In Miami, right?

In Miami.

She reached out to me about a year and a half ago.

So it's like late spring 2024.

I had just left home base and started my own.

channel and I'd also one of my last videos for the ToneBass YouTube channel, which I had sort of built up and grown before I decided to do my own, basically do that my own version of that.

One of the last videos I produced was called I snuck into Juilliard to interrogate pianists in their practice rooms.

you know,

If it wasn't for a tie in between 10th and 11th, that's going to be a lot more difficult because you have way more of a, of a, of a sample size sample group to look at.

Yeah, and as I understand it, Honens actually also has a jury scheme which is able to accommodate and still promote some of what we might call the outlier artists, some of those more unique and divisive ones.

Because, yeah, at least as I understand it, there's mechanisms in which the jury is still able to promote individual favorites who might not have actually made the cut through the average.

So it can override and overrule that sense of the average setting the bar and just those past the average or whatever advancing, which I do think ends up selecting for a certain pianist who just happen to be more agreeable to more people, which is not necessarily a virtue in art.

One of the great virtues in art is being a polarizing artist.

I mean, most probably the chances are the pianists that most people love the most is also has a big, you know, segment of, of listeners who would hate that artist, you know? And so, uh, the, the fact is a lot of just, you know, jury, jury systems can't, don't know how to embrace, you know, accommodate that or, or recognize it, but Honens does.

And I do think that that's worked to their advantage.

So so I think it's that compelling storytelling type of way, I think, is how we get audiences into not necessarily only the concert hall seats, but even just getting those eyeballs and those earlobes and those eardrums onto that product.