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Hensley cbd oil for pain

New business in Bristol aims to educate how CBD heals pain

The Hemp Cove, a new business in Bristol, aims to educate people on CBD oils and help them relieve their pains through natural organic products.

The Hemp Cove opened on July 4th and has had much success since then. The business sells a variety of CBD and hemp based products.

Trevor and Vicky Leonard began their business after both suffered from chronic pains that led them to using hemp based products.

“I had bad arthritis, began using CBD, and in two weeks I felt relief,” Trevor Leonard said.

Hemp has only been legal to grow in America since 2014, and the Leonard’s are extremely picky as to which products they put on the market. They will not sell a product that they feel does not reach the company standard.

“It is regulated every two months to make sure that the THC levels stay below the federal guidelines,” Vicky Leonard said. “We started this with a passion to educate and to make sure that the products that go out that door are effective.”

The owners explained that .3 THC is the legal limit for CBD oil products. Additionally, Vicky Leonard emphasized that a higher dosage of CBD products is not the solution to a successful treatment outcome and suggested that using small dosages consistently on a daily basis will be much more effective.

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Hensley cbd oil for pain

¿Has oído alguna vez eso de que “murió feliz porque murió haciendo lo que más le gustaba”? Pues te diré algo: BASURA. El mes pasado, perdí a un amigo que falleció mientras mezclaba dos de sus pasiones en la vida: la fotografía y las motos. Y eso duele. Mucho. Su nombre es Gus “Goose” Duarte, y es uno de los seres humanos más únicos que nunca he conocido. Esto fue en 2011.

Durante dos años, Brian Lotti me estuvo hablando de su amigo Gus, el cual acababa de exponer (de nuevo) en alguna galería de arte del downtown de Los Ángeles. Esta vez, la razón de asomarse por ahí, era el ver unas imágenes nunca vistas de Matt Hensley y Gonz un tiempo antes de su época dorada en el skate. Cuando hablaba de las tomas de Gus, Brian tenía ese brillo en los ojos propio de un cazatesoros que acababa de descubrir una nueva mina.

Y es que eso era lo que había sucedido.

Goose Duarte, es ese tipo de tío al que no le sobra tiempo: cuando no está ocupado desmontando motos, está haciendo un cinturón para Madonna, cuerdas para la guitarra para de Keith Richards o ingeniando alguna sujeción innovadora para una tabla de snow. A pesar de ello, ocurrió. Cuando encontré su casa, nos llevó horas el revelar montañas y montañas de negativos, a veces incluso abriendo cajas que había sido apiladas en 1988 en su casa en Eagle Rock y que parecía sacada del programa American Pickers. La experiencia nos condujo a una Amistad automática e, incluso sin vernos tanto como nos hubiera gustado, se creó una union irrompible. Y aquí estoy, aun negándome a mí mismo todo lo que ha sucedido con el irremplazable Goose. ¿Cómo poder cobrarle el homenaje que un punk que, con mucha seguridad, odiaba las homilías lacrimógenas? A pesar de que esto solo muestra el 1% de su grandiosidad, es justo volver a compartir la entrevista que le hice cuando le conocí en 2011, en la que hablamos sobre su carrera como fotógrafo nunca publicado (y que definitivamente, tenía que haberlo sido). ¡Hasta pronto, colega!

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¿Cuándo comenzaste a tomar fotos?
Bueno, ingresé en la escuela militar “ANA” (Army and Navy Academy) en undécimo grado, después de que mi padre falleciera. Ya llevaba patinando bastantes años y la verdad, es que odiaba la escuela con todas mis fuerzas. Una de las tareas en las que podía ayudar era en la creación del anuario y así podría aprender algo de fotografía, que era una de las asignaturas, así que me puse a ello. Desde que empecé con la foto de skate, esa fue unas de las cosas que primero capturé.

