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News about Explosions, including commentary and archival articles published in The New York Times.
Chronology of Coverage
May. 15, 2014
Antigovernment protests break out across Turkey, as hopes begin to fade for hundreds of coal miners still trapped underground in a hellish explosion; victims' families are demanding answers in what is emerging as perhaps the worst industrial accident in the country's history. MORE
May. 14, 2014
Explosion in coal mine in western Turkey kills more than 160 miners and leaves at least 200 other trapped underground; rescue teams are working to save trapped miners. MORE
May. 10, 2014
Investigators say deadly jail explosion in the Florida Panhandle appears to have been caused by natural gas but willl not specify whether a leak may have been to blame; April 30 fire killed two people and injured more than 100 others. MORE
May. 2, 2014
Gas explosion rips through jail in Pensacola, Fla, killing two inmates and injuring about 150 others; jail has been flooded by rainwater, and fire marshals are investigating whether the downpours led to the gas leak. MORE
Apr. 30, 2014
Boat that Palestinian and foreign activists were planning to use to challenge the Israeli-imposed naval blockade of the Gaza Strip is badly damaged by an explosion in Gaza harbor; organizers say they suspect sabotage. MORE
Apr. 25, 2014
Over half of the households in buildings affected by explosion in East Harlem have not been able to return home, more than a month after the accident; question of who is responsible for inspecting and remediating apartments affected by the blast remains at issue. MORE
Apr. 23, 2014
Federal investigators determine that lack of oversight and regulations at the local, state and federal levels contributed to deadly 2013 fertilizer plant explosion that devastated West, rural Texas town. MORE
Apr. 12, 2014
Carmen Quinones, who was critically injured in a gas explosion in East Harlem in March, is scheduled to leave Mount Sinai Medical Center; at news conference at hospital, Quinones hugs and thanks six of the New York City firefighters who carried her out of the collapsed building. MORE
Apr. 2, 2014
Pacific Gas and Electric is charged with 12 federal felony counts involving safety violations linked to a 2010 natural gas pipeline explosion that killed eight people in the San Francisco Bay Area. MORE
Apr. 1, 2014
Parts of several pipes will be tested at a laboratory in Washington, DC, as part of investigation into the deadly gas explosion in East Harlem; investigators have finished work at the scene of the March 12 blast on Park Avenue near 116th Street, which destroyed two buildings and killed eight people. MORE
Mar. 28, 2014
Pacific Gas & Electric announces that it expects to face federal criminal charges for its role in a fatal gas pipeline explosion in the San Francisco Bay Area in 2010; blast killed eight people, injured dozens of others and sparked a fireball that laid waste to 38 homes. MORE
Mar. 25, 2014
Editorial contends Congress can make New York City and other cities safer if it hastens effort to repair and replace old, leaking natural-gas pipelines nationwide; notes explosion in East Harlem can serve as a catalyst for change, and Congress must act before forces of apathy reassert themselves after this latest tragedy. MORE
Mar. 24, 2014
Gas explosion in East Harlem highlights dangers posed by some 6,302 aging pipes that transport natural gas throughout New York City, and similar systems in cities nationwide; leaks in pipes are common, numbering in the thousands every year, but replacing the aging network is a daunting task that would cost as much as $10 billion; New York State regulators have ordered Con Edison to step up its replacement schedule nonetheless. MORE
Mar. 23, 2014
Urban Garden Center in East Harlem, subject of July 29, 2012, Neighborhood Joint column, was damaged by explosion that ripped through neighborhood in March; scores of people have called or stopped by to offer help. MORE
Mar. 20, 2014
Mother and brother of Mayumi Nakamura, 34, who was killed in gas explosion in East Harlem that destroyed two buildings, are prepared to carry her ashes back to Japan; Nakamura was one of five women and three men who died in blast, some, like her, far from their homelands of Greece, Mexico and Japan. MORE
Mar. 19, 2014
National Transportation Safety Board investigators examining scene of deadly gas explosion in East Harlem say they have identified a leak in an eight-inch cast-iron and plastic gas main under Park Avenue between 116th and 117th Streets. MORE
Mar. 19, 2014
Eight victims of gas explosion in East Harlem are returning for last time to their family and friends; bodies of three will be sent to Mexico, one to Greece and one likely to Japan; those who died closer to home will be remembered at funeral services around New York City. MORE
Mar. 18, 2014
Blast that leveled two East Harlem buildings and killed at least eight people has reverberated through a South Bronx neighborhood less than two miles away, where an eerily similar accident occurred nearly 27 years ago; in 1987, an explosion knocked down a one-story bodega and an adjoining four-story tenement building near East 141st Street, killing six and injuring more than two dozen others. MORE
Mar. 18, 2014
Police identify the final victim who was killed in a gas explosion that leveled two buildings in East Harlem; Mayumi Nakamura lived in the building at 1646 Park Avenue, in apartment No 4; she is last to be identified of the eight people who were killed in the explosion. MORE
Mar. 17, 2014
Residents of tightly-knit East Harlem community mourn eight victims who died in gas explosion that left two buildings in the neighborhood in rubble; local churches devote their Sunday services to disaster, and New York City Mayor Bill de Blasio and wife Chirlane McCray speak to two congregations that lost worshipers in the deadly explosion. MORE
Mar. 16, 2014
Firefighters recover crumpled, but largely intact, Bible belonging to Spanish Christian Church among debris of one of two buildings in East Harlem destroyed by gas explosion. MORE
Mar. 15, 2014
Police officers at scene of building explosion in East Harlem rescue 15-year-old Oscar Hernandez from wreckage, rare bit of joyful news to emerge from devastating incident; Hernandez's mother and sister were both found dead in rubble after his rescue. MORE
Mar. 15, 2014
Fire and safety officials begin investigating cause of explosion in East Harlem that leveled two buildings and left eight people dead, with preliminary findings showing that combustible levels of gas had been detected underground near the site; New York City Mayor Bill de Blasio says that city would help find prolonged shelter for dozens of families displaced by the blast. MORE
Mar. 14, 2014
Upstairs residents of the century-old East Harlem buildings that were leveled in gas explosion had close ties to a piano shop and a church, with lives entwined as in bygone era; tenements had changed little in neighborhood that has been rapidly modernizing. MORE
Mar. 14, 2014
Firefighters and emergency personnel dig deeply into the wreckage of two buildings in East Harlem leveled in a powerful explosion, looking for survivors; search by Con Edison workers for cause of a gas leak, which a preliminary investigation indicates touched off the collapse, continues; death toll rises to eight. MORE
Mar. 14, 2014
Explosion at two buildings in East Harlem is by far the worst disaster New York City Council Speaker Melissa Mark-Viverito, council member from the district since 2006, has had to face since entering city politics; Mark-Viverito's prominence in coverage of the explosion is a coming-out moment of sorts for the city's Hispanic community. MORE
Mar. 13, 2014
Explosion levels two buildings on 116th Street and Park Avenue in Manhattan, killing at least three people and wounding at least two dozen more; nine occupants remain missing as rescue crews continue to search through rubble in East Harlem; blast, which city officials say was touched off by a gas leak, comes less than 20 minutes after building residents reported a smell that had been detectable since night before. MORE
Mar. 13, 2014
Con Edison reports that the only sign of trouble it received before an explosion leveled two residential buildings in East Harlem was a call from a customer who had been smelling gas the previous day but only called 20 minutes before the blast; company is proceeding as if the destruction resulted from a gas leak, but officials say they have not yet seen evidence of one; Con Ed survey in February of the main involved revealed no leaks. MORE
Mar. 13, 2014
Gas explosion that shook East Harlem neighborhood flattened two buildings that had been fixtures on their block since 1910; two vintage tenements destroyed after blast had housed storefront church, piano store, and 15 modest apartments, mostly occupied by immigrants. MORE
Mar. 13, 2014
Relatives of people missing after an explosion in East Harlem that leveled two adjoining residential buildings are making phone calls and checking hospitals, trying to keep hope alive; six people are known to have died in blast. MORE
Mar. 13, 2014
Building collapse in East Harlem following suspected gas explosion trapped people in rubble and just as quickly sent residents into street to help; destruction of buildings, 1644 and 1646 Park Avenue between 116th and 117th Streets, was instantaneous, as was reaction from neighbors and passers-by. MORE
Mar. 5, 2014
Gas explosion at condominium complex in Ewing Township, New Jersey, kills one woman and damages dozens of homes; utility company PSE&G says cause of explosion is under investigation. MORE
Feb. 11, 2014
Explosion at New Hampshire Ball Bearings factory in Peterborough injures at least 15 people, but none of the injuries appear to be life-threatening. MORE
Jan. 30, 2014
Gas explosion and fire at house on Staten Island injures three people, one critically, and forces evacuation of more than a dozen homes. MORE
Jan. 14, 2014
Explosion in southwestern Chinese province of Guizhou kills 14 people and injures seven. MORE
Jan. 3, 2014
Officials investigating an explosion in Prague that killed Jamal al-Jamal, Palestinian ambassador to the Czech Republic, find illegal weapons in search of the Palestinian mission; police say likely cause of the blast was a security device on a safe that had apparently been moved from the old Palestinian mission to the new mission. MORE
Dec. 31, 2013
North Dakota officials say at least 10 tank cars burst into flames after a train carrying crude oil struck another train about a mile outside the town of Casselton; say accident caused at least five powerful explosions, but no injuries were reported. MORE
Dec. 14, 2013
Blast at coal mine in China's Xinjiang region kills 21 people. MORE
Nov. 22, 2013
The blast in the industrial city of Qingdao erupted in a leaking crude oil pipeline operated by Sinopec, a major Chinese state oil refiner. MORE
Oct. 11, 2013
Occupational Safety and Health Administration says West Fertilizer Co, which operated fertilizer plant in West, Tex, where April explosion killed 15 people, faces $118,300 in federal fines for safety violations. MORE
Aug. 21, 2013
Explosion at Navy base in New Jersey leaves at least eight people hurt, one of them seriously; officials say cause is still under investigation and damage is contained in the boathouse area. MORE
Aug. 14, 2013
Explosion tears through Indian naval submarine docked in Mumbai, India, sending part of vessel sinking to bottom of port; at least 18 naval personnel remain trapped inside. MORE
Aug. 7, 2013
Twelve people die and at least 60 more are injured in gas leak-related explosion in the center of Rosario, Argentina; fifteen people remain missing. MORE
Aug. 3, 2013
Mexican officials say investigation shows that methane gas combined with vapors emitted by solvents caused deadly explosion at headquarters of Mexico's state-owned oil monopoly Petroleos Mexicanos, or Pemex, in January 2013. MORE
Aug. 2, 2013
Pres Obama orders federal agencies to review safety rules at chemical facilities in response to April 2013 explosion at a Texas fertilizer plant that killed 15 people. MORE
Jul. 12, 2013
Improper use of aerosal insecticide foggers, which are highly flammable, causes explosion inside a Chinatown beauty parlor, leaving three people badly hurt; building catches fire and partially collapses. MORE
Jun. 27, 2013
Senate hearing about continuing inquiry into April 2013 explosion at fertilizer plant in West, Tex, will likely raise question of whether federal investigations of industrial disasters should focus first on figuring out what happened or finding evidence of crime. MORE
Jun. 25, 2013
One worker is killed in explosion in concrete grain silo in northwestern Indiana. MORE
Jun. 23, 2013
Federal Emergency Management Agency decision to decline to give Texas officials full amount of disaster aid requested after deadly fertilizer plant explosion in town of West has some asking why federal government has to pay when Texas has plentiful state and local finances; disaster and emergency response experts say federal officials made the wisest, if not the most popular, decision. MORE
Jun. 15, 2013
One person is killed and five injured in chemical plant explosion in Donaldsonville, La, one day after another fatal explosion at chemical plant in neighboring town of Geismar; two explosions do not appear related. MORE
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Antares Rocket Explosion Leaves Questions and Dead Mosquito Eggs
Investigators are trying to determine why a rocket taking supplies to the International Space Station exploded just after launching in Virginia.
October 30, 2014, Thursday
In U.S. Cleanup Efforts, Accident at Nuclear Site Points to Cost of Lapses
As the United States aims to correct years of mishandling radioactive materials, the price of reopening a New Mexico waste repository could top $551 million.
October 30, 2014, Thursday
MORE ON EXPLOSIONS AND: Nuclear Wastes , Energy Department , Accidents and Safety , New Mexico , Explosions (Accidental) , Waste Isolation Pilot Plant (WIPP) , Nuclear Weapons
Antares Rocket, Bound for Space Station, Explodes
A cargo rocket carrying supplies exploded soon after it rose into the sky from a NASA site in eastern Virginia, but no one was injured.
October 29, 2014, Wednesday
Explosion at Key Military Base in Iran Raises Questions About Sabotage
An explosion took place deep inside a military base near Tehran, where Iran produces key elements of its missiles and other munitions.
October 10, 2014, Friday
MORE ON EXPLOSIONS AND: Iran , Explosions (Accidental) , Nuclear Weapons , Military Bases and Installations , Accidents and Safety , Sabotage (Crime) , Institute for Science and International Security
Explosion Around Military Site Jolts Tehran, and 2 Are Missing
Witnesses said an enormous orange flash came from the Parchin military site, although Iranian officials denied that the explosion had occurred there.
October 7, 2014, Tuesday
MORE ON EXPLOSIONS AND: Iran , Tehran (Iran) , Explosions (Accidental) , Defense Industries Organization (Iran)
After Deadly Blast, Bulgaria Asks if Arms Disposal Is Worth It
The explosions took place in one of the poorest areas of Bulgaria, which is the European Union's most impoverished member.
October 3, 2014, Friday
MORE ON EXPLOSIONS AND: Bulgaria , Explosions (Accidental) , Mines and Mining
Explosion Rocks Eastern Ukraine Hours After an Amended Cease-Fire Is Signed
A huge explosion shattered the stillness of an early fall morning in Donetsk, illustrating the fragility of a cease-fire agreed upon two weeks ago.
September 21, 2014, Sunday
MORE ON EXPLOSIONS AND: Ukraine , Russia , Explosions (Accidental) , Bombs and Explosives , Donetsk (Ukraine)
$1.4 Billion in Penalties Is Sought in California Gas Blast
Four years after eight people died and dozens were hurt in a natural gas explosion in San Bruno, Calif., the Pacific Gas & Electric Company was hit with a proposed $1.4 billion penalty for suspected safety violations.
September 3, 2014, Wednesday
MORE ON EXPLOSIONS AND: Explosions (Accidental) , Pacific Gas and Electric Co , Natural Gas , Accidents and Safety , San Bruno (Calif) , Oil (Petroleum) and Gasoline , Fines (Penalties)
France: Death Toll Rises to 8 After Building Collapse
The death toll in the partial collapse of a four-story apartment building in the Paris suburb of Rosny-sous-Bois rose to eight on Monday after emergency crews pulled the bodies of a man and a woman from the rubble.
September 2, 2014, Tuesday
MORE ON EXPLOSIONS AND: Deaths (Fatalities) , Paris (France) , Explosions (Accidental) , Buildings (Structures)
Illinois: 2 Die in Explosion at Recycling Plant
Two people were killed Monday and one was injured when a mortar round exploded at a Granite City recycling plant, the police said.
August 26, 2014, Tuesday
MORE ON EXPLOSIONS AND: Bombs and Explosives , Granite City (Ill) , Recycling of Waste Materials , Totall Metal Recycling Inc , Illinois , Deaths (Fatalities) , Explosions (Accidental)
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We were so pleased to have the lovely Elise Yetton of Pennyweight involved in our Gap Styld.by collaboration - isn't she darling in that striped tee?
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I really love the Stylyd.by campaign by Gap. Smart, right?
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Rue is a digital design & entertaining magazine. Our tumblr is where we catalog our daily updates & inspirations, favorite quotes, & snippets of our own work. We aim to empower you to live your most beautiful life.. Enjoy!

