[SEG A: ERICK PERSONAL INTRO]
ERICK: Alright, we rolling?
After my brother Paul was born and before I was, my mother got pregnant. The doctors said it was a girl. But my mom had a misccarige and it broke her heart. All she ever wanted was a boy and girl. When she got pregnant again, I disappointed her by being male, as did my little brother Meño.
Finally fed up with all these boys, my mother made a deal with God. She promised to make a pilgrimage for semana santa to honor the virgin de guadalupe in Mexico if God would grant her a baby girl.
My sister Cynthia was born nine months after that deal and as soon as she could my mom took off one Easter to pay her respects to the virgin mary.
The holy child. My sister grew up the favorite of my father and mother, the only girl among four boys. And with that privilege came all this pressure to be perfect. Most of our childhood, she had to live by a certain set of rules that the rest of us boys didn’t.
That’s a lot to put on anyone and an impossible standard to have for others and for ourselves.
For most of her life she followed those rules strictly and then when she was 16, she got pregnant.
Depending on who you were back then, it was dramatic, scary, or even heart breaking.
THEME MUX SWELL: I Got Everything by Mz.007
It shattered this antiquated idea my mom and dad had in their head about what a perfect daughter should be. And if you ask me, honestly, I think it was one of the best things that ever happened to this family.
Nine months, after the chaos of that revelation, my sister, the holy child, had a little boy. She named him Angel.
I’m Erick Galindo and this is WILD.
THEME MUX SWELL: I Got Everything by Mz.007
SHAKA: This is WILD — A show about what it was like to grow up during the pandemic. Season 1: Home Forever.
Babylon (Instrumental) by Fenton Joseph
[SEG B: INTERVIEW PART 1]
LINDA: We had worked our asses off to, like, prepare this pitch, and we sat in the parking lot, I think it was before our FX meeting. And we both just sat there, and we were like, Oh my god, what if we don't sell this show?
ERICK: That’s Linda Yvette Chávez.
The first time I met Linda, I felt like she was a little nervous to talk to me. I was a reporter working for the New York Times assigned to do a story about Linda and her creative partner Marvin Lemus.
But after a few moments, probably whe she realized I was just a hood kid from Southeast LA, we clicked. And talking to Linda felt like talking to someone I grew up with. It makes perfect sense because Linda grew up just a few blocks away from where I did and her family sounds a lot like my family.
Linda grew up in Norwalk, California, with her parents and three siblings.
LINDA:: Yeah, my parents, they met in East LA and they were there for a long time and eventually moved to Norwalk, which is where-that’s not where I was born but where I mostly grew up. And like I said, we’re a working class family. My dad was blue collar, worked for for a truck parts company. And you know, my mom was a stay at home mom and because of that there was a lot of sacrifice financially, because she really wanted to be there for us, because we grew up in an area that was mixed income, but there was, still some gang activity and there was… you know, she had fears around, like, if I'm not there to be able to, raise my kids, they're gonna end up in situations. And, you know, some of us ended up in certain little situations here and there. But she did a great job and did her best, like every parent does. And both my parents did.
ERICK: Norwalk is a place maybe you’ve never heard of, but you’ve probably seen on TV or in films. It’s a city in Southeast Los Angeles that’s kinda hood but also kind of an idyllic suburb. And because of that it has been the setting of some iconic movie moments like the miniature golf scene in “The Karate Kid”, most of the the high school scenes in Grease 2, and that wild scene in “Once Upon a Time in Hollywood” where stutman Cliff Booth somehow fights Bruce Lee to a draw.
BRUCE LEE FIGHT SCENE CLIP
ERICK: No mames.
ERICK: Given all that Hollywood history, it kind of makes sense, to me, that Linda would wind up with Hollywood Dreams of her own. And during the Pandemic she got to achieve her dream of being a director by overcoming something that she’s dealt with her whole life: Imposter Syndrome.
ERICK: So I was wondering like... how would you describe imposter syndrome? And you know just walk me through those feelings ?
LINDA: Well one imposter syndrome, to me, is the fear of not being good enough, it's the fear that if you don't perform at a certain level, somehow your inherent value as a human or as a person is nothing or not enough. That if you come up and you, you do something, it's only by sheer luck that it happened, that there's no way that your own skill, your own abilities, your own talents, your own passion, led you there.
