a strong, flexible fuse that has a fairly consistent burn rate and is not easily disrupted. It’s also easy to carry (coiled in a backpack, for instance) and can be cut to any desired length. And this is basically all that a fuse really is.

Non-electric caps can be set off in other ways, but this post will deal primarily with the use of Time Fuse, when it comes to setting off blasting caps.

Time Fuse

The fuse used to set off a contemporary blasting cap is normally called either Time Fuse, or Safety Fuse. It comes in spools similar to the one seen above.

I’m used to calling it Time Fuse, since that’s what the Army calls the stuff it uses. However I’ve worked with Safety Fuse in other countries, as well as when dealing with civilian blasters here in The States. The two fuses are really interchangeable, and are composed of a black powder core that’s protected by a fiber wrapping (or wadding) encased in a water-proof plastic or waxed coat.

Imagine you took a brown paper lunch bag and fed it through a cheap paper shredder (one strong enough to shred a paper bag, that is). You know the sort of shredder I mean: it cuts the paper into long, skinny strips — almost as if making thin ribbon, or paper fettuccini. Now, imagine you waxed the interior and exterior of the brown paper bag before feeding it into the shredder; the strips of waxy brown paper that came out would be very similar — in both appearance and feel — to the braided wadding inside of Time Fuse.

The black powder is sort of “woven” into the braided twists of waxy brown paper strips to make a long braided cord. In some types of fuse, this cord is then encased inside something very much like a thick, hollow cotton shoestring for added durability when bending the fuse. Then, this cord is covered with a plastic coating. In civilian versions, this plastic coating may be day-glow green, or pink – even orange. With military Time Fuse, this coating will be olive drab (OD) green, with twin yellow hash marks every foot-and-a-half or so.

(You may be interested to know: When movie actors handle bombs with powder-blue Time Fuse, that powder-blue color is actually a telltale indicating the fuse being used is inert. Nearly all military training explosives — fake TNT blocks, Time Fuse, Det Cord, etc. — are this powder-blue color, making it easy to differentiate the real stuff from the practice materials. Blue, training materials show up in a lot of movies. You might find it fun to watch for them.)

Lighting Time Fuse

Time Fuse just needs heat, to be ignited. But, it needs quite a bit of heat.

You can light it with a match, if you hold the match to the fuse long enough. Or, with a Zippo or Bic lighter. You can also use a cigar, because cigars burn in excess of 700° f. You can’t light Time Fuse with a cigarette or pipe, because they don’t burn hot enough.

But, the surest way to light Time Fuse is by using a Mechanical Match.

The Mechanical Match in the picture on the left is lying on a plastic sheet of some kind. The device, itself, is a plastic tube with screw-on lids at both ends. If you look at the picture, you can see that the device is thinner in the middle, than it is on both ends. This is because those thicker ends are actually screw-on caps. The thin, middle part is the plastic tube they screw onto.
One end of the Mechanical Match has a pull-ring, similar in appearance to the pin on a hand grenade. This end contains a trigger, that’s hooked to the pull-ring pin (The pin is that short-looking shiny metal rod that runs out of the top of the screw-on cap and has a hole that the pull-ring goes through.). The trigger and a spring-loaded firing pin assembly are inside the tube. When the pull-ring is yanked out, it lifts the pull-ring pin, which fires the spring-loaded firing pin. The firing pin shoots across the inside of the plastic tube, to ram its pointy end into a shotgun primer that’s loaded into the other end. That shotgun primer detonates from the impact, igniting the Time Fuse.

Looking at the picture, you’ll also see an olive-drab (OD) green string or cord that comes out of the screw cap near the pull-ring, on the upper right side, then is laid across the front to the left side. If you look at the Mechanical Match, on the other side from where the string comes out (i.e.: the string comes out on the right, so looking on the left side of the device . . .), you’ll see a thin, straight line sticking out of the screw cap. This thing is actually the end of a cotter pin, which locks the pull-ring pin in place, acting as a kind of “safety.” To use the Mechanical Match, you first have to grab that OD green string (which is attached to the other end of the cotter pin) and use it to pull the cotter pin out. Only then can you pull the pull-ring.

The shotgun primer is actually held in one end of the thinner “tube part” of the device. And, the screw cap just below it has a hole in the end. In the picture, to the left of the Mechanical Match, you’ll see some small plastic doodads. Those are shipping plugs that normally block the hole in the end of the screw cap, so dirt doesn’t get in the hole and foul the shotgun primer.