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Patient Stories
Barbara's Story: Hip Replacement
Although she had long suffered from arthritis in her back, there was something different about the pain Barbara Tabor felt on her Cancun vacation in March 2012. It made walking agonizing, so she began using a golf cart. Getting in and out of the water was an ordeal and even boarding the plane for her return flight was difficult.
Brenda's Story: Knee and Hip Replacements
For much of her adult life, Brenda Galen, 58, was active, athletic and thin. She was a Girl Scouts leader, a cheerleading coach and an avid shopper. Then, at age 45, her body "shut down, " as she puts it. She was diagnosed with osteoarthritis, and suffered for years.
Brian's Story: Knee and Hip Replacements
If there's one message Brian Brown has for anyone suffering from serious joint problems, it's don't wait to do surgery until your life is intolerable. "Your quality of life deteriorates, you lose your range of motion and you don't sleep anymore," says Brown. "And in some cases, you get complications like back problems because you're constantly favoring one side over the other."
Rob's Story: Hip Replacement
Rob Norton, 44, is unsure of the origin of his hip problems, although he suspects it may have been an old injury from hockey, which he has played since he was a kid. For the past half dozen years, his left hip had bothered him more and more. "When I'd walk I'd get a sharp shooting pain that went right through me," says Norton. "I thought if I stretched and just did my regular workout, it would work itself out over time."
Robert's Story: Knee Replacement
Robert Cugno's knee problems began about 35 years ago in an all too common way: torn ligaments from playing basketball. He had surgery to repair his ravaged anterior cruciate ligament (ACL) on his right knee at a Boston hospital.
To make an appointment or find out more about the Kaplan Joint Center at Newton-Wellesley Hospital, please call us at 855-KNEE-HIP (855-563-3447) or email us


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WASHINGTON (AP) - The Obama administration is lifting the six-month moratorium on deep water oil drilling in the Gulf of Mexico imposed after the BP oil spill, officials said Tuesday.
The Interior Department scheduled a 1 p.m. news conference in which Interior Secretary Ken Salazar is to "discuss the current suspensions on deepwater drilling," the Interior Department said.
The administration has been under heavy pressure from the industry, regional officials, political leaders and businesses to lift the moratorium on grounds it has thrown workers off their jobs and damaged the economy. A federal report said the moratorium likely caused a temporary loss of 8,000 to 12,000 jobs in the Gulf region.
Louisiana Sen. Mary Landrieu, a Democrat, has blocked a Senate vote to confirm President Barack Obama's choice of Jacob Lew to head the Office of Management and Budget until the moratorium is lifted or significantly eased.
Congressional officials told The Associated Press that Salazar planned to lift the moratorium, on the condition that companies would first have to meet a host of new safety regulations. They spoke on condition of anonymity because they were not authorized to speak ahead of the official announcement.
Obama imposed the drilling moratorium following the April 20 oil spill in the Gulf of Mexico, the largest offshore spill in history.
White House spokesman Robert Gibbs said earlier Tuesday that the government was close to having the plans in place to lift the ban. When asked if he was saying the ban will be lifted this week, Gibbs said: "I do."


