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20 September 2013 @ 11:45 pm
The Trans-Siberian Orchestra Interviews: Rob Evan - May 4, 2012 part I  


As a law student and kicker for the Georgia Bulldogs, Rob Evan took a date to see Les Miserables and exited the theater a changed man. That defining moment, combined with a powerful yet underutilized vocal talent, led him to an ensemble role for the touring company of Les Mis and eventually the starring role of Jean Valjean on Broadway. His resume now includes hundreds of performances in the title roles in Jekyll & Hyde on Broadway; stints in Tarzan, Little Shop of Horrors, and Dance of the Vampires on Broadway; numerous off-Broadway and regional roles; performances for Presidents Clinton and Bush; as well as lead vocal performances on gold and platinum selling recordings for Trans-Siberian Orchestra.

Touring first with Trans-Siberian Orchestra in the winters of 2001 and 2003, Evan was featured on the 2004's album, The Lost Christmas Eve, and 2009's, Night Castle. Another winter tour in 2009 preceded the role of Beethoven on TSO's spring tours of 2010, 2011 and 2012. It was on this last and final tour in 2012 that I caught up with Evan at a tour stop in Syracuse, NY in early May just a few shows before the final date of the Beethoven's Last Night tour.

During our hour long discussion we dove deep on TSO digging into the Beethoven tour, recording with TSO, notable songs throughout his career, Jekyll & Hyde, Menrva Realm, what lies ahead and his legacy.

Interview with Rob Evan, May 4, 2012 – TSO Beethoven’s Last Night tour – Syracuse, NY.

Bp: Thanks for taking the time out and since this is for the fans I’m gonna try to dig a little deeper than the typical press interview.

Rob Evan: Fire away.

Bp: Now, “The Moment” wasn’t done at all on this tour, correct?

Rob Evan: No, not at all on this tour, and not at all on the last tour. On the first tour we did it, we did it all. The difference between the casino shows and the arenas shows is the casinos like for the shows to be shorter because they want to get people back on the floor gambling. And it’s a different feel, so what he’s decided to do in the arena show, the whole idea of the Rock Theater concept and the concert is to present in the first portion the story and then the second portion a jam. Now the Beethoven story because it runs consistently 2 hours, the shows are now running between 2:30 to 2:45. The casinos don’t want that so what he’s done is cut all the jam and reinstated a couple more Beethoven songs. So “Meph” [“Mephistopheles’ Returns”] got cut because they wanted the back half and they wanted to just tighten [Beethoven] up. That’s the difference and why we put it back. It has to do with timing and it has to do with Paul making sure that he’s happy with the thru-line. So it keeps us guessing, which is good. I’d rather be on my toes, now that we’re in the third year, than to get sort of robotic.

Bp: Are you happy to have “Mephistopheles’ Returns” back in at least for the casino shows?

Rob Evan: Of course. I was a little heartbroken that either were cut, I wanted to do the whole thing. I want to do as many songs as they’ll let me do. Paul likes to protect you. Sometimes he gets afraid that he’s pushing you too hard and everything. You know me in my other concerts, I’ll sing 20 songs as opposed to 3 or 4. But, he’s right in that it gets grueling out here and especially the songs that I have to sing are so emotionally deflating if I do them the way he wants me to do them. I love it when we do the casino show, I feel like I have more of a thru-line. And I love “Mephistopheles’ Returns.” It’s fun and a more driving song. And “The Moment” shows another side which I like too.

Bp: It’s sad that “The Moment” was cut. Apart from maybe “A Final Dream,” that’s the only real quiet moment in the show.

Rob Evan: Right. It’s another layer. It’s a lovely moment on the album. There’s always a method to his madness. And he’s always pretty much dead on with what his audience likes. He knows how to build a show and he’s got to please a lot of different crowds. He’s got to please the metal crowd, the theater crowd, the rock crowd. There’s a wide demographic of young to old.

Bp: When I was talking to Al, we talked about on paper that TSO doesn’t make a whole lot of sense…

Rob Evan: No, definitely not on paper.

Bp: But in reality and execution wise it does.

Rob Evan: But it’s like one of those things y’know, it is…interesting. And you can dissect it and tear it apart critically if you want, but as a whole unit it’s almost impenetrable as far as being…it is over the top, but I always like to make that reference with Jim Steinman being completely over the top with his lyrics and everything, but he sold over 50-million albums. So he’s doing something right. The good thing about Paul and the way he writes, the stories touch on the core human experience. And the good thing about Paul is there’s always a positive message and it touches people. That’s his reason for doing all of this, to change things, and to give people an escape, a positive escape. Yeah, it might get dark, but at the end there’s always redemption, there’s always light. That’s why I think it works. It’s one of my favorite projects that I’ve ever been involved with. It’s like Les Miserables, which is terribly depressing, but so inspirational.

Bp: You mentioned trying to not get robotic and keeping it fresh, people who have seen all three years have been commenting that your performance is even more powerful and passionate this year. Not that in previous years it wasn’t, but they’ve said that it’s been elevated this time around. Is there something different about this year?

Rob Evan: Maybe, yeah, I don’t know. Musically we’re really tight. It’s really different for me on different nights. I might feel like I didn’t connect at all and somebody will say to me, “That’s the most passionate performance I’ve ever seen you give.” And then there will be sometimes where I’ll be so connected and so emotional, to the point of having to control it, and it’ll be kind of a flat response [laughs], so I don’t know. I feel vocally that this is my most consistent year in the part. I do feel more solid. It just fits in my voice. It’s muscle memory a lot, so I don’t have to work so hard. It’s like any time you start something. This part was low for me in the very beginning and now it’s just kind of dropped down there. I’m also using different colors a little bit, a little softer occasionally, more than it’s been. What I’ve done now is I’ve completely distanced myself from the record. I won’t even listen to it anymore because I don’t want to, because [then] I think it’s me trying to emulate someone else as opposed to me being honest with myself. And Paul’s given me that kind of free reign which is great. Because at first, the fans want to hear the record and I think, I’m just not that guy, I’m a different person. So by giving myself the liberty to be myself, I think that’s why it fits better for me. But then there’s that whole, night after night, where you’re not always feeling up to it and going up there, especially sometimes I’d rather sing a light, cheery, up tune. But, no, I’ve got to do “What is Eternal?” or “Who Is This Child.” [laughs]

Bp: They’re a little weighty.

Rob Evan: I know, a little weighty. But, this year, even though it’s been hard since I’ve been away from my family longer than I have ever before because I didn’t go home once, so it’s been a good two, two-and-a-half months away, but this has been the easiest of the Beethoven tours for me as far as I’ve gotten into that routine. It feels good and the audiences are responding well.

"Who Is this Child" - Live in Binghamton, NY; May 10, 2012

Bp: Digging a little deeper on that, is that where some of the changes have come in, like on “Who Is This Child” where you’re doing almost some spoken word bits.

Rob Evan: Y’know what I’m doing, I’m also playing more in order to keep myself more honest, as opposed to being robotic. So maybe that’s what I’m doing also almost subconsciously, is that I’m changing things up to keep myself in the moment. I’m trying to find new things every night. I consider this more of an acting role really, the way I have to approach it, the way Paul wants me to approach it, and the parts he’s given me. Andrew gets to go out there and be a rock star in “Chance,” I have to be an actor who sings and then try to mix in a little of the rock star thing. It’s an interesting genre. It’s different from a lot of things. American Idiot is on Broadway, they’re still playing characters or anything I’ve seen on Broadway, Tommy, they’re not getting to be kind of like, “Ok, now I’m just going to look at the band and be a rock star.” TSO wants you to be both. It’s new ground in a way, especially with Beethoven. Even though Christmas Eve & Other Stories has a thru-line, it’s not a real, to me at least the way it’s presented, it’s not really a theatrical piece. Whereas Beethoven is more that way.

Bp: There’s not as much acting involved.

Rob Evan: There’s emotion involved, but this one to me has always been a really strong story to me. It’s one of my favorite albums. I’ve always loved this album. I think he wrote a great story, a great tale. There are some great melodies and they really nailed it.
I’m looking forward, y’know I can get tired of something really quick, ‘cause I’m just all over the place. So I’m looking forward to singing new material that he’s cranking out, but I’m gonna miss doing this part. But they always say they’re going to retire Beethoven, yeah, you never know. [laughs] That’s the one thing I’ve learned being in this band, you never know.

Bp: Nothing’s set in stone.

Rob Evan: No. Hey, I thought I was touring this 10 years ago. [laughs]

Bp: Chris was announcing it from the stage in 2000 and 2001.

Rob Evan: Right! He sure was. You never know.

Bp: Here’s nit-picky question about “This Is Who You Are” – I noticed on You Tube clips from this tour that there’s been a lyric change.

Rob Evan: Something that I’m doing wrong?

Bp: No. Well, I don’t know.

Rob Evan: It could be me.

Bp: On this year’s tour you’re singing “…when you’re laying on the street” instead of “laying in the street.” Was that conscious or just something that happened?

Rob Evan: What? I’m saying “on the street?” That’s a me thing. I will not remember if it’s a “could” or a “would” occasionally and in “Mephistopheles’ Returns” I know that the “buts” and the “ands” I’m screwing up. So I’ll take that note and look again. [laughs] But again, you get so comfortable with something and you’re convinced that it’s one thing and you go back and look at it and go, “That’s not the lyric!” I’ll even be in the middle of a song and go, “I’m not exactly sure what this is…y’know, the small ‘ons’ or ‘ins’ and the ‘buts,’ but I’m gonna throw something in that I think will work. I’m gonna try to make sense of it.” I know one I get screwed up on, is it [sings] “There’s a time you decide, what from your life will be real, what scars you will keep alive, what you are willing to heal, but should I gamble this night” or “and should I gamble this night with everything that I am, and do I” or “or do I erase my life.” I don’t know. I need to go remind myself. I’m gonna do that before tomorrow. [laughs]

Bp: Don’t think too much about it.

Rob Evan: I know, then I’ll go blank! [laughs]

"This Is Who You Are/Beethoven" - Live in Syracuse, NY; May 4, 2012

Bp: Is that why you’re using your phone for the lyrics on…

Rob Evan: “A Little Too Far?” Yeah.

Bp: It’s not like you’ve done it that many times either.

Rob Evan: It’s not only that. When you dig into a song with Paul it’s a big thing and we haven’t worked on it together, Paul and I. It was a last minute decision for me to sing it. They were looking for something new for me, something that would fit my voice and they weren’t sure. “DT Jesus” was going to be a perfect fit for me to sing that song, but, it was actually Adam Lind who said, “I think this would be a good song for Rob and good for radio. It’s not too theatrical.” But as an actor I’m not going to memorize something until I really know what it means or until I’ve really worked on it. So even though I have certain opinions on what he’s talking about, about what he’s singing, and then with the radio you’re in the moment and I’ve never really performed that song other than on the radio, so I like to be safe and actually get the lyrics correct as opposed to try to create something that’s false. I’m sure if I ever do that song for real on a record or live, it’ll be a different approach with Paul and whatever story he’s trying to get me to convey. I think we had a few minutes to talk about it before and when Paul’s here everything is chaotic ‘cause he’s getting pulled in so many directions, there’s so many things he needs to deal with. So I think that one conversation really was only about 5 minutes, where he started to tell me the story. That’s what he does for me, when he’s got a story like Night Castle or something like that he’ll sit me down and tell me the whole tale so I don’t even really know the whole story to Gutter Ballet and how it’s gonna fit. And I think sometimes Paul continues to tweak, ‘cause it’s his piece, so he and Jon, they have the theatrical license to do whatever they want, it’s their material. It could be a combination of Streets and Gutter Ballet, I’m not sure.

Bp: Speaking of Night Castle, when you went down to Florida…

Rob Evan: It’s funny, I originally…I had taken some time off, I toured in ’01, did Dance of the Vampires with Jim [Steinman] in ’02, ’03 came back out on tour with TSO. I was kind of convinced that Beethoven wasn’t going to happen in my brain and it was hard to go back out and be away from my young kids during Christmas, so I took some time off. But then we recorded The Lost Christmas Eve, what year was that? Do you remember?

Bp: That was released in ’04.

Rob Evan: So we were probably recording it ’03 and ’04, I remember that was a long process. And “Back to a Reason” was another song where they were trying to find something that would be good for me and he could make it make sense within his story, which it did. I didn’t tour again until, what…

Bp: ’09.

Rob Evan: Right, ’09. The Lost Christmas Eve record went out and then I did Jekyll & Hyde: Resurrection with [Frank] Wildhorn. I sent Paul a copy because I thanked him in the liner notes and he listened to it and said, “Oh, I’d forgotten how much I love your voice. It gave me some great ideas for Night Castle; I’ve got a giant story and whatnot. ” But I was originally supposed to be Tran-Do and Cozier.

Bp: He’s said in interviews that he couldn’t find a voice that could compete with yours and that he might just have you do both.

Rob Evan: And I started to record both. He made a good choice. I think he was smart to go with a different voice and to go with Jeff. The two songs…am I only on two songs on that album?

Bp: “There Was a Life” and “Epiphany.”

Rob Evan: Right, but those two songs felt like about five! [laughs]

Bp: It’s over 20 minutes.

Rob Evan: Yeah. And then working on the others one, cause I was working on “Dreams We Conceive” and I think we were playing around a bit with “Another Way You Can Die.” I think originally there was something about me doing 8 songs.

With “Epiphany” he knew he wanted to construct this massive “Bohemian Rhapsody”-esque giant piece so he was tinkering with it even after I laid down all my vocals. I remember in the studio they’d screw with me, in a good way. I literally had panic attacks during this recording session ‘cause it was so intense. Paul, he goes all method on your ass. [laughs] He turned the air down in the room so I’m just sweating and y’know spitting all over the mic. And then he’ll give a performance for you, which is great, but it’s Paul. So then you bring it into yourself and the thing too about recording with Paul, you can’t fool him with not being honest. And it’s always heightened to this crazy level. He’ll be like, “I don’t believe you, take 84. I don’t believe you, boss.” And you’re just going, “God!” [laughs]

Bp: So do you start with a demo?

Rob Evan: Yeah, he’ll demo it first.

Bp: With his vocal on it?

Rob Evan: Yeah. And he’ll be the first to tell you, he’s no Pavarotti, but you understand what his intentions are. And again, because I’ve worked with him for so long now, I can understand. Paul’s brain works so fast. He’s a bit of a mad scientist. He’s one of the most intelligent people you’ll ever meet. He’s such an artist, as much as he is a businessman as well, so he gets on these creative flows and everything he does is for a reason. We might not understand it [laughs] but he does. I understand him, whereas early on when I first joined the band I would get confused, believe me. I would think he wanted something else, but I think I finally understand what he wants. Some of the younger singers will say, “I have no idea what he wants. I don’t know how to please him. I feel so terrible.” But I say, “You’re here. So obviously you did something right.” But it takes some time, and it takes some realization that you have to give him what he wants, but you can’t imitate him. You have to be yourself. He hired everyone for a reason; he knows he can get what he wants out of you. But it’s quite a process. Unlike any other recording process I’ve ever been in.

Bp: More grueling?

Rob Evan: Oh yeah. Much more grueling.

Bp: Are you singing to a full, final backing track?

Rob Evan: Never. Sketch guitars, sketch piano, some fake drums. What he doesn’t want to do is have you meld to the track. The track has got to meld to you. We’ve changed keys, we’ve cut things out, we’ve sped things up, so then once he’s got my vocal that he’s happy with, then he’ll lay down all the tracks and then occasionally I’ll come in to try to beat the comp [*the comp is the previous best take]. But I don’t think I’ve ever really done that. So really the first time I ever hear it is when he hands me the copy. Sometimes I don’t even know exactly what he’s imagining in his head. He’ll be doing string lines in there, screaming them at you and you’re like, “I can’t even begin to imagine all he’s thinking.” And then the way he stacks your voice too, I’m at the beginning of the process.

"Epiphany" from Night Castle

Bp: That one section of “Epiphany,” before the Carnival Barker part where you’re throwing out rapid-fire vocal lines…

Rob Evan: [mimics without lyrics] That one?

Bp: Yeah.

Rob Evan: It’s just big breaths. I might have done it all in one breath, I don’t remember. I’ve never done it live. He keeps threatening. He threatened it this tour too, but he gets scared because he thinks he’s going to hurt me by doing Beethoven and “Epiphany.” But I’d love to talk him into it, even if not the whole thing, part of it. That’s what I think might work, because it is so long and again he’s got a lot of people to please, and it’s heavy.

Bp: It’s all you. There are hardly any instrumental breaks.

Rob Evan: Really, not many?

Bp: No, it’s almost straight through vocal.

Rob Evan: I still think he could find a way. I love how he does that with some pieces that he melds them together. Like we’re only doing a part of “Chance,” we’re not doing all of “Chance” anymore, to keep that frenetic back half energy up. I don’t know if Night Castle would be a viable touring Rock Theater project like Beethoven is.

Bp: It’d be long. The narration alone would be two hours.

Rob Evan: But as it is, for years he’s been doing pieces of it on the back half of the show, that’s kind of the glory of what the back half is. But I’d like to pick on him to do at least part of “Epiphany,” I think that [sings “Somewhere”] having the backing singers sing that, it could be powerful.

Bp: I wonder where that could be done, would it be on a winter tour? Would you do another winter tour?

Rob Evan: Yes, I might come out again for a winter tour. I mean, I’m trying to be there for my family as much as possible, but any time that I can, I’m gonna remain a part of this band. I will go out on a winter tour if the right opportunity arises.

Bp: Well, you’ve been busy the last few years with the spring tours and the one winter tour in ’09.

Rob Evan: Right, right.

Bp: And with your shows you’re away, but you’re not away for long periods.

Rob Evan: Right. It’s weekends. With the symphony gigs and everything I fly out on a Thursday or Friday and I’m back home on Sunday or Monday. It’s great money and they treat you really nice and I’m a Dad the rest of the week or working on my other projects and producing. That’s where I’m trying to focus energy to because at some point I’m not gonna be the right guy up there anymore. I don’t want to overstay my welcome. I don’t want to hear, “Oh, heaven, he doesn’t need to be doing that anymore.” [laughs]

Bp: I don’t know who you’ll hear that from.

Rob Evan: Well, I don’t know either, but you know what I’m saying. I’d like to understand my own limitations and I’d like to build some product that I’m not in that can make my family some money. I enjoy the creative side and I enjoy directing too. I think if I can have both of those things and then go out when I want to as opposed to when I have to on gigs. ‘Cause with three kids and in a few years the first one is going to be going to college I have to really think about that.

Bp: Have you cut anything for Gutter or Romanov?

Rob Evan: No, I haven’t.

Bp: Maybe I should say, are you slated to be on either?

Rob Evan: To my knowledge, I’m going to be on anything he can find a place for me. I know for a fact that I am on Romanov. Gutter Ballet I think is still a question mark as to what that’s going to be. Paul’s sitting in the studio figuring all that out, ‘cause he’s got more titles than I even know. Honestly, he’ll rattle them off to me and I’ll go, “Wait, I haven’t heard that title before.” He’s got about 10 or 12 projects so now it’s all about timing. And I know with Paul, people push him to pump out records, but it’s just not gonna happen that way. If it doesn’t feel right, he’s not going to do it. He’s gonna make sure it feels right, everything is right, and then he’s gonna pump it out. The good thing with me being involved with them as long as I have is that I feel if it makes sense for me to be on that record, if there’s either a song or a character that he sees me do, I’m sure I’ll be on it. And I think that he also sees that over the years that I’m capable of a lot of different characters than just one type of character.

I don’t know the timing of all that. I know we’re going to get together this summer in the studio at some point and I know that he’s been recording…he’s really good about what he calls his lead singers, making sure that everyone gets on an album, a new album, because he wants the new lead singers to put their voice on record. I think that’s a really great thing. So he’ll toy around and tinker around until it all feels right and then all of a sudden it’ll really start rolling. But I know the new record, or new records, is definitely in the mix right now. Because that’s how he’s going to keep forwarding the Rock Theater genre which he wants to do. I think the idea of the spring tour is to continue it’s just going to be new product, different product. So that is the goal. I know they’re going to give Beethoven a break, officially. It’s not touring next spring.

He’s got a lot of material to get in there. He’s very prolific. He’s got a lot of material to get out and so there are agendas. There’s a reason I’m doing a different song on radio. We’ve got a lot of material; we’ve got to keep it fresh. This is a business, got to keep folks wanting more and new stuff and branding that new material. So it becomes the new tradition like you said.

Bp: And that’s tough when you’re on the road for six months of the year.

Rob Evan: Yeah. So I don’t know what’s going to happen next spring. I know that there will definitely be another winter tour and I know Beethoven is not going out next spring. That’s all I know really.

Bp: Would you be going out next spring?

Rob Evan: We haven’t talked about that. ‘Cause I don’t think they know what it is.

Bp: Right.

