One of the funniest things to me, when I was working on my doctorate I was introduced to people as Dr. So-and-so, Dr. Such-and-such. As soon as I got mine it was Jim, Bill, I mean all of that stuff -- I mean thanks a lot, yeah, okay. I didn't know any more than I did before. Yes I was treated differently. Because it was an unusual thing for a jazz musician to have an earned doctorate. And I rubbed people's noses in it. Because there was so much, when I was working on my doctorate there was so much that I found that was ... well... sloppy research. And I found so many opinions in the music and so many things, in the research, and so many that were not identified as opinions. And I'll give you one example. The thing that has frustrated me for many years, when I first came to New York, I had no idea of writing anything, I just wanted to know about the music. And I worked, my first job was on 52nd Street. So Jo Jones took me around and introduced me to many musicians. I was working with a friend of his, Sid Catlett. So I was working with it was Ben Webster's quartet. And so 52nd Street, in 1946, was a history of jazz. I mean you had everything from every kind of jazz that existed up until that period was represented on that one, actually in that one block, right down the street between Fifth and Sixth Avenue on 52nd Street just a few blocks over. These were all speakeasys, formerly. They were now legitimate night clubs. But there were ten on either side of that one block. There were four or five down in the block between Sixth and Seventh. But the main conglomeration of clubs was in that one block. So I, you know, naturally these are all super-stars to me. I mean these are the guys whose records I had heard and people who I had not heard of whose names I'd heard and never heard them play and all that, and it was a great opportunity to hear in person what Sidney Bechet sounded like or what Jimmy McPartland or some of the guys from Chicago who I'd read about and heard on radio but never seen you know. So I went to these clubs and I began to ask the musicians like Sidney Bechet and Wilbur DeParis what kind of music did they play when you were a kid. They said Ragtime. So I said well -- Ragtime -- did everybody play piano? I mean because I had read, by that time I had read the histories of jazz by Robert Goffin and by some of the -- Hugh Panaissie and people like that -- who said that Ragtime was piano music and it was pre-jazz. And these guys said something different. They said no. They said everybody played Ragtime. They played Ragtime in brass bands, they played Ragtime on string ensembles and, you know, it wasn't just piano music. So I said well was it dance music? I asked a lot of questions about the music that was played when they were kids. And it turns out that it was the same time, it was the predecessor to what they were playing. They were playing an extension of what they had heard when they were kids. And they had modified it to their own generation and everything. But basically it had remained pretty much the same from before 1900 right up until the 20's or early 30's you know? And these guys, when they were complaining about Swing and some of the older guys were complaining about Swing and saying well yeah, even playing Swing as we do here, people don't recognize thematic things and they were talking about how they would improvise on the first theme and the second theme and whatever it was. And there were certain breaks and certain other traditions that went with that early music. And it was pervasive. It wasn't just on piano. So I come along later and I say well jazz is America's classical music, and the first identifiable style is Ragtime. To date, very few people -- I mean there have been a zillion books since my book came out. Most guys have gone back beyond my book and instead of doing their own research, because a lot of the same statements that I said are in print. For instance, in Louis Armstrong's written work he says that. He talks about Ragtime as early jazz. You know you guys didn't talk to Louis? I mean he was around for a long time. You guys didn't talk to Danny Barker? I mean there were a whole lot of old musicians that, some of whom were still with us, you know. And many people just read what somebody else wrote, copy that down, and then go on and put their own opinions in there.