Fluke #1 was published in North Little Rock, AR in 1991

Interviews with Fugazi, Plaid Retina and Tim Lamb. Contributions include writings, comics, photographs and more. 

28 pages, full size

Fluke #2 was published in North Little Rock, AR in 1992

Interviews with Lungfish, Econochrist, Nuisance, Monsula and Phleg Camp. Contributions include writings, photographs, comics and more. 

28 pages, full size

Fluke #3 was published in Little Rock, AR in 1993 

Interview with Jon Hook. Writings by contributors. Transcription of a tape by a redneck telephone prankster (Roy Mullins) scamming free stuff. 

16 pages, quarter size

Fluke #4 was published in Seattle, WA in 1995 

Contributions include writings, poetry, art, photographs. 

28 pages, half size

Fluke #5 was published in Seattle, WA in 1998 

Interview with Mohammed Lukatah. Contributions include writings, photographs, art, and more. 

32 pages, half size

Fluke #6 was published in Tucson, AZ in 2005

This issue is all prose and poetry. Contributions include photographs and art. 

28 pages, half size

Fluke #7 was published in Tucson, AZ in 2009 

Interviews with Mike Watt, Mark "Sledge" Howe. Interview of Kevin Kerby by Jason White. Contributions include writings, photographs and more. Cover by Nate Powell. 

40 pages, half size

Cover art by Nate Powell

Fluke #8 was published in Tucson, AZ in 2010 

Interviews with Christ on Parade, Andrew Jackson Jihad, Paige Hearn and Alan Short. Contributions include writings, photographs, art and more. 

68 pages, half size

Fluke #9 (20th anniversary) was published in Tempe, AZ in 2011 

Interviews with Fluke co-founders Steve Schmidt and Jason White, as well as with The Body and Bobby Joe Ebola and The Children Macnuggits. Contributions include writings, photographs, interviews and more. Cover art by Bobby Matthews. 

56 pages, half size

Cover art by Bobby Matthews

Fluke #10 was published in Tempe, AZ in 2012 

Interviews with Burt Taggart, Emily's Army, Mystic Knights of the Cobra, Anna Joy Springer and Alex the Russian. Contributions include interviews, writings, photographs and more. 

32 pages, half size

Cover art by Nate Powell

Fluke #11 was published in Phoenix, AZ in 2013 

Interviews with buZ blurr, Ed Crawford, Negative Approach, Barker Gee and Bad Years. Contributions include writings, photographs, art and more. Cover art by buZ blurr. buZ interview by Mark Lewis. 

40 pages, half size

Cover art by buZ blurr

Fluke #12 was published in Phoenix, AZ in 2015

In 1990, I discovered Bobby Madness' art, on the cover of Crimpshrine's "Quit Talkin' Claude" record. The scene is of the band - Aaron, Jeff and Paul - hanging out on a deteriorating and graffiti-covered monolith at the Emeryville mudflats. As the silhouette of the San Francisco skyline looms across the bay, a distant factory emits billowing, dark clouds of smoke across the sky over a darkness on the horizon. Aaron and Paul are standing, hands in pockets, with forlorn faces. Jeff is sitting with his guitar and a frustrated look on his face as if he is attempting to master a complicated riff, with little success. A grim scene to be sure, yet one in which seems appealing, no matter how bleak and desperate.
As I followed Bobby's comics in Cometbus and later in Mad Soul, that theme was always prevalent. When Bobby took the reader out on the street with him he always translated "down and out" into romantic and attractive. This issue of Fluke is more of the same! A true story of Bobby's life on the Lower East Side of Manhattan in the early '80s, when he was just 14 and 15 years old. It's based on three shows he saw down there - The Cramps, Ramones, and Stiff Little Fingers. Join in the fun (& fatigue) Bobby experienced as he ran in the streets with his friend Chris, in search of drugs, girls, and punk rock! 

76 pages, pocket size

All art by Bobby Madness

Fluke #13 was published in Phoenix, AZ in 2016

In the late ‘80s, a punk rock scene began to grow out of an art space on the corner of 7th Street and Chester in downtown Little Rock, Arkansas. It switched hands and names, from Urbi et Orbi to DMZ to Nemesis then Mandrake’s before Henry bought the place, built a pizzeria and named it Vino’s. Most people outside of Little Rock won’t recognize most names within this issue, but the names are insignificant. What matters is the connection that was made between teenagers all over the city who found each other at the only “alternative” space Little Rock had at the time. I believe that’s what we all truly crave - a common bond. Something to grab onto and call our own. This bond that was formed on that corner has stuck and what was once a scene is now something much deeper and more meaningful. To me, punk rock has always been about building something and the greatest structure erected from it has been the friendships we’ve made, and we continue to make. It was built from the ground up. Fletcher Clement booked the shows, Colette Tucker hung the flyers, Mitchell Crisp designed the t-shirts and record covers and John Pugh published fanzines. James Brady, Andy Conrad and Colin Brooks played in the bands. Dozens of others did their part, from working in copy shops to taking out the trash at the end of the night.

And then there’s the enigmatic Tav Falco! Rogue male, Falco grew up in Arkansas and transitioned to Memphis, where he formed Panther Burns in the ‘70s. Their first show outside of Memphis was at Burns Park in North Little Rock, Arkansas in 1979. Tav Falco is one of the truly original and romantic forces in American music - the voice that America lost and found. Not just a musician, Tav is a performance artist, actor, filmmaker, and photographer. He is presently living in Vienna and sometimes Paris.