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How are the competitive balance picks awarded? Why should the St Louis Cardinals have a competitive balance pick at the end of round 2?
Clutch is an illusion? Guys do change approaches, get nervous, get adrenaline, etc.
So it does exist. They aren't robots.
you can't really prove any of this stuff in real life there are too many variables and most magagars refuse to order their lineups in such a way as to fit the plan anyway......
Hello Denizens, I have returned from my sojourn in the beautiful North Georgia mountains, but with a nasty cold (or something worse) from camping with the bears, foxes, deer and beavers. I am here to help fight the good fight against ZAZ and her trolling minions. and I have missed this oasis very much. No TV or internet up there, just my new Samsung OS 5 which has a steep learning curve, even for someone familiar with Droids, but has the makings of a fine phone.
It's good to be home.
People have done studies on RISP. Smart people. And it turns out that RISP is fluctuating and random. Variations, both high and low, can run on for a long time, but can never be maintained. And because clutch and choke are illusions generated by this randomness, it is said that there is nothing to be done for a bad RISP. It is what it is.
There is however, one thing that might, just might work. And no, it's not petitioning the BBG with prayer. How about JUST FRICKING RAISING THE OVERALL BA?
There. I feel much relieved.
I don't mind if J Hey strikes out a few times,We (The Bravos) need a W ......
Just got an email from MLB.TV... "Special offer for free game of the day users: 50% off the current price of MLB.TV Premium."
$49.99 doesn't sound too shabby for over half a season of Braves games... I hope Mrs Murph doesn't mind watching a little baseball.
Twitter exchange on my timeline between the Braves first two picks:
@GarrettWayne007 hey bro! Congrats on everything! Can't wait to meet ya and start this jourey together bro!
@B_Davidson congrats to you too man can't wait to meet you.
@GarrettWayne007 it's going to be exciting bro!
And with that, allow me to be the blogger to assign Braxton Davidson his first pro nickname...Bro.
Is 5400 comments a record? (Hint to DOB - new bloggage would be a fun-time had by all.)
@MFin04 In the Braves 1957 pennant chase (ultimately leading to a WS win) Bob Hazle (who became known as "Hurricane Hazle" for his little run of success), put up a .403 BA over 134 AB's, including 7 HR to help spark the Braves to the pennant after regular CF Billy Bruton broke his leg. Prior to that Hazle had a 3 for 13 cup of coffee with the team in 1955, and hit only .211 over 114 at bats his next and final season in the bigs. One person's "clutch is another's statistical outlier - depending on how one credits these numbers.
@MFin04 I agree with all that. The problem is we have no way to know in which situations they get nervous, change approaches, get adrenaline, etc. The fact that players aren't robots makes situational stuff so unpredicatable. And is probably why over the long haul players do about as expected, regardless of situation.
@VeniceJim The midget pitchers must indeed be all gone. Go tall, or go home.
welcome back ken, your absence put a crimp in my selection of new shows to watch.
you need to check in first next time and give me some guidelines for when you are gone.....
@Mixxo already longer than it should have.
@EMWTK You build an offense that can produce and you hope the timing of how it produces, the situational hitting, works out. It's sort of like you can't build an offense that produces on Thursday day games. You just have to try to build an offense that can produce...period.
@EMWTK On a somewhat related issue, Bill James has made the point on the relevance of batting order. I excerpted his writings on this for the blog about a week ago. Given the volume of comments on the subject by our bloggers here, I do not believe that Mr. James' statistical views on the issue are accepted. I have yet to see anyone post any statistical - as opposed to anecdotal - support for the proposition that you can affect significantly affect outcomes (over time - key word, there) by tinkering with the line-up order.
@EMWTK Well, how hard can it be to raise the batting average? I hope someone passes this on...maybe ZAZ should, since Frank reads his invaluable suggestions...
@EMWTK My own personal study, done by a smart person, validates your hypothesis. The "FRICKING" one. :-)
@_Murph_ what? MLB lied to me and said that special was ending on 5/31? Oh well... i got it anyway... LOL
@_Hillbilly_ his first pro nickname
And let me be the first to give the other guy another anonymously friendly exhortation besides "bro".
I know it's only 140 characters, but three "bros" in two tweets? :-)
@_Hillbilly_ Our very own Bryce Harper.
Beats me! Maybe DOB is scratching his head trying to figure out some new angle to re-motivate the faithful.
@VeniceJim is that with war factored in ?
@EMWTK @VeniceJim They've tripled the average pitcher height in the system in three draft rounds. :-)
@noleee @kenhotlanta I working on the new TV shows list as we speak. I didn't intend to stay that long, it just worked out that way.
@Bravesfan54 Yep. I'll about about taking into account which lineup would be most optimal statistically and also taking into account player egos, player comfort, etc. And I think teams should try to build the best lineup to squeak out any additional runs possible, even if it's just a few over the course of the season. And I'll argue in favor of the most optimal batting order. But to think that the batting order is the cause of a team going from one of the better offenses to one of he worst is absurd.
@Bravesfan54 by tinkering with the line-up order.
I'm afraid you've stated an unprovable premise. You can simulate outcomes resulting from a variation in inputs, but you cannot do so in a real-world application, such as baseball (by definition, changing the inputs defies the definition of "the same game"). You can't isolate the potential changes in outcomes of a single baseball game, or even a very large set of games, to a specific input such as lineup order. Be nice if you could.
The other thing to consider here is the variability of a specific case to the general case. Large sets of data equalize differences, they smooth the data, in other words. But the Braves, as an example, do not have their offensive strengths and weaknesses equalized. Those strengths and weaknesses simply, are. The depth of these strengths and weaknesses will cause the offensive performance of any lineup choices to differ, in small or large respect, from the statistical norm of a generalized large data set using those lineup choices.
@VeniceJim @EMWTK Well, there is this, I suppose. Last year the Braves won 96 games with two regular players batting below .200. This was a statistical anomaly in that never before in the history of professional baseball had this happened.
@VeniceJim @EMWTK Ah.....the crux of the biscuit! What steps can be taken to raise the overall BA?
Hey, I'm just a fan, how should I know? Maybe some really smart person should do a study.
@ncscoots @_Hillbilly_ That's a clown question, bro.
@Bravesfan54 trying to figure out some new angle to re-motivate the faithful.
Actually, some new angle that will let him write about BA RISP again. :-)
@Bravesfan54 Not even close to a record...
@Maggot_Man @VeniceJim Back in what day? Could you be more specific, please? Because, yes, offensive environments change. This season's MLB OPS is the lowest since 1991.
Major league averages in 2000: .270/.345/.437
Major league averages in 2014: .251/.317/.392
@ncscoots @Bravesfan54 Well, you can do some statistical modeling and determine if these players do these things in this way, what is the best possible batting order. And I would argue teams should factor that into their batting order decisions, even though you can't really do a real-world study or test of batting orders.
Just like in some board game I'm sure there is a way to study if a series of moves is made, what is the next optimal move.
Obviously you have to consider player comfort, egos, etc. in addition to just thinking of them as board game pieces. But that doesn't mean you just ignoring the statistical modeling and the statistically optimal batting order. You take into account in conjunction with other factors.
well put m'lord
@EMWTK @VeniceJim I have studied this: the team is hitting .260 since dropping to a season-low .231 on May 17. Two teams in the league are hitting better than .260 overall, Colorado (shocker) and Miami.
@_Murph_ @ncscoots @_Hillbilly_ Oh, bro me. :-)
@Maggot_Man @chipontheroadagain @VeniceJim
no the correct quote is "War is Hell"
@ncscoots @EMWTK @VeniceJim Season low on May 17........and Uggla was benched for good on May 24th........hmmmmm
@ncscoots I think a lot of people here (and I know this will be a shock) focus so much on the Braves they have no room for context...


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I have already read more bad egg puns this morning than any one individual should endure, but nothing where the Lady herself elucidates the meaning behind her eggy entrance at last night's Grammy Awards. Was it a feminist statement about female reproductive powers? A reclamation of "chicken head?" A nod to how fragile each of us really is, and how deserving of the kind of reverence, care, and protection her gold-clad subjects provided her?
Only Gaga knows. In the meantime, I want to be at her team's next brainstorming meeting.


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Norm Lasman
'For 65 years I never said a word'
It took decades for Norman Lasman to tell his children about a day in 1945 when his life was threatened by Japanese suicide bombers in the Pacific Ocean.
They knew he was in the Second World War. They knew he'd been in the Navy.
But they knew nothing about his USS Bunker Hill - that it was in 11 major battles and hit by two kamikazes in Okinawa, or that he was dragged unconscious out of the engine room.
"For 65 years I never said a word," Lasman, 87, said.
Lasman, of Mount Greenwood, was the chief gyro electrician of the aircraft carrier that was home to 3,400 guys, overseeing the electricity that kept the compass magnets pointing north.
But for battle stations, during fights in the Philippines, at Iwo Jima and at Okinawa, his place was in the engine room.
At Okinawa, the carrier was hit squarely by two kamikaze pilots. The first dropped a bomb through the carrier, then crashed into fuel-filled revving airplanes on deck. They all exploded, their pilots killed. The second one crashed near the control tower the pilot was aiming for.
The captain ordered all 3,400 to abandon ship.
But Lt. Cmdr. Joseph Carmichael overruled him and gave instructions to save the ship: Keep the engines going. Pump out the bilges.
The Bunker Hill stayed afloat. She survived.
"And most of us were saved because of Lt. Cmdr. Carmichael. I have to call him the hero of my life."
Lasman's memory runs out after the planes crashed.
"Once we got blown up, and I was down there, I don't remember anymore. I remember pulling a tongue out of somebody's mouth, cause when they suffocate they swallow their tongue - you take a plier and pull it out. I don't remember coming up topside."
And he doesn't know who dragged him out. Fifteen men were in the engine room that morning. Three made it out. Almost 400 servicemembers died that day.
"We had the largest burial at sea to this day in the history of the United States Navy."
The bodies were lined up 10 at a time, wrapped in flags, weighted and dropped into the ocean. There was no way then, Lasman said, to bring them back.
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Emmitt Hays
Joseph Holoubek
Norm Lasman
Bill Mancke
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Richard McGathey
John Merlini
Takanori Mizuta
Walter O'Keefe
Joan Schechner
Robert Schuld
John Swick
Louis Venditti
Bill Woodrow


text:
New Delhi: Famous Pashto singer Ghazala Javed and her father were shot dead by motorcycle-borne gunmen in Pakistan's Peshawar city, police said.
The attack took place in Dabgari area when Javed went to a beauty parlour along with her father Mohammad Javed on Monday night, the Dawn News reported Tuesday.
Hailing from Swat valley, Javed married around two years ago. Following differences with her husband, she started living with her father.
However, the singer's younger sister, Farhat Bibi, escaped unhurt in the attack. The attackers ran away after the firings.
Ghazala was one of the prominent female singers in her province after a period of Taliban intimidation. Her postmortem report suggests that the singer received six bullets, causing death on the spot.