¿Fue en ese momento cuando conociste a Matt Hensley?
Él tenía una año menos, pero la manera en la que funcionaba la escuela militar era muy anticuada. Funcionaba todo por rangos, así que colocan a niños de 16 años a cargo de niños de 15, que les dicen a niños de 14 qué hacer.
Solo estuve allí dos años, pero los chavales que permanecen allí durante toda su vida escolar, se condicionan por el sistema así que, para cuando rondan ya el undécimo o duodécimo grado, son unos putos gilipollas. No me hablaba con ninguno de ellos. Era como “mirad, niños, sois todos imbéciles. Matt era un año más joven que yo y era bastante divertido.
Cuando pasé a ser Sénior, me negué en rotundo a decirle a nadie qué tenía o no que hacer, así que me convertí en una especie de héroe para los niños que tenían un año menos y decidieron imitarme durante los años siguientes, ¡todo se convirtió en un desastre! Durante los fines de semana, a veces, íbamos a Del Mar, pero también nos escapábamos alguna vez entre semana. Había una zanja dentro de lo que era la propiedad de la escuela, detrás de la cafetería y ahí solíamos estar. Ni si quiera era divertido, pero era mejor que no hacer nada. Escondíamos los patines en las bolsas de la lavandería y fingíamos que íbamos a lavar algo de ropa, porque los patines no estaban permitidos en el campus.

¿Cómo conseguiste tu primera famosa cartera con cadena?
Bien… en el verano de 1983, acabando octavo grado, encontré un trabajo de fin de semana en el mercadillo de Santa Ana sirviendo en una máquina de bebidas. Durante mi descanso, me daba una vuelta por el mercado…era todo una mierda. Pero había un hombre vendiendo cosas de piel hechas en Méjico y tenía estas carteras con cadena. Así que compré una. Solía pasar el rato con los punkis y los rockabillys del colegio, pero cuando les enseñé la cartera sólo se dedicaron a torturarme, sin parar de recordarme lo gay que les parecía el invento. ¡No me lo podía creer! Estuvieron metiéndome mierda durante dos años, tipo “¿Qué pasa? ¿Te da miedo que alguien te vaya a robar la cartera?”. Todos los días, todos mis amigos. Matt, fue la primera persona que me dijo que le parecía guay cuando me cambié a la escuela militar. Incluso quería una. “¿Pero tú sabes la movida que es el llegar hasta allí? La aventura nos llevó todo el día. Primero, tuvimos que ir desde Costa Mesa hasta Vista, después coger un autobús hasta Santa Ana y después, recordar donde estaba el puesto donde estaba el tío de las pieles. No es como ahora, no había carteras con cadenita en cualquier lado, así que tuvimos que ir a buscar a aquel tío del mercadillo de Santa Ana que las tenías. Y así fue como la consiguió.

Gonz iba mucho a tu casa ¿verdad?
Solía venir mucho a la casa de mi madre porque vivía en el barco de Brad Dorfman (el dueño de Vision) por aquel entonces y no le gustaba mucho porque no había electricidad. Así que aparecía por casa de manera random.

¿No era port tu jump ramp?
La tuve durante el verano de undécimo a duodécimo grado. No sabía cuanta gente tenía rampas de aquellas y la verdad, es que no sabía muy bien que andaba haciendo, pero se convirtió en algo enorme. Tenía como un metro de altura, muy grande. Nosotros, solíamos patinar en la playa todo el rato y los tíos de Vision en los bordillos de Lucky´s Supermarket en la 32 de Newport. Ese es el primer sitio donde ibas a patinar durante el verano. Nos dedicábamos a grindar durante unas cuantas horas hasta que decidíamos qué queríamos hacer. Un par de veces aparecieron por ahí la gente de Visions y claro, fue brutal.

¿Fue así como acabaste haciéndote con la ilustración original de la tabla “Old Ghost” de John Grigley?
Grigley…Yo era bastante bueno cuando era más joven y él fue mi primer sponsor de manera no oficial, así que solía darme tablas allá por 1985-86. Me apoyo hasta el punto de conseguir ser patrocinado durante un tiempo por Lucero Limited (Black Label ahora). Podíamos ir a su casa y escuchar sus discos, éramos todos colegas suyos y, cuando se mudó, tiró un montón de trastos. Y entre ella, el prototipo que había hecho para aquella tabla … me parecía una locura, así que me la quede yo. “Jamás me tenía que haber deshecho de ella…” me sigue diciendo todavía.

¿Cómo surgieron todas tus fotos con Mike Carroll, Rick Ibaseta y Jovontae Turner en San Francisco?
Con el fin de continuar con la fotografía, eché la solicitud en la escuela de San Francisco en 1987 porque era una buena escuela de arte y cuando me aceptaron, me mudé a allí. Pierre siempre estaba en Embarcadero, loco, sin techo, junto otros hombres más mayores, como Mike Archimedes o Jeff Whitehead. Yo solo quería hacer fotos como fuera. Todo lo que se me pasaba por la cabeza molaba, pero los chicos de mi edad en San Francisco eran todos estúpidos. Eso escríbelo. Yo solo era un skater nuevo en la ciudad, así que hice amistad con los chavales más pequeños. Y patinaban mejor, además así que… en ese pequeño grupo que conocí el primer día allí en Embarcadero, estaban Greg, Mike Carrol, Rick Ibaseta, Jovantae y Stuart Way, con el que pude patinar unos meses antes de que lo dejara.