Rob Evan: But I try not to do two a year. Or at least two cycles of it. That first cycle I did in winter ’09 and spring ’10, then I skipped ’10 winter, did ’11 spring, skipped ’11 winter, and did ’12 Spring. I just have to do that for my family. And Paul understands, they all understand. I feel very lucky to be able to come and go and work out what I’m available to work out and still be an integral part of the band. I actually think they kept my picture up on the web site during the winter tour; I’m like, “Thanks guys!” [laughs]

Bp: You were still there in spirit. Going back to the current Beethoven tour, what’s your favorite song to perform or does it change from night to night?

Rob Evan: Yeah. It changes, it really does. They’re all so big…there’s not one. I look forward to doing “What is Eternal.” I love when I really nail it and the reaction is great, I love that. But then there are some times when “This is Who You Are” is my favorite and then there are some times when I mostly think, “God, ‘Who is this Child.’” I can really connect with my children or whoever might be out there. There are just so many good lessons in that for humanity and I can see people reacting to it and tearing up a little bit and stuff like that. I love to do “Mephistopheles’ Returns” though in just the pure, kind of visceral way, ‘cause the groove is fun. I’d take everything up an octave if I could because that’s what I love to do.

Bp: Is there much artistic freedom or leeway up there?

Rob Evan: I think there’s a lot. I think maybe more for the people who’ve been around a little bit longer because we know the parameters of what will be good and honest and what really fits. What’s appropriate or what’s within the boundaries of what we’re doing in the genre. And I think sometimes, sure, it is appropriate to do a little riff or to change a melody structure…I do it sometimes because it’s just a better place in my voice and it sounds more exciting. My thing is it’s not just a riff or to show off, I don’t look at it that way. The reason I go to the A instead of the E on the “find it in me” [This is Who You Are] is the E is boring as shit in my voice. It’s just not as exciting. I ping better up higher. “What is Eternal” is in a higher key live and so is “Who Is this Child” because I just have a higher voice than what’s on the record.

I found that with Jekyll & Hyde, Bob Cuccioli who sang “This is a Moment” a whole step lower than I did. And I was originally singing it in that key when I was performing the matinee Jekyll & Hyde and didn’t get a great response from the audience. I was like, “What am I doing wrong?” Finally Wildhorn came up to me and said, “It sounds too easy for your voice. Let’s take it up a step.” And then it found the right edge and the ping sounded a little dangerous and that’s why I jumped the thing on “damn all the odds” too, ‘cause it’s just more exciting for me. It’s not a show-offy kind of thing, honestly. I approach it from, what’s going to convey the right meaning.

That’s why I jumped the octave on, I jumped more than the octave, on “Mephistopheles’ Returns.” At the end of that I’ll sometimes go up to the C ‘cause I think at that point Beethoven would be so frickin’ upset he’d explode at the end of that. Instead of playing it safe, [Sings mellow] “All forgotten, all forgotten,” I don’t think he’d say that, I think he’d be [sings more emphatically] “All forgotten, all forgotten.” Y’know? He’d be screaming at the gods. So that’s why I do that stuff. I think it’s again, being more honest.

Bp: Conveying through power.

Rob Evan: And passion, passion more than power really.

Bp: Frustration.

Rob Evan: Yeah.

"Mephistopheles Returns'" - Live in Hammond, IN; April 22, 2012

Bp: What is Andrew whispering to you on stage?

Rob Evan: Night to night it’s different. It’s funny ‘cause I have my in-ears in so half-the-time I can’t hear him. Those are completely noise reducing, I don’t hear much of anything. But sometimes I’ll hear him. Andrew gets a real ‘get out of jail free’ card with that role because he can be a complete and utter joker. He’s a jester in a way and he can look at me with that grin and it’s Andrew looking at me with that grin, trying to make me laugh, which works for Twist, but the thing is, I can’t do that. So he’ll say crazy stuff to me, but I don’t always know.

We have this thing, we call each other Blanche. Maybe it started with Tommy Farese, I’ve never toured with Tommy though, so a lot of this is TSO lore, but he did this thing for “Requiem”: [sings to the tune of “Requiem”] “My name is Blanche, my name is Blanche, yes my name is Blanche and there is nothing you can do about it…” He does this whole dance to it apparently. So he calls me Blanche and he’ll do this Tony Clifton accent [laughs].