text:
DNA Entertainment & North Coast Photo Booth
DJ Entertainment That's Uniquely You!
20 Chatham St
Norwalk, OH 44857
Website: Visit my website »
Rentals: Lights, Photo Booth
Services: Breakdown, Delivery, Setup
Working with DNA entertainment was seriously a dream. Dave was there and had everything outlined we just literally had to fill in the blanks. There was a time when we last minuet decided to throw the bouquet and do the garter thing and he was there ready to go! Our venue was a little different so not only did he prepare our crowd with over he mic announcements but he went to the inside portion to make the announcements also. He truly went above and beyond to make our wedding day wonderful. We picked out some genres of music but he did a super awesome job feeling out our crowd. I would recommend this vendor to anyone. He seriously make me want to plan a party again that's how great he made it. Choose this vendor and you will simply not be disappointed.
Wedding: 06/15/2014
Services Used: Ceremony Music, DJ, Lighting & Decor
When we first met Dave he was great in person so we decided to go with him and added up lighting to our package with the DJ service. Close to the wedding date, Dave was not responding to emails or phone calls concerning the paperwork he had sent us prior concerning music at the hall, first dance songs, schedule of events etc. After 2 weeks of not hearing from him ( and deciding at that point not to pay our last payment since we did not know if we were going to continue with services or not) my now husband called and Dave did call him back. He said he had been busy and that is why he did not respond to us previously.
To me, if you are a vendor even if you are busy then just send a quick email back saying "hey I received this but I currently am busy. I will contact you later on" but we did not get this, just excuses.
We had our conference call the next day to go over songs, he did not call at our scheduled time. We called him and he said he had been on another phone call.
Long story short - we did end up at our event a little early, around 4:30pm - we had told him 5pm. He kept saying he had down 5:40pm and we were super early. He had told us that he would be at the venue to set up at 3pm. I was later told by guests that he was still setting up as they arrived to the reception hall. He called us by the wrong last name at the end of the night before the final dance. All in all, Dave is very charismatic and the up lighting was nice but not exactly sure what happened with our customer service.
Wedding: 06/07/2014
Services Used: DJ, Lighting & Decor
Megan 1 Reviews
Dave and his team are amazing. Everything they did was very professional and of the best quality. The photobooth was set up in a great location and had cute props. The up lighting he did looked great. And the music he played was on key with everything we had talked about prior to my event. The main thing I liked was that Dave and his assistant had fun.
Wedding: 08/24/2013
Services Used: DJ, Lighting & Decor, Event Rentals & Photobooths
Melissa 1 Reviews
Thank you for everything. You went above and beyond our expectations!
Wedding: 08/17/2013
Services Used: DJ
Dave did a wonderful job. The uplighting/monogram were just what our hall needed to spruce things up. He was very polite and very quick to get back with us. Highly recommend to anyone wanting to just add extra pizzazz to their hall.
Wedding: 06/29/2013
Services Used: DJ, Lighting & Decor, Event Rentals & Photobooths
Dave did an amazing job at my wedding. The dance floor was hopping all night long! He is very professional and great to work with. All of our custom requests were done just perfect and the night went on as smooth as can be. He also is very personable and did a great job on introductions, etc.
Thanks Dave!!!
Wedding: 06/15/2013
Services Used: DJ
Dave, our DJ, was very patient and helpful in the decision making process, and during the reception, he did a fantastic job of directing us and moving things along. He made the evening fun, and he made excellent music selections. All-in-all, we were very pleased and impressed, and we would recommend DNA Entertainment (particularly Dave!) to anyone!
Wedding: 05/18/2013
Services Used: DJ
James 1 Reviews
Couldn't have ask for more from Dave. Absolutely great to work with and really knew how to keep people on the dance floor.
Wedding: 05/11/2013
Services Used: DJ, Event Rentals & Photobooths
Rachael 1 Reviews
Wonderful service and completely about customer satisfaction! People leave entertained and happy!
Wedding: 05/04/2013
Services Used: DJ, Event Rentals & Photobooths
Mindy 1 Reviews
Dave was great! The event went perfectly and he was able to adapt to my specific party needs as the evening wore on.... Thank you!!
Wedding: 11/10/2012
Services Used: DJ
Lindsey 1 Reviews
Dave was wonderful to work with beforehand and really great at the event! He took care of everything with ease and was very professional but fun at the same time. It was a pleasure to have him help us with our special day!
Wedding: 09/08/2012
Services Used: DJ, Lighting & Decor
Kali 1 Reviews
Gary was our DJ for our wedding. He was flexible, professional and fun!!! Our guest stayed on the dance floor all night & had a great time! He also kept the flow of the dinner line moving. He spoke with us before playing some requested songs and overall was a nice guy! Thank you for making our night one we and our guest will never forget!!
Wedding: 09/01/2012
Services Used: DJ
Thomas 1 Reviews
Dave was simply perfect. His setup was very professional looking and fit the theme of the wedding. His music selection was Great. And he helped coordinate the event so that people were in the right places at the right time. We received many compliments on Dave's services and would highly recommend him to anyone.
Wedding: 08/18/2012
Services Used: DJ
S 5 Reviews
Very nice & professional DJ. Played all the songs we requested. Even added a little extra time on, since our guests were having so much fun. Only issue was the lighting we had suggested was not there.
Wedding: 06/23/2012
Services Used: DJ, Lighting & Decor
Anonymous 1 Reviews
We were thrilled with DNA Entertainment. He exceeded our expectations at our reception.
Wedding: 2+ years ago
Services Used: DJ
We did the DJ service and photobooth. Both were absolutely fantastic! We used the photobooth has our party favor and it was a hit! It was also awesome we got a book with the pictures in it and people signed and made comments next to them. Plus you get a thumb drive with all the pictures! Also, Dave went above and beyond also and met with my father and they edited a song and made it my dad's own. I had the best father daughter dance and no one's will ever sound the same. He does a fantastic job and is great at keeping the dance floor going! I would recommend to anyone around!!
Wedding: 05/12/2012
Services Used: DJ, Event Rentals & Photobooths
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text: Harold Bloom (born July 11, 1930) is an American professor and literary critic. Bloom was a defender of 19th-century Romantic poets at a time when their reputations were at a low ebb, the author of controversial theories of poetic influence, and an advocate of an aesthetic approach to literature against Marxist, New Historicist, Post-modernist, and other methods of academic literary criticism. He is the Sterling Professor of the Humanities at Yale University and Berg Professor of English at New York University.Add to my favourites Get these quotes on a PDF


text:
I'm running Windows 2003 server, and I'm trying to configure a
wireless network policy. According to my 'Design Security for Win 2003
Server' exam book there should be a node under "Computer
Configuration\Windows Settings\Security Settings" called "Wireless Network
(IEEE 802.11) Policies" however this node does not apprear in any of our
GPOs. I've checked the default domain policy, default domain controllers,
and GPOs created by us.
But, I've noticed that if I edit the policy from our server via remote desktop,
the wireles node is there, however if I open the policy on my WinXP SP2
machine it isn't. I'm running the Group Policy Manager SP1 (mmc says v3.0)
on both server and workstation. Can't understand why I can't see it!
Could it be to do with SP3 which was installed last week? Trouble is i can't recall ever looking for that setting?


text:
An Icon, A Detail: Alain Delon's Chambray Shirt
Byon September 27, 2013
Armed with a devil-may-care attitude, dashing good looks, and some serious acting chops, Alain Delon was the preeminent leading man of the Nouvelle Vague movement. His films told bold tales of French life in the sixties and beyond, but Delon's true legacy is not tied to any singular movie; his real impact lay in his style.
While McQueen, Redford, and Newman dominated American silver screens, Delon conquered Europe in similar fashion. (The story goes that Delon never made the leap to Hollywood because he couldn't be bothered to learn English well enough.) And like his American counterparts, Delon was blessed with the uncanny ability to look great in just about anything. The countless photos of the actor in his prime are like a visual guidebook on how to wear classic pieces. Pieces like, for instance, the chambray shirt in the shot above.
Delon's casual look centered around his dual-pocket chambray topper provides a nice lesson in balance, both in fit and in color. First, there's the fit: His trousers, slim, so far as we can tell while he's sitting, are complemented nicely by what looks to be an equally slim shirt, with a higher armhole that prevents excess fabric from ruining the look.
But what's most important here is the balance of color. Delon's chambray doesn't evoke any of the workwear connotations so entwined with the fabric's history. Why? Well, the beautiful woman and waterside setting certainly don't hurt. But the real thanks here go to his crisp blue pants, which elevate the outfit and play nicely off the pale blue tone of the button-up. The overall look is simple yet strong just like one of Delon's iconic performances.
Get the Look: Selvage chambray utility shirt ($98) by J. Crew, jcrew.com
Jake Gallagher is a writer living in Manhattan. He writes the blog Wax Wane.
More lessons from style icons
Hugh Hefner's Single-Button Jacket
Gay Talese's Pocket Square and Tie Combo
David Hockney's Bengal Stripe Shirt
Marlon Brando's Perfect White T-Shirt
Dustin Hoffman's Unbuttoned Collar
Vittorio de Sica's shirt cuffs
Ralph Lauren's Contrast Waistcoat
Miles Davis' Perfectly Proportioned DB Suit
Gianni Agnelli's Spread Collar
Warren Beatty's Side-Tab Trousers
Follow The Style Blog on RSS, Twitter, and Instagram at @ESQStyle.
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text:
Anchorage Woman Missing, Headed Towards Homer
An Anchorage woman has been reported missing after she mentioned visiting Anchor Point and Homer. She's reportedly "not one to camp out."
56-year-old Katherine Lee Baker was last seen July 3 by property management staff at her apartment complex located off Oklahoma Street in northeast Anchorage.
Baker is a white female, 5'7" tall, 160 pounds with long brownish/gray hair and blue eyes.
If you have information as to the whereabouts of Katherine Lee Baker, call Anchorage Police at 786-8900.
It is unusual for Baker to be absent from her home and to miss regular telephonic contact with her family. Additionally, Baker has a medical condition that requires medication.
Categories: News


text:
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Book Description:
Theodore Dreiser is a man who, with the passage of time, is bound to loom larger and larger in the awakening aesthetic consciousness of A merica. A mong all of our prose writers he is one of the few men of whom it may be said that he has always been an honest workman, always impersonal, never a trickster. Read tflis book ot Dreis er s77 dnS Other Stories, and then compare it with a book of short stories, say by Bret Hte or O. Henry. The tradition of trick writing began early among us in America and has flowered here like some strange fungus growth. Every one knows there are no plot short stories in life itself and yet the tradition of American short story writing has been built almost entirely upon the plot idea. Human nature, the strange little whims, tragedies and comedies of life itself, have everywhere been sacrificed to the need of plot and one reads the ordinary plot story of the magazines with a kind of growing wonder. Is there no comedy, no tragedy, no irony in life itself? If it is there why do not our writers find it out and set it forth? Why these everlasting falsehoods, this ever-present bag of tricks? One is sometimes convinced, in thinking of the matter, that, among most of our prose writers, there is left no feeling at all for life, and the prose writer, at least the tale teller, who has no feeling for life is no artist. There is the man or woman who walks beside me in the street, works beside me in the office, sits beside me in the theatre.(Typographical errors above are due to OCR software and don't occur in the book.)About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology.Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the or
Tags: Literature-Fiction, Short-Stories-Anthologies, Anthologies,


text:
Spec Ops The Line – Chapter 11 Alone
Explosions? check
Guns? check
People? check
Yet Walker finds himself all Alone...
Best Buy and Radical Entertainment have announced that Prototype 2 is set to get a pre-order bonus at Best Buy. By pre-ordering at Best Buy, players will net themselves Exclusive Access to Sgt. James Heller's Hardened Steel Vehicle Armor. Also, while supplies last, people who pre-order the game could also net themselves a limited edition, Prototype 2 poster.
Prototype 2 is set to launch April 24th in North America, and April 27th in Europe.


