Episode Transcript
[00:00:06] Speaker A: I'm Aaron Nathans.
[00:00:07] Speaker B: And I'm Michael Ronstadt. And this is the Nathan Roncast.
Okay. That might have lined up.
[00:00:14] Speaker A: It might have.
[00:00:15] Speaker B: You never know.
Aaron, I am always honored to be doing these with you, and I'm excited for all the shows coming up this year that we've got.
If anyone's interested, little aside, you can go to nathans and ronstadt.com to catch anything about our music and our podcast. And we are in front of your faces with video. And, you know, we have a great part two with our interview with Connie Kaldor from one of my bucket list vacation spots, Saskatchewan. I think her songwriting advice in this segment is so sound and comforting and welcoming, and it makes you feel like, yes, I can do that, too. I just love what Connie told us and what we talked about.
[00:01:04] Speaker A: You know, Connie and you and I all share a love of writing with a sense of place. She writes about Saskatchewan, and on our upcoming album, you have a song about your hometown of Tucson.
[00:01:18] Speaker B: Yeah.
[00:01:19] Speaker A: And I write about Patterson, New Jersey.
[00:01:21] Speaker B: Everyone's got a different process, and I love hearing about the process. So without any further delay, let's jump right into part two of our wonderful interview with Connie Caldor, and we'll see you on the flip side.
And I think some of the best comedy in many ways has come from Canada, too, because.
[00:01:42] Speaker C: Oh, you know, they were hilarious.
[00:01:43] Speaker B: Yeah.
Love it.
But, yeah, one of my favorite.
[00:01:47] Speaker C: It's a cold country. I mean, I'm a woman in a country where the national animal is the beaver. I'm not born with a sense of humor. There's no old for me.
It's a crazy. I think we've been influenced, too, by the British because we have these connection to British. So there's a British style of humor, as you know, and there's American style of humor, and there's. Canadians are kind of somewhere mixing the best of both. I think there's some very funny people here and the country, you know, it's not hard to look around and find absurdity in this world, is it?
[00:02:15] Speaker B: Yeah. I mean, one of the shows from Saskatchewan that got me through grad school was Corner Gas, by the way.
[00:02:22] Speaker C: Yeah, it was just down the street. I know those guys. We were doing our television show at the same time. Those guys. Brett. But he's one of. We have a. We have a town called Swift Current, and he once described as Swift Current, where the people are neither, but there you go. That's the kind of humor he has. He's a very funny man. Yeah, that's A little town Rolo on the way to Regina. Canadians are starting to realize that. What. That even like Letterkenny. I don't know if you get Letterkenny there, but there's. There's a humor that comes now from who we are, and we're making fun of ourselves, and that's. I think that's just great. It's just hilarious. Like, that's. I mean, you guys have known about that for years. You've made fun of yourselves for generations, and you've known where the humor lies in your own country. And, you know, the, you know, comedies, a billion of them, set. Set there. So Canadians are just kind of starting to get their act together to make fun of themselves. And I think that's. That's a. That's a powerful thing. That's a good thing.
[00:03:10] Speaker B: One thing that I noticed, I. I like to do this little thing where I. I'm. I. So I went and listened to Bird on a Wing from your second album, 1984. And then I listened to Keep Going, and you. Your voice hasn't changed. It's. It's wonderful. Like, it's just. It's so clear. And I just want to say, like, it's wonderful. And I always like to hear kind of how people's approaches have changed. So I kind of grabbed different parts of your discography, and all of it just grabbed my ear. Thank you for.
[00:03:41] Speaker C: Yeah, I think. I think my voice is as deepened a bit, you know, obviously. And, yeah, I like to sing. I love to sing. I really do.
There's something about it. Even singing to myself, singing on the piano by myself. It's one of the more pleasurable things to do in this world. Well, you know, you're musicians. To sing, to play music, it's a.
It. I like it. I enjoy it. It's not a. It's not a job for me in that way. I mean, you have to be good. You have to sing. There's shows where you're not quite. Maybe your voice is not quite up to it, and you're. Because you're fighting a cold or something like that, but you get out there and do it. But no, singing is.
I think everybody should sing way more than we do. I really do. I love it when I get an audience to sing along. I know it's. So. Maybe it's the old. My dad was a choir director and that's, you know, just get. When people sing. I don't know. It just makes me happy.
[00:04:30] Speaker A: Connie, you've got such a powerful voice. If you Wanted to. You could go completely American Idol on us, but somehow you managed to.
