text:
Sometimes in regression analysis, a few data points have
disproportionate effects on the slope of the regression equation. In
this lesson, we describe how to identify those influential points.
Data points that diverge in a big way from the overall pattern are called
outliers. There are four
ways that a data point might be considered an outlier.
An influential point is an
that greatly affects the slope of the regression
line. One way to test the influence of an outlier is to compute the
regression equation with and without the outlier.
This type of analysis is illustrated below. The scatter plots are identical, except
that the plot on the right includes an outlier. The slope is flatter when the outlier is
present (-3.32 vs. -4.10), so this outlier would be considered an influential point.
The charts below compare
regression statistics for another data set with and without an
outlier. Here, the chart on the right has a single outlier,
located at the high end of the X axis (where x = 24).
As a result of that single outlier, the slope of the
regression line changes greatly, from -2.5 to -1.6; so the outlier
would be considered an influential point.
Sometimes, an influential point will cause the
coefficient of determination to be bigger; sometimes, smaller. In the first
example above, the coefficient of determination is smaller when the influential point
is present (0.94 vs. 0.55). In the second example, it is bigger (0.46 vs. 0.52).
If your data set includes an influential point, here are some things to consider.
In the context of
which of the following statements are true?
I. When the data set includes an influential point, the data set is
II. Influential points always reduce the coefficient of determination.
III. All outliers are influential data points.
(A) I only
(B) II only
(C) III only
(D) All of the above
(E) None of the above
The correct answer is (E).
Data sets with influential points can be linear or nonlinear.
In this lesson, we went over an example in which an
influential point increased the coefficient of determination.
With respect to regression,
outliers are influential only if they have a big effect on the
regression equation. Sometimes, outliers do not have big effects. For
example, when the data set is very large, a single outlier may not have
a big effect on the regression equation.
▾ Variables
▾ Central tendency
▾ Variability
▾ Measures of position
▾ Patterns in data
▾ Dotplots
▾ Histograms
▾ Stemplots
▾ Boxplots
▾ Cumulative plots
▾ Scatterplots
▾ Comparing plots
▾ One-way tables
▾ Two-way tables
▾ Sets and subsets
▾ Stat experiments
▾ Counting data points
▾ What is probability
▾ Probability problems
▾ Rules of probability
▾ Bayes' rule
▾ Types of variables
▾ Distributions
▾ Mean and variance
▾ Independence
▾ Combining
▾ Transforming
▾ Random sampling
▾ Sampling distribution
▾ Diff between props
▾ Diff between means
▾ Probability dist
▾ Discrete/continuous
▾ Binomial distribution
▾ Negative binomial
▾ Hypergeometric
▾ Multinomial
▾ Poisson
▾ Normal distribution
▾ Standard normal
▾ Student's t
▾ Chi-square
▾ F distribution
▾ Estimation overview
▾ Standard error
▾ Margin of error
▾ Confidence intervals
▾ Estimate proportion
▾ Small samples
▾ Estimate mean
▾ Matched pairs
▾ Hypothesis tests
▾ How to test
▾ Test of the mean
▾ Diff between pairs
▾ Test for a proportion
▾ Region of acceptance
▾ Power of a test
▾ How to find power
▾ Goodness of fit
▾ Homogeneity
▾ Data collection
▾ Sampling methods
▾ Survey sampling bias
▾ Survey sampling
▾ SRS analysis
▾ Stratified sampling
▾ Stratified analysis
▾ Cluster sampling
▾ CLS analysis
▾ Sample size: SRS
▾ Sample size: STR
▾ Find right method
▾ Measurement scales
▾ Linear correlation
▾ Linear regression
▾ Regression example
▾ Residual analysis
▾ Transformations
▾ Influential points
▾ Slope estimate
▾ Slope significance
▾ Experiment intro
▾ Experimental design
▾ Simulations


text: New Search 11711 Michael F. Hoey, DDS (707) 547-2221 Primary Specialties Dentistry Primary Office Address: 751 Lombardi Ct. Suite A Santa Rosa, CA 95407 Phone: (707) 547-2221 Fax: (707) 547-2230 Web Page: www.stjosephhealth.org Recommend this Physician Request an Update for this Physician Get Directions The patient rating score is based on responses and comments from Press Ganey. Responses are measured on a 10 point scale, with 10 being the best score. These scores are then translated to a 5 point scale in order to display results in a 5 Star rating. Comments are also gathered from the same survey and displayed in their entirety with the exception of any language that may be considered libel, or may contain private health information, or is unrelated to the provider being reviewed. Learn more about Press Ganey star rating calculations Areas of Interest Oral Surgery/Dentistry

subset: commoncrawl


text:
Vote on Poll Between Real Housewives of New York City Members Jill Zarin or Bethenny Frankel
Real Housewives of NYC: Are You Team Jill or Team Bethenny?
The following post is from community member shannoninsf, who posted it in the Fans of The Real Housewives of . . . group.
Lately I feel so torn. On the first two seasons of The Real Housewives of New York City, I could just declare that my favorites were Jill and Bethenny. But TV tragedy has struck in the third season, and my two faves and former BFFs have had a falling out and aren't speaking! I'm completely torn, especially since the initial fight happened off camera, and each time Jill or Bethenny is on and explain their side, I agree with whomever is speaking. But this means I go back and forth between being Team Jill and Team Bethenny! I can't choose. It's like asking me to say which of my daughters I love more! But I want to hear from other fans — whose side are you on?
You can see your community posts on BuzzSugar too! Just join now and start posting!
Photos courtesy of Bravo


text:
TWO Leamington women are among five people police have charged with conspiring together to supply heroin.
Lauren Ellis Gough, 21, of Avenue Road, had been arrested in Christine Ledger Court, Leamington, along with Natasha Samantha Langsford, 21, of Bidford-on-Avon, Curtis Antonio Sutherland, 21, of Bilston, in July last year.
Jodi Beth Bleach, 42, of Fallow Hill, Leamington, and a 17-year-old man from Wolverhampton who cannot be named for legal reasons had been arrested in Fallow Hill in April.
Following questioning, all five were released on bail and were charged when they answered bail on Tuesday this week.
All five are due to appear at Leamington magistrates court on Friday March 1.


text:
Quick Details
- PC Interface: USB
- Combination: Bluetooth-Enabled, MP3 Player
- Certification: CE, FCC, ROHS
- Supporst Card: No
- Place of Origin: Guangdong, China (Mainland)
- Brand Name: Mcosta
- Model Number: DMC-20218
- Warranty: 12 Months
- Product Name: Bluetooth Digital Music Changer
- Support: 8GB USB Flash Drive, 3.5 Auxiliary Input
- Special Features: MP3 Players, Bluetooth
- Digital Media Format: CD, Mp3, WMA
- Shipping Ways: EMS, DHL, Fedex, TNT, UPS, ect
- Sample: 1-3 days
- Item Size: L100mm*W70mm*H20mm
- Packaging: Gift box & PP bag
- Color: Black As Shown
Packaging & Delivery
|Packaging Details
|Gift box / DMC unit size:L 8.2' W5.8'H1.8CM
|Delivery Time
|Shipped in 3 days after payment
DMC-20218 Bluetooth Digital Music Changer for VW 12pin
This product DMC-20218 could provide you high quality music listening pleasure. You will be able to control music with the car stereo buttons or steering wheel, and iPod or MP3 performs correctly in your car when connected to the car stereo.
1.Build-in high quality MP3/WMA decoder
2.CD sound quality,no FM noise
3.Playlist function same as multy CD
4.No battery required, support 5V mobile phone charge
5.Support USB Flash and Bluetooth handfree (A2DP) function, answer/reject call by radio buttons
6.Last position memory function
7.Control the music file from radio buttons, Track+/-/Disk/+/-/Rpt/Radom control are available to control by steering wheel or car stereo panel
8.Dual AUX port design makes Auxiliary input and Mic-phone jack work separately
Note: 1. This MP3 is suitable for the Car itself without navigation and with 6 CD changers.
2. Please Ensure This Part Fits For Your Car Before Bidding.
Compatible with:
VOLKSWAGEN(12Pin) 2006 and UP Volkswagen factory radios with 12-pin connector at the radio
1 x Connection Cable
1 x Aux Cable
1 x Mic-phone jack
1 x User Manual
1 x Card Reader
Transaction History of the Supplier
Below is the information about the supplier's transactions conducted via Alibaba.com. If you require further details regarding the transaction data, please contact the supplier directly.
Transaction Overview
Export Markets
Transaction Details
This supplier has completedtransactions with buyers from .
Shipping Destination
Transaction Value
Transaction Date
Email to this supplier


text:
Fashion royal blue one shoulder dress is popular in the market. If you like this color tone, you are suggested to click www.edressit.com to see what are the new arrivals. In order to save your time and make it clear, we put this product sorting page in order of the capital letter. In this page you could easily find out all royal blue one shoulder dresses as that name initiate by the letter "R". As you can see, we provide all kinds of fashion dresses, including formal evening party dresses, wedding dress, mother of the bride dresses, prom dresses and other special occasion dresses. If you want to buy one royal blue one shoulder dress, you are highly suggested eDressit.
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text: ericsson - your help please! I've just bought the Snauwaert Mid Fibre Wood Composite (Meso Superlight) and am hoping you can give me some info on it. It's in brand new, never strung, never seen a court condition and has a head size of approx 85 sq in. It has the specs engraved on the handle - 3 345 330 (grip size, static weight and balance I believe). I'm interested to know exactly what "wood composite" means - is it fibreglass reinforced around the hoop similar to the Maxply McEnroe or something like that? What string tension would you recommend? I also have the Snauwaert Graphite-Pro Gerulaitis autograph (I got them at the same time) - same condition (brand new, never strung), so I'm drooling over this as well! Specs 3 350 305.


text:
Moody's, Fitch Affirm U.S.'s Triple-A Rating
Moody's Investors Service confirmed its Aaa rating on the U.S. but maintained a downbeat outlook, saying more progress is needed for the government to shrink its fiscal deficit.
In affirming the rating, Moody's ended the immediate threat of a downgrade, though the credit-rating firm hinted it could still take negative action in the future.
Moody's last month joined Standard & Poor's Ratings Services in placing the...


text:
Having spent a week at Kuje Maximum Prison in Abuja, erstwhile Chairman and Secretary of the House of Representatives Ad-hoc Committee on fuel subsidy probe, Farouk Lawal and Mr Boniface Emenalo, have begged trial Justice Mudashiru Oniyangi to okay their release.
