Zebra Three (Starsky & Hutch zine)
|Publisher:||Polaris Press and Pegasus Press|
|Editor(s):||Lorraine Bartlett and Lorraine Haldeman|
|Fandom:||Starsky and Hutch|
|Click here for related articles on Fanlore.|
An ad in the first issue of Scuttlebutt asked for submissions and referred to it as a: "STARSKY-HUTCH zine tentatively called Zebra 3."
In addition to fan fiction, the zines had extensive artwork, poetry and cartoons. A gallery of some of the interior artwork is below.From "Closing Notes" in the first issue:
Zebra Three is a literary extension of the Starsky and Hutch "universe." It is not affiliated with any Starsky and Hutch fan club, or Soul/Glaser fan clubs, and will not print news, articles, or gossip about the series or the actors. Stories appearing in Zebra Three should continue the series' format; that is, most stories will involve action-adventure, with an emphasis on friendship between the characters. In addition, Zebra Three will not print any slash or death stories. Humor and parodies are welcome, if well-written.
Changing Zine Landscapes
By 1992, the choices in reading material in this fandom, as well as others, had become so varied that an ad in Zine Scene had point out: "If you like "straight" STARSKY & HUTCH stories, then ZEBRA THREE is the place to be!"
Impossible to choose just one favourite fanzine. I've had so much pleasure from so many zines containing innumerable S&H stories which have enriched my understanding of the characters. I do, perhaps, have a special affection for the early Zebra 3's, simply because these were the first zines I read, and were my introduction to the delights of fandom. Everything that followed was, and continues to be, a bonus. 
The Zebra 3 zines are classics and a must for everyone.
...ZEBRAS... were my first introduction to the warm and wonderful world of SH zines... back in 1979... 
Lorraine was Mistress of the Mimeo zine, taking a rather primitive form of production to its zenith. The first issue of this zine, which was in fact the first S&H zine published, featured writers and artists who had honed their craft for years in ST fandom. It showed; rarely has a fandom had such an auspicious beginning. 
Zebra Three 1 was published in 1977 and has 180 pages. Art by Connie Faddis (front cover), Andy Bartlett (inside back cover), Gordon Carleton, Judi Hendricks, Kathi Higley, Signe Landon and Marty Siegrist (back cover).
- Editorial ( 2)
- Second Chance by Joy Maricevic (4)
- The "We Couldn't Stop Her" Department (trivia test) by Justa Twitte (11)
- Back-Up by Georgann KC Shelby (12)
- Bomb Scare by Jan Lindner (15), winner of an Encore Award
- Stake-Out by Georgann KC Shelby (78)
- The Apology by Joy Maricevic (81)
- Always the Last to Know by Georgann KC Shelby (86)
- Mojave Crossing by Connie R. Faddis (90), winner of an Encore Award
- Starsky and Hutch vs. Death Blimp by Cool Hand Luke (172), winner of an Encore Award
- Starsky and Hutch: What's the Fascination? (an essay by the editors) (178)
- Closing Notes (180)
issue #1, Connie Faddis
issue #1, Gordon Carleton
issue #1, Signe Landon
issue #1, illo for "Mojave Crossing," Connie Faddis
Reactions and Reviews: Issue 1
See reactions and reviews for Bomb Scare.
See reactions and reviews for Mojave Crossing.
Zebra Three was generally received with great praise and appreciation when it was first published in 1977:
[zine]: This is, quite simply, a remarkable zine. Nothing in it is less than excellent. Joy Maricevic's “Second Chance” opens; it’s a short tale of friendship lost and regained, with a valid psychological point to make. "Bomb Scare”, by Jan Lindner, is sneaky. On the surface, it’s a fast—paced adventure of a type familiar from the aired series: a none—too—stable demolitions expert busted by S&H while they were in Vietnam is out for vengeance, exacted with progressive viciousness against Starsky’s friends. On another level, it is a neat and well—turned examination of courage——what it is, what motivates it, how it affects the lives of those who do or do not possess it. Aut prodesse aut delectare. Vergil would appreciate this story. “The Apology”, a second short Maricevic, deals with a not—to—serious quarrel and its aftermath; it’s amusing, but wonders how Charley would feel if Hutch were short, fat and ugly. Creeping MCP—ism, for shame. Faddis’ “Mojave Crossing” is a sequel to “The Set—Up”, in which Starsky and Hutch cleaned out a nest of contract assassins with high but unspecified political connections. Not surprisingly, the bad guys turn out to be renegade FBI agents, who are, also not surprisingly, set on preventing S&H from testifying against them. The upshot is a harrowing trek across the Mojave Desert in high summer, in the course of which Starsky is blinded, Hutch is horribly wounded, and Maggie Landis, surely one of the best—realized female characters in fan fiction, learns something of the nature responsibility——to oneself, to friends, to society. It is an intensely emotional story, that addresses the reader on all levels of response, brain, heart and gut. The author nevertheless remains in full command of her material throughout. The tenderness of the hurt/comfort scenes in both exquisitely controlled, and entirely free of the steamy sexuality which mars so many K/S epics of the Contact school. The zine concludes with “Starsky and Hutch vs. the Death Blimp” by one of the Nine Billion Names of Smith. Would you believe Dobey—Wan Kenobi? Wookie Bear? Laya Orgasm? It is a peach. (Also the best SW tale I’ve seen, probably because one remains aware that real and viable characters uphold both sets of funny hats.) There are also three fine poems by Georganne KC Shelby, a trivia test, limericks, cartoons, and an article by Jan at the appeal of S&H. The art, by Faddis, Landon, Siegrist and Carleton, is as fine as the stories. 