Michael is one of the more restrained virtuosos I've ever met. And, you know, you do a fair bit of holding in reserve, too, to really make the big notes pop.
I mean, what are you. What's your process when you're on stage trying to kind of figure out how to use that instrument?
[00:04:56] Speaker C: I don't even think about it. It's more, what is it going to do? I mean, I. I will say, when I was in my 30s in Vancouver, I knew that I needed. Because I did enough theater work, I knew that I needed to get some voice classes because I was worried. I saw many artists of my. In my, you know, generation losing their voices. And so I said, no, no, I've got to. You know, something's. It's not quite right. I know I'm not using this properly. So I got a voice teacher, and he was a Russian guy called Mr. Klikov who had just come over. He was in his 60s, and he taught voice in Moscow at the opera.
And he was fabulous. And he saved my voice, basically. He taught me how to use it so that you didn't push it. He taught me how to. If you're not. If it's not going. How to open it. He opened up my range. He did. And he basically gave me the tools to still have a voice now. And a lot of my friends have lost theirs over the years.
He was wonderful. He taught these opera singers. In fact, one of my great sorrows is that he wasn't around when my son started studying opera. My son Gabriel, who you saw up there, see him take out the big voice, but he has got this unbelievable tenor voice that he brings out. I would say bringing the big voice out every once in a while. We added it onto one of our songs. And he does it in his own work every once in a while. He's got this trained opera voice. He loved opera, loved the. Loved the stuff, but he just didn't like the world. And he wanted to be able to write his own stuff. Geez, where did he get that from? And he.
So I, you know, I would not have a voice today. Thank you for saying that in my voice first. I'm totally flattered, and I love it. It's what I want to hear.
But if I hadn't learned how to sing properly and how to not sing improperly, I probably wouldn't have a voice now, because there's a tendency to want to. Yeah.
You know, to do this all These things with your voice that you hear popular singers doing, and it's not maybe what your voice should be doing. You know, voice has a lot of power. I can bring it out, but to know where your voice really can go, to get it there safely, I mean, every once in a while I'd blow it, but not very often. I've known enough now and I've trained enough now that I can sing without hurting myself. That's really the key. And hopefully I can keep doing it. And that's what I always say. I'll keep touring until I can't do it anymore, until the voice doesn't go.
There's a lifespan on a voice, too, but so far, so good. I've got a few more good years, and I think the more you sing, the better it stays in shape. Tina Turner could do it. Come on. I can't do it.
[00:07:19] Speaker A: Do you do vocal warmups before a show?
[00:07:21] Speaker C: Sometimes if my voice is tired, I do, but most of the time I just try to take care of it.
I use, you know, you're singing in the. You sing in the sound check and you sing stuff and you warm it up that way. I don't like, do. I don't have a series of exercises unless. Unless I'm noticing that it's. I'm getting a cold or something like that. Then I'll open it up. But most of it is just taking care what songs you do first. Maybe don't do the hardest song you're going to have to do. Maybe you save it to the middle of the thing. Those are those big ones that you usually save anyway, towards the end. And I, you know, I've written songs that my voice can do. That's part of it, too. I've written these songs, so I've written the songs in a way that I can sing them. If I can't sing them, I can't record them or whatever that is too. So. Yeah, yeah, it's. It's interesting. I, you know, I've. In the last few years, I've been singing with my family, with my sons, and my. My husband sang with his six sisters and had this amazing family blend that I envied for years. And then, you know, it was like 20.
I started singing with my son. I just dragging, you know, they were always kind of singing around with us and they have musicians and they're out doing things. But I started seriously touring with them a few years ago because I realized, oh, I've got my own family harmonies. I mean, it took me nine months and 18 years, but here I am, you know, I've got commitment. I've got commitment to my family harmonies. It's something to sing with my family now and to hear our voices blend, that is very satisfying as a. As a musician. It's just.
I love it so, so much. It's fabulous.
[00:08:44] Speaker A: Michael knows something about that.
[00:08:45] Speaker B: Oh, yeah. I toured with my dad, Michael J. Ronstadt, and my brother Petey is. My dad passed away 2016, but we toured for a long time, and my brother, Petey Ronstadt and I still perform as Ronstadt brothers, but we performed as Ronstadt Generations. And we started that after my dad's band, the Santa Cruz River Band, dissolved, and my dad was looking for something to do, and what a pleasure. I mean, I got to. A lot of people get lonely and miss family members during the holidays.
I miss family members on i90 or i80, you know, so it's like, you know, that's how it is.
