What Vance Gilbert has learned from cancer

[00:00:08] Speaker A: Hey, everybody, it's Aaron Nathans from the Nathanson Roncast. And before we get to our second half of our interview with Vance Gilbert, I just want to let you know that I've been working on a project with my good friend Joe Jenks, who is producing my first full length solo album in 21 years. I'm raising money for it to help pay for all the expenses that come with putting out an album. If you go to Nathan's and Ronstadt's social media, you'll see links to sign up to be notified when the campaign goes live. So please do. I'd be honored for your help. All right, let's get to the podcast. I'm Aaron Nathans. [00:00:45] Speaker B: And I'm Michael Ronstadt, and you're listening to the Nathan Zanron cast. [00:00:51] Speaker A: And we're about to play the second part of our interview with Vance Gilbert. Wonderful musician, great songwriter. If you didn't hear part one, go back and listen to that because it's wonderful. And in the second half, we talk a little bit about humor and how he's relied on his sense of humor to get through this difficult season of his life as he battles cancer. [00:01:13] Speaker B: The one and only time that my brother Petey Ronstadt and I opened up for him, he just welcomed us in with open arms. He felt like family, and when we did this interview, he felt like family. So he is one of the most honest and open and welcoming people I've ever met. He just speaks his mind, and I love that about his songwriting and his approach. He explores guitar techniques, too, and he's a great guitar player. [00:01:37] Speaker A: All right, without further ado, here's the second half of our interview with Vance Gilbert. [00:01:43] Speaker C: Do you guys ever write a song where you're purposefully doing a thing? [00:01:52] Speaker A: What do you mean by that exactly? [00:01:56] Speaker C: Do you purposely write a song that doesn't rhyme, or do you purposely write a song that does not have the answer to the question in the song? Do you purposefully write a song that is sans alliteration? [00:02:14] Speaker A: I mean, sometimes, but they don't tend to be the best songs. [00:02:18] Speaker C: Okay. [00:02:19] Speaker A: You know, usually they're. It'll be subconscious, and then I'll be, oh. [00:02:25] Speaker B: Huh. [00:02:26] Speaker C: Well, that's not purposeful, though, Aaron. No, if it's subconscious. [00:02:31] Speaker B: My friend Ken, who we interviewed in our first season of this podcast, he said, people don't get points for being clever, but if you're clever and it works, it's great, you know? But other than that, you know, is [00:02:45] Speaker C: that a blanket statement that really works? [00:02:46] Speaker B: I don't Know, I don't know. [00:02:47] Speaker C: People do get points for being clever. [00:02:49] Speaker A: Is that patty cake? [00:02:51] Speaker B: I guess maybe it was more like if you're being clever and it just doesn't work, it doesn't carry it, you know, like, I guess maybe he was getting to that point. He's like, I think he's in classical music and classical composition. Like, oh, yeah, look. What all these. I did all these voice leading things. And then when you get down to it, like, do people like it or do people. Did people walk away going, I really enjoyed that piece. Or, you know, whatever. That was kind of the. So. But I guess, yes, as a blanket statement, probably not. Oh, yes. The eraser is. Yes, it is a good friend. [00:03:26] Speaker C: Yeah, right. That's it. I mean, I just, you know, I don't know what to say to Ken. Yeah, there's some people that get big points for being clever. Depends on where in the song they're being clever. [00:03:36] Speaker B: That's true. That's true. [00:03:37] Speaker C: You know, I mean, it's. [00:03:40] Speaker B: Yeah, well, he's actually, he's known for being very restrained in his composition. And that's part of, I think maybe his. Maybe his own personal critique possibly of other composers who put too much in. Possibly. You never know. [00:03:54] Speaker C: Yeah, right, right, right. I mean, and we're an amalgam of all that that's around us. You know, we take in stuff from your friend. That friend and Aaron, who clearly said a little while ago that he has no idea what he's doing when he's writing. He don't know what he's doing. Just play what you write. [00:04:18] Speaker A: I don't. I really don't. [00:04:21] Speaker B: I'm just joking. [00:04:22] Speaker C: Well, that, I mean, but that's really good too. I mean, if we were only half joking about that. You sit down and free write in a book. Do you free write? [00:04:29] Speaker A: Oh, yeah. [00:04:29] Speaker C: I don't. I don't. Free writing's hard. It's hard. [00:04:32] Speaker B: Oh, okay. [00:04:33] Speaker C: Okay. [00:04:33] Speaker A: Well, I mean, your songs these days are about something. You know. Black Rose Show. Right. I mean, that was. [00:04:39] Speaker C: That's a decidedly story telling. Ish