The duo, who had on February 1, pleaded not guilty to a 7-count criminal charge preferred against them by the Independent Corrupt Practices and other Related Offences Commission, ICPC, in their consolidated application for bail, urged the court to consider their health and allow them to attend trial from home.
Begging the court through their lead counsels, Chief Ricky Tarfa, SAN, and Chief Mike Ozokhome, SAN, the embattled lawmakers said they would not jump bail if released from prison.
Farouk further pleaded the court to take cognizance of the fact that prior to his arraignment, he had ample opportunities to run away, having travelled outside the country four times since investigation into his alleged complicity in the bribery scandal began. Besides, he told the court that he had in the course of investigation into the matter, reported to the Police on 37 different occasions, saying he never violated the administrative bail given to him by the Police, an argument also canvassed by his co-accused person, Emenalo.
ICPC had in the charge entered before the high court, alleged that the embattled lawmakers demanded and collected bribe from the Chairman of Zenon Petroleum and Gas Ltd, Femi Otedola, as an inducement to remove the name of his company from the report of the House of Representatives Ad-hoc committee on monitoring of fuel subsidy regime.
They were said to have collected an aggregate sum of $3million, with a view to ensuring that Zenon Petroleum and Gas Ltd escaped prosecution, even though the Committee had ab-initio found it culpable in fuel subsidy fraud.
The anti-graft agency maintained that the offence they committed was contrary to Corrupt practices and other Related Offences Act, 2000 and punishable under section 8 (1) 17 (1) and 23(3) of the same Act.
More so, the prosecuting commission alleged that Emenalo, while being a public officer, an Assistant Director and Clerk of the Committee on Education of the House of Reps, sometime in April 2012, while acting as the Secretary of the Ad-Hoc Committee, was offered gratification by Otedola but failed to report the offer to any officer of the ICPC or any police officer.
Though the accused persons had made frantic effort to persuade the court to release them on self recognition on the day they were docked, counsel to the ICPC, Chief Adegboyega Awomolo had opposed their request, even as he urged the court to remand them in Prison custody pending hearing and determination of the substantive case against them.
Counsel to the accused persons had beseeched Justice Onayingi to consider that "the 1st accused have had cause to travel out more than four times since the commencement of the investigation, the 2nd accused have had cause to travel to the USA more than two times since then. My Lord, the 1staccused has been a full time member of the Reps since 1999; he is also a member of the ECOWAS parliament and has been a member for the last twelve years.
"He is one of the founding members of the said ECOWAS parliament and he is presently chairing the committee on Administration of Finance."
Tarfa, SAN, further relied on decided case-law in Owudalu Vs State, 2008, AFWLR, and Ebute& Ors Vs State, 1994, 8-NWLR, and argued that not only did the accused persons failed to abscond when they had the opportunities, he said they had voluntarily submitted themselves to the Police for investigation.
He said: "The accused persons are willing and ready to face their trial. My Lord should also take cognizance of their status and position in the society and grant them bail in self recognition. The constitution says they should be considered innocent until proven guilty," he insisted.
In opposing their bail request, the prosecuting counsel, Awomolo, SAN, maintained that it would be in the interest of justice to allow them to remain in Prison.
Relying on section 8, 10, 17 and 23 of the ICPC Act 2000 and the decided case-law in Asari Dokubo Vs FRN, 2007, 12 NWLR, Awomolo, SAN, said: "We are opposing the application for bail and urge your lordship to refuse it. The accused persons are charged with an offence punishable by 2 to 7 years imprisonment and therefore not ordinarily bailable.
"An application for bail is an application in equity which requires my Lord to exercise your discretion judicially and judiciously. The principles that guide the court in granting bail have been well enunciated in the case of Bamaiyi Vs State, 2001, the nature and gravity of the offence and the likelihood of the accused committing another offence while on bail.
"The offence by which the accused persons are standing trial is the case of corruption by a public officer at the highest level, particularly in the legislative arm. The accussed person, in the affidavit did not give an undertaking that if they go back to the National Assembly, they will not be members of another committee and that they will not demand or obtain bribe in the discharge of their official duty.
"Your Lordship needs to be assured that what prompted them to demand $3million will not also prompt them to demand $10million.The accused persons were part of the making of the ICPC Act, they knew the intention of the lawmakers and deliberately violated the law, on that ground alone, I urge my lord to deny them bail," Awomolo added.
Meantime, two of the charge against the lawmakers read: "That you Hon. Farouk Lawan (M) while being a member of the House of Representatives and chairman of Ad-hoc committee on Monitoring of fuel subsidy regime sometimes in April 2012 or thereabout at Abuja within the Federal Capital Territory under the jurisdiction of this honourable court did while acting in the course of your official duty corruptly obtained the sum of $500,000 (five hundred thousand dollars) for yourself from Mr. Femi Otedola Chairman Zenon Petroleum and Gas Ltd as an inducement to remove the name of Zenon petroleum gas ltd from the report of the House of Representatives Ad-hoc committee on Monitoring of fuel subsidy regime and you thereby committed an offence contrary to section 17 (1) of the Corrupt practices and other Related Offences Act, 2000 and punishable under section 17 (1) of the same Act.
"That you Mr. Emenalo Boniface (M) while being a public officer, an Assistant Director and Secretary of the House of Representatives Ad-hoc committee on Monitoring of Fuel Subsidy Regime sometimes in April 2012 or thereabout at Abuja within the. Federal capital territory under the jurisdiction of this honourable court did while acting in the course of your official duty as Secretary…corruptly asked for the sum of $3,000,000 (three million US dollars) for yourself from Mr. Femi Otedola, and you thereby committed an offence contrary to section 8 (1) (b) (ii) of the Corrupt Practices and Other Related Offences Act, 2000 and punishable under section 23 (3) of the same Act."
It will be recalled that shortly after the Farouk Lawal led panel released its fact-finding report that exposed astronomical fraud perpetuated by various companies under the subsidy regime, Otedola, in a retaliatory move, released an audio tape with a view to proving that the probe panel demanded cash-for-clearance.
Otedola specifically accused Lawal of demanding for $3million to exonerate his company, emphasizing that the lawmaker even went to the extent of stuffing monies in his cap on one of the occasions he came to receive bribe on behalf of the panel.
However, Lawal, through his lawyer, Chief Ozokhome, SAN, refuted the allegation that he stuffed money in his cap, stressing that contrary to insinuation that he travelled to Lagos to collect bribe as alleged, he only received money from Otedola on two separate occasions at his room at Protea Hotel at Apo Abuja and at Otedola's house at Aso Drive Asokoro also in Abuja.
Describing the audio tape which was released to media houses as "a devilish caricature", Lawal had urged Nigerians to give him the benefit of doubts, insisting that he would not rest until he proved that the primary intention why he collected the money was to uncover the level of corruption within the oil sector of the Nigerian economy.
In a bid to further puncture the probe report, Otedola alongside his company, Zenon Oil and Gas, filed a suit before the High Court, where he is seeking the sum of N250billion against Farouk and the Speaker of the House of Representatives, Aminu Tambuwal, as exemplary damages for alleged oppressive and arbitrary actions he said was meted against him.
Source: Naija.ng


text:
Legal Question in Criminal Law in Virginia
public urination
i was given a ticket for public urination and was required to make a
court appearance. i was wondering what type of fine i would be
looking at. i have never any prior record. thanks for your help
3 Answers from Attorneys
Re: public urination
What is the code section? Should be in your paperwork. 18.2-?
Re: public urination
If you were cited under the state code 18.2-415 for disorderly conduct, the charge would constitute a Class 1 misdemeanor, punishable by a fine of up to $2500 and/or incarceration in a local jail facility for up to 12 months.
As a first time offender I would expect that you would be let off with a fine of less than $100.00 with no jail time imposed and that you would also be given an SIS(Suspended Imposition of Sentence)which would also allow you escape from this legal imbroglio with no record of any conviction if you were successfully to complete the conditions of your probationary period which would most likely be your payment of all fines and court costs within the required time period and no rearrests.
Re: public urination
To give a specific answer, I'd need to know the exact code section for the charge that you were cited for. You were probably cited for a violation of local and not state law, and that means that the penalties can vary quite a bit.
Generally, this is the type of offense where you may be able to avoid a conviction with some diligent preperation and the advice of defense counsel, if you are truly worried about it.
This correspondence contains privileged attorney-client information and is the property of Dunlap & Grubb, P.C. This e-mail and is intended for the addressee. Any unauthorized disclosure, reproduction, distribution or the taking of action in reliance on the contents of the information is prohibited. If you believe that you have received the message in error, please notify the sender by reply transmission and delete the message without copying or disclosing it. Dunlap & Grubb P.C. does not and will not represent you until you have signed a written retainer agreement. Any information or response to an your inquiry should not be relied upon and is not legal advice, unless such information or response explicitly states it may be relied upon and further explicitly states Dunlap & Grubb has agreed to enter into an attorney client relationship with you. For information please call 703-777-7319.
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text:
Interview with
Isidor Miller (IM)
Conducted by Michael M. Miller (MM)
28 December 1993, Flasher, North Dakota
Transcribed by Ann Grausam
Editing and proofreading by Jay Gage and Beverly Wigley
MM: Good morning! It's December 28th, 1993, and this is Michael Miller, the Germans from Russia Bibliographer at North Dakota State University in Fargo.
I am here in Flasher, North Dakota, visiting with a relative of mine, Isidor Miller. And it is a real pleasure Isidor, during this holiday season, to be in Flasher. It has been a long time since I have been down here. We are going to chat a little bit about your life in Flasher, where you grew up and a little bit about your parents, and your recollections of your childhood to the present time.
First of all, Isidor, I wonder if you would tell me when you were born?
IM: In 1906, October the 25th.
MM: October 25th, 1906. Where did you grow up, Isidor? Where were you born?
IM: I was born over south of Strasburg, but I grew up here by Raleigh, Grant County.
MM: So, you actually were born over near Strasburg?
IM: Yah, yah.
MM: How old were you when you left there then?
IM: Well, I suppose about eight.
MM: Oh, you were eight years old then?
IM: Something like that, yah.
MM: And your father's name?
IM: Egidius. We used to live where Silbernagel lives on the place now, south of Strasburg. John Silbernagel's son, Adam.
MM: Adam Silbernagel.
IM: He lives on our place.
MM: So, your father's name was Egidius Miller. Do you know, by chance, when he was born and the date?
IM: He was born February the 14th, 1877 and he died October the 2nd, in 1949.
MM: Right, and he married -
IM: He married on March the 9th, 1905.