And I think a lot of those feelings came from childhood, a lot of those things within our families, but then how our families function due to the systems that they were brought up in, you know, like we’re all the children of colonialism, right? Like we all to some degree have grown up or have been exposed to systems of power that tell some people, some people are not good enough, some people are much better, right? Especially in a white supremacist culture. It's like you're not good for XYZ reasons. And we think that those things kind of pass away with like, the history or time like oh, that's in the past, but we don't realize how much it's like, ingrained in our DNA. And it's passed out... passed down generation after generation. I don't think it's a coincidence that a lot of our communities struggle so much with mental health or violence or poverty. Like I don't think that's a coincidence that so many of us have imposter syndrome.
There's beauty in the culture like I'm so proud of how hardworking my dad... this ranchero from Michoacan..Guadalajara. Like, I'm so proud of that. But it's also like I was taught that, like, you work really hard. And if you don't, if you don't do it perfectly, there's something wrong with you. And I think it comes from this bigger picture that we've all experienced to some degree.
ERICK: Is it a feeling of not belonging like- because you’ve accomplished a lot. Is it like, no matter how successful you become, do you still feel that sort of deep down inside somewhere? Do you still feel the imposter syndrome sometimes?
LINDA: Oh, my God. Yeah. When I started- starting out, it took me many years to get through it cause there's many layers to I think imposter syndrome. There's the part of you that feels like I'm not talented, and I'm worthless. And then for folks from different classes, it's like, not believing that you belong in a place because it's for rich people. It's for people who have opulence and access.
Part of it, I think, too is just growing up in a working class family and low income, it was a beautiful, lovely upbringing, but there was definitely a lot of you know, ranchero ways. My dad was a ranchero. He came from Mexico, Michoacan. He always says yo soy un animal, yo soy como los animales. He's changed a lot now in his retirement but like, he was just like, very classic Mexican machista man who, who luckily for me, still had showed his love through like, like, providing a home for us and putting food on the table and showing up with physical things but I think for me personally — he’s going to love that I’m talking about this — for me personally, I think the emotional piece of it, which I think a lot of folks who are Mexican or Latino growing up with with fathers who maybe grew up from from meager means like there's you lose a lot of that connection emotionally of like, Hey, tell me you love me and tell me that I'm good, tell me that I did a good job. Don't tell me the parts that I didn't do well in and I think that type of kind of that type of… always trying to reach for that perfection and that good enough and that love can lead a lot of times to these feelings of lack of self worth, you know. And then sometimes we have to reparent ourselves, you know…
ERICK: : I totally get it because my dad is also you know, he’s from Sinaloa. He’s always like I lead by example. I'm the best, you gotta be the best.
LINDA:: Yeah, where does that shit come from, Erick ? Like, what the fuck? Like, it's like you. It's like, it's not good enough. Like, where does it come from? Like, I really want to understand me. I said colonialism earlier. So maybe it is that?
Yeah. I think it's also like, they're in this new country.
ERICK: : They know they can’t fuck up. Because if they fuck up, they get deported. They can get beat.
Linda: Good point.
ERICK: : Like, that's how I saw it growing up where it was just like, Oh, my dad is like, failure is not an option for him. Because he's got all this on him.
ERICK: : But like, for me, failure is such an option. like, yo, yo, I don't know how to do that Dad, like, please stop asking me to do things I don't know how to do, you know?
Linda: Oh, my God. I wish I was I could do or I'm getting there now. Now, I'm getting there. But like, I just, growing up. I wasn't okay. Yes. You want me to be perfect. Got it. Hold on. You know?
ERICK: : No, no, yeah, it's probably easier for guys too right like,to just be like you know fuck you I'm not doing what you want me to do.
Linda: Mmmm, that’s real, yeah.
ERICK: : For women, you got that pressure of like being the perfect Mexican American daughter. Be right, because I see like my dad and my sister that have to have a relationship with my dad. Like, he loves my sister more than all of us. Right? Like, it's very obvious. But he's such a machista to her you know like, can you serve me breakfast, can you serve me dinner like... But I think about like, when you're telling me your stories, I'm like, Oh, I see. Like that, that has like this long term effect And I think you're right, I think it is systemic.
