The third and final piece seemed much looser and almost playful. The three white figures were once again classical sculptures but looked more like women standing together for a photograph. I asked Dye about the women in the piece. He asked me what I knew about jazz, Franz Kline, Elaine de Kooning, and Joan Mitchell. I loved jazz but didn't understand it enough to have a profound discussion. Dye started snapping his fingers and talking about the movement, the conversations, and the abstraction. The excitement was contagious. I began bobbing to music that didn't exist. He explained, "This piece is the classical waiting patiently at a jazz club. These are gods in awe of jazz and the abstraction. We can make the gods blush; we could do that once more if we would just go and dive into the pudding, man." I quickly asked him about this pudding. He answered, "The pudding is that warm hug that happens when you are close to your life's purpose. That could be hammering railroad spikes, mending broken bones, sweeping the floor, or painting. It's that good stuff." I knew what he was talking about; I got it. He looked at the piece, "These ladies are just patiently waiting to swing." He looked back at me, "What are you waiting to do?"