text:
4th pay commission report
vLex Rating
- Consumerism in Health Care - a Critique. A Critique of Consumerism in Healthcare with Reference to the Indian Consumer Law
7th Pay Commission Announced for Central Govt Employees
...The average time taken by a Pay Commission to submit its recommendations has been about two years. Accordingly, allowing about two years for the commission to submit its report, the recommendations are likely to be implemented with effect from January 1, 2016. The names of the Chairperson and members as well as the terms of reference (ToR) of the commission will be ...
- The Effects of Sharing Water between Bangladesh and India. A practical analysis and recommendations
- Sexual Harassment and Law in India. Indian Perspective
Damaging a Great Institution
... for limited promotions, early retirement and to soften blows of the earlier Pay Commissions, the service chiefs demanded 'running pay band' and 'rank pay' from the 4th Central Pay Commission ... the staff of more than 150 officers assembled to work out the nitty-gritty of various CPC reports. The 5th CPC's report runs into 2,100 pages in three volumes, where less than 50 pages deal with ...
- Labour Welfare in India. Labour Law
- Arbitration in India, England & Wales
Slovenian Criminal Code and Modern Criminal Law Approach to Computer-Related Fraud: A Comparative Legal Analysis
The purpose of the article is to present modern criminal law approach to computer-related fraud. Modern concept of fraud in criminal law includes deceiving a computer system and is becoming an established concept in the developed countries. However, the Slovenian Criminal Code has not yet adapted to the changes the new technology has brought. We still cling to the traditional concept by which...
The Income-Tax Act, 1995
4. Charge of income-tax 1 (1)Where any Central Act enacts that income-tax shall be charged for any assessment year at any rate or rates, income-tax at that rate or those rates shall be charged for that year in accordance with, and 2[subject to the provisions (including provisions for the levy of additional income-tax) of, this Act] in respect of th...
Nation Needs Accommodation, Not Intolerance
...In the social arena the most remarkable developments was Transparency International's report on corruption in the services sector depicting the police as the most corrupt service. An opinion ...However, Anti-Corruption Commission Chairman Ghulam Rahman, who was the chief guest at the function organised to disseminate the TIB ...
- Ownership of Land without Earth. Evaluation on the Establishment and Management of the Apartment Ownership Schemes in Indian Perspective
The Finance Act, 2008
2. Income-tax. - (1) Subject to the provisions of sub-sections (2) and (3), for the assessment year commencing on the 1st day of April, 2008, income-tax shall be charged at the rates specified in Part I of the First Schedule and such tax as reduced by the rebate of income-tax calculated under Chapter VIII-A of the Income-tax Act, 1961 (hereinafter
The Companies Act, 1956
(2) "articles" means the articles of association of a company as originally framed or as altered from time to time in pursuance of any previous companies law or of this Act, including, so far as they apply to the company, the regulations contained, as the case may be, in Table B in the Schedule annexed to Act No. 19 of 1857 or in Table A in the Fir...
Franchisee Costs Consumers Rs 200cr [Nagpur]
...Maharashtra Electricity Regulatory Commission (MERC) has passed on the cost to consumers through new tariff structure. The Commission has ruled hat this was a temporary measure and has asked MSEDCL to submit the audit report by December 12, 2010. Torrent Power Ltd was appointed as franchisee for Bhiwandi in January 2007. ...
The Semiconductor Integrated Circuits Layout-Design Act, 2000
WHEREAS the Final Act embodying the results of the Uruguay Round of Multilateral Trade Negotiations done at Marrakesh on the 15th day of April, 1994 provides for establishment of the World Trade Organisation; AND WHEREAS the Agreement on Trade Related Aspects of Intellectual Property Rights is part of the said Final Act; AND WHEREAS the Government
The Central Excise Tariff Act, 1985
3. Emergency power of Central Government to increase duty of excise. (1) Where, in respect of any goods, the Central Government is satisfied that the duty leviable thereon under section 3 of the Central Excises and Salt Act, 1944 (1 of 1944.) should be increased and that circumstances exist which render it necessary to take immediate action, the Ce...
The Employees' Provident Funds and Miscellaneous Provisions Act, 1952
(a) to every establishment which is a factory engaged in any industry specified in Schedule I and in which 6*[twenty] or more persons are employed, and (b) to any other establishment employing 6*[twenty] or more persons or class of such establishments which the Central Government may, by notification in the Official Gazette, specify in this behalf:
The Dock Workers (Regulation of Employment) Act, 1948
(b) "dock worker" means a person employed or to be employed in, or in the vicinity of, any port on work in connection with the loading, unloading, movement or storage of cargoes, or work in connection with the preparation of ships or other vessels for the receipt or discharge of cargoes or leaving port; (c) "employer", in relation to a dock worker,
The Pharmacy Act, 1948
3[Provided that where on account of the territorial changes brought about by the reorganisation of States on the 1st day of November, 1956, Chapters III, IV and V have effect only in a part of a State, the said Chapters shall take effect in the remaining part of that State from such date as the State Government may in like manner appoint.] 2 Interp...
The Central Excises and Salt Act, 1944
6[(a) "adjudicating authority" means any authority competent to pass any order or decision under this Act, but does not include the Central Board of Excise and Customs constituted under the Central Boards of Revenue Act, 1963, (54 of 1963) Collector of Central Excise (Appeals) or Appellate Tribunal; (aa) "Appellate Tribunal" means the Customs, Exci...
The Securities and Exchange Board of India Act, 1992
An Act to provide for the establishment of a Board to protect the interests of investors in securities and to promote the development of, and to regulate, the securities market and for matters connected therewith or incidental thereto. BE it enacted by Parliament in the Forty-third Year of the Republic of India as follows:-- CHAP PRELIMINARY CHAPTE...
The Slum Areas (Improvement and Clearance) Act, 1956
(g) "owner " includes any person who is receiving or is entitled to receive. the rent of any building or land whether on his own account or on behalf of himself and others or as agent or trustee, or who would so receive the rent or be entitled to receive it if the building or land were let to a tenant; (h) prescribed " means prescribed by rules mad...
The Copyright Act, 1957
(iii)in relation to a literary or dramatic work, any abridgement of the work or any version of the work in which the story or action is conveyed wholly or mainly by means of pictures in a form suitable for reproduction in a book, or in a newspaper, magazine or similar periodical ; and (iv)in relation to a musical work, any arrangement or transcript...
The Securities Contracts (Regulation) Act, 1956
(b)" Government security " means a security created and issued, whether before or after the commencement of this Act, by the Central Government or a State Government for the purpose of raising a public loan and having one of the forms specified in clause (2) of section 2 of the Public Debt Act, 1944; (c) "member" means a member of a recognised stoc...


text:
Parents beam with pride when their teenagers begin their first real jobs. Whether teenagers work at the car wash, the corner store or the gourmet coffee shop, their newfound earning ability is cause for celebration for the entire clan. Teens who work outside the home learn responsibility, as well as practical and technical skills.
Sometimes, however, a teen's first employment experience also offers difficult real-life lessons. Punctuality is part of the career curriculum for countless teens. Getting to work on time can be challenging.
Teens generally maintain busy schedules, with school, sports, special interests and social events cluttering their calendars. Where does work fit in? How can parents help young adults learn to manage their time, so they can arrive at their jobs on time, every time?
Ask any parent. Mothers and fathers alike must fight the overwhelming urge to coax and cajole teens to get to bed early, get up on time, get ready and get out the door to work. Occasional reminders may be helpful, but teens must learn to manage their own schedules.
As teens grow up, they are expected to accept increasing responsibilities for their own personal care and obligations. For most young people, this may include everything from gathering job-related supplies to laundering their employment uniforms to preparing their own lunches for workdays.
If parents nag teens constantly, what will happen? Moms and dads everywhere know that teenagers will tune us out. Wise parents save their thunder for teen issues that merit true confrontation. Daily nagging does not count.
Working teens eventually do learn to keep track of their work assignments. In the meantime, parents can post a schedule or weekly planner in a central spot of the home. Placing a calendar on the refrigerator or a bulletin board in the kitchen can help to remind the adolescent and the entire family of upcoming events, including the teen's job shifts.
Such a system also comes in handy, as family members may coordinate transportation for work and other purposes, such as use of the family car.
A simple alarm clock can be a lifesaver, helping a teen get to work on time. Even if an adolescent works afternoon or evening shifts, an alarm may be set to remind him or her to prepare to leave.
Many teens carry cellular phones or other electronic devices with them at all times, and most of these do offer alarm clock features. A buzzing, beeping or chiming tone may be just the reminder a teen needs, to switch off the television, hang up the phone or sign off the computer.
Of course, parents and other family members must make a few personal sacrifices occasionally, to accommodate a working teen's schedule. Mutual cooperation is essential.
For example, if a teen must leave for work within a few minutes, the rest of the family might hold off on use of the bathroom. Or they might wait a bit before using the kitchen, if the young person is whipping up a quick workplace lunch to pack.
If a parent is providing transportation for the teen, then it pays to be ready to leave on time. Parents can encourage timeliness in their teens, if Mom and Dad are able to demonstrate it themselves.
In the end, the final responsibility for a teen's punctuality rests with that teen. If parents rush around daily to race late teens to work, barely beating the time-clock, we are doing our young people no favors.
Teens must be encouraged to plan ahead, to prepare for work and to allow ample time each day, so that the entire household is not thrown into a panic right before the teen must depart for work. Parents who participate in an ongoing circus of late-rush are really practicing a form of enabling, or codependency. What parent wants to foster that?
Parents can coach teens constructively, letting young adults know that their jobs are their own responsibility. This ownership of employment builds confidence in teens, even as it informs young people that they hold the keys to their own futures. If teens are late for work, they jeopardize their own potential earnings and careers, not their parents'. Parental reputations are not at stake, but the teen's own is.
For the most part, parents do not have to enforce teens' punctuality for work with punishments in the home. We need only affirm a teen's employer's standards.
Teens who repeatedly arrive late for work will face negative consequences directly from their employers. Job security, pay raises and career advancement may deteriorate.
Whether an adolescent deems it fair or not, employers do base their employee evaluations largely on dependability and punctuality. Teens who show up on time and work hard will move up, and they will also likely enjoy the preferred work hours.
If teens are paying attention at work, they will soon pick up on a universal truth of employment: Punctuality pays, especially on the job.


