Sarah Resnick: This is Sarah Resnick, I’m speaking today with Margie Compton via Skype. Today is February 15, 2011 and we are recording this interview for the IMLS Moving Image Specialists in Libraries project in the Moving Image Preservation program at NYU. Thanks, Margie, for agreeing to do the interview.
Margie Compton: Thanks for having me.
SR: Let’s start by you talking about your job title, where you work, what kind of appointment you have, [and] whether it’s full-time or part-time.
MC: Okay. I have a full-time appointment, and my job title is Media Archives Archivist, which sounds like a mouthful. It’s actually distinguished from the Peabody Awards Archive Archivist, which is the title of our cataloger.
SR: Will you just say which institution you work at?
MC: Yes—The University of Georgia Libraries, Walter J. Brown Media Archives and Peabody Awards Collection.
SR: Great. So when did you start working for the Library?
MC: July of 2001.
SR: Great—and which department are you in?
MC: The archive is one of the three special collections in the library. We used to be called the Media Department, but we’re not really … we’re a special collections. The Media Department used to be administratively under us, and they still do a lot of checkout of our materials, but we’re sort of separate.
SR: Okay. Maybe you can just go into some more detail about the kinds of collections that you work with …
MC: Moving images and audio materials. It’s a bit of a mix because the media archive covers a lot of different types of material, in terms of … different types of collections. We’ve got home movies [and] films that were made on campus by students; we’ve got interviews, like Peabody Award winners who donated the material to us; radio collections; campus radio of two kinds; three news film collections from Georgia TV stations; folk music field recordings; religious broadcasting—it’s hugely broad which is what makes it so interesting.
SR: That sounds like a really exciting collection to work with. What are some of the different formats that you would find in the collection?
MC: Pretty much everything. In terms of film, we’ve got very little 35mm, although we occasionally get that. It’s primarily 16mm, sound and silent footage. Within home movies, we’ve got 9.5mm, 8mm, Super 8mm, 16mm again … gosh … mag[netic] sound, optical sound, element sets—that’s primarily where our 35mm material comes in. Part of the collections are the materials that WGTV produced when they were here on campus, they were the Georgia’s first educational TV station. They did a lot of original productions going back to the end of the 50’s. I’ve recently run across some kinescopes they did to test their equipment. They have a lot of original elements, and we’ve got those stored as well as having some of the prints. We have 2-inch video tape, 1-inch tape, ½-inch VHS, ½-inch open reel, audio transcription discs, ¼-inch audio tape, ¼-inch cassette tapes, radio station cartridges called carts . We’ve got DATs ….
SR: Yeah, it really runs the gamut.
MC: Yeah, the history of broadcasting right here.
SR: Okay, maybe you can describe your primary job duties and responsibilities.
MC: Oh, okay. Primarily what’s been going on recently is … we’re preparing to move to a new special collections building which is great—we’ve really needed it for a long time. Right now, we’re concentrating a lot on re-inventorying a lot of basic inventory material from the past, to really get a handle on what’s in every single box we have, because it’s all going to be barcoded and put into high-density storage. So, right now I’m doing a lot of kind of basic work. Box inventories, and examining material, and just getting things on lists and getting them barcoded. Outside of that I do a lot of the … I work closely with my boss on budget matters, so I talk about what [the] budget is right now, what we’ve got left, what we need to do before the end of the fiscal year. Can we do transfers in house or do we need to send them to labs? If something has to go to the lab, I do the pulling, the packing, the packing slip, contacting the vendor, shipping the material out, tracking it, getting it back, getting it on the shelf, getting it labeled, getting it viewed. It’s been a lot of more physical, curatory work—making sure the film is in good condition. I’ve been working in the Peabody Awards Collection, trying to get all the film in there off the projection reels, onto cores. We recently did a big AD-strip testing project, so we’re putting sieves in everything. It’s a ton of material—there’s about 2,500 kinescopes and films in that collection. And it takes forever. So, a lot of that …. [And] some grant writing, taking in collections, visiting donors, hauling film away, bringing it here, getting it packed, getting it on the shelf, getting it labeled, getting and taking inventories—it’s a lot of physical work.
SR: Okay. I assume that there are other staff [members] that you are working with—maybe you could talk a little bit about that?