Siempre he oído hablar sobre Stuart Way como una leyenda en San Francisco, que era mejor que el resto.
Era mejor, más suave y más estiloso que ninguno. Era genial. Pero la historia fue que su madre quería que sacara mejores notas en el colegio, así que le dijo que si dejaba de patinar, le compraría un Mustang 5.0 y supongo que aceptó porque nunca volvió a patinar. Tenía un mini-ramp en su casa de San Francisco que seguíamos visitando cuando él ya lo había dejado. “Hey, ¿quieres patinar?” Y siempre nos decía “Nah, pasadlo bien” y seguía haciendo sus deberes mientras nosotros patinábamos su mini-ramp sin él.

¿Por qué nunca enviaste esas fotos a ninguna revista del momento?
Supongo que cuando vivía en San Francisco estaba algo intimidado. No sabía qué hacer y la gente con la que trataba era gilipollas. Pensé bastante sobre el tema y había varios fotógrafos a los que podía mostrarles mis fotos pero nadie parecía tener muchas ganas de ayudar. Así que me aparté de la cámara. De todos modos, estaba en la escuela. No sé, tío…

¿Qué hiciste después de la escuela? ¿Empezaste con el tema de las motos enseguida?
No, estaba muy metido en el snow, así que me mudé a Monte Baker durante un par de años. Con mucha posibilidad, era mucho mejor snowboarder que skater. Vi la evolución del patín delante de mis ojos, ¡pero sin mí! El tema de las motos vino porque Matt Hensley se compró una Honde GB500 de un solo cilindro. Era mu guay. Así que me compré una. Por aquel entonces, tenía mi propia empresa de snow, Spector. Y también montamos Gus Bindings.

¿Ya diseñabas cosas?
Siempre personalizaba todo lo que tenía. Cualquier cosa que pudieras cortar, serrar o agujerear. La empresa de snow se mantuvo durante unos años, después tuve un montón de trabajos raros y después me moví a Los Ángeles para ayudar a abrir a un señor su empresa de cinturones. Aprendí todo lo que pude y abrí la mía propia y es lo que he estado haciendo durante los últimos diez años. Se llama Baltazar.

Has tenido a varios clients famosos a lo largo de los años, ¿verdad?
Ya sabes, esto es Los Ángeles, así que hay muchas oportunidades. Hubo una vez un show en tributo a Graham Parsons y me pidieron que les hiciera las cuerdas para las guitarras de todos los invitados. Así que para ese espectáculo hice para John Doe de X, otra para Keith Richards… eso fue un caso aislado, pero también he hecho varias para Jack White, Beck… He hecho cinturones para Madonna también. Uno de los suyos, me contactó porque quería un cinturón para llevarlo en la fiesta de cumpleaños de Guy Ritchie, así que se lo hice. Lo divertido fue cuando, después de hacerle el que ella quería, creé otro que ponía “Boy Toy”. Pensé que le gustaría porque solía llevar una hebilla en 1981 que ponía lo mismo. Pero no creo que le gustase porque nunca volví a saber de ella.

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Ahora que tus fotos están publicadas, ¿qué quieres hacer con ellas?
Sería genial publicar más trabajos, eso siempre te abre más puertas. Además, ahora soy mejor disparando. La razón por la que lo dejé en aquel momento era porque no podía permitirme el revelado? ¡Hubiera tenido que dejar de comer! Pero desde que las cámaras digitales han comenzado a ser mejores, he estado haciendo fotos sin parar durante los últimos 15 años. Veremos.