To attach the Mechanical Match to Time Fuse, simply unscrew that screw cap a little bit (this loosens up two C-shaped plastic pieces inside the cap), then pull the shipping plug out. Then slide your Time Fuse up inside the hole until it bumps into an obstacle. That obstacle your Time Fuse just bumped up against is the shotgun primer. So, all you need to do is hold the Time Fuse in place – so it doesn’t slip back out – and screw the cap back tight. When you screw that cap tight, it causes those two C-shaped plastic pieces inside to tighten together, clamping your Time Fuse in place. Now you can let go, and your fuse isn’t going anywhere; it’s held fast against the shotgun primer. When you yank on the pull-ring, the firing pin will strike the primer, which will explode, and the Time Fuse will be ignited by the bang.

On the right is a picture showing a Mechanical Match hooked to Time Fuse. The pull-ring is folded back behind the device, near the top of the man’s hand. His other hand grasps the cotter pin string, preparing to remove the cotter pin "safety."

Cutting Time Fuse for Proper Burn Time

Time Fuse usually burns at about twenty to forty seconds per foot. In other words, it takes about half a minute for the flame inside to travel one foot along the powder train inside the fuse. However, it’s important to understand that Time Fuse has certain properties that cause it to burn at different rates under various circumstances.

For instance, if you compress Time Fuse while it is burning, it will burn faster. Essentially, by compressing it, you’re sort of squeezing the fire down the powder train at a faster rate. It’s similar in mechanics to what happens if you squeeze a garden hose. If you squeeze that hose, the water at the end shoots out with a lot more force, and it shoots much farther through the air. Doesn’t it? Well, this is roughly the same thing that happens when you squeeze Time Fuse; it really amps up the burn rate — the speed at which the flame travels along the powder train. In fact, you can even make the flame shoot out farther when it reaches the end. (I once used this idea to lend greater probability of success to a charge, when I had blasting caps that didn’t seem to have been made very well. The caps kept malfunctioning when I tested them out. Consequently, I covered the last couple of feet of Time Fuse with rocks, in order to amp up the power just before it hit the blasting caps used to set of my charge. My hope was that this would help boost the probability that the caps would get a bigger jolt from the fuse. It worked like a charm.)

There are a lot of ways to compress Time Fuse. You can bury it under dirt, or lay a line of rocks or bricks over the top. You can even squeeze it with your hands. But, watch out! That stuff’s hot! The plastic coating on the outside will bubble up and melt or burst as the fuse burns inside it. But, if you suddenly decide to abort your explosion, you’d better cut your Time Fuse about two or three feet beyond the point where that bubbling and melting is going on, because the fuse is actually burning about 18 inches ahead of that point.

The well-trained blaster takes this compression factor into account when camouflaging his/her Time Fuse, knowing that it will burn faster if it passes through a constriction such as a tight wall join, or mound of earth. Or if it’s hidden under layers of sticks or branches.

The compression factor also means that Time Fuse burns more slowly at higher altitudes (where there’s less air pressure) than it does at sea level. And it burns much more rapidly under water! (Remember: it’s water proof, and has it’s own oxygen source on-board, so it burns very well under water. In fact, you can even light it under water using a Mechanical Match!)
Ambient temperature can also effect Time Fuse’s burn rate. It tends to burn a little faster in a hot climate, and slower in a cold one. Other factors that influence burn rate include: its age, how well it was made, and how well it’s been cared for.

Because of all these variables, the good blaster doesn’t worry about the idea that this stuff is supposed to burn at around 30-seconds a foot. Instead, s/he knows this ratio is very mushy, and therefore conducts a test burn.

A test burn is (usually) a fairly easy thing to do, and can aid a blaster in getting his/her charge to go off within one second of when that explosion is desired. To begin with, s/he cuts 3 feet of fuse from the roll s/he plans to use when setting off the charge. Then, s/he carries this fuse (along with a mechanical match) to a setting that’s as similar to the location where the charge will be placed, as possible. If the charge is going to be used to blow down a train trestle that runs across a mountain pass high in the sky, then the blaster needs to take that test fuse up a mountain to the same elevation. If the charge is going to be set 300 feet below the ocean, the blaster needs to don a wet suit and air tanks, and take it down beneath the waves – preferably to 300 feet of depth.