LINDA: Yeah, no, I do think it is systemic. It’s systemic, it’s the different parts of the puzzle, right? It’s white supremacy, it’s patriarchy, it’s all- it’s class. We kind of live in a society that ignores those things, like we don't have the tools or the resources to identify them and give them names, so that we can then work with them and heal them and make them better. I think that's like a term that psychologists use, but they call it, the term is name it to tame it. Like, until you can give the thing that you're feeling and experiencing a name experiencing a name and can decode it in a sense, then it's hard to tame it.
[SEGMENT C: TANGENT - COLONIALISM SEGMENT]
SHAKA: All right. All right, ladies and gentlemen, welcome to the first episode of majority people's brought to you by Wild.
Majority people is the show that represents the ears, reactions, and thoughts of people of color.
Today on majority peoples we are exploring the only subject this show cares about the impacts of colonization on generations past, present, and future.
I'm your host, Montel Wilde. And today, we will be getting the reactions of some of the most outlandish examples of colonized rhetoric.
Clap your hands If you can feel the irony already.
(weak clap montage)
Okay, did not expect a clap there.
Well, have you felt the effects of colonization today? The answer is emphatically Yes. Especially if you are a person that identifies as a Native American, black, an immigrant person of color, or anybody that takes a rational point of view of things.
So basically everybody!
(whomp whomp whomp sound)...
That's right, majority people is the fictitious show that doesn't sugarcoat. Let's roll the first clip.
BUILD THAT WALL, BUILD THAT WALL,
Right. It took less than a second for our research team to confirm that that was colonizer 101
It also took us less than half a second to find the most appropriate response.
Let's take a call. Let's hear from the majority people's listeners, producer patch them through…
(Phone ringing tone)
Hello America, F**k you!
Well, that might have been a little rude,
Maybe even a little aggressive.
But that's the tone of our show.
As always, you’re not crazy, racism is real and so is imposter syndrome.
On that note, join us next time on majority peoples.
Back to Eric and Linda
ERICK: Systemic oppression be damned, Linda managed to make Southeast LA and all her ancestors proud. That’s after the break.
Babylon (Instrumental) by Fenton Joseph
__________ MID ROLL BREAK _____________
SHAKA: Now back to the show
Babylon (Instrumental) by Fenton Joseph
[SEG D: INTERVIEW PART 2]
ERICK: Linda left Norwalk to go to college. First to Stanford and then to USC. She told her parents she was going to go be a lawyer, earn well and help end her family's financial struggles. But her parents actually told her that they thought she’d be a good writer, that maybe she should chase those Hollywood dreams of writing and directing TV and Film.
Her parents were right. Only Linda, still plagued by imposter syndrome, would take a while to get there.
LINDA: I remember walking into spaces and like being very much, much more connected to the valets, and like the workers, and I was to the people who work who were executives and like writers and producers. Like I was all about, like, Hey, what's up, man? Like, como estas? Haberme, aqui está mi carro. I know, it looks really cheap, and dumpy. And they’d be like Ah no, no te preocupes, está todo bien, you know, I felt like that put me at ease when I would come to these places. And it would feel so odd going in and feeling like I'm not a part of this world, and like, Who am I to.. Who am I to be here in this space.
Until then it feels like chaos and confusion and you're kind of like why is it like this? Why is this keep happening to me? Why do I keep having the same patterns? And why do I fall into the same cycles where like, I get really depressed if I don't feel like my short film was good enough, and so then I back out and decide not to do it and don't ever come back to directing until years later when I direct my first episode of television. You know, I don't know who I'm talking about, but maybe me?
IN - Sticks & Stones (Instrumental) by Kings Kaleidoscope
Erick: Just like Linda — most of the producers on WILD are first generation — and it’s not about if imposter syndrome creeps in — it’s about when…
Sticks & Stones (Instrumental) by Kings Kaleidoscope
[SEGMENT E: IMPOSTER SYNDROME] Megan: So question. Have you ever had imposter syndrome?
Shaka: Please confirm that is not a trick question.
Megan: Not a trick question.
Marina: Yes. Pretty much everyday at some point.
Megan: Really? Everyday?
Lushik: Yes. But honestly, it didn’t really start until I came to the US.
Shaka: Because I don’t know if I experience imposter syndrome on my own, it’s always when there's an audience or an evaluation happening to me.
Marina: I struggle with speaking to four or five people at a time.
Megan: Are there things that you tell yourself?
