Unite Fanzine

 

Gus Pena

Strikes a Chord

Growing up in Jackson Heights Queens Gus and I went to the same schools, shared the same friends and shared a love for Hardcore Punk. He was a familiar face on the New York Hardcore scene throughout the 80’s and early 90’s. His band Discipline was featured on the New Breed and Voice of the Voiceless compilations and later released an EP as Ocean of Mercy. He now resides in Southern California where he runs Chord Magazine. What was supposed to be a short interview turned out to be a four day stay with him at the CHORD Headquarters. It was an absolute pleasure getting to know him again after years of not seeing one another. I hope our paths cross again soon. JD James: The first thing that came to mind when I got back in touch with was our time at Mc Clancy. Looking back, it seemed like the worst case scenario. Gus: What do you mean? James: Being in an all boys Catholic High School surrounded by Metal Heads who were constantly ridiculing us. The Punks and the Hardcore kids were such a small minority. Later that day I was looking at some of my old records and I came across “The Way It Is” Revelation compilation. It looks like half the people on that cover photo were from our school. Gus: I didn’t get ridiculed from the Metal kids. I got ridiculed from the Rockaway kids who I don’t even know what they were about. I remember Mike Gibbons and Eddie Saso who went on to play for Leeway. I didn’t get it as much from the Metalheads. James: I was also referring to being in an all boys Catholic School with all these rules. Gus: I guess I just saw it as four years of bullshit I had to deal with. But once I’m done with it, I’m done with it. It was almost like a prison sentence. I thought to myself “somewhere down the line I’ll have some sense of freedom. But this sucks.”. I see all these kids and I see what most of them are going to become. There was nothing wrong with that, but it’s not what I wanted to become. James: What were some of the elements that brought you towards hardcore? Gus: That’s a good question. Before hardcore in the late 70’s I was into bands like Led Zeppelin. I got into Blondie at one point. I remember buying Parallel Lines. Then I got into underground Hip Hop which was totally underground. This was before Sucker MCs came out. That was cool to me. I guess I was looking for more music. I remember going to the same record store Numbers Records and Tapes and buying Jellybeans track on Sugarhill Gang. I literally turned around to the Punk section that was about twenty-five records. I got into talking to some people in school and asking about clubs. I always loved counter culture stuff that doesn’t necessarily go with the main stream. James: What were some of the early hardcore bands you were listening to? Gus: I liked the Exploited because I just thought they were so Punk. They epitomized Punk. I liked Minor Threat, Agnostic Front, D.R.I. and the Bad Brains. When I heard the Bad Brains it was over. I heard that Roir cassette and then I heard Rock for Light and I was like “That was it.”. This is amazing.” Then I found out they were Rastafarians and all dreaded out. That just opened my world to what I thought Punk was. It wasn’t just a Mohawk. It wasn’t just as fucked up as you can be. It wasn’t mainstream. It wasn’t run of the mill. It wasn’t what everyone else is doing. Sometimes it is what everyone else is doing. And that’s okay. If everyone is doing the right thing than okay, why not. But just because everyone is doing it doesn’t mean it’s the right thing. James: I was talking to Sammy Siegler recently and he sited the movie Suburbia as a springboard. I remember seeing that for the first time in your basement. I was wondering if that affected you at all considering it was from around the same time. Gus: We already had the experience with Punk by the time of that movie. There were bands like T.S.O.L. and D.I. that stuck in my mind. I didn’t know what Punk I was. Was I the Punk who hates my family or was I the Punk who was a pain in the ass. There seemed to be a couple that wanted to have a change for the better. One who wanted to have an open mind? I kind of wanted to be that. I thought it was an interesting movie and I thought it was very unique perspective into how Punks behave, squatter punks at that. I think that’s how everyone believed punks behaved. It’s a great classic cult film and a great punk movie. But I don’t think that gives a good example of what Punk is. James: From the time we first met and started hanging out together. You were always hardcore straightedge. Did you ever go through a stage where you experimented with drugs and alcohol? Gus: Not to any extent but yes. I had tried alcohol and gotten drunk a bunch of times. Tried weed and gotten high a few times. But nothing much heavier than that though. James: Was straightedge just a better choice for you? Gus: I don’t know if it was a better choice. Straightedge just worked for me. It worked for some people. For others it didn’t. I think that it was a good control for this new found fear. You’re in High School and you’re doing new things. Experiencing new challenges. Mixing drugs and alcohol with that leads to stupid things. Things