68 pages, half size 

Cover art by Mitchell Crisp

Fluke #14 was published in Phoenix, AZ in 2017

"There’s very little rock in Arkansas” -- Henry Rollins, 1987
On February 13th, 1986 Black Flag played the first ever punk show in Little Rock, Arkansas. Although it was 21 and over, some local teenagers managed to get in. Prior to this, there wasn’t much of a punk scene in Little Rock. Undoubtedly, this night sparked a movement and word quickly spread throughout high schools in the greater Little Rock area.
The following year, a short-lived venue called the Annex was opened by local punk Rob O, who saw Black Flag. Meat Puppets played the Annex, which proved to be its most successful show before the venue closed its doors. In that same year, Tim Lamb, also in attendance for the Black Flag show, started Lighten Up! fanzine, which covered the nascent local scene as well as bands outside of Arkansas. Lighten Up! gained national attention and played an influential role in the formative years of the Little Rock punk scene.

In 1988, the art gallery Urbi et Orbi opened on the corner of 7th and Chester in downtown Little Rock. The venue switched hands (and names) a number of times until finally it settled into a pizzeria called Vino’s. With the restaurant built in the front, Vino’s kept the performance space for bands in the back. Most of the employees were in the bands that would play shows at Vino’s. James Brady, who formed Trusty with Bobby Matthews, Paul Bowling and Bircho, was one of these employees. James had access to the show calendar so when touring bands such as Fugazi and Green Day were booked, James would simply add “Trusty” to the bill. He and Bobby would create the flyers and Colette Tucker would drive around town, stapling them to telephone poles. The best part is these were all-ages shows.
Teenagers from many different schools converged to find one another and, in turn, found themselves. A scene was born and the movement exploded. Here you will find 40 show flyers from 1988 through 1992, from that old brick building on a corner of small town America. Build it and they will come.
48 pages, full size 
Cover photo ©1991 Barrie Lynn Bryant, all rights reserved

Fluke #15 was published in Phoenix, AZ in 2018

This issue - “Lust For Life” - is about getting older yet still following one’s passion, whether in work or play (or both). This issue includes interviews with veteran punk rockers - Gary Floyd talks to Erica Dawn Lyle (SCAM zine) about his move to San Francisco with the Dicks in the early '80s, Ian MacKaye talks about Jay Adams biting him at a Minor Threat show in San Pedro and Mike Watt talks about answering the phone to Iggy Pop and hearing, "Ronnie says you're the man." Also in this issue - wonderful art, writings and photographs by some greats (glen E friedman, Ann Summa, buZ blurr, Tara Sharpe, Bill Daniel, KRK Dominguez, Linda Kite, Pat Blashill, Jessie Lynn McMains and others). But wait, there's more - the main feature is on traveling photographer and writer, Adam Smith! Follow your dreams and live your passion!

52 pages, half-size
Cover art by buZ blurr

Fluke #16 was published in Phoenix, AZ in 2018

This issue - The Art of NXOEED - is solely dedicated to James B. Hunt (NXOEED) and his art. Also included is a four page interview with James, where he reveals a clue or two on the whereabouts of hidden art, as well as how he got started and what motivates him today.

"I can remember being five years old and knowing I was going to be an artist. There was never any question. I started self-publishing at around twelve. My friend and I would make comics and then take them to the copy machine at the local supermarket. We'd walk in with handfuls of dimes we'd saved and feed into the machine. We didn't know what a zine was. We were kids and it was 1985. We were just trying to publish comics.” - James B. Hunt

32 pages, half-size 
All art by James B. Hunt aka NXOEED

Fluke #17 was published in Phoenix, AZ in 2019

This issue features interviews with Eisner Award-winning artist Nate Powell, Look Back Library's Kevin Marks and Tucson artist Danny Martin. Writings include "Damn It Feels Good to be a Gangster" by Matthew Thompson, "On Janguism" by John Pugh, "How We Got There From Here" by Anna Marie Armstrong, "Moon Over Millimillenary" by Mark Dober and "Punk Evolution: Beyond the Binary" by Jane Mabrysmith. Art by Laura Walden. Jessie Lynn McMains closes this one out with her poem, "Love Letter With Trains and Brautigan." This issue is packed tight with words and art. Thoughts and inspiration!

"It's been incredible to witness our work on MARCH be so widespread, relatively influential, and to play a role in the eternal battle to legitimize comics in the eyes of the broader public. But that legitimization has often come at the price of rejecting the mainstream superhero comics which shaped so many of us. Whenever I speak to crowds about MARCH, I feel it's important to note that my social conscience was birthed from a potent combination of thrash metal and Chris Claremont's long run writing X-MEN in the '70s and '80s - superhero comics provided that powerful lens by which to perceive racism, sexism, homophobia, xenophobia, and nationalism in the world around me, just as my world really started to open up in adolescence. The D.O.A. comics we published as young punk kids in the early '90s may have been dystopian guns-and-boobs superhero adventures, but we were making comics about resistance against totalitarianism, disinformation, and suppression. To me, there's no difference." - Nate Powell

52 pages, half-size
Cover art by Nate Powell