song. No getting around it. That is a boy. I got that. I got a song about a gay fighter pilot on his deathbed. It's like, I've got some story songs that. But the ethereal kind of impressionistic song, so to speak. I'm trying to think if I have anything that fits that. [00:05:26] Speaker D: Walk slowly with me. 12 years of twisting in the air Ball catching and landing like you never left the ground. Now there's no legs to navigate These stairs stand behind me Kindly lift me Going up and going down. Walk slowly with me. On our first night so uncertain you and I, we weren't ready until you looked up at the lights of an airplane. You tracked it clear across the sky [00:06:29] Speaker C: till it disappeared Blinking behind Peter Jurgensen's house. [00:06:34] Speaker D: I know where you are. Put a good word in for me. Where will I go when I'm done? We'll have to see. But I will find you. Not even God can stop me. [00:06:51] Speaker C: Yeah, that's your ball [00:06:55] Speaker D: in the corner by chair. With my best arm I will throw it over there for a good boy. Almost home now. Walk slowly with me. [00:07:31] Speaker A: Beautiful. [00:07:32] Speaker C: So it's not exactly impressionistic to the point you don't know what's going on there, but each one of those little scenarios is a splashed like blah, blah, blah scene. And that song was important that way that each one of those scenes got splashed and have a circumference around the whole song by this walk with this dog, which is the dog here or not here is neither here nor there. But if you've owned a dog, that song, you get it, you know, you get it. If you've owned an animal that you've had to have and then not have, and you. Then you get it. But yeah, there were so many places there where I could have just said blatantly what was going on. But I'd rather the audience come along, let me take you by the hand and you figure it out. Let me show you the places where this story happens. Let me drag you through this museum. Let me drag you past the of the cross. Let me take you with me to see what happened. And then you have the story rather than the answer. [00:08:59] Speaker B: Yeah, yeah, yeah, yeah. Cheers indeed. Cheers. I'm not much of an extrovert, but I'm bringing my inner extrovert out to tell you to like, subscribe. And we have new podcast episodes and. And I want you to know that we release a lot of music and live concerts on our YouTube channel. So if you want to hear what we are all about in front of an audience or even in a studio space, we try to put content out there so you can hear our songs and be a part of our journey. So please go to any of our channels. You can go to Aaron Nathan's and Michael G. Ronstadt's YouTube channel. You can go to Michael G. Ronstadt's YouTube channel because I post a lot of stuff there. And you can go To Nathans and Ronstadt.com subscribe on Spotify, Apple Music all those things, whatever. We just want you to hit that button, whatever it is. So the bell goes ding and says, hey, they have a new episode, so please. Thank you, and we look forward to hearing from you. [00:10:01] Speaker A: All right, back to the last part of our interview with Vance Gilbert. [00:10:07] Speaker B: Yeah, I. You know, Vance, you're. I really highly respect your guitar playing, and it's so stunning, and. [00:10:19] Speaker C: Thanks. [00:10:21] Speaker B: I imagine you did a lot of guitar playing when the voice wasn't doing what you wanted. And so I'm curious, what's your go to? I mean, for me, for example, like, I have just taught myself and finally memorized Blue angel by Chet Atkins. I was like, okay, I need to learn this. Been listening to it forever. Let's do it. So I did it, and I feel, you know, like I'm always trying to work on something for me, and I imagine that's kind of a journey. So my friend who's a jazz player, jazz flutist, he's been not gigging a lot, but he. He's. He. He said he's been working on Bach on guitar, like, for example, like. And it's. So, yeah, I'm just curious, What. What does Vance Gilbert go to on guitar when you just want to explore melodies, bass lines, chords, whatever. Like, you clearly have a jazz background with it in a melodic sense. So it's. [00:11:19] Speaker C: I am an enthusiastic guitar player, and I'm less of a guitar player than you might think. My repertoire of things that I can do outside of the basic things that I do do is smaller than you'd imagine. But, like, I say I'm enthusiastic, and I place them in places that might be impressive, that could even be troublesome. Somebody hire me to be more of the guitar player than I am. And that hasn't happened yet, thank goodness. I even said to Deborah the other day, I said, you know, part of me, you know, I would love to, like, take a year and get an electric guitar and really get chops enough to be a. The guitar player on a cruise for a 70s funk band would. Would be the. The most thrilling thing. And then I go like, no, I don't