that you may regret. That you will regret. Things that can change the outcome of your life. In that way I think Straightedge is a really good thing. James: Did you become a vegetarian around the same time? Gus: I became a vegetarian before I was straightedge. I became a vegetarian when I was fifteen. James: What in particular led you towards that? Gus: My best friend Danny Zik was a vegetarian. That was definitely an early influence. I had read a Douglas Adams book. He wrote “Hitchhikers Guide to the Galaxy”. There was another book “Restaurant at the End of the Galaxy”. There's a part in the book where the meat of choice comes to the table and sells itself. It describes its parts. I just thought that was creepy. The more research I did the more I got into the idea of being a vegetarian. James: Was anyone particularly hard on you about that choice? Gus: I think for some reason vegetarians threaten society. I don’t know why but it’s true. I once told a girlfriend about this and she told me I was crazy. She had become a vegetarian months after we were dating and at one point she came to me and said, “You know, it’s true. People really do have this thing with vegetarians.” They feel threatened. They want to convince you to eat meat. They want to make fun of my diet. What if I was a diabetic and I couldn’t eat certain foods? Would you make fun of my diet then? Well then, why are you making fun of me now? I just choose not to eat meat. I got tired of arguing with people. It’s just a weird thing. Like Choke from Slapshot would joke around. “You're a pretty big guy even though you’re a vegetarian. Ha Ha.” I was never this guy who preached about it. Nowadays I just keep it to myself. I’ve been a vegetarian for two decades now. James: You say that people are put off or threatened by Vegetarianism. The same thing can be said about Straightedge. For instance when people would find out I didn’t drink or get high they seem to be put off by it. Look at me like I’m some sort of freak. Gus: Not in the same way. Drinking, smoking and doing drugs are not all socially acceptable things. They are in certain circles but they’re not accepted across the board. You don’t give a baby crack, weed or alcohol. But you would give a baby a chicken nugget. If someone offered me that I would be “Sorry, I don’t eat that.” It’s different because it affects more people. They’re threatened by it because it’s there on every level. All my life through straightedge and being a Hare Krishna. I have never gotten grilled more than for being a vegetarian. I have a BA in Religion. No one has ever gotten on me for that. The fact that I’m a vegetarian people always remark “What, why would you do that?”. James: That takes me to Hare Krishna. I can’t think of anything more rebellious than that. “I’m not going to drink or do drugs. I’m not going to eat meat. On top of that I’m going to turn to religion.” I can’t think of anything more rebellious than that. Gus: My friend Nora who wrote a book where she said Buddhism is the most rebellious punk rock thing you can do. I never saw my spiritual quest or my religious interests as a form of rebellion. It made sense to me and it was cool. I still think a lot of the philosophy behind Krishna Consciousness is more all encompassing. There’s a philosophy and a history behind everything we do. Based on how we live. Most religions tend to talk about things in very vague notions. Krishna Consciousness are more specific in their quotes and text. You have to remember that I was fifteen when I became a vegetarian. My Mom said, “Do whatever you want. But I don’t know how to cook vegetarian.” So I had to learn to cook. I’m fifteen so I can’t be the best cook. I got into Krishna Consciousness when I was seventeen. I was like, “wow, you’re going to teach me how to cook and about religion?” I’m already ostracized because I’m straightedge. Then I’m ostracized in the straightedge community for taking it too far. You knew me in High School. It wasn’t like people were “Oh, there’s Gus, how cool.” It wasn’t like that for me in High School. I had a few friends here and there. There were just a handful of people. From that small group Danny Zik and of course you are the only people I’ve stayed in contact with. So now I’m going to a place that there’s no question about what I’m eating because they’re all vegetarians. No one is going to offer me alcohol because there’s no drinking. There was no question or hassle about me being straightedge. It was this new mystical religion to me and it engaged me in so many different ways. Even the smell was different. It was like no church or even place I’d ever been in. It even looks different. Everyone is dressed in saffron and the women are wearing saris. There are all these pictures that you’ve never seen and it’s amazing. It wasn’t a rebellious thing for me. I’ve always been interested in a quest or a path. James: Is Krishna Consciousness something you still practice? Gus: It’s not something I practice. I would say my meditations are my workout. That’s part of my daily regiment. I’m not mad at the religion or the philosophy. It’s just that the package it came in didn’t work for me. I just don’t think it works. I wish