We don’t know what Stargate mythology would be without the Four Great Races, and one of those Races, the Nox, was represented early on in the show’s run in an episode of the same name. Ray Xifo, “Opher” of the Nox, and a close friend of his Nox co-star Armin Shimerman, joins Dial the Gate LIVE to discuss his career and his experience as a member of this enigmatic race.

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Timecodes
0:00 – Splash Screen
0:40 – Opening Credits
1:12 – Welcome
1:23 – Guest Introduction
1:49 – Thoughts on “The Nox”
2:21 – Coming Together with Armin Shimerman
4:19 – The Importance of the Nox Race
5:18 – Who the Nox Were
6:49 – Nox Family Dynamics
8:12 – Two Different Lifestyles
9:40 – Hair Pieces and Costumes
10:53 – Into Acting
12:28 – How Ray Met His Wife
14:08 – Moving to Los Angeles
14:54 – Armin and Shakespeare
15:34 – A Significant Italian Role
19:10 – Willing to Make Acting Work
22:04 – Opportunity to Reinterpret a Story
23:38 – Evolution of the Business
24:48 – Fruit of the Loom Commercial
26:15 – Star Trek Voyager’s “Virtuoso”
28:19 – Theater VS Filim and Television
30:40 – Exploring a Mindset
32:11 – Getting Into Character
33:42 – Interpreting a Part
35:43 – Challenges with Memory
37:14 – Ray the Nurturer
39:08 – Anteaus Theater
41:38 – Becoming Another Character
44:05 – Thank You, Ray!
45:36 – Post-Interview Housekeeping
47:30 – End Credits

***

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TRANSCRIPT
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David Read:
Hello everyone, welcome to another episode of Dial the Gate – The Stargate Oral History Project. My name is David Read. Thank you so much for joining me for this live episode today. Ray Xifo of the Nox has graciously agreed to join me to talk about his career and his experience in this particular episode. Ray, it is again, sir, a pleasure to have you. Thank you for being here.

Ray Xifo:
It’s a pleasure being here. Thanks for asking.

David Read:
And big thanks to Armin Shimerman for making this episode possible as well.

Ray Xifo:
Absolutely.

David Read:
You watched… you rewatched the episode.

Ray Xifo:
I did.

David Read:
What did you think?

Ray Xifo:
It was fun. It’s been so long since we did it. As a matter [of fact], it was the first thing I shot when I got to Los Angeles, and I was actually in Armin and Kitty’s house – they were putting me up from New York. Anyway, to answer your question; the episode was great. It was fun.

David Read:
So they were putting you up in New York. You get the call. Somehow Armin got tied into that as well. What were the sequence of events of all of you guys getting together?

Ray Xifo:
Well, it’s interesting because I heard something on his answering machine. I was house-sitting for him at the time – that’s not true – he was putting me up, and he wasn’t in. When I heard what it was, I said, “Armin’s not in right now.” Anyway, I introduced myself, and they said, “Oh, we wanted to get in touch with both of you.” I said, “Well good, you’re in luck. I’m in Armin’s house.” Anyway, that was delightful, and I believe it was Mary Jo Slater who was casting at that time, and I knew Mary Jo from a children’s show that she had produced. Her son, Christian Slater, was a plant in the audience when we used to do that show.

David Read:
Wow, what are the odds that the two of you would be considered for [that]? That’s wild to me. Those little coincidences in life. And, “oh, by the way, yes, I’m here in his house. You got two for the price of one in terms of reaching out for this phone call. Yes, you’ve notified both of us.” – That’s just bizarre to me.

Ray Xifo:
It’s not so bizarre. Even in your episode, I think the lead refers to us as the “wee people,” meaning the shorter people, so we were kind of in the same category.

David Read:
OK, OK. What was your interpretation of this… let me back up here and establish how important this culture, this civilization is. This is not just your run-of-the-mill other new alien species in a sci-fi show. I’m not sure if you’re aware, but these people make up one of the four cornerstones of what we call the Great Races in Stargate. They were a part of a huge alliance that went back millions of years and are our progenitors. That was actually revealed the next season. I didn’t know if you were aware of this.

Ray Xifo:
You know what I wasn’t aware of? It’s that what you have is an oral history of the show, and I’m rather impressed. Hearing this, I feel like I’ve met the historian.

David Read:
Well, one of them, but I appreciate it. Thank you.

Ray Xifo:
Absolutely.

David Read:
Yeah. They were… and Brad Wright, the creator of the series, has argued that these are the most powerful beings in the galaxy. So, tell me about who you think the Nox were. Aside from wanting to get us off their doorstep, who were these people? I’m curious as to your perspective.

Ray Xifo:
By the end of the show, you realize these are the people who are dedicated to peace. Wherever peace will be damaged or undermined in any way, they’re going to make sure, as far as they’re concerned, that they do not in any way possibly promote that. They’re wonderfully moral. They are a moral standard, it seems, from what you said to all that exists in terms of living beings. And their rituals, their healing… if you meet them on their terms, they’re incredibly affable and ready. If you’re not, you’re not going to see too much of them.

David Read:
No. They’re going to stay invisible. What do you think was the family dynamic? There has been some discussion over the years. My assumption is that Opher was Lya’s dad and that Anteaus, Armin’s character, was kind of like the son-in-law. Was that kind of the structure that you thought was going on here, or do you think it was completely different?

Ray Xifo:
I gotta yield to that. I will go along with your interpretation. Among, I’m sure, among your fan, there could be any number of interpretations, but yes, that certainly does sound like a possible structure. There’s also that deference to the elders in their society. It was a charming group to be part of. I loved the juxtaposition of our outfits and how we appeared as compared to the revelation of this incredibly advanced society. I felt it was very appropriate because we were in the forest. They seemed like forest people, only to find out that they’re much more than that simple interpretation.

David Read:
Yeah, they’ve got a whole other group floating up in the sky. I think there are a couple of different ways to look at it. I think that the Nox on the ground could be living more like their ancestors did, and then you have the ones in the sky who are living a little [differently]. There’s so much to mine from this episode. Just seeing a glimpse of a society, you have to draw your own conclusions for a lot of it, other than the fact that they prefer to be left alone and they are more than capable of defending themselves.

Ray Xifo:
I really feel; yes they would like to be left alone, but I really got the impression that if you are kindred spirits, they would be wonderful friends and collaborators.

David Read:
And they were. We continued to have a relationship with them after this episode in some form, despite Anteaus and Lya being like, “You go? Yes? You go? You’re done.” And I think, I would bet, that had a lot to do with Opher. I think he was the one who was most receptive to extending a hand of friendship. Did you get that impression as well?

David Read:
Your imagination is rich. I love it. Yes, of course. It went over my head, but yes, it lends itself to that.

David Read:
Tell me about those costumes and the headdresses, especially in the rain. It was a wet week, I understand, in Vancouver.

Ray Xifo:
Yes, it was. I’m almost positive it rained during some of the time that we were filming. The crew must have been ready for all of that. It was no problem to get whatever they needed to get, in terms of interpretation or nothing that was going to shut down this episode.

David Read:
The Vancouver folks are definitely used to that. Was the costume comfortable? What did you think of it?

Ray Xifo:
It was fine. It was perfectly comfortable. It was a charming family unit to be part of. I found it comfortable and amusing. It just… it was quite agreeable. That’s the best I can do right now.

David Read:
OK. Absolutely. I want to know how you got into this business, if you wouldn’t mind telling me that story. Are you originally from New York?

Ray Xifo:
No, I’m from Newark, New Jersey.

David Read:
From New Jersey. OK. Where did this love for acting come from, and how did you get started in this?

Ray Xifo:
Both in high school and in college, I was always involved in drama. When I went to… when did I go to [inaudible]? I was actually in a religious order until the time I was 27. And when I left… even before I left, I had gone to Columbia University to take six post-graduate credits. During that time, I did some work with the Public Theater… no. Just after I left, I did some work on the Public Theater’s mobile unit. I got to meet some people there, then I got involved in local theater, then regional theater. One of my first encounters was this show I did for Mary Jo Slater. I met my wife there. We always said that was going to be our Johnny Carson show. I played a dog in a children’s show, and she was my understudy. That was king of… Also, while I was in New York, I did a number of plays with a local theater, and Joe Papp came to see some of these performances. And that’s how I got my first play in New York, which was “The Tempest.”

David Read:
Oh, wow! What a first play!

Ray Xifo:
Yeah, it was lovely. Sam Waterston was in it. Christopher Walken was in it. We did this at the Mitzi E. Newhouse Theater at Lincoln Center. It was a wonderful start in theater. That was my entry into Actors’ Equity.