MC: Okay. We’ve got … it’s a pretty small department…. We’ve got my boss, Ruta [Abolins]—she’s the Media Archives head. And as I mentioned, the Peabody Awards Archives Archivist is Mary Miller—she’s our cataloger. She’s really the Peabody Awards specialist—that’s her purview and she really knows it well. We’ve got James Benyshek, who’s our digital technician—so he’s doing in-house transfers for things we can transfer in-house. Then it’s … that’s the full time staff. Right now we’ve got one part-time person doing some inventories who will be doing some audio work. Oh, we’ve also got Dan Roth; we just hired him as an audio technician to help us with a lot of the Peabody Awards audio material. And then Mary’s got about five or six students part-time working off-and-on getting a lot of the barcoding done and updating her database. I’ve got two part time students, who help me with the winding-off and the inventories. That’s about it; it’s really a small department.
SR: It sounds like you’re well supported.
MC: Yes. We’re currently waiting on the state budget, as most states are … with cuts anticipated. But … we just never know. Our library head has actually been really good about not cutting our budget as much as he can avoid not having to cut it. But every year, we just assume we may get some cuts. But it’s not personnel, it’s usually … we anticipate that it would be in the preservation budget.
SR: Okay, so you mentioned that there’s an in house lab, and so, can you just talk a little bit about the lab and its set up … what kind of transfers its set up to do, and what you actually have to send out.
MC: Okay we’ve got a TP66 telecine that will handle 16mm film, and that moves everything over to DigiBeta or BetaSP. We’re primarily going to DigiBeta now for preservation masters. Also [we’re] digitizing onto our server, and saving the LTOs, and producing DVDs when necessary. We’ve also got professional VHS machines as well as ¾-inch decks, and DigiBeta and BetaSP [decks]. So we can do transfers in-house, but there’s a balance between …. How good does this need to be? What needs to be sent out and why? And that involves a lot of discussion between me and Ruta as to which things really need to be either film preservation, or need color correction. We really can’t do too much tweaking here in terms of that sort of thing. We keep in touch with a lot of different labs for different jobs … home movies on 8mm have to go out. Although we’re hoping in our new building we will have a telecine that will handle anything we need. It gets expensive to send the 8mm out, so we’d like to be able to do that in house.
SR: Great. Has the lab existed along with the department … [rather], as long as the department has? Or, is it something that has come into being more recently?
MC: It’s really been fairly recent, although when Linda Tadic worked here, she got money to get a lot of the equipment. So [most of] it got here back in the late 90’s, and has just been upgraded a little bit at a time ever since then. So it’s primarily …. We have an Elmo—that’s what did our in-house transfers, and that was acceptable for viewing copies but really not as great as it could have been. So little by little, [we’ve been] upgrading all that equipment. We got a Save America’s Treasures grant, which Ruta wrote … that got us the SAMMA system, which we used to transfer and digitize 1970s Peabody Awards entries from local television stations. [And] that got completed essentially sometime last year. We bought the equipment so we could continue that work, since so many local TV stations have not been able to save their materials. So we end up being kind of a repository of a lot of unique material.
SR: Can you estimate what quantity of moving image material can be found in your library as a whole?
MC: Sadly, we don’t have a lot of hard numbers—that’s part of what’s coming out of all this moving, the hard information. One amount we know is the WSB newsfilm collection is about 5 million feet. We recently just a couple years ago took in WRDW out of Augusta—their newsfilm that somebody had collected—and that’s probably about eight or ten thousand feet. WALB news film is completely uncounted; it’s maybe 1,000 or 2,000 cans of either 400-feet of compiled clips or individual pencil rolls of clips, so I really don’t have a count on that. Thousands of educational film prints. About 20,000 ¾-inch tapes in the Peabody Awards Archives alone. Then a lot of VHS and DVD and preservation masters on tape in Peabody, as we’ve duplicated over the years. [We have] 55 collections of home movies, and that can be anywhere from 2 reels to 42 reels in each collection. It just sort of depends. One of the things I did last week, we went over to a donor’s house to pick up 200 cans, which are 400-feet apiece of about 40 years worth of home movies. I’m assuming it’s going to be really well shot, because the woman who donated them, her father took them, he was a doctor who travelled all over the world and filmed everywhere they went. He was meticulous about labeling the cans, so I’m hoping what’s in there was shot really beautifully. I’m anticipating that, but I haven’t had time to look at it yet. It’s really variable ….There’s just an absolute ton of material here.