the institutions and seekers well. It just didn’t give me what I was looking for. I just wanted to see what was out there. I wanted to see how far I could go. I just didn’t see how it would work with the life I wanted to have. James: Tell me about your relationship with the bands Gorilla Biscuits and Youth of Today. Gus: Walter was the key to that. I was a fan of Youth of Today and I was friends with Walter and then Ray and Porcell. We were just a bunch of straightedge kids hanging out. They were older and their lives were different. They were twenty-one, twenty two years old and Ray had an apartment in the city. They were in a band and went on tour. It was cool and we became friends. It’s cool when you meet somebody and a couple of decades later your still friends. I’ve known Walter since I was fifteen years old and I’m still friends with him today. The thing about Gorilla Biscuits is I was just there. I was there when they were rehearsing. I was there when they were writing songs. It could have been any combination. It could have been me and not Civ singing. If I had played Bass it might have been me and not Arthur. But that was the combination that worked and it stuck. James: How about having your adolescence captured on the cover of “New York Hardcore The Way it is.” Gus: It’s cool. I mean I was at the show and it was just one picture. There were at least half a dozen photographers. I happened to be in the picture they chose. I felt “this is cool. I’ve contributed in some way.” I’m proud of that moment. I wasn’t aware how well it was documented until the Gorilla Biscuits tour and almost every kids house we stayed at had that poster. It’s not something I can take any credit for. It didn’t grant me any access anywhere. I think now that I’m in my late thirties its kind of cool. No one would realize that was me. Hardcore shows were crazy. People ask me what was going on. “Was there a fight on stage?” I’m like “No that was just another show.” James: I have this strange memory. I can’t remember what I did last Tuesday but I can remember something minute that happened in August of 1989. I remember the day you brought a two-song cassette to the house with Disciplines tracks for the New Breed compilation. I remember hating it. Gus: Yes, it was probably horrible. James: Well, I listened to that same New Breed compilation recently and there all these bands that for the most part sound the same. But then there was Absolution and there was Discipline. Gus: I don’t know if that was just dumb luck or what. James: Tell me how Discipline came about and how did Chaka and Freddy approach you about being included. Gus: To be honest I don’t really remember who played on that Discipline recording. I think Adam from Life's Blood and Matt Pincus were on it. James: That’s already a pretty impressive lineup. Gus: It was like “Okay, let’s just do it.” But you probably know there was another incarnation of Discipline later. To be honest I don’t even remember recording it or where we recorded it. I wish I did. I don’t even know why I decided to call it Discipline. I just did. It was very much “cart before the horse”. It was just that “get it done” attitude. I had to get it done. I just wanted a band so bad. I wanted to be something. I felt that I had a lot of shit I wanted to say. I didn’t exactly know what it was but I wanted to say it regardless. James: I find it Interesting is that you found your guitarist right across the street from you. Gus: I knew Mike for years. He lived right across the street from me. I remember at the time CBGBs had this policy. “No more Hardcore shows.” “We’re done with Hardcore for good.” (due to the violence that had become prevalent at shows.) “No more Hardcore show’s.” I happened to be at the meeting that took place at CBGBs. I remember Jimmy Gestapo, Brendan SFA and someone else I can’t remember. They decided they’d do a matinee to bring back Hardcore. I jumped up and said, “My band will play.” Their reply was “You have a band?” So we had to find a guitarist, bass player and a drummer. When I say  “”we” I mean me and the voices and me in my head. (laughs) I knew that Michael Cooney played guitar. I think I knew because we had talked about what music we liked. The thing you have to know about Mike is he had a traumatic life. He was living at his grandmothers house. The place he lived in a young child burnt to the ground. In that fire he lost his baby brother. The thing that’s weird about it is we never talked about it as adults. I think I knew he played guitar. I remember asking him if he would play this show. I told him I had this band and we needed a guitarist. We got together, wrote songs and lyrics, we rehearsed and then we just did the show. It wasn’t the biggest show in the world but we got to play CBGBs. We got to play with Negazione, which was an honor for me. I remember Gorilla Biscuits had a show that night at City Gardens. Immediately after the show I jumped in the van with them and drove to the show. The band Discipline had a lot lives. At first it was going to be something along the lines of Project X. It was me Walter, Alex Brown and Luke. Then it changed to Walter, Alex, Porcell and Sammy. All those songs turned into