Ragtime Criticism

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Literary Criticisms of Ragtime by E.L. Doctorow

There seems to be a never-ending debate on whether popular literature or artistic literature is more appealing and more importantly contributes to its society. Completely transcending this debate is Ragtime by E.L. Doctorow. It has undeniable proven its success in both areas. Unlike other works of art whose freshness makes them too difficult for widespread audiences, Ragtime became a best-seller in its hardcover edition during the mid 170s when it was released. Every American family seemed to have a copy of the literature. Doctorow and Ragtime instantly became a household name. Although it is hard to believe that an event like Ragtime could happen more than once in an author's lifetime, it seemed that every single one of Doctorow's releases turned into a literary event after the huge success of Ragtime. Like all books, it is never perfect and can never please its critics who seems to find the littlest faults about the novel. It is sure that most reviewers like Newsweek's Walter Clemons, Fiction International's Daniel J. Cahill, and American Literature's Barbara Foley can agree that Doctorow took the combination of historical and imaginary characters, a technique often used in historical novels but with only weak results, and manipulated these characters into a rich blend of writing that is entertaining, challenging, and most importantly brings forth the spirit of the time. Ragtime deals with a clashing culture with its victims and victimizers in the early turn-of-

the-century post World War I.

Walter Clemons of Newsweek points out in his article entitled "Houdini, Meet Ferdinand," that many events like Younger Brother's love affair with Evelyn Nesbit is of course fictional. But there is Evelyn Nesbit's meeting with Emma Goldman, Henry Ford's with J.P. Morgan, Houdini's encounter with the Archduke Franz Ferdinand, whose assassination will touch off World War I and close out the era of ragtime? Did Houdini really become one of the first person to own a plane? And did he really spend the later years of his life looking into was to communicate with the dead to only come up empty hearted. Doctorow pushed the reader beyond his book to search for the validity of his characters. He claims that its admonitory epigraph from Scott Joplin, "Do not play this play fast. It is never right to play Ragtime fast" is impossible to obey. One can just rapidly read through the book to get know the ending but in order to really understand and grasp the magnificence of Ragtime, one must trace through the lines of events, coincidences and chance meetings of the men and women of the industrial manufacturing of America in a place where "the forms of life were volatile…and everything could as easily be something else (p. 7, 76)," could one truly comprehend the magnificence of Ragtime. Through this one find historical resonates in a fresh way to orchestrate the themes of American innocence, energy and inchoate ambition in a place with disorder and disillusion.

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Daniel J. Cahill's article entitled "History As the Dreams of Its People," in Fiction International supports the idea that Ragtime incorporates historical characters into a rare view of American life before World War I. It shows a family seeking its way toward the

dreams of a peculiar brand of human achievement and ultimately to the ironic discovery of the dissolution of its dreams. Pointing out that Ragtime brings Harry Houdini to the Archduke Francis Ferdinand, but he also incorporates elements of fiction that force the readers to bring forth their own personal information of history to differentiate the facts from the fictions in the book. It can be argued that Ragtime "seizes the feel of human actuality and recreates a crucial turning in the "great experiment" of American life-a fusion of fact and interpretation, of history and imaginative illumination. (18 11)." It is important to point out that Ragtime offers no ready references of ethical directions or indirections, leaving to the readers to interpret using their experience to feel the true message being conveyed.

Barbara Foley of American Literature argued in her article entitled "From 'U.S.A.' to 'Ragtime' Notes on the Forms of Historical Consciousness in Modern Fiction," that Ragtime is a satirized commentary upon the development of American society in the early years of the twentieth century. Doctorow seemed to focus on problems stemming from sexual and racial oppression in the prewar period. While containing numerous sketches of historical personages, it incorporates fictional events with nonfiction characters while also adding true events that draws from the minds of the readers to test their history knowledge. Only through this way is the reader able to filter the fact from the fiction. It also does not contain and clear-eyed standard of ethical judgment but leaves it to the reader to determine from his or her own experience the morality of the characters and determination of the character's role.

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Catcher in The Rye

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Hi, my name is Cristina Arciuolo. I'm sixteen years old. I was born in White Plains N.Y. and raised in Patterson N.Y. I now live in White Plains. My birthday is April 187. I have two older brothers named Michael who is 5 years old and Tommy who is 0 years old. I also have a sister named Jessica who is 16 years old.