LOS PROS DICEN…

Matt Hensley: “En la escuela militar, no había muchos que hicieran las cosas de manera distinta, pero Gus y su pelo azul eran diferentes. Él patinaba, yo patinaba y el skate era totalmente ilegal en el campus, incluso tener un patín iba contra las normas. Había otros tres o cuatro chicos que patinaban en la Academia. Sobre la cartera con la cadena, cuando vi a Gus llevándola pensé que era guay, ¡era una cartera con una puta cadena enorme! Se me encaprichó así que intenté hacerme con una. La he llevado durante años, durante mucho tiempo. Recuerdo el sufrimiento para llegar hasta allí con Gus y encontrar la maldita cosa. ¿Mi recuerdo más vívido? El de los dos en el tren, con la cartera recién comprada. Recuerdo sentirme bastante malote. Miré hacía Gus, que era algo más mayor que yo y con un rollazo de la leche. Me sentía el más malo sentado a su lado ¿me entiendes?”.

Jovontae Turner: “Estábamos en su coche durante el gran terremoto de 1989. Estábamos Gus, Rick Ibaseta, creo que Mike Carroll y yo en el coche, de camino a Oak Street y yo estaba en plan “Gus, deja de hacer el tonto con los frenos, me estoy mareando tio”. Y lo siguiente que vimos fue el poste del teléfono tambaleándose y el suelo moviéndose. Esa fue gorda y ni si quiera sabíamos lo que era.

Mike Carroll: “Yo creo que Ibaseta conoció a Gus primero. Así que cuando fuimos a patinar con Rick, él estaba por ahí y acabamos patinando todos juntos muchísimas veces. No recuerdo el haber hecho esas fotos para nada. Aunque sí que recuerdo esos pantalones Jimmy-Z. Qué teníamos ¿doce años? Hace mucho tiempo y no recuerdo demasiado. Recuerdo a Gus con toda su energía, par aarriba y para abajo en su tabla. Creo que desapareció de repente y se mudó hacía el sur y después de años, reapareció esponsorizado por Lucero”

English:

GUS “GOOSE” DUARTE. “THE LOST ARCHIVES”

You know how they say it is great when people die doing what they love? Tell you what: this is bullshit. Last month I lost a friend while he was mixing two of the things he dearly loved in life: photography and motorcycles. And it fucking, badly, hurts. Deep. The exact same way. His name is Gus “Goose” Duarte, and he’s one of the most unique individuals I ever got to meet. That was in 2011. For two years, Brian Lotti had been telling me about this friend he just bumped again into at some downtown LA art show two decades after they first hung out at the Visalia skate camp. The reason being, this motorcycle/artist/former lucero Limited flow dude had taken never-seen before pictures of Matt Hensley, Gonz, the EMB heads skating it way before its golden age. When he talked about Gus’ negs and slides he had just seen, Brian had the joyful accents of the gold digger who just unveiled a new mine. He had.

But in true jack-of-all-trades style, Gus “Goose” Duarte was the kind of guy you have a hard time tracking down : when he wass not busy chopping motorcycles, he was making a belt for Madonna, a guitar strap for Keith Richards or tinkering on some revolutionnary snowboard bindings. But it finally happened. When I reached his place, it took us hours to scan piles and piles of negatives, sometimes opening enveloppes that had been sealed since 1988, in the middle of his Eagle Rock house that looked like it was straight out of the show American Pickers. The experience struck an immediate friendship and even though we didn’t see each other as often as we would have wanted to, it created an undefectible bond. And here I am today, still in denial of the news of the passing of No Gooder in chief, the amazing Goose. How do you pay the right hommage to the flegmatic punker who, I am absolutely certain, hated teary-eyed homilies? Bearing in mind that this covers about 1% of his awesomeness, I thought it would be right to share again the interview I did upon meeting him in 2011, about his career as the never-published skateboard photographer who most definitely should have been. So long, mon pote!

When did you start taking pictures?
Well, I transfered to military school at ANA (Army and Navy Academy) in 11th grade, after my dad passed away. I had already been skateboarding for a few years and I really hated that school. So one of the things you can do is help do the year book and learn photography, that was one of the classes, so I took it. Since I was into skating already, that’s one of the things I started shooting first.

Did you meet Matt Hensley there right away?
He was a year younger than me but the way military school works, it’s really retarded. So the way it works, it’s a rank system, like in the military, so they put 16-year-olds in charge of 15 year-olds, who are telling 14 year-olds what to do. I only went there two years but the kids who go there through all their school years, they get conditioned to the system and by the time they’re in 11th or 12th grade, they’re fucking assholes. I fucking hated them, I couldn’t relate to any of them, I was like, ‘you guys are just dicks.’ So Matt was a year younger than me and it was pretty funny, when I became a senior I flat out refused to tell anybody what to do. So I kinda became a hero to the kids that were a year younger and they continued that after at the school -it became a mess! We clicked right away. On weekends we’d go to Del Mar, but sometimes we’d sneak out during the week. There is a ditch, basically on the school property behind the cafeteria, we used to go there. It was not even fun, it was just better than just not doing anything. We’d put our skateboards in laundry bags and pretend like we’re going wash some clothes, cause skateboards weren’t allowed on campus.