wanna do that. But I. You know, I. What I ended up doing, since I wasn't singing with any real propensity, was I would take a second solo verse on whatever I was playing and try to do something different in the midst of what I'm doing, which is my. Take a solo style guitar playing is really quite perfunctory. If you've seen me do it once and you come back the next night, that's the same shit he played. And I'm trying to make it entertaining and suited for that portion of the song, but. Wow. Damn, Michael. Why you gotta ask me something then? Sorry, I'm not ready. Clearly. [00:13:24] Speaker D: She said, darling, I'm in love with your mind? The way you care for me is so kind. Love to see you again. I wish we had more time. She was laughing as she brushed my cheek. Why don't you call me Joan? Maybe next week. Promise me crush your heart and hope to die. But I misunderstood. I misunderstood [00:14:07] Speaker C: and trying to get that. [00:14:14] Speaker A: Can you move the guitar so we can see what you're doing with your other hand? [00:14:17] Speaker D: Oh, oh, oh. [00:14:18] Speaker C: Yeah, yeah, yeah, yeah. Good. Yeah, yeah, I can do that. [00:14:27] Speaker B: Yeah, yeah. [00:14:28] Speaker C: Yep, there it is. You know, trying to get that Richard Thompson hybrid picking thing to work, which is not working today, but if I spent. If I spent 10 minutes with it, it would be clean. It'd be clean. But that was. That was a lot of. That was a lot of work. And I mean, just kind of taken. And keep this clean. And it's not. And that's the solo in this. [00:15:36] Speaker D: You can cry, cry, cry, cry like no tomorrow? But yesterday they come and gone? Hijack the pie and the whiskey? Kidnap your mama's soul. Oh, but worn out shoes home made for walking? You better get walking? Cause you ain't gonna be here long? You can cry, cry, cry like no tomorrow? You can sing yourself a lullaby? Or you can live on pie and whiskey. [00:16:23] Speaker C: Right there I could have gone, but I went. [00:16:31] Speaker D: But you surely won't live too long. [00:16:39] Speaker C: So my point being, right there is a place where I went for a straight plectrum. 1. 1. As opposed to all the histrionics that I was doing there. And I think that is a big key to us now if we can just every once in a while, step out of the way, give the music and the audience an opportunity to breathe. [00:17:03] Speaker A: Did getting sick give you an opportunity to breathe? Or I mean, did you have to. Did it give you any, you know, an aerial view of things? [00:17:16] Speaker C: I don't know yet, to be honest. In total, I'm not sure yet. I don't know if you guys know, but my other life is that I'm a. An. An aviation historian for. Yeah, I'm, you know, youthful at it, but I mean, I'm amateur at it at best. And I build rubber band powered, tissue covered flying model aircraft, scale replicas of such. And yeah, that's what I. That's what I do. For anybody looking at this, you know, I go to YouTube and put in Vance Gilbert Neene N E N E or Vance Gilbert Mosquito or various things like that. And you will find along with the music stuff on various YouTube channels you'll find pictures of me launching and flying these model aircraft. The reason why I'm saying all this is because I had started something. I said I'm going to build a model that has the wing wingspan of my age. It was a 66 inch wingspan bomber from Britain. And I also don't do a lot of warplanes. I do, I'll do warplanes if they have become. If they're swords to plow, shields, plowshares. I beg your pardon. And I started this plane and when I got my diagnosis I took this big plane which was being covered, it was three quarters done and I put it into rafters. I just put it, I put it up. I just, I started something small. I've. I started something small and manageable. A little polish sport plane, 13 inch wingspan. And that's what I wanted to do. I wanted to say there was a completionist part of me that, that just went away. I didn't want to work on that plane. And that is the most palpable of the. What have you learned from cancer? Things the others. Kenneth from the milk carton kids wrote me the kindest note. He says, beware of what you think you know about yourself within the first year of diagnosis and being cured because you're gonna go through some things you're not even aware of. And that was the sweetest, kindest advice. I toured with them for like two weekends and we had a ball because of course our music is exactly the same. But anyway, they were so good to me and you know, both of those guys are monsters. But that was just the sweetest piece of advice. It's just like, you know, watch, watch yourself and those things that have affected you for whatever this next phase is for you. Because cancer will do that. Particularly if you survive. If you don't survive, it will. And I think that was some language for you dead with your cello. But, but otherwise there's some unknown yet