To let you know what I look like I have brown eyes and hair, I'm 5'1/. I'm also 100% Italian and proud of it! Some interesting things I have done in my past were cheerleading. I used to go to an acting school that I got very far. I also had a job as a receptionist in a hair salon, which I liked very much. I love to go shopping and go out with my friends a lot. I also like to sleep when I get a break from things, another thing that I find fun to me is coloring my moms hair every few months.

Life to me is very important. It's kind of like a game. You have to be able to accomplish a lot and take chances. When you are able to support yourself and accomplish a lot its like you're winning the game. In life there are many decisions and obstacles to face. Then you have the future to come your way. You never know what's in store for you. I hope my future goes according to my plan. After graduating high school with a cosmetology license I hope to be working in a salon for a while and take maybe two years of business classes in college. When I hopefully graduate college, I would love to own my own salon. After settling down with work and business then I will work on having a family.

In conclusion I feel that if I work hard and be the best I could be one day hopefully my dreams will come true. If I come across very difficult obstacles in my life I will have to overcome them and win the game! I hope that I gave you enough information about me to let you know a little bit about myself.

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Conflict in Romeo and Juliet

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Romeo and Juliet is a play rich in themes and moral messages. Some of these include love, hatred, loyalty and tragedy; however, the theme most consistent throughout the text is the theme of conflict. Despite the fact that outwardly, the entire storyline is based on the theme of love, it is the dispute, which serves as a backdrop to the other themes, and increases their importance within the storyline, that is the fundamental concept. Thus, conflict is the dominant theme in Romeo and Juliet.

We see many examples of conflict within the play, and there is a constant feeling of tension caused by the feud. This is continually emphasized through characters with a violent nature such as Tybalt and Mercutio. While the dramatic conclusion of the play is tragic, the moral message behind the story is ultimately positive, and Shakespeare uses the characters as vehicles to convey these ideas.

Conflict is often illustrated through the use of swordplay and violence. This also gives the play a dramatic effect. We are first introduced to conflict as a theme in the first scene of the play, in which Sampson and Gregory are discussing the feud in a comical manner, and then provoke the Capulets, which eventually leads to bickering and swords being drawn

"Draw thy tool. Here comes of the house of Montagues."

To which Sampson responds

"My naked weapon is out. Quarrel. I will back thee."

The two Capulets provoke the Montagues by 'biting their thumbs.' Consequently, there is bickering between the two families, and they continue to exchange insulting remarks until both Tybalt and Benvolio arrive on the scene. Benvolio's persistent suggestion of peace is no match for Tybalt's violent words

"What, drawn, and talk of peace? I hate the word,

As I hate hell, all Montagues, and thee.

Have at thee, coward!"

…And the fighting continues. Later, we see the older generation join the youth in their bickering, which only ceases when the Prince arrives and speaks of his strong disapproval of their dispute.

This scene introduces the audience to the dispute, and exemplifies the depth and intensity of the families' hatred of each other.

In addition, an ideal example of conflict within the play is Act III Scene 1, in which a dramatic chain of events leads to Romeo's banishment from Verona. The conflict arises when Mercutio foolishly provokes the potentially dangerous Tybalt

"And but one word with one of us? Couple it with something. Make it a word and a blow."

To which Tybalt readily responds

"You shall find me apt enough to that sir, an you will give me occasion."

The subsequent fighting and the resultant deaths associated with the swordplay communicate the theme of conflict to the audience.

These violent scenes demonstrate the importance of family loyalty, and how it relates to conflict. In modern film versions of the play, guns replace swords. But however the violence is perpetrated, deadly fighting is a dramatic effect that lets the audience know that conflict is the major theme.

There are several characters which convey the theme of conflict through their actions. First and foremost, there is Tybalt. Sometimes considered the villain of the play, Tybalt's violent nature and provocative behaviour illustrates the intensity of the feud between the two families. While he is generally of a more aggressive temperament than the rest of the characters, we learn from him the depth of the sub-culture and social conditioning which the younger generation have been subjective to

"What, drawn and talk of peace? I hate the word

As I hate all hell, all Montagues, and thee.

Have at thee, coward!"

We see this again in Act I Scene 5, when Tybalt overhears Romeo speaking about Juliet

"This, by his voice, should be a Montague.

Fetch me my rapier, boy. What dares the slave

Come hither, coverd with an antic face,

To fleer and scorn at our solemnity?

Now, by the stock and honour of my kin,

To strike him dead, I hold it not a sin."

These fierce words clearly demonstrate the profound enmity between the two families, and the fact that the younger generation have been raised with the knowledge that the other family is their archenemy.