There's those moments where I was like, it hits you. You're.
[00:09:26] Speaker C: Oh.
[00:09:26] Speaker B: I remember getting off at this, you know, New York gourmet rest stop on i90, and we laughed about being in New York and coming up with silly things. So, yeah, it's that blend. You can't. When they talk about.
[00:09:39] Speaker C: They call them blood harmonies. I guess we used to just call a family blend, but blood harmonies, which is a neat way to think about
[00:09:44] Speaker B: it when you think of the fourth voice.
[00:09:45] Speaker C: Well, I hope my kids feel that touring, unless we drag them around with
[00:09:48] Speaker B: us, but they're happy, you know, they're happy to tour with you.
[00:09:52] Speaker C: I bet.
I sure like singing with them. And to see them go off and, you know, they're kind of like Paul and I 2.0. Like, they're. They're the new, improved versions. It's great.
[00:10:04] Speaker B: Well, the other thing you talked about, and my apologies for the interruption there, but one of the things that I.
People ask me who is my influence or, like, what voices and songwriters influenced me, and the first one is my dad.
And part of that desire. You're talking about vocal health. Aaron goes to a vocal coach when he needs to work on, like, certain things I've gone to. I tend to like to go to opera teachers like Aaron. And whenever I felt something, and I remember when my dad passed away, I was really wanting to work on some of the traditional Mexican tunes that I've been singing, but my brother and I were taking the lead parts at that point, so I always was trying to be healthy. And that influence from my dad's voice Being really healthy and strong made me want to do that. Whereas I wasn't looking at pop singer A, B or C as my ideal vocal thing. I wasn't trying to belt anything, you know, like, it just was. I wanted to sing like I heard at the folk festivals and what my dad did. So I bet your kids are doing the same thing.
[00:11:10] Speaker C: They're.
[00:11:10] Speaker B: They're modeled.
[00:11:11] Speaker C: Yeah, hopefully. Their voices are really. My son, Alex, he probably has, you know, uses the voice probably the most like. Like we do. But they grew up hearing my husband and his family sing, so they've heard really good singing all their lives. And the way they use their voice, I notice, is, you know, a little bit like. Like Gabriel has a different kind of training.
He's, you know, it's.
I don't know. I think when you sing, you're lucky that you sang when you're little and you sing as you're little. You develop your voice thought even trying, you know, just because singing along and singing with. And singing like that and. And. And you're not.
I find people ruin their voice oftentimes when they're trying to be something 8 move their. Put their voice in a place it doesn't want to go. Might be too high voice to try to get it low or they're trying to do the gritty thing or something when it's not meant to do that. You got. Voice has got to go where it's got to go. It can expand. You can expand your range by an octave or two, you know, really, when you start working on it.
But that. And then to sink. To think that you have to sound like something which I, you know, I think you're lucky if you have your dad as your influence because it means you're genetically probably going to have a range that's similar to that and a quality of voice that's similar to that. And if he used it his whole life and didn't ruin it, then he's probably got some. You know, we hear. We learn by hearing oftentimes with a voice too. And there was a tendency, you know, there's the whole rock screamer thing that goes on. And I'm sure in certain kinds of like punk music, it's deregar. But it's really hard on your voice. We're lucky that we can just be singers.
[00:12:39] Speaker A: I think you have a song on the new album about this car and I was really taken by that. And by the way, I love the video and the bar that you did that at.
[00:12:49] Speaker C: Yeah. Oh, yeah. We had so Much fun, that car. That's. I know when that fancy car is broken down, I'll wave as I go past in this car. You know, like, all the cars we had touring. Oh, my God. But it really. Susie Vinick has this red. I think it's a Hyundai or something like that. It has gone, literally, I don't know, 500,000, 800,000 now K. Like, she. It just keeps turning over things. But, you know, there's. I mean, everyone has a car that we love, right? That we toured in and traveled in and seen it. Like, you spend a lot of time in a car and you get.
All of us have named our vehicles at one point or another. I don't know. I just. I don't know why. It just struck me to this that. To write something about a car. But I. I don't know. I just wanted something you could put in as you're driving to this car. See me at my best and at my worst, you know, it got me out of dodge. Like, that's why I wanted to get my license so I could get out of dodge. I could leave. If something was terrible or somebody dumped me, I could drive away. You know, that's the freedom of the car. I know I'm supposed to hate cars because of gas causing things, But I grew up in Saskatchewan. Public transit's pretty feeble. So car was it, man.
