Julie Rogers: 0:06

No one ever said life is easy, but I believe by giving yourself permission, you will find you have more control over your life than you realize. I'm Julie. I hope you will join me by taking responsibility for yourself, by only controlling the things you can and letting go of the things that you can't. By doing this, you will have discovered the secret to having happy, healthy and more fulfilling relationships. Welcome back to Nearest and Dearest Podcast. I'm Julie Rogers and you are listening to Season 4, episode 1, Every Other Weekend - Coming of Age with Two Different Dads, a memoir by Anthony J Mohr. I'm excited to be working on bringing more guests on my podcast this season. So I met PR by the book. It's an agency that works with authors and publishers. I so appreciate Emily making this introduction and I'm looking forward to Tony having our conversation. Welcome.

Tony Mohr: 1:22

Well, thanks. Thanks so much, Julie, and thank you for having me on the show. It's good to be here.

Julie Rogers: 1:28

Well, we're honored to have you on Nearest and Dearest podcast. I want to start with a quote, Tony, that really resonated with me. You said "no one forced me to choose between Gerald and Stan, nor did anyone suggest I do so. While there were times I leaned toward one over the other, for the most part I tried to balance the two." End quote. I can see the maturity level you had while growing up between these two very different families, and when I read this, I could easily see just how much respect first, then more love, as you were adapting to how to relate to two very strong personalities that both men held. Was this a conscious choice for you?

Tony Mohr: 2:26

I'm not sure it was. I think it was more an attempt to survive and, you know, and tolerate the two different families, which is not the natural order of things. Yeah, I love my father, always, did, always will. I grew to love Stan, you know. I was very happy that he came into the family, but there were times when I just didn't agree with what he was doing, with his style, with his childbearing philosophy. So I can't really say I immediately respected him, but I knew he was making my mother happy and that made me happy. But I think this was just as I said, an attempt to survive and not be mature. In fact I was probably very immature during my high school years.

Julie Rogers: 3:09

Sounds like you found the love of your life when you met Beverly and you've been married over 10 years now, right, that she reminds you of the spirit of your beautiful mom, Rita. You dedicated your memoir to your wife. I have to ask. The dedication reads to Beverly and all the DGs. What does DG stand for?

Tony Mohr: 3:33

Okay, well, Stan's last name is Dashew. Think of a cashew nut with the letter D.

Julie Rogers: 3:39

Okay.

Tony Mohr: 3:40

And DG stands for Dashew Generations. DG1 was Stan and my mom, DG2 was myself and my two step-siblings from Stan's side, Skip and Leslie. DG3 is their kids, and so on. So I'm dedicating it to the Dashew Generations.

Julie Rogers: 3:58

Oh, that is so sweet. I love that because all of them are important to you in your life. You share with the reader how much you never forgot listening to your father's voice at night, before you fell asleep on the radio during your younger years, before the divorce, when your mother would tuck you in. But was that a special connection you felt with your father?

Tony Mohr: 4:24

A special connection I wanted to feel with him. He wasn't around very much when I was a child and a toddler we're talking now we're going back to age two, three, four, those areas. My father didn't do children very well and he admitted that later on. For me, when I was falling asleep hearing him on the radio, it was like okay, this is my connection to my father who wasn't around that much. So, yes, it was a special connection, but a sought-after connection to try to fill in for some missing connections that really didn't come into focus until I was what? Six, seven, eight, nine. There was a radio in the room and she turned it on. It was up on a top shelf, out of my reach. I could hear my father.

Julie Rogers: 5:11

So it sounds like she wanted you to have some connection, because she knew, obviously, that you were longing for that because he wasn't around and it was a way for her to give you him. I thought that was very lovely. It's almost like reading a bedtime story from your mother and then hearing your dad's voice on the radio.

Tony Mohr: 5:33

Yeah, she was smart in that regard.

Julie Rogers: 5:35

It sounds like it. She was a good mom. Your father played the character Philip Marlowe while he was peaking with radio. He played almost always the bad guy, even in movies and television. You wrote about how Hollywood fantasy versus reality didn't always collide, but they blended. Do you think Jerry's roles influenced his own identity?