Furthermore, there is the character of Mercutio. While he does not share Tybalt's aggressively violent streak, Mercutio nonetheless influences the conflict with his outgoing, somewhat cocky nature. This attribute eventually costs him his life, as it is he who provokes Tybalt into fighting him

"And but one word with one of us? Couple it with something. Make it a word and a blow."

When Tybalt responds with sharp insults, he goes on to say threateningly

"Consort? What, dost thou make us minstrels? An thou make mistrels of us, look to hear nothing but discords. Here's my fiddlestick. Here's that shall make you dance. Zounds, consort!"

When Tybalt further insults his family by rudely referring to Romeo as his servant, Mercutio retorts in a dignified manner

"But I'll be hanged, sir, if he wear your livery.

Marry, go before to field, he'll be your follower!

Your worship in that sense may call him 'man'."

Mercutio's responses demonstrate the importance of family loyalty within the play. As Tybalt has insulted Romeo, Mercutio's friend and fellow Montague, he is further enraged. This segment of the play exemplifies the significance of allegiance within the families.

Although he does not possess Tybalt's violent streak, nor Mercutio's arrogant nature, Romeo also contributes to the theme of conflict, particularly in the scene in which he seeks fatal revenge on Tybalt after Mercutio's untimely death. Here, we see a character that has previously been known to avoid conflict actively pursue it because he wishes to seek vengeance for his friend and ally's death. It is here that we begin to discover the depth of the family loyalty Romeo feels it is his duty, as a Montague, to kill Tybalt in return for Mercutio's death, and in the heat of the moment he forgets that there will be consequences and places his loyalty to his family over loyalty over Juliet

"Alive in triumph, and Mercutio slain!

Away to heaven respective lenity,

And fire-eyed fury be my conduct now!

Now, Tybalt, take the 'villain' back again

That late thou gavest me. For Mercutio's soul

Is but a little way above our heads,

Staying for thine to keep him company.

Either thou or I, or both, must go with him."

From these segments of the play, we learn that family loyalty, pride, and justice are all deeply held values in both families. Unfortunately, it is these principles that lead to the many deaths and frequent conflict within the play.

While it may seem that there is much tragedy within Romeo and Juliet, the underlying moral messages are ultimately positive. From the tragic deaths and constant discord within the play, we learn that petty disagreements should be ended, for they are rarely productive and often lead to misfortune. Secondly, Romeo and Juliet's undying love for each other, which remains strong despite their respective family's enmity, teaches us that true love can conquer all. They manage to overcome great obstacles to be married, to consummate their marriage, and to live united for eternity.

The fact that they are unable to escape the confines of family hatred demonstrates that children are often victims of their parents inflexible decisions, as it is the dissension between the two families which eventually costs them their most precious and irreplaceable possessions their only children. And it is only after this acute realisation that they are able to unite. As Charles Horton Cooley so wisely observed

When one ceases from conflict, whether because he has won, because he has lost, or because he cares no more for the game, the virtue passes out of him.

In this way, Shakespeare uses the characters as vehicles to convey moral messages. One of the reasons Romeo and Juliet is still considered an eternal literary work is because the messages portrayed within the play are perpetual. Any person of any time, language or culture can understand the concepts explored because they are basically natural human behaviours. As Hilaire Beloc aptly stated

All men have an instinct for conflict at least, all healthy men.

The importance of loyalty to others, justice, and the destructive tendencies of humans are just a few of the more noticeable concepts. Therefore, there are many valuable lessons to be learnt from the conflict within Romeo and Juliet, some of which are obvious, and others of which are hidden within the many layers of the storyline.

The recurrent theme of conflict within the play is, as we have established, the key focus in Romeo and Juliet, as it is demonstrated by the actions of various characters, repeatedly an issue between the two families, and ultimately is responsible for the tragic events within the play.

Without the foundation of the feud and constant fighting as a result, the other themes would have lesser importance. Hence, conflict, which imparts the sub-themes we have examined, (family feud, hatred, sub-cultures, loyalty etc.) is the primary and most consistent theme within Romeo and Juliet. As Martin Luther King so fittingly stated

"Man must evolve for all human conflict a method which rejects revenge, aggression and retaliation. The foundation of such a method is love."

