Have you ever walked into a room and immediately forgotten why you went there? It’s not just you—scientists have found that crossing through doorways can actually make you forget what you were thinking. This phenomenon is called the “doorway effect,” and it can affect everything from daily tasks to content creation.
00:00 Introduction to Memory and Boundaries
00:55 The Concept of Boundaries in Memory
01:11 Practical Examples of Boundaries
02:27 Boundaries in Media and Content Creation
04:44 Screenwriting and Successful TV Shows
15:51 Familiarity and Inside Jokes in Media
23:39 Lip Gloss Mishap
23:42 Soundtracks and Familiarity
24:07 Comfort in Familiar Spaces
26:51 Social Media and Notifications
27:26 Effective Use of Phones
29:45 Email Marketing Insights
32:53 Recording Content Tips
41:02 The Mandela Effect
49:45 Concluding Thoughts
Jeff Sarris: If you’re walking 20 feet and walk through a doorway, you’re more likely to forget what you were just thinking than if you, you were walking the same distance in a room. Today we’re gonna talk about that and what that means for your content, for your memory, for pretty much every aspect of your life.
Amara Andrew: I forgot what I was supposed to say.
Jeff Sarris: This is Useful Not Famous, the podcast about being useful and having a memory for what we’re supposed to be saying.
Amara Andrew: This is a show where we talk about things that we find interesting and share them with you. I’m Amara.
Jeff Sarris: I’m Jeff.
Amara Andrew: Welcome.
Jeff Sarris: But yeah, today’s about memories. I think it’s funny that you’re like, I don’t remember what I was supposed to say.
Amara Andrew: That was the joke I did, and then he took over and I was like, I’ll just let it happen. Here’s my joke.
Jeff Sarris: You dead all over. You deadband it. So he took my joke. You dead pan it so seriously that I thought you were serious. I was. Because I’m feeling trying to
Amara Andrew: spicy today.
Jeff Sarris: So this is called boundaries. We need to set up some boundaries.
No, but in memory. In memory research, it’s called boundaries.
Amara Andrew: So yeah, it’s not boundaries like we need to protect our time or anything. It’s purely boundaries as in like. You step? Yeah. Like over the threshold, the
Jeff Sarris: physical space.
Amara Andrew: Yeah. Which I think is really important ’cause I’ve literally seen this in action with people that we’ve filmed with what is maven.com.
We’ve seen this with people where as soon as like, so we book the shooting spaces. Typically it depends on like what the business is and everything, but we work with a lot of realtors. So with the realtors, we actually book shooting spaces because. I’ve learned from recording my own content. If I’m in the house, it’s in the house.
If I’m in the house, my mind is so did she touch her leg? She
Jeff Sarris: touched my leg.
Amara Andrew: If I’m in the house, it’s such a different, like I’ve gotten so much better with being able to take myself out of that this is the house and treat it as a filming space, but it’s hard when you’re not. Sort of seasoned or you’re not mentally in that framework.
If you’re in your home trying to make content or trying to do anything that isn’t actually stuff in your house, like running a business, it’s really challenging for most people. ’cause then it’s like, oh, well I see. The pile of dirty dishes I need to go do, or the laundry, or I’m forgetting what I’m supposed to be doing and like you can’t quite focus.
Or you have people in your house, like tons of people, and then it’s just like, well, now I need to take that kid to soccer practice. Now I need to wipe the snot off that kid and deal with your spouse and like all those different things. It’s like this also sort of goes with then like recording content on your phone versus having a dedicated device, which we’re really big on having a dedicated device.
Because then you don’t have all the notifications on your phone like that take you out of the moment ’cause everybody’s just like this 24 7 and like just not focused. Well
Jeff Sarris: that’s what I wanted to sort of
Amara Andrew: very
Jeff Sarris: passionate about this topic. I wanna set, yeah, I wanna set the stage a little more where boundaries are physical boundaries are also, um, observable, like you’re saying.
So. You feel like you don’t have a good memory, like I don’t remember things. I forget what I did today, da da, da, da. But you spend all day on Instagram, Facebook, TikTok, whatever it is, strolling. You can think of boundaries like scene changes. This happens in television and, and the context of where I learned about this was in relation to, uh, TV show and a Mandela effect with the TV show and why that is actually happening and seeing changes in a show, your brain will basically.
Rapidly file away what it thinks is important, throw away everything else because you have a new set of circum circumstances to comprehend. Now apply that though to what you’re doing on your phone. So what you just said, you’re, I’m gonna record content. You look at your phone, what just happened is you’re in the world visually.
You grab your phone and you’re seen. Your boundary has, you’ve crossed a boundary, you’ve changed scenes. What you’re looking at now is your phone screen with all of your notifications on it. Okay, let me just respond to this person real quick, or let me not even respond. Let me just do what I was doing.
What was I doing? That’s your brain. That’s what, how your brain works. This isn’t like, you’re not forgetful. You’re merely creating the scenario where you’re stupid. You are stupid. You’re not forgetful, you’re stupid. Let me get that.
Amara Andrew: Yeah, that should just be the title. You’re not forgetful, you’re stupid.
Ooh.
Jeff Sarris: Ooh. That might be the title.
Amara Andrew: Hold on, I’m gonna write that down before I forget. ’cause I will, what did I pick up my phone for?
Jeff Sarris: But this, this applies all over the board and that’s what’s sort of interesting about it. So in thinking about. Successful television say like we’ve, we’ve been researching more about screenwriting and different things like that just ’cause we’re always learning.
We have a very core tenet of learning being like the most important thing.
Amara Andrew: David Tenet.
Jeff Sarris: Yeah, yeah, yeah. But we’re reading every day and it’s always disparate things. It’s not just one lane, it’s not business books. It’s business books, but then it’s, uh, astrophysics.
Amara Andrew: I was just gonna say, I just started reading Cosmos by Carl Sagan today.
Jeff Sarris: Uhhuh,
Amara Andrew: I’m excited,
Jeff Sarris: but bringing in all of this knowledge is very, uh, important. So screenwriting is something we’ve been learning about. So I’m thinking about all of this with boundaries in relation to screenwriting. And when we think about some of the most successful shows, like. Seinfeld, for example, is a one of the most successful shows, if not the most successful in all of human history.
How is it? What are the scenes in Seinfeld? You have Jerry’s apartment, you have the coffee shop. It’s basically it. In any episode, there might be one or two other very, very minor scenes, but the entire series for nine years, eight years, however long it was, is in two rooms. I wonder how much of an impact that has on the show’s success?