Once the blaster has gotten as close as possible to the expected conditions, s/he then pulls out a stop watch, hooks up the Mechanical Match, and sets off the Time Fuse. The blaster times how long it takes, from the moment the Mechanical Match is fired, until that little spurt of flame shoots out the other end of the fuse.

Now, the blaster takes that number (the length of time it took to burn three feet) and divides it by 3 (the number of feet it burned in that time). The answer tells the blaster what this specific Time Fuse’s burn rate will be under those conditions.

If, for example, it somehow took 3 minutes to burn three feet, the blaster would divide the 3 minutes (time it took to burn) by the 3 feet (the length of the fuse tested) and arrive at a burn rate of 1 minute per foot. Since s/he now knows that this fuse will burn at the rate of 1 min./ft, if the blaster wants a 6-minute fuse, s/he will divide those 6 minutes by the burn rate. 6 mins. ÷ 1 min./ ft. = 6 feet of Time Fuse. In other words, s/he now knows to cut off six feet of Time Fuse, if s/he wants the fuse to burn for six minutes before the explosion occurs.

In reality, our blaster is much more likely to get a number like “1 minute and 18 seconds”, or “1 minute and 42 seconds” when s/he does the three-foot test burn. The easy way to handle this is to convert minutes to seconds and add it to the seconds left over. (For example, if our time was 1 minute and 42 seconds, we’d convert our 1 minute to 60 seconds, then add that to 42 seconds. 60 + 42 = 102. So, now we know it takes 102 seconds for the fuse to burn 3 feet. Dividing 102 seconds [the time] by 3 feet [the distance burned] gives us a burn rate of 34 seconds per foot.)

In the example above, if we wanted a 6-minute fuse on our charge, we’d divide 6 minutes (which is the same as 6 x 60 = 360 seconds) by 34 seconds/foot.

360 seconds ÷ 34 seconds/foot = 10.5882 feet. But, what about the .5882 feet?

Well, now we multiply 0.5882 x 12 to get inches. 0.5882 x 12 = 7.0584 inches. So, now we have a fuse that’s 10 feet and 7.0584 inches long.

But … what about the .0584 inches?

Simply multiply 0.0584 x 16 to get sixteenths of an inch. 0.0584 x 16 = 0.9344

0.9 can be rounded up to 1, so … we’re going to measure out 10 feet and 7 & 1/16 inches of Time Fuse, then we’re going to cut off that hunk that’s 10 feet and 7 & 1/16 inches long.

That may seem complicated, but I guarantee that if you spell it all out, a reader will be convinced you know how to cut Time Fuse! And that will lend a sense of verisimilitude to your story — which is what I’m aiming for by writing this little reference guide.

If you don’t quite get how it works, feel free to use my numbers. Or, contact me and I’ll be happy to run whatever numbers you want. Either way, no one will doubt that your character knows what s/he is doing. And that’s what counts!

Cutting and Crimping (or “Romper, Stomper, Bomper, Boo!)
Do you remember an old kiddy show called Romper Room? I don’t know if it showed all over the country, but I’ve spoken to a lot of guys (particularly Special Forces Demolitions Sergeants) who remember that the lady who ran the show used to sit in her chair, holding a thing that (I think) was supposed to be a hand mirror (but had no glass, so that you could see right through it) in front of her face as she looked out at the audience (Okay! Actually, she looked straight into the camera lens. But, hey, I was just a kid!). She’d hold that thing up and look out through it, while mumbling something about the “magic mirror” and intoning: “Romper, Stomper, Bomper, Boo! I see Mary and Jacky and Mark and Lisa …” and she’d go on and name all these kids whom she could supposedly see watching the show, by looking through her magic mirror.

You remember that?

You don’t!?!

Well . . . Damn it, Jim! I’m a demo man, not a child psychologist! So . . . on with the penultimate phase of today’s post.

You can cut Time Fuse with a knife, but it takes a little finesse — and a lot of sawing to work through that plastic and cordage. The result is often a frayed mess that doesn’t bolster a blaster’s confidence in his/her charge going off right.

Consequently, one of the best ways to cut Time Fuse is to use Crimpers. The crimpers in the photo on the right (above) are military crimpers similar to the ones I had in the army. On the left, you’ll see an older set of civilian crimpers.