Tony Mohr: 6:07

They may have, I never saw him trying to mimic the bad guy in real life. He wasn't one who got all wrapped up in the roles he played, like some actors, like Buster Keaton, for example, got wrapped up in the roles he played. There were times he would drive up and down the street in Beverly Hills in his car I forget what it was, it was some sort of fancy, unique kind of you know car and he would kind of mimic the parts he played. He couldn't get out of the roles and I'm sure there were other actors and actresses like to do that. He didn't walk around saying, oh I'm the bad guy, you know, I just shot five people, or you know, in this case I was the one who you know seduced 25 women, although he seduced a share, I must tell you.

Julie Rogers: 6:53

So some of that probably, maybe he was just had that suaveiness about him, because when you write about him you say he was very cool and put together.

Tony Mohr: 7:02

That was who he was. That was who he was. I mean, you know, the cigarettes came into his life because he had a role where he had to smoke and so he learned to do it, but the suave, you know, and the smoothness was just part of his persona. It may have worked its way into the roles, but it's more working the way into the roles than the roles working their way into him.

Tony Mohr: 7:29

He was that kind of a guy. Yeah, I mean he was very, very suave. He was catnip to women, I must tell you.

Julie Rogers: 7:32

So he, you know, and I think you're kind of you have that in you, then, right, you might learn a little bit more about that in a character that you're playing.

Tony Mohr: 7:40

Julie, Julie I couldn't get a date in high school, to save my life. I was not catnip to wo men at all. I might've been a bitter apple, the opposite. I wasn't the one running around fighting off girlfriends.

Julie Rogers: 7:54

Right, right. Well, we all have to come into our own. I didn't blossom in high school with dating either. I think I had one boyfriend who was actually younger than me from a different school, so it took me later to blossom. So I can understand that. This was interesting too. When I read this. You shared that your father wanted you to be his pal. He wanted you to call him. You know that he was going to say you're my pal when you were around nine when the divorce happened. Do you think it was his way of acknowledging that he already had accepted that because of the divorce that he initiated, but that his father figure was going to be changed forever?

Tony Mohr: 8:35

I'm sure. I'm sure about that. He never used that phrase until after he had left the house and it was sometime one Saturday. We were together and he said you know, I'm going to be your pal. And it went from there and he said it often. You know, you get on the phone, hi, pal, how are you doing? And we did pal around a lot, which I enjoyed. I enjoyed that a lot. He was much less you know, quote a father than a pal at that point. Stan became more of the father you know, up that he sometimes lectured me, he sometimes said you're really doing something wrong, and this is why I can remember some of those lectures, some of those discussions, but by and large, yeah, he was the pal.

Julie Rogers: 9:20

H\e, that must have been interesting for you to have such diverse fathers in your life and there for you at different periods of your life, while growing up figuring out who you were. In one respect, you had two dads that really cared about you, and they just had different ways of showing that and different perspectives of who they were to pass on to you.

Tony Mohr: 9:42

Very, very true. They did care. I know that there's no question on my mind about that. Stan treated me like he treated his own kids and I admire him and I'm grateful for that. He wasn't the step-parent who ignored the step-child. He was anything but, and my father actually treated his two step-children very well too, at least from what I saw. I think he, if not exactly as his own, very close to his own.

Julie Rogers: 10:13

Well, that's wonderful to hear.

Tony Mohr: 10:15

Yeah, I mean there are a couple of times I got a little jealous, I'll admit, but that had to do with Hollywood and the roles, in the fantasy, for example, he was in the Hollywood Christmas Parade and one day he told me about it and he mentioned that Tommy and Timmy had ridden in the parade with him. And I was upset because he never asked me to do that and I said so. I said wait, I want to ride in your ride. Following year, he asked me.

Julie Rogers: 10:42

That's wonderful.

Tony Mohr: 10:43

The year after that he asked me, he understood what was going on there.

Julie Rogers: 10:47

And that's great that you could always. You know, maybe not always, but in that moment, because it bothered you so much, you were able to tell your dad, hey, I, you know, I want to be part of that. And then he did that. He didn't just say, oh, it's not a big deal, or downplayed it for you. He said, he made it happen so that's a good dad.

Tony Mohr: 11:08

You're right. You're right, he did make it happen and I was very happy about that.

Julie Rogers: 11:11

The crossroads in your parents' marriage seemed to happen when your family, including your paternal grandmother who lived with you back then, went to Sweden for a year. It was 1954. You were seven years old. It was an opportunity for your dad to be the lead. When you met Mai, who's your stepmother, she was a Swedish woman who lived there and you felt that something was not quite right about her intentions. As a teenager then, after all of that, you never really warmed up to her in that initial meetings, especially when they got married. But did you? Did it get easier for you? Did you ever have a relationship with her that you felt was genuine and loving? I guess is my question.