Because friends, something you’re more, uh, up on. How many scenes would you, would you say on average, if you were to like, just go across the board, what are the scenes that you would normally have represented?
Amara Andrew: Yeah. It was funny. I was just thinking about movies when you were saying that, which I had another hypothesis for that, but related to friends.
Yeah, you have. The two apartments that are right across the hall from each other and like different groups of people are residing in ’em. So I was gonna say, well, it’s like, uh, Rachel and Monica’s, but yeah, you have the apartments across the hall from each other
Jeff Sarris: and the hall.
Amara Andrew: Yeah, the hall and then Ross’s apartment, which is like across the street and then, but you only go there every once in a while.
And then the coffee shop, obviously Central Perk. And yeah, depending on what the storyline is, you’ll maybe have one or two other like. Atypical scenes.
Jeff Sarris: Yeah. Like almost like a whole episode. That’s atypical.
Amara Andrew: That keeps it fresh. ’cause I was gonna say, I was, I was thinking of movies and I was thinking of Legally Blonde, specifically Don’t know why.
That’s just what popped into my little noggin. I do love that movie though. It is so good. But, uh, you have the specific scenes that Elwood is in throughout the movie and it’s actually like. The same scenes sort of. I don’t know. I’m trying to think if that actually does work with movies though, because movies you do need a difference of scene at certain points to like move the storyline along.
’cause then I was thinking about The Hangover two of my favorite movies. I think by far that is a different scene, like every time, because it’s little vignettes that move the story along, so you couldn’t be in the same scene. It’s just like the hotel room is like that main. Part that you see repeatedly, but it’s only like twice.
I don’t know.
Jeff Sarris: And I don’t wanna say that everything should be samey, that that’s the one thing like,
Amara Andrew: yeah,
Jeff Sarris: see the hangover I think is a perfect example.
Amara Andrew: Well, because you’re on a journey, so you’re going to different parts.
Jeff Sarris: What’s a
Amara Andrew: Vegas?
Jeff Sarris: So what’s happening? When we’re crossing a boundary, our brain is throwing away everything it doesn’t think is important, but the hangover is.
A rush of important things all at once.
Amara Andrew: Well, yeah, you’re trying to find Doug the whole time. So like, you go here, to here, to here, to here, and you don’t remember exactly what happened at each scene. But you know, give,
Jeff Sarris: give me one scene. What’s the first one that comes to mind? Give me the set.
Amara Andrew: Well, I was thinking when they were at the chapel, like they go to the chapel, it’s uh, whatever the fuck it’s called, the little wedding chapel, and then they go.
They like park the police car and they go into the chapel and then it’s uh, the comedian guy, oh my god, what the hell is his name? But anyway, yeah, you’re just, you’re in the lobby of the chapel.
Jeff Sarris: So the one that comes to mind for me is Mike Tyson. Mike Tyson. Oh yeah. Lion Hotel. That’s all. Lion Tiger. Tiger, tiger.
Hotel. Yeah. No, but you know what I mean. Memorable, like the scenes are. Just visual candy. Mm-hmm. Like, you can’t sort of forget certain scenes because your brain has to remember because it’s like, whoa. Like what is happening? This is crazy. Or,
Amara Andrew: uh, Ken Chung jumping out of the,
Jeff Sarris: out of the trunk. Yeah. That is, that’s etched in your brain.
Right? But, but see, this is the thing. So that would be how you’re using boundaries to create. The memories of what people need. Ooh, I want, I almost wanna go down the, I don’t wanna go down this path, but O is Perlman the mentalist. This is what he does. He’s like, I make you remember the things that I want you to remember and think I did the things I want you to think I did.
But he doesn’t actually do the things that you remember he did. He’s making sure that’s what you notice. That’s what you file away and the rest you wipe. That’s funny. I didn’t even think about that till right now, but. I don’t wanna go down that path. I wanted to do one other movie because those are good examples.
A movie that I think for me is fine. It’s very average. It’s not great in any way. It was novel for the, uh, way that they shot it, but I think the success of the movie is far exceeded the. Quality, sort of the measurable enjoyment of the movie, the Blair Witch Project.
Amara Andrew: Oh, yeah.
Jeff Sarris: There’s arguably no scene changes.
You’re not crossing a boundary. You’re,
Amara Andrew: well, you’re at different
Jeff Sarris: parts
Amara Andrew: of the forest the whole time,
Jeff Sarris: but you think about a forest is generally a nondescript, well, in 10, everything’s the same.
Amara Andrew: You’re in the house.
Jeff Sarris: But you know, like it’s a very, very small number of scenes.
Amara Andrew: Like you’re in the car, you’re in the hotel room.
It does change.
Jeff Sarris: Okay. All I remember is the forest, to be very honest.
Amara Andrew: Yeah. Like it starts out in the hotel room or I think it’s a hotel room before they actually go. So it’s like hotel room, car, forest, and then like tent and then forest. Forest, forest. Yeah. Until house at the end.
Jeff Sarris: Yeah. But I mean, could that have played a, could that play a role in how much of an impact the movie has?
Because. We don’t have to constantly be thrown away all this info. We’re only taking in the key stuff as it goes. Like I don’t, this is the hypothesis. Yeah,
because,
Amara Andrew: so I wonder then if the scene, okay, so like with Seinfeld, the setting doesn’t matter. That’s like ancillary, that’s an Adams. That’s that. It literally does not.
Matter. It matters enough where you’re just like, oh, okay, cool. We’re in Jerry’s apartment. Okay, next
Jeff Sarris: New York. Like, that’s sort of the
Amara Andrew: scene. It’s of
Jeff Sarris: the whole
Amara Andrew: show. Yeah. It’s just like, oh, okay. We’re inside. We’re in the interior of a building. We’re in our normal space. Like we can just relax and like see what’s happening.
It’s like, uh, going over to your friend’s house, like it’s that same feeling where you’re, you’re comfortable and you know exactly where you are. And then you can focus on, okay, well let’s see what the action is, let’s see what the dialogue is. Whereas with the hangover, you’re more focused, like you’re focused on the storyline, but you’re more focused on these, it’s heavily dependent on the scenes.
Mm-hmm. Because that is what’s literally moving the story. Yeah. They’re trying to figure out and like piece together what happened through dialogue and all that, but. The dialogue almost doesn’t even matter. Like there’s only one line of dialogue that I remember from that whole movie. And
Jeff Sarris: what would that be?