text:
The following interview with Donald and Walter first appeared in Musician magazine, circa 1980.
Those consummate troublemakers, Donald Fagen and Walter Becker, are finally cornered, producing dangerously controversial observations on film, literature, Free Jazz, touring and the music of Steely Dan, undermining nearly every tenet of the music industry.
By David Breskin
Three years, two hundred out-takes, a few mistakenly erased tracks, and one shattered shank after Aja, Steely Dan has come sauntering out of hibernation with a ravishing new record, Gaucho. It's elegant, it's extravagant; it shows again why Walter Becker and Donald Fagen, the masters of Ellingtonian Backbeat Coolpop-Jazzrock, are the closest thing this generation has to pre-war sophistication of Porter and Berlin, Rodgers and Hart, Weill and Waller. If Aja convinced Woody Herman to let his big band loose on Steely Dan material (Chick, Donald, Walter and Woodrow, 1978), prompted a Berklee College of Music songwriting analysis course featuring their work, and elevated the taste of the frat-dance college crowd, one wonders what kind of a dent Gaucho might make. One thing it WON'T do is send Steely Dan back on the road, not even after Becker's car-crunched leg heals completely. Nor will they perform in their native New York. So we are left solely - and quite happily - with the music at hand.
Which is, as may be expected by now, sublime and fragrant and audaciously smooth. Steely Dan Inc.'s revolving door of studio sidemen hasn't stopped swinging yet - some 36 grace Gaucho - and I mean this in the musical sense as well: rarely have so many done so little spontaneous blowing for so much music that sounds so fresh. But it probably won't sound that way upon first or second listen; chances are it will sound soft and round, blandly pleasant, almost superficial. With further listening, each or the record's seven tunes opens and deepens, revealing the harmonic jewels and subtle understated solos. At first obscured by the dominant colors of the surface, background colors become apparent, much as they will in fine oil paintings as your eye moves closer and closer to them; rythmic nuances make themselves FELT; each piece eventually jumps out of bed with the others and goes its own way: the patina, a rather mundane orgy of highgloss sensuality, gives way to the substance - seven different compositions in profound intercourse with their own partners, their indigenous lyrics.
As for the lyrics' subject matter, rest assured Steely Dan enters the '80s with some timely tales of tawdry high-life and desultory desperation. Gaucho overflows with mystics, coke dealers, sexual rivals, gosling girls ignorant of 'Retha Franklin, concupiscent Charlies out for "that cotton candy," playground hoopers, Third World schemers mobilized on First World lawns, surprisingly gay friends and bodacious cowboys. The stories are rich, richer than Aja's, the metaphors subversive and witty.
I recently spoke with Messrs. Becker and Fagen at an MCA rented suite of the Park Lane Hotel on Central Park South in New York. As I entered the room, the two jokingly whined about the day's previous interviewers; every one, it seems, had grazed over the parched grass of basic bio material, asking , "So did you two really meet at Bard College?" With furious swipes of my pen, I mimed scratching that one off the top of my list of questions and mumbled something about my masterpiece being destroyed.
MUSICIAN: It HAS been a considerable time since Steely Dan first started: how do you feel you've grown as artists, as musicians and lyricists, since that time?
FAGEN: [Long pause] It's a matter of maturing. Becoming more selective with material, knowing what to write about, being able to pick and choose - showing more discretion than in earlier days. Musically, our harmonic vocabulary and so on has expanded a great deal... so I feel we've progressed a lot since our first records. They are plain embarrassing, if you listen to them.
MUSICIAN: When you look back at your older work - as all artists, regrettably or enthusiastically, must do - do you think, "Oh God, that just wasn't it at all?"
FAGEN: [laughs] Well, yeah, you know I don't listen to our old records, but if I happen to hear one on the radio, my general feeling is humiliation. I don't really understand some of our earlier stuff.
MUSICIAN: At what point can you begin to understand yourself, listening back? 1974?1975?
FAGEN: The next album I like pretty well. The one we haven't done yet. The rest of them are fairly humiliating.
MUSICIAN: You don't feel Gaucho is what you want to sound like?
FAGEN: Well, on the humiliation scale each album gets lower and lower. I think starting with Pretzel Logic, I began to like a few cuts here and there as things I can really listen to.
MUSICIAN: How do you feel, Walter?
BECKER: Differently. But I don't listen to them either. I mean there were a lot of things that were very shoddily done, and a lot of things that were just bad, but probably different things for me than for Donald. We were doing the best we could, but f-ck it, it wasn't very good.
FAGEN: It's like: have you ever seen a picture of yourself taken in 1969 or '70 with a group of girls in mini-skirts or something and you say...
BECKER: What is that a--hole doing there, or why was I wearing that sweater or a shirt with a fake turtle-neck or something. It's just aged. But I don't think it's aged that much. The stuff that is lousy was lousy then.
FAGEN: Yeah, that's true...well, harmonically we were naive.
BECKER: And we were miming a lot of things, we were clowning around.
FAGEN: We started out imitating, as most people do...
BECKER: [slyly] And we continue to, in a much subtler way. Nothing comes from nothing. But Do It Again is a good f-cking record. Reelin' In The Years is a good record.
FAGEN: I agree with that.
BECKER: It's only f-ckin' rock n' roll. It's for kids. It's not Gustav Mahler, or even Tristin Fabriani. [laughs]
MUSICIAN: Come now, only for kids?
BECKER: Well you know what I mean...
MUSICIAN: Maybe, maybe not; I asked Donald about becoming older than your audience.
BECKER: I don't know to what extent that's true, because I don't know for sure who our audience is. There may be a lot of people older than me in our audience but you must be right. O.K., let's assume you're right, so how do I feel about that?
MUSICIAN: Yes, how do you feel about that in the context of your role as an artist, which you must feel is now only to entertain - to stuff hooks into some kid's ear - but also to create something meaningful for yourselves and your audience.
FAGEN: Basically, we've always composed for ourselves, which is the same as composing for your peers.
BECKER: Oh c'mon, you wouldn't do a thing like this for your peers.
FAGEN: I guess I assume that people our age are thinking the same way we are. I'm not thinking of any individuals.
BECKER: But that's all we have to go by. It's always amazed me that somehow I've felt we're good but I never knew if there was anybody that would think so. Not good in any ultimate sense, but good compared to the bullsh-t you hear. But I don't FEEL any older than my audience. I used to worry about getting old when I was 17. I couldn't imagine being 30. Now that I'm 30 I can't see the difference between being 30 and being 17.
MUSICIAN: Did you ever feel like a part of mainstream culture - which I guess was mainstream counter-culture - in the '60s. I mean: how many times does '68 go into 1981?
BECKER: H-ll no, God, we were wallflowers. We were cranks. What do you say...
FAGEN: Aliens.
BECKER: Yeah, more alien...you got it. A lot of artists are aliens. They're really a bunch of geeks when you get right down to it.
MUSICIAN: And classical losers too, in the sense that they just don't fit in.
FAGEN: That's right, in the sense that New York is the depository for misfit Americans - there's a reason that we're here. And why we don't live in Cincinnati.
MUSICIAN: If artists are geeks, they're also scavengers. Do you find you can feed off the flesh of the city, the raw material so to speak? Is it a stimulus to your art that Los Angeles wasn't?
FAGEN: I think New York has revitalized our stuff. But L.A. did a lot for us as far as giving us a perspective on America.
FAGEN: It gave us something to really complain about, to b-tch about creatively.
BECKER: You can look at the people you used to see three times a week and twist them in your mind, treat them inhumanely in your mind, to create a character without actually defaming them. But you can not accord them the respect that you accord every other human being. [Long pause] If there were no outside stimulus, I'd imagine we'd still have something to write about. Something we'd remembered or imagined.
FAGEN: You can create or compose in a vacuum.
BECKER: [To Fagen] How many times has someone offered you a house or a place to live and said, "This would be a great place to write a song," for you to "sit and look out at the garden and write" and it doesn't mean a f-cking thing. You couldn't care whether the garden is there or not, as long as you don't have to spread the manure.
MUSICIAN: That reminds me of The Shining, where ole' Jack Nicholson goes into the mountains, to a big empty hotel to write his novel, to write in peace. And he ends up typing the same sentence over and over. He's removed himself.
BECKER: Keeping in mind that this is dance music, you are removing yourself from something by writing about it.
MUSICIAN: Speaking of dance music, can you see a time when you won't be concerned with prodding people out of their chairs?
FAGEN: I think we both really love rhythm-and-blues basically. A big backbeat. I don't know if it's a matter of dance music, it's a matter of pulse or feel.
BECKER: Jump music. Rhythm music. Something like that.
FAGEN: [grinning] Race music.
MUSICIAN: I know you agonize over your lyrics. Does it ever frustrate you that with many of the people listening, they may be going in one ear and, with little in between to stop them, right out the other?
BECKER: I assume that's the case for most of the audience, or at least a big part of it, and that's why we try to always make the lyrics not grab your attention. We want them to SOUND good with the music, even if you're not an English speaking person.
MUSICIAN: But for those that are listening, atlas and dictionary in hand, you don't want the lyrics to be one-shot deals, like a comedy record that you put on once, then tire of it.
BECKER: That's definitely a problem. We have to be clever, but not funny.
FAGEN: We have a problem, trying not to cross the comedy threshold.
BECKER: Everytime someone's in the next room when we're writing a song they'd say, "Don't tell me you're f-cking writing songs in there, you're not working, 'cause you're f-cking screaming and laughing in there. You're not writing, you're making up Pope jokes."
MUSICIAN: There's also a certain self-consciousness about being funny. Walter, you once said you wanted to branch out into odd narrative styles and more radical approaches as long as they were "funny in the end." What kind of humor were you referring to?
BECKER: I'm talking about the possibility of maintaining one's sense of humor under all possible circumstances. Funny as opposed to grave or solemn. Kurt Vonnegut's not funny, there's nothing funny about Dresden for instance, but it's FUNNY. And we can't even be that funny in music.
FAGEN: When you're writing about serious subjects, and I guess we are, we have to remember that it's rock 'n' roll music and the risk of being pretentious is real high, if you're not careful.
BECKER: I had this in mind in "Gaucho" for instance, which is a conversational thing. I don't know if it makes sense to anybody.
FAGEN: But we try to give a sense of a situation. It's just too short a time to really explain everything; it's not a short story, it's not a novel.
MUSICIAN: It has to be a miniature.