MM: - to Natalia Volk.
IM: Yah, yah.
MM: And your father was born in the old country, right?
IM: Yah, yah. He was about, I would say, he always told us he was only - he was a young man when he came over, maybe 15 or 16 years old; in that territory.
MM: Yah, he came over about 15 and, of course, your grandfather's name -
IM: Grandpa's - Mike.
MM: Your grandfather was Michael?
IM: On the Volk's side. Yah.
MM: On the Miller's side.
IM: On the Miller's side I mean, yah, Mike. No, on the Miller's side - yah, what was his name? It's in here too.
MM: Your grandfather's name, I think, was Peter Miller.
IM: Yah, in Emmons County, yah, yah.
MM: And your mother's name?
IM: My mother's name was Natalia.
MM: Natalia.
IM: Yah.
MM: And she was a Volk.
IM: Volk, yah, and her dad was Michael.
MM: Michael. Then when they came over, you were age eight. And, of course, you were born over here in Emmons County and then your father farmed. At the age of eight, do you still have memories of those years over there?
IM: Yes, I sure do, a little bit. Not great, but I remember where we lived and I remember when old Joe Bachmeier used to come visit us. See, I go over there once in a great - I've been over there many twice or three times the last few years to the place where we used to live. And then that's, ah, Bachmeier was there. And still the little mud place and a, ah, Blotsky, used to live southeast there. Just no more places [now] but just - Only then Amelia Bachmeier is west there, right west of them there. There's an old house and still setting a part of a windmill. Yah, I remember when we came over here, we come over with a boat, you know, and we had a dog. And you know, the next morning the dog was gone. And old John, John Silbernagel used to live - you remember him yet?
MM: A little bit, yes.
IM: The dog was over there swimming in the Missouri River.
MM: Oh. So, when you came over to this side, you didn't go around Bismarck, you came across with a boat.
IM: No, no, no. We had the ferryboat. No, no, no. Horses, you know, that's all they had. We drove with horses, that's what - We drove with horses; there was nothing else. There was no cars, trucks, or nothing at that time.
MM: So you came over with the ferryboat?
IM: Yah.
MM: What made your dad decide to come over here?
IM: Well, it's kind of crowded over there and my grandpa, you know, he kind of wanted us to come over and there was more land around there, you know. He was the only one in the family that came over. He was the only one then later on, ah, John Bachmeier came over. He farmed west of us there. See, out there it was kind of crowded already, you know, there was getting more people and so that's when they moved over. Then what they started, first thing they started - mixed some mud and made those blocks. They were about that long, about that high, about that wide. That's what the house was built out of.
MM: Oh, so you remember when those sod houses were built?
IM: Well, I remember ours!
MM: Yes. So do you remember seeing it being built?
IM: Yah! I was right there; I helped with the mud. In them days you had to work pretty early. Oh yah, in fact, afterwards I built one of them myself. It's part on my farm is still standing. I'll take you out, if you want, to my farm.
MM: Yes, that would be real interesting. When you came over here at the age of eight, who else was born over there in your family; your brothers and sisters.
IM: Ah, there was a girl born, but she died. My, ah, she was older than I am but she died as an infant. And over here was Rophina born: Agnes, Mike, Gabe. Everybody was born over here, the whole family.
MM: Now when you were eight over there, of course, in the home you only spoke German, right?
IM: Yah, yah, yah.
MM: Now did you notice when you were over there at eight, of course you were quite young yet, but did those people over there speak a little bit different German?
IM: Yah, Litchuk, Litchuk; isn't that what they got? What'd they call it, Litchuk?
MM: Yah, that could be, or depending on where they even were over there, some of them spoke that Schwäbisch. [Kutschurgan, South Russia]
IM: I don't know. In our country, I didn't really get too far. So when Joe Bachmeier and that ,ah, Blotsky lived down there, they talked just like my dad did. They come from the same place in Russia, you know. [Krasna, Bessarabia]
MM: And they came from, I think, the Catholic village of Krasna.
IM: Yah, yah, that's what they talked about; they talked about that quite often.
MM: Did your dad, now that you mention that, did your folks talk about the old country?
IM: They talked a little about the dorf and stuff.
They called it, dorf, that was a village you know.
They didn't talk too much. See, my dad wasn't that old, you know. He wasn't that old so he, well he, I guess he went to school one year over there.
MM: Now your grandparents on your dad's side and your mother's side, did they come over too; your grandparents?
IM: Yah, yah, you mean on the Volk's side? Yah,
yah, they were already living over here. They moved earlier. They
must have moved in 1800's, because that's the reason they moved
over. See we, they found there was a place, a bunch of land right
west of them. And he kind of had his eyes on it. So they drove
over in the buggy once and then they drove over, I don't know,
they must have homesteaded that in them days. I think that's why
one quarter they homesteaded. And then they bought land. Then
they broke [the land] with the horses. Adolph Riehl, that was,
well, Adolph Riehl was my mother's cousin. They broke with the
horses and they walked behind the plow, you know. They had four
horses on the plows, broke that whole works; pulled the plow by
hand, you know. See, Adolph worked for us by the year. My dad
used to hire the men by the year. See, over there when he started
farming, he hired a guy [for] the whole year. They didn't pay
them as much them days. Probably in the winter, they probably
only got room and board, they only paid them a little.
MM: Now when you were over there in Strasburg, because you were eight, did you really go to some school over there?
IM: No, I didn't; I started school right here, yah.
MM: Uh huh, so you started the first grade over here then?
IM: Yah, right over, right east of us there was a school, on the hill. No, north of us first and then that was in a different district. Then they made us go, they built a school south there, and then, that's where I had to go then, see then.
MM: Now when you went to school, Isidor, the teacher only spoke English?
IM: Yah, yah.
MM: So, what did you children do then when you couldn't speak that English?
IM: Well, we learned it after a while; you know, we learned it. See, the teacher boarded at our place some of the first years.
MM: Who was the teacher, do you remember?
IM: Martin Schmidt. That's where I got the photography [interest], you know. I and him went and started developing; he got us some books and he, ah, sent away for some chemicals. He had to go to the drugstore and buy these little bottles and mixed it altogether. You know you couldn't buy it like now. Then we started that; made a darkroom and -
MM: Oh.
IM: He taught there for quite a number of years then he always boarded at our place, yah. We walked to school two or three miles.
MM: And then, of course, your folks would be on the farm and farming and you'd get home and then you'd speak German.
IM: Well, yah, we did later on. At home we talked German because my folk's didn't like us talking [English], but when we got married we didn't talk German anymore. Because our boys, like Don and Vern, well, Vern not so much. But Don was a principal in the school down there for a long time and him and his wife talked both [German and English]. Then Darlene, she taught school. They said, ah, "We can tell everyone of them, they talk German at home, we can tell them in school." There's a difference! They didn't care. They didn't even listen to us when we talked German! So Don especially, he, he can talk German. He can talk German but they don't talk German.
MM: Now did your folk's learn English?
IM: No, not, not - Well, they understood.
MM: They understood, huh?
IM: Yah, they understood but my wife she, she talked English. When we started out, [when] we had kids, we quit the German because the kids didn't like it. See, when they grew up, and they went to school, and then later they taught school, and so we, you know, we talked English. They went to St. Christopher's School down there and that priest didn't talk any German either, you know. He was a German, but he didn't talk German.
MM: Um hum. Now let's go back to the farm, Isidor. Of course, your dad broke the land, the sod, and homesteaded it.
IM: Yah. Yah, yah, yah.
MM: Um hum. Do you remember those days on the farm?
IM: Oh, yes! Heck, yes!
MM: What'd they have on the farm? What kind of animals then?
IM: Oh, they probably had a few chickens, few cows, few pigs -
MM: It wasn't easy, I'll bet, those early years.
IM: - and then, well, they had - Oh, no, no, no; that was harder than now. Ah, they had horses.
MM: Well, when they came over there, of course, there was no house on the land. Did they build that sod house right away?
IM: That's the sod house over there too.
MM: So they built that right away then, the first summer?
IM: Yah, yah and then they got married. My dad used to work for the Styles Ranch by that time. That's south, ah, between Pollack, South - do you know where that is, Pollack, South Dakota? Well, they lived a little - about as close to Pollack - we used to go to Pollack, South Dakota. I went down to Pollack here a couple of years ago. They moved that out of the river. There's no more Indians there. When we were there, there was a lot of Indians there. The Indians are all over in Fort Yates now.
MM: Before I forget, Isidor, how did the families over there (and then over here there were a few Indians too); how did you get along with the Native American?
IM: Well, ah, pretty good. I, ah -
MM: Never had any troubles with the Indians?
IM: No, no.
MM: Uh, huh. Did they probably learn from each other, too, on farming and so forth?
IM: Yah, yah. See, when before, I can remember the Indians were kind of bad. They killed ah, killed a whole family over there, Spicer. They killed, killed the family and the Indians, they took them over to Fort Yates and hung them. They killed the whole family. I read that someplace; I guess, I had the book, but I think Don's got it about that family. It was Spicer, Charlie Spicer, who lived over here; that was his brother that was killed. That was around the Styles Ranch; that's ah, there's that Styles Ranch always had a lot of sod buildings. He was a big sheep rancher. My dad used to work for them.
MM: So, you remember that sod house. Now how many rooms were in the house?
IM: Well, in ours there were, ah, first there were two and then they built on with wood, you know, with lumber. And most of them, like Kulps, they had a house right north of us there and, ah, but they're all fell down, you know, now. And they only had two rooms. Later on they built a shed on or something. I didn't know how they could live with seven-eight children.
MM: Oh, yes, small surroundings. Did your folk's have a summer kitchen, too, then?
IM: After a while, yah. I called it "fly" kitchen!
MM: What did you call it?
IM: Fly kitchen.
MM: What did you call it the fly kitchen?
IM: Well, there was lots of flies in there!
MM: And then did they have a well, of course, and a barn?
IM: Yah, they dug a well by hand, yah, and they built a barn in 1917.
MM: Now was that barn was built with wood though?
IM: Yah, yah, yah. Yah, the barn was built with
wood. And that barn is just torn down here this summer. Not tore
down but my nephew lives on it; my brother's son, on that place
where we used to live. And that barn was built in 1918, and Gabe,
my brother, went down and looked and they come over here and asked
me when that barn was built. I told them and I told them who built
it. John Goodwin builded it and I remember they had those, like
those, oh, like eight and four, something like that. He laid them
flat and while they all argued, you know, the guys that helped,
everybody helped them build it. "Let's do it this way."