[00:13:57] Speaker A: Did you set out to write a metaphor song? I mean, is it kind of about how, you know, you're still around?
[00:14:04] Speaker C: No, no, I didn't say it. I was just about to write about somebody's car, and I started thinking about my own car. I wasn't that clever to think of it as a metaphor. Although maybe secretly I was. I don't know. No, it's just about cars in general. I had a beautiful red rabbit that I loved, and Paul had a big old van that everybody drove around and they called the willow bunch giant. You know, I don't know. Just you spend. When you're touring, and a lot of times you're in these vehicles. Very rarely knew.
Never reliable.
[00:14:31] Speaker B: Yes. Yeah.
[00:14:32] Speaker C: I don't know. You get to love them. They get you there. You know, they don't break down and, you know, I suppose it is a metaphor. I hadn't thought that. Now I'm going to think about it every time I sing.
[00:14:40] Speaker B: Well, you may have set Aaron's mind at ease, and I'll speak for him here. One of my dad's favorite songs that he heard of Aaron's. Up until, you know, he passed away. Was from our first album from 2014, and a song called Cars don't keep.
And it rips your heart out, throws it on the floor, and steps on it about 16 times. Like a good Aaron Nathan song always does. He can always take you there and then give more depth times 50. But one of the things he.
Someone was like, sing it like it's a love song. And I remember Aaron telling me, he's like, I can't. It's about a car.
[00:15:16] Speaker C: It's like.
[00:15:16] Speaker B: It's like. And I was like. And I'm like, do you think I should? I think, Aaron, you told me it kind of ruined it for you for a while, and then you had to get it back. And it's the truth.
[00:15:26] Speaker A: Like, yeah, don't let me change the way that you think about that.
[00:15:31] Speaker B: But one of the. I'm sure when you said, no, it's about a car, I could see the wheels turning in Aaron's head, like, yes, I've been affirmed, you know, so it's about a car.
[00:15:41] Speaker A: It's about a car. Sometimes a car is just a car.
[00:15:48] Speaker B: Hey, Aaron.
[00:15:49] Speaker A: Hey, Michael.
[00:15:50] Speaker B: We have album number five coming out soon, and it's. You know what?
[00:15:56] Speaker C: We.
[00:15:56] Speaker B: We kind of pick away at these albums. This time it was in Boston at the record company, and we just started recording, not knowing what we were going to do. I'm really proud of our work. It's.
[00:16:08] Speaker A: It's.
[00:16:08] Speaker B: Oh, man, this is a good record. I was listening to the mixes just the other day, and, yeah, nice work, sir. Nice work.
[00:16:14] Speaker A: You too. I can't wait for people to hear this album. And I suspect they will, probably in late spring.
[00:16:20] Speaker B: No, we do it over a period of time, and we come with the songs that we're ready to record. And the album kind of shows its face and its style through time, and eventually you go, okay, now I know what this is about. And that's what we did. Go get Aaron's solo album first, and then second, you can go get our duo album, and then we'll catch you on.
[00:16:39] Speaker A: They'll get the duo album before they get the solo album.
[00:16:42] Speaker B: Maybe they will. Without any further delay, let's get back to our wonderful interview.
[00:16:50] Speaker C: We just spend. Sometimes a car is just a car, and, you know, we spend so much. I also have a friend who in Regina who got a car on her 18th birthday, a convertible her dad bought her, that she drove and drove and drove. She just sold it. She kept it. You know, she had other cars later when she got older, but she. She's basically Kept this car since she was 18 and she just sold it. So in her mind, that song is about her car, her and her car. This beautiful, this, I think Pontiac or something like the Buick. I don't know what it was, but, you know, she, she would drive it all summer, you know, with the pop, pop down. And she loved this car.
And since 18 and she's in her 70s now. Yeah, she just sold it.
[00:17:30] Speaker B: Yeah. I, I've. I have fond memories of every car I've had and building new ones with my current car that I've had quite a while now. But it's.
I remember selling my high school car and it was a sad parting, but it was.
[00:17:45] Speaker C: God knows what those back seats have to say.
[00:17:48] Speaker B: Well, lots of cello back there. Lots of just cello sat back there and trying to squeeze a bunch.
That was a prerequisite. It was a 1968 Carmen Ghia. So the prerequisite was that the cello could fit in the back.
[00:18:03] Speaker C: Well, that's always a prerequisite for any car we get.
[00:18:05] Speaker B: Exactly.
[00:18:06] Speaker C: I keep wanting to buy these little cars and then I go, nah, the guitar won't fit in the back, will it?