SR: How would patrons get access to your material? Do you have anything available online or is it onsite only?
MC: There is some online. Right now we’re upgrading our webpage because it’s rather out of date. We’ve been trying to get a lot more material up and on the web. It’s very helpful for people to be able to see, even just a portion of something just to get an idea as to whether they want to look at it or not. We’ve got a lot of rights issues …. With Peabody, none of that material is really ours. HBO submits something for a Peabody Award [and] we don’t have the permission to just put that up on the web.
SR: Of course.
MC: Of course. I worry a lot about the home movies. A lot of people … They don’t think home movies are important so they donate them and we talk about it, and make sure they understand research use of home movies. But we’re not really putting great hunks of those up on the web yet. You know, we may do some clips in the future, and that involves some permission from the donors. [We’re] trying to get more up, but it’s a matter of digital storage, server space, terabytes, the time to do it. Even if we send something to a lab and get a DigiBeta that James can just ingest and get up on the web … it’s still just as time consuming to do that, as anything else. There’s kind of a battle for terabytes and space and just making sure … just exactly of how much of what do we want to put up. It’s just incredibly time consuming, so that hasn’t got as far as we’d like. We also are able to do some FTP-ing of digital files to documentary producers. They come to us pretty regularly; every week there’s something to be discussed or invoiced or sent, or screeners made.
SR: Do you have a licensing system?
MC: Yes. Yes. And with things like the Peabody Awards, we require permission from the originating station before we will duplicate anything. You know, because they may have it themselves and they may want the sale themselves. A lot of the material in Peabody is unique; it’s just not out there anymore. So, we may be the ones who have the only copy existing. But we do require that permission is gained first before we make the screener, and that’s again not something that’s just going to go up on the web.
SR: Yeah of course. Do you have any other additional job duties and responsibilities that we haven’t really talked about so far? Or, if you play any additional roles in the library like being on committees or anything like that ….
MC: I’ve been on a couple committees in the past. Recently I haven’t been on any. At the same time, getting ready for the new building is sort of a committee in itself. We’ve had a lot of meetings lately, and that’s a big part of it right now. We’ve had quite a number of meetings with the exhibit designers. So, part of what I’m doing right now as well as making box lists and inventories, double checking content is … how does what I’m looking at fit into the possibility of an exhibit? Am I seeing something that would make a great impact on the screen in our exhibit space? Or is something really special here? Is there something we need to bring to their attention? And, we’ve got some deadlines coming up to with exhibit prep. Everything sort of changes every day as to what the priority is, and whereas I’ve got to get everything ticked off a list and barcoded, it’s also, stop what you’re doing and move over and let’s discuss which things need to be on exhibit, let’s make a final list, let’s pull that material, let’s get that to James, let’s get it ready. When we open the building, we’ve got to have the exhibits up—it doesn’t really matter if the material is on the shelves. Of course they’ve got to be on the shelves eventually. We’re moving in, but really we’ve got to have the exhibit space up and going. So it’s sort of shifting around right now in terms of that. There’s a lot of donor contact; faculty meetings; lunches with donors …. There has really just been so many meetings about the new building lately that a lot of other stuff drops to the side. Applying for grants, Home Movie Day …. We’ve sort of taken Home Movie Day to be a part of our outreach. So, even though we’d like to do one on the day, we will also coordinate with people we know in Georgia, or with library donors who are trying to do something nice for us, to do a Home Movie Day in their community, and see what kind of things show up, and talk about film preservation …. So, we do quite a bit of that.
SR: Do you do any other types of outreach besides Home Movie Day?
MC: Not really hard, deliberate outreach. It’s a lot of word of mouth and you know when somebody hears [about us and says], “Oh, I understand you have this film from 1978 that my father was in—could you give me a copy of that?” That sort of thing …. It’s [maintaining] good relations within the community more so than physically going out into the community and physically doing things—which we have less time to do.
SR: Let’s talk a little bit about your training and your background and what prepared you to work with moving image collections.
