015 I'm Nervous!

In this episode we talk about getting nervous! Why do we get nervous, and how can we humans avoid it??

Chapters

• 0:00 Intro
• 2:00 History of getting nervous
• 11:33 How to deal with getting nervous
• 21:16 Second-guessing yourself
• 26:46 Adjusting your second-guessing muscle

Transcript

Hello everyone and welcome back to Kuli English Podcast, it's me, your host, Chris. So let's go ahead and dive straight into like a story and then I'm going to connect it back to the whole topic of this episode. So anyways, I'm going to talk about when I played piano as a kid.

So I was about maybe eight years old or nine years old, and I was taking piano lessons. And as part of the piano lessons, there's a bunch of stuff. There's like the actual lessons where the teacher teaches you how to play piano, and then there's also something that every now and then you have, which is called a piano recital.

And so a piano recital is basically like a, like a performance event where the people who are students of that teacher, they all get together maybe like once every three months or so. And then all the students perform some kind of piece.

And it's really just like a, like an open performance to show like family members and friends that, oh, like, you know, your kid is playing piano and you know, they're getting better or something like that. But so it's not, you know, it's not like a big deal or anything. But from the point of view as a kid, like the kid just sees this as like a huge thing.

So I was the kid and I was seeing this as a huge event, like I would get really, really nervous. Okay, so my palms would get sweaty. And then like, my heart felt like it would beat faster.

And the truth is like, you know, if I do a really good job performing, or if I do a really bad job performing, like nothing really matters. It's just a bunch of other unrelated people that you don't know are listening. And of course, you know, everyone wants to do the best they can, nobody wants to mess up big time.

So this episode is going to be talking about nervousness. And let's talk a little bit more about that. But after the short little music break.

Okay, so let's go ahead and get started and talk about nervousness. So I want to talk about the history of nervousness, the history of getting nervous. And this is going to kind of explain like where the feeling came from in the first place.

But basically a really, really long time ago. So humans, so you and me, by the way, you are probably a human. So you know, if you're listening to this podcast, and you're understanding it, or maybe you understand half of it, well, you're definitely a human and I'm a human.

So I'm going to talk about us. And so humans a long, long, long time ago, you know, we didn't, humans didn't live like a super comfortable life, like we do now comfortable meaning like in terms of survival. So like now most of us we can get food if we want, like you just spend money and get food.

And, you know, like there aren't like tigers, like living right outside where you sleep, and then they like attack you and then you die or something like that. But a long, long time ago, they did have that they had wild animals out there and like people would die for reasons that we don't die anymore nowadays. But this nervousness is actually part of a fight or flight response.

So fight or flight means basically in a in a situation if for example, if you're going to fight a tiger, like a tiger appears, you're like, holy crap, what do I do? You kind of have two main like choices. One is to fight it. So you're going to fight it, you're going to work really, really hard to try to beat the tiger.

The tiger is going to fight you too. And you know, maybe the tiger will win, maybe I'll win. So this is like fight, and the fight or flight, the flight part is like, I'm going to run.

So it's not actually flying, because flight means to like fly, right? Like a bird will take flight or like the airplane is in mid flight or something like that. But in this case, the fight or flight means like fight or run. So I'm going to get the heck out of there.

I'm going to like either fight the tiger, I'm going to run away as fast as I can. And these are like the two options for my survival. If I do a good job doing one of those, then I probably get to live.

And if I do a bad job, then you know, I get eaten or I die or something like that. But this is the fight or flight response. And then getting nervous is like helping you for either one of those.

So if you are about to like run away as fast as you can, I don't know about you, but if I saw a tiger, I feel like I would probably try to run. I don't think I would try to fight it. I don't think I can beat a tiger.

But anyway, so if you are trying to run, then what happens when you run? You're going to spend a lot of like leg energy and like you're going to breathe really hard. So then of course, like your body is going to try to prep your body. It's going to try to prepare your body for the run.

So it's going to like the hands getting sweaty, same as the piano recital. You know, my hands started getting sweaty. It's actually all of my body maybe getting a little bit sweaty.

Like my body starts feeling a little bit colder. And that's because when you run, you don't want to overheat. If you run a really long time, your body starts getting really hot.

And then like your body doesn't, you know, perform as well when it's hot. Your body wants to be like the normal, perfect temperature. So your body is like getting ready.