as to effects. I'm in the early throes of recovery, man. I mean in fact they're not even sure. They're like I come back in December, if they can still palpate and feel this, they may go in and take it as a maybe precaution. They're going to leave that up to me. Well, we can still feel it. So therefore, so I know it's still [00:21:09] Speaker A: like so you're not sure how this is going to affect your singing in the long term. [00:21:13] Speaker C: This shouldn't, you know, there will be trauma here. You know, that's a great question. You know, I'm singing. I mean, you know, I pretty much crawled out of bed and had some breakfast and I didn't warm up for you guys. But I'll sing great tomorrow night. And the future. I'm acting like that this is on an arc of. Of ultimate healing. But I kind of don't know. They are talking about there's a muscle connective tissue thing with the tongue that shows up within the next 10 years after radiating. 10 years. So I'm going to act like we are on the road to healing and that I'll be singing great if not again. Either one of the songs I did today could be done by Mariah Carey or Leonard Cohen and I think still be effective if they pay attention to what's going on in the lyric. So hopefully it's still a good song. This is still a good song. Vessel somewhere. [00:22:22] Speaker B: Yeah, yeah. [00:22:25] Speaker C: But yeah, I sing my ass off. I mean, I'm not going back on the Voice. I'm not doing that again. You know, I didn't make it to. I got as far as they were, you know, looking at costuming and first round with judges and that's when I got booted finally. But I knew that the gig. I know, right? I knew the gig was up when like the younger kids were. Were calling me Pops. I was like, you know Pops? Really? Really? Ay. [00:22:54] Speaker B: Yeah, yeah. So yeah, I have a 14 year old cello student who he gets up and stretches at the end of his lesson. His name is Balin. And he goes, he's like, oh, I'm getting old. And I always tell him like, you're doing that just for me, aren't you? Just reed's like, yeah. [00:23:14] Speaker C: I'm like, oh my God, Michael, that's so funny. That's so funny. Now when you're teaching a kid cello like that. Sorry, Eric, you look like you're about to say something that I don't care about. Anyway, Michael, when you're teaching a student like that, are you teaching them just a classical repertoire? Are you teaching them slapping or pizzicato? Are you doing the whole thing? [00:23:37] Speaker B: This specific student wants to learn everything. So we are doing fiddle tunes. We did a jig, we've learned a reel. He just learned misty melody really well. We did it in B flat. And then I'm teaching him how to walk bass lines. So I always hope oh, my God. On top of that, he plays the swan beautifully. He's going to work on a Scherzo by Van Goins that's taught to cello players a bunch. And so, yeah, I'm pushing him as much as I can. And, yeah, even gave him a practice chart just to check off his practice time recently. [00:24:18] Speaker C: That's fantastic. [00:24:20] Speaker B: But some students, we go traditional, some students, we don't. And even if I have students who want to do cello and guitar with me or do songwriting, cello, guitar, music theory, I'll kind of go with them and try to get them the foundations at the same time. So that's. Yeah, I try my best, you know. [00:24:38] Speaker C: That's fantastic. Aaron, what were you about to say? [00:24:42] Speaker A: Oh, well, I was going to say, michael, go ahead and ask a question. [00:24:45] Speaker B: Oh, well. [00:24:45] Speaker A: But I do have a question. [00:24:49] Speaker B: Aaron has a question, everyone. [00:24:50] Speaker A: I always have a question. I know we're beginning to run short on time here. I want to make sure I ask you this question because humor is such a big part of your. Both your musical Persona and the way you live life. What role has humor played in getting through this period of your life, not just in cracking jokes, but in actually receiving humor and laughing? Has that been good medicine for you? [00:25:19] Speaker C: Absolutely, man. Absolutely. You have to. I mean, as the old people say, you have to laugh. You have to laugh. You just do. Yeah. There's a piano player, trombonist, Abby Gardner's dad, Herb Gardner, who ended up on a bunch of my albums on piano and trombone. And he just did. He just. And he just passed? Yeah, he just passed a couple weeks ago. And he and I were also, like. We would laugh about pretty much anything. And I like what he said. When asked what he wanted final things to be, he said, you know, well, I want to be cremated, and I don't want, like, a big burial thing, but I want everyone to have a big jam party later. And when asked, like, well, what do you mean? Like, well, you know, any kind of recognition of you, he says. He said, whatever. Surprise me. And just the fact that he said surprise me was just like, oh, my God. That's