know as on the level of the best but what a lot of this can be based on personal preference or perception and so forth what actually makes her that person comparable with the other grades

yeah there it still comes down to connoisseurship you know like the scholars that study and then there's people that are collectors that have you know experience and education on it but you know there's still that subjective human eye you know that that says what's a good painting and what isn't and um but you know a lot of it comes down to their uh there's years and years of study.

It's just not like, you know, you and I come to figure something out.

It's not an off the cuff.

Yeah.

This is 400 years of research that, you know, people have been looking at Michelangelo and Da Vinci and, and in museums, you know, have been the, uh, the way, but, um, but now, you know, uh, They, paintings get lost, you know, they get, they're like saying instead of Caravaggio, that could have been a Ribera.

And they, so they, they get in these major collections, maybe in Europe is where a lot of them come from.

And you've got a place in front of a lake, you said?

Nice.

But I had a great team.

I had Carlos Croceta, you know- Who became a really close friend and one of the best guys I've ever played again with, uh, you know, and, and eventually, you know, played with Memo as well, which, you know, was just...

I never thought that would happen.

But, you know, Carlos was just really, um, you know, the, the...

I don't know where to start or, or finish with him.

You know, he, he was, like, one of the greats and, and also a great friend, you know.

[laughs]