It's like, okay, let's cool down. Let's get ready for this big run. I'm ready to run a marathon to try to run away from the tiger.

And then the same for fighting. If you're about to fight, then, you know, you want to be in peak physical condition. You want to like throw your punches as fast as you can.

And like, so, so like the same with like the heart racing. So when I, when I said I was playing piano, like a piano recital, like my heart would be racing. I felt like my heart would be beating faster.

And that's just to make sure that my body just has like more like air in my blood so that I can like fight and do a good job. And so all of these things, like with nervousness, it generally has some kind of explanation for like survival. Like a long time ago, we needed that for survival, like fighting tigers.

But then nowadays, like, you know, like for this piano recital, if I did a really good job, then nothing would happen. Like I don't get anything. Like there's no prize.

There's no money. And you know, like all the other strangers in the audience, they're just like the parents of some other kid that's going to perform. And so they also don't care if I do a good job or bad job.

It's just something that's like, oh, hey, well, look at that kid. That kid did a pretty good job. Like, that's it.

And then here's the other thing. Like if I did a terrible job, if I like absolutely bombed it and then I just like forgot what to do and I choked. That's another way to say it.

I choked on my performance, which means like, oh, I messed up big time. Like I forgot what to do. Then what's going to happen? Well, like all the other people are just kind of like, oh, that guy messed up.

And, um, I guess as a kid, like you see this as a much bigger risk than after you grow up and you, you look back and oh, there's like a recital for kids. Um, but like, um, this actually also has like an evolutionary explanation as well. So like a really, really long time ago, you know, they didn't have piano recitals back then.

But, uh, they did have like groups of people and, uh, being in a group of people was good because then you can use teamwork. For example, if you like, you know, did everything by yourself, you can imagine like if you go fight maybe like a, a, a boar or something, or like a big pig or something like that. Like if you have a lot of people, like five people, you could probably beat the pig.

You use teamwork, maybe a spear or something, and then everybody gets them. Maybe somebody gets hurt, but like for the most part, you probably can win. But then if you're fighting the boar by yourself, then you probably have a much harder time because you know, it's like, it's, it's actually fair.

It's a one-on-one instead of like five on one. So it's good to be part of like a group and, uh, part of being in that group, like part of the rules are kind of like, you have to fit in with them. So then, uh, you know, fitting in socially with other like humans, that's actually a good thing to do as a human way back then, like it would be better for your survival.

If you back then like, uh, could get along with a lot of humans, then you could probably have like a pretty good, big group of people, and then you guys will probably have an easier time trying to survive and getting food and stuff like that. And, uh, but then nowadays, you know, now if I don't get along with some group or something like that, uh, it doesn't really matter because there are like so many people and again, like survival is not that hard nowadays compared to back then. So, so like, why do we still feel this nervousness? Well, some people say it's because it's important for humans to fit in.

And then, so the nervousness, like that's just something from a long time ago that is still here.

But actually like a lot of this nervousness stuff and the, and the stress and the anxiety, honestly, it probably hurts more than it helps. Uh, and by honestly, I mean like for sure, it definitely causes more damage overall to people's lives and stuff.

Uh, so, so like, you know, like if you're really stressed, uh, because you really, really want to pass a test or something like that, and then when you're super nervous for the test, then like, I don't know, maybe, maybe like you can't really focus because you're, you're just too stressed. And then, and then that's not good. It would be better if you didn't have it in the first place.

And so this is something that I read from this book. There's this book called Idiot Brain. Uh, you don't have to remember what that is, but basically the book talks about how everyone's like, oh wow the human brain is so amazing. Like, like the humans are the most like wonderful species ever. But then actually like the book talks about, well actually no, because the human brain has so many like inefficient parts, like a lot of parts that just aren't efficient, uh, and like anxiety and stress is like a really big component.

And so that's just like, you know, if, if people are too nervous or like if people are sad about themselves or maybe, you know, if they reach some kind of depression or something like this is something that you can't really control and it's supposed to like be a mechanism, like all that stuff is supposed to be there and you feel it a little bit to help you survive. But the truth is sometimes it's just so bad that it like completely cripples you. So I think a nervousness is one of those things where probably everyone would be happy if they could control it and, or like make it like half of what it normally is.

And it's the same for me. So like sometimes people ask me like, oh, when you talk and when you like perform and stuff like that, like, it seems like you don't get nervous at all, but I actually do get nervous and I wish that I could just turn that off. So like the piano recital as a kid, I would get nervous for that.

