I know some stories about "liberation" and stuff that's been liberated by people who turn around and get on their soapbox about how it's unfair that the artists didn't benefit while they're sitting on stuff that they "liberated," but that's another story for another time.

I've been very lucky with the people I've met over the years. Way back in the early '70s I went to [Phil] Seuling's conventions for something like three years in a row from '70 to '72 and I remember at the '72 luncheon with the Academy of Comic Book Artists and talking with John Romita about the kind of brushes he used. Pros ask pros the same questions that fans do. "What kind of pens do you use? What kind of brushes do you use?" I was so amazed that the wonderful work John Romita was doing was accomplished with a Windsor-Newton series 7 Number 4. Not a 2 or a 3, but a 4.

I assisted with Russ [Manning] for about eleven months and my day job for 5 days a week was credit manager and paint salesman for Sherwin-Williams.

I will say that I'm proud of my connection to DC comics because they are absolutely fabulous in sending reprint royalty checks.

I sometimes look at the careers of other... I guess I could call them contemporaries or maybe close artists; you know, the 4 or 5 guys who go to New York City and get a loft and work together and use each other as models and that sort of thing and wait for years and years to get married. Maybe I just wasn't that definite.

I learned that, "Mike, you get your first job on your ability and every job after that on your dependability."

Sometimes I look at some of my old work and I don't like it.