[zine]: Price $3.45 third class, $4.20 first class. And worth very cottonpicking nickel and more! Did I say I didn't care for mimeo? Perish the thought. The first thing I did was put the gorgeous covers in protective plastic. There's only 200 copies of this if I'm reading the contents page right, so if you like STARSKY AND HUTCH stop reading stop and order this right away. EVERY SINGLE THING IN THIS FANZINE IS FIRST RATE. From "Second Chance" a back together again at last story by Maricevic, the elegant poem "Backup" by Shelby, "Bomb Scare" by Lindner, a cliffhanger that would make a fantastic episode, another fine Shelby poem 'Stake Out, a short short by Maricevic "The Apology" accompanied by one of the more gorgeous photos I've seen of David Soul, one more Shelby poem "Always the Last to Know' ,"Mojave Crossing" by Faddis (words fail me on this story (suffice to say it would make the best two hour TV show you ever saw) and finally to "Starsky and Hutch vs Death Blimp" by Cool Han Luke, in which Darth Vader and Dobie-wan, oh heck, buy the zine and read it yourself. Art by the best : Carleton, Faddis, Landon, Siegrist .... the only problem Lori and Lauri are going to have is that they didn't print enough copies. And that this is gonna be a tough act to follow. (But I bet "Wilderness" can do it. That's the story in the next ish... hrnmmm, Zebra Three Two? Zebra Three Also?? I know, Zebra Three Encore!! 
Zebra Three... well worth the $4.00 fourth class, $4.60 first class price. 180 pp. of fine fiction, art and general good fun, this Starsky and Hutch [zine] features an insanely funny parody of Star Wars, "Starsky and Hutch vs. the Death Blimp," by Cool Han Luke. This is a dynamite zine, highly recommended... 
In 2014, a second-generation fan wrote a reflection on the experience of buying the zine as a collectible long after the era of zines had passed, and Starsky & Hutch fandom had moved almost exclusively online:
A few weeks ago, I ordered a zine...I guess I'm a huge nerd, because I was like OMG HISTORY and think this stuff is cool....
First off, I first read issue #1 and this thing is...well, ancient as fuck. In every way. It's printed in mimeo, in print that looks like bold Andale Mono font on tough cardboard-y paper like the stuff used by artists for sketches, though the paper is worn and faded and soft and brown with time. Every page is embedded with layers of god-knows-what -- sawdust, tiny particles of paint, tiny fragments of peeled-off letters, tiny bits of scrubbed-off paper pulp. There is not a single page in the entire thing where the print has not left a ghostly, blotchy, crooked imprints from the other side (although a lot of that is the effects of mimeo), and there are loads of places where serifs or tails, or even complete letters, have been completely rubbed off and it takes a second to figure out what the word is. Is that a p or an n? An a or a d? Is that half-a-word supposed to start with a W or an M? The stories in here were first published in 1977, but this one is a reprint from 1979. No indication that it's a reprint any newer than that. So, if I understand correctly, this physical object I am holding is 35 years old. Yikes.
The content is really fun: there are a handful of poems, some jokes, some cartoons, some GREAT art, a couple of trivia games, an essay on the appeal of Starsky & Hutch, a couple of short stories, a parody, some doodles, and two long stories about the length of shortish novellas. It’s all kinds of different fannish stuff put together and you can really feel how much love and fun the editors had putting this thing together. It also has two editor’s notes by a Lorraine Bartlett, who was the main person who put the zine together and you can really feel the love and investment and the tongue-in-cheek irritation at the amount of trouble it was to produce in her notes.
The front page says the zine cost $4.60 to order by first-class mail. Fuck my life.
...All the stories here are gen. As far as I can figure, during this period, people were throwing bitchfits in Star Trek fandom over various topics of fanwank bait, particularly slash. Both sides of the great war of IT MUST ONLY BE GEN/SLASH AND EVERYTHING ELSE IS A BLIND/PERVERTED LIIIIIIEEEE drowned out all the “hey, that’s good too, but don’t diss what I like” and "but isn't elasticity and breadth of interpretation the best part?" people in the middle. So probably to keep things peaceful, the guidelines were “no AUs, no slash, and no deathfic"... this is okay with me -- I love both gen and slash but I love gen even more, mostly because I'm more interested across the board in stories about friendship than in stories about romance. However, in my fanfic-reading experience, it's harder to write a compelling and satisfying gen fic than a compelling and satisfying slash or het fic of the same length because the former takes a lot more imagination and has a lot fewer templates to go off of (romantic storylines and tropes cross-pollinate between all genres and canons with minimal translation. Other types of stories? Takes a lot more work to adapt). And I know plenty of writers who write amazing shippy fic but who can't write a good fic about anything else to save their life. So I tend to be a bit more demanding about good gen.
Both long stories - "Bomb Scare" and "Mojave Crossing" are really, really good gen, which is especially impressive in the case of Mojave Crossing, which is all about love confessions and revelations without feeling either incomplete or suggestive because of the honesty of the writing. Actually, it's extremely gen, not just technically gen -- the mechanisms and revelations are entirely platonic, and sincerely so; no insecure, anxious little "no homo!"s to be found. There's a difