Baby Shark

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About a year ago, Jonathan Wright, a DJ and a children's musician who goes by the stage name Johnny Only, started getting strange comments on his YouTube page.

I don't read my YouTube comments very much, but I did start seeing comments.

Hey, hey, there's a song out there exactly like yours, you know.

These comments referred to a song Johnny often performed for toddlers and that he had posted on YouTube in 2011.

It came with a video that he'd recorded with his kids and his sister's kids at her pool.

This song was perfect for three-year-olds.

It has simple lyrics, an off-repeated chorus, and hand motions that correspond to each verse of the song, which little kids love.

I knew my kids well enough that I knew that was going to be a hit before I even recorded it, you know.

The song did well for Johnny, but it wasn't massively popular or anything.

It still has less than 100,000 views on YouTube.

But it was an important part of his show for years.

And then he started to get those comments.

And I go to look for it.

It was Pink Fong's version.

This song is called Baby Shark.

And that version comes from the South Korean children's entertainment company, Pink Fong.

If you don't have a little kid or know a little kid or know a little kid's parents, you may not know this song.

Though that's about to change.

Unlike Johnny's version, this version of Baby Shark is extremely, extremely popular.

As of this recording, it's been viewed over 2.3 billion times.

It is beloved by small children.

That, by the way, is one of my small children singing it.

But it has also been performed on talk shows all over the world, tweeted about by famous people, and inspired a viral video dance challenge.

It's been performed by celebrities.

Please welcome Sophie Town.

And inspired countless covers in different genres.

In January 2019, Baby Shark even debuted on the Billboard Hot 100, where it has been as high as number 32.

In other words, Baby Shark is a top 40 hit.

And that, like all of this, is not normal for a song whose target audience just stopped wearing diapers.

Baby Shark is a massively popular billboard charting, unstoppably catchy, super sticky earworm that has endured for decades, gone viral multiple times, and become the subject of an international copyright dispute.

Baby Shark is not just a song.

Baby Shark is a phenomenon.

This is Decodering, a show about cracking cultural mysteries.

I'm Willa Paskin.

Every month we take a cultural question, habit, or idea, crack it open, and try to figure out what it means and why it matters.

I have had Baby Shark stuck in my head for months.

I have two small children, and like a lot of small children, they are totally obsessed with it.

As I've heard baby shark and sung baby shark and made up new words to baby shark, I have had occasion to wonder who is is responsible for this unstoppable earworm.

In this episode, we're going to try to answer that question, starting with the present-day viral version of Baby Shark and then swinging backwards through time into the song's past, of which Johnny Only is just one part.

Today, on Decodering, a ridiculously comprehensive answer to the question, where does Baby Shark come from?

Let's start with a company that made the viral version of Baby Shark, the aforementioned South Korean company, Pink Fong.

That's the Ping Fong logo tone, which plays at the beginning of all of their videos, a bit of sonic branding.

Since being founded in 2010 by another South Korean company called Smart Study, Pink Fong has produced more than 4,000 animated videos and stories for children, many of them poppy renditions of kids songs in the public domain, like Mr.

Sun and Five Monkeys Jumping on the Bed.

In 2018, Ping Fong had 5.7 billion views across all of its content, and its YouTube channel has 15 million subscribers.

Just to put that in perspective, Sesame Street only has 5 million subscribers.

Children's entertainment is a world unto itself on YouTube, a bubble populated primarily by a strange but very lucrative genre of super popular videos expressly designed for toddlers that unless you've got kids, you probably have no idea exists.

Little kids' entertainment, like toddler entertainment, is it's totally YouTube driven.

It's basically all music videos for kids, and it's like wildly international.

That's Alexis Madrigal, a staff writer for The Atlantic, who's reported on the types of companies that make these these sorts of videos.

There are companies like in Dubai, India, Hong Kong, South Korea.

Turns out that this is kind of a universal thing that you can make.

It's like a highly scalable across-the-world kind of entertainment form.

Alexis estimates there are about a dozen or two dozen major companies doing this sort of work and hundreds of smaller ones.

Their videos generally have a similar aesthetic: bright, simple animation with big-eyed human or animal characters, often doing funny dance moves to upbeat and catchy songs with pop music flourishes.

That song, which you may have noticed, bears some sonic similarities to Baby Shark, is called Johnny Johnny Yes Papa, and it went viral in 2014.