No, that old Goodwin, he was a Norwegian; "Aw", he says,
"the Germans don't know nothing!" His hired man then,
this Anton Welk, he's dead now, he helped him. "Aw,"
he says, "the Norwegians don't know nothing!"
So, it's still that way. I went down and showed them what that was, you know. The Germans set them up, which I think they destroyed, but he laid them down. John Goodwin, he built that barn. Now that's tore down, the part that he built over; he's a builder. He built over that. We'll drive down after awhile if you want to look at them farms. I got my pickup out there and I got four- wheel drive, and you don't get stuck.
MM: Now the, ah, those days on the farm, of course we talked a little bit about farming, but you got involved with helping on the farm quite a bit?
IM: Oh yes, when I was about, oh, when I was 10 years old I was on the plow with five horses. Of course, my dad drove in front and [I'm] in the back. You know horses, you know, well, a gang plow, five on the plow and one on the drag. From there on I was on the farm everyday. I done a lot, a lot harder work and then we headed, you know. Headers, you know what that are, header?
MM: Um hum.
IM: Well, I had to fix the header box when I was 20. You know, unload them. Built a stack, yah.
MM: Well, while you were on the farm though, farming, could you go to school too?
IM: Oh, yah. Well, I didn't get much. See, ah, see they, my dad raised horses and then we had the stones so I didn't get over fifth grade. Because I, you know they didn't - first thing, the teachers wasn't very good. Not as good as now. Oh, they learned you reading and arithmetic, that's about all they learned you. Then, in the wintertime we had a bunch of horses to break.
MM: Oh, you had horses. You raised horses?
IM: Yah. And then there was always somebody laming. I had a limp, but then I think that came from that probably, just about. This spring I had a limp in the knee. So, yah, we raised horses, raised a few cows. They raised more horses than cows them days; probably had a couple cows but horses - See, them days horses were good business. See, everybody worked horses. My dad, I bet, he's got still money coming from people that didn't pay him.
MM: So, they raised horses to sell for the fields, for work?
IM: Oh, yah, yah sure. The tractor come on way late. And my dad bought our first tractor and he wouldn't use it, only when we got behind. He wouldn't use it all along. Of course, it was Allis Chalmer, it went pretty slow. You know, it only went three miles an hour maybe or better. Then when we got behind, he would take the tractor and plow a little with the tractor. The rest all we worked with horses.
MM: Yah, uh, and then what did they do for fuel for this, for that Allis Chalmer [tractor]?
IM: Gasoline.
MM: Gasoline?
IM: Yah, gasoline. The first one that hauled out gasoline, hauled out with horses.
MM: Oh, really? Oh, yes.
IM: He had a tank; that tank is still around. We use it for - that tank, you know, and get a team of horses on it and pull it out.
MM: So, the horse was very important?
IM: Oh, yah. Well, that's the only thing they had. That's for riding and buggy, with the buggy, and plow, and hauling the wheat to town, grain to town, and the harvest; there was no other till later on, of course, when I started farming, I started with the tractor in 1927. See, I started farming, I had horses too, and my dad had that old Allis Chalmers and he said, "You better take that." It took you a half a day to get a half a mile around the field. I found it out. Then later on I bought a 1530. Then in 1945, I bought my first M tractor and I still got, I still got four tractors myself. I got two garden tractors, a John Deere and a Husky, and little Bee and an M and a 660, setting down in my garden and some's over at Oscar's, my son. And I had last year, then, they had them down at the Prairie Learning [Center], you heard about that, did you?
MM: Um, hum.
IM: That's quite a deal. I'll take you over to that stuff later on.
MM: Now did you, ah, of course it got cold in the wintertime, what did they use for fuel in the house - in those early years?
IM: Ah, cow chips. And we went down to the [Missouri] river, we were about 10 miles from the river. We'd go down in the fall with the saws, you know they cut the trees - and then one on one side and then, like that. By evening your arms couldn't lift up to your mouth! That was hard work!
MM: How'd you get that wood to bring it back home?
IM: Box, wagon box. See, we sawed it and hauled it home. Otherwise, sometimes we hauled the tree home, the whole tree, you know. And then they got coal in the early days.
MM: Oh.
IM: Yah, they went to the hills. There's, there's a number of places around here, south, you can dig coal. Well, there's still some mining, like up by Hazen there, that's where the mine where my son-in-law works. You ever been up to that plant?
MM: Yes, I have. Now have you - then, of course, you'd go out and gather some cow chips, too?
IM: Yah, for cooking and stuff - anything that would burn. Some people would cut these buck brush and tie them together. Some people probably chopped all their wagons when they didn't have - Yah, it was hard living then, I'll tell you! Not like now; there was no electricity. In the fall, you went to town and got a sack of sugar and a 1,000 pounds of flour and 10 gallons of kerosene or so, and then probably after Christmas, in February, they went to town again. They didn't go to town everyday like now.
MM: So, you didn't get to town very often?
IM: No, no, no. I didn't get to Bismarck till my dad bought a car in 1926. He bought a Model-T, '26. And then we went to Bismarck once a year then I had to drive. It took us all day to get up there and back!
MM: So, you weren't a young boy anymore, till the first time you were in Bismarck. The first time you were in Bismarck, you were already grown up.
IM: Yah, yah, but that was only once a year, maybe. They went up to do some paperwork or something like that or went to the capitol or something and then we took the Model-T. Ah, it took us a good day to get up and back. Sometimes we didn't make it; sometimes we stayed overnight. There was a guy over here between Mandan and Flasher, guy by the name of Burgess, and they kept people overnight, you know. We sometimes stayed there.
MM: Uh huh, interesting. Now when you would have the holidays - of course, we've just celebrated Christmas. How was Christmas celebrated on the Miller farm?
IM: Well, I'll tell you where we celebrated Christmas, as many days as I can remember, was on the Volk's farm. So they all came home and had that kuchen, about that thick. They had that homemade beer and homemade wine.
MM: Oh, they made homemade beer and wine?
IM: Oh, yah. They made homemade - you'd buy that malt, you can still buy that. That malt, they made homemade beer; it tastes like yeast, you know. And they made wine, you know, they bought those grapes, those grapes, you know, you could buy them in the boxes. They made wine with that, sometimes chokecherry wine and chokecherry jelly.
I know Lawrence Welk used to tell about what it
was over there and it's the same way over here. Weddings, when
there was a wedding, they started in church in the morning and
then they went home and ate: soup and chicken and kuchen. Then
they started dancing until midnight. And the next day they come
again and then the next day, all day, till night again. There
was old Tom Goodenberger, he used to play there and over here
we had Anton Welk and John, ah, Harry Goodwin, played the violin.
Anton Welk played the accordion and the other one played the violin.
MM: Who played the violin?
IM: John Goodwin, his name was. He was a Norwegian; he just lived with the Germans. He was pretty well mixed in with our people, you know. They lived and went to school, the boys went to school with us. He played the violin; and old Anton Welk, he played the accordian.
MM: What about New Year's? How did they celebrate New Year's?
IM: About the same; they went around shooting. I don't know if you remember that or not? See, midnight - like here, Christmas Eve they went out. I never did like the idea it was so cold, you know. But they went out to every farm, and then they wished them 'Happy New Year!' then they shot a shotgun. They took the blanks out, you know, there and shot. I only went one time. It was so cold, you know. There was a lot of them used to go there.
MM: Now, at Christmas time, did they have a Santa Claus?
IM: Well, once in awhile, not like now. They didn't have toys like now. They didn't buy or exchange presents like now. You'd probably get an orange or a couple of peanuts or something. It's not like now, not at all. Nowadays everyone's got presents, you know. We went to the Midnight Mass.
MM: Where did you go to Midnight Mass?
IM: St.Gertrude's. It is still there. Of course, they built a new one since; they built a new church. That's where Prairie Learning is. See, they bought all that. See, we had a school there and we had a dorm there and we had a big gym there; still all there. And these guys bought it. I think they got 40 boys right now. Dennis, he was a good friend of Oscar and Odegaard too. I was the first one to haul them out; hauled them out there. They got broke down there and I went down south and I had one of my twins in the car when the car went by them: an old van and a trailer with some stuff on it. I says to Danny, that's my grandson, "We better pick them people up." That was the guy that moved down there. They were hauling stuff there - They are very good friends to me.
MM: Yah, this area around here, of course, had many of our German-Russian people lived in this area. Do they, do you still hear German spoken once in awhile?
IM: Ah, not, I'll tell you, the only one that used to speak German is Pete Deichert. He used to be the Chevrolet dealer; he's down in Arizona. And then his brothers, one lives in Mandan and one lives in Bismarck, and they talk German. Well, if you talk English they will, but in amongst them, it's German. Yah, they still talk German. But other than that, I don't know, my boys they never - Rachel, my daughter-in-law, she teaches high school here, she is German. They are from Germany but they're high German. She wasn't Catholic when she got she married; she's Catholic now. Well, her dad could talk German. She understands but they don't talk German. At home her granddad had German books, written in German, yah.
MM: Now, in the Miller house, was there much singing going on? Did you have a lot of music?
IM: No, we didn't but the Ternes (family); they were in the church choirs. They used to sing a lot. And Miller, Rudolph Miller, he is no relation to us. He lived there by us. Old Rudolph, he's dead now; they used to sing quite a bit. You know, they had an organ, one of the old pump organs [harmonium organs] and they'd sing.
MM: A lot of German they'd sing?
IM: That's all they sung, German, yah; at that time.
MM: So you learned, when you were a kid, you grew up reading German then?
IM: No.
MM: You didn't learn to read German?
IM: No, no.
MM: Did your folks, by chance, get a German newspaper?
IM: Yah. Das Staatsanzeiger and the Weisenfreund, they got that.
MM: Which one else?
IM: Weisenfreund they call it. They both got shut down for some reason then. That one was in Bismarck, that Staatsanzeiger. You must remember that.
MM: Well, I remember hearing about it. We've read it since then, but I'm interested in the other title. What was the other title you mentioned?
.IM: It was Weisenfreund they call it; Weisenfreund. It's German, Weisenfreund.
MM: What was in those newspapers? Do you remember reading some of them?
IM: Well, most of the reading was from the old country. You know, they put in from the old country.
MM: So your folks were real interested in seeing what was happening over there?
IM: Yah, yah. My dad read that till they quit and they shut them down for some reason, they did something wrong, you know. Something was not right so they shut them down. That was printed right here in Bismarck. I remember the guy. I've seen the guy on television that used to print that.
MM: What about, Isidor, dances around here?