Crimpers are a little like wire cutters in a way. You know how wire cutters often have two functions: you can use one section to strip the plastic coating off of wire, and you can use another section to actually cut the wire? Well, crimpers are sort of similar. That hole near the end can be used to crimp a blasting cap onto Time Fuse (we’ll get to that in a minute), but the scissors jaws just below that hole can be used to cut the fuse. And this cut will be very clean, quick and efficient.

The scissors jaws — as the name implies — cut Time Fuse in the same way scissors would. However, because most scissors tend to be straight, the cutting action would shove the round, smooth-sided time fuse down their length, reducing their cutting effectiveness. Hence the term “scissors jaws”. The jaws part comes in, because the scissors jaws are curved. Sort of like the letter C and its mirror image, where the inner line on the C would be very sharp. This curved C-shape helps hold the Time Fuse in place while you’re cutting it. And the sharp edges slice cleanly through the tough fuse material.

To attach your Time Fuse to your blasting cap, you need to slide the fuse into the cap until the fuse bumps up against the initiator (pyrotechnic ignition mix) inside. Then, you have pinch the metal cap into the fuse, in order to anchor the fuse in place. This pinching process is called “crimping” the cap.

There are a lot of ways to crimp a cap, including the bite-down method, in which you squeeze the cap into the fuse by biting it between your teeth. I don’t suggest you try this.

The preferred method for crimping a blasting cap onto Time Fuse is to slide your fuse inside the cap as described above. Then pull a set of crimpers out of your pocket and hold them up in front of your place. As a mnemonic device, an aid to keep you from cutting the cap instead of crimping it, you then look through the open hole of the crimper, while intoning the words, “Romper, Stomper, Bomper, Boo!” just like that lady on Romper Room. (This may sound silly, but it’s very important: cutting the cap could lead to an explosion.)

Once your sure you know which part is the crimper, you slip that part of the crimpers around the cap, about 1/8th to ¼ of an inch below the top of the hollow end of the blasting cap. After the crimpers are firmly seated, but before you crimp down, you rotate your arms to bring the cap-fuse-crimper assembly out to your side, down low, but as far away from your body as possible, while turning your face in the opposite direction. Then you squeeze the crimpers, crimping the cap onto the fuse. You do all the turning away, etc. to protect your eyes and upper organs from possible shrapnel, should the blasting cap explode when you crimp it. (Now you see why I don’t recommend crimping with your teeth. Right?)

A Final Note of Caution For Writers, Concerning Primer Cord Confusion

In some films you watch, you may hear characters refer to the fuse they’re going to light as: “primer cord” or “Prima Cord.” Please DO NOT make the same mistake in your writing!

“Primer cord” is Detonating Cord, which is NOT a fuse. And, “Prima Cord” is just a manufacturer’s brand name for a type of detonating cord. Detonating cord (often called Det Cord) is filled with PETN or RDX, which burns at 22,000 feet per second if you’re using military grade stuff.

With that burn rate, Det Cord doesn’t really just burn. It EXPLODES!

I mean it. It really does explode. For example: I have personally used Det Cord to cut down small trees in order to create emergency helicopter landing zones (LZ’s). I have also used it to cut through wooden doors (Use it on the hinge side, and it cuts the door off its hinges, for instance.), and to make fairly clean, linear cuts in thin metal.

For those wondering how to use it to open an area for an LZ here’s how it works: If you have a fairly large field with a few too many small trees growing in it to make a good LZ, you just run a line of Det Cord over to the base of a small tree and wrap it three to six times around the trunk (depending on diameter), then keep running the Det Cord over to another tree and wrap it around that one three to six times, etc., until you’ve got the bases of all the trees that are in your way wrapped with Det Cord. After that, you hook up a couple of blasting caps and tape them to one end of the Det Cord. Then, just back off and fire the caps. When the caps go off, the whole line of Det Cord goes BANG! and the trees all fall down. Then you and your buddies move in and drag off the trees, so they won’t get blown up by the rotor wash and knock down the chopper with flying branches when it tries to come in for a landing.

To illustrate the difference between Det Cord and Time Fuse, let me explain that if you run Time Fuse through trees in a similar manner, all you’ll wind up with is Time Fuse that’s melted to the base of the trees and all along the ground. Time Fuse absolutely does NOT explode. That’s why it makes such a good fuse.