Amara Andrew: I’m not gonna say it.
Jeff Sarris: I don’t know what it is offhand. So
Amara Andrew: very beginning when uh, the fuck is his name? Blonde guy Bradley Cooper is calling Ed Helm’s character. He’s like paging doctor Dad. I still find that so fucking funny because I am a 12-year-old boy stuck in like the two thousands. But anyway, it’s just so funny.
Um, just like the timing of it, the delivery and everything is just unexpected. So anyway, you don’t really remember mu like a lot of the dialogue isn’t, you’re not focused on it, you’re focused on the visual transition. Unlike Seinfeld, you’re focused on the people and this parasocial relationships and everything.
Jeff Sarris: You can listen to Seinfeld. It’s funny. You don’t have to watch it.
Amara Andrew: That is a really great comparison. It’s like certain podcasts that we like listening to or watching instead.
Jeff Sarris: Yeah. Almost every podcast is a listen. You don’t need to watch.
Amara Andrew: Yeah,
Jeff Sarris: it’s except a few.
Amara Andrew: There are only a couple because we like a lot of pod a comedy podcast.
There is some where I’m listening to it and I’m like, I have no idea what’s going on, because it’s all visual based, because they’re working more in a visual sort of capacity
Jeff Sarris: and it’s like they’re making art pieces just in the podcast format.
Amara Andrew: Well, yeah, so like Rick Glassman is one where his is like. You cannot listen to it.
You have to watch it like
Jeff Sarris: it’s called take your shoes off if
Amara Andrew: you’re
Jeff Sarris: curious.
Amara Andrew: Yeah, so good. But you cannot just put it on and cook dinner ’cause you’re gonna be like, what the hell is happening? And then you have to watch it.
Jeff Sarris: Uh, well like for example, if you listen to the Arnold Schwarzenegger episode, I mean, I don’t know if you would ever know throughout the entire episode that it’s not him.
You would be listening and like, this sounds just like him. He’s saying some kind of. Kind of crazy stuff, but whatever. But no, it’s uh, oh, I had his name on the tip of my tongue, but there’s an actor who did like sitcoms and things, but he does a perfect, Arnold, looks nothing like him.
Amara Andrew: Yeah, I forget his name.
Jeff Sarris: Um, but he does a perfect Arnold and that’s who’s on the show. And he’s Arnold Schwarzenegger on the show and it’s just, yeah. Rick is also very performative in the way that he does things like his, are like
Amara Andrew: performance art pieces.
Jeff Sarris: Yeah. There’s animation thrown on top of things that you just have to see it, you have to get it.
Um,
Amara Andrew: well, and same with like bad friends. Mm-hmm. That is, I would say actually supposed to be an audio first podcast. Yes. But they have a video component. But as I’m listening to it and doing my laps around the house, I’m like. Wait, what is happening? That’s what
Jeff Sarris: people are saying right now. Wait, what is happening laps around the house.
Amara Andrew: I know. I, I walk in the house when it’s cold outside to get steps in, to get my steps in. Um, I tried listening to it and I was like. What the hell are they talking about? And I had to watch it and I was like, that makes so much more sense. Like I didn’t know what the hell was happening. I didn’t know who was talking like, ’cause uh, Andrew Santino, he does voices and then I was like, is this like a new guy?
So it is funny because it’s like part of the joke obviously, but there are certain ones where you need to see it. So anyway, I don’t know how the hell I got down that. Tangent,
Jeff Sarris: but, well, no, but they’re just different. So the, those scene changes matter.
Amara Andrew: Mm-hmm.
Jeff Sarris: Like the specific things that we’ll remember, we’ve also talked about it, about, um, the familiarity of things like inside jokes.
Amara Andrew: Yes.
Jeff Sarris: Ripped lastman, take his shoes off is filled. Inside jokes. So that’s something that it’s, let’s go back to Seinfeld real quick.
Amara Andrew: We’ll be right back.
Jeff Sarris: And that’s from the show. Um, I just flew in from Cleveland. Oh, as you’re drinking water,
Amara Andrew: and boy, are my arms tired. We’ll be right back.
Jeff Sarris: Um,
Amara Andrew: Jesus Christ.
Jeff Sarris: Someone just walked by the window, but
Amara Andrew: he didn’t even look in.
Jeff Sarris: No good for him. Um, but. See that was a scene change. A person walking by the window. Just, I completely forgot where I was going with that.
Amara Andrew: Exactly.
Jeff Sarris: And that’s that, that’s the perfect example.
Amara Andrew: He stole your memories.
Jeff Sarris: Oh yeah. He walked, the boundary changed.
My scene changed because I’m like, oh, someone’s there. They’re gonna look in. They’re not looking in. Okay, good. They didn’t look. Now, what was I saying? Uhhuh, but that’s so, but that’s how the brain is supposed to work.
Amara Andrew: When, when we’ve talked on the podcast before and I’m like, I totally lost my train of thought because I thought of.
Another thing I wanted to say. So I was like, yeah, shut up. Finish your point so I can talk about this next thing you, and then I forget that next thing
Jeff Sarris: when you jump in with your jokes. That is what happens to me every single time. I know. That’s why sometimes I get frustrated. But anyway.
Amara Andrew: Trying to
Jeff Sarris: get better anyway.
No, but I like your jokes.
Amara Andrew: I’m recovering, uh,
Jeff Sarris: joke aholic.
Amara Andrew: Yeah.
Jeff Sarris: Boy,
Amara Andrew: are my arms stuck.
Jeff Sarris: But there’s the inside jokes, the familiarity. So Kramer, when he goes to Jerry’s apartment, he would swing the door open and slide in like crazy. It doesn’t matter. It means nothing to the show. It doesn’t, it has zero impact, but it’s the familiarity.
So like you also, you know it because you’ve seen it so many times, but you can also discard it. So you get I, there’s some balance there that, I don’t know, I don’t have something I’m going for with this, but I think there’s an interesting thing to explore with repeating. Sort of inside jokes, humor, whatever it is.
So someone feels a part of it. Like, I recognize that, or that’s the thing. Well,
Amara Andrew: for friends, fans, that would be Joey Tribiani going, how you doing Uhhuh? Like, you know that. And you know, like that’s the punchline for a lot of it. I’m not saying that Friends is the best TV show at all, but I’m just saying like
Jeff Sarris: I’m, it’s familiar with it.