And then sometimes there, there are like things that I attend as an adult and like as an adult, I'm smarter now, so I know that. Okay. So if some other kid's mom thinks that I'm bad at piano, I don't care.

And then like the risk feels a little bit less, but I can't really control like my natural human instinct of getting nervous. Like if there's a bunch of people and I'm like performing something and I want to do a good job, then I guess, I don't know. There's like a risk that I do badly and other people think worse of me.

And then the worst part is like, then I'll be disappointed in myself. Cause I want it to do a good job. Right.

Uh, so like nervousness is actually kind of bad. I think, um, if everyone could just like tone it down by like half or like maybe tone it down to like 20 or 30% of what they normally feel like, it probably is better for everybody's performance. So it's kind of sad.

Uh, so basically this whole episode is going to be talking about nervousness. Uh, and then, you know, like if you have ever felt nervous before and you definitely have, uh, well just remember that everyone else here is also everyone else, meaning me, there's only me here. Uh, but I, I know how you feel and, uh, being nervous sucks.

And it's also something that everyone has to deal with. Uh, but also in this next part, after a short little break, I'm going to give you some tips about how to try not, how to try to not be too nervous.

Okay.

So let's go ahead and shift gears and talk about something a bit more positive. So now we're going to talk about, uh, how to try to deal with this nervousness. And number one, to give some context, uh, you know, it's not like I'm a superhuman and I never feel nervous or anything.

Uh, so I am actually just a very normal human being and I also feel nervous when I perform for stuff. Uh, but there are some tips that I like eventually learned throughout my life that I think were really helpful for me for in terms of like performing. Uh, so while I give these things, you know, just keep in mind that not, it's not like one tip will work for everybody.

Like everybody works and thinks in different ways. Uh, but you know, like if it works and that's great. And if it doesn't work, then yeah, well, sorry, I wasted like, you know, like a couple of minutes of your life.

Uh, so anyways, let's start with tip number one. And I got like three main tips, but tip number one is just preparation. Uh, so preparation, of course, this is like the most natural thing for most people to say, but if you prepare a lot, then you will probably not feel as nervous for the actual performance.

And, uh, there, there's like, there's like multiple layers to this. It's not just that the preparation helps in one way. Uh, so of course the preparation.

So if I am performing some kind of like guitar piece or something, then, you know, if I prepare by practicing that piece a lot, then, you know, like my fingers will start to know the song better. Uh, I'll probably get better at playing guitar or something like that. And then during the actual performance, then like my fingers will kind of know what they're doing.

Uh, so if I, you know, if I prepare a lot, like it helps, but not only is there that, but there's also this like emotional boost, uh, so like from practicing a lot, then like when I'm actually performing, there's also something in the back of your mind. That's like, oh, I practiced this a lot. So like things will probably go well.

And what you want is you want your mind to be thinking about positive things. You don't want your mind to be thinking about negative things. If I'm playing the piece and then I reached some part that I, I know that I always like struggle with, or some part that sometimes I mess up on, uh, what you don't want to do is you don't want to go into that part with your mind thinking about, oh yeah, I messed up last time or like, oh, what if I mess it up? You want your mind to be kind of positive there to think like, oh, what if it goes really, really well this time? And that's, that's really helpful.

Because not because that in itself is helpful, but just because it allows you to avoid the negative thoughts. The negative thoughts are, I think what's going to actually mess you up.

And then, uh, so actually now let's talk about tip number two.

And this one is something that I actually, I like, I think I read it online a long time ago. I was like looking at stuff before, like this big performance that I had for something. And then, uh, what they said is, uh, you want to convert your nervousness into excitement.

Like, so convert converting, it's like, you know, converting like Japanese yen to dollars. You just convert it. You like exchange it and you trade it.

And like, you know, emotions are not something that you can just like trade, like money, like a lot of the times you can't control it. You know, if you hate somebody, you can't control it. Like, oh, I hate them.

I don't like them. And if you like somebody, you also can't really control that. It's like, oh, they're very pleasant.

It's something that you can't really control. But, uh, the way I see it, the way that I kind of internalized it, um, is actually, oh, this is actually just, um, another way of saying like, try to stay really positive and try to imagine good things. So number one, tip number one was preparation.