David Read:
Wow. How did this lead you to LA? What’s the path there?

Ray Xifo:
The path is, “let’s try LA and see if we can get a brass ring.”

David Read:
OK. There’s nothing wrong with that.

Ray Xifo:
And Armin and I had done a show together at the [Indiana Repertory] Theater. Also, I met… [do] you know Jonathan Frakes?

David Read:
Oh yeah, I know Jonathan. I mean, not personally, but yes I’m a huge Star Trek
fan.

Ray Xifo:
I met Jonathan at this same theater off-off-Broadway. So, road led on to road there.

David Read:
Wow. Are you as passionate about Shakespeare as Armin is?

Ray Xifo:
I am not. I do not have the love or appreciation that Armin has. Having said that, I was very lucky – I’ve done a number of Shakespeare pieces. And, I mean, I have to answer that, I have great admiration for both his knowledge, his expertise, and his passion for Shakespeare.

David Read:
Can you tell me, and I know this is a tall order, about an experience that you’ve had performing, about a role that you’ve taken on, that changed you in ways that you didn’t expect or made you think in ways that you didn’t expect about a part, about how you felt about yourself and the role afterwards? Anything that’s touched you in an emotional way? I’d love to hear.

Ray Xifo:
It’s funny because the one I’m going to refer to came very late. As a matter of fact, it was only a couple of years ago, maybe four or five years ago. It was outside the business. I shouldn’t say that – it was very good theater in what, in LA, would be an off-off-Broadway theater. I played a patriarch of an Italian family who’s close to the end of his life, and a third of the dialogue was in Italian. And… because I’ve… we never spoke Italian at home, my roots are Sicilian, but it came very easy. Believe me, I am not a student, nor am I tenacious with my… super retentive with my memory, but this was a wonderful role and it was also the bond between the director and the actors. It was a wonderful little family, and I’ve had other lovely little families like with “City of Angels” in New York. Yeah, I mean, theater especially is a very bonding experience. TV and movies are great, financially – more so movies and TV, but it’s theater that breeds a long continuum with a shared experience among the cast. Anyway, yeah, I’ve had fun doing certain projects but in terms of your question; of touching me – I have to refer to this. That and my first seven shows in the first theater company I belonged to in New York City, it was called “The Shade Company.” I was working at the phone company in New York, and I lived for evenings when I would do my rehearsing. It was just absolutely super. I always say acting is wonderful as a vocation; it’s absolute madness as a business.

David Read:
Oh gosh! The experience that I’ve gotten – you know, I haven’t acted since college – but the experience that I’ve gotten from talking with all of you over these episodes is that you can… unless you’re in the top around 5%, 10%, you can do it, but in many respects, financially, you often live your life on a knife edge. You have to be very careful, but I love the idea of people who are willing to make it work for the love of something that they enjoy doing so much. It’s not an easy life. And the other thing that… OK, as a non-actor on the [outside], doing the same story night after night after night – especially one that has such perhaps an emotional arc – I don’t know how, after 200 episodes, you don’t start to beat yourself senseless. Episodes, performances!

Ray Xifo:
I have to say there’s something about me that loves repeating over and over again certain things. In “City of Angels,” we did… I don’t remember the exact… about 700 performances and I had maybe three scenes, not terrifically large. I loved doing that show.

David Read:
Wow. is “City of Angels” like the same story as the German film and the American… is it that same story?

Ray Xifo:
I don’t know that I know that story. In this one, there is… I’m dropping names here…

David Read:
That’s OK.

Ray Xifo:
Our lead is a character in a play and he’s the writer’s alter ego. It’s wonderful musical.

David Read:
Oh, it’s a musical? OK.

Ray Xifo:
Yeah, yeah. Unfortunately, I had so little to sing, I blew a vocal cord and I couldn’t be there for the filming of the thing. You’d like to be in that little piece of history. Anyway, I’ve actually lost where the hell I’m going with this thing.

David Read:
No, we were talking about the stories that really sit with us and doing 700 performances of a project, you know? I’m sure there’s opportunity for you to grow a character inside of that envelope of a story and try different things out, and tighten screws, and find different ways of interpreting things to make it just a little bit better because it’s never going to be the same again and again.