For adults who are raised on Sesame Street and Mr.

Rogers, or even Dora the Explorer, 30-minute to an hour programs that have a gentle vibe and a clear, well-executed pedagogical vision.

These videos can feel like they lack a purpose, you know, besides generating clicks.

But kids all over the world are clicking on these things, which means that whatever their flaws, they are unprecedented.

Children's entertainment produced all over the world, soldered together from all the different world's cultures.

Yeah, it's just like new melange of cultures that just didn't exist before.

Like you couldn't really make this exist in any real other medium.

In particular, because all these companies copy from each other relentlessly.

You know, the Indians copying from the South Koreans, copying from the Russians, copying from the guys in Dubai or Israel, you know, and then that is like being making money for YouTube in the United States of America, you know, and being shown to people in the Philippines.

In a world in which entertainment is increasingly segmented, Ping Fong and companies like it have created a kind of global shared experience for three-year-olds.

Baby Shark is part of a wild and strange monoculture for toddlers, a demographic that doesn't much care about language, cultural-specific taste, or adult measures of quality.

To be fair to Ping Fong, in South Korea, it's considered to be a trustworthy educational company.

If its educational bent is lost on English-speaking audiences, that's because we already know what Ping Fong videos are trying to teach: English.

Baby Shark is a good, simple vocabulary lesson, but the video has been so successful because it also works as pure entertainment.

In the video, which was posted in June of 2016, a boy and a girl trade verses and do very specific hand motions, the baby shark dance, in front of simple, colorful, aquatic animation.

For the verse about baby shark, for example, the boy does a little finger pinch that's supposed to be the baby shark's jaws going up and down.

The girl uses her whole hands for mama shark.

Daddy Shark gets both arms.

For the let's go hunting verse, they do a a particularly cute gesture, pressing their hands together above their heads like they are shark fins and swaying back and forth.

All these motions make the song extremely appealing to toddlers who love a song that comes with movements.

Think of head, shoulders, knees, and toes.

If you're happy and you know it, clap your hands.

The hokey pokey, the itsy bitsy spider.

Honestly, most songs for toddlers.

But it also made the song appealing to another demographic entirely: South Korean pop singers.

That's the girl group Red Velvet in a baby shark inflected ad for Lisp Gloss.

K-pop, Korean pop, is a very competitive field, and its stars are constantly trying to reach as broad an audience as possible, not just the teenagers who make up their core fan base.

One of the ways to reach that broader audience is on variety shows, which are extremely popular in Korea and Asia more generally, and where goofing around with a meme, particularly one that is a children's song, is a good and reliable and cute way to appeal to a lot of people.

The K-pop stars amplified Baby Shark both as a song and as a viral sensation.

More and more regular people began to dance to Baby Shark, recording their own routines to it and posting them on TikTok, an extremely popular app in Asia, where you post short clips of yourself lip-syncing and and dancing along to a song.

Meanwhile, Ping Fong has kept up with the craze by releasing over 100 different versions of the song in 11 different languages.

There's now an EDM version of Baby Shark, and a Halloween version, and a Valentine's Day version.

Throughout 2017 and 2018, the song just kept growing and growing, moving around the world, until it caught on in the United States, first and foremost with kids, who liked it so much they helped propel it up the billboard charts.

I'm not sure there's a real precedent for Baby Shark.

Chris Melanthey is the host of Slate's Hit Parade podcast and an expert on all things having to do with the billboard charts.

As Chris explained to me, there are a few kids' songs that have charted on the Hot 100 before.

The Chipmunk song, a Christmas song, went to number one in 1958.

Rubber Ducky from Sesame Street has also been on the charts.

So have a number of novelty hits that aren't necessarily kids' songs, but that really appealed to kids, like Monster Mash and Size Gongam Style, another K-pop crossover mega hit.

But those songs appeal to kids who are like school-aged kids, and the kids who are into Baby Shark are much littler.

It's the kind of record that somebody under the age of, I don't know, six might hit again, again, again on.

That YouTube data factors into the chart and has made it an enormous hit.

But this raises the question, why of all of the animated kids songs that are out there on YouTube, do toddlers like this one best?

Why did this one break out?

Here, I think we have to turn to the song itself.

Yes, the baby shark video is adorable, but that song, it's catchy.

Well, this song is successful because it perfectly balances familiarity, repetition, with novelty.