Now, let me also warn you that you may run into somebody, someday, who says: “I once lit Det Cord (or Primer Cord) with my trusty Bic lighter, and all it did was burn. It doesn’t explode!” My suggestion is that you simply nod and remain silent, and hopefully that idiot will go away. Because, he’s probably telling you the truth.

If you set Det Cord on fire with a match or lighter (For God’s sake DON’T EVER use a mechanical match, or you might kill yourself!) the stuff will burn and smoke, and stink to high heaven (I know because I’ve done it). But, it won’t explode — because RDX and PETN (Det Cord is usually filled with one or the other) doesn’t go off from heat alone. It requires heat AND shock or compression. (That’s why you don’t want to set it off with a mechanical match; that shotgun primer will give it both heat and shock/compression — and the result will be an explosion.)

In this context, Det Cord is a little like C-4, because — as I’m sure R.T. and most of our other Viet Nam vets will attest — if you light C-4 with a lighter, it also burns without blowing up. In fact, you can even use C-4, that way, as a sort of heat tab, to cook on it. But . . . if a person tries to put out the flame by stomping it with a boot heel, that person is likely to be called “Stumpy” for the rest of his/her life. Because stomping on the burning C-4 usually provides all the shock/compression it needs to explode. And the resulting explosion is probably going to blow that stomping boot (along with the foot inside it) right off the end of the stomper’s leg.

And, just so we’re clear: slowly pushing down with that boot heel, to sort of grind out the flame without stomping it, can also sometimes provide just enough compression to accomplish the same thing (i.e.: earning a new, undesirable, nickname).

Det Cord works the same way. If that idiot who set it on fire had then hit it with a hammer, you’d probably have been spared his odious visit!

So, as I’ve hopefully convinced you, no matter what you’ve seen or heard on TV or in the movies, Primer Cord (or Prima Cord – remember, that’s just a brand name) is not a fuse; it’s an explosive.

13 December 2015

Sherlock Holmes meets O Henry, 2


O Henry
If you thought last week’s story featuring O Henry’s Shamrock Jolnes was dull, er, droll, wait until you read this week’s clunker.

I admire O Henry’s stories, I really do, but his heavy drinking shows, drinking that led to an early death by liver failure. But that’s just my opinion. These turkeys managed to get published posthumously.

The ‘O’ in William Sydney Porter’s O Henry pseudonym originally stood for Olivier. He used that pen name only once and changed it to simply ‘O’ to disguise the fact he was writing while in federal prison for bank embezzlement. A friend forwarded manuscripts to publishers to further obscure Porter’s whereabouts.

Athol, Margaret, William Porter, 1895
Without doubt, he loved his wife, Athol. Porter married her knowing she suffered from consumption, the disease tuberculosis that would eventually take her life.

Athol encouraged her husband to write, which he began while working in Austin and Houston. After a boy who died in childbirth, Athol bore a daughter, Margaret.

After Porter’s indictment for bank fraud, he fled the country, arriving in Trujillo, Honduras. Porter planned for his wife and daughter to join him, but upon learning she was dying of tuberculosis, Porter returned and gave himself up. While serving three years of a five-year sentence in an Ohio federal prison, he wrote short stories to help support his young daughter, Margaret.

After prison, Porter moved to New York where he commenced his literary career in earnest. These Shamrock Jolnes stories were written shortly before his 1910 death at age 47.

The Sleuths

by O Henry
(© 1911)


In the Big City a man will disappear with the suddenness and completeness of the flame of a candle that is blown out. All the agencies of inquisition – the hounds of the trail, the sleuths of the city’s labyrinths, the closet detectives of theory and induction – will be invoked to the search. Most often the man’s face will be seen no more. Sometimes he will re-appear in Sheboygan or in the wilds of Terre Haute, calling himself one of the synonyms of ‘Smith’, and without memory of events up to a certain time, including his grocer’s bill. Sometimes it will be found, after dragging the rivers, and polling the restaurants to see if he may be waitng for a well-done sirloin, that he has moved next door.

This snuffing out of a human being like the erasure of a chalk man from a blackboard is one of the most impressive themes in dramaturgy

The case of Mary Snyder, in point, should not be without interest.

A man of middle age, of the name of Meeks, came from the West to New York to find his sister, Mrs. Mary Snyder, a widow, aged fifty-two who had been living for a year in a tenement house in a crowded neighborhood.