Ray Xifo:
Our director used to say, “I’m going to be away. When I come back, I don’t want to see any improvements.”

David Read:
Because the casts are tinkering! That’s funny.

Ray Xifo:
Actually, that was the director of Threepenny Opera. Michael Blakemore was the director of “City of Angels.” Boy, talk about mentors and people who would protect you from the pressures of the producer. You know; leaning on him. I just quoted the wrong guy. I wanted to correct that – it was Richard Foreman who said, “I don’t want to see any improvements when I come back.”

David Read:
That’s Great. I am interested in what you think about how the business has evolved – the film and television business – you’ve been doing this for a little bit here. Do you think that actors have more creative freedom today than they used to? Do you think that there’s a lot more money chasing now than there was, or do you think it’s still kind of always been the same?

Ray Xifo:
As long as I’ve been in it, my credits are relatively small, smaller than would allow me with any authority or any… with any authority to answer your question.

David Read:
OK.

Ray Xifo:
Because my roles have always been relatively small roles, there’s not going to be a great deal of latitude. You know – whatever the director wants. I’ll give you a little anecdote that may add to your show, though: one of the things I’ve done is… I did, I think, about 15 Fruit of the Loom commercials. I was a pile of leaves in the… Are you familiar with these at all?

David Read:
I’ve worn them most of my life.

Ray Xifo:
Alright. If you look at the logo, you will see an apple, two sets of grapes – one green, one purple – and a pile of leaves. I had the distinction of being the pile of leaves. There, we had a little latitude because there were… many people who came in and took the place of people along the years, but because I had done it for 13 years, you felt like on set you had a little more latitude than being just a newcomer in this arena.

David Read:
Wow, OK.

Ray Xifo:
For a minute there, I thought I lost you.

Ray Xifo:
No, I’m here. Absolutely.

David Read:
I’m trying to figure out how to… Let me move on to something else. One of my favorite performances of yours was in “Star Trek: Voyager” alongside Robert Picardo. There was an episode called “Virtuoso,” and this advanced – another advanced civilization, technologically advanced, though – they want to deprogram him, actually… had never heard of singing before. And it’s a great story about the doctor introducing music to a whole civilization. What can you tell me about working with Bob [Picardo], who’s also a Stargate alum, and working on Voyager?

Ray Xifo:
I don’t know how this will sound to you: I do not have rich or clear distinct memories of that. I was delighted that I got to do the episode. On the set, people on the set were just superb. They were very welcoming. I met with Robert a couple of times socially, of course, because of Armin Shimerman – he’s always the glue to many wonderful friends and acquaintances. So, I… keep going… and make sure…

David Read:
The specific, yeah, the specific details are…

Ray Xifo:
…I don’t want to derail you.

David Read:
No…

Ray Xifo:
Go to those things that enrich what you want your audience to hear. I don’t have… I really don’t have strong memories of that.

David Read:
That’s perfectly fair. It’s only been 20 years, if not 25 at this point!

Ray Xifo:
It was a delight to be on set. I really had a great time doing it.

David Read:
Absolutely. Do you prefer the pace of theater to film and television? What do you think are the differences that make those two processes stand out?

Ray Xifo:
In a play, you have time continuity – you go from beginning to end. And that is… it’s real time, and A to Z. Also you have the audience. There is such a palpable connection between you and the audience. When you’re on film or in front of the camera, first of all, there’s no time continuity. You’re a snippet, a stone in a mosaic, so your imagination has to be very rich to flesh out everything else. It’s a thrill to do it, both TV and film, but, of all three, the most enriching experience is theater. But your pocketbook will do much better in film and TV and… I was gonna say one thing…

David Read:
And fame as well. You get more eyeballs.

Ray Xifo:
Yeah, I’ve never been a big one for wanting to be famous. Having said that, it’s great to be in a supermarket and someone saying to you, “Boy, that episode of such and such, I loved what you did on that.” You know, it’s a treat. And of course, the audience is huge compared to… I’ve done plays where the number of people in the cast are larger than the audience. So, and yet it’s, you know, it’s a great experience.

David Read:
At a certain point, you have to be doing it for yourself as much or more so than the audience in front of you. You have to nourish yourself with a piece of art before, I think, you can share that with an observer who’s going to take in the art. Otherwise, you don’t have anything left to sustain yourself.