Successful.
Amara Andrew: Yeah.
Jeff Sarris: It’s beloved in a way that, I mean like Seinfeld friends,
Amara Andrew: I love Lucy. I’ve seen every episode too many times and it’s like, uh, making fun of Ricky Ricardo’s accent nowadays probably frowned upon. But that was like, uh, one of the running gags, or same with like Fred being a penny pincher, and I don’t know.
So
Jeff Sarris: this is all before my time,
Amara Andrew: so I know I’m bringing it up. It’s, but I’m like, three people are gonna know what the hell I’m even talking about. So back to friends. Yeah. Like we all have our. It’s almost like how we all have our little personality quirks or we have our ways that we talk. We have very specific ways that we say things or very specific turns of phrase where it’s like, if I hear, I don’t even know what it would be, but like certain people, like we have our like go-to things that we say where it’s like, we’ll be right back.
Whatever it is. I mean
Jeff Sarris: earlier, so this we didn’t, wasn’t on purpose, but you’re like, she touched my leg.
Amara Andrew: Yeah, but I just mean like actual things like in real life, how we talk to each other. No, I
Jeff Sarris: know.
Amara Andrew: But so I’ll be like, so anyway, like I say that a lot. We have those little, like, uh, what the hell is it even called?
Like a, a speech quirk where it’s just like we have our little catchphrases and we say the same things, but we don’t even realize we
Jeff Sarris: do’s. Just, and even when we adopt ’em from other places. Yeah. It just becomes part of like what we do and how we speak to each other. But that’s the familiarity.
Amara Andrew: Yeah.
Jeff Sarris: Like we don’t speak to each other on this in the same way we speak to each other.
All the rest of the time.
Amara Andrew: Yeah,
we
Amara Andrew: do, but we don’t,
Jeff Sarris: but we don’t use all of our inside sorta baseball.
Amara Andrew: No.
Jeff Sarris: Like none of that. It’s because this is all things that everyone will understand how we’re talking to each other.
Amara Andrew: Well, and this is different because I can’t take as long of pauses to think like I normally do, so.
Jeff Sarris: You can take as long as you want. I’ll be patient.
Amara Andrew: Okay. Some people, no. Then the person listening is gonna be like, I hate when people take long pauses on podcasts. ’cause I’m like, did it stop? Why’d you stop?
Jeff Sarris: Isn’t that funny?
Amara Andrew: Where’d it go?
Jeff Sarris: As soon as it goes silent,
Amara Andrew: it’s
Jeff Sarris: like
Amara Andrew: two seconds and then I’m like, hello, I’m here.
It’s like, calm down.
Jeff Sarris: That would be a scene change. You know a boundary. Yeah. Like it goes silent and suddenly you’re like,
Amara Andrew: it breaks
Jeff Sarris: you out a bit. Oh wait, did it stop? What’s happening? Yeah. It’s like, stop,
Amara Andrew: go. That just reminded me, so I’ve done this before when I used to do illustration. Spoiler alert, I used to be an illustrator.
I would literally have
Jeff Sarris: you still illustrate and draw and like you’re still
Amara Andrew: an artist. I mean, these hands are useless to me at this point. Like they, they’re so out of the, the creativeness, I’m just at my keyboard all the time. Now I have claws instead of artist’s hands. But I used to find. I would like have music on full blast, of course, to get in the zone, to get in that like flow state.
And I loved it, but I would find one song that it would just like, it would speak to me and it would be for that specific moment or that piece or whatever. I would have it on repeat, and I would just listen to that for like hours because it was just, I knew what to expect and it just sort of was like a meditative state almost.
So I don’t know if that’s even sort of related, but that just made me think of that, where I would find like a, the hell fucking song. I don’t know. I was gonna have an example and I was like, I can’t think of any song.
Jeff Sarris: Well,
Amara Andrew: but it would just be the same song. Like it could be any genre from the 1920s to the twenties.
Twenties. Well this is why ago 2010s. But it would just be that one song that I would just listen to over and over and over and over and over again.
Jeff Sarris: So I think that’s exploiting the boundaries thing. Because if we’re listening to,
Amara Andrew: I’m not exploitative.
Jeff Sarris: If we’re listening to a bunch of music, we’re constantly switching scenes, but it might be the tone that we’re going for.
But if we need to focus, because I do the same exact thing and you know this, and I’ll go through my list of things that I’ve done through the years, but. If it’s one thing that we know and it’s the right, it’s the exact tone and feeling we need. If you just loop it, you don’t even notice that it restarts.
It’s just there. It’s keeping you going. Mm-hmm. Like I do this with certain songs, like one that I have listened to way too much. I’m trying to think who. Who It’s by now though, but it’s called I do Coke.
Amara Andrew: Oh, that’s uh, kill the noise.
Jeff Sarris: Yeah. Kill the noise.
Amara Andrew: Yeah. With someone else.
Jeff Sarris: I’ll just listen to that on loop.
Amara Andrew: I do coke so I can work longer, so I can earn more, so I can do more Coke.
Jeff Sarris: Yeah. So that, so that’s my, my version of doing Coke is listening to a song called I Do Coke, but it’s a
Amara Andrew: really good song.
Jeff Sarris: I can just listen if I have to like really lock in and focus on what I’m doing. That’ll be on loop for the longest time.
There would be like certain movies, certain shows. ‘
Amara Andrew: cause that’s literally, those are just the lyrics. Yeah, that’s whole song. Like it says that throughout the song with different voices, like male or female vocals and that’s
Jeff Sarris: it. Mm-hmm. Yeah. But also like the born series, the whole Dexter series. Do those have vocals?
Silicon Valley, like there’s like shows in movies and things. Why are you smiling? Don’t you try to make jokes when I’m trying to make my point,
Amara Andrew: I’m not.
Jeff Sarris: Why is your mouth so
flat? ‘
Amara Andrew: cause I’ve, I was hoping you wouldn’t bring attention to it. My b lip got stuck. ’cause of my lip gloss. No. Are, uh, do they have vocals or is it just purely like,
Jeff Sarris: you mean the shows and movie?
Amara Andrew: I thought you meant you were listening to the soundtracks from those shows. No,
Jeff Sarris: no, no. So I do listen to soundtracks sometimes, but like back before,
Amara Andrew: sorry, that’s what I thought you were saying. Okay. Is you listen to the soundtrack of those.