Tony Mohr: 12:00

I had a relationship with her. I wouldn't call it loving at all. I'm not even sure the word genuine fits. It was just she was who she was. Occupying the role of my father's second wife. I'm occupying the role of his one and only son, biological son. She tried to deal with that in her own way, which was okay sometimes and not okay a lot of times, and but I wouldn't call it a loving relationship at all. I mean, I really was very happy when we left Sweden that I wouldn't see her again. And when I did see her again, when she showed up in LA, having shot another pilot with my father, I was rather upset, rather upset when I saw her come off the plane with him and he's cradling the roll of film in the can and he kept saying hey, Mai, it's our baby. I think I have that in the book and I'm sitting there going, what the heck is going on here? I was too young to understand that they had an affair, which they obviously had.

Tony Mohr: 13:05

But, it just didn't sit right and Mai did her best to ingratiate herself. She found a children's book called Peter is the Babysitter, In Swedish Peter er barnvakt it's the title of the book. She translated it. She absolutely took every line of the book and penciled in the English above every single line. I still have the book.

Julie Rogers: 13:32

Yeah, I remember reading that, yeah.

Tony Mohr: 13:35

Yeah, and my mother was very appreciative. She said oh look, Mai translated the whole book for you and I wasn't that appreciative. I'm like why is she doing this? Going through all this trouble to translate a 45-page children's book.

Julie Rogers: 13:49

But as a child, like you, just recognized that just something was off about that. Yeah.

Tony Mohr: 13:55

Yeah, it was off. Exactly Julie, it was off.

Julie Rogers: 14:00

Let's go back to January 1958. You and your mother moved to New York City, where your mother was from, and actually your father as well was from New York City. Yeah, we moved in February, early February. Okay, early F ebruary.

Julie Rogers: 14:17

She was struggling financially she would be, she wanted to be back. It sounds to me that she wanted to be back near her mother and two siblings. And I can relate to that because when I was financially struggling after my divorce with my husband, we went from Connecticut to New York to be near my family. So that really I really related to that about your mother making that decision. But for you as a young person, that had to be so hard. Sunny, warm California with beaches and palm trees, to a crowded, dirty city, crowded with so much people, traffic, that it must have been a challenge for you.

Tony Mohr: 14:59

It wasn't easy. I wrote about it in the book. I have a whole chapter devoted to it. Yeah, it just. You know it was difficult to get used to. I did get along well with the kids in the class and I liked them a lot and I missed them when we came back to California. And in fact the good news is one of the people in the class, a girl named Kathy Fields, came out to California as well and ended up in Beverly Hills High School along with me and we're still friends.

Tony Mohr: 15:25

That's wonderful, it's nice, but the other kids were there and didn't come back and I've always wondered what happened to them. Kathy, I think, is in touch with one or two of them. One thing I really liked was PS6 is at 81st and Madison. One block up is the Metropolitan Museum of Art, and at no time we could walk up the street and go to the Met. Admission was free back then and you just walk in, wander around the Met for an hour and come back to class. I thought that was fabulous.

Julie Rogers: 15:55

I mean how wonderful and your mother showed you about art and the importance of fine arts. I feel like she helped influence you on that. It sounds like.

Tony Mohr: 16:05

She took me to the museums, the Met and the Frick and others. By the way, have you read the book The Goldfinch by Donna Tartt?

Julie Rogers: 16:15

You know I have not, but it is on my list to read though.

Tony Mohr: 16:19

When you read it early in the book, I think even the first chapter you've got a kid who's fatherless and his mother is taking him to the Frick Museum I think it is, to introduce him to the world of art and she's doing what my mother did and it was very, very evocative as I read it. Except in the Goldf inch, a bomb goes off and the mother is killed.

Julie Rogers: 16:42

Yeah.

Tony Mohr: 16:43

Right, but the Theo character did remind me of myself.

Julie Rogers: 16:47

Well, I look forward to reading that. I'll have to let you know my thoughts after I do. So can you share how your mother's love, and her character in and of itself, led you to embrace the qualities of fairness and excellence that has shaped your future?