IM: Well, they had those dances Sunday afternoon, you know. Well, when I grew up I played ball.
MM: Oh, you played ball?
IM: That was my interest, and that's my boys' [interest] too now. They're either basketball or baseball in the summertime. Now they don't play much baseball anymore; it's mostly softball, slow pitch. Well, I played baseball.
MM: You played baseball? And you'd come into Raleigh to play?
IM: Oh, yah. We went several places, you know. We come to Fargo, too.
MM: Oh. Did you go with the horses then?
IM: Yah. And I got an in-law up by Almont; he's dead. He was a baseball player. Of course, he played on a different team. His wife used to say he hauled oats and the horses all week, to go to Flasher or Raleigh to play ball; and that's about 30 miles!
MM: Oh, yes, that's a long way.
IM: - round tour with a buggy. Yah, he played ball and my other in-law played ball, Cane, Rachel's [dad]; like Oscar, he played ball. He said, "We either played pitch the ball or hay." That's what we did too!
MM: Either pitched the ball or hay. That's interesting.
IM: My dad said, "You show us the wrist." And then I and my brothers - there's only one interest really big enough. And soon as we had dinner, at hitting time or threshing time, we got the baseball and the mitts and pitched the ball. Yah, I liked to play ball. Now, my kids are all interested. Most of them they play basketball or football, or volleyball, or whatever they have.
MM: Now I know that around Strasburg, [patron saints] names' days were pretty important - when they'd celebrate those names' days, here too?
IM: Yah, yah. Well, the first year it was, but then later on it faded away. Yah, my mother used to always, her name's day always was - what the heck is it - it's after, I believe it's in the fall sometime. She always had a big doings. A lot of people came. But, ah, then later on it seemed to fade away. Yah, Strasburg, that was, that was quite a deal for name's day. Yah, I remember that they used to have names' days. They got homemade beer and wine.
MM: Um hum. What about butchering? That was always important.
IM: That's always, they butchered in the fall. Quite a few pigs had fat on it that thick. That's what they had all winter. There was no other meat there. They went and salted that and smoked it. See, there was no freezers, you know; salted and smoked it and then -
MM: And then when spring would come, how did they keep ice? There was no fridge. How'd they keep the ice?
IM: We later on, we got a ice cellar. We dug a hole in the ground. And then we took straw and put ice in; about that much straw in, and that lasted pretty well over the summer. Cut it in the lakes, you know, ice.
MM: And they'd put it way deep in the [ground]?
IM: Yah, yah, and put straw around it. And it kept till, oh, maybe August or September maybe. The [ice] cakes were about that wide and about that long. The railroad did that too, you know; the railroad done that too. The Old Milwaukee used to run through Raleigh, and they had a depot there. They had a icehouse.
MM: They had a icehouse too?
IM: Yah, but they shipped that in. The town of Raleigh, they had a big icehouse. I used to go and help cut in one town, you know. They hired guys to cut the ice and we cut ice, yah.
MM: What did they use that ice for then?
IM: Oh, keep the water cool or something like that. It wasn't much, I mean, it wasn't really - They made homemade ice cream them days.
MM: Oh, yes. Now, of course, on your farm there was no radio, no telephone either, huh?
IM: Nothing, nothing, nothing.
MM: Now do you remember the first time when the radio came into the scene?
IM: Yah, we didn't have one right away. In 1931, the first radio I noticed, ah, they had that Coronado [that] Gambles used to sell. My uncle had one and some other guys. We didn't have one. Later on, I bought a Crosley. Then the television come in 1950 something, the first television come. No, there was no radio, no there was nothing. All we got was a cookstove and probably, ah, heating stove in the other room, sitting in the middle.
MM: So, what did they do to pass the time? They had no phonograph records either?
IM: No, no. Well, I'll tell you, I wondered a lot of times how they could pass it. My dad was a little different. We had to get the hell out and clean the barns. And, ah, we had horses yet. My dad and my grandpa, they'd sooner let you go, that you die before the horses died, if it came to it! Well, that's true, I know. Then outside, where the cows walked, you had to chop the manure loose and put it on the wheelbarrow and haul it on a pile. You always had something to do with the horses, you know. Then if nothing else, you had to go out and curry them, you know. Curry them everyday. I know my grandpa: when he seen a guy 'trod' the horse he'd tell them - whether he was a relative or [not], and he just told them off. Sometimes, he got in pretty good fights, you know, tell somebody else, "You better just walk that horse, it's got life too!"
IM: Yah, we always had something to do, and I trapped quite a bit. I was quite a trapper as soon as I got big enough to trap. I trapped and hunted. I hunted a lot of coyotes when I was bigger. I got a 30-30 [rifle]. I sold it at the sale; a 30-30 and you opened it like that and I had a 25-22, and a 30-30 and a bunch of 22s. I still got one left. I kept that's about as old as I am, the rest of them I sold at the sale. I had a bunch of old guns. I know my grandson bought one. He paid a hell of a price for it. I didn't know that he wanted it. I would have sold it a lot cheaper to him than he paid at the sale - my sale, when we had a sale.
MM: But they found time to have some free time, a little bit anyway? They played a lot of cards, didn't they?
IM: Cards, yah. They played a lot of cards.
MM: Did your mother do a lot of cooking?
IM: Yah, she always puttered around. She always cooked and well, there was seven of us or eight of there, seven of us. Why, she was always busy.
MM: What did she cook? Did she cook a lot of noodles?
IM: Ah, no. I'll tell you what the biggest deal was at our place was rivel soup, knepfle soup. You know what that is?
MM: Yes.
IM: A guy in Mandan here awhile back, we come out of the clinic, out of the eye doctor, Dr. Schmidt. He came out and he says, "I got to go home and get me some knepfle soup," and he says, "I bet you don't know what knepfle soup is?" I says, "I bet I ate more knepfle soup than you did!"
MM: Oh, yes. I like that too. In fact, during Christmas now, I had some of those cheese buttons.
IM: Yah, yah, the cheese buttons.
MM: At my brother's house, they had cheese buttons, those cheese buttons - käseknepfle.
IM: Yah, yah. Well, they have them, all that stuff: käseknepfle, knepfle, well, all that stuff. That's all we lived on. We didn't have no fancy meals.
But some people (as minutes before) I couldn't see how they can, how they passed the time. There was a couple couples there, ah, neighbors, I used to go up visiting. They'd sit in front of the stove, he would smoke, and she would knit or something. They sit from morning till night until way in the midnight and never moved! How they could - I couldn't do it. I sit but then, I don't know, I move around a lot, you know.
MM: Now you retired in what year, Isidor?
IM: I kind of retired in 1978, in there. But I still farmed a few years, ah, on one quarter, you know. I just put some oats in and stuff, just to pass time. See, I got the tractors and I had a combine them days; Oscar's got that now.
And so I went out and my wife died in 1980. Before that, I used to go out and farm a little bit. Then when she died, why, I didn't have nothing to do, so - the one guy that quit, well, he got pretty old. And they wanted me to come there before and renew my driver's license, but they wanted to board us out, they wanted her to clean as a janitor. She didn't like that at all. When she died, why, they called me right over the same fall that I come over and started working for them. So, the first winter all I did is, ah - it was too late to mow, you know, then I just help count their inventory and stuff like that. I went here before New Year, I was over there a little while.
MM: Now, when you look back to those early years, when you think about when you were six-seven years old, over in Emmons County, south of Strasburg. And then when you think about coming over here on the ferry and settling around Raleigh and so forth, when you look back to those early years, what kind of vision do you have once-in-a-while? Do you think about them once-in-a-while, those early years?
IM: Well, yah, over there again, we went to Grandpa Miller's for Christmas, by Strasburg. I've got some of the pictures, where the house was built. Do you remember the house over there?
MM: Well, I remember the sod house, as it is now.
IM: It's not a sod house; it's a stone house.
MM: Stone house, rather, yeah.
IM: It's about that high. I've got some pictures here - about that high standing yet. I know there's beer cans around there [in the picture], somebody else was - I'm sure they didn't drink beer out of them cans when they were there!
MM: But you remember going to that house?
IM: Yah!
MM: As a child, huh?
IM: Yah, yah, I remember. I remember Grandpa Miller. I remember him real well; and her too. And I know the house in Strasburg where they used to live. I know that house. I drove over last summer, it's on this side of the river; kind of an old high house and I peeked in, you know, at that high house. That's where your dad used to live.
MM: Right. What kind of grandpa and grandma were they, were they pretty strict?
IM: Oh, yah, yah, they were. If you was a little bit naughty - I'll tell you, I and your dad - I used to drive over and lived with them, stayed over for a month sometimes and then when we got a little bad, why, they chased us to church to pray. And that church was, ah, where you kneeled on those just 1"x4s" and when it's kneeled on, they bent down the middle. And then later on, I went down to some funeral (or whatever it was) and I says to your dad, "That's just like", I said to Jim, "when we were small, the time when we was - you know, the saying was, 'alte Kirche und nichts Gelds aus - '." Now they got new. They had those dog-gone boards you kneel in, then you kneel like - it's hard kneeling. Yah, when we got a little out of line, why, especially the old lady, I mean your grandma, or your mother? (No, it was your grandma.) Now, let's see, yah, it was your grandma, or your great-grandma, wasn't it? Your dad's mother, it'd be your grandma.
MM: Right. Yah, no, I never knew my grandparents on the Miller side. I was too young yet. They were already deceased by then, but you remember them. Now, you'd go over for a month or so, you said?
IM: Once it was a month; sometimes I'd go a week or so.
MM: Just to do a little work or what?
IM: No, no. I and Pete run around. Afterwards we bought a car, a Model-T, run around and drunk beer.
MM: Oh! Because you were about the same age.
IM: Yah, yah - a little older than he yet. He was pretty good; he was quite a mixer, that Pete was, your dad. They had them cellars, they called them, or caves and they had that homemade beer and I was there in the summer, one time. It was nice and cool in there and we went down to drink beer.
MM: Did you guys go to dances too then?
IM: Not, ah, I went a couple of times over there. The dances wasn't, they were kind of drinking dances over there at that time. They all got drunk, you know. That Schwabs, you know, and these guys and well, Amelia Bachmeier, John, he was no-good-for-nothing, and Pete was no-good-for-nothing. They, they liked to drink, so we didn't mix in too much.
See, Amelia was your grandpa's second wife. He got married over in Russia, first time. Then he married this Bachmeier. She had that Amelia Bachmeier and he had a bunch of boys: John and Elizabeth, and Rophina died and Pete is out in Montana, John died. The boys were, they always got drunk.