How did Matt get his first chain wallet?
Well… In the summer of 1983, at the end of 8 th grade, I got a weekend job at the Santa Ana swap meat, working at the soda fountain. On my break I’d go walk around the flea market, it was all crap. But ther was this guy who was selling some leather stuff made in Mexico and he had these chain wallets. So I bought one. I was hanging out with the punkers and rockabilly guys in school, but when I got the wallet and showed up in school with it, I was tortured by all my punker and rockabilly friends, all the weirdos telling me how gay that thing was! I couldn’t believe it. They gave me shit for two years, they’d say, ‘Oh, you’re afraid someone is gonne steal your wallet?’ Every single day. All my friends. When I went to military school in 11th grade and met Matt, he was the first person, ever, to tell me that the wallet was cool. He wanted one. I was like, ‘Oh crap, do you know what a hassle it is to go there?’ It was a whole-day adventure. First he had to come to Costa Mesa from Vista, then we had to take buses to Santa Ana, then I had to remember the booth where the guy was. It’s not like now, there was no chain wallets anywhere. So we had to go find the one guy at the Santa Ana Swap Meet that had the thing. That’s where he got his first one.

Was Matt really good already?
Oh yeah, for sure. We skated the Car Wash banks, our greatest spot, in Costa Mesa. That was our spot, we ruled that place. Matt came once and everything he did that night, we were like, what the fuck was that? He was doing finger flip transfers. The only other person that had that effect on us was Gonz. One night we were there, and he only skated “switch foot” all night, and that’s literrally 1987. We were like, ‘did he just regular-foot ollie over the hip?’ Back then he called it “switch foot”, not “switch stance.” Fucking unreal.

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Gonz was a regular visitor at your home, right?
Well, he used to come stay at my mom’s house because he lived on (Vision owner’s) Brad Dorfman’s boat back then, and he didn’t really like it cause ther was no electricity. He’d come crash on my mom’s floor kinda randomly.

Was it because of your jump ramp?
I had it that first summer between 11th and 12th grade. I don’t know how many people had jump ramps back then, and I didn’t really know what I was doing, but it just turned out to be gigantic. It was over 3 ft high, huge. We used to skate at the beach all the time, and alot of these Vision guys used to skate the curbs at Lucky’s supermarket on 32nd st -in Newport. That was the first place you’d go in the morning during the summer time to skate. We’d do slappies for a few hours until we’d decide what we wanna do. So a couple times the Vision guys came over, it was awesome.

That’s how you ended up with John Grigley’s original art for his “Old Ghosts” board?
Grigley… I was pretty good when I was younger, and he was kinda unofficially my first sponsor, so he used to give me boards, back probably in 1985-86 Then I think he put in a good word for me ’cause I got sponsored for a while by Lucero Limited (now Black Label). We’d go to his house and listen to records, we all were kinda friends with him, and he was moving one time and just throwing a bunch of junk out. So the original stencil piece he made for that board was going in the trash… He’s pretty mad that he threw it away, he knows I have it and told me, ‘I should never have got rid of that’.

How did all your SF photos with Mike Carroll, Rick Ibaseta and Jovontae Turner come about?
Well, through photography I applied for college in SF in 1987 cause it’s a good art school, so I moved there. That was in 1987. Embarcadero? Pierre was there, crazy homeless Pierre was there everyday, and then some of the older guys were there pretty regularly, like Mike Archimedes, Jeff Whitehead. I just wanted to do photography, whatever I thought was cool, but basically, the guys my age street skating in SF at the time were all dicks. You can print that. I was just a skateboarder and new in town, so I made friends with these younger guys. And they skated better anyways, so… The little group I was with, that I met the first day I was there at Embarcedro were Greg and Mike Carroll, Rick Ibaseta, Jovantae, that guy Stuart Way who I only got to skate with for a few months before he quit.