Eduardo: What helped me is having that mentality of team sports. I’ve played sports where the kids whose parents were well off and got them all the best equipment andIhad to borrow gloves or whatever it may be and yet when the game was on all that matters is — can you make the play?
Shaka: oh I always fall back on my strengths you know what I’m saying.
Lushik: I’m a fighter and so I’m well prepped for this moment so I just carry it with me and do it anyway.
Shaka: Some of these dude might look better than me but none of them talk better than me. Nobody raps better than I do.
Marina: Yeah I just like.. Start jumping up and down like … ahhh come on come on you can do it!
Megan: You jump up and down like yeahhhh!
Marina: come on come on! You got got this Marina you got this.
Marina: Like it’s going to be ok. I know a lot of voices in your head but … those voices are just voices.
Lushik: And I also keep applying for things that I’m not qualified yet to do and shooting for the stars…
Shaka: Lead with the obvious. They wanted you to be here.
OUT - Sticks & Stones (Instrumental) by Kings Kaleidoscope
ERICK: Linda found ways to cope with imposter syndrome and managed to forge a dope career at a lot of different levels including doing some work with Univision and working with the Sundance Institute to hone her writing skills.
And then she even wrote and directed a short film that didn’t go as well as she liked, which coupled with the imposter syndrome, put her off directing for a while.
Then, in 2017, a web series she co-created with another first gen kid from the hood. Marvin Lemus, about love, family and gentrification set in LA’s Boyle Heights neighborhood started to get some serious Hollywood attention
They got invited to go pitch the series at a giant studio. And then the imposter syndrome creeped in again.
LINDA: But I will speak to like our first pitch.
Magic and Melody Instrumental by DayTalk
We were like, Oh my god, what if we don't sell this show? Like we just spent, like, so much of our lives like, on this like creative baby and these characters and this world. And we were just like, okay, we have to be prepared that if at the end of this, nobody bites, nobody wants this, like… It almost felt like losing a baby in a sense, because it's like, okay, that creative thing that you just invested so much of your love into is going to be gone. And both of us like we were these first gen brown kids who like… we’re also really fearless. Like, as much as we had the imposter syndrome we were dealing with, we're both like kind of little badasses who like don't give a fuck. We're like, this is who we are, this is where we come from. This is how we're gonna throw it down, and if you don't like it pues ni modo, you're missing out. But this is what's so cool about this.
And we went into it really carrying that fire and that energy and that confidence into every room we walked into. And I remember that that parking lot moment being like, Oh, my God, like it's possible, it's possible, we're gonna end all of this and have nothing and that that was a scary thing.
They actually offered to buy the show in the room.
From there, I think there was freedom in knowing that we didn't kill ourselves for nothing, that like, okay, we have one offer. And now we can go into every offer, or every room after this feeling much more confidence.
ERICK: : Do you remember the first time you went into Netflix?
LINDA: Luckily, I think at that point, we had done a lot of pitches already. We had been up like late like like we would do a pitch and then we'd go home and revise it, we would be like okay, that joke didn't land, let's think of a new one. Let's like punch it up here. Let's revise there. Let's cut there. Let's you know...Netflix likes this. Let's bring it in this way or Showtime or whoever it was we always were revising based on what we had just pitch. So it was like an ongoing process. So when we walked into Netflix, we had had some good enough of a good experience but also felt like we felt good and I think part of our process was also just accepting what's for us is for us, you know, and what isn't isn't.
And strangely, that pitch was like, was more like, neutral than the rest. So we kind of left leaving, like was that, did that go well? Like we were not sure. And it did. Obviously, like, obviously, here we are. Season Two.
Mariachi: Five dollars for a burrito?
JJ: We’ve been giving you free burritos for years.
Mariachi: I sang for those tacos.
Karrie: Nobody asked you to sing
JJ: You ain’t Chente, foo.
ERICK: Linda Yvette Chavez and Marvin Lemus sold their Boyle Heights gentrification dramedy GENTEFIED to Netflix in 2019 and it debuted on the streaming giant in February of 2020.
The show about families like Lindas and mine was so popular, it made Netflix’s top ten list and got much critical acclaim leading to a second season.
For the second season, Marvin and Linda were put in charge of running the whole show
ERICK: I'm wondering like, so in those moments, where you’re going into these rooms, and like, you have, you know, obviously this imposter syndrome. Is it is it a feeling of like, oh, they're gonna they're gonna realize we don't belong here?