And as part of that, I mentioned about how you want to think about positive things and not negative things. And I think that's a, that's a big thing with any kind of performance. So like when you think about the positive things, uh, maybe you can call that excitement or you can just call it, oh, I'm just avoiding the traps of like negative thinking.

Cause when you think about negative stuff, it actually is not good. Like it's going to distract your mind. And then also sometimes it's like a self-fulfilling prophecy.

It's kind of like something where if you imagine it's going to happen, then it actually happens. And you know, if that's possible, then, well, let's just make sure that we're always thinking about like the positive case. So always imagine yourself doing well.

Imagine like a realistic version of you doing like a great job. And then like, what happens if you do a great job and that's going to help you, I think, emotionally. So, uh, that's a tip number two.

Number one, tip number one was, uh, preparation. And tip number two was convert your nervousness into excitement, which the way I see it is just like, uh, try to think exclusively positively and like think about what happens if you do a good job and don't worry about the bad job.

And then a tip number three is, um, uh, I mean, this one is for me really, but maybe it'll work for you, but number three is just focus on your art.

So whatever you're performing, um, and, and I guess I'm just kind of, I'm sure there's a lot of different kinds of performances, but I'm just imagining like, um, if you're like performing some kind of music, or if you're like giving some kind of speech or something like that, um, then whatever the art is. So in the case of like a music performance, and that's probably the easiest to talk about, but like, if you're performing some kind of music piece, like, uh, just think about the music. So don't even, even better than thinking about like, Oh, what happens if I do really well? Uh, that's just a tactic to try to avoid like negative thinking.

And the best thing is you just really let yourself get absorbed into the art. So whatever music you're playing, like whatever song you're playing, like let yourself really, really enjoy what you're doing. And, uh, this is kind of hard to do.

You can't control whether you enjoy it or not. You know, like hopefully you, you do it because you enjoy it. But like for me, if I'm performing a song, um, if I like the song, like, um, when you play music, uh, you know, a lot of the times you have to think about what you're supposed to do, like what's coming next, you have to think like logically, but a lot of the times it's just kind of artistic, like you kind of feel like, Oh, let me try playing this part, like in a way that seems really like soft, or let me try playing this part as if it's like really happy or something like that.

So you just kind of like the way I see it, you just kind of throw emotion into the art. Um, and that's honestly, that's part of the reason why I think some performances are so good because like, uh, some people, when they sing, uh, they put a lot of emotion into it and you can kind of feel it from the audience. Um, and it's like, um, maybe, you know, some people can argue, Oh, maybe it's just because they change things technically they put more volume and then they put more vibrato or like something like that, but I think, um, the simple and easiest way that I always think about it is just that, Oh, like if, if people put a lot of emotion into the thing, then it's generally pretty good.

And so a lot of the people like watching performance, probably if the performing person puts a lot of emotion into it, it's something that never hurts. Like, uh, the worst thing that will happen is someone was like, Oh, that person's trying really hard. That's lame.

But you know, like those people that that's like a, that's a silly way of thinking and, and you, you wouldn't be performing and then like regret it because you tried hard. Like if there's anything, it's just, you should try your best at, at the performance because why not? You might as well. And it's also a pretty good experience, I think.

Um, so anyways, like that's for like a guitar performance. Right.

And then, uh, for actually like speech situations.

So like, uh, if you're doing some kind of like comedy performance or like giving some kind of speech about anything, really, um, again, this one, you know, if you're really nervous, it sucks because like you start talking differently. You, their words won't come out. Maybe you start like stammering.

So stammering is like, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I really don't want to stammer. Uh, so there's also stammering stuttering, uh, very similar. And, um, at the same time you start talking faster.

Uh, that's like a really common thing for nervousness. Same for piano recitals. Right.

So like when I was a kid and I was playing piano, when I'm nervous, I play faster. And then when I practice, I don't play that fast. And it's like, Oh, what's the difference? Oh, being nervous.

Uh, but another thing that I learned from speeches is, um, when you talk, um, again, talking like, I guess like the way I think of it, talking is like a form of communication. So you are trying to communicate and like talk to people. And so the podcast is a little bit hard because I basically talk at nothing.

I talk to the wall or like, I talk to the microphone. I there's actually no other humans listening. Um, but for a speech situation, uh, I think the best is if you can actually focus on the art again.