Ray Xifo:
It’s wonderful to explore something you would never get to do in real life. It’s wonderful to explore a mindset. It’s wonderful to do it, for me, to do it over and over again and see if I can make it… breathe it, rather than fake it – like I’m really there in that moment. Not to say I achieve it every time, but that’s the joy of theater. And of course, if you’re doing it on film and on TV, as we know, the camera sucks the pores right out of your face. I mean, if there’s life in your eyes, it’s there. God forbid there’s no life in your eyes, you know you’re just phoning it in.

David Read:
How do you explore a character that you’ve received for the first time? Does it depend on whether or not it’s fiction or you’re playing someone who’s actually existed? When you start to explore the nuts and bolts of who a person is, what is your approach?

Ray Xifo:
Jenny Egan, an acting teacher of mine from Columbia University, used to say, “What do they say? What do they do? What do other people say about them?” So, I mean, you think of each of those things and you try your best to let your imagination roam. And then you never get so far away from yourself because even if you’re playing a historical character… I don’t know why I’m pontificating on this, I can’t even think of historical characters I’ve done… but, you never want to lose yourself because yourself is rich. It will be more truthful if you don’t lose yourself while imagining things you would never have done.

David Read:
Yeah, I think it’s important to recognize that what you’re attempting to achieve is an interpretation. You’re not trying to become that person – you’re trying to interpret that person. Would that be fair?

Ray Xifo:
Oh, absolutely. I can’t think of who… someone was just talking about this. Can’t get her name, can’t get the star, but she said, “I didn’t want to imitate that person,” even though she captured… oh! Amy Winehouse?

David Read:
OK.

Ray Xifo:
The woman who’s playing her said… it was said on the TV that she perfectly captured her voice, but the woman who was doing it said, “I’m not there to mimic her. I want to bring the truth of what she was feeling. I’m not a mirror of her.”

David Read:
Wow. OK, that’s an interesting approach. Because we, as audience members, a lot of people go in expect[ing] to see exactly what it was that happened. Or, you know, this is the definitive version – especially with book adaptations. I think it’s important to continue to remind ourselves that what we are seeing is an interpretation, is an adaptation of something else. And it’s not meant… I think that that’s what documentaries are for. You know, this is for the concrete historians, and what you’re going into is to be entertained.

Ray Xifo:
Yeah, a very good term of comparison: a documentary as opposed to an actor playing the role in a film. That’s well said.

David Read:
What is on your horizon? What are you working on, or what would you like to work on next? Or are you retired?

Ray Xifo:
I’m pretty much retired, not that I want to think of myself as retired. As time goes on, there are certain things that happen. I have a tremor, which isn’t always a tremor. I have… what was the other thing I was going to say? Oh, my memory. Even though I was never a quick study, there are challenges. Now in the business, you really have to be quick. When you’re going for that audition, you have to have those lines there. You have to be free to take direction and go in a different direction. If you’re not right on top of those lines, you don’t bring your best to the audition. So, yes, I’m not retired, but there hasn’t been a lot of activity. Having said that, I’m part of a theater company out here in LA. There are times when I will do readings in their projects out here.

David Read:
Do you find satisfaction in helping other actors to grow and discover their craft? Even in doing readings, you’re assisting in helping someone else discover a performance.

Ray Xifo:
I’ve never been in a position to work with actors in developing their performance. One of the good things… one of the elements I have is I’m a nurturer. When I was a member of this theater company for 13 years, I was the organizer, collaborator, and the moderator of a unit of play development. So, I would meet every month and I was always able to provide a comfortable environment for them; one in which no one was ever judged, nothing was ever pre-read. And I was able to also make sure to tell the audience that was listening to these people, “We’re not here to rewrite anybody’s play. If you have something that you couldn’t understand, tell them what you couldn’t understand. If something leapt out at you as particularly good, let them know what was good.” That’s the closest I can come to what you were saying about helping other people or helping a particular actor.

David Read:
Last question for you: what is your favorite Broadway show or experience as an audience member? I’m sure you’ve seen a number. Are there any that just sat with you for days afterwards, like, “that was an amazing experience,” or “those performers were great”?

Ray Xifo:
I really should have something here.

David Read:
OK, so you’re on. You belong on stage. All right. OK.

Ray Xifo:
I just can’t think offhand. I tell you, it’s best if I stay with recent things. I went to see… at Armin’s theater, which is the Antaeus Theater.