Gorilla Biscuits songs and then turned into Project X. I didn’t want to be militant straightedge publicly. I want that to be personal for myself. I’m still like that. I push myself really hard. James: How long did Discipline last before it flipped to Ocean of Mercy? Gus: With Discipline I was screaming the vocals. I had some new songs and I got a vocal coach. I said “Here they are. Teach me to sing.” She took the tape, looked at me and said “What you do takes opera singers years and years to do.” (My screaming and gut wrenching). She told me I was going to blow out my voice. When I would practice with Discipline I would not be able to use my voice the next day. I went to the guys in the band one day and just told them “I can’t do this anymore. I can’t stand being in pain this way.” Then Franklin and I changed things up. Changed the songs so I could actually sing more without screaming as much. It added a little more melody. James: How long before the EP came about? Gus: I’m not really sure. I remember we record the songs and then I went on tour with Into Another as a roadie. When we were getting ready to record the record we were recording it as Discipline. Somewhere during that process we changed to Ocean of Mercy. Gorilla Biscuits had a show coming up and I talked to Walter. They agreed to squeeze the band in before they went on. We played a little under a half and hour. That was our first show as Ocean of Mercy. It looked very different with Rick Lopez on Bass. James: Discipline just started out as New York Hardcore was reaching its peak. Things got darker and the scene took on a more violent element during your bands tenor. Gus: I think New York Hardcore suffered from an identity crisis. There was some gang involvement. A lot of the people who originally hung out were in bands and had gone on tour. So while their gone, who was running the roost? Youth of Today’s on tour. So there goes a lot of the Straightedge scene. Sick of it All and Agnostic Front’s on tour and those guys always kept things cool. All of the sudden all these gangs come in and a lot of people left to play something a little different. Fugazi came around and I remember being a little pissed at them. Ian was telling people not to stage dive. They’re going off on stage but their telling us how to react to their music. Looking back now I can appreciate what they did. They were trying to change what had become more about violence and stage diving than the music itself. It was just crazy. So there was a split in the scene. All the hard bands went in one direction and then there were bands like Quicksand and Shift going in another direction. There were also bands like Yuppicide that fell somewhere in the middle. I wanted to play with bands like them. I was a good friend with Jesse from Yuppicide. They were good guys and they were always down to do a show. There was this feeling that “Oh, you have to play the Superbowl of Hardcore.” I didn’t want to play it. That wasn’t the Superbowl as I knew it. It was all these hateful bands that wanted to fight. All the people who go to that and appreciate that kind of thing won’t appreciate us. They won’t like or understand anything I have to say. James: You mentioned the violence and the gangs as a major issue. But you had someone that was/is synonymous with that in your band. Gus: I met Danny (Ezek) Singer from going to C Town, which was between your apartment and my house. My family shopped there. I would see this guys with Doc Martens, tattoos and a shaved head. He was a nice guy and a friend. It just so happened that he was the Bass player that Mike Cooney knew. Franklin was playing second guitar and he was in a band called Show of Force. I think we were all limited in our musical capabilities. (We all knew that.) Danny (Ezek) wanted to do other things with the music. We would argue and fight all the time. He would kick the shit out of me if we ever got into a real fight. But he liked me. I know he didn’t want to kick my ass. I told him that it wasn’t working out. He agreed and played his last show with us. After that we split on good terms. Danny (Ezek) was never in Ocean of Mercy though. He was in an early version of Discipline. James: How did the EP come about? Gus: We played a show at the Wetlands in NYC and this guy who had a label approached us about putting out our record. So I got the studio time and recorded the record. Called him up and told him everything was ready. Turns out he didn’t have any money to put it out. I said to myself “I want this record out there. “I am going to do it myself.” I thought “Why not?” people do it everyday. I had to figure out everything. I needed a name for the label. I needed to find a logo and a graphic artist. At the time I didn’t even know what a graphic artist was. I asked a friend of a friend and he came up with the Ocean of Mercy logo. I knew this guy from Doghouse Records who helped me out. The record came out on Oasis records, which was going to be my label. I put out a couple of records and was planning on releasing the Fountainhead record. James: Speaking of Fountainhead. I was best friends with Bill Kiernan (Fountainheads singer) at the time the band came together. How did you come