At her address he was told that Mary Snyder had moved away longer than a month before. No one could tell him the new address.

On coming out Mr. Meeks addressed a policeman who was standing on the corner, and explained his dilemma.

“My sister is very poor,” he said, “and I am anxious to find her. I have recently made quite a lot of money in a lead mine, and I want her to share my prosperity. There is no use in advertising her, because she cannot read.”

The policeman pulled his mustache and looked so thoughtful and mighty that Meeks could almost feel the joyful tears of his sister Mary drooping upon his bright blue tie.

“You go down in the Canal Street neighborhood,” said the policeman, “and get a job drivin’ the biggest dray you can find. There’s old women always getting’ knocked over by drays down there. You might see ‘er among ‘em. If you don’t want to do that you better go ‘round to headquarters and get ‘em to put a fly cop onto the dame.”

At police headquarters, Meeks received ready assistance. A general alarm was sent out and copies of a photograph of Mary Snyder that her brother had were distributed among the stations. In Mulberry Street the chief assigned Detective Mullins to the case.

The detective took Meeks aside and said:

“This is not a very difficult case to unravel. Shave off your whiskers, fill your pockets with good cigars, and meet me in the café of the Waldorf at three o’clock this afternoon.”

Meeks obeyed. He found Mullins there. They had a bottle of wine, while the detective asked questions concerning the missing woman.

“Now,” said Mullins, “New York is a big city, but we’ve got the detective business systematized. There are two ways we can go about finding your sister. We will try one of ‘em first. You say she’s fifty-two?”

“A little past,” said Meeks.

The detective conducted the Westerner to a branch advertising office of one of the largest dailies. There he wrote the following “ad” and submitted it to Meeks.

“Wanted, at once – one hundred attractive chorus girls for a new musical comedy. Apply all day at No.–- Broadway.”

Meeks was indignant.

“My sister,” said he, “is a poor, hard-working, elderly woman. I do not see what aid an advertisement of this kind would be toward finding her.”

“All right,” said the detective. “I guess you don’t know New York. But if you’ve got a grouch against this scheme we’ll try the other one. It’s a sure thing. But it’ll cost you more.”

“Never mind the expense,” said Meeks; “we’ll try it.”

The sleuth led him back to the Waldorf. “Engage a couple of bedrooms and a parlor,” he advised, “and let’s go up.”

This was done, and the two were shown to a superb suite on the fourth floor. Meeks looked puzzled. The detective sank into a velvet armchair, and pulled out his cigar case.

“I forgot to suggest, old man,” he said, “that you should have taken the rooms by the month. They wouldn’t have stuck you so much for em.”

“By the month!” exclaimed Meeks. “What do you mean?”

“Oh, it’ll take time to work the game this way. I told you it would cost you more. We’ll have to wait till spring. There’ll be a new city directory out then. Very likely your sister’s name and address will be in it.”

Meeks rid himself of the city detective at once. On the next day some one advised him to consult Shamrock Jolnes, New York’s famous private detective, who demanded fabulous fees, but performed miracles in the way of solving mysteries and crimes.

After waiting for two hours in the anteroom of the great detective’s apartment, Meeks was shown into his presence. Jolnes sat in a purple dressing gown at an inlaid ivory chess table, with a magazine before him, trying to solve the mystery of “They.” The famous sleuth’s thin, intellectual face, piercing eyes, and rate per word are too well known to need description.

Meeks set forth his errand. “My fee, if successful, will be $500,” said Shamrock Jolnes.

Meeks bowed his agreement to the price.

“I will undertake your case, Mr. Meeks,” said Jones, finally. “The disappearance of people in this city has always been an interesting problem to me. I remember a case that I brought to a successful outcome a year ago. A family bearing the name of Clark disappeared suddenly from a small flat in which they were living I watched the flat building for two months for a clue. One day it struck me that a certain milkman and a grocer’s boy always walked backward when they carried their wares upstairs. Following out by induction the idea that this observation gave me, I at once located the missing family. They had moved into the flat across the hall and changed their name to Kralc.”

Shamrock Jolnes and his client went to the tenement house where Mary Snyder had lived, and the detective demanded to be shown the room in which she had lived. It had been occupied by no tenant since her disappearance.

The room was small, dingy, and poorly furnished. Meeks seated himself dejectedly on a broken chair, while the great detective searched the walls and floors and the few sticks of old, rickety furniture for a clue.