That's Charlie Harding, a musician and the co-host of Switched on Pop, a podcast that takes pop songs and explains why and how they work.

The melody itself is nursery rhymish.

It's very simple.

You know, like it's very memorable and it has a sort of rhythmic bounciness to it.

So it just catches in your ear, and you get it over and over and over again,

which you think you should get bored, but you don't.

And the reason why you don't get bored is every time they sing that repeated melody, something changes.

Right?

So the first time they sing it, it's just a bunch of kids and a bass.

And then they start adding in hi-hats the second time around.

And then the next time, but then when you get daddy shark, you get this big baritone voice.

And so the baritone voice is kind of surprising.

And you get grandma voice, and grandma voice is surprising within the context of what you heard before.

And then they add keys, and then they add more voices.

There's like a chorus of kids that comes in.

And then at that point, we've now heard like six or seven of the debut shark refrain, and they modulate into another key.

They take the whole thing higher, which is a very common trope of like 80s and 90s ballads.

And once they do that, they even add even more arrangement.

There's more of these you can arpeggios, just...

At that point, everything drops out, except for maybe a kick drum and the voice.

And the last time, everything comes back in.

And so there's a way of doing the exact same thing over and over again by providing just enough variation that you stay interested.

I love Charlie's explanation of Baby Shark.

Before talking with him, I had never noticed like any of that and I've listened to Baby Shark a lot.

Charlie's explanation also made me find Baby Shark a lot less annoying.

The fact that there's all this slight variation to it that keeps kids interested, it made me think about how repetition and variation work for adults.

Yes, we're more sophisticated listeners than four-year-olds, or I hope we are, but we also like repetition, so long as it has the right amount of variation.

We want the pop song to come back to the hook, or the orchestral music to return to the motif.

And when a song gets it just right, I don't know about you, but I do listen to it dozens of times in a row.

And we do the same thing with what we watch.

We watch movies and TV shows we've seen before and seek out specific genres, crime shows or superhero movies, or whatever's happening on Twitter, where we basically know exactly what's going to happen.

It's just the details that are different.

Ping Fong's version of Baby Shark is especially sticky, but I think that there's something elementally enticing and irreducibly catchy about Baby Shark, no matter what its arrangement.

And I think this because the Ping Fong version, it's not the first time that Baby Shark has gone viral.

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So now, in order to chase down Baby Shark's origins, we're going to have to leave the present and start moving backwards into the past and the early days of YouTube.

Kleiner Hai means little shark in German.

As you can hear, the song has a different tune than Baby Shark, but it's recognizably related.

The verses mean more or less the same thing, and it comes with all of the same hand motions.

Some of the campers recorded Alexandra singing Kleiner High, and in January of 2007, she uploaded the video to her YouTube channel under the name Alemuelle, an abbreviation of her first and last name.

In the video, which is pretty grainy, Alexandra is sitting in a retro pea green armchair, wearing a teal sweater and a bright red headband.

Her motions are exaggerated and very distinct.

She gradually gets more and more into it until she gets to the daddy shark and she starts using her whole body.

It's weird, but extremely watchable.

And people watched it.

I think it took about half a year

that it got a million views.

And then

emails started to pour in asking me for interviews.

Like, you're a viral video and it's German, and can we ask you about it?

And I was like, What the fuck is happening here?

And then a record company wrote to me and said, Hey, you're so famous in the internet.

Can we do a recording of the song?

This record company was EMI, the giant label that's released music by the Beatles, Duran Duran, Kate Bush, and thousands more.

She recorded new vocals for a dance-oriented version of Kleiner High.

The song became a smash.

In 2008, it spent 16 weeks on the German singles chart, peaking at number 25.

Alexandra became something of a viral sensation herself.

She released the song under the name Alenuel, the name that had been on her YouTube channel, and there was a lot of speculation about who she really was.

This was further fueled by her outfit, the teal turtleneck and the red headband, which she wore to all of her public appearances, like she was playing a character.

And she had a lot of public appearances in 2008.

She went on a number of German talk shows, toured clubs in Germany and Austria, and played two performances in Najorca.

Her performances did not always go exactly as planned.

The people in the clubs were too old.

My kind of fan group were 14, 15 year olds.

I think, and in the clubs there were like 25 to 30.