Tony Mohr: 17:07

Well, she was very fair and she was very loving and I hope that rubbed off and she had very good advice. I remember one of the things she would always say is if you're going to do something, do it right. That was sort of a mantra many times with her. She knew me and she would. If I was upset, she would kind of speak to my better qualities, or at least what she perceived to be my better qualities, and she really ran interference between Stan and me. You know Stan believed kids should work. He once said and I'm quoting him now children shouldn't have so much fun, and I remember that stuck with me and it really worried me. You know I A didn't agree with it at all and B I was concerned that somehow he would just bar me from enjoying myself. You know it would make me work every minute of the day that I wasn't in school.

Julie Rogers: 17:58

I see.

Tony Mohr: 17:59

And my mother kind of went to bat for me and said hey, this kid's involved with school activities. You know, don't bar him from the school activities in order to go work at your plant. You know he had a factory at the time making business machines. I said, let him have his fun in school. He's doing things that are constructive. He's on the debate team writing for the newspaper. That's what he should be doing. You know, I'm sure my mother did that. And because Stan would back off, I would hear him say well, you know, we're going to have to have you do a lot more work, and then that wouldn't happen. But the concern and the worry was always there. But at the same time I figured it was my mother who was kind of, you know, blocking a lot of what Stan wanted.

Julie Rogers: 18:42

She was your buffer and she was your referee and I think moms play that role a lot, whether you know divorced children or you know their children in general with a father, because a lot of times you know you have a little bit of a different know dad's like okay, you got to buckle down, you got to get good grades, you got to work, but you have to have fun. You're still a kid and as a teenager, if you're involved in school activities or things that interest you, it's important you have to balance that. Sounds like your mom was really good about that.

Tony Mohr: 19:12

She was, and she was great with Stan's kids as well. Much better for them than their own mother. Their own mother was an alcoholic and really a problem woman with lots of difficulties. Skip moved in with us within a week after the marriage. They got back from their honeymoon and five days later Skip's there at the apartment, which was fine with me. I've always wanted the older brother.

Tony Mohr: 19:37

Leslie wanted to come over as well, but she was two years younger, so she's what nine. At the time, Stan said no, you've got to stay with your mother. She was very unhappy about that. She called me a couple of times and said I don't want to live with my so-called mother and it was a problem. My mother was wonderful to them and Leslie always had this phrase, sometimes she would say you know, okay, here, you know, come on over here, wicked old stepmother. Or she addressed a Christmas card, you know, love to my wicked old stepmother. So you know, they adored her.

Julie Rogers: 20:14

That's wonderful to hear and that kind of goes to this next question. You adapted to living with the new dynamics that were formed because of your parents remarrying in 1958. Like you said, you live with your mother, Rita, and Stan, along with his son, Skip, who was older. You would spend every other weekend, just like the title of your book two very different households, you've already talked about that. So Gerry was struggling financially because he really peaked a lot, don't you think in radio? When TV and movies he wasn't at the top because of transitioning, which is probably harder transition, but he didn't hit the pinnacle the way he had in radio, but it was difficult.

Julie Rogers: 20:58

And Stan's businesses were booming so he was doing so much so that you know. You guys went back to California when they got married and he came from California. Right, he came. They met in New York City, though, right. And then you guys.

Tony Mohr: 21:14

Met in New York City, on a blind date, A mutual friend who was a screenwriter, a very good one. He had written for Bob Hope and ended up being president of the WGA West. And he said to Stan oh, I should have introduced you to Rita before she moved to New York. He was back there on business. He called her. The rest is history.

Julie Rogers: 21:33

You know there's something to be said about timing. Timing is everything and it sounds like that, for whatever reasons, you guys had to go to New York City to do that. He came into your mom's life, they fell in love and then you got to go back to California to have both experiences with both you know, both dads and both families. And how lucky were you for that, yeah. So do you think, because of you know, it's a rollercoaster ride that you were navigating, Tony, with not just a stepmother, a stepfather, step-siblings and it's a rollercoaster ride, right, it's up and down, it's all over the place. But do you think, by navigating all of that, finding that balance that led you to the successful man that you are today?

Tony Mohr: 22:20

I'll answer the question this way Okay, anybody who is involved with two different families because of a divorce. Any kid like that should become a judge. Okay, because you are balancing two different cultures. Uh, the chances that both families are exactly alike or remote and non-existent absolutely so, you're dealing with two different cultures.

