Issuu

Written by

John Coates with Dan Spiegle

All characters shown TM & © their respective owners.

DAN SPIEGLE

A Life in Comic Art

DAN SPIEGLE A Life In Comic Art John Coates

John Morrow

Author

Publisher

Mark McNabb

Mark Evanier & John Morrow

Designer

Proofreaders

TwoMorrows Publishing 10407 Bedfordtown Drive Raleigh, North Carolina 27614 www.twomorrows.com e-mail: store@twomorrowspubs.com ISBN-13: 978-1-60549-049-6 First Printing • May 2013 • Printed in China

Dan Spiegle: A Life In Comic Art is © 2013 TwoMorrows Publishing and John Coates. All rights reserved under international and Pan-American copyright conventions. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, Photocopying, recording or otherwise, without the prior written permission of the copyright owner. All reproductions in this historical overview of video games and comic books are copyright by the respective copyright holders, and are used here strictly for historical, journalistic and educational purposes, with no infringement intended or implied. Attempts have been made to properly attribute copyrights and trademarks for use in this book; if you are a valid holder and have not been properly credited, please contact TwoMorrows so that this can be corrected in any future printings. The viewpoints expressed in the text are the opinions of the author and interview subjects, and do not necessarily reflect those of TwoMorrows Publishing, a division of TwoMorrows Inc.

A full-color Digital Edition of this book is available at www.twomorrows.com

COPYRIGHTS: Hopalong Cassidy TM & © U.S. Television Office, Inc. • Blackhawk, Camelot 3000, Arion, Supergirl, Unknown Soldier, Teen Titans, Jonah Hex TM & © DC Comics • Space Ghost, Herculoids, Scooby-Doo, DynoMutt, Jonny Quest TM & © Hanna-Barbera Productions • Pocahontas, Herbie the Love Bug, Old Yeller, Mickey Mouse, Goofy, Spin and Marty, Corky and White Shadow, Son of Flubber, The Black Hole, Scarecrow of Romney Marsh, Huey, Louie, and Dewey, Three Musketeers TM & © Walt Disney Productions • Spider-Man, Firestar, Green Goblin, Ice Man TM & © Marvel Entertainment, Inc. • Grimm’s Ghost Stories, Tragg and the Sky Gods TM & © Gold Key • Indiana Jones TM & © Lucasfilm Ltd. • Terry and the Pirates TM & © Chicago Tribune New York News Syndicate • Boys’ Life TM & © Boy Scouts of America • Captain Action TM & © Captain Action Enterprises, LLC • GO Bots TM & © Tonka Toys • The Shadow TM & © Conde Nast • Star Trek TM & © Paramount Pictures • Jungle Twins, Brothers of the Spear, Mighty Samson TM & © Whitman Publishing • Crossfire, Rainbow, DNAgents TM & © Mark Evanier and Will Meugniot • Doctor Zero TM & © Archie Goodwin • Modesty Blaise TM & © Modesty Blaise Ltd. • Green Hornet © Sony Pictures • Lassie TM & © Classic Media • Korak, Tarzan TM & © Edgar Rice Burroughs, Inc. • My Favorite Martian TM & © The Chertok Company • Maverick, Don’t Give Up The Ship TM & © Warner Brothers • Buck Rogers TM & © The Dille Family Trust • Space Family Robinson, Dagar the Invincible TM & © Gold Key • Magnus, Robot Fighter TM & © Random House • Annie Oakley, Hardy Boys, Brave Eagle, Airboy, The Untouchables TM & © the respective owner

CONTENTS 4 Acknowledgements 5 Introduction 6 Foreword - Mark Evanier 10 Chapter One: The Early Years 16 Chapter Two: Hopalong Cassidy 1949-1955

24 Chapter Three: Western Publishing (a.k.a. Dell, Gold Key, and Whitman) 1956 - 1983

44 Chapter Four: DC, Eclipse, & Indy Publishers 1980s - 1990s

58 Chapter Five: 2000s to Present

64 Chapter Six: Watercolors 68 Chapter Seven: Process of Drawing 72 Chapter Eight: Growing up with a comic artist father 76 Chapter Nine: Partners in Art & Life - Dan and Marie’s write-ups of one another 80 Chapter Ten: Dan Gheno’s 1972 interview with Dan Spiegle 86 Comic Index 102 Afterword - Sergio Aragonés

Chapter One

THE EARLY YEARS JOHN COATES: Let’s start at the beginning: When and where were you born, Dan? DAN SPIEGLE: I was born in Cosmopolis, Washington on December 12, 1920; my sister was two years older, and my brother was six years younger. COATES: Were your parents in some artistic or in a creative field? SPIEGLE: Not really. My mother was a nurse and my father was a druggist. COATES: Were your parents supportive of your interest in drawing? SPIEGLE: My mother encouraged my art but my father wanted me to be a druggist, like he was. COATES: Did your siblings share your interest in drawing?