At the end of half an hour Jolnes had collected a few seemingly umintelligible articles – a cheap black hatpin, a piece torn off a theatre programme, and the end of a small torn card on which was the word “Left” and the characters “C 12.”

Shamrock Jolnes leaned against the mantel for ten minutes, with his head resting upon his hand, and an absorbed look upon his intellectual face. At the end of that time he exclaimed, with animation:

“Come, Mr. Meeks; the problem is solved. I can take you directly to the house where your sister is living. And you may have no fears concerning her welfare, for she is amply provided with funds – for the present at least.”

Meeks felt joy and wonder in equal proportions.

“How did you manage it?” he asked, with admiration in his tones.

Perhaps Jolnes’s only weakness was a professional pride in his wonderful achievements in induction. He was ever ready to astound and charm his listeners by describing his methods.

“By elimination,” said Jolnes, spreading his clues upon a little table, “I got rid of certain parts of the city to which Mrs. Snyder might have removed. You see this hatpin? That eliminates Brooklyn. No woman attempts to board a car at the Brooklyn Bridge without being sure that she carries a hatpin with which to fight her way into a seat. And now I will demonstrate to you that she could not have gone to Harlem. Behind this door are two hooks in the wall. Upon one of these Mrs. Snyder has hung her bonnet, and upon the other her shawl. You will observe that the bottom the hanging shawl has gradually made a soiled streak against the plastered wall. The mark is clean-out, proving that there is no fringe on the shawl. Now, was there ever a case where a middle-aged woman, wearing a shawl, boarded a Harlem train without there being a fringe on the shawl to catch in the gate and delay the passengers behind her? So we eliminate Harlem.

“Therefore I conclude that Mrs. Snyder has not moved very far away. On this torn piece of card you see the word ‘Left, the letter ‘C,’ and the number ‘12.’ Now, I happen to know that No. 12 Avenue C is a first-class boarding house, far beyond your sister’s means – as we suppose. But then I find this piece of a theatre programme, crumpled into an odd shape. What meaning does it convey? None to you, very likely, Mr. Meeks; but it is eloquent to one whose habits and training take cognizance of the smallest things.

“You have told me that your sister was a scrub woman. She scrubbed the floors of offices and hallways. Let us assume that she procured such work to perform in a theatre. Where is valuable jewellery lost the oftenest, Mr. Meeks? In the theatres, of course. Look at that piece of programme, Mr. Meeks. Observe the round impression in it. It has been wrapped around a ring – perhaps a ring of great value. Mrs. Snyder found the ring while at work in the theatre. She hastily tore off a piece of a programme, wrapped the ring carefully, and thrust it into her bosom. The next day she disposed of it, and with her increased means, looked about her for a more comfortable place in which to live. When I reach thus far in the chain I see nothing impossible about No. 12 Avenue C. It is there we will find your sister, Mr. Meeks.”

Shamrock Jolnes concluded his convincing speech with the smile of a successful artist. Meeks’s admiration was too great for words. Together they went to No. 12 Avenue C. It was an old-fashioned brownstone house in a prosperous and respectable neighborhood.

They rang the bell, and on inquiry were told that no Mrs. Snyder was known there, and that not within six months had a new occupant come to the house.

When they reached the sidewalk again, Meeks examined the clues which he had brought away from his sister’s old room.

“I am no detective,” he remarked to Jolnes as he raised the piece of theatre programme to his nose, “but it seems to me that instead of a ring having been wrapped in this paper it was one of those round peppermint drops. And this piece with the address on it looks to me like the end of a seat coupon – No. 12, row C, left aisle.”

Shamrock Jolnes had a far-away look in his eyes.

“I think you would do well to consult Juggins,” said he.

“Who is Juggins?” asked Meeks.

“He is the leader,” said Jolnes, “of a new modern school of detectives. Their methods are different from ours, but it is said that Juggins has solved some extremely puzzling cases. I will take you to him.”

They found the greater Juggins in his office. He was a small man with light hair, deeply absorbed in reading one of the bourgeois works of Nathaniel Hawthorne.

The two great detectives of different schools shook hands with ceremony, and Meeks was introduced.

“State the facts,” said Juggins, going on with his reading.