Tony Mohr: 22:49

You're. You may be assuming two different personalities, or at least calling on two different sets of resources within you to deal with this and hopefully thrive in both or at least survive in both, and that to me, I think, helped me be a judge, because you're always watching two different parties who usually don't like each other.

Tony Mohr: 23:10

They have two different views of a transaction or views of the world, especially on the civil side, which is where I did most of my judging business disputes, things like that and each side had their own story and you had to figure out what's going on here, who's right, who's wrong. Maybe both are right or both are wrong and you've got to sort it out as best you can. And I kind of feel like whatever I went through gave me a better background for that than had I just lived in one family.

Julie Rogers: 23:41

But I totally agree with you about the different perspectives, the different family dynamics that are happening, the way your fathers were, your stepmother compared to your mother, but how wonderful that your mother was so good to not only you but to her stepchildren. I just feel like your mother was such a sweetheart.

Tony Mohr: 24:06

She really was. She's the unsung hero of the book. In early drafts, Uh, a couple of editors who were helping me write it, you know, and giving me feedback said you're, you know, bring her up a little bit, dial up your mother more than you know you have. And so I began to dial up my mother more than I had initially in the initial drafts.

Julie Rogers: 24:27

Well, I, I can see that and I felt connected to that and I I'm so happy for you and your, your siblings, that you know your, your step siblings, that you had a mom like that. I really enjoyed all of your personal insight into Hollywood I mean, it's Hollywood! Right while you were growing up at Beverly Hills and you went to Beverly High.

Tony Mohr: 24:50

You're going to see my wife coming up the stairs. She's very shy, she's not going to wave. She's not going to see my wife coming up the stairs. Oh, that's fine. She's very shy, she's not going to wave, she's not going to do anything, but she will be coming up the stairs. She just got home. She's going to get the dog.

Julie Rogers: 25:05

That's okay. I'm glad that she's able to come up and get the dog and we can still have our interview. I love it. You gotta love zoom and and the fact that we're you're in Los Angeles and I'm in Puerto Rico. We both are in beautiful areas, but there is a four hour time gap, so I really yeah

Tony Mohr: 25:25

She's gonna bring the dog down, probably take the dog out for a quick stroll. He's old. He's very nervous about going down the stairs.

Julie Rogers: 25:35

Is she doing your job Tony? Are you the one that is supposed to take that dog out for a walk at this time of day?

Tony Mohr: 25:40

We both do. Oh good. Yes, my mother and Stan really didn't fight when they were married, but my father and Mia fought all the time.

Julie Rogers: 25:47

I got that jest out of the book when you were talking about that. Yeah, yeah, I mean I have some flashback memories of my parents so at least that did end and I wasn't around my stepmother and my father to argue and my mother never did remarry. But I still have those memories of how that felt as a child.

Tony Mohr: 26:07

Yeah, so you don't forget those things.

Julie Rogers: 26:10

Oh, you just don't. It stays with you. Yeah, so you decided to live in California as an adult, and you still reside there today. Can you tell me what is the allure of California holds on your heart that has kept you staying there?

Tony Mohr: 26:28

Maybe more inertia than anything else. I was ready to leave California around 1993. It was deteriorating. The city was getting much more gritty. We had had the Rodney King riots.

Tony Mohr: 26:43

I just didn't like where it was going and I figured a smaller town would do better. Skip and his wife were living in Tucson and I like Tucson a lot and I was actually thinking of moving there. And my stepsister had moved to Scottsdale and she loved that, but I wanted something smaller than Phoenix. So I was getting ready to make plans and then suddenly I got appointed to the court and I'm thinking OK, I just became a judge in Los Angeles. I'm not going to give that up and move to Tucson for a whole new start. I'll stay here, and so I did. And then, of course, once I retired which was in 2021, all my friends are here. My whole life is here. You know LA. To me, it's a better place than it had been. What's the point of leaving?

Julie Rogers: 27:32

Right, I can understand that.

Tony Mohr: 27:35

And so I've stayed. I mean there are plenty of problems with the town as far as the idea of fantasy and Hollywood and all of that. It's not what it was when I was a child, but then maybe it is and I'm just older now. But I mean I've always enjoyed the fact that you blend fantasy and reality here, even though it's less than it was in the late 50s, early 60s, but it's still a very interesting aspect. Los Angeles, you've got people who venerate a cartoon character. You have a suburb named after a cartoon character Tarzan, Tarzana, I could go on.