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Education theory

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Education acts as the basis of society and reflects the culture from generation to generation. The school serves to induct children into society both formally and informally. Certain choices must be made in the realm of education as follows 1) What is the curriculum? ) What are the practical skills the student is supposed to acquire? ) What are the values? In America, a freedom for all exists, including the right of students to make choices. Thus, educators also have the free choice to be either conservative or liberal with their decisions. Some, such as schools in the Panhandle of Oklahoma, emphasize maintaining the status quo; whereas others, such as schools in Southern California, reflect transitional societies with wide ranging differences and a state of constant change. I have personally had the opportunity to experience such public school systems that are on opposite ends of the continuum. These experiences have caused me to have a paradigm shift in my personal educational theory that I use on a daily basis as a public high school teacher.

My life, my hope, my triumph is in God. His Word guides my thoughts and actions as I search its passages. The wisdom and instruction of the Holy Spirit empowers and directs me. He holds me accountable to His standard for me. He watches me with an intense love and concern, which results in explicit discipline designed for me. I present myself a living sacrifice, submitted to His control and authority.

Obedience and commitment to His ordained path does not allow me to follow others. I must guard my words and feelings irregardless of those around me. I grant Him the control of my tongue, the restraint of my hand, the imaginations of my mind and the observation of my eyes to the ways that others carry out their lives. Pulling strings, scheming and promoting my plans are met with rebuke. Others may brag about themselves and their accomplishments, but I cannot without feeling ashamed. I sense His disappointment when I waste the time and opportunities he provides for me to utilize for His glory.

God is infinitely Sovereign, and has a right to do as He pleases with me. He may let others be recognized, honored and advanced while I remain hidden in obscurity for His purpose. He may intend I produce a unique, fragrant fruit for His glory, which can only be developed in the shade. Others may work for Him and be acknowledged, while I faithfully serve without knowing the value of my efforts. Others may even get the credit for the work I do. It is not relevant to me. I look to Him alone for my fulfillment and assurance.

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God wants me to live my life day to day, in utter dependence on Him. Far better than gold or an earthly legacy, I am privileged to watch Him provide for my needs day by day out of His vast, unseen treasury.

I am His creation for His purpose and glory. He owes me no explanation for His dealings with me. Deep in my heart I delight in His personal, private, intimate management of my life. I am loved and treasured.

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Johann Sebastian Bach

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Johann Sebastian Bach was born in Eisenach, Germany on March 1, 1685. He was the youngest son of Johann Ambrosius Bach. He was taught by his father, and then by his oldest brother, Johann Christoph Bach, who was a very talented musician who lived in Ohrdruf. One of Bachs brothers, Johann Jakob, was also living with Christoph. Eventually Bach got too good to be taught anything else by his brother, so he went to Leipzig. The year was 17, and Bach was 8 years old.

Before I discuss the rest of his public life I will talk about his family life. He was the youngest of the seven sons of Johann Ambrosius Bach. His first marriage, at the age of , was to Maria Barbara Bach, who was his cousin. She died in 170, after having given birth to 7 children, (though not all at once, hehehe!). Later Bach married again, although who she was I could not discover. This second one bore him thirteen children, whoever she was. It must have been very busy with people living together. This is even more amazing considering that there could not have been a difference of more than years between each child, giving them at the very least, a ,4,6,8,10,1,14,16, and 18 year old all living together. This does not include twins that they may have had even. Bach was a faithful husband to both of his wives. The Bach clan produced no fewer than 5 famous musicians in a period spanning 7 generations.

During the last year of his life, Bachs eyesight began to fail him. In 1750 Bach went to the wandering Englishman John Taylor, who had strong ties in the occult, and was operated on twice. His operations took place in March and April. Less than months later, on July 8th, 1750, Bach died. Some people think that maybe his sudden death after his operations may have been the result of the operations and the things subsequent treatments. It is rumored that just 6 days before he died, he woke up, and was able to see perfectly. According to this rumor, he retained his eyesight until the day he died. His second wife, who was widowed, outlived Bach by 10 years, and then she died in the year 1760. Bach was 65 years old at the time of his death.

Now back to his public life. Bach was famous for being the greatest organist in all of Europe.

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His feet seemed to fly across the pedals as if they were winged, and mighty sounds filled the church, his fingers were all of equal strength, all equally able to play with the finest precision. He had invented so comfortable a fingering that he could master the most difficult parts with perfect ease (using 5 fingers instead of the then normal ). He was able to accomplish passages on the pedals with his feet which would have given trouble to the fingers of many a clever player on the keyboard.