Jeff Sarris: So yeah.
Amara Andrew: Nevermind. I thought you were just trying to I was not making a joke.
I’m just very stupid.
Jeff Sarris: No,
Amara Andrew: sorry for I’m, I’m not forgetful, I’m stupid.
Jeff Sarris: There you go. Um, but for the longest time, for many years, I would just play the born movies. I would play Dexter. I would go through all these different things. It was the energy of the, uh, the aggression of one man versus the world just appeals to me, and it always has.
Amara Andrew: So I feel like now then, now that we’re talking about this more in depth, is the, the boundary related to comfort and familiarity?
Jeff Sarris: So I think so I think we’re talking about two things though, about
Amara Andrew: Well, yeah. ’cause now we’re going this different way.
Jeff Sarris: Yeah. We’re, we’re going like, how you can like exploit the boundary thing.
To like get a feeling, but throw away the stuff. Like it doesn’t steal your focus, but you still get the feeling.
Amara Andrew: But I think too, then your, uh, let’s say, okay, so like how we were just saying when you’re recording content, ’cause that’s the best example I can think of right now. You’re recording content, not in your house.
You rent an Airbnb, you record content there. It’s an unfamiliar space at first, but then it becomes familiar, and then it becomes comfortable because you, you know that space. By then you’ve been there for an hour or two hours, however long it takes you, that then becomes the new normal. Like that is your normal spot.
Whereas if you kept changing Airbnbs after every single video, then. That throws you off a little bit, so you can’t entirely focus, I feel so I do actually think that it is related to familiarity and comfort. ’cause then just like TV shows, they have the same sets. I don’t know.
Jeff Sarris: Well, and it’s because it’s the brain crossing some boundary and deciding, oh, I have to refresh.
Let me just quickly throw the things into memory that I need. And trash bin everything else.
Amara Andrew: Also known as the spank bank.
Jeff Sarris: What kind of boundaries are you crossing?
Amara Andrew: I’m crossing all of them. I’m an explorer,
Jeff Sarris: but I think that’s what’s, it’s just interesting, like I didn’t expect us to go on the path of how it can be beneficial, but it totally makes sense.
Amara Andrew: How did we do that?
Jeff Sarris: No, just, just being like, I’ll listen to the same song over and over and over, because basically, oh yeah.
You’re never crossing a threshold. You’re sticking within the one error boundary. You’re sticking within the one loop. Your brain doesn’t have to like throw things away or whatever, but also it’s given you the feeling that you want because you already, you found that feeling. Now let it just go. I won’t listen, but I hear it.
Amara Andrew: Yeah, it is interesting,
Jeff Sarris: but I think it’s important. So what do, what do we need to look at in terms of, um, protecting ourselves from this? Because social media. Is the ultimate exploitation of this and it’s how it sucks us in. Yeah. And we never leave.
Amara Andrew: Yeah. Like especially, I love TikTok, so I love just scrolling through and seeing what sort of jackpot, what dopamine, sugarcoated, gooeyness I’ll find in a video that’ll be like, wow, that was really funny.
Or, wow, that was really clever. Everything else, I do not remember. And you probably watch a hundred or 200 videos just scrolling through and like. 10 minutes or whatever. It depends on your, your churn rate. Um, what I was gonna say for recording on your phone, I think you and I are some of the only people on this planet.
We have every single notification turned off except for our texts from each other. And. Your mom and that’s it.
Jeff Sarris: We had nothing else. No. My phone will never buzz and I’ll never have a list of things on it.
Amara Andrew: Yeah. Like I don’t have any notification show up at all. I have all my, like, people hate this when they try to call me and they’re like, answer your fucking phone.
Like, why do you have everything muted? But I don’t wanna hear from everybody all the time because it’s gonna be constant distractions and you can’t actually. Do the things that you need to do to run your business or to get forward or get ahead. If you constantly have all these things popping up on your phone, and unless that is the part of your business that you’re running, so if you’re the communications part, cool, that’s fine.
That’s what you’re supposed to do. But if you’re doing everything in your business like we do, then it’s like, okay, I need to. Do the communications part, but I’ll do that like from four to five or I’ll do that in a couple hours or whenever I can get to it. That’s not a main priority right now. Nothing’s that important.
I don’t need to be addressing all these texts all day or all these phone calls or anything.
Jeff Sarris: And just as a little side note, like we do a lot of things. We manage like email marketing with different people like partners in this and that. So one of the email marketing, one of the platforms that we use email marketing for has
Amara Andrew: yours are a little more time sensitive than mine.
If you have things that pop up, then you need to address it more. So like,
Jeff Sarris: no, like I, I’ll only check my email. Uh, it’s like my stuff, I check it. I don’t check it every day. Like, I think people think that’s crazy, but like you set the expectations with people and then it’s just like, oh, I’ll check it every third day.
So just know that when I respond though, I’m not gonna say, huh, you’re gonna have every single possible question answered, even the ones you didn’t ask. Because that should be the last correspondence for this topic because I’ve given you all of the solutions you need or taken care of it. Yeah, but this, that’s not where I’m going.
Email marketing. We have a list of about 40 to 43,000 people. We did like a 60% open rate or something on this for this one partner just yesterday. I sent out a, a reminder last chance to get this huge sale that we’re running, like last Chance final hours, and the, and it was only to a small segment, about a thousand people of that list, because they were ones already interested that hadn’t completed the purchase.
What blew my mind, which like it always does, but it’s just so different because we don’t do notifications, is I hit send. It goes back to the screen that lists all of your latest sends. In the time it took to refresh that 40% of the people had opened the email already, 25% had clicked the link in about 20 seconds.
Amara Andrew: Yeah, that doesn’t make sense.
Jeff Sarris: It makes no sense to me because of how we function, but it’s something we have to always keep in mind is people get notifications nonstop. All day re they’re in reactive mode all the time and it’s like, I know it. But that was one just sort of reinforcing, ’cause then of course I refresh it and it’s like, because it was a very targeted email for a specific subset of people.
Almost a hundred percent of the people had opened it within minutes.
Amara Andrew: That’s crazy.
Jeff Sarris: Which is so crazy. But,
Amara Andrew: but I find it fascinating to watch how people use their phones. Not that I’m. I’m not judging people. I’m just merely curious how you shut your whore mouth. No,
Jeff Sarris: people have never heard you say that on here.
I know That’s one of our inside phrases that you say Oh, to me all the time. Whoops.