SPIEGLE: Not really, no. COATES: I read that your family moved to Hawaii for a stint, before moving to California. Was that an adventure for a young child? SPIEGLE: In Cosmopolis, Washington, where my father owned a drugstore, he developed an ulcer and became very ill. The doctor suggested that my father retire and move to a warmer climate. I was four years old when my father sold the drugstore and we moved to San Diego, California; that’s where I started grammar school. In 1927, when I was seven years old, Charles Lindberg flew across the Atlantic Ocean and my father took me down to Ryan Airfield where the Spirit of Saint Louis was built and he showed me around the old aircraft

Opposite: Dan, his sister, & his mother Above: Dan & Father, 1937

Chapter Two

1949-1955

HOPALONG CASSIDY JCOATES: So in 1946 you’re Stateside. Did you begin your professional art career immediately? DC: No. Under the G.I. Bill I attended three years at Chouinard Art Institute (illustration course) from Fall 1946 to Fall 1949. This was in Los Angeles, California. I had some great instructors from the movie industry, quite a few from Disney. Incidently, Bill Ziegler (who later drew the Dragnet and Mary Opposite: Commissioned Hopalong Cassidy, 2007

Worth newspaper comic strips) was a student and a good friend of mine. We remained friends. Chouinard was strictly a “fine art” school. I remember that I decided to create a western newspaper strip so I worked on it during my “life” class. I had to make sure Mrs. Chouinard didn’t catch me, so I would start a quick sketch of the “life” figure, and then flip over the page where I would have one of my western strip Above: Sculpting class Left: Chouinard Art Institute in Los Angeles, 1940s. Photo by Elizabeth A. Powell (courtesy of Lindy Narver) from www. chouinardfoundation.org

Chapter Three

1956 to 1983

WESTERN PUBLISHING (a.k.a. Dell, Gold Key, and Whitman)

Western Publishing produced and distributed comic books under three separate logo-imprints: “Dell Comics” imprint from 1938-1962, “Gold Key” imprint from 1962-1980, and “Whitman Comics” imprint from 1980-1984, when Western Publishing ceased producing comic books. All three logo-imprint names are used interchangeably throughout the interview to represent Western Publishing.

COATES: Is this when you started to work for Western Publishing? SPIEGLE: Yes, during this time Boyd had also moved his offices from Hollywood to Beverly Hills. One day, while dropping off some Hoppy strips at the new office to be edited, I remembered hearing that Western Publishing had an office in Beverly Hills as well, so I stopped by and met Opposite (left to right): Dell Corky #707 (May 1956), Dell Brave Eagle #705 (June 1956), Dell Spin and Marty #767 (1957), Dell Maverick #945 (1958), Dell Old Yeller (1957), Gold Key Hardy Boys (1970), Whitman Space Family Robinson #59 (1982), Gold Key Mickey Mouse #107 (June 1966), Gold Key Scooby-Doo... Mystery Comics #21 (1973), Whitman Buck Rogers #14 (1982), Whitman Mighty Samson #32 (1982)

Tom McKimson; he was a story editor there. Tom offered me several western books if I wanted to start right then. I agreed to start just as soon as I finished the last few weeks of the current Hoppy story. Then I went back to Dan Grayson at Boyd’s office and told him of my decision, and we had an agreeable parting. Hoppy was a wonderful experience. Above: Space Ghost Left: Gold Key Dagar the Invincible #2, 1982

SPIEGLE: I don’t recall. It was probably through Hanna-Barbera. I was doing work for them at the time. COATES: Western Publishing ceased publishing their comics under the Gold Key logo-imprint and started to distribute them only through the Whitman imprint; was there any impact?