He was also an expert in Fugue and counterpoint, with only Handel even coming close to being as skilled as he was. Bach wrote almost every type of music except for opera, which his, employers, did not approve of, (he was employed in the Protestant city of Leipzig for the last 7 years of his life). When Bach died he had composed over 500 separate pieces of music. This included many hymns, oratorios, fugues, over 00 church cantatas and 4 secular ones, over 140 choral preludes, Passions according to St. Matthew and St John and many other things that are far to numerous to mention. According to another one of my many sources, in the months before his death, He was also working on a fugue featuring the subject B-A-C-H (B in German notation is B flat, while H in German notation = B natural). He had often been asked why he had not exploited this theme before, and had indicated that, despite its thematic possibilities, he would consider it arrogant to do so.

You said that one of the requirements for this paper is that I have at least two sources, I met that requirement okay, that it has to be two pages, well it is not quite there yet but if I ramble on long enough then maybe it will work, and that it has to have at least one quote by the person. This one is not working to well, so since you didnt say that one of the requirements was that the quote actually had to have anything to do with what I wrote about, here is my quote, it comes from a letter that was to King Frederick, and the letter is very long, so the quote is kind of long, but not as long as the letter, okay?

I noticed then that Your Highness took some pleasure in the small talents which Heaven has given me for Music That is the first one and here is the second one, I beg Your Royal Highness very humbly to have the goodness to continue Your Highness gracious favor toward me, and to be assured that nothing is so close to my heart as the wish that I may be employed on occasions more worthy of Your Royal Highness and of Your Highness service. See, I told you that they had absolutely nothing to do with it. You should believe me. I think that he was doing some major kissing up to, your Highness, dont you?

Well that is all that I can think of to say, I hope that you enjoyed my footnotes, and my cleverness and all that other stuff.

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The Baseball Strike and the Union

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The Baseball Strike and the Union

Nothing seemed more sturdy in the American psyche than Major League Baseball. Since the turn of the century, baseball's two leagues the National and American had their share of controversies. A betting scandal nearly wrecked the sport; a player was struck by a pitched ball and killed; a world war decimated the ranks of skilled players for five years; and in the 160's another sport football leaped ahead in popularity based on its title game, the Super Bowl. Even during the dark years of World War II, baseball (urged on by President Franklin Roosevelt) continued its tradition of all-star games and the World Series. Later, the Major Leagues still conducted itself prosperously and with fan support through team re-alignments in new and expansion cities. Integration of the sport, while jolting, was more or less thorough at the player's level by the 180's. Still, no one was prepared for the series of labor disputes of the following decade, and by the mid-10's, the Major League Baseball Players Association a powerful union had masterminded a season-ending strike that canceled the World Series for the first time in history and alienated life-long fans. Baseball was in trouble.

By the time all was said and done, the 14-5 strike by major leaguers lasted 56 days, cost more than $800 million in lost revenues, and was the longest work stoppage in the history of any sports enterprise (Play Ball 1). The strike essentially conducted to protest a cap on team salaries proposed by the owners wiped out the final 5 days (and 66 total games) of the 14 season, forced the cancellation of division and league playoffs and the 14 World Series, and canceled the first 5 total games of the 15 season. All in all, the total missed games that could have been held before fans in all of baseball's cities was 1, with many of those games offered up by sub-par substitutes of non-union minor league players and retired players returning as scabs.

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It was the eighth work stoppage by the union since 17 and by far the most crippling from a public relations standpoint. At the beginning of 14, owners met and agreed to a new revenue-sharing formula to use among themselves to balance out the league and enhance the ability of lesser-staffed, small-market teams to hire better talent. But the agreement was linked by an owners' demand that the players agree to a salary cap (Strike Chronology 1). Despite that it knew the cap proposal was in the offing, the union -- Major League Baseball Players Association (MLBPA) took no action. By mid-season in 14, on June 14, the owners laid out their salary cap proposal, which also included a carrot to the players the lowering of free agent eligibility from existing six years of service to four.

The salary cap was to place an upper limit on the money each team could spend on player salaries, based on the teams' averages of previous year's revenues. Under the proposed cap, teams could pay no more than 50 percent of the average revenues, with each team required to spend no less than 84 percent of that 50 percent amount and no more than 110 percent of the amount (Grabiner 1). Before the strike the players got an average of 58 percent of the revenues, so despite the promise of quicker free agency and the ability to negotiate for higher salaries, the union encouraged the players to strike. On July 18, 14, the MLBPA rejected the owners' salary cap offer and demanded that arbitration for free agency be lowered from the proposed four years down to two years.