Amara Andrew: It’s a joke. Um, the, I, I don’t judge how people use their phones. I just am very curious how people do, ’cause the large majority of people that I’ve seen use their phones. It’s that constant dopamine hit of, oh, I got this text.
I should respond to that. Oh, I got this comment. Well, not responding to that, which is one thing that you should be responding to, but I’ll save that for another day. But it’s just, it’s constantly opening every new notification known to humankind and then. Like just not doing anything productive. Like you have the ultimate tool right here.
You can do literally anything and everything. You can run a business, you can do, you can do so much with this thing, but I don’t feel like enough people, I don’t feel like enough people are using it to its fullest potential. Like you’re, you’re using it to have all the distractions and everything from life instead of using it to.
Build a better life and a better business.
Jeff Sarris: The challenge is these are both, these are rabbit holes because that’s also how people use ai.
Amara Andrew: No, I know.
Jeff Sarris: Not to be better, not to do more, to do less, to do worse. I know I started
Amara Andrew: saying it and I was like, this is a whole other topic.
Jeff Sarris: Yeah. So it’s like so hard. So we can’t, we can’t go way too far down that rabbit hole.
Amara Andrew: Just going back to the boundaries, if you’re trying to record content, ’cause we obviously work with a lot of people who wanna make content. If you’re struggling and you like can’t. Figure out why you can’t seem to be making content. It’s because you’re using the wrong tool and your phone is amazing. It’s super easy.
It’s free, meaning you already have it, it’s right there. But I would heavily, heavily consider having a separate camera, a separate recording device like the DGI Osmo is amazing ’cause it has a little gimbal and everything. It’s has
Jeff Sarris: my pocket
Amara Andrew: or, yeah, that ’cause it’s, uh, stabilized. So you don’t need to worry if you have shaky hands or if you’re just not paying attention.
You’re good to go. Using something that’s specifically made for recording content is perfect. Then you don’t need to worry about, oh, I’m gonna pick up my phone and forget what I was talking about. Or, um, I forgot what I was talking about. So just, it’s, it’s seriously so super helpful and it puts you in that right frame of mind.
You’re conditioned. It’s like Pavlovian, you’re conditioning yourself. Oh, I’m gonna make content, so I’m gonna pull up my camera.
Jeff Sarris: So I didn’t even go down that, but I almost did earlier. Crossing a boundary, going through a doorway, walking into the office where you do your work.
Amara Andrew: Yeah.
Jeff Sarris: Grabbing the device.
This is not a phone, but grabbing the, the phone or camera that you film with.
Amara Andrew: Mm-hmm.
Jeff Sarris: You’re changing the scene. Your brain throws everything away and it says, this is what we’re doing now.
Amara Andrew: Mm-hmm.
Jeff Sarris: Like, that’s very powerful. It’s a powerful way to use the boundary concept.
Amara Andrew: Mm-hmm.
Jeff Sarris: I mean, no, that’s, that can. I have too many ideas on this, so we’ll, we’ll sort of like wind down here, but I just wanted to say,
Amara Andrew: but you find that interesting.
Jeff Sarris: Yeah. I just wanted to say real quick on social media, the constant scrolling of being like, the first thing I do when I grab my phone is go to whatever, insert social media platform, Instagram, TikTok, Facebook,
Amara Andrew: Canva, graphics. I just scroll
Jeff Sarris: all day. Pin Trust, Twitter, X, but like whatever you do. Thinking about that, that, oh no, but I have to be on social media to build and grow.
I understand that pushback. But for a quick anecdotal example, way less than a year ago, we started a hyperlocal platform doing what we do typically. Appliance for small businesses and realtors all over the country, and
Amara Andrew: we call them top bananas.
Jeff Sarris: We started our own platform doing it for ourselves. Somar is the face of it.
We don’t want anyone following it because
Amara Andrew: I dunno why I held up my mic to smile.
Jeff Sarris: So they hear. But Omar is the face of it. We don’t talk about it elsewhere because we only want hyper-local people. We want people in the town that it’s for. It’s for one town, in the whole country, in the whole world, and in a handful of months we have a number that’s not gonna sound big.
Remember, this is useful, not famous. We have, we just trust over 4,000 followers on Instagram. I mean, just about as many on the other platforms as well. But we’re talking just Instagram now, 4,000. We don’t use Instagram, we don’t use social media. We use it as a tool to get all of the content out there. We deliver to people how they wanna be reached, what they want to be reached with, when they wanna be reached.
So the thought that, well, lemme just say the 4,000 is 10% of the entire town. It’s 10% of everyone.
Amara Andrew: That’s weird to think about,
Jeff Sarris: and that’s including. Infants and children and anyone in town. I
Amara Andrew: do well with infants.
Jeff Sarris: Yeah. So 10% of every single living human in town follows this account in just a few months.
And it’s not from scrolling. She’s never scrolling, she’s not commenting, liking on other content all the time. That’s not a, it’s a tactic you can use, but you’re probably not, what you’re probably doing is scrolling through the. Maybe it’s sexy women. Maybe it’s whatever ladies, like whatever the, you know,
Amara Andrew: how do you know what’s on my profile?
Jeff Sarris: But you know, like, I don’t know, whatever the algorithm thinks, your archetype of human is going to not stop scrolling. It’s gonna give you, and as soon as you slow down on one of it, it’s gonna give you more. It doesn’t matter, it knows. It knows your speed. You can barely imperceptibly change. And it’s gonna be like they like this and it’s gonna change and give you that to keep you there forever.
We use these as tools, and when you use it as a tool, it’s so different. You don’t pick it up and start scrolling mindlessly, which changes where your mind is. You crossed a boundary, you change the scene, you lost whatever you were thinking and working on, and you’re doing this tens, dozens, hundreds of times a day.
Amara Andrew: Or even just every time you take a beat and then you pick up your phone Uhhuh, like that’s not good.
Jeff Sarris: Well, yeah.
Amara Andrew: And then you have a serious problem.
Jeff Sarris: Well, well, I mean, whatever. Just if you want to go down this, this other path, welcome to our cult. No, but like there’s another path that you can’t take. People have recognized and said, I think to both of us, but definitely multi, a lot of people had have said to me directly, like, you never grab your phone.
And like, I don’t, I don’t grab my phone if I’m with people unless there’s a very specific reason I need to, because it’s not, it’s just, it’s a tool that I use for things and that’s not like a better than, it’s not to try to like puff myself up. It’s just, this is how I’ve found that it works for me. Very similarly, how you found it works for you?