So there's a tip number three, focus on the art. So focus on the speech, which is for me, like the way I view it, it's like a form of communication. So while you give the speech, you want to look at individual people.

Uh, you want to actually make eye contact with like individual people in the audience, if there's a bunch of people in the audience, like it's easy to just look at the audience as a whole and think like, oh, there's an audience. Oh no. Like what if I perform poorly? And then, you know, like again, the tactic is you try to think about doing well, but even better than that, you kind of focus on the art, which for me, I see speeches as like communication.

So you want to look at individual people for like, you know, two seconds, two seconds, and it's like, what you're imagining is like, oh, I'm doing this talking for you, I'm doing this talking for you. And then, uh, that's naturally going to give you a little bit more of like an emotional energy or an emotional boost. That's like, oh yeah, I'm doing this, like, not so that I can be evaluated, like how good am I at speaking? No no no, the goal is I want to have like a speech performance. So I want to do a good job talking.

I want to do a good job communicating. And who is that for? That's for the audience that's listening. So like, if you can look at them for two seconds and look at next, don't stare at the same person for like 15 seconds.

That's like, it's going to weird them out. But, uh, you know, so like every now and then I think you should like look at the people that you're talking to, and that's also gonna, at least for me, it reminds me that I'm like doing it for, for them. And, you know, maybe you're doing it for another reason.

If you're doing it for like, I don't know, fame or glory or something like that. I don't know. I mean, you can probably find some kind of other tip or something.

It'll probably come with experience.

But anyways, these are my three main tips for how to deal with nervousness. And let's take a short little break and then we'll come back after.

So let me talk about something that's sort of related for a little bit, and then we're probably going to wrap up the episode. Uh, but now I want to talk about, not about nervousness, um, but actually about second-guessing yourself. Uh, so what is second-guessing? A second-guessing is like, uh, if you have like a decision or some kind of choice that you made and, uh, you actually go back and like guess again, a second time, you make a second decision.

So as a example, it's like, okay, so maybe you're buying something, maybe you bought a new iPhone and Apple always offers you like, Oh, do you want to get like the special Apple warranty where if you're like phone breaks in two years or something, then you can get a new phone for free. And it's like an insurance kind of thing. And you have to decide yes or no.

Do I want the insurance or I don't want the insurance. And then, uh, if you don't get the insurance, then, then you'll be thinking like, okay, so, you know, I, I save money here, but what if I drop my phone? And then you'll get this like kind of worry and the worry starts to build up. And if you worry enough, then maybe you'll come back and later on, like on the iPhone, they'll give you this ad that's like, Oh, do you want Apple plus super mega care warranty? Uh, it's only available for 45 days.

And if you break your iPhone, you get a new one for free. And then, so like if you second guess yourself, then you'll go back and you'll change your decision. So if you said no before you'll second guess yourself and then you'll change your answer to a yes, and then you'll buy that insurance.

Um, the other way around, I think doesn't really happen that much. Like if you buy an insurance, I think a lot of the times people don't come back and say like, what a waste of money. Let me go ahead and like cancel that or something.

Probably what's going to happen is after you buy the insurance, then like it feels good, you know, cause you bought something and it's supposed to make you feel better. And you're like, Oh, now if I break my phone, it's all safe. Uh, and then like what actually happens is probably like a long time later, the next time that it comes up again, you're like, well, actually, I don't think I needed it last time.

So let me just not buy it. That's not second guessing. That's making a new decision.

The second time for second guessing, you have to go back and like redo a decision that you made. Um, it's, it's like most of the times I think it's like, there's a yes, no situation that's kind of hard. Uh, I don't know whether or not I should accept this job offer.

I don't know if it's like actually a better job than my current job. Okay. Well, let's go ahead and accept and you accept.

And then afterwards, Oh, you second guess your decision. I should have said no, like the new job also sucks or something like that. 

Uh, but, um, anyway, anyways, uh, so this kind of second guessing, um, it's a really big part of language learning, I think.

Um, and I don't really know if you can call it second guessing, but it's like, while you talk in whatever language you're trying to learn. Uh, so in my case, it's like, if I speak Japanese and then I say something wrong, then, uh, I call it like a muscle. Um, I don't know if it's really a muscle, but it's like a habit of when you say something wrong, like I try to be conscious of it, I try to know that it's wrong. And, and, you know, like when, if you're allowed to like write out a sentence or like type message, then of course you can take like time to like make sure that it's correct and stuff like that. But when you speak it's harder, it's harder because you don't have time to go back and like second guess stuff while you're writing, you can go fix it two, three times, you can fix it like 10 times.