DAN SPIEGLE: A Life in Comic Art

SPIEGLE: No, I just kept doing Space Family, Scooby, and Disney—anything they assigned me that I knew I would enjoy drawing! COATES: In 1982 Western Publishing discontinued its comic division. Where you aware this might happen? SPIEGLE: I don’t remember if I was aware of Western’s publishing plans; probably not. During this time I was busy working for Disney and DC Comics, so I had work.

Opposite Above (left to right): Whitman Walt Disney Showcase #74 “Herbie Goes to Monte Carlo” panel, 1977 Marvel DynoMutt splash, 1977 Opposite Below (left to right): Whitman The Black Hole #1, 1980 Whitman Jungle Twins #18 cover, 1982* Above (clockwise): Whitman Brothers of the Spear #18, 1982 Whitman Space Family Robinson #59 cover, 1982 Whitman Mighty Samson #32 cover, 1982 *Scan provided by Miki Annamanthadoo CHAPTER THREE: WESTERN PUBLISHING

Chapter Four

1980s—1990s

DC, ECLIPSE, & INDY PUBLISHERS COATES: Speaking of DC Comics, in 1980 your work began to appear in their comics again. Do you recall how you came to work for DC Comics? SPIEGLE: Not really. I think I started doing back-up stories for Karen Berger, who at the time was an editor at the time. She was nice and very easy to work with. COATES: Now, in 1982 you and your longtime collaborator and friend Mark Evanier re-launched the Blackhawk Opposite (left to right): DC Comics Blackhawk #268, (1984), DC Comics Teen Titans Spotlight #21 (1988), DC Comics Blackhawk #271 (1984), Eclipse Comics Crossfire #6 (1984), Eclipse WhoDunnit? #3 (1987), Comico Jonny Quest #21 (1988)

comic for DC. [Ed: The “Blackhawks” were created back in 1941 by Will Eisner, and Chuck Cuidera. They were a team of stunt-aviators, with each team-member being from a different Nazi-occupied European country, banding together as a collective-resistance to the Nazis.] In my opinion, this is some of your finest comic artwork, and it read like a labor of love. How did this project come about, and why Blackhawk? Above & Left: Commissioned Blackhawk illustrations

Comics? SPIEGLE: I remember it was through Mark Evanier. I’m not sure of the details, though. COATES: I found your first Eclipse work to be in DNAgents #9, 1982. This issue was also the first appearance of your and Mark Evanier’s character “Crossfire.” The first issue of the Crossfire monthly series didn’t debut until May 1984. Was Crossfire intended to be a throwaway character for the spe48

DAN SPIEGLE: A Life in Comic Art

cific issue, or had this appearance been intended to introduce the character for the later planned monthly series? SPIEGLE: Actually, “Crossfire” was a character from the DNAgents series created by Will Meugniot and Mark Evanier. Eclipse had been publishing the DNAgents and was looking for a new series. Mark suggested me as the artist and they agreed. COATES: The “Crossfire” character and the Hollywood setting seemed a labor-of-love for you and Evanier. SPIEGLE: Well, Mark had written movie scripts and had lived in Hollywood all his life. Over the years he would hear lots of rumors about the movie industry. Some of our Crossfire stories were based on these rumors. Mark had fun with the characters and I really enjoyed drawing them. COATES: I believe the final published adventure of the “Crossfire” character was in 1994, a one-shot, and published by A.P. Antarctic Press; Many Happy Returns Annual 2008. Any plans to publish new Crossfire stories in the near future? SPIEGLE: Unfortunately, no. COATES: Now, before we leave Crossfire, during this time you also worked on a few other series with Eclipse, as well as other independent comic publishers such as Comico and TSR. SPIEGLE: Well, I worked as much as I could! (Laughter)

Opposite Above: Eclipse DNAgents #9, 1984, interior page. Dan’s first work on “Crossfire.” Opposite Below: Eclipse Comics Crossfire and Rainbow #2, 1986 Above (left to right): Eclipse Comics Crossfire #5, 1984 About Comics Many Happy Returns Annual, 2008 Final Crossfire story Right: Eclipse Airboy #27, 1987 CHAPTER FOUR: DC, ECLIPSE, & INDY PUBLISHERS