MM: Uh huh. Now do you ever remember going to any dances when Lawrence Welk would play?
IM: Not over there, over here I did.
MM: Oh, you did, huh?
IM: Yah, he come over here.
MM: He came over here?
IM: Oh, yah.
MM: And then who would he, how big a band did he have?
IM: Just a, just a drum player first. All he had was a drum player and himself on the accordion. And then later on he had a bigger band, maybe four or five of them.
MM: But he'd come over here then too?
IM: Yah, then he'd come to the, like to the bars and stuff. But then first, when he'd come, he used to come for weddings, oh just a wedding dance. Then he just had a drummer and himself on the accordion.
MM: And then, ah, was he pretty popular when he'd come over?
IM: Well, he played little more popular [music] than they did here. Here they didn't have a very good orchestra. That ah, oh what's his [name]- lives east of Bismarck, used to come there. Anyway, that's the first piano -accordion. Dietrich. Dietrich used to come, east of Bismarck. His [grand]son lives right out of Bismarck, his grandson. When you drive out there's a bunch of sheep on the north side of the road -. That's where Dale is, that's his grandson.
MM: Well, how did Lawrence get over here? Would he go across, would he come over here with the ferry?
IM: I don't know how in the heck he'd come, but later on he had an old car. I still got a picture of that old car someplace, I mean, in the book. He had an old car then they'd come. He had a lot of money then, pockets full of money before he got married. Then later on, I read two of his books. I got one here and one my daughter bought me in Hazen. He didn't have too much money in between there. He pretty near went broke. See, the people wouldn't hire him because he couldn't talk English.
MM: Oh!
IM: See, in these bigger places, they wouldn't hire him till he got in with a guy that [could] kind of lead it. He talked here the other night, Sunday night about that. That he led them because Lawrence couldn't speak and he could speak both English and German. So, that's the way they got in. Then they got into bigger places. They played in Yankton, SD, and then that Bob, ah, McLeod, he was down there. He used to be over the radio here. He was with him down in Yankton. I didn't know that either till a couple of years ago, I went to the chiropractor and he come in there and we had talked about it. He said he was 50 years here and about five years down in Yankton.
MM: Oh, is Bob McLeod still living?
IM: Yah.
MM: Oh my! We'll have to pursue that. I didn't know
IM: He was a couple of years ago. Yah, I never heard that he died.
MM: Well, that's interesting because of our Lawrence Welk collection at North Dakota State University. Maybe you know all of his archives have come to the university in Fargo? So we're interested in collecting materials and speaking to people that knew Lawrence, way back at WNAX days. So, Bob McLeod, I'll have to check that because I remember Bob McLeod, of course, on KFYR radio there and TV too.
So, Lawrence would come over. So, when he would play and speak, he'd speak only German then, huh?
IM: Yah, yah. But at first, then later on when he come with a bigger band, he could talk kind of a broken language, yah. You could still hear his accent right now. Yah, I mean, ah, later. Now he's dead but when they have, ah, when he talked, you know, when he played, it's still an accent like around Strasburg. See, Strasburg, they talked German longer than we do here.
Because, ah, I know people used to come, they came over to our place. Some, well, I forget who it was and they could not talk English then, couldn't understand English. They was going to buy something in Raleigh and that guy in Raleigh, there's a guy by the name of Leonard. Cecil Leonard has a store and, you know, he talked English; he couldn't talk German. And they was going to buy something and his word was just like German and they said, "I don't know how to pronounce it." "Well," my dad says, "just say what you want", you know!
Yah, they, and then when we had that, ah, German - there was a bunch of German peoples here. I got the pictures from there. Germans from Germany here; and then we went over to that Strasburg church and had church there. And then Kramer, that Kramer that's a priest, you know him, don't you?
MM: Father Kramer? Yes.
IM: Yah, he's in Dickinson now. He was pretty sick here earlier, he's pretty fair now though because Donny's mother come, they go to that church; and he's getting along pretty good. He lost all his hair.
Anyway, that one guy said, "That's all German
here." (one of the Kramers) "Everybody talks German
around here. If you don't talk German, you don't talk." And
then Father Kramer was going to talk German in his sermon, but
he had a heck of a time! He hadn't talked it in so long you know,
it make a difference. Just like my boys, you know. Ralph, he can
talk German, but he's got a heck of time, you know. He used to
talk German at home, but now he's the oldest one in my family.
He's got a hard time talking German. And then he said, "Over
there they all talk German yet." Right now they talk German
the same.
MM: Less and less but do you hear some German speaking?
IM: Oh, yah, yah. Well, that supposed to be German, all German. See, these Germans were from Germany, West Germany. And then they had church over there in that church, in that Krasna church.
MM: Now, were you there at Strasburg when they had that Miller reunion?
IM: No.
MM: That was in 1980.
IM: No, I wasn't.
MM: You didn't get over there for that, huh?
IM: No, I think that was just about when my wife passed away.
MM: Yes, just at that time right then.
IM: No, I didn't get over. No, I didn't go over there. I was over there when they had that, ah, when the Germans were here.
MM: Yes, they had that Kramer reunion.
IM: Kramer reunion, yah. That's when Father Kramer was down.
MM: Now those years, when you came over here at the age of eight, you mentioned you went over there once-in-a-while and were over there with Pete Miller and so forth at his house, but did your folks get over there very often?
IM: Why sure, every summer with the buggy! They went over here to Fort Yates and over to Fort Yates there was a, ah, by Fort Yates; sometimes north of Fort Yates and sometimes south of Fort Yates. And they drove over to our place there, to Silbernagels. See that 29th of June, Peter and Paul, the 29th of June? They went over every year.
MM: Oh, that was a big event, a church feast?
IM: Oh, cripes, yes! They had a band and they had a parade. That was a big deal there, the 29th of June.
MM: You remember that?
IM: Oh, yah! I remember that.
MM: Was that even bigger than the 4th of July, I bet?
IM: Oh, yah, yah. A lot of people came from all over the area. They had a band and they had a big meal and stuff. That one guy that played for Lawrence Welk, that Klein, his dad was leading the band over here and he'd come with Lawrence Welk. He played the drums for Lawrence Welk. Klein.
MM: Yes, Jack Klein. His father was in the post office at Strasburg.
IM: No, that was some of his cousins. No, no. No, his dad was older [than the guy at] the post office. I remember him now. Yah, he was married to Kramer's, like the Father Kramer, one of their sisters, that Klein was married to. And that guy in Linton, that Kraft, that funeral guy, he's married to another one.
MM: Oh, yes. Her name was Agnes.
IM: Yah, I was over there when he died, went to the funeral, yah. That guy that worked in the post office, yah. I knew him before that.
MM: He's Leo Klein.
IM: Leo, yah. His dad was the one that lead the band. And then that guy that played, anyway this was either a cousin or a brother that played for Lawrence Welk out in - with the drums. They told me that their dad led the band in Strasburg. At that time I didn't know him, of course, you know, that they had a band player.
MM: When Lawrence would have the dance over here, how late would the dance go then at night?
IM: Well, he had pretty good turnouts, especially in town. Then he played a few weddings, couple three weddings, you know. Then it was just a drummer and him. Old Goodenberger played some, once in a great while, not very often. I think he played only one wedding out here. That red-headed guy, he played the weddings over there where I went to the wedding. Like Kramer, Anna Kramer, do you remember her?
MM: Yes.
IM: She lives in Bismarck now. She was married to a, what is his name? Anyway, they live in Selfridge now. I was the best man when she got married; there Goodenberger played, it was Tom.
MM: Tom Goodenberger?
IM: Yah. Do you remember him?
MM: No, that was before my time.
IM: Yah, he died.
MM: Did he play with Lawrence ever?
IM: No, no.
MM: He had a different band.
IM: No, no. He didn't have no band; an accordion, that's all.
MM: Oh, he just played accordion.
IM: Then later on he gave lessons. A few people went up; he gave lessons there in Bismarck.
MM: Oh, uh huh. Now do you remember listening to Lawrence Welk on WNAX?
IM: Yah. I always did. We didn't have a radio at home at that time. I was home then. In the wintertime, there was a neighbor, a fellow by the name of August Dolly. He was a big rancher. I went over and helped him all the time. They had one of those radios about - oh, they had a bunch of batteries and a storage battery. Then you'd listen; and sometimes they would come in; and then fade out and come in again. He played at noon. Yah, he sounded about like when he come over here. He didn't have a very good band. I think he had a horn player and a drum player at that time, a small band.
MM: Well, later on after Lawrence was down in Yankton, did he ever come back with the band?
IM: Yah, oh yah, he would come through here. Played in Raleigh in the bar or in Flasher in the bar. See, them days they had the bar and the dance all together.
MM: Oh, uh huh. People did a lot of dancing during those years?
IM: Oh, yah, yah, especially with Lawrence. Some of the older guys didn't like him because he played more modern music, you know. And they wanted them old waltzes. They like old Goodenberger better, but that's all he played: waltz or polkas, old Goodenberger.
MM: And Lawrence played all kinds of music?
IM: Yah, he played more modern music, yah. Especially after he had two or three guys with him, then he played that modern music. Some older people didn't like that; they didn't care for him.
MM: Do you still watch the Welk show today?
IM: Every [Sunday] night, every night we watch it.
MM: Every Sunday night, huh?
IM: He's only a little bit older than I am. He died, ah, let's see -
MM: '92, May of '92.
IM: Yah, I think he was born in 1902 or something like that. And I was born in 1906. I go to that place every time I go over there but here lately since they redone it - I've got a lot of pictures of that place too. Since they redone it, I haven't gone over.
MM: We're going to, I think, close our conversation today. It's certainly has been a pleasure, Isidor, to come down and see where you live. And maybe we'll get a chance now to see the old homestead.
IM: Sure you will see it. We'll go down there and we'll have dinner.
MM: It's about 9:30 so we're a little bit ahead of schedule here. So, we'll visit about that after we close our conversation. And I want to wish you a Happy New Year and the best to you in the year 1994.
IM: Thank you very much. Glad you could come.


text:
Ryan has shared the stage and recording studio with many greats including Clark Terry, Red Holloway and Buddy DeFranco. Her recordings and performances generate a genuine heat, which rises above the "flavor of the month" excitement that is sometimes associated with vocalists. I caught Jackie Ryan on her home turf of San Francisco for a brief chat.
JazzReview: Thank you for being here. I do have a few stock questions, not out of laziness, but because if I could, I would ask them of all artists I admire. What were your earliest musical years like? Where did you cut your teeth?