FAGEN: Yeah, a miniature and sometimes you can't fill in the details. So you hope that you give the proper signals, so that people will get a sense of what you're talking about.
MUSICIAN: Let's use that song as a jumping off point in terms of your lyrics. Certain artists - perhaps writers or filmmakers more than songwriters - strive for a certain amount of polysemy, or ambiguity in their work, in service of not only their desire to create something right in meaning for their audience but also to keep some of their work personal, kind of private. For instance, if you're singing, "I Wanna Be Sedated," you have given the whole kernel of thought to the audience in a very direct way. But if you sing about the Custerdome, you're hinting at some things but keeping your statement personal, retaining a certain amount of it for yourselves. Are you conscious of this sort of strategy.
BECKER: We're just trying to use what fits. It's the exact opposite of the New York Times, where it's "All The News That's Fit To Print." Here, we print what will fit. Like you say, it's not even a short story, hardly a paragraph, so the story doesn't always fit. If you get - as opposed to the Kernel of the thought - the husk of the thought, maybe you can figure out what kind of story is there. I don't feel like I'm being stripped of anything if I'm understood. Why would anybody doing this sort of thing want to preserve something of keeping it for themselves?
MUSICIAN: I'm not talking about international mystification or impenetrability, but there is a school of thought which says, while the artist must communicate to his audience, he may also keep certain details or underpinnings of the art rather private. It has to do with a between-the- lines quality of a narrative - meanings that people can guess at but which are not given to them in spoon-fed fashion.
FAGEN: It depends on the song and the subject matter. The lyrics must be subordinate to the music and you can only give as many clues as you have time for.
BECKER: We're not trying to protect anything. It's just that some of the smaller, pettier details in a story are the best ones. The little things that you retain in your sense more than in your mind; they may not make sense but they color something. It's really hard. There may be something to what you're saying, in that, if something is open-ended, or means more than one thing, or is elliptical or whatever, someone listening to it carefully enough will in fact become creative, and fill in the spaces with their own intelligence. And you'd be amazed at the letters people have written to us about our song. Some guy wrote us and said "Rikki Don't Lose That Number" is about Eric Clapton and the number is a joint.
FAGEN: Sometimes it frightens me when we get some weird stoned Moonie with these weird ideations about these songs, and he starts talking about taking some kind of ACTION against who knows what.
BECKER: There was a guy living in Las Vegas when our first album came out who thought - his girlfriend had left him I guess - all of the songs were stories his girlfriend had told us. He wasn't asking any questions; he just wanted his girlfriend back. And we didn't know anything about the girl. But he thought every one of those stories was about him.
FAGEN: It's your basic Arthur Bremmer syndrome. We get a lot of letters that are written in very small printing with little pictures in the corner.
MUSICIAN: Well, you're talking about the perverse fringe of "active" listeners.
BECKER: No, this is the heart and soul of our audience, I've got news for you. Those weird people on the street - every hundredth weirdest one has a Steely Dan record at home.
MUSICIAN: People that are essentially out-takes.
BECKER: Right, or just flipped-out. Like that guy who hi-jacked that bus today [a friend of theirs had been hijacked in midtown Manhattan] probably has forty-seven copies of The Royal Scam at home.
MUSICIAN: The point is, despite the Vegas chump, a little restraint or open- endedness or ambiguity in a lyric - call it what you will - allows one to go back to a song time after time, and not just sing along, but get farther into it or think anew about it.
BECKER: Right, it doesn't have to make sense in a narrative way. Something tells me, though, that we've been better behaved in terms of being more narrative lately. I don't know if that's a good or bad thing. I think with the narratives that we're undertaking [hearty chuckle] it doesn't really matter.
FAGEN: I think we are communicating a little more directly than we have in the past.
MUSICIAN: Do either of you write poetry as poetry, that sort of sits around just waiting for the right piece of music?
FAGEN: Not as poetry per se.
BECKER: I used to do that, a long, long time ago, but I found out poetry was in much worse shape than any other art form, except maybe painting, which I also gave up because I didn't like getting paint all over myself.
FAGEN: We have fragments of things.
BECKER: Little lines and couplets...
FAGEN: Story ideas and the like...
BECKER: But nothing in finished form. Rythmically, if you read our poetry on the page it's nothing really.
MUSICIAN: So you have at least a skeleton of the music first, the chords, roughly the tempo, etc. and then you work on the lyrics line-by-line, side- by-side?
FAGEN: We work on them together. One of us will come up with the basic idea, maybe a few words, and then we'll fill in the blanks together as needed.
MUSICIAN: How do you resolve the conflicts - possibly different strategies on how to say something even if you both agree as to what will be said - without resorting to bloodshed?
FAGEN: We often see it in the same way. We've been together for a while.
BECKER: But it usually doesn't make that much difference [if it][?] comes down to one word.
FAGEN: Usually, if we disagree about something, it may be whether or not something is singable phonetically.
BECKER: That's HIS story. My story is whether it's something else. That's how we agree.
MUSICIAN: Walter, you mentioned dabbling in finger-painting and poetry. In all interviews it seems the interviewer asks for the inevitable listing of musical influences [and of course the answer is always B.B. King], but I'm particularly interested in what other artists - could be writers, painters, filmmakers, etc - have inspired you.
BECKER: You know, we've gotten into trouble on that with the "Steely Dan" thing [the name of a dildo in Burrough's great novel, Naked Lunch. We've been invited out to dinner with William Burroughs a few times too many now by people who don't know us or William Burroughs. So with the caveat, I can say that I like Samuel Beckett. I think it's ironic and amusing that the greatest living writer in the English language writes in French.
MUSICIAN: It tells me that he doesn't want to be a show-off.
FAGEN: We both have our individual preferences. Vladimir Nabokov is mine. I'm not visually oriented, but Walter likes very peculiar movies.
BECKER: A good cheap date. I have weird taste.
FAGEN: Walter's seen The King of Marvin Gardens quite a number of times.
BECKER: Donald goes for the value-per-dollar system.
FAGEN: Francis Ford Coppola stuff: The Godfather, Apocalypse Now.
MUSICIAN: Can you imagine yourselves working on a more expansive musical project: a full soundtrack, a musical perhaps, or even the songs for a musical?
FAGEN: I'd like to, but the project would have to be perfectly suited to us. I wouldn't want to write background music, or music that's subordinate to visual material. Twyla Tharp, the choreographer, had a project she wanted us to write the music for. The dancing was very good, but she had a script in which the dancers would speak and the story was, uh... extremely confused, we thought.
BECKER: Mainly, the whole dance project was conceived without any concern for the music. To her, it was a completed project. It was as if she had done a painting, and all she needed was the frame. That is to say, the music.
FAGEN: Well we don't know shit about dance, so we sorta bowed out of that one. But if she did something that had less structure as far as a story I could see writing music for her.
BECKER: Ronnie Reagan is present, so I wouldn't mind doing a Kurt Weill or Bertolt Brecht kind of thing. There's potential in that.
FAGEN: Socialist opera.
BECKER: Anarchist opera.
MUSICIAN: What about an extended work - a unified work of considerable length - whatever you want to call it a suite or opera or whatever?
FAGEN: We've discussed this, like the idea of a concept album, but it's awfully hard.
BECKER: I thought Aja itself was dangerously ambitious. I really did.
FAGEN: I dunno, I think we work best on miniatures. I like variety. We work better with vignettes.
MUSICIAN: Anyway, how do you characterize the new record, as opposed to say, Aja?
BECKER: [Half-kidding] Excellent, excellent. Newer, bluer.
FAGEN : That's a difficult question because we write the songs individually. They are single audio objects; we don't plan the album conceptually. So it's hard to characterize the thing as a whole.
MUSICIAN: Well if not different as a whole - I know it was recorded over a two-year span - then do you see it as a little step forward?
FAGEN: It's possible that we took a few steps backward with this album. In a way, it's rhythmically more simplistic than Aja.. But the harmonies are interesting. I don't know if it's better or worse.
BECKER: I don't think there's a progression at this point - it's too deliberate on our part. We're moving sideways. When you're writing one song at a time over a long period and you don't know which ones are eventually going to get recorded and which are then going to be on the record, and then you put them together in a certain order and put it in a package, all of a sudden it's SOMETHING.
FAGEN: It becomes something else.
BECKER: It becomes something you hadn't anticipated. It's taken as a whole, even to me anyway, I take it as a whole. And it has a character as a whole that the individual parts never had.
MUSICIAN: As your vocabulary grows, musically and lyrically, and you become more aware of your artistic options, do you find it more difficult to finish a song? That is, the more strategies you're familir[sic] with, the tougher it is to decide which one to use?
BECKER: It got tough awhile ago. Yes, the last verse is hard to write. The more you know, the more you might paint yourself into a corner.
FAGEN: But the way we write - it's more improvisational and instinctual. We don't really use "strategies" consciously.
BECKER: But nevertheless there it is, the method. By the time you've finished everything except that last piece or link of a song, you've got to make some very, very conscious choices.
FAGEN: Alright, we've learned certain things in terms of how to present the material. We now know what a bridge is supposed to do: it opens up the song musically. And we tend to open it up lyrically as well - to talk about the subject more generally than the verses do.
BECKER: And it's also a real release from the tension of the lyrics in the verses. You're suspended in time for awhile.
FAGEN: [wryly] The traditional popular song form of the '30s and '40s has served us well.
BECKER: Oh yes, right through the '80s.
FAGEN: I like it, it's a good thing. It's the closest thing we have to a STRUCTURE for rock 'n' roll. It's blues, and traditional song form.
MUSICIAN: How do you feel about modern improvisational music that diverges from that structure? Music that's come after the religious and political saxophoning of the '60s - like The Art Ensemble, Cecil Taylor, Anthony Braxton, etc.?
BECKER: I don't like any of it. I'd like to think that I'm open-minded, but nothing could be further from the truth.
FAGEN: We're real conservatives.
MUSICIAN: A post-modernist like Braxton uses many different kinds of structures. He's a structuralist of sorts, though maybe not in the mode of traditional song form.