MC: Well, I was a legal assistant for about a dozen years after college and I just loved film history. And I was trying to figure out what I could do to get in the field of film history. [And I] finally understood there was something like a film archives out there, and I called around—I was living in DC at the time—and I called over to the AFI and talked to someone there who said that she was getting a Masters in Library Science, and that that’s what she knew how to do to get into the archives. So I filed that away, and eventually got to the point in my legal career where I was ready to stop doing that and start doing something else. So I got into the University of Texas iSchool [University of Texas at Austin School of Information], got my MLIS there, got that in 1997. And I had done a lot of reading and research on my own, so I knew names of people involved, and who was at UCLA, who was at Library of Congress, etc. And somehow I ran across the Association of Moving Image Archivists—and this was probably two months before their conference in 1996—and I signed up right away, and went to my first conference and started meeting people I’d been reading about, which was really great, and everyone was really welcoming. And so, I kind of figured out that, yes, this is exactly what I want to be doing. That was amazing—it’s really a terrific community and just incredibly helpful, incredibly generous. A lot of the training came through that. Or even just casual training, calling up somebody and saying, “Hey, how have you done this? Here’s the project I’ve got—what have you done? Because I know you’ve done this in the past ….” I’ve never met any kind of resistance to the sharing of information, which is just wonderful. In the summer of 1997, I got a paid internship at the Smithsonian’s Museum of American History with Wendy Shay. I spent ten weeks with her, which was just fabulous. She taught me so much, and that was huge. I really feel like that was key to being able to work here, and doing what I’m doing because she taught me an incredible amount in a short amount of time, and I use that information every day.
SR: Was that while you were getting your MLIS?
MC: Yes—that was the summer just before I graduated.
SR: Were there any classes while you were in school, devoted to moving images, or [did your training come through] hands-on [experience] through your internships and AMIA?
MC: Well, it was primarily …. The tracks at that time … you could get a public library track degree … I was in the basic archives track. There was one photo archives class, which had a small component [related to] film. It wasn’t a whole lot of hands-on, but it was very helpful, but it just really wasn’t …. The program wasn’t set up to deal with moving images, and I was one of the first few to want to go in that direction. I think they didn’t know what to do with me. I ended up finding enough collections around Austin to get some hands-on experience; even if it wasn’t a lot of film handling, it was collection management projects, and videotapes, and making inventories, and reading up on it, that sort of thing. I wasn’t as aggressive in those types of projects as I probably should have been. And I know Sarah Ziebell who came after me, took it to the next level I think. It was sort of just catch as catch can—do what you can within the parameters you’ve got there, and just make a lot of contacts.
SR: And so today…how are you…how would you continue to do professional development and networking? Is it the same strategies … through AMIA and such?
MC: Yes, primarily through AMIA, although in the last few years there have been other colleagues either here at University of Georgia or within Georgia who know that we exist, and either ask us to do workshops or participate in seminars, or conferences. So, there have been contacts [made] that way, where either there’s a chance for us to go out—either me, or my boss, or Mary Miller—to go out and either teach and therefore learn while we’re teaching; or to put on a workshop; or consult … we’ve done some consultation workshops with other archives. But primarily: AMIA workshops, conferences, symposiums.
SR: Have you noticed any changes in the field over the past few years, even from attending AMIA conferences … in terms of what you do, but also … I’m trying to think of how to phrase this in the best way … in terms of appreciation for this role?
MC: Well, I tend to be kind of old fashioned, so I’m still very much an analog person, and of course everything is moving to digital. Of course that’s huge and that’s the big thing; you’ve got to do digital, you don’t have too many choices left. The field is shrinking in terms of analog preservation—it’s still there, but it’s definitely changing. So, I think what I find a little bit frustrating—but not impossible—is that I like to handle the material. I like to open the can, I like to see what’s in there, I like handling— I’m very happy doing that. I’m happy making lists, I’m happy looking at the material over a light box on a bench. And so many people are so geared towards having it be all-digital all the time, and I think they don’t quite understand you still have to handle the original material—you can’t just wave your hands over a can of film and have it instantly on YouTube. It doesn’t happen that way. There are times that I feel like there’s not a lot of knowledge about what it takes to get something digitized. That you can’t just take in a handful of home movies and slap them up on the web, because …. Are they shrunken? Are they torn? Is the film damaged? What do you have to do to get it digitized? Do you have the money to do that? Do you have the time to send it out? What are the donor’s expectations? There’s a lot of that behind the scenes, where some days I may feel like well, here I am looking at ¾-inch tapes in a box, and I’m making a list of what’s in that box, and that seems really boring until you realize in two years—when you either get a grant or someone asks for it—I’ve got to know what box to pull, and what’s on that tape. There’s a lot of grunt work behind getting something up and streaming. That’s really what I find …. There’s no lack of understanding within our community; [it’s more about] being able to let the public know what’s possible.