I’ve always heard of Stuart way as a SF legend, better than most.
Stuart was head and shoulders ahead. He was better and smoother and more stylish than everyone. He was amazing. But the story goes that his mom wanted him to get better grades in school, so she told him that if he quit skateboarding she’d buy him a Mustang 5.0. I guess he said OK, ’cause he never skated again. He used to have a mini-ramp at his house in SF and we used to go there after he quit and he’d be up in his room doing homework and we’d say, “hey do you wanna skate?” and he’d be like, “Nah, have fun.” We’d skate his ramp without him.

Why did you never propose these pictures to magazines back then?
When I lived in SF, you know, I guess I was maybe intimidated, I didn’t know what to do, and the people I talked to were all assholes. I mean I thought about it, and there were a few photographers in the City that I would mention my photos to, and noone seemed to wanna help or point in the right direction. So I just put the camera away. I was in school anyway… I don’t know, man.

What did you do after school? Did you do motorcycle stuff right away?
No, I really got into snowboarding. So I moved to Mt Baker for a couple years, I was probably a better snowboarder than I was a skater. I saw skateboarding progress right in front of me… and it took off without me ! The motorcycle thing came from when Matt Hensley bought this GB 500 honda, this neat little single-cylinder Honda. That thing was so cool. So I went and got one. At the time I had my own snowboard company, it was called Spector, we also made Gus Bindings.

Were you already into designing stuff?
I’ve always customized everything I’ve ever owned. Anything you can cut or saw or drill a hole in. The snowboard company was around for a few years, after that I had a bunch of odd jobs and moved to LA and helped this guy start his belt company, and I learned all about that and started my own belt company, that’s what i’ve been doing for the last ten years, it’s called Baltazar.

You got a few celebrity clients over the years, right?
You know, it’s LA so there are a lot of opportunities. Once there was a Graham Parsons tribute show and they approached me to make guitar straps for all the guest players. So for that show I made one for John Doe from X, one for Keith Richards. That was a one-time thing, but I’ve done a few straps for Jack White, for Beck… I’ve made belts for Madonna. One of her people contacted me ’cause she wanted a belt to wear to Guy Ritchie’s birthday party , so I made one for that. The funny thing about that, I thought it was cool so I made her the one she wanted, but also another one that said “Boy Toy” on it. I thought she’d think it’s funny cause she used to wear a belt buckle in 1981 that said “Boy Toy.” I don’t think she liked it, because I never heard from her again.

Now that you’re photos are finally published, what do you want to do with them?
It’d be brilliant to publish more work, if this opens some doors. Hopefully I’m a bit better at shooting now. The reason i stopped then too is that i couldn’t afford processing. I had to give up eating! So when digital cameras started getting good, I bought some gear and I’ve been shooting a lot in the past 15 years. We’ll see.

SIDEBARS (Quotes from pros)

Matt Hensley: “At military school, there weren’t many people who had a different way of doing things, and Gus had jet black blue fucking hair and was different. He was a skater, I was a skater, and skateboarding was fully illegal on the campus, it was even illegal to have a skateboard there. There were three or four guys who skated at the Academy, they’d have a curb, we’d hide it behind a bed or in somenone’s locker box, we’d pull it out when would skate it in the middle of that tiny room for hours. For the chain wallet thing, when I saw Gus running it I thought it was cool, I mean you got a wallet with a big fucking chain. From my point of view it was spot on so I decided to try and get one. I ran that vibe for ever, man, for a long time. I do remember it being a pain in the ass, going all over the place with Gus to find that fucking thing. My sharper memory is of me and him in the train, I had just bought mine a day or two before, and I remember feeling pretty badass -I looked up to Gus, he was a bit older than me and just cool as shit, I thought I was a badass sitting next to him, you know what I mean?

Jovontae Turner: “We got together in his car during the big 1989 earthquake. It was Gus, Rick Ibaseta, myself and I think Mike Carroll was in the car, we’re driving down Oak street and I’m like, Gus, stop messing with the brakes, it’s making me sick, dude. And next thing you know we see that phone pole in the street waving, and the ground started waving too. It was a big one, we didn’t even know what it was. Wow.”

Mike Carroll: “I think Rick Ibaseta met Gus first. So when we went skating with Rick he was around then we all ended up skating together a lot at that times. I don’t remember shooting these photos at all. I do remember those random-ass Jimmy Z pants though. I must have been 12 years old? It was so long ago I don’t really remember much. I remember Gus having a lot of energy though. On and off his board. I think he kinda just disappeared one day and moved down south and maybe years later he showed up and was sponsored by Lucero.”