Yet Another Fanzine were aptly titled since Columbus was a fountain of many, many zines including one of the grand-daddies - The Offense Newsletter. The music and scene echoed the proximity to Cleveland and the first punk wave (Peter Laughner and his gang of merry men) and later no-wave (Pere Ubu, etc.) as well as the Akron weirdness but with a friendly, bent elbows around the bar feel. One of those scenes where everyone knew everyone and pretty much liked each other. There's something about Ohio that drives a man person a bit crazy but in that nice mid-western way. Of course, having a huge University nearby also contributed to the pool of musicians,aspiring songwriters and most importantly bars and people with Daddy's cover charge money.
I visited Columbus during this time, at the invitation of the great local college radio DJ (and psychologist), s. b. tobias who I met over the early Internet (the wild time between ARPA-net and Internet when several networks were duct-taped together). The weekend I visisted was also "Hands Across America" (no, we didn't participate) and we spent it drinking, hanging out with Ron House (then Great Plains now Thomas Jefferson Slave Apartments), drinking, meeting Don Howland (then rock critic now 1/2 half of Gibson Bros.), listening to the Beastie Boys album, drinking and of course hanging with s. b.'s good friends Craig Koon and Keith Baker, who published Yet Another Fanzine and this tape.
Amy FusseIman was the guitarist in The Bread Group. I have been familiar with her writing since the Pharmacist’s Mate was published by McSweeney’s in 2001. Eventually, a thread on the Facebook page “Columbus Music Scene 1975-1985” led to our connecting, and to the reading and book signing coming up.
What year did The Bread Group form and how long did you play together?
I graduated from OSU in 1986 so it must have been a couple years before that. Our band was me, vocalist Frank Snider, lead guitarist Richie Athy, bassist Patrick Roetzel, and drummer Andy Izold. I played rhythm guitar. Patrick, Frank and I were all undergrads in the English department and the band stayed together until we graduated. We played mostly at a place called the IP Lounge, which was a bar on High Street run by a Greek gentleman named Louie. He also sold one-dollar gyro sandwiches which were the source of much morning remorse for me.
What were your perceptions of the OSU/Columbus, Ohio scene at the time?
I was obsessed with music at OSU. That was my real focus of study. I was a DJ at the OSU radio station along with Frank, who was then my boyfriend and is now my husband. We saw bands constantly, mostly at Stache’s. Some of the most important audience-member experiences of my life were at Stache’s: The Butthole Surfers, Big Black, Pussy Galore, Agent Orange … I also vividly remember seeing The Cramps and X at The Newport and The Gun Club at a little bar called Crazy Mama’s. I was so lucky to see those shows!!
I didn’t really appreciate how rich the scene was at the time. It was just people I knew doing interesting things. I saw Scrawl come into their power and that was really important for me to witness. I saw The Great Plains and The Gibson Brothers develop. Frank and I still quote Gibson Brothers lyrics: Big Pine Boogie!
We think of Ohio as a Rust Belt state, and most of its great rock acts have a Rust Belt feel—Pere Ubu’s industrial Cleveland, Devo‘s deadpan robot town of Akron, Guided by Voices‘ Dayton. But Ohio borders Kentucky and West Virginia: if you ever do contract work for the state of Ohio you may be asked to fill out an affirmative-action form that says whether you are “Appalachian.” Mays, born in West Virginia, told an interviewer that she heard “a lot of bluegrass on the radio where I grew up,” and you can hear its twang in her voice, on “Sad,” and in Harshe’s voice on “1≠1,” from He’s Drunk (1988): “Can’t get one to equal one, I never seem to get what I want,” that song goes, as if even the laws of arithmetic conspired against her.