And they often kind of stared at me with wide eyes, asking themselves what the hell I was doing there and why they should kind of perform a children's song with me.

By 2009, the Kleiner High Craze had wound down.

EMI offered Alexandra the opportunity to record another song, a kids' song about a fish, but she declined.

She went into journalism instead.

People often ask me if I'm embarrassed that this happened to me, but no, it was great.

And I'm really happy that I just jumped into the cold water and swam without being eaten by a shark.

It helped me a lot, I think.

I gained a lot of

self-esteem because if you boot from stage, then you're much cooler afterwards, I'd say.

Her young daughter recently found out about Kleiner High in school.

One of the women who worked there, she's shown her the video.

I didn't do that.

And now she wants to see it all the time.

And if somebody says hi, shark, then she immediately starts doing the gestures.

Okay, so how is it possible that an American children's musician, a South Korean entertainment company, and a German camp counselor all recorded different but successful versions of a song about a baby shark.

To answer that, we have to go back even further in time.

So I think it was about 1989 or 1990, and I was at summer camp in New Hampshire, Camp Mara Vista.

It was one of our favorite songs.

We loved it.

That's Rebecca Onion.

She's a writer and colleague of ours at Slate, and she is one of the many, many kids who sang Baby Shark in the 80s and 90s, when it was just a song kids sang at camp and school and after school and Girl Scouts and Sunday school and wherever kids gather and sing songs.

There were hundreds of different versions of it.

There are some with different tunes.

Just as there are German versions, there are French versions where it's usually called papa le cat, that sometimes but not always is sung to the tune of Menamana, the song made famous by the Muppets.

But even with all the variation, these versions have similar gestures and almost all of them have something else too.

Violence.

There are a lot of variations to the violence, but it seems to be what made the song.

And then it would be shark attack, uh-uh, uh-uh.

And you kind of like would move your body around as though you were being like attacked by a shark, like violently.

And that was the funnest parts for everyone, because we'd all be like, oh my god, we're dying, and kind of like lie on the ground.

The grisly parts, which are not in the pink fong version, or a number of other versions of the song on YouTube, including Johnny Only's, made it a little edgy and therefore fun for older kids, teenagers even.

And while the song was not, until recently, primarily for toddlers.

Violence, I think it's a clue about Baby Shark's origins.

We kept looking for earlier and earlier versions of Baby Shark.

In print, we dug around and found a version of it in a book called Making Music Fun that was first published in 1981 and that already refers to there being many different versions of the song.

And then we spoke to Patricia Sheehan Campbell, an ethnomusicologist at the University of Washington and an expert in children's musical culture, who also happens to have worked as a camp counselor in Ohio in the 1970s.

This might have been the mid-late 70s, something like that.

The song came up on a bus one time.

And so I learned it from a child.

And every child knew it, actually, already.

And it sounded pretty much the same as it does now.

I asked Pat if it was possible that all of these different versions of Baby Shark had popped up spontaneously, a kind of polygenesis, like the way emus and ostriches evolved on different continents.

She was skeptical.

That'd be a little far-fetched, given that, you know, the gestures are just very explicit, could have been separately

created, you know, without some influence.

But I don't know, you know, how to connect the dots.

We kept looking for a record or memory of baby shark before the mid to late 1970s, but we couldn't find one.

And then it occurred to us there was something happening around this time that was extremely relevant.

To be clear, we are now entering the realm of speculation.

But honestly, what's the first thing you think of when you think of a shark attack?

Steven Spielberg's Jaws was released in the the summer of 1975, and it was a huge deal.

A huge deal almost undersells it.

Besides almost single-handedly creating the blockbuster as we know it today, the movie spread through all parts of American culture.

The film industry began producing cheap copycats with titles like Piranha and Orca.

There was a video game about sharks, and Saturday morning shark cartoons, and a recurring Saturday Night Live sketch about a shark.

And there were tons of novelty records, songs that took John Williams' famous theme music and riffed on it.

That's an instrumental disco version of the theme by Lalo Schifrin called Jaws that samples Williams' score.

In this next one, Do the Jaws by the End, the song starts with some shark hysteria, and there's a beat derived from the Jaws theme.

Haven't you heard?

Heard what?

Man eater!

This next one is my favorite.

It's called Jaws is Working for the CIA, a novelty funk record by the investigators, and it starts with a reference to a family of Jaws.

Once upon a time,

there was a family of fish.