how I want to go. I want. I want to be. You know, I mean, he's on his deathbed. He's like, surprise me. It's like, what are you doing with that? That's gold. That's gold. So, yeah, the receipt of information. You know, I have to. You have to laugh at the fact that the only way, unless some coercion was involved, the only way that I would have gotten HPV here to get this is from giving somebody pleasure. When you think about it, that's like. It's the only way to get it. You know, it's. It's the only. I mean, the only way I would have gotten it. I mean, you know, it's. And I have to laugh at that. I have to laugh at the fact that I can't laugh at all of it because there's a lot of people that struggle. But it's funny how some of the foods that I've lost £50 in three months, which is not the greatest weight loss program in the world, which is the first joke I make. And I think part of that is because so much of what I eat tastes like armadillo semen in a sweatsock, so. And that's funny. That's funny. You know, Also a great name for an album. [00:27:53] Speaker B: Yeah, I was gonna say once. [00:27:55] Speaker C: Once. You'll sell a great bunch of albums once with that. But yeah, humor is, you know, to take this back, Aaron, or to go back in time, my. The household that I lived in that was violent and everything else people there was during the good times, you know, those kind of households are impressive, oppressive, because you don't know what someone's going to do tomorrow. But today could be great. Today there could be, you know, the cap on the jar of the seagrams that I had a conversation with one day when I was nine. I talked to it and said it would never get me, but it could be uncracked. It could be, you know, and it could be a great day. And my dad was funny and my mom was a great audience. She'd laugh till she peed. And with him cracking up something funny and her peeing, that's a funny day. And they're very comic on the surface, loving people until the darkness came. And then I took the part that felt best for me. I needed to be recognized as whoever and whatever I was and loved. And I would take my funny and out into the street with my kids, friends at the school. And I was class clown. I was a funny cat. And that's where I got my juice. So it's always going to be, I'm not. Because I've had this cancer diagnosis that hasn't turned me into a dour, skull capped black man angry at the world. What do white boys. What do white boys want? What the hell, man? [00:29:42] Speaker B: Hey. [00:29:44] Speaker C: No, it's just. I mean, there's a lot of stuff I'm angry about, but I think I'll still live a pretty Decent sized life. Because so much of it is funny. I'm gonna laugh, have to. [00:30:01] Speaker B: I mean, that's. I mean, I enjoyed that so much with your performance. And the only other time I've seen some really point people out in the audience and usually see that with comedians. And so you mix the two beautifully. I remembered seeing a Johnny Cash impersonator from South Wales who came up to North Wales. You know, I guess he had to pull some strings to get up there, but he basically came up there to do this show, and anytime people would go to the bathroom, they'd go, hey, where you going? Come back. You know, and so people were afraid to get out of their seats, but in a funny way. And I remember, I just remember saying, that's good audience interaction. And you take that to another depth because it's. You're having a conversation with people. It's not just, hey, don't go to the bathroom, come back. Why are you leaving? You know, like, it's, it's. It's very. [00:30:55] Speaker C: Yeah, I do. I was just like, hey, you got a. You got a bladder like a golf ball. Like, that's. That's one of my lines. Is it? Or is it. Was it. Was I out of tune that last song? Where are you going? [00:31:07] Speaker B: So I love that. Yeah, but it's, you know, I think people. People want to connect with, you know, as musicians, we are. We become friends with people even if we've never met them. They feel like we are their friend in many way. I think that's important work you do. [00:31:22] Speaker C: That's the whole folk music making, community thing. Yeah, it really is. I mean, I'm sure I'd love to be Billy Strings famous and please leave me alone. So this house would be paid off if that was the case. But sans that. Even so. Even so. I mean, I would still be. I would still be the guy that. I will always go out to an audience after I play, even when Paul Reiser doesn't. I'll always go out and touch base with the audience because I'm making community, you know, join hands. I'd like to teach the world to sing. When that came out, every time that commercial came on, when I was. I would cry, I was just like, that's what I want. That's what I want. And that's where we're headed to in this country right now. It's so good, isn't it? Yes, man. [00:32:19] Speaker A: There's the humor. [00:32:21] Speaker C: Yeah, it is, man. [00:32:24] Speaker B: It gives me goosebumps in all the right ways. [00:32:26] Speaker C: Yeah, that's right. Look. [00:32:27] Speaker B: Look at that. [00:32:28] Speaker C: You're growing feathers. [00:32:30] Speaker B: Well, you know, we're in a time of extremes, and it's great to. But, you know, it's one of those things where I think that humor is needed in every situation. I think it's so important. Yeah, there's, uh. Well, you know, thank you for being with us today. I mean, just thank you. [00:32:48] Speaker C: I. You gentlemen are so. I've seen you both, and you're both so talented. Maybe because of or in spite of your bloodlines, you. You're monsters. And that you asked me to be on this podcast is truly. You couldn't get anybody else nowadays, I guess. You know, I don't know what happened. You didn't pay your phone bill or something, but. But here I am. I did not clean for you over my shoulder. Those that do know me, those are the shoes that you've seen me wear on stage. And. [00:33:23] Speaker B: Yeah, thank you. [00:33:25] Speaker C: The way I sign off Monday nights, 7:30 Eastern Time on YouTube, Vance's Monday Night acoustic pajama party. I'm just playing and singing doesn't cost you anything. This is how I tend to sign off. I do that and I do that, which means I love you and flying. So I do that every night. It's been. By the time this airs, it'll probably be almost 280 shows. I forgot to stop doing them after the pandemic. But, yeah, again, only 50, 60 people show up at a time. But some of them are in wheelchairs, some are autistic, some are of agoraphobic. A lot of people show up that would not show up at a gig. And I feel like ultimately the job is to make and maintain community. So that's. That's my job. Cancer or not, that's what I'm going to do. Clearly, that's what you guys are doing too, so. [00:34:33] Speaker A: Yeah. [00:34:34] Speaker C: Thank you. [00:34:34] Speaker A: It is about community. There's so many people out there who love you, and I'm one of them. [00:34:41] Speaker C: Oh, you're very kind. There's no accounting for taste, but you're kind. Appreciate that. [00:34:47] Speaker B: Yeah. [00:34:48] Speaker A: All right, well, should we turn this thing off? [00:34:52] Speaker B: Yeah, yeah. [00:34:53] Speaker C: Cello, cello, play cello. That's a walking bass line on that. Come on. What the heck? Oh, were you playing Swan's Lake? Nevermind. [00:35:05] Speaker A: So just as a postscript, I want to mention one memory from Falcon Ridge. This was just before the tornado. Do you remember the tornado? [00:35:13] Speaker C: Oh, yeah, yeah, yeah. [00:35:15] Speaker A: That you were walking around and it was like 2009, and I was like a newbie singer, songwriter, and I walked up to you for advice. And I told you that I got nervous after I played and I replayed the. The show in my mind, and I would pick it apart and be very critical with myself. And I'll never forget what you said to me. This was like an hour before the tornado hit. You said, well, I guess that's between you and your hairdresser. And I took that, and I wrote a song called Old Joe's chair, which I play pretty much every time I do a show about the relationship between a man and his barber. [00:36:05] Speaker C: Oh, my God. [00:36:06] Speaker A: So thank you. [00:36:07] Speaker C: That's so amazing. [00:36:07] Speaker A: I wrote it with Phil Henry. [00:36:09] Speaker C: You just never know. [00:36:11] Speaker A: You just never know. [00:36:12] Speaker C: You have no idea where the fish is gonna swim when you let it back into the stream, baby. That's it. [00:36:16] Speaker A: That's right. [00:36:17] Speaker B: Oh, wow. [00:36:18] Speaker C: So thank you for that, Michael, Aaron, you guys, thank you for thinking of me as being worthy of. Of doing this. And we'll see you in the movies. [00:36:30] Speaker B: Definitely. [00:36:30] Speaker A: Yeah, we'll see you down the road. [00:36:32] Speaker B: All right. Thanks. [00:36:33] Speaker A: Appreciate it. And that's it. Wow. That was amazing. [00:36:39] Speaker B: It was a whirlwind that felt like it was really short, but when we looked at the clock, it was longer than we expected. And so we did two parts for you, and we hope you liked both. And, Vance, thank you so much for being so generous with your time and your thoughts and your ideas and being friends to us. Thank you so much. [00:36:58] Speaker A: That's right. And I have one thing to say, Cello. Friends. That's what he said, right? He said friends. [00:37:07] Speaker B: It was friends. Yeah. [00:37:08] Speaker A: Yeah. I don't do it. You see, there's a reason why they pay Vance to be Vance. [00:37:13] Speaker B: Vance and not me. No, we'll leave that for Vance. And if you're just hearing this part, which that'd be weird, Go back and listen to it. Cello friends? Yes, please. Thank you. All right. [00:37:25] Speaker A: Talk to you soon. Back for the next episode. [00:37:28] Speaker B: Peace.