I, I would say we use it exactly the same, but I don’t wanna like. Projected onto
Amara Andrew: you? Well, I was like, nobody’s ever said that to me, but I just, they, they wouldn’t know that I have a phone because you never see it unless we’re filming and I’m prompting you. But that’s literally the only time you’ll see that I have a phone.
Otherwise, if I need to check something, I check it in the bathroom because I don’t wanna check it in front of people. ’cause I don’t think that’s polite personally. But yeah, like you will, you will not know that I have a phone. You wouldn’t know. What model I have or anything like that, and I guarantee nobody would.
Jeff Sarris: Well, and what’s fun then is since we’ve gotten into watches like this one
Amara Andrew: yeah.
Jeff Sarris: It’s actually been so beneficial. It sounds so dumb to be like, well, you can just look at your phone and see the time. And that’s what I’ve always done. I, I never really cared what time it was because we’re, we have the absolute freedom of time and what we do.
But if I need to know what time it is, I would look at my phone. Maybe back in the day there’s notifications. Then maybe, oh wait, let me, oh, let me just do this real quick. Or you know, I’ll looked at this later, and then it goes back here all day, like having an actual, well mechanical watch, which is even cooler.
But having an actual watch on the wrist has been very helpful.
Amara Andrew: It is very freeing because I’ve had that one looking at my watch too. Mine is way cooler than yours. Mine is a swimming pool with a little rubber ducky in it, and that’s what tells you the time. It’s amazing, but I, I can actually tell the time on it, but I like just looking at it and being like, oh, cool.
It’s 3 42 or whatever, or 3 45. I have to round up in fives because it is a little more difficult to tell.
Jeff Sarris: No, but an analog watch it is. You just sort of always rounding a little bit.
Amara Andrew: Yeah. And again, not an Apple watch. The sweatpants of watches, not another distraction.
Jeff Sarris: Mm-hmm.
Amara Andrew: So many people again. If they have their phones in their hand and then their Apple watch on their wrist and it’s, you’re alternating between the two, and it’s like, you don’t need either of those.
Like you would have so much less anxiety if you just put those two in a locker for a day and just exist, like you would feel so good.
Jeff Sarris: Mm-hmm.
Amara Andrew: Join our cult.
Jeff Sarris: But yeah, just, it’s something to think about and just think about boundaries. I think there’s. There’s a lot more for us to explore here.
Amara Andrew: I actually feel like this could be a very interesting, like, book topic.
Jeff Sarris: Yeah.
Amara Andrew: I dunno.
Jeff Sarris: Well, because it is a big topic in, uh, brain
Amara Andrew: research. I think I’ve read something about this before.
Jeff Sarris: Mm-hmm. So there’s a, there’s someone at University of Chicago and she’s sort of the foremost expert in what Mandela Effect Do what? I don’t remember offhand. Okay. But the Mandela effect specifically, and she’s done.
Basically she is the person who’s done all the research to try to determine did we cross through an interdimensional wormhole? And that’s why we have these memories that aren’t real.
Amara Andrew: That’s
Jeff Sarris: cool. Which she’s sort of like actually proven untrue. Um, oh,
Amara Andrew: I thought you were gonna say true. I was like, you’re just telling me
Jeff Sarris: this
Amara Andrew: now.
Jeff Sarris: Actually, let me throw one thing that I find really interesting. Um, when you think of, so I, I feel like you already know the punchline of it, but when you think of the monopoly man, what do you think of?
Amara Andrew: Uh,
Jeff Sarris: like, describe him in just a few, a few qualities.
Amara Andrew: Top hat, mustache, little slacks.
Jeff Sarris: Okay.
Amara Andrew: Little shoes.
Jeff Sarris: And you don’t throw a monocle in?
Amara Andrew: No, he doesn’t have a monocle.
Jeff Sarris: So like, he doesn’t, and that’s the thing is so many people think he has a monocle
Amara Andrew: because of Ace Ventura. Probably.
Jeff Sarris: Well, I don’t know. Like, I’ve never, but I wanna jet to the other part. If what she did is, which is really fascinating, to do an actual controlled test.
She has people who don’t know these characters, these things. The Fruit of the Loom logo.
Amara Andrew: Oh yeah, the cornucopia.
Jeff Sarris: Yeah. Like there is no cornucopia that never has existed.
Amara Andrew: Yeah. Huh.
Jeff Sarris: Wait, is that what? Are you being real right now?
Amara Andrew: Yeah.
Jeff Sarris: There’s like, oh, so this is the better one. Okay, good. The Fruit of the Loom logo.
You, yeah. What you envision. There’s totally a
Amara Andrew: cornucopia
Jeff Sarris: with fruit coming out of it.
Amara Andrew: That was how I learned what the hell a cornucopia was.
Jeff Sarris: Yeah. So that never happened. What? Never, there’s never in the history of human time been a fruit of the Loom logo with the cornucopia, so, oh, trust you. That’s the Mandela effect.
So what she then does she, one of her studies was finding people who do not know that logo, along with all the other things. She would within like in a controlled setting. I’m not explaining it in the actual scientific methodology, but they would see it for the first time along with a bunch of other things.
They’d be going through and doing the things that they do in the study to sort of even it out and be like, oh, actually, can you draw what you saw? What was that? Fruit of the Loom logo? There is a statistical. Statistically significant number of people who draw it with the opia when they were never shown the opia what, and have and have never seen the logo before in their entire lives.
So there’s something else going on there, some other mechanism, and that’s why the monocle with the monopoly man. There’s some mechanism, like you said, ice Ventura, Ruby, whatever. But there’s some mechanism there where our brain is throwing away the parts of the scene that it thinks aren’t important and saving the ones that it thinks is.
And then what is, what’s that gap? Where’s the coronary topia showing up between the, the stuff we’re just assuming we didn’t save it because we, we just know it. And the stuff we saved. ’cause we have to know it. It lives somewhere in that gray area.
Amara Andrew: I wonder if that is even just like a, a word association thing then, because like for the monopoly man, I could see thinking that there is a monocle because it’s the top hat, the spats, like the whole garb.
What?
Jeff Sarris: The spats?