[00:18:11] Speaker B: I don't think anything else would have happened in the backseat except some instruments in the backseat of the car I had in high school. But it was, you know, fond memories of trying to fit as much musical gear as you could fit because you knew if it didn't fit, you'll make a way to make it fit.
[00:18:26] Speaker C: God bless the hatchback. That's all I can say.
[00:18:28] Speaker A: Exactly what songwriting advice do you have for our listeners? We have a lot of songwriters who listen to this podcast,
[00:18:38] Speaker C: Write what you. I just was reading a wonderful book by. Guy Vanderheg is a writer here from Saskatchewan, and it's a series of essays. And one of the things he says, he tells his students is, write what you want. Write what you want. Write the stuff that you. Because obviously you're saying something that isn't said by somebody else's song. And that's always a good place to start and have fun with it. Write something stupid, you know, write something silly. And then, you know, if you can't get around to writing something that you care about or you're working on a thing, write something silly. Write something for fun. I write kids songs. I wrote all these kids songs and I had the most fun writing them. You don't have to write every song. Doesn't have to be a life changing song. And also you don't know what the life changing song will be. Or the song that's going to matter to somebody will be. You just write it because you want to write it. And try to do your very best to make it scan, to make it fit, to make the melody work. Sing it to yourself as you walk. Sing it to yourself, sing it to others. See if I always never. I never really know if a song is going to work until I'm not kind of know. But I don't really know until I'm singing it in front of an audience myself.
Till I feel the ripple of the stuff. I used to have a friend. I mean I still have a friend. His name is.
His name is Roy Forbes. And when, when we lived in the same city, I'd come over with a song and I instantly know when the weak parts of the song were because I'd sing the really good ones. Like nah, nah, nah. And then I get to the weak part and then I get to the, you know. And then I knew where I was singing quiet was where the weak parts of the song was, where the song, where I kind of not given my all in that part where I just kind of made a rhyme that didn't work or something that didn't matter. And then I could go back. He was like my bellwether for does this work? But I think always there's, you know, work at it. Listen to people, Learn what you can about songwriting. Listen to other songs. Why do you like them? Find the pivot point in your songs. What's the song, what's the line that's the most important, that means the most to you and work at it. I mean, I know I've gone to write songs. We were just talking about this with my son the other day. I've gone to write songs about a subject and it never works, works. It's always ends up being really, you know, kind of preachy or something. Something I wouldn't want to hear myself, let alone. Right. But always go back to the like show and tell. Like what made you care about this? What happened there? What were you going through? What's the image? What's the thing? What's the most important part of this? And, and start from there. It's like the woman who pays. You know, it's go back. That was, you know, I could sit and write something about.
But no, I was there. One of those women was somebody my daughter in law knew. I was sitting there looking at this and hearing all these people talking about why, you know, why these things happen. And I thought, no, what's the core? Like what Did I feel about this? What was the first thing that came to my mind and the first thought I was working on actually a guitar exercise. I was trying to develop a different kind of strumming. Get out of my habits. That's another good thing. Get out of your habits.
Try to learn another strumming pattern. Learn another, you know, play another instrument. Get. Get out of your ruts. That's the hardest thing as a songwriter, is to get out of your ruts sometimes because you end up writing three songs that sound the same or they all sound like Happy Birthday or something. Get out of. Get yourself out of your ruts. Because every. And it's true that every little rhythm, every rhythm is to me, are the bones of every song. And every little rhythm can open a door like this. This rhythmic pattern opened up that door to the line, which is. It's the woman who pays.
And once I had that, then the rest of the song kind of fit into that and came of its own accord.
And just songs you have to really work on hard. There's a song I've been working on for 20 years I still haven't finished. And there's songs that just land in your lab like a gift. And it's to know, you know, to work on them, to make them as good as possible. Play them in front of people, see what works. See whether their eyes wander. You know, is that something you can make better? Is everything working in this song? It's worth it to write a good song, and it's worth it to write any kind of song. It's worth it to write a song about your. People always think they have to write a hit song.
Maybe the song that you wrote for your aunt that is the most meaningful to her and changed her life and yours too. You never know. You don't know.
When you put music out in the world, people take it the way they take it. You never know what's going to be the thing that you are most proud of in the long run. You've just got to do your best to make. There's some songs you know, there are some songs that you just know are meaningful to you and you've. And they're just beautiful and they're well crafted and all of that stuff just fits.