There was the daddy fish,

the mama fish, and the baby fish.

They named the lady Jaws.

I'm not saying any of these songs directly inspired Baby Shark, but I am saying that they're evidence of the shark crazy atmosphere at the time and of the ubiquity of the Jaws theme song.

If those things inspired a number of musicians, maybe they inspired some camp counselors too.

Well now, Jaws is an agent for the CIA now.

Jaws!

If the jump from this song

to this song

to this song

sounds big, remember that Baby Shark was transmitted orally.

And the jump from

to do to do to do with about a dozen stops along the way, that sounds more like a game of telephone.

In fact, there's a version of Baby Shark sung by various Girl Scout troops to this day.

It's more of a chant than a song that ties Baby Shark and Jaws together very nicely because it's a version of Baby Shark about a specific shark family, a family of Jaws.

A baby Jaws do,

So, Jaws, that is our provisional answer to where Baby Shark comes from.

The fact that it's made it to us over four decades later means that the song and the Jaws theme music that may have inspired it has always been viral.

This is what analog virality looks like.

Something so catchy that it's passed from person to person, kid to kid, counselor to counselor, musician to musician, until it makes its way around the world.

Slightly different each time, but still fundamentally itself.

So crisscrossed and cross-pollinated, it's hard to untangle where exactly it started at all.

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So now we're going to move out of the past and head back to the present.

But we're not going to get all the way there just yet because there's still a bit of a gap in the where did Baby Shark come from mystery, which is how exactly did Pink Fong find Baby Shark and decide to make their own video with it?

I initially thought this would be pretty straightforward to answer.

We talked to someone at Pink Fong, Fong, but Ping Fong declined to speak with us, and then declined, and then declined.

To be fair, they are in the middle of a huge wave of attention, and I'm sure there are lots of people asking to speak with them.

But then we learned about Johnny Only, the children's performer who we spoke with at the very beginning of this episode.

And it became clear that there are some good reasons why Ping Fong might want to be vague about how they discovered Baby Shark.

To explore those good reasons, we have to get back to Johnny Only's story.

Just a reminder: this is what Johnny Only's version of Baby Shark sounds like.

He had first heard the song in the late 1990s while performing at summer camps.

He had made some changes to it, like removing the verses about Grandma and Grandpa Shark, but it's not like he had written the thing.

So when he heard Ping Pong's version of the song, he thought that was that.

You know,

I felt a little bit,

you know,

a little bit violated.

You know, I didn't think,

I was just like, oh, well, it's public domain, it's public domain, that's the way it goes, you know.

But then a representative from a South Korean political party, the Liberty Korea Party, an opposition party, contacted Johnny, asking him for permission to use his version of Baby Shark.

And so

I just gave them permission, you know?

So the Liberty Korea Party used the song, at which point SmartStudy, the company that owns Ping Fong, got involved, threatening a lawsuit against the Liberty Korea Party for copyright infringement.

So all of a sudden, as you can imagine, the lights are going off.

I'm like, wait a minute.

Smart study doesn't even realize that it's my version instead of theirs, right?

So

there's a big red flag.

And two, you know, Smart Study is saying, okay, I can sue you for copyright infringement.

So all of a sudden I'm like saying, wait a minute.

That means that I could sue for copyright infringement.

You know what I mean?

There is something called a derivative copyright, meaning that when something like a public domain song, which Baby Shark is considered to be, gets recorded, things that are changed or added to it that are unique to that recording are protected under copyright law.

So Johnny got a lawyer and filed a petition in Korean court, which as of this recording is still pending.

He isn't saying that he invented Baby Shark, but he is saying that he added things to his version that Ping Fong then used in their version.

The key is exactly the same.

You know, the driving beat is the same.

The tempo increase partway through is the same.

The way that they add the harmonies, like

when Daddy Shark comes onto the scene, you know, in my recording, I use my voice as a lower voice to emulate Daddy Shark, and they suddenly have a male voice coming in for Daddy Shark.

So this is very similar, very similar approaches.

I want to be really clear here that I have no idea if Ping Fong heard Johnny Only's version of Baby Shark before making their own.

But if it wasn't his, it was probably someone's.

I mean, they had to have learned it from somewhere.

Maybe someone who worked there sang it at summer camp.

There's a risk for Ping Fong in revealing if the song comes from any one source, because among other things, there is now a huge amount of money at stake.