When Meeks ceased, the greater one closed his book and said:

“Do I understand that your sister is fifty-two years of age, with a large mole on the side of her nose, and that she is a very poor widow, making a scanty living by scrubbing, and with a very homely face and figure?”

“That describes her exactly,” admitted Meeks. Juggins rose and put on his hat.

“In fifteen minutes,” he said, “I will return, bringing you her present address.”

Shamrock Jolnes turned pale, but forced a smile.

Within the specified time Juggins returned and consulted a little slip of paper held in his hand.

“Your sister, Mary Snyder,” he announced calmly, “will be found at No. 162 Chilton Street. She is living in the back hall bedroom, five flights up. The house is only four blocks from here,” he continued addressing Meeks. Suppose you go and verify the statement and then return here. Mr Jolnes will await you, I dare say.”

Meeks hurried away. In twenty minutes he was back again, with a beaming face.

“She is there and well!” he cried. “Name your fee!”

“Two dollars,” said Juggins.

When Meeks had settled his bill and departed, Shamrock Jolnes stood with his hat in his hand before Juggins.

“If it would not be asking too much,” he stammered , “if you would favor me so far – would you object to ––”

“Certainly not,” said Juggins, pleasantly. “I will tell you how I did it. You remember the description of Mrs. Snyder? Did you ever know a woman like that who wasn’t paying weekly instalments on an enlarged crayon portrait of herself? The biggest factory of that kind in the country is just around the corner. I went there and got her address off the books. That’s all.”


Trivia: Kids of yesteryear might remember The Cisco Kid, a popular movie and western television series. The name, although not the plot, was taken from a short story by… O Henry.

20 December 2021

Looking Back


Between the lockdown and various health issues, I lost track of time for most of 2021 (although I have managed to finish my Christmas shopping. Wrapping? Um, no way), so let's try to put the clock back on the wall.

2020 was a blur. I had a mis-diagnosed stroke (I told them is was only a pinched nerve!) in January, then got my second cancer diagnosis in March, only days before the lockdown commenced. Between heavy meds, stress, and lockdown agoraphobia, I could no longer concentrate on complex projects like planning a novel anymore and turned exclusively to short stories. I wrote over a dozen in the last six months of 2020. Before then, I never produced more than four or five in one year. 

I published four stories, two of which I'd written years before and finally found submission calls that they matched.

Now 2021, very good and very bad, swinging like Poe's pendulum. The cancer, apparently vanquished through chemo and surgery the previous summer, staged an encore in March. Doctors, including one of my former students, inserted a stent in my kidney and started me on immunotherapy treatments every three weeks in April. They've worked, and I generally feel pretty good. No diet restrictions, I can drive  to the health club two or three times a week in a futile effort to restore my rippling six-pack abs, and I can still play guitar badly and piano even worse. Age, the family arthritis, and getting needles stuck in both arms every three weeks make music and typing harder, but I can still do them. The worst part of the year was saying good-bye to Ernie, our Maine Coon, who lost his four-year battle to kidney disease and left us in June. 

The sunny side:

This year, I wrote eleven new short stories and self-published Alma Murder, an early version of the book that eventually evolved into Blood on the Tracks about 70 rejections later. Five short stories appeared, and I sold seven others, a new career high.

Two will appear in Spring 2022, maybe within days of each other. The new MWA anthology Crime Hits Home, edited by SJ Rozan, will feature one of them. SleuthSayers' own Michael Bracken edited the other.

The rest will appear over the next year or so, but I don't have definite release dates. Fourteen submissions are still active, and I suspect that two or three have been accepted even though I don't have official word from the markets. 

I helped judge the Derringer Awards last year and will do it again this year. The best way to learn to write good stories is to read good stories, and I read a lot of them. I only judge flash fiction because I never write that short, but it's good training in what you can leave out of a story. It also means that if I stumble on a useful idea, I have to treat it very differently anyway.

The most positive change this year is that two different editors approached me about submitting work for an upcoming anthology. One was because of a Sleuthsayers blog I wrote earlier this year. Talk about an ego boost. I'm doing research on two other stories, too. If those stories don't sell to the anthologies, they're flexible enough that I can send them to other markets, too. Always a good thing. 

Am I getting rich (Cue uproarious laughter)? Of course not. But I'm getting somewhere, and that beats the alternative.

So, Merry Christmas, happy Channukah, Kwanzaa, and new year. Oh, and a belated happy birthday to Keith Richards.