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Brian Gathy Interviewed by John Davis March 25, 2020 Phone Interview 0:00:00 to 0:31:38 ______

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Brian Gathy Interviewed by John Davis March 25, 2020 Phone Interview 0:00:00 to 0:31:38 ______ Brian Gathy interviewed by John Davis March 25, 2020 Phone interview 0:00:00 to 0:31:38 ________________________________________________________________________ 0:00:00 John Davis: Today is Wednesday, March 25th, 2020. My name is John Davis. I am the Interim Curator of Special Collections in Performing Arts at the University of Maryland, speaking to Brian Gathy of Yet Another Unslanted Opinion fanzine, which I believe ran for five issues. Is that right? Brian Gathy: That’s correct. Davis: And that was about ’85 to ’86 or so? Gathy: Yeah. That sounds right. I feel like we did a sixth issue that was kind of just a quick hodgepodge, but my memory could be wrong. We'll just say five, to keep it safe. Davis: So before we kind of get into the zine itself, could you tell me about how you got interested in punk in the first place, and what it was like growing up around the D.C. area at that time? Was it D.C. punk that got you first, or was it punk from outside of D.C. and then you learned about what was happening here? What was it for you? Gathy: It’s kind of interesting, ‘cause I literally just talked about this topic on my podcast. But I moved to D.C. in ’83 from Virginia Beach, and I had gotten into punk in Virginia Beach. I had some friends at school that—a group of kids that would play music on the bus, and they had stuff like Black Flag and all that sort of thing, playing on a boom box. And at first, it just sounded so abrasive, and like not even music to me after hearing—you know, being used to hearing Boston and Journey and all the radio crap. But something was intriguing, and so like primal and raw about it, that I kind of got curious and needed to know more. So I had them record me some stuff. I started going out and buying my own records. Yeah, I just fell in love with first the energy, but also the rebelliousness, the philosophy. The kind of self-empowerment and do-it-yourself philosophy kind of came along. All that stuff, it was intoxicating, really. As for D.C. music, I kind of fortuitously happened upon it right before moving to D.C. Oh, yeah, I should go back and say that I was about 12 when I first was hearing this stuff, and moved to D.C. when I was 13, in ’83. 0:03:00 So I was skateboarding at this skate park called Mount Trashmore, and this other kid that was dressed in a punk shirt and flannel over it, whatever, came up, and we started talking about what bands we liked, et cetera. And he had told me how he’s trying to get rid of these records, see if I want to trade him anything, because he hated straightedge and how lame it was, et cetera. And it turns out—so I trade him my Bad Religion, Into the Unknown; Fear, The Record; and one other thing, for SSD, Get It Away, and the Flex Your Head comp. And the Flex Your Head comp, I just—actually both of them, I fell in love with, but to be D.C. specific, it was like getting dropped in this other universe of—I don’t know, just like a portal into this world that I wanted to be a part of, I had to be a part of. So I wore that thing out. Yeah, I even—on the insert, Void had their phone number on there, and just being a young kid, I wanted to—I was like, “Well, that's crazy. I wonder if I’d get a hold of them.” And I called and talked to a couple of guys in Void for a few minutes. And they were trying to see if I could set them up a show, but you know, I was, God, barely 13. [laugh] I was just stoked that they actually would have a conversation with me. So yeah, that’s what’s got me into it. And from there, I started seeking out all things D.C., especially Dischord-related. And my mom moved us—she worked for the military, for the government, and so we moved to D.C. just a handful of months later. Davis: You were out in the suburbs, right? Was it Burke, or where were you? Gathy: Yeah, yeah. Burke, Virginia. Exactly. Suburbs outside of— Davis: I've seen flyers for shows out there, but was that something that you helped to realize? Or was that happening before you were—? Gathy: Yeah, me and—no, we kind of—me and my friend started doing shows out there, at like the Burke Community Center and a couple other places. But yeah, it was me, my friend Sohrab Habibion— he’s in Savak now; he was in Edsel, et cetera—Sean Lesher, who I did the magazine with; me and him were pretty much the two architects of that zine. 2 0:06:06 But yeah, yeah, we rented out the community center in one of our neighborhoods and got all the D.C. bands, as well as 7 Seconds, as well as—ah, God, I can’t even remember—a few other out-of- town bands to play there. And this is when we were about 15. [laugh] Davis: What zines were you reading? I assume you were reading zines before you decided to start your own. Gathy: Oh, for sure. So Maximum Rocknroll was probably the first thing I saw, and somewhere I've got that first issue that I bought, which I guess had to be 1982. Davis: I think it is, yeah. Gathy: Yeah, and it had MDC in it. It had some other things. It was just fascinating. Like I started sending away to mail-order records from reading reviews or what ads looked cool, even just by that. And so it was Maximum Rocknroll, Flipside were the two first ones I saw, for sure. But yeah, then as time went on, things like Ink Disease and this one called Leading Edge that Martin Sprouse used to do. We used to trade zines. Yeah. And of course, once I moved to D.C., the WDC period and—oh god, what was it—Truly Needy? I really liked that one. Davis: Right, and I was going to ask about the ones from D.C. Like did Thrillseeker or any of those types of zines kind of make their way out to you? Gathy: Yeah. Davis: But you were going into the city, also, to see shows, I assume. Gathy: Oh, for sure, yeah. Yeah, we would take the bus into Georgetown to buy records. Then we would go down into D.C. to see shows, absolutely. I don’t know how or why [laugh] my mom agreed to drive us into these horrible parts of D.C. at the height of the crack epidemic and murder capital of the [laugh] country, but you know, she was really—she would drive me and a whole carful of kids down there, and go to the Wilson Center or wherever, 9:30, all kinds of halls or whatever. And invariably, I would always go past curfew, because the shows would be so late that I’d be grounded for the next handful of shows. So I never got to see Black Flag or Minutemen, a couple of the bands that I was really into, just because I would always be grounded. 3 Davis: [laugh] So starting your own zine, what was it that made you want to do that? And how did you get something like that started? 0:09:06 Gathy: Well, luckily—I'm trying to think what the actual impetus was, besides wanting to actually—I mean, I was playing music already at that point, but yeah, I just wanted to be a part of the scene, in any way possible. So I thought that’s a great way to be able to talk to the bands I love, and that sort of thing. So my grandfather owned a local version of that car classified magazine called the Autotrader, and so he had a whole operation, a whole warehouse with a printing press and darkroom and layout rooms, all that sort of thing. And I would work there sometimes, for him, so that kind of gave me an idea of how to do it. Because, yeah, it’s crazy to think nowadays, but we would have these huge sheets of paper, and have to lay everything out kind of mathematically—like I can’t even remember—like four or six or eight pages at a time. Like basically the first page and last page together, et cetera, on down the line. And then take it down to a printer, not just Kinko’s, et cetera. It was a whole to-do. And of course, by the second issue, we discovered half-toning and that [laugh] sort of thing. Davis: Did you feel comfortable approaching bands for an interview? Was that intimidating to you, especially with how young you were? Gathy: At first it was, but I grew more and more—I don’t know what the word is—emboldened? I don’t know. Just ‘cause everybody seemed—once you actually approached them, they were so approachable. It just never ceased to amaze me. I remember the first band people I talked to in person I want to say was—it was probably Kenny from Marginal Man, like right after one of their first shows.
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