Ping Fong's parent company's stock price is soaring.

The videos are generating ad revenue hand over fist.

There's tons of Baby Shark merchandise.

And the company just signed a deal with Netflix to create a TV series.

Ping Fong is hoping Baby Shark isn't just some flash in the pan, but the beginning of a global children's media empire.

I'm of two minds about all of this.

The entire history of Baby Shark is an iterative one, of people taking other people's version of it and changing it, massaging the tune and the lyrics and the language, sometimes for the better.

Johnny Only and Ping Fong's version sound pretty similar, but Ping Fong's version is catchier.

Why should Ping Fong have to worry that they learned the song somewhere and made it their own?

That's what everyone else has always done.

But at the same time, the history of Baby Shark also shows us that this song belongs to everyone.

And there's something kind of unsettling about the fact that right now, it seems to belong to Ping Fong, who has real financial incentives to try and make it more and more proprietary.

A representative of Ping Fong and Smart Study recently told the CBC,

We are the producer and publisher.

We own and control 100% of the song.

And many people already think that that's true.

And that's why for Johnny, even if he ends up winning his lawsuit, the emotional stakes are settled.

The ping fong version is so popular that even my fans,

you know, prefer theirs over mine now, you know,

which is very depressing.

You know, it's really, it's really kind of disheartening.

I mean, they're very kind about it.

My fans tell me my version is better.

You know, they're very kind about it.

But honestly, I know when they go home, you know, the pink fong version is everywhere.

And so, and I've even had, you know, I'm watching my audiences audiences as I'm performing my version.

Of course, my version does not have Grandma Shark and Grandpa Shark.

And my audience, as I go into the next line, and they're starting to make the hand motion for Grandma Shark, and

it hurts.

It hurts.

It hurts a lot.

It is really discouraging.

It's really derailed me in many ways.

I hope Johnny takes some comfort in the long history of Baby Shark, of which Ping Fong is just a small part.

I don't know, maybe their version of the song will help them spawn a children's media empire, but maybe it's just a novelty, another viral craze that has captured our attention right now for this moment, and that we won't even remember in a few years.

But when I say we there, I mean us, adults.

As Baby Shark demonstrates, both the internet and children's culture are petri dishes for virality, for memes, for things that get passed from person to person, altered and tweaked, but that stay essentially themselves.

The story of Baby Shark, in some ways, is a story of these two meme-generating powerhouses joining forces to amplify this song.

This will not be the last time that this happens.

The amount of video content being directed at kids is only going to increase, as is the amount of time they spend in front of screens.

It's hard to make a song as catchy as Baby Shark, but someone will manage it, maybe by rifling through children's songs of the past again.

And when they do, they will have an even bigger audience of three-year-olds all around the world doing exactly what they did with Baby Shark, watching and singing it over and over again.

One of the funny things about Baby Shark is that this two-minute video that was designed for little kids' very short attention spans is going to live on longer in their collective memory than it is in the memory of most adults.

For us, Baby Shark is a passing fad, yet another fleeting internet meme.

But for kids, Baby Shark doesn't just exist on the internet.

It's not some pop culture object, something cute to share on social media.

It's outside of all of that too, part of an older, but still viral, still vital way of communicating.

If the history of Baby Shark tells us anything, it's that the version of Baby Shark that was made to last is the version you can sing however you want.

So if you can bear it, keep singing.

This is Decodering.

I'm Willa Paskin.

You can find me on Twitter at Willa Paskin.

And if you have any cultural mysteries you want us to decode, you can email us at decodering at slate.com.

If you haven't yet, subscribe and rate our feed and Apple podcasts wherever you get your podcasts.

And even better, tell your friends.

This podcast was written by Willa Paskin and was produced and edited by Benjamin Frisch, who also does illustrations for every episode.

Thanks to Max Reed, Bernie Cho, Jeff Benjamin, Franklin Bruno, Quinn Myers, Michelle Cho, Agnes Guano, David Bevan, Ngu Kang, June Thomas, Cleo Levine, Gabriel Roth, and everyone else who gave us help and feedback along the way.

Thanks for listening.

We'll see you soon.

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Classes start soon in Pleasant Hills, San Leandro, and San Jose.

Visit Carrington.edu to see what's next for you.

Visit Carrington.edu slash SCI for information on program outcomes.