David Read:
Appropriately enough, isn’t that interesting?

Ray Xifo:
Yes. And… let me see if I can bring up his name.

David Read:
It’s alright. You’re fine.

Ray Xifo:
There’s a particular actor who loves Shakespeare, and he was… he made it so clear – he lived it. I believed everything he said. There was no urgency. There was no huffing and puffing. When it came out; he was speaking, he was living, he was thinking. It was a wonderful performance. I saw Armin do a… Russian writer, one of the very greatest…

David Read:
Was it Dostoevsky?

Ray Xifo:
Dostoevsky.

David Read:
Oh, man, I wish I could be in that audience!

Ray Xifo:
He was wonderful. He really made it his own. He was really terrific at that. Those are two very memorable experiences for me.

David Read:
When you grab… it’s you’re pulling it out of some aether, you know, when you grab a character and you just know this person, or… the interpretation that you’re willing to run with, there’s no other experience. I miss that from performing on stage because there’s a little bit of madness at work. Because you kind of get to sit yourself aside and become this other thing within the boundaries of the documents in front of you that you’re working with. It’s like no other experience. You can see why it’s so transfixing for people whose own lives may not be as interesting at all.

Ray Xifo:
That’s true for all actors – they get to live things they will never live through. They get to be elements of themselves. I mean, we’re all complex, but they get to be in agony, they get to be in love, they get to be totally confused, and yet not have to… even when you do it every night… you don’t have to live the agony that you left when you leave the stage.

David Read:
Right. You can safely mine those feelings and explore them and interpret them in front of an audience and with fellow actors. The advantage of having a troupe is a safety net, in some way, because you’re exploring together facets of each other’s personality while trying to discover these characters together.

Ray Xifo:
Yeah, and because you’ve had other experiences with them, there are elements of trust that you have with these people that you wouldn’t have with newcomers. I think you should only do, you know, with the same people all the time, but that’s an added element of trust that helps you grow.

David Read:
Ray, this has been very special for me to sit down and talk with you. This episode that you did was very important to the franchise and to the people who love the mythology of the show. It is my privilege to have been able to sit down with you and get a story or two from that time period in your life. So thank you so much for coming on.

Ray Xifo:
It’s been a pleasure, and thank you for enriching me with the importance of the Nox.

David Read:
Absolutely, sir, it was my pleasure.

Ray Xifo:
Opher says “thank you.”

David Read:
Thank you, sir. You take care of yourself.

Ray Xifo:
OK. You too.

David Read:
Be well. Thank you. That was Ray Xifo, Opher of the Knox. I have had in my journey to 250 episodes – we’re a couple away from 250 – I have had such a privilege to share so many of these stories with you and I really appreciate everyone who has continued this journey over the past four seasons here to collect and archive some Stargate history. It means a lot to me that you’re watching. Thank you again to Ray. We have upcoming tomorrow Ben Browder… if I can switch here, just a second… we have Ben Browder, Cameron Mitchell, obviously from Stargate SG1, is going to be joining us tomorrow, May the 19th at 11:00 a.m. Pacific Time, 2:00 p.m. Eastern. And then next week, Saturday, May the 25th, episode 250 of Dial the Gate, is going to be David Hewlett and Kate Hewlett, Meredith McKay, and Jeannie Miller respectively from Stargate Atlantis. And Joseph Mallozzi will be joining us afterwards, 12:00 noon Pacific Time on Saturday, May the 25th as well. He’ll be following us up after David and Kate. My tremendous thanks to my moderating team. They are the ones behind the scenes who allow me to have fun with the guests and share their stories with you: Sommer, Tracy, Antony, Jeremy, Marcia – you guys make this happen week after week. My thanks to Frederick Marcoux at Concepts Web, he’s our web developer on Dial the Gate who keeps everything up and running. Brice and EagleSG, they assist me with evolving the animations on the show and now we’ve got ships in the opening sequence this season, which is something I’m particularly excited about. And we’ve got way more for you for Season Four. A number of specials are going to be coming your way that I’m going to be dropping early or mid weekdays. They’re just going to appear, so you can enjoy some of the Dial the Gate content that we have midweek as well, not just the weekend. So, that’s all that I have for you guys. I appreciate you tuning in and I hope you come back tomorrow for Ben Browder. My name is David Read for Dial the Gate, and I’ll see you on the other side.