into the band considering they already had a singer in Bill? Gus: I might have been friends with Chris Traynor who knew all these guys from Long Island. He had told me he had this band. At the time I think Bill had gone off the deep end with something. I don’t know if it was drugs or what. I just know they needed a singer and I jumped in. I learned the songs and then we found Larry who was in a band called Snail Catcher at one time. Larry was a genius when it came to drums. He was just fantastic. I don’t think he was used to playing with a group though. We got my friend Todd to produce the record. I got another friend Andy Stein to record it. The label was ready to put it out. During the recording I had an argument with Chris Traynor about the band. We had gone to see a lawyer friend of mine at his invitation. I didn’t know what they wanted. I thought we should all be on the same page. I told them “This is an entertainment lawyer who helps people get deals.” I said “What should we do?” Chris was like “Maybe he can get us a deal.” I thought “Why would we want a deal right now? We haven't even finished this record. We haven’t done anything. We haven’t even played a show. Why would anyone offer us a deal? And if they did offer us a deal, why would we take it?” “Aren’t you skeptical? No one's going to just give you money because you’re good. They might give you money but they’re definitely going to want something in return.” I thought if we do this we should go the indie route. Do like anyone else would. “Let’s test the waters with it. If we can’t take on Kool Aid who will?” We just didn’t see eye to eye on things so they got Bill back in the band. James: How long before you got into Publishing? Did you go back to school? Gus: I was always in an out of school. At one point I just got serious about it. It was kind of a weird time after Fountainhead. Ocean of Mercy hadn’t really broken up but we knew we were going to break up. Mike Cooney was moving. He was going to take over his Fathers truck route for Boars Head. He had to be up at four in the morning so he couldn’t rehearse. He couldn’t play a show because he had his priorities. I remember saying to him “Look, I’ve seen you drive and I’ve seen you play guitar. I think you’re a terrible driver.” I said “Give me six more moths and I can find someone to replace you.” But he couldn’t. Harry (Minus) who was in the band wanted to play with 25 ta’ Life. He wanted to play that gang style. I wasn’t interested in that. As for Franklin and I we were friends. But you couldn’t play with half of a band. I can only contribute lyrics. So after Fountainhead I was like “Shit, what do I do now?” “What do I want to do with my life?” James: This was around the time you were a roadie for Into Another? Gus: I was doing that in between Discipline and Ocean of Mercy. James: How did the opportunity to go on the road with Into Another come about? Gus: I worked at a place called Angelic Kitchen. I would see Richie all the time. I already knew Drew who was in Bold. He was a really cool guy and I loved Into Another. I think they just needed a roadie and asked me if I wanted to come along. I also got Steve Reddy to come out with us. We got out on the road and drove to California. We didn’t play a whole lot of shows going out there. The tour wasn’t done in the most efficient manner. We got out there and people were asking. ”How come you guys (Into Another) don’t have a record?” They did have a record but it wasn’t in any of the stores. So we went to Revelation Records and there were all these boxes of Into Another records just sitting there ready to be shipped to the stores. At the time I don’t think Revelation was a priority. It was just Jordan Cooper and I think Zach. So Steve Reddy just started packing the records up and sending them out. He also got the merchandising on track. According to the money that was left it was more feasible for Steve to stay and work at Revelation. So he stayed there and worked with Revelation Records for a while before he went back East to continue with Krishna Consciousness. I think he went on tour with Shelter at one point with Ray who was running Equal Vision. I think his experience with Revelation helped him to eventually run Equal Vision. James: How did you come into working with Chord? Gus: After college I thought I wanted to write for a magazine. People were telling me “You don’t just write for a magazine.” “It doesn’t just happen like that.” I said “Sure I can.” “How do I do it?” People write for magazines all the time. “Those are words. Someone wrote that.” James: How did you get that job? Gus: I found this magazine and called them up. I told them I wanted to write for them. At the time the magazine was called “All That”. At the time the term was a popular catch phrase like for instance “Shizzle”. The first thing I noticed was he was very unorganized. I told him he should hire me as an editor. I didn’t even know what being an Editor meant. But it sounded like an important title. So I basically learned desktop publishing from his house. He was doing the layout. It seemed pretty easy. There were more ads then there were bands to cover. At one point I told him the title “All That” is