Chapter Five

2000 to Present

2000S TO PRESENT COATES: Around 2000 you had work published in Boys’ Life magazine: “Bank Street Classic Tales.” SPIEGLE: Yes, I guess this is the story of my life! (Laughter) I get in on the ending of a good thing…just like when I finished Sea Wolf for Classics Illustrated Comics, they went out of business. Boys’ Life decided to go to Opposite: Boys’ Life May 2000, interior page

photos…illustrated stories were too expensive. It was different and fun illustrating the classics for Boys’ Life and I wish I had had the opportunity earlier. COATES: Any current work you want to share with the readers? SPIEGLE: Well, aside from my commissions which we discussed, I did some work for the American Bible Society Above: Dan in his studio, 2004 Left: American Bible Society

Left: Western Classics: Graphic Classics Vol. 20, 2011 Above: Moonstone Captain Action Comics Special #1 cover, 2010

and my last published comic book art was for Western Classics in 2011. I have a 48-page Hardy Boys story, “While the Clock Ticked,” that’s not yet published. It’s with a publisher out of Canada and there’s some issue of copyrights they’re working through, so it can’t be published just yet. COATES: I found that in 2010 you also had new comic cover art published in Captain Action Comics Special, by Moonstone Comics. SPIEGLE: I must be losing it…I don’t recall Moonstone Comics! (Laughter) 60

DAN SPIEGLE: A Life in Comic Art

Above (left to right): Commission The Shadow, 2011 Blackhawk War Wheel, 2006 Below (top to bottom): Commission Disney’s Scarecrow of Romney Marsh, 2011 Commission Blackhawk & the Zeplin, 2006

COATES: You seem very busy with fans commissioning you for specialty pieces. Your commissions are beautiful. How do you keep up the discipline after all these years? SPIEGLE: Thank you, I think it’s just habit! (Laughter) After breakfast I go out into my avocado orchard, take a walk, maybe work in the yard, and just always seem to eventually end up in my studio. I draw most every day. I play golf once a week and I think that’s the only day I usually take the full day off from drawing. I also like to read, but none of those replace drawing for me. I think I feel somewhat empty without it. The commissions have become quite fulfilling. For those interested my agent is davekarlen@aol.com or http://davekarlenoriginalart.com/ COATES: Do you ever plan to fully retire from drawing? SPIEGLE: I guess I’m just a stubborn guy! (Laughter) I still do hand exercises to stay limber. You know, I was looking at some of my artwork that I drew back in high school. It’s awful! (Laughter) I had zero talent! I look at that art and wonder what ever could have made me think I could draw anything, or be an illustrator. But, I did. I kept drawing. I love it! I think it’s about drive. COATES: I see over the years you’ve attended a few Comic-Con International comic conventions in San Diego, California. Back in 1983 you received their Inkpot Award, as well. SPIEGLE: Yes, I have been to quite a few San Diego Comic-cons, but not recently. CHAPTER FIVE: 2000s To Present

Chapter Six

WATERCOLORS Opposite (top to bottom): Hopalong Cassidy, 2003 Western Dave’s Saloon, 2009

Above: Spiegle Christmas card illustration Hopalong Cassidy Left: Green Hornet, 2008 Bottom: Maverick, 2000

Above: Gold Key Space Family Robinson, Lost in Space on Space Station One #52, 1977

Left: Commissioned art, Herculoids, Space Family Robinson, 2012 Opposite Above: Dan, early 1950s

1956 to 1983

Chapter Eight

GROWING UP WITH A COMIC ARTIST FATHER (REFLECTIONS FROM DAN’S KIDS) BY CARRIE SPIEGLE LUNDQUIST

ew people in the “comic world” know that along with being a comic book illustrator, my father is also an accomplished watercolorist. He has numerous paintings in all of our homes and homes of friends. Not feeling confident in his abilities as a watercolorist, Dad has sold some and given away hundreds of paintings through the years—some of which have been reproduced, matted, framed and given to those extended family members (and their children). I am forever running into an old friend of the family with them saying, “I have a painting of your father’s. It’s the one of the ___, and I absolutely love it!” The watercolor medium is challenging and difficult at best. However, his paintings were all similar to colored illustrations, and with the fine tip of a brush, not a pen, he is able to create “Norman Rockwell-ish” pictures of current and past events—his favorites being old boats, buildings, houses with pastoral or ominous skies, and his depictions of people being simply drawn, but with character and action. Growing up with my dad, he had a way of making every one of his four kids feel like we were his favorite. I don’t really know how he did it, but he did. He was always a kind, gentle man, and self-effacing. Always wanting to “talk it through”, we learned “moderation in everything” and a good work ethic by seeing him spend days and sometimes nights working in his “studio” (a.k.a. converted trailer). Which could not have been all that easy with four growing children. Whenever there was a disagreement between us siblings, we would run to his studio to settle the matter. He said we would hit his door at 90 miles an hour, startling him, and pens would fly. I’m sure some