If you want, you can go copy and paste it into Google translate and make sure it's correct. You could ask ChatGPT, does this sound native? And then like paste it in there and ChatGPT will come back and be like, yes, that sounds native or be like, no, that does not sound natural. Um, but when you're actually speaking, you don't have time for all that.

So it's like really easy to mess up. And, uh, I think it's important as a, as part of like a language learning journey that when you make mistakes, um, you need to care the right amount. So if you don't care at all, then, you know, you just make the mistakes forever and you'll never actually get better.

Um, but if you care too much, I think that's also not good. And that usually happens for people who are trying really, really hard, uh, which is like a good thing. But if you care too much, like, uh, it's gonna consume you, consume you, meaning like it's gonna take up a lot of your attention and a lot of your time.

And I think it might actually make your performance worse. And the way I see it, it's a little bit kind of like nervousness. You want to be a little bit nervous so that you can focus on the job at hand.

Uh, but you don't want to be too nervous because then you'll only be thinking about like worries and like negative things. So when you're speaking English, if you're practicing English for the people who are listening to this, that don't need to practice English, I mean, you can do whatever you want. But, uh, you know, if you're trying to get better at a language, I think it's really important that, um, you are second guessing the stuff that you say to the right level.

Uh, so for me in English, like I'm very comfortable in English, so I don't really second guess what I say. I actually do a lot more now that I started this podcast because sometimes I would realize, oh, I'm making a grammatical mistake here, but this is a grammatical mistake that all native people generally say. So, uh, I guess it doesn't really matter or something like that.

But then, uh, in Japanese then, um, I guess just cause it takes a lot more brain power to talk in a language. That's not your native language. Um, I think it's actually, um, you want to do it the right amount.

So ideally, like if you mess up a little bit, it's something that it doesn't hurt you so much. Like, you don't think like, ah, crap, I messed it up. Cause if you think about that, then that's like kind of negative and it's going to distract you from your next thing.

And remember you only have so much time for speaking. When you say words, you can't really take them back and redo it. Um, and, and, and then you also need to focus on the next thing, the next topic at hand.

Uh, and again, this, this, this depends on people. Um, so for a lot of people in like that are really into language learning, um, I think they'll probably already kind of have a feeling of this. Like most people kind of know how, how much that muscle of yours works.

How often do you say something? And then you go back and say like, wait a minute, is that right? And then not only is it thinking that, but then how often do you actually correct what you're saying? So like, if you're, if I'm talking in English and I say something like, I don't know, uh, I is going to eat chicken tomorrow. And then like, then afterward, after I say that, then I think, wait, I is, is not correct. It should be, I am.

And so that's like step one, just thinking about it. And then step two is like actually going back to say it again. So I would say I is going to eat chicken tomorrow.

I am going to eat chicken tomorrow. Like, so that's like level two. And I'm not saying that level one or level two is the correct level.

It's just that you should be aware of how much, like how much you are doing. And if you're doing zero, you want to do more. And if you're doing too much, you want to do less.

Uh, but anyways, that's just something from my personal experience of like starting studying Japanese. And then also like, uh, in the tail end, in the like later parts. So after, after you're able to like communicate everything that you need to, of course, you're still not perfect.

And it's like, well, do you want to improve? And how much do you want to improve? And you know, that that's where you kind of adjust that muscle. If you don't want to improve any more at all, you just never care. You just say stuff and then you never second guess yourself and you get all of your mental capacity back.

So instead of thinking about like potential mistakes, you're thinking about forward things. So it's going to be very performance oriented. You're going to be able to perform.

And then, uh, if, if you, you know, if it's the opposite, then you want to be thinking a lot and you want to be writing down, taking memos and stuff, and then hopefully asking some kind of teacher or like some kind of source where you, where you get all of your questions answered. Um, so anyways, uh, I think that's a good point to wrap up. Uh, thank you so much for listening to Kuli English podcast.

And, uh, I guess, uh, you know, we got to do the plug. Yeah. You know, subscribe and follow if you want, you can unfollow and unsubscribe anytime you want.

But with that, thank you so much. And we'll see you next time on Kuli English.