quickly going to become passe. You want to be on the front side of that. Not the backside. You want to be the guy who figures it out first. Not the guy who figures it out last. I thought we should change the name before that happens. He came back one day with the logo “Core”. I thought that was pretty good. But I said what about “CHORD”? So that was it. I had a friend who was managing the Descendents at the time. He called me and said the band was getting back together. He wanted to set up an interview. I said “Sure, we’ll make that the cover story.” So that was the first issue of CHORD. After a few issues I realized it wasn’t going to work out. I told him that with school, which was my first priority, things weren’t going to work out. So I quit. Shortly after that I called Norman Brannon (Anti-Matter/Texas is the Reason) and asked if his company was hiring. He told me they had just hired this girl. I was like “damn” A few days later he called me back “You know that girl never showed up. You should come by.” I went in and worked for a week. I had two days to learn Norms job. Because I knew he was going away. My soon to be boss was on vacation. I hadn’t even met her. When she came back we met and talked. I just learned the job and figured it out. After that I did the typical Gen X thing. I had a .com job. I had moved to California and after four years of that I said “Okay, I don’t want to do this anymore.” I asked around and one of the people who got back to me was the guy who did CHORD. We talked and became partners for about a year. In my opinion he wasn’t really interested in doing the magazine anymore. It was more like an extra circular thing for him. I bought him out and suddenly CHORD was all mine. James: Did you change the direction or the format of the magazine? Gus: Absolutely, I opened it up to cover more music. When he was doing CHORD it was mostly Punk, Hardcore, Metal from the tri-state area. I thought ”There’s a lot more music out there.” I like a lot of different music. I don’t want to listen to or cover one kind of music. I opened things up. I needed more help so I started enlisting other writers. Then Jodie came in and she’s one of the things that really made things gel. Everything kind of came together. James: It’s obvious you’re running things. You have so many people writing for you. Does there come a time when you see a band or a subject that you want to jump into and take control. Gus: All the time but I can’t just do that. Those kind of bosses suck. If it ever came along I might do something. I’ve done two cover stories for CHORD in its lifetime. To be honest, I’m not that good of a writer. There are much better writers than me. James: What’s your least favorite part of running CHORD? Gus: Invoices, I hate chasing invoices. I hate invoices. That’s the part of my job that absolutely sucks. It’s downright humbling. James: Is it harder running a free magazine than it would be running something that people have to shell out cash for? Gus: No, because I don’t have to deal with distributors. I just have to deal with getting the magazine out there. I don’t care what anyone says. Distributors do not pay anyone. There the first ones to get paid and the last ones to ever pay out. So when the distributors stop paying labels. The labels stop buying ads from me. James: Do you think there are lower expectations for a CHORD because it’s free? Gus: Yes, I do. I have no problem with that. As long as you set your own expectations and live up to those. I’m not in a race with three magazines. I’m in a race with CHORD. I’m trying to do the best that I can do. That’s the logical approach for me. James: Do you still love the music? Gus: I love music and I love the business, but I’m not sure I love them both together. James: What words of wisdom would you offer some cocky kid coming up thinking they’re going to be the next big fanzine or next big punk sensation in heavy rotation on Fuse or MTV? (Does MTV even play videos anymore?) Gus: Find out what the big sensation was a year ago and then find out where they are today. That’s the route you’re probably going. Learn about the industry you’re in. To me it’s almost shameful when I found out that bands know nothing about the business they’re in. You’re moving lots of records and there’s a lot of money being exchanged. They have responsibilities to themselves, to their band, to their fans. They should know if they’re locking themselves into some contract. The music industry is a really, ugly, shitty, horrible, sleazy business. There’s a bad side too. It’s a harsh business. (Interview by James Damion. Pictures provided by Gus and Franklin (Ocean of Mercy) Related interviews: Gorilla Biscuits Youth of Today Quicksand Bill Kiernan ../../1989/8/14_Gorilla_Biscuits.html../../1988/8/14_Youth_Of_Today.html../../1993/3/21_Quicksand.html../../2008/6/19_Bill_KiernanFountainhead.html../../1989/8/14_Gorilla_Biscuits.html../../1989/8/14_Gorilla_Biscuits.html../../1989/8/14_Gorilla_Biscuits.htmlshapeimage_2_link_0shapeimage_2_link_1shapeimage_2_link_2shapeimage_2_link_3shapeimage_2_link_4shapeimage_2_link_5shapeimage_2_link_6

Gus Peña

“The way it was. The way it is.”

 
 
Made on a Mac

next >

< previous