white-out was needed after that. My dad’s world as an illustrator was somewhat obscure. He worked long hours in his studio on books we sometimes knew little about. I remember him saying that each morning when he woke, he could not wait to get to his drawing board. He loved to draw and loved his job. How many of us can say that? When I was about 10, my dad was working on the Mary Poppins comic book for Disney. He was commissioned to draw the “real” characters and someone else would draw the “cartoon” characters. In the scene with the penguins, he asked me to trace the little figures (drawn by someone else) onto the pages so that he would know how much room to leave for the other artist to complete the more cartoonish drawings. I pen this as my “beginning” in comics. I also remember him taking us at times to the Disney studios. We were able to see the movies before the sound effects and music were installed. I even remember seeing Julie Andrews and Dick Van Dyke having lunch together in the commissary. During this time, my dad would drive his finished work to Los Angeles and meet with publishers and other artists, usually staying through dinner. My mom, making it a special time for us, would serve breakfast for dinner. Dad would return in the evening with his large, black leather portfolio bursting at the seams with comic books. He wouldn’t make it past the foyer before we would pounce on him wanting to see what he brought home. He would unzip the portfolio, and what seemed like hundreds of thousands of comic books would spew out onto the carpet. The four of us kids would scramble to get as many copies of our favorites, before the others got them....I’m sure there was a bit of

Opposite: Happy Hour in the garden Left: Looking back I don’t know if I was leaning against the car or the car was leaning against me! [Laughter]. It was a real junker! - Dan Below: Dan and Marie at the CAPS convention.

Chapter Nine

PARTNERS FOR LIFE SWEET MARIE By Marie Spiegle By Dan Spiegle

an and I met on a blind date in 1947. I was going to Chounards art school in Los Angeles. After working at Edison during the day, I would take the train to Los Angeles twice a week. I had aspirations of becoming a fashion designer. Johnny McManus was one of the students and we became friends. He must have told Dan about me because he set up a double-date with his girlfriend and Dan and I. Dan was attending the art school in the daytime. Dan lived in Santa Monica, California and the three of them drove to Compton to pick me up. I was pretty nervous, not knowing what he looked like or if he would like me. When I saw him at the door, I was very pleased. I introduced him to my mom and dad and I could tell they liked him right away. He was a gentleman, very polite and easy to talk to. Johnny had a 1935 Ford coup and I had to sit on Dan’s lap all the way to the Palladium in Los Angeles. After the dance Johnny drove us a few blocks to Dan’s car. That was quite a shock! He had a little 1936 Ford coup. The lining inside was in shreds and it had no bumper on the front. He told me his plans to fix it up. I wish we had that (continued on page 78)

ll of this could not have happened, had it not been for Marie. She has been my devoted and loving partner, a wonderful mother, a caring grandmother and an excited great-grandmother, who never forgets a birthday or anniversary. I never cared for “blind dates”… it’s like Russian Roulette, but my friend Johnny McManus said “trust me,” this girl has it all, beauty and a personality to match. I was not disappointed! We were married November 26, 1947 and rented a small apartment in Compton near the Southern California Edison office, were Marie worked. I drove to Los Angeles each day to the Chouinard Art Institute. Marie stayed with Edison for a couple more years, while I was attending art school. She encouraged me to create a western comic strip, after we saw the movie Red River. We thought a real western with lots of authentic backgrounds to make it more interesting might sell. On weekends we would travel to a western museum near Pasadena, were I would sketch old lamps, furniture, wagons, trains etc. Marie would patiently wait or scout around for interesting things that could be included in some of the stories. (continued on page 79)