SR: Right. And how much work actually goes into having something ready for streaming…
MC: But it is mysterious …. Some people don’t even know archives exist. I mean—it took me a while to figure it out! They don’t know what goes on. And that’s part of the extracurricular activities outside of showing up and getting the work done every day. You’ve got to do enough publicity so people know you exist, and that what you’re doing has value. And sometimes you’re so busy doing the work that has value, it’s hard to get the word out there. It’s really hard to do the publicity; there’s just not enough time really.
SR: I guess we talked about this a little bit with home movie outreach, but are there other ways you are actively publicizing your collections?
MC: We’ve had several articles in the local newspaper that have gotten a little bit of attention. It generally … things like that generate interest for about a week, you’ll get some calls right after an article appears, and then it just completely fades away. I’ve written some articles for journals. And actually, I wrote about researching television and television archives, and I’ve had about three responses to one particular program [I discussed] …. [The article] shows up on the Internet, so people get in touch with me [and say], “Oh, you have this thing, I really need to see that.” It may be a little thing that you think has disappeared, but once a journal is scanned and out there people are finding it. It comes in bits and pieces like that.
SR: In your opinion … what leads to the creation of positions like yours in libraries … moving image specialists in particular? And do you perceive any obstacles as well? I guess your library may be a special case, but if you could just speak to the issue generally.
MC: Yes, here the special case of course is the Peabody Awards. That’s pretty big and that’s been going on since 1939. [When] that material came in, it was stored in various locations and finally made its way over to the library. That was pretty much the prime mover for creating our archives. The good news is, over the years some library staff knew of film collections on campus that were either being disposed of, or looking for a new home, or a building was being torn down and that’s where this film was housed and therefore somebody had to take it—and these folks stepped up and took it in. So things were sort of sitting in the library in a space, but there wasn’t really a media archives here. So it was saved, but it wasn’t purposeful. It was purposeful to bring it in, but it wasn’t administratively handled as an archive. So, things have just sort of come to the library. And then eventually, there was enough funding to have an actual moving image archives. It’s grown and improved over the years, so that we do have some full-time staff. But this goes back again to the publicizing or holdings and making sure people know what’s important about …. Why is it so great that you have Fred Newman’s home movies? Why is it so great that you have this unique film of a sculptor working on campus in 1952? It’s not only getting the grant to preserve that footage, but [also] making sure that the sculpture professor on campus knows that you have that footage, and making sure the Museum of Art knows that you have that footage … that sort of thing. [It’s important to] get the word out and have on-campus community support for what you do by making sure that other people know how this is valuable to them. It’s hard—like I’ve said, there’s so much work to be done. How do you stop what you’re doing to make sure you keep doing what you’re doing?
SR: You mentioned that the library eventually got enough funding to create a media archives. Was that at the insistence of the librarians? Who was pushing for that? Do you have any idea?
MC: I don’t really know. Linda Tadic was really the first archivist for the Media Archives and Peabody Awards Archives. She really did a lot to get this thing up and running—and that was before I got here.
SR: So Linda was doing both jobs…she was both at Peabody and the…?
MC: It’s all under one umbrella: the Media Archives is on one side of the room and the Peabody Awards Archives are on the other side of the room. It’s all mixed in—I work with both collections even though my title is more specific ….
SR: I see.
SR: Just going back to publicizing the collections. Is there…do the faculty use a lot of materials for class teaching, or are your collections more used for research?
MC: The professors do use it quite a bit. That’s handled through the Media Department, which like I said, has always been part of us yet it’s not quite us. A lot of our viewing copies are down in the Media Department —especially with the Peabody Awards Archives. And you can either watch on site, or check out for a class. I haven’t been in on how much use [specific] collections get by professors … in terms of stats from that department …. I would like to get more professors using our material, just from what I know of it, I think it’s underused. Getting students interested is difficult. If they know we exist …. We just don’t get that many calls up here in the archives from students looking to do any kind of project with archival material, which is kind of sad. But at the same time, in a journalism department, [the students] generally want to come in, get their experience, get out there and get a job. So, broadcasting history … even though it’s all here—there’s a lot of it here—[but the students are] not geared for that. So a lot of our use is outside researchers.
