So we're on the way to Japan or Australia, and I said, "If I show the director of the choir, and he's the person that's going to be working with this - have him come to the airport in San Francisco and meet us. We'll go to some room, and I'll show him the music that I've started. " So he meets us there, and I said, "I think I've found the solution. I think I've written a fugue. " He said, "Let me see it. " He looks at it and sings perfectly the subject, then the counter-subject, then the stretto. "What do you mean, you think you've written a fugue? This is a fugue! ", which was good news to hear. So while we're gone, the bishop, Quinn, is also an organist. He showed the bishop what I'd written. He said, "This is good music, but we've had two articles against using Dave Brubeck, a jazz musician, to perform for the Pope," very negative articles in both papers. But he  said, "I can defend this music. I'm a musician. " So we get to the part - now I've got the quartet. Russell has had one rehearsal with the choir and the musicians. I wrote it forbrass and percussion, because outdoors, in a baseball diamond - the altar is on second base, put up like a jigsaw puzzle, just perfectly, very expensive, because they've got to put it up and take it down, because there's a ball game there that night. Can you imagine? It cost hundreds of thousands of dollars. I forget exactly. So [ ] The bishop said, "Dave Brubeck, don't use the quartet. The press will kill you. They'll call it a jazz mass. You've written" - he said, "I love your quartet, but I know these guys. Just do the chorale and fugue. " So I brought the group. They were there. They didn't play a note. You know, he was right, because it's the narrowness of people that write about things like this to not know that this is America's music, as Billy - Dr. Billy . . .