MARIE

little car today. I still have the dress I wore that night, in my cedar chest. Dan and I celebrated our 65th anniversary on November 26th, 2012. We were married on Thanksgiving Eve, November 26th, 1947 at the Methodist Church in Compton, California. We spent our threeday honeymoon in Crestline, California. I was only able to get the three days off from my job at Edison. When Dan started working on the Hopalong Cassidy comic strip, we were able to buy a home in the San Fernando Valley. Danny, our first child, was born shortly after we moved in 1950. Two years later Kip was born. We could see that the Valley was growing very fast, so we took a drive up north to Ojai. We fell in love with that little town. Carrie was born there in 1956. It seemed like every Summer was getting hotter, so one weekend we drove over to the coast to another little town called Carpinteria. We moved there a few months later and that is where Gayle was born. As the kids became more independent, Dan and I would meet friends for tennis, and took Swing Dance 78

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lessons. Later on Dan had to quit playing tennis after hip surgery, but this is when he picked up golf, and still looks forward to his Tuesday morning golf games with the guys. Gayle joins them periodically and says that they don’t keep score; they are just there to laugh and play jokes on each other. I think golf is just an excuse for the guys to get out, have a few laughs and end up at Ihop for pancakes or In-n-Out for burgers and chocolate shakes. Boys will be boys! Dan is still at the drawing board working on illustrations of different characters he has drawn over the years. He receives requests for original drawings from people all over the world. I receive their e-mails and print them for Dan to read. Many of his clients keep in touch with him periodically. They like to call or write him just to find out how he’s doing and what he is working on at the time. I have always felt that Dan could have become more famous with his art if he had traveled more to the different publishing companies, and become better acquainted with the publishers and other artists in that field. We talked about it over the years, but Dan didn’t want to be away from his family. He enjoyed working at home so the kids and I could talk to him whenever we needed to. I have always enjoyed having him home. I feel very fortunate that our blind date turned out so well. I often thank Johnny, in my heart, for bringing us together. We have had a wonderful life raising our children, traveling and being with our good friends. It is good to have those memories. This spread: Years’ worth of Anniversary Cards created by Dan for his wife

DAN

We never sold our strip to a syndicate, but we felt those sketches that made our strip more authentic, later helped convince William Boyd that I would be the perfect artist to create his Hopalong Cassidy comic strip. After the Hoppy strip started (January 1950), Marie left Edison and we bought our first house, with the G.I. bill, in the San Fernando Valley. We had fun landscaping and fixing it up. Our two boys (Danny and Kippy) were born there. I was learning how to handle a daily, a Sunday strip and the color indications for the Sunday page, which led to my first ulcer. Marie was learning how to handle two very active boys and also keep the house quiet, so that Dad could work. Believe me; Marie had the tougher job, which explains her migraines! We later moved to a beautiful little town (Ojai, California) in the mountains behind Ventura. This is where our first daughter (Carrie) was born. When we had finally had it with hot weather, we took a drive and discovered “utopia”! We found a sleepy little beach town bathed in sunshine and cooled by sea breezes. We found a house a few miles outside of town, in the foothills, which had a panoramic view of the ocean and the Carpinteria valley. We moved just before our second daughter (Gayle) was born. Marie was constantly shuttling kids to-and-from meetings, dance classes, birthday parties, slumber parties, etc. When Gayle was about four years old, the other kids were finally old enough to babysit, and this is when we joined the local tennis club. Once again, Marie proved to be my indispensable mate. She was a very smart and skilled doubles partner. We have long since withdrawn from the vigorous sport to pursue other exercise, which is a little easier on our old bones. I picked up the maddening sport of golf, and Marie stays busy by passionately gardening and going

to the “Y” two days a week. I don’t know where she gets her energy, but it never seems to wane. We are still very close to our tennis cronies. We always look forward to getting together to share meals, movies or walks, and undeniably a lot of laughs. Another indispensable task that Marie took on from the beginning is handling the money and paying the bills, thanks to her background with Edison. If I were doing this job, our credit rating would have been in the tank long ago. She also tackled the intimidating mission of learning how to navigate a computer. This is how I am able to communicate with many of my clients and fans. Marie receives the e-mails, prints them out for me to read, and when I am ready to respond I give her the error-riddled, two-finger typed pages for her to retype and send off. By now it must be quite apparent, that without Marie I would be a lost man wandering aimlessly through my life. Marie is the most important part of my life and I love her dearly.

Thanks, Johnny!

CHAPTER NINE: PARTNERS FOR LIFE I SWEET MARIE