BECKER: But he can't even play, so what does it matter? I can't figure it out. He sounds like a guy who has no tone, plays outta tune, and I just don't know why he's playing what he's playing. Maybe I just heard the wrong records. Now Sam Rivers - the first album I heard of his sounded very interesting to me, but lately he sounds exactly like Braxton.
MUSICIAN: Let's go back twenty years - before the advent of religious saxophoning - you have Ornette Coleman's Free Jazz, which sounded so far out then, sounds almost quaint now - in that it swings like mad, it's fairly orderly and well-structured and so on.
MUSICIAN: I know. The first time I put on an Ornette record I said, "This is Charlie Parker music except the guy has a plastic saxophone and no chord changes." I couldn't believe that people talked about how "modern" it was. Ornette is not the greatest musician in the world. He has has some bad nights, let's face it. And if you've ever had to go hear him play the violin, or hear him with his son or with the electric guitarists, you have to ask, " How free can a guy with that limited talent be?"
FAGEN: Not that many people can get away with...
BECKER: What he does.
FAGEN: With not having any structure. Very few do.
BECKER: He had a few very good ideas. And he had an incredible band.
MUSICIAN: Well what about some of the ECM artists of the last decade?
FAGEN: Very uninteresting on the whole.
BECKER: [sarcastically] Dance music. But Jan Garbarek is very good.
MUSICIAN: Are you familiar with a Keith Jarrett record Belonging, particularly a tune called "Long as you know you're living yours"?
BECKER: Yes.
MUSICIAN: Have you ever listened to that up against "Gaucho"?
BECKER: No.
MUSICIAN: I'm not casting any aspersions now, but in terms of the tempo and the bass line and the saxophone melody it's pretty interesting.
BECKER: Parenthetically it is, yeah [uneasy laughter]
MUSICIAN: At this point the reporter traditionally asks the cornered politican or athlete to "go off the record."
FAGEN: Off the record, we were heavily influenced by that particular piece of music.
BECKER: I love it.
[Becker and Fagen later approved their "off the record" responses for publication.]
MUSICIAN: We were talking about borrowing...
FAGEN: Hell, we steal. We're the robber barons of rock 'n' roll.
MUSICIAN: Well, the only other thing on the record that seems obviously borrowed is "Glamour Profession." The rhythm and feel of it, and the way the synthesizer/horn vamp swings against the pulse sounds very much like Dr. Buzzard's Original Savannah Band.
BECKER: I don't listen to them. Donald listens to them. But I see what you mean though.
MUSICIAN: I'm not saying it was necessarily a conscious act of pilferage.
FAGEN: That song was influenced by disco music in general.
MUSICIAN: Nouveau Swing Disco?
FAGEN: What you're saying is basically valid. There are other things that are borrowed too. The bridge on "Glamour Profession" is a take on the bridge of Kurt Weill's "Speak Low."
BECKER: Which is taken from Ravel.
MUSICIAN: What about popular music? Anything going on that you might be a bit more enthusiastic about?
BECKER: I've had a tough time with the radio lately. It's pathetic.
FAGEN: The Talking Heads are very interesting. They're a top band.
MUSICIAN: That's what happens when you go to the Rhode Island School of Design.
FAGEN: Fortunately, it's mainly their album covers that I like. The covers and the guy's eyes are great. There's at least an intelligence behind them, which is more than you can say for most groups.
BECKER: Further and further as time goes by... they're leaving it in the dust.
FAGEN: I like Donna Summers' records.
BECKER: I bought the single, "Turn Out The Lights." Had to have it.
FAGEN: I did like Dr. Buzzard's first record. But only that one.
MUSICIAN: So I guess it's pretty bleak out there, is that what you're saying?
BECKER: I guess, unless there's something out there that's being suppressed, which is entirely possible.
FAGEN: Oh, you know what I went for in a way, Ian Drury and The Blockheads. More of a comedy thing.
BECKER: Warne Marsh is the best I've heard in the past three years.
MUSICIAN: Do you plan to produce another album of his along the lines of the one with Pete Christlieb?
BECKER: No, no more. Because it's too hard to get Warne what he wants. And he wants Neils Henning Orsted Pederson, who used to be only great and now is just RIDICULOUS.
FAGEN: One more thing, I heard a record the other day, a raggy sort of thing, Scott Joplin rags, by some funny tenor player, Henry Threadgill.
MUSICIAN: That's Air, the supertrio out of the, ahem...AACM.
BECKER: On the other hand, how new is all that - Ragtime is only so recent you know. But I still like boogie-woogie. Meade Lux Lewis and Albert Ammons.
MUSICIAN: There's often a distinction made between folk-art (let's say boogie-woogie) or pop-art (let's say rock) and art-art, that is SERIOUS art of western civilization and all. Where does Steely Dan fit in?
BECKER: Whatever the difference is, we fit in the middle, we hope.
MUSICIAN: I wonder whether the distinction between high and folk art, with the blues for instance traditionally falling in the latter category, is even relevant anymore?
BECKER: No, no. Not anymore.
FAGEN: At one time perhaps it was relevant.
BECKER: There was serious art and then there was non-serious art. Serious of course meant boring.
MUSICIAN: And then you had television.
FAGEN: Ah yes, the great equalizer.
MUSICIAN: Television is probably the most profound shaping force in our society, yet it seems artists have a tough time dealing with it.
BECKER: That's because TV is anti-artistic. I was on my back for six months and so naturally TV came into my life in a big way. I used to have a cable TV thing hooked up and it bothered me 'cause I had trouble reaching the knob, and I disconnected it because I realized it doesn't matter what you watch.
FAGEN: I can't believe the video-disc thing. It's madness: how much television can you watch. Steely Dan is not exactly a good item for video discs.
MUSICIAN: Speaking of video discs and corporatized mass culture...given the certain, uh, socio-political stance that comes through in your work, how do you feel about being produced, packaged, and marketed by huge corporations?
BECKER: I think they're the mafia, that's what I think. I really do. I don't like them. This new record costs a dollar more, it costs $9.98. And we said: "Please don't make it $9.98, that's too much." But we didn't matter. I feel like I'm robbing somebody, even though I benefit from it - I don't want it. It has nothing to do with recording artists. I don't think any recording artists said, "Make the records a dollar more so we can make more money." And I don't think any recording artists with our "socio-political stance" - because that's exactly what it is - wants to take X number of extra cents a record if it means raising the price. Who can swallow that? It's awful, but they just do it.
By 1974 I realized that the reason we weren't making any more was that we were made to think we'd have to be on the road to have enough money to live and that we were always making the same amount of money no matter how many records we sold. So being politically minded, which I am, I was certainly angry about that.
MUSICIAN: Any possibility that you might tour in the future?
BECKER: NO - that's about how political we are; we're not gonna tell the world about it unless you do it for us - but we're not gonna do it. And there are personal reasons.
FAGEN: Michael McDonald was in town the other night and gave me tickets to this Doobie Brothers concert, which I went to. I didn't stay long. Just going back into that world for a few hours - whew - it was unbelievable.
BECKER: The concerts are for the kids. The concert is where the kids go, whoever may be playing. For instance, at one point we were opening for Frank Zappa, and he had a band with like nine brass instruments that no one knew the names of, a sarouzaphone soloist, a drummer reading the charts - a very arcane thing - and it wasn't worth it, but point was: everyone was there and the hall was filled because that's where the party was, and that's where everybody went to do drugs.
FAGEN: Another thing I noticed at this Doobies concert was the look. We used to open for the Doobies when they were a different band, kind of a biker band with the long hair and leather jackets. They're different now. With all the agony we had on the road - and it was pretty bad sometimes, because we weren't really suited to touring as far as our personalities go...
BECKER: We were suited for indigestion...
FAGEN: But we had a lot more FUN than it seems they're having now. Now it's strictly business.
BECKER: Big business and big dollars.
FAGEN: And they're backstage, the Doobies. Well, when we toured we'd get to the hall and start drinking and so on - you had to do it to survive on the road - but I noticed that the guy who used to have the long hair and the leather jacket had on a business suit and a coiff. It was strictly business. You know, Michael got there before the show and he went on, 1-2-3, and did his thing. No drinks, no fun, no fucking around, no comraderie. Business - and that's the way you have to do it.
MUSICIAN: Well, do you gig around privately, to work on your own chops or just have a good time?
BECKER: I've been trying to figure out a way to do that, but you know, I can't figure out how people gig privately with the kind of music that we play. New Wave and Top 40, I don't want to do any of that shit. I wish Jay and The Americans were still working.
MUSICIAN: Can you see putting a new band together, with which you could work without feeling like capitalists exploiting and oppressing the musicians in your employ?
BECKER: It's not even that anymore. The point is, we've realized if we tried to do it what we'd be doing is re-creating something. It would be like Beatlemania. Do you realize how many musicians are on all our records. I mean: I'd have to learn all the bass parts. I'm gonna learn Chuck Rainey's bass parts?
FAGEN: We're too lazy. What's more, after Aja came out, we tried to put something together with session musicians, good musicians. And as we started to run down the tunes this incredible sense of ennui came over both of us.
BECKER: It was a bad thing. And there was a socio-economic component added to that which I'm not gonna even talk about. But it was terrible.
FAGEN: It was unbelievably boring to start to run down these tunes for public performances.
BECKER: We had 4,000 dollars worth of musicians in the room. Guys who wouldn't go out on the road for Miles Davis, literally, and they were committed to doing this. And we both left the room together and said, "What do you say, you wanna can it." And we both said "yeah" without thinking twice.
FAGEN: We couldn't do it. It was depressing. We were going backwards.
BECKER: You play the same fucking song every single night. You're not creating anything, you're re-creating something.
MUSICIAN: Well jazz fans, what about improvising.
BECKER: Well that would be something different. It's something I've been thinking about, but the format would have to be different.
MUSICIAN: We'll be content to wait for your next record. What may we expect?
FAGEN: We'll be with a new company, Warner's. And, as of yet, we have no plans.


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The "New Horizons" mod for the 2003 Pirates of the Caribbean game by Akella is a continuation of the famous Build mod series. Developed as Pirates of the Caribbean Build 14, "New Horizons" continues where Build 13 left off, adding more new content than ever before.
Another high-detail model joins the fleet! And not just that; our cannon fire graphics have been redone once more. Prettier than ever before and more realistic too. And with different smoke settings as shown in this video: Youtube.com