Julie Rogers: 28:12

I understand.

Tony Mohr: 28:13

That's what it's like around here.

Julie Rogers: 28:15

It's definitely not boring, but you have to find a home that is special to your heart, friends there that mean a lot to you, and you can always go visit family, like you say, to Arizona, to go and see them, which makes it even better because it's more about quality time than how often you see them. So you are a writer, so what? Right you're writing? You wrote this memoir and you've written some other articles. Is there something that you're working on right now?

Tony Mohr: 28:44

Besides a few essays which you know didn't make it into the book, but I keep thinking, I'd like to write them and I've written a few and they've appeared in various literary journals. I'm thinking of I don't know if you want to call it a memoir so much as just a discussion of life on the bench. I've written a few of those pieces. About four or five of them are in print at this point, which is nice, because if they've been printed then a publisher might be more interested.

Julie Rogers: 29:13

Oh, absolutely.

Tony Mohr: 29:15

So I've got some of those I'm playing around with, but I need to do a lot more. You know, I maybe have at this point one third of a book in the can. I've also thought about turning the lens away from my family and writing about LA back in the day, you know, not focusing on the family, focusing on what it was like to be here, to go to high school here.

Julie Rogers: 29:37

Yes, because that's a whole nother thing that you could discuss and delve right into.

Tony Mohr: 29:42

Yeah, and I probably have about 10 essays in print about that. The problem there is I don't know, it's almost a little bit what's the word supercilious, snobby? I don't know.

Julie Rogers: 29:59

I mean not really because it's your experience. You're not writing about that time just to write about that time. You lived it. It was a special time and I enjoyed all of that insight that you had when you were writing about Hollywood. And you know your little stint as an actor I won't give that away because people should read the book but I thought that that was so cool that you really got some insight of when Hollywood was still kind of new. It was still, you know, fantasy all over the place. You didn't have social media and all of these. You can click on things and find out about the actors the way you do today.

Tony Mohr: 30:39

You had to open an encyclopedia or go to the library, right?

Julie Rogers: 30:43

So I think you should do it. I think you need to do some more writing about that.

Tony Mohr: 30:47

I might. As I said, I have several essays on it already. That's awesome. One came out recently and I really felt long and hard about it because it's basically a riff on the summer before my senior year and just having fun, just having fun with the Vietnam War in the background because it hadn't blown up yet. And so it's a bunch of rich kids running around going to the beach swimming in each other's pools. Yeah, I mean it could offend a number of people.

Julie Rogers: 31:19

I can see that, but again, at the time, though, what are you supposed to do about that? You were still growing up, and you were still supposed to not enjoy your youth and have fun with your friends on the beach. So there's going to be people that might see it differently, but it's still your. It's coming, it's your narrative, it's your narrative.

Tony Mohr: 31:40

It's my story. I have a right to tell it. I get that, but still.

Julie Rogers: 31:44

I understand I'm going to be sensitive Right and when you're that's the judge in you. You're looking at both sides. You're right, thank you. Thank you Exactly, can you please share with us where we can purchase your book?

Tony Mohr: 31:59

Sure, Amazon has it, Barnes and Noble, Indie Bound has it. My own website connects to some of these places. It's anthonyjmohr. com, all one word anthonyjmohr. com www in the beginning.

Julie Rogers: 32:14

Right.

Tony Mohr: 32:15

Those places. Some bookstores carry it. Not many Barnes and Noble out here has it or will order it for you one or the other, and so it should be fairly easy to get.

Julie Rogers: 32:26

Perfect, and I just want you to know that I will share those hyperlinks in my show notes as well. Thank you, and as a reminder to the listening audience, you can listen to Nearest and Dearest Podcast on my website, nearestanddearestpodcast. com, and wherever you listen to podcasts. Thank you, Tony, so very much for taking the time to sit down with me and answer my questions and have this conversation. It's been a real pleasure.

Tony Mohr: 32:53

Julie, pleasure is mine. Thank you. I really appreciate it. Have a good holiday.

Julie Rogers: 32:58

You as well, and Happy New Year.

Tony Mohr: 33:01

Yeah, 2025. The century is one quarter of the way over.

Julie Rogers: 33:05

Oh my gosh, it's one more year and I'll be 60. I'm like what?!