I quit Cab Calloway. We came home. We're playing the Paramount Theater. We came home. Saturday night and Sunday night . . . no, Saturday night we had a little party at the house. I stayed up 'til four o'clock in the morning. High. You don't give a so-and-so. You're enjoying your family, and you're trying to find out your home. You're eating . . . afraid to pull out a drawer in your house. You have to shift a role, because you don't do that when you room in people's rooming houses. They leave their things in there, and you don't . . . So you're home, even afraid to . . . "This is my house. Let me look in there and see . . . " You're disgusted, man. You're going to leave your home. You got your comfort with your wife. You're with your child. She don't see you much. That's seven years I  don't see my little girl much, because I'm on the road. They got reasonable culture, but you don't see them. You're on the road Christmas. He give you two weeks vacation every Christmas, Cab Calloway. A week before Christmas and a week after. New Year's Day . . . New Year's Eve, you . . . the day before New Year's Eve you catch the . . . There was a ticket for you at the office. Go get the train ticket, and you catch that train. The famous train, from New York to Chicago. You get in Chicago New Year's Day, and you go to rehearsal two o'clock for . . . 'til you come to work at ten o'clock that night. You open up the New Year's. Auld Lang Syne and all that business. You stay there a month. So I'm in New York, and I'm high, and I wake up. It's ten o'clock, and the show hits at 30, because you're doing five or six shows in New York. No, this is not the time when I quit. I'm telling you about the Chicago. I want to tell you about the time I quit. O.k. I'm home. Sunday . . . Saturday night we had a baza at the house, good time. I wake up, it's ten o'clock. I jumped up. Son-of-a . . . Missed the show. Hurried and put my clothes on. Going out in the street. Guitar's at the theater. Get my . . . Go out in the street, and I get a cab. I can't get a cab. I wait. 15 minutes I'm trying to get a cab, because where I live, cab's ain't running smooth. I finally get a cab, and I get to the theater, and the band's on the stage. The band is playing. In the band is about . . . what? There's ten men on the stage. No, eight men on the stage, and the rest of them is all late. This is the Paramount Theater. It's half empty. Cab Calloway is waiting for us like a professor with a stick. He said, "Man, you know you're home. You're on Broadway, man. You don't do this in these theaters. " I ain't said nothing. So whoever's singing when they put the blackout, the stage, the electrician up there, he knows what's happening. He look and see a half-empty stage, so he knows how to pinpoint, blackout the stage and pinpoint the spotlight small, so everybody can . . . just them people can see, so you can't see what's going on, and you look like . . . [? (inaudible)]. All right. Go on on. So I go on the stage, and you sneak on like this. The people be laughing in the theater, because about half of them out there show people. They know what the hell is happening, and they be laughing. They laugh, and the people, other people, be one of that square people. They don't know what's happening. I sneak on. When I look around, Shad Collins, here he come. He sneak on. There's another big laugh. Then the guy take the spotlight and put it on somebody else who will make some noise with the spotlight in it to get your attract . . . And another cat sneak on. They're sneaking on.