Well I think those, to me I don't really worry about that too much. Those who see the validity in it will give something back. There is such an ego trip in all of this, until it's very easy to get busy with yourself and forget about all others. Maybe for some people it might be the first time they have been able to enjoy some things. Other people might just be power hungry. I think once you start delving with those millions and millions I think that is a power thing because let's face it, how much do you really need to live on?  Having thirty billion dollars, to me, well it's according to your own philosophy and how you look at it you know. I would like to be able to do more myself for various charitable things. And I'd like to see more people into that. But I don't think, I just think some people are going to adhere to that, some are not. Personally I hope by the time I die I can leave something. I'd like to leave some kind of study grant or, preferably, I would like to be part of putting something together that would be here after I'm gone. A jazz class. Or something that would carry, something with some monetary value too because I know money is needed to run things. So I don't know what it's eventually going to be, but you know, I take my part in various things, you know I work on the National Endowment, I have done ... sometimes I'm a panelist for the New York State Arts Council, and I call myself a "jazz activist. " Because I like to make people aware of jazz wherever. And I'm capable of it since I am, I guess well kind of a lecturer now. I've done a program in the public schools for at least thirty years called "The Story of Jazz. " It's a lecture- demonstration where I trace the origin of jazz from the spirituals up to the present day and stuff. And I break it down very basically. When I go into the classroom, I have a participation thing that I go in and I guess I would talk about it now because I would like to see other people use this. When I go into an auditorium, I'll ask how many like jazz with a show of hands, and most of them will raise their hands. And I'll say thank you, put your hands down. Now I'd like you to be truthful with this next question for me. How many of you don't like jazz? And some of them will kind of sheepishly raise their hands.  And I'll say well that's fine. The reason for us being here today, we think people don't know enough about jazz or how it pertains to them. So that's why we're here, to give some information as to how it got started and what it's made of. And I go on to say that if you were to ask me to break it down to its simplest ingredients or a common denominator if you will, I'd say it's made of two things. One is rhythm -- or the what? You know and they'll say ... uh... and then finally somebody'll say "the beat. " And I'll say yes, that's it.  Now we relate to rhythm because we all have a beat. Without it we'd be dead. Where is the beat? Your heartbeat. Okay. So that's why we respond to it. Now when you hear jazz music played by good musicians, it'll make you feel something, because the music is deep feeling. It'll make you feel happy if you're playing an up tune, or it will make you feel sad. So there's two sides of jazz, the happy side of jazz, Swing music, Bebop and all that; or the sad side, the Blues side. And I'll say the Blues is a song about a person, a place, or sometimes a consequence. I'll say the first consequence that Black people know of in America was slavery. So I go on to talk about if you had to work all day and stuff, you'd have the Blues too you know.