Yeah. You use tape. Tape your fingers. But you always had trouble until you get that big callous. Then you don't have no more trouble. And they didn't have amplification then. Wellman Braud used to tape up his fingers and pull that whole band with him. Pops Foster had a certain tape he used to keep from getting them blisters and them pus in your fingers, 'til the amplifiers come in, and they put a pickup on a bass. That relieved everything. Now they got . . . they got something now that they . . . what's that hell of a bass player? You see him with everybody. He sits down and plays. Play with no effort. He don't even hurt his fingers, they way they got that rigged now. You play like a touch system. That's the people are there. They looking at me. They see me, and they know what I'm doing. I'm there. I just come there, in New York. You don't see Barney Bigard, because after they leave the Cotton Club around 4 o'clock, 3:30, they go to Big John's, which is a bar where the chorus girls hang out all over New York. All the performers all hang out. The place be packed and jammed like this inside, and outside on the street is all these performers talking shop 'til daybreak. Seven, eight o'clock in the morning, they still there. They go home and go to sleep and [expletive deleted], to make their show that night. So you see all these people. Steele was pointing out everybody to me. "Who's that? " "That's <span class="fullMatch" id="match_792">Will Marion Cook Cook Cook</span>. That's . . . " Big names, he be calling the people. I didn't know who they are, but I know they're carrying some weight. Jelly Roll Morton Morton was on the corner, talking. People pass Jelly Roll Morton Morton, all them knowledgeable people, they talk he talk too much, but they would provoke him. He went for that. He liked the stage. Jelly Roll Morton Morton be on the corner talking to a bunch of people.  There's three shifts in New York. That's the 7 'til . . . 7 'til what is eight hours? 7 in the morning.