Jackie Ryan: I grew up the youngest of four children, north of San Francisco, in a struggling, middle-class neighborhood, to parents who were both singers--although when they began a family, they no longer performed professionally. Actually, I come from a long line of singers on both sides. I guess being from Irish and Mexican parents one might expect that.
My Dad was a classical singer who sang Schubert, Brahms and Tchaikowski, and my mom sang in operettas in Mexico in her youth. All of their siblings sang, as did their parents and grandparents. When I was growing up, my mama would always be singing some sweet Mexican songs around the house. They [my parents] also both sang in the choir and used to bring me up there with them when I was little. I would hear all these great voices all around me, singing Gregorian chants and Latin masses. It would fill me up!
As a child I was always singing. Used to keep my siblings up at night! In my teens, I joined a local dance band [and] started writing and performing. I loved the Rhythm and Blues giants--Otis Redding, Sam Cooke, Mavis Staples. Then I heard jazz and that was it for me! I started buying all the jazz records I could. Sarah, Betty, Billie. Then I met this eccentric record collector. His whole basement was stocked full of records. He turned me on to Oscar Peterson, Oscar Brown, Jr., Eddie Jefferson, Charlie Parker, Miles, and Bill Evans. We used to listen for hours on end. Those were great times.
JazzReview: Are there any arts done in mediums, other than music, which inspire or influence your work?
Jackie Ryan: All art inspires me. Life inspires me. The art of life, I guess, the beauty all around that I see nature definitely. One of my favorite places is that of the sculptor, Rodin. The Rodin museum in Paris where Rodin' mistress, the sculptress Camille Claudel, [whose] work is also displayed. Man! Her work actually moves me even more than his--unbelievable passion in her work. It inspires me just to think of it. It is incredibly moving to view such beauty. Godly! Whenever I go to Paris, I try to get back there because it moves me so, to tears. So I guess all great art inspires me and thus inspires my own art.
I think also that if you have a love of one kind of art, chances are you have a love of many kinds of art. It's that right side/left side of the brain thing, I suppose. I have painted, sculpted, done pottery, drawing, even have sewn the designs I created for clothing. I love to cook. I love dancing. I love to partake in it all art.
JazzReview: In those early years, had you any of those infamous gigs or experiences, which were so bad, but you now can look back and laugh about?
Jackie Ryan: Oh yeah! There have been some doozies, but some were funny actually. One time when I was a teenager, I came out to bow and did a dramatic curtsey just in fun. I kicked up my shoe and it went flying out into the audience, WAY out there . into the dark! It was hysterical! And, it was a huge place, so the shoe disappeared. I had to perform anyway, with one shoe. It was like a comedy routine, like a Lucille Ball skit! Lord! On the break, someone brought it back. That's pretty darn funny to remember.
JazzReview: When not recording/performing yourself, do you listen to much music? What do you listen to for inspiration or fun?
Jackie Ryan: I listen to everything from Miles to Benny Carter to Red Garland to Brazilian to African to Capo Verdean to Fado to Tango. The whole gamut!
JazzReview: Do you have any pre or post show rituals that you must do?
Jackie Ryan: No, no real rituals. I've been singing since I was four so you know, it's like anything else. It's like breathing, but it's important to me to be centered. So ideally, I try not to have too crazed a day before a gig or an important concert. Of course, that is ideally, not always possible.
Ideally I would want to be a bit quiet, do a bit of soft singing [and] take my time getting ready. In general, I have learned that being healthy and centered is what it is all about for me. That takes a certain amount of upkeep. Your voice depends on your state of well being to a very large degree. If you aren't healthy, it will show in your sound. It may be truer for singing than for playing an instrument because it is inside of your body, literally, that the sound is produced.
I exercise a lot, eat good clean food, don't smoke and try to stay balanced. The business isn't easy and it can get to your head if you let it, so keeping the stress of it away is important--not always possible, but very important. Getting stressed can affect your singing so it's a very Zen like thing. You just have to stay on top of it and that is the challenge. You want to present the music in the way it should be--to stand in front of people and deliver with confidence. So, it's your duty to be as together as possible, and that takes general consciousness about your health, both physically and mentally.
JazzReview: What dictates what a set list will be like? Do you have any pieces that you try to do ninety-nine percent of the time? Do you find that your book changes depending on where you are playing as far as city/country? Do different audiences have different expectations as far as your set goes?
Jackie Ryan: Well, I don't do anything ninety-nine percent of the time, just what the mood dictates, I guess the musicians, too. I have to go by how I feel at that time. If I am feeling good about the music, it doesn't matter what audience it is. They will pick up on how I feel.
JazzReview: Are there any classics from the Great American Songbook, for instance, that you feel are so associated with a particular singer, you would never perform?
Jackie Ryan: Yeah, certain Billy Holiday tunes for instance they were hers or songs that are so obviously coming from the African-American experience. Although African- American singers were my biggest influence, I am respectful that certain songs should only be sung if you are, like "Gloomy Sunday"[and] "Strange Fruit," although a Jewish man wrote "Strange Fruit." Still, I feel to sing it, one should be black in order to tell it from a personal experience. I respect that. That's just me. I am sure others would not agree that's fine. Or Billie's "Don't Explain," I love the tune, but she wrote it out of her experience a very personal one. I don't do the tune or Betty's song "Jazz Ain't Nothin' But Soul." I loved hearing her sing that, and it is hers to me.
Singing is very personal. Other tunes that are perhaps standards even if they were written by singers I might do, because they can be told from different experiences. I'm not real absolute here either. I may even change my mind. It's not really something I have put a lot of thought into. I won't say what others should do either. And I don't even have a judgment about it for others. It's just how I feel for me.
JazzReview: How important is it to your sound to have a "permanent" working band behind you? Do you have a preference as to the size of what is behind you? Does the size of an ensemble change what you would sing and how you would approach singing it?
Jackie Ryan: Well, everyone is always trying to work as much as possible, so having a permanent band is nearly impossible unless you can put everyone on a retainer to only work with you, and I can't. So I work with lots of different people all the time. There are times when I have gone onstage with strangers, but the music connects us. Jazz is an international language after all.
Definitely, the size of the ensemble changes my approach. Actually, the less people, the freer you are to use the space, but every configuration has its quality. Different instruments bring different palettes of color to use and play off of also. In a big band, you are in a highly structured environment though and must stay within strict boundaries. Hopefully, the arrangements can leave you some room to play within those boundaries.
JazzReview: One of the great aspects of jazz is that it is ever in flux. It seems though, as if it has largely shed this protean aspect. Jazz is now far [more] easily available than ever before via web retailers, but the ability to explore and expand one's sonic palette is hardly taken advantage of. Has the audience become too rigid in what they define as "jazz," forgetting that many of the now established sub genres (modal, free et al) were once also not considered "jazz" proper?
Jackie Ryan: Well I don't think there is just one audience. There are still audiences for every kind of jazz, though perhaps they are a little less visible. Free jazz definitely has its followers, though it may not be on a commercial level. Any avant-garde form of any art has always been appealing to a smaller audience. I can dig it all, but many people find it harder to take. But if you are talking about the business side of things, that's different.
I think the business of jazz can be very one-dimensional, especially for vocalists. Because let's face it, it's a business and they want to play it safe and appeal to the broadest audience they can. But to define jazz, and say it is just this one style, it is limiting.
I suppose everyone has their own definition of what jazz means to them. That's the trouble with putting a definition on art. It locks it in a box. Some people do love labels. For myself, I am always reticent to use labels. Jazz has to be about expansion and incorporating all the artist can bring to it from their life. Any art form has to be about expansion. To me, that is the nature of art. So obviously, jazz being art, people should be able to allow all of its expressions. You can't listen to the media's interpretation of what jazz means. That's where you make the mistake. You have to ignore that stuff and just go with whatever rings your bell!
JazzReview: I know that if one reads biographies of the late 50's/early 60's, there were some heavy hitters living in expatriate communities in Europe, doing month long club residencies (Ronnie Scott's in London, Quai de Chat qui Pesche chat in Paris, Club Montmarte in Copenhagen). During this time, there was a very small group of European musicians who could play with great sympathy among the Americans (Pierre Michelot, Martial Solal et al). Now every major city in Europe has its own hometown heroes. While not a bad thing, has this changed the dynamics for an American musician doing a (club) tour of Europe in regards to availability or pay?
Jackie Ryan: Europe has changed a lot since those days. The European jazz musicians are heavy hitters with a voice of their own. I know this because I have worked with them. They often have the great, beautiful advantage of having their countries financially support the arts programs. Because European countries know the importance of culture, America is sad today in that respect.
The current administration is shutting down all the arts programs. It's terrible. In Europe, they sponsor young musicians. Holland subsidizes their musicians so that they can come play here. That is so cool. Wouldn't it be fantastic if America would subsidize our own musicians to play abroad? In many countries they also make sure that children learn the classics at an early age. It is as important as any other subject in school. And this isn't just for rich kids; it is for all kids so that any child with talent can be given a chance to grow into an important musical voice. They get that classical discipline and later when they bring that to jazz wow! They have so much to say.
I feel that these days the European musicians are formidable unto themselves. It is no longer about trying to just learn the American way of doing things. The Europeans have created their own voice in jazz. There is a fine example of what I was talking about earlier expansion. I don't know if this has changed the dynamic between us because I do feel that there is still great respect for American jazz players. We are learning from each other now I think. Because The American jazz approach is definitely strong and very rooted in the fundaments--the groove. To me, that's a very high place that isn't so easily taught as it is a lifestyle, and that's very American because it is about our history and the people who brought it here and blended together here. So as I say, we have things to teach each other still.
JazzReview: I am a music snob and have very low tolerance for pop-product music. We are some fifty years later, still discussing Kind of Blue or falling for Lady Day as she laments her heartache, yet American Idol winners get the attention and record company big-budgets to record an album, which will have an artistic expiration date of a season on them. Is this strictly an American phenomenon or a sign of the times?
Jackie Ryan: I agree with you. And it has nothing to do with snobbery. It is about integrity. I dislike the American Idol thing. All that nasty critiquing of the performers has nothing to do with music or soul, or beauty. I am so sad to see young people aspiring to that kind of garbage. Some of those critics on that panel are mean spirited and can kill those sweet young peoples' love of music.
We seem to have come to a place where we like to see people being humiliated, how awfully sad. But to look on the bright side, there are hundreds of clinics and thousands of teachers doing the right thing in the schools, sometimes out of their own pockets. There are musicians who care about young people and they are doing great things like the IAJE, jazz camps, clinics and the like. No matter what the media would have us all believe, there is still hope!! Plenty. In fact, I have no doubt that real music will survive because it is about truth and truth always wins.
