Now, tell me what it's like to, to be a chorus girl.$$To be a chorus girl. Well, you know, at sixteen, it's altogether different than it would be now. But then, it was very, very exciting because you get the chance at the time--I got a chance to travel around the world. I got--well not actually around the world, around the United States. I got a chance--well, I'm a flighty sixteen and I got a chance to meet people, you know. You get to be flighty and, like I said, and I got to meet celebrities and that was my big thing. So when I first went, I went with Hortense [Hortense Allen Jordan] and she--and we worked the Plantation [Plantation Club; Palladium] in St. Louis [Missouri]. From there, we went to Chicago [Illinois]. Well, Charlie Glenn owned the Rhumboogie [Rhumboogie Cafe] in Chicago, which is a black owned club. The Plantation was really all white. Nat Cole [Nat King Cole] was one that we worked with at the Plantation in St. Louis. It was owned--really owned by the mafia 'cause all the guys, Tony [Tony Scarpelli] and all of them, all the bosses were mafia, but you knew this and nobody bothered you and you did not socialize at all, thank goodness. I mean, you were not--you know, you--it was not permitted and all this, which was good because we didn't want to anyhow because they were all Caucasians and we, you know, couldn't go out and--well, you couldn't go out and socialize for the simple reason you didn't have anybody because it was a white club. It was in St. Louis. But when I left there, we rehearsed--in the Plantation, we did three shows a night and, and when we left there and we went to the Rhumboogie which we only did two shows a night, so a much easier job. As a chorus girl, usually if you're in a club and if you're gonna stay in a club for a while just like, say the Rhumboogie and you're gonna be there for like--he hired the whole chorus line so that meant--the chorus line is the backbone of a show. Like, you have celebrities that come in, but you change your celebrities. Your chorus line, you usually do a show a good month without changing, so that means that we have, okay, we're doing three numbers. While we're doing those three numbers before the month is out, we will have to rehearse. And we were working at night, so we will rehearse during the day to learn the new show which you're doing three numbers in the new show, so it is not an easy--it's not--it's not all what it is cut out to be that you don't work. You're working very hard. You're working at night and you're tired and you're facing--you got to be on that stage and you have to be perppy [ph.] and looking good and frisky and smiling and all this. Now, we have nothing to do with the costumes. We have a costumer. Most of the shows have costumers that they get. Any show that you're on, they usually have a costume person. And they come in and they--the producer that you're working for does the show, they'll teach you the routines if--okay, say for instance, we had Larry Steele who was not a dancer, he had Hortense Allen who took us into the Plantation and also the Rhumboogie. Hortense was a dancer and a producer, but she worked with Larry and Ziggy [Joe "Ziggy" Johnson] in the Rhumboogie when we first went in the Rhumboogie. Ziggy was the producer and an emcee, but Hortense was a predominant dancer, but they worked together as a team to teach us the routines for the show. It might be Ziggy's idea that he wanted to do a Christmas show. Okay, Hortense might put some of the steps and things to the different numbers. He has a designer in Chicago at the Rhumboogie who does the costumes. They'll do costumes for these--we have three--a set of three costumes for this show. While we're rehearsing for the new show, she's making costumes for that new show. So when the new show comes in, we--we'll rehearse--okay, say for, for instance, to make it kind of easy, we rehearse about--all of us our professionals, so we rehearse about two weeks for the new show. So, we're learning three numbers in two weeks. That's just about it. So, you're rehearsing two weeks out of that month plus you're doing your show at night. That's the hardest time really is when you're working at night and rehearsing in the day. And we'll rehearse like about--usually you rehearse at least two to three hours a day. You do not rehearse on weekends. They finally said no weekends, thank goodness. But you do--so you have that, that free. But most of the shows, you do rehearse especially when you're in a club.$And what about--you worked with Louis Armstrong or Ethel Waters?$$I worked with Ethel in the Club Baron, one--a club I worked in New York [New York] when I first got in. And, boy, she was--she was--Ethel was--she was a singer, but you couldn't do too much around her to distract anything. That's--really, she would go off on you if you did. But we'd be in the line, if you're putting your feet, messing your feet too much, she would--we'd sway and, but if you mess your feet too much, Ethel would wanna come down and lay you out and all, but she was nice people to work with. She was okay, she really was.$$And what about Louis Armstrong?$$Oh, that was my bud. We had an affair and he was really great people, he really was. He's one of the nicest men in the world, really. Pops was just great. He was--he never changed. Now, he married women that changed and I used to say, "Pops, you got women that--you got some wives that they, they, they--your talent went to their heads," which they did 'cause he was very down to earth, very regular, and would treat everybody equal. But he had some--a couple of wives that though they were better than everybody, which was not true 'cause they were all ex-chorus girls and they were ridiculous. But, Pops was great. I know my mother [Jordan's adoptive mother, Eliza Stone Weaver] was very sick once and he sent her a, a dozen of the prettiest red roses I had ever seen in my life. And the pe- the women at the, at, at the hospital flipped because they knew it was from Louis Armstrong, you know. 'Cause they kept asking about, "Is that your son?" "No, hell no (laughter)," unh-uh.$$Well, you, you talked about Sammy Davis [Sammy Davis, Jr.], but did you know much about the, the Rat Pack, about--$$No (simultaneous).$$(Simultaneous) None, so you didn't know--$$No. I was around Sammy--$$--Jerry Lewis?$$I was around Sammy, but--I met Sinatra [Frank Sinatra] once, but I never--I never was around them, unh-uh.$$What about Jerry Lewis?$$Hm?$$Jerry Lewis.$$Jerry Lewis, I, I met him once.$$Okay.$$I just met him with Louis [Louis Jordan] once and I had a picture made with him, but that's it.$$Okay. So, I mean, you worked with so many wonderful talents, Sarah Vaughan?$$One of my greatest friends, one of my greatest friends. I adored her and we adored each other. Sassy was just--she's beautiful people. We met years ago before she got to be the great Miss Vaughan and we remained friends until she died, actually. I mean, she was just--she was a sweetheart. And so many people didn't realize, the woman had a heart of gold. And they used to say, "Oh, she's so ugly," but she wasn't. To me, she was beautiful 'cause she was just that sweet. But, you know, a lot of people--you'd be--you have to see through it and, well her voice. Let's not even discuss that (laughter). I won't even go into that, so, really 'cause she had a voice and a range that I don't think anybody can copy. But Sassy was so down, it was just something else.