LINDA: I think there's also the layer of like, again, racial, social, gender, like all those things come into play as well in terms of like seeing two brown kids. And like what historically you've seen a creator, or a showrunner or an executive producer look like, and then having to kind of fight against a very unconscious bias that a lot of folks still have, and will continue to have probably for a long time for it towards, for a lot of communities. So there's also the sense of like, they don't think I'm good enough, because inherently, they don't believe someone who looks like me can do this. So I think there's multiple layers to that imposter syndrome that we're taught to feel and believe that we are not capable of these things. Because historically, we haven't been allowed to be, to take these things on and do these things. So we’re fighting multiple battles when we're thinking about imposter syndrome, I think.
ERICK: And does it get worse, the more successful you get ? Or does success actually put more pressure on you to feel it even more ?
LINDA:If you're looking for success to be a cure to your anxiety, you're looking in the wrong place. Because at the end of the day, like the way that... all we are doing is experiencing life in the world, it's our reactions to those experiences that really defines how we live our lives. And I think that it was a transition for Marvin, and I won't speak for him fully. But I know for myself, and I know that he and I obviously had a lot of conversations..
MUX Incandescent Instrumental by The Volunteer State
I think the transition to having that much responsibility was definitely a difficult one and learning how to manage, learning how to not lose yourself, your integrity, your your self worth, your belief that you're good enough to be there was definitely a daily battle for us, like coming in and out, because you're fighting so many battles already with any production. It's already, you know, a battlefield. And then add on top of that, like trying to stay true to yourself and trying to convince yourself daily that you are good enough, I think there was a lot of that. But I think it's just like the ocean, every wave is going to be different.
And I think that first season was definitely a big wave, that we got like not, you know, we had to like, get knocked over by and learn how to like recover from the, from the ocean. And eventually you'll learn how to dive under the wave, and bob over the wave and like back up, and maybe you get tossed a little bit, but you're like, Okay, I know how to get back up. And I think that that's really ultimately the way to get to a more, more stronger, confident place. And also a place of feeling safe because a lot of imposter syndrome, like I said, comes from fear and this fear that you're not safe..., that at any minute someone's gonna yell at you. At any minute someone's gonna tell you you're not good enough, at any minute someone's gonna say you fucked up, you fucked up, now what?
And I think we have to as humans, create spaces that feel safe even in environments that might feel like chaos.
ERICK: Was there a moment in that first season where you felt like it clicked like, we're here. This is dope.
LINDA:: Yeah, I think for me that happened truly in the second season. I think learning everything I learned in first season and getting through to the other side, seeing like the product. Going through the process of press and marketing and like seeing what that all was like and felt like and then coming back to myself and trying to learn from the lessons of like, what is it that, how did I feel after this? What is it that I want to feel the next time around? And how do I craft, my environment and the people I work with and like the work that I'm doing so that it makes one my life easier, two makes it fun and exciting and three, doesn't feel like the end of the world all the time. Because that's another thing that I think comes with imposter syndrome, you make one mistake, and you're like, Oh, my God, the universe just collapsed. And that's usually not the case. Usually, everything's fine. Nothing's wrong,
ERICK: (Laughing} Right…
ERICK: 2020 wound up being a big year for Linda despite the pandemic. Besides the incredible success of Gentefied, she announced two big Hollywood films that she’s written on, And she finally got back into the director’s chair.
Linda: You know, Marvin, you again, my champion advocate and all this who like, really advocated for me to direct an episode. And I just felt like, you know, why for the confidence to come into it was one, having, you know, created the first season been there on set with directors, and then, you know, giving my notes to directors trying to really, you know, get what I wanted out of scenes and episodes. And we had incredible directors but I was able to like experience, like, Oh, I have a lot of thoughts on like, how I want performances to be how I want visually how I wanted to look, I felt and having had a directing background, way back in the day, like, I had a lot of vision and thought around the things that I wanted to do. So I came into it feeling pretty confident, because show running, managing a whole show, like it's very similar to directing like you're answering a million questions, you're having to get in there and be the calm one in the middle of the whole storm of people who are not calm. So all of us are things that I excel at, because of, again, 12 years of therapy, I can like, shit can hit the fan, and I could be like, it's gonna be okay, that's kind of one of the things that I get a lot from people and I got a lot during my direct and they're like, a lot of crew being like, man, I really like working with you because like, I feel so calm, don't feel like everything's gonna fall apart. And I think for me, it's a testament to the work I've done on myself, which is to say that like, Okay, this has fallen apart, but it's my reaction to it, that's going to determine where we go next.