And you know those things. You know, when you start to sing, you will know it. But. But a lot of times you don't. Don't think that you have to, you know, probably your own worst critic, most people, most songwriters, their own worst critic, do it, just do it. Just write and if you write a bad song, go on to the next one.
I've written hundreds and hundreds of songs. Some of them are great. Some of them I probably won't sing again. They're okay. But, you know, the other songs that are better, that work their way into the set. And some songs I go back to, and I go, oh, I should be singing that song again. I really like that. An artist is a lifelong process, and songwriting is one of those artistic endeavors that you can do your whole. I'm old, you know, I'm still doing it and I still want to write. And there's always things to say. I mean, there's a tendency to think, oh, it's not going to be a hit. Why am I writing it? Why am I in this? And it's not going to make me money or somebody, you know, or get me ahead in the game or whatever that is. I mean, I'm an older woman, and if there's ever a strike you can have against you, it's being female and old, you know, so who's going to want to listen to it? But that's not what it is. That's about. You're an artist, you write. And there's people out there that are going to. That need to hear the songs you're writing and the way they're writing because they need to hear their songs, too. So every age, every experience that you have, every community that you're part of needs to get their song. And that's up to you as a songwriter, to do it, I think whatever that is. And it's also. It's a wonderful thing to do, to create something out of nothing. It's magic to create a song out of nothing, out of your playing, pulling, rowing a bow across a vibrating string. And you made a song. It's magic. It's. You gotta keep doing it, and you're gonna. The more you do anything, the better you get at it, I think. And people seem to think, well, if it's not gonna be on a record or somebody's not gonna sing it or make a hit of it, then why am I doing it? Well, you're doing it because your community might need it or because you want somebody to sing at somebody's wedding, and that's a valid thing. Somebody is singing your song at one of the most important events in their life, then you have done your job. You've done your job.
Talking about writing about what you know, about places that you care for. Wide open spaces is my.
All of those little stories from there Keep Going was about me at that point in my life and writing about stuff, you know, I would never have thought that Woman who Pays would be nominated for song of the year by the Folk Alliance International about that topic, about my song. But I was so gratified to do that, to have that happen because first of all, I was proud of the community that they would choose something like that, a difficult subject like that and say people should hear this.
And two, to be at this age still getting recognition for what I'm doing.
So, you know, but for me it's like you get in front of an audience and every audience is different and every audience is your chance to connect with them and that's what music truly is. And a songwriter, you can do that, you can connect.
[00:25:53] Speaker A: That's wonderful. Well, congratulations on all your success. Thank you. And thank you so much for coming on our podcast. We're really honored that you.
[00:26:02] Speaker C: Well, nice to talk to you. You hope you get across to our, you know, part of the. I don't know if we'll get down to your part of the world. I'm. I'm hoping to. But if not, I hope you get up to ours.
[00:26:10] Speaker B: We hope to get up to our.
[00:26:11] Speaker A: I was in Montreal this past summer and I went.
[00:26:13] Speaker C: What were you doing?
[00:26:14] Speaker A: Well, I took my family, they wanted to. My kids wanted to see a foreign country. So we. We stayed in Vermont and did two day trips into Canada and I insisted because my birthday was a few days later that we drive over to the bagel place. The name.
[00:26:33] Speaker C: Oh, Vermont bagels. Yeah. Or Zambiator bagels. Yeah.
[00:26:37] Speaker A: The.
What was
[00:26:43] Speaker C: Saint Viator and Fairmont. Those are two. There's a bitter. Bitter. Yeah. There's fighting words and which one. There are whole halves. Half of the town is for Fairmont and half of the town is for Saint Vitar. And there were the twain shall meet that and Bear Nibeng. And you've got you covered. The food groups of Montreal right there.
[00:26:57] Speaker A: That was an amazing bagel right out of the oven. I was blown. And I still have Canadian currency. I should have handed it to you when I saw you this at Nerva because I can't exchange it here without paying a terrible fee. Anyway, Connie Calder, thank you so much for.
[00:27:14] Speaker C: Well, nice to talk to you both. Hope to see you somewhere down the road.
[00:27:17] Speaker B: Indeed. Yeah. But you know, safe travels too with all your.
[00:27:21] Speaker C: In your car.
[00:27:21] Speaker B: Yeah, thank you. Yeah, exactly.
[00:27:23] Speaker C: Okay.
[00:27:28] Speaker A: This has been the Nathan's and Roncast. That was a great interview. Thank you for listening. We'll be back to you next time with something else.
[00:27:35] Speaker B: Peace.