Amara Andrew: The spats. It’s shoe coverings. Uh, but he has that whole garb of like a 1920s banker. So you would think that he has a, a monocle, I almost said monocle. Jesus. So I could, I could see. I feel like it’s almost our brain working more or harder than it needs to. So the brain is trying to fill in the gaps and fill in the pieces, and it’s like, oh, well naturally that stupid little guy on the game board would have a monocle because that fits the archetype of what we’ve seen.
So it’s almost like conditioning, like how you brought up Oz Perlman the Mentalist earlier. It’s. Having our brain or our brain tricking us and filling in the gaps that we didn’t even ask for it to fill. Granted, a cornucopia is a very random thing for the brain to fill in. That one
Jeff Sarris: is very odd. Like very odd.
Amara Andrew: Like that’s very specific. And it feels like, especially kids nowadays, like people born in maybe the 2010s or 2020s, they’re not gonna know a cornucopia. But like growing up, I feel like. We are probably the last generation to know what a cornucopia is or was, because that’s related to Thanksgiving typically now.
So that is really fascinating. Like I feel like it’s just the brain filling in pieces.
Jeff Sarris: Mm-hmm. Yeah, and that’s, that’s the whole point of this. That’s why the boundaries.
Amara Andrew: Then I would wonder too, the people that drew the cornucopia. If they knew what the hell that even was. Like if they knew that that was a thing that even existed.
’cause if they didn’t, that would be so weird if they just were like, I don’t know, I use this weird horn thing and you can put shit in it. And it’s like, what is this?
Jeff Sarris: So that, that right there would be really fascinating because recently I saw a video about horses and how like you never get behind a horse horse opia.
You never get behind a horse because they could trade you.
Amara Andrew: Yeah.
Jeff Sarris: But. Brand new newborn ho horses. If something’s behind them, they will kick it. They aren’t taught that. See, it’s, it’s deep down inside. That’s just what, what you do when you’re a horse. Like there was like a little clip of it. There was a baby horse just born.
It bounced around. It was like p like
Amara Andrew: so
Jeff Sarris: right away
Amara Andrew: I’ve heard that then with, uh, like humans, so like we’re evolved from. Hundreds and thousands, hundreds of thousands of years of people of different hominids and whatever. Being afraid of snakes or being afraid of insects, that is a fear that we all sort of have.
Jeff Sarris: Being afraid of incest,
Amara Andrew: not really, not enough, uh, but like creepy crawlies and things like that. Like that is an innate fear that we have. Even if we’re not actually afraid of it, but there is like a ugh factor to it where that’s, that’s our, uh, this shit’s very weird, but I find it fascinating. But that’s sort of like our ancestors.
It’s in our DNA passed through to us, so, oh man, I could go everywhere with this, but I find it fascinating. But then that’s like the fight or flight and it’s like, do you inherit certain things from. Your genetic makeup because of what happened to your ancestors 10,000 years ago. And is that why certain people have this fear, but then certain people have this fear?
I don’t know. I find it so cool.
Jeff Sarris: Well, I mean, little things like it, little things. I’m saying this like very narrow lane things like addiction, like there seem to be traits that are passed down. How is that, how is that even possible that like. Connections like that happen, but there’s something about our makeup.
So who knows if these Mandela effect concepts are tied to some genetic understanding, like a memory that is just in there. I don’t know why Shaq being in the movie, Shazam is a memory that we all have from his, from our, uh, line. I remember that
Amara Andrew: verbatim.
Jeff Sarris: Isn’t that funny
Amara Andrew: that it was Shaq
Jeff Sarris: Uhhuh? But anyway, I mean, the movie doesn’t even exist, period.
There is no movie called Shazam.
Amara Andrew: Really?
Jeff Sarris: Yeah.
Amara Andrew: No,
Jeff Sarris: that’s the whole thing. That movie never happened.
Amara Andrew: Oh. ’cause it’s sin bad, right?
Jeff Sarris: What we’re thinking. It’s not even Shazam.
Amara Andrew: No. But he says, Alec. Alec, hold on. Jesus Kazam, or No, it’s Kazam.
Jeff Sarris: Kazam.
Amara Andrew: That’s what it is.
Jeff Sarris: Yeah. So he was in Kazam.
Amara Andrew: Yeah, that I remember.
Jeff Sarris: And then other people think it’s Shazam.
And then with Sinbad.
Amara Andrew: That’s a whole, I remember Sinbad, because I remember looking it up before, and then I was like, oh yeah, it was Sinbad, like, I remember his face.
Jeff Sarris: Yeah. So that never happened
Amara Andrew: because Sinbad was in jingle all the way, right?
Jeff Sarris: Mm-hmm. Yeah. But that never happened either, so I don’t know why that’s in our genetic Wait.
Amara Andrew: Kazam
Jeff Sarris: never did. Kazam happened. Shazam didn’t.
Amara Andrew: Oh, I was like, yeah, Kazam definitely happened. Go.
Jeff Sarris: No, but it’s a whole, like all of these things I, Kaza and man, uh, Nelson Mandela died in prison. Is what a lot of people think. And he didn’t, and people were saying that he did when he was literally still alive and living in South Africa.
Amara Andrew: Stinkers and all the things.
Jeff Sarris: Yeah. So there’s lots of things, but,
Amara Andrew: well, yeah, Mandela Effect isn’t new, but
Jeff Sarris: it’s where this
Amara Andrew: different things keep popping up.
Jeff Sarris: Where this all came from is the interesting thing. Like, who knows? But this all connects back to the, the boundaries and changing scenes and how that affects our brain and what we remember.
So anyway, this was fun.
Amara Andrew: Was it?
Jeff Sarris: It was for me. Not fun for you.
Amara Andrew: Hmm. Gimme a questionnaire at the end.
Jeff Sarris: Okay. Was this fun for you?
Amara Andrew: No. I want a paper questionnaire.
Jeff Sarris: Paper. We don’t do
Amara Andrew: paper here. No. Fine. Uh, I only do it though when it’s multiple choice.
Jeff Sarris: Was this fun for you? Yes. Hell yes. Um, I think kind of, sort of.
Heck yes.
Amara Andrew: Are those A, B, C, 1, 2, 3.
Jeff Sarris: A, B, and C?
Amara Andrew: Um, can you repeat the choices?
Jeff Sarris: No.
Amara Andrew: Oh, uh, I guess C. All the above. I
Jeff Sarris: think. Kind of, sort of heck yes. Okay, that’s good. I’m glad you enjoyed it.
Amara Andrew: I’m not a good test speaker.
Jeff Sarris: We’ll be right back.