Zines

Written and assembled during the pandemic as a way to remember how intimate and celebratory live, small-scale, do-it-yourself shows can be, Best Show Ever brings together nearly 20 voices and distinct experiences. Scenes from all over the U.S., basements and yards and art spaces, makeshift stages, day-long festivals, shows from the 1990s, shows from just before things shut down. All collected here.

As it says on the first page: "This zine is a love letter to the basements and community spaces that felt like home. The songs that lived on mix tapes and CDs in our headphones and in our hearts, right up until the moment we got to yell the words in person, with a bunch of smiling strangers. This zine is dedicated to the bands and crowds that made us feel less alone. a nod to some of the best nights of our lives. This zine is for you."

With words from: Marigold, Colleen Fitzgerald, Jonquil Moore, Diego Romero-Aros, Julia Koschler, Toria Muñoz, Jackie Snyder, Ian Vanek, Peyton Kuzel, Shannon, Dakota Floyd, Joshua Hoey, Johnny Gainer, Shannon Bodrogi, Chris, Dandy Decipher, Dylan Gregor, Alyssa Giannini, and Rachel Jackson.

32 pages, half-letter size.

Cometbus #55 could be looked at two ways: A treatise on growing up without giving up, or proof that even the most dedicated proponent of youth culture grows old. Either way, it’s fascinating. It’s coming from a life in punk, leftist politics, and DIY culture, but you don’t need to be interested in any of that to be interested in the stories he tells.

72 pages, half-letter size.

Addicting and perfectly bizarre, Cometbus #58 is a story about finding home in a greasy-spoon diner full of combative old-timers. It's a ride full of strangeness and surprises.

44 pages, half-letter size.

How does Cometbus, after 38 years as a zine, just get better and better? It's a mystery, but it does. Issue 59 is a deep dive into both death and longevity in the underground. In short: what does sustainability look like in counterculture? This question takes Aaron on a journey from the Epitaph Records and Thrasher magazine offices to hanging out at a punk-owned vegan donut shop and a tamale stand at the farmer's market with Allison Wolfe (of Bratmobile and Sex Stains fame). It's thought-provoking, fun, open, honest, and just the right amount of curmudgeonly.

As Aaron writes: "The question was, could you establish yourself without becoming the establishment? Because that was the goal, as far as I was concerned: to build institutions that served our needs, and helped produce and distribute the art we created. To make spaces where we could express ourselves, like clubs and cafes—and magazines, which were gathering places as well. I was sick to death of all the noble failures. Instead of mourning our losses, I wanted to look at projects that had lasted."

140 pages, perfect-bound.

Since 1991, Fluke has been creating great variety zines covering all realms of punk and underground culture. This new issue is particularly PACKED with goodness. Interviews with graphic novelist Nate Powell (March, Any EmpireSwallow Me Whole), mural artist Danny Martin, and skateboard magazine historian Kevin Marks (Look Back Library). Personal histories on Maximum Rocknroll, R.E.M., '90s women-led punk, the Soophie Nun Squad family tree, and so much more. 

Contributions from John Pugh, Anna Marie Armstrong, Mark Dober, Jane Mabrysmith, Laura Walden, and Jessie Lynn McMains.

52 pages, half-letter size.

A fantastic new issue of the long-running Fluke Fanzine, this time focused on outsider art. Full of odd connections, scenes crossing over, countercultures meeting. Graffiti subcultures, freight-train monikers, '80s skateboarding culture, punk history, experimental film, queercore.

Within: filmmaker Bill Daniel (of Who is Bozo Texino? fame) on the influence of early '90s Cometbus and Sluggo! zines, photographer Garry Winogrand, and '80s Texas skate-punk band the Big Boys. A fascinating in-depth interview with graffiti historian Susan A. Phillips (The City Beneath: A Century of Los Angeles GraffitiWallbangin'). Linda Kite on her life with D Boon of Minutemen and seeing the '80s L.A. punk scene as conceptual art. Sergej Vutuc's dream-like skateboarding photography. Gary Floyd (of Dicks and Sister Double Happiness) on being a gay Texan punk in the 1970s and touring with Nirvana the year Nevermind broke. And legendary train-graffiti artist buZ blurr (AKA- Colossus of Roads) at the center of everything, holding everyone together. 

56 pages, cut half-letter size.

In Masculinities, Cindy Crabb (Doris) explores how we're each individually taught about what masculinity is. The zine focuses on the role models (positive or problematic or often both) who guided that education and how it played out. As she says in her introduction, she wants to "shake [masculinity] up—look at all the varied ways people are taught what it means to be a man, and where they found resistance, examples of other ways to be."

Interviews with Brontez Purnell (Since I Laid My Burden Down), Colin Atrophy Hagendorf (Slice Harvester), Larry TV (Pretty Pretty), Shane Parish (Ahleuchatistas), Tomas Moniz (Rad Dad), and others.

32 pages, half-legal size. Cover art by Icky Dunn.

One large folded sheet of newsprint turns into Brooklyn-by-way-of Olympia's favorite punk paper. Within: Zach from Gas Rag talks about his job, “Rancid” Dave Morse reviews the New York’s Alright Fest, and Gustavo Rivera writes about NYC nightlife. Warthog, S.H.I.T., Gag, and more.

A west coast report, show reviews, comics, photos, and interviews with Nandas, Vanity, and Sheer Mag! All on one large folded sheet of newsprint. Plus: A break-up survival guide insert.

A year in the life of visual artist James B. Hunt (aka NXOEED). Posters he illustrated, band logos he created, altercations he had along the way. Brought to you by the fine folks behind Fluke Fanzine

32 pages, half legal-size.