I also give myself the freedom to make mistakes.And I think that's kind of the difference for me. Between the last time I directed and this time, which was years ago, the minute that I was like, I'm allowed to not be perfect. Like the minute I let myself be free to be imperfect is the minute that like imposter syndrome started to kind of like shed.
[SEGMENT F: Outro]
I Got Everything (Instrumental) by Mz.007
ERICK: My nephew Angel really changed all our lives. For my sister, it gave her something to love and live for in ways she never expected. For my parents, it gave them a baby, to obsess over.
And it even gave me a new perspective on the world.
When Angel was born, I was kind of lost and depressed. No job, no real prospects. And since my sister was going to dental school full time, and everyone else worked, I got to stay with Angel all day.
We hung out together a lot and pretty soon I started to see the world through his eyes. It was suddenly beautiful again. So I decided to get off the mat and try.
A few years later, I was away in Washington DC working as a columnist, when my sister had a traumatic experience.
I came home to find her and Angel living with my parents again. And they had this little, shaggy, white maltese named Blanca, a therapy dog, to help her deal with the trauma.
Part of that trauma was physical, but a lot of it was mental. Some of it was this imposter syndrome, that maybe she failed at life or at love. Which is not true. I think she succeeded at being strong enough to leave a bad situation and forge ahead thanks to the unconditional love she had for her son and eventually for herself.
But I get that feeling she had, especially after talking to Linda.
And I’m realizing now that love and romantic relationships is probably the only time I’ve ever felt the kind of imposter syndrome Linda talked about.
In fact, I don’t think I was able to love someone I’m not related to in an unconditional way until after I came back from DC to see my sister, Angel and their little doggie.
I Got Everything (Theme Song) by Mz.007
That first time she laid eyes on me, Blanca, just ran right up to me and jumped into my arms like I was her long lost love.
I guess, I was in a way. And she was mine.
DOG BARKING SOUND
Blanca showed me how to love a stranger and expect nothing in return.
I Got Everything (Theme Song) by Mz.007
[SEGMENT E: HIGHLIGHTS]
Taylor: Highlights: Hugging my mom for the first time since 2019, that was pretty sweet.
Eduardo: So my wife and I celebrated our 14th year as a couple, It’s always a cool time of the year because we are reminded of that love we got for each other and and true story, she is my pre-school sweetheart.
MT: And I was like, Wow … when the routine becomes routine and when things get tiring, if we can play cards, and have a great time. Like I could play cards with you for the rest of my life.
ERICK: That was Megan Tan a producer on this show – who pushed herself to do online dating during the pandemic. That’s on the next episode of WILD.
Read this week by Lushik
This episode of WILD was written and produced by Erick Galindo, Marina Peña, Megan Tan, Shaka Mali and me, Lushik Whaba.
It was sound designed by (me) and engineered by Eduardo Perez.
Megan Tan is our Senior Producer. Our Producers are Victoria Alejandro and Lushik Wahba. Marina Peña is our associate producer and fact checker. Shaka Mali is an associate producer at large and our announcer. Erick Galindo is our host and editor. Jessica Pilot is our Talent Producer. Our Executive Producers are Antonia Cereijido and Leo (Ley-Oh) G.
Shoutout to Marisa Klug (Clueghh)-Moratya (More-Ah-Tah-Yah) for shooting our album art and Steve Rosa for the assist.
The theme song is I Got Everything by Mz.007
Our website, LAistStudios.com, is designed by Andy Cheatwood and the digital team, and by our marketing team, who also created our branding.
WILD is a production of LAist Studios.
Special Thanks to the team over there, including: Taylor Coffman, Kristen Hayford, Kristen Muller, and Leo (Ley-Oh) G.
This program is made possible in part by the Corporation for Public Broadcasting, a private corporation funded by the American people.
END of MUX: I Got Everything (Instrumental) by Mz.007
WOO! I nailed it. I think...
I’m Erick G — I’ll catch you next time