JazzReview: If you were not a singer what would you be doing?
Jackie Ryan: Eek! I don't know I really don't. There are many arts I have dabbled in. Maybe I would have done those as a career, but if not an artist, Lord I don't know. I love archeology, so maybe I would have made that a career. I love history. Maybe I would have taught. I love animals, maybe something in that field, [or] travel, and other cultures. I actually love to cut hair and I'm really good at it! I do it for friends ha! Maybe that!
Maybe I would have gotten married and had kids, but I didn't. This was what I did. It is my life.
There are many social causes I care about and contribute to: the environment, humane treatment of animals, hunger. Maybe I would have devoted more of my life there. There would be so many choices. I have no idea! It could be that later on in life I will do some of these things also.
JazzReview: If you could go back and tell the artist you were in the beginning one piece of advice about their career, what would it be?
Jackie Ryan: That's a funny one. I don't think about that much because you really can't go back. You did what you did, and you do what you do. Talking about going back like that feels like regret. I have thought, 'Oh, if only my family could have afforded music or piano lessons for me when I was young' . blah, blah, blah! I know that's just all moot. You live your life the best you can and work with the tools you were given. Some people were given a lot early on, but perhaps you were given a more difficult set of circumstances. My Dad worked his "you know what" off just to get food on the table. Music or piano lessons were not at all possible [for me]. Nor was any type of music school. They did the best they could for us. You work with what you have.
I can only say that I developed my sound from a lot of my own experience just in performing. My sound wouldn't have been the same if I had training per se or had it all given to me. I might have sounded "trained" and I don't like that sound for what I do, especially for singing. I hate someone sounding too perfect and careful. I find the most interesting people are the ones who have had to struggle a bit. I find they have more character. Like wine if the grapes have to make it through some tough seasons, chances are the wine will taste a lot richer.
Although my road was a little tough at times, I always had a lot of love. Always I have had my beautiful and supportive family a mom who may have passed on too young, but I wouldn't have traded her for another. She gave me so much love when I was little and I have always had great friends who were real true blue. So, I don't look back and say "if only" or if I could have done things differently. No, it was and is perfect even if it's not always easy. I am really grateful for my life. It is such a gift. You just have to see that finally.
JazzReview: Do you have any artistic projects or ambitions you have always wanted to do, but have yet to accomplish?
Jackie Ryan: Someday I want to hook up with someone who I can write with--a musical partner. I imagine a really fine pianist or guitarist. It would be wonderful to do that. That's one of several fantasies. There are many ideas I have.
JazzReview: What are you currently working on and where can people keep up-to-date on your appearances and projects?
Jackie Ryan: A new CD will be out in a few months-You and The Night and the Music, recorded in LA with Red Holloway, pianist Tamir Hendelman, drummer Jeff Hamilton, bassist Christoph Luty, guitarist Larry Koonse, and a jazz harpist Carol Robbins. I'm proud of it. It is more modern than some of my other CDs. Tamir did about nine out of fourteen of the arrangements and they are pretty fantastic. It has a lot of elements--soul, a tight rhythm section, beautiful guitar work. Then there is a CD coming out early next year with Cyrus Chestnut, Eric Alexander, Jeremy Pelt, Romero Lubambo Ray Drummond and Carl Allen. It has a lot more blues and a bit of Brazilian.
Since you asked where people can get more information, I have a website.
JazzReview: It is always a pleasure catching one of the living masters whenever I can, but there is still something about seeing cats on stage in a small club, not of the staid supper club variety. Who of the up and coming/younger players should we be watching?
Jackie Ryan: Well, you just saw me singing with Eric Alexander. He knocks me out. He is disciplined, professional and so fluent in his musical expression, and he has his own sound. He isn't another Coltrane sound-alike. [He is] truly one of the greatest saxophone players of his generation, and he is a great person all around. Tamir Hendelman I work with, a young pianist [is] incredible, like a young Oscar Peterson...many great, young players. A bassist in LA, Carlitos Del Puerto, has great energy and ideas. Hot. Amina Figarova from Holland one of the greatest composers and pianists in the world, very original. She and her husband, the wonderful flautist Bart Platteau, astound me. They are both very serious musicians. The musicians she has in her band are all top notch. A trumpet player who works in her sextet, Ernie Hammes, is the best I have ever heard anywhere. It's that classical background I was speaking of earlier. I feel I have been fortunate to sing with these great players. They will be around for a long time, continuing to expand and thrill their audiences.
JazzReview: Do you have a personal motto or philosophy?
Jackie Ryan: I believe it's all about love. Everything. It is easy to lose sight of that so that's the challenge. That may sound too simple, but it isn't because it affects everything. It is about loving yourself, as well.
I used to be acutely shy. Standing in front of an audience used to be a major challenge and yet I had to do it. It's taken me years, but now I am not afraid. Now I love singing in front of an audience. The connection is palpable when you all get to feel goose bumps at the same time. You can't get that in a recording studio. It is about sharing your art and touching people. I don't fear the audience anymore because I know they are just like me.
I tell students if you fill your heart with love, there is no room left for fear. And with music also this: it's not about you, it's about the music. I have been teaching at clinics where some singing students say that a different teacher says to them, "It is about YOU! And don't forget it!!" I strongly disagree. We as artists are just a vessel and we have to remain open in order to let the energy, that Godly energy, flow through us to others. That's not religious at all. I just mean that power that is in all of us that we lose touch with. Artists, I believe, were given the responsibility to be messengers for that power. It can heal, but if what we are thinking is our ego, then we have blocked it.
JazzReview: Well, thank you. It has been an honor and a pleasure. See you side stage.
Jackie Ryan: Thanks Max. It was so great to meet you! Keep up the good work spreading the word!


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Twin Towers and Temple Mount
Sharon chose to visit the Al-Aqsa complex at an incredibly sensitive time, to force the government of Ehud Barak into the corner, and thus showed contempt for the Muslim world with his provocation. He did not hesitate to authorize the imprisonment of Sheikh Raed Salah, the leader of the Islamic Movement in Israel, while ignoring the humiliation that his decision is causing to Muslim citizens in this country.
The turmoil caused by the decision of Attorney General Menachem Mazuz on the Greek island affair eclipsed the news that emerged from the United States at the end of the week. An interim report of the commission of inquiry into the events of 9/11 states that Bin Laden sought to link Ariel Sharon's visit to the Temple Mount and the attacks Al-Qaida planned against American targets. Bin Laden ordered his agents in the U.S. to carry out his satanic plots immediately after Sharon's visit to the site of the Al-Aqsa mosque to give the impression these acts were punishment for the American administration's support for Israel.
When Bin Laden was told that the preparations for the attacks were not yet completed, he chose to wait, but sought to time the mass attacks to coincide with one of Sharon's visits to Washington.
These findings are based on the interrogation of Khaled Sheikh Mohammed, the man responsible for the planning of the 9/11 attacks, who is now being held by the American authorities. They do not conform to the initial reasons given by Al-Qaida for its wild attacks, justified as a struggle against the world of secular values represented by American society. But it would be unwise to ignore their significance and implications: the radical Islamic organization that is leaving its mark on the world chooses to grab onto Sharon's provocation to justify its behavior. Through this it intensifies the religious aspect of the Israeli-Palestinian conflict, and of the overall Israeli-Arab confrontation, and grants it enormous resonance: the whole international community, among them about a billion Muslims, learns that harming the holy sites of Islam in Jerusalem was one of the reasons Al-Qaida attacked the U.S.
Israel's leaders have always managed to neutralize, to the extent possible, the religious volatility mixed into the conflict. They understood that it was in Israel's interest for the conflict to remain within secular, temporal parameters, that can be handled through the use of rational means. The disputes with Jordan and Egypt were settled after Israel paid in territory. The conflicts with Syria and Lebanon are also discussed in measurable, practical terms: land, borders, security arrangements. This is also how the Palestinians should be dealt with; however, Sharon apparently has not learned the lessons of his predecessors - he strikes the religious chord with the sensitivity of a rhino and ignores the dangerous consequences.
Sharon chose to visit the Al-Aqsa complex at an incredibly sensitive time, to force the government of Ehud Barak into the corner, and thus showed contempt for the Muslim world with his provocation. He did not hesitate to authorize the imprisonment of Sheikh Raed Salah, the leader of the Islamic Movement in Israel, while ignoring the humiliation that his decision is causing to Muslim citizens in this country. He was not deterred from ordering the assassination of Sheikh Ahmed Yassin, while scornful of the impact that the killing would have on the religious sentiments of Muslims in the territories and other parts of the world.
Sharon explained his behavior in every one of these cases in a way that sounded justifiable: that it is the right of every Jew to visit the Temple Mount (an argument that at the time also convinced yours truly); that the activities of Sheikh Salah were seditious; and that Sheikh Yassin was involved in initiating terrible terrorist attacks. These explanations are lacking: it is expected of the leader of a country to be wise, not just right.
The Israeli-Arab conflict, and within it the Israeli-Palestinian dispute, is indeed wrapped around a religious fuse. A part of the Jewish nation, like a part of the Arab world and the Palestinian public, approach this conflict from the point of view of the Bible and the Quran. Everyone knows that the dispute over the Land of Israel did not begin only because of religious claims to the territory; it has a complex background in which the attitude of Islam to Judaism plays a central role. The wisdom required of responsible politicians is to cool the religious bonfire, not to fuel it.
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Tottenham 1 Monaco 2: Spurs come unstuck at Wembley
First Harry Kane had a header nicked away from him at the last moment by Kamil Glik. Then Dele Alli forced an acrobatic fingertip save from Danijel Subasic.
But Kane wasted a glorious chance to equalise with time running out, firing weakly straight at the keeper, after substitute Vincent Janssen outmuscled his marker. Home sweet home it was not.
Tottenham (4-2-3-1): Lloris; Walker, Alderweireld, Vertonghen, Davies; Alli, Dier (Sissoko 81); Son (Dembele 46), Eriksen, Lamela (Janssen 72); Kane. Subs: Vorm, Wanyama, Trippier, Sissoko, Carter-Vickers
Monaco (4-2-3-1): Subasic; Raggi, Glik, Jamerson, Sidibe; Fabinho, Bakayoko; Dirar (Lemar 5), Moutinho, Silva; Falcao (Germain 81). Subs: De Sanctis, Traore, Jean, Diallo, Toure
Referee: Gianluca Rocchi (Italy)