SR: Can you talk about any particular challenges that you face in your position?
MC: I get a lot of support in the department and in the library. There aren’t too many in house obstacles. In terms of continuing support … there’s a lot of work you have to do with an IT department. If you’re going to digitize something and you want a server, and you want LTO tapes, and you want any kind of system for digital storage, you can’t just do that on your own in a university setting—you have to play well with others. Generally that doesn’t fall to me, it falls to James and to Ruta to deal with [questions like], How much more storage do you anticipate we’ll need over x years? How can we work with the IT department to make sure that they know we’re going to need this. They have to deal a lot with our Peabody Awards database, and the growth of that. Every year the Peabody Awards brings in an average of a thousand entries. An entry could be one piece of something; it could be 20 episodes on 40 tapes; it could be broken up in a million different ways. So, a thousand entries could be 7,000 items. So, the collection grows really quickly and exponentially, and it’s expensive. Storage is expensive; transfer is expensive; keeping on top of taking material in is very time consuming. So it’s more about expense and meetings with other departments so that everyone’s on the same page about where we’re going. If the library director wants us to digitize more, he knows what that means; he knows that means we need more storage. It’s making sure everyone is in on the same meeting, and hearing the same thing, and understands the same thing, and the implications. That’s … it’s not impossible but it’s kind of a constant effort.
SR: Right …. Okay moving on …. I think I only have a couple questions left. Part of the reason that we’re doing these interviews is to try to understand why there are so few libraries with moving image specialists. I just wondered if you have any thoughts about maybe what needs to be changed, regarding the status of moving image specialists or what’s working well right now?
MC: Well, this was my second job out of my degree—out of my masters—so I feel really lucky. And I haven’t really looked around to know what the other university libraries with holdings are doing except that, a few instances that I know of … they have someone part time who have to handle everything, but obviously can’t. It’s frustrating …. It both makes me feel really lucky and it’s also frustrating, as you might see it from these interviews. Why wouldn’t you want somebody full-time managing that material? I honestly don’t know what the hold-ups are in terms of upper management in those libraries that would mean that they can’t throw more money at this program, or they don’t consider it important. I think one of the hurdles is that people don’t understand … they don’t get moving images, they don’t get it unless they see it moving …. If it’s up on YouTube, they’re like, “Great, wow look at that, look at that home movie from 1928, I didn’t know they had home movies back then.” It’s exciting and it’s fun. It means nothing to them except, “This is cool, I can play this on my iPhone, isn’t that neat.” It’s sort of this idea of the bad object from television studies—that television comes into your home every day so you take it for granted, and therefore it’s not important and so you don’t need to study it, and you don’t need to save it. Same thing with home movies, people don’t think about it as being important or reflecting social history, or that somebody famous is in it. For example, the Fred Newman home movies that we just took in—his mother shot home movies of John Kennedy campaigning in 1960, down in little old LaGrange, GA. Fred didn’t even mention that, and I’m inspecting the film and [JFK] pops up, and it was exciting, and [Fred] was like, “Oh yeah, my mom shot that film.” [People often take moving images] for granted and [don’t] really think of [them] as important. So, I don’t think people are geared to think of this as historically important. Again, it’s convincing people up the food chain who are in charge of budgets how important it can be. That means having the time to research a collection. If there’s someone working part-time in a university library with film holdings, it’s not enough to take care of the material and make lists; it’s [imperative to] do enough research to know why that item is important, and bringing it to the attention of people who can do something about that or notice you. And, I just don’t know how to describe it. It’s just hard … it’s hard to constantly do that kind of pushing and promotion—it’s crucial, but that doesn’t make it easy. So I guess I just I don’t have enough experience in a variety of university libraries to know what the stumbling blocks are for others. We’ve been really lucky here; this is an amazing place. We’re so lucky to keep being funded, and being able to get a new building ….
SR: Yeah, that’s wonderful.
MC: … And the endless support, and a collection like the Peabody Awards Archives, it’s just amazing the scope of material that’s in there. It’s really important to broadcast the history, and a lot of people recognize that, so that’s good.
SR: Great. Okay, well, I think we’ve answered all the questions. Or you’ve answered all the questions. Thank you so much for participating in this interview.
MC: Happy to.