A week later, the owners rejected the players union proposal and the following day, the players union set an Aug 1 strike date. While it seemed sudden, the showdown between owners and the union had been growing for some time. In September of 1, the hard-line owners grew weary of Commissioner Fay Vincent and what they thought was his soft allegiance to the players. The owners forced Vincent to resign (Strike Chronology ). Two days after Vincent's "retirement", the owners appointed one of their own hard-liners, Milwaukee Brewer owner Bug Selig, to the post of acting commissioner.

The union urged the walkout after analyzing the owners' package and determining that a cap would reduce salaries by $18 million. According to the union, the 50 percent rate would not allow for inflation of possible increased revenues in the future, thus teams over the limit would offer free agent players only / of their value. On August 1, the players went on strike. When they returned to work in April of 15, the owners had tabled the cap, and the players agreed to work without a long-term agreement. There is still no solidifying agreement in place.

Though it was the most crippling to the fans, and perhaps to baseball's credibility, it was not the first strike. In March of 17, the MLBPA organized a walkout because of its disapproval of the owners' proposed pension plan, canceling exhibition games and casting doom for the season. By April 1, 17, the players and owners agreed to a settlement. The 86 games lost to the walkout were not made up. The same year, the United States Supreme Court upheld baseball's reserve clause. Owners restrictions on the freedom of players to enter arbitration were softened after this ruling, but relations were further strained (Encarta 1).

The following spring players and owners were at it again, threatening to walk away from the game if a collective-bargaining agreement was not worked out. By the end of February, just before the start of spring training, the two sides settled on a three-year agreement that established salary arbitration for players with more than two year's service.

When the agreement expired, the union and owners collided again in 176, as owners threatened to lock players out of spring training and players decided to leave informal training camps until a new bargaining agreement was reached. The issue was resolved when then-Commissioner Bowie Kuhn ordered the camps opened and the season conducted in good faith. The owners and the MLBPA agreed to terms on a four-year agreement in mid season of that year, averting a walkout.

But when that four-year agreement ended in 180, the players voted to strike on opening day over free-agent issues. The union set the strike for the last eight games of the exhibition season, forcing cancellation of games, and threatening to spill into the season itself. The season began without a strike and the union and owners then negotiated a four-year agreement on May . But they left the free-agency issue on the table.

It did not go away. In mid-season 181, the players union authorized a strike, much to the fans' dismay. It was not until July 1 that the union and league owners settled, ending the 50-day strike that resulted in 71 canceled games. The agreement extended the four-year contract an additional year, which seemed to settle things down until 185.

The day before the All-Star Game, July 15, 185, the union set an August 6 strike date, again over free-agency issues. When the date arrived, the players struck, canceling two day's worth of games for a total of 5 games, and going on mid-season strike for the second time. The next day, the union and owners settled on a five-year agreement, with increases in salary arbitration eligibility (Strike Chronology ). The agreement held things in place for five years and allowed the strike-bitten profession to regain some credibility.

But that was crushed again in January of 10, when owners threatened to lock players out of spring training unless the expiring agreement was renewed. Players found themselves locked out of spring training facilities for the first time. Following days of lockout, the union agreed to terms with the owners, and the regular season began a week late with 78 games postponed during the lockout made up before the first pitch of the regular season.

With the tentative settlement in place following the 4-5 walkout, the sport is still reeling. The union is still wary of what they term collusion among the owners. In 185-87 several owners made secret agreements to not make offers to each other's free agents and to limit their offers as a means of keeping salaries artificially in check. It is not collusion, however, if owners set their own limits independently and offer less to free agents, as they did in 15, when signings for free agents were considerably lower in dollar figure than in previous years.

The MLBPA is strong and the players (and their agents) are not afraid to use it to flex their bargaining muscle. The strikes hurt the popularity and credibility game, and there is no reason to suspect that strikes in baseball are behind us. Until there is a strong and independent commissioner, the owners and players are likely to be at it again in the future.

Works Cited

"Baseball," Microsoft Encarta. 14 Microsoft Corporation. 14 Funk

& Wagnalls Corporation.

Grabiner, David, "Frequently Asked Questions About the Strike,"

http//remarque.berkeley.edu/~grabiner/strikefaq.html.

"Play Ball Baseball accepts uneasy truce to start season,"

http//nando.net/baseball.bbstrike.html.

Strike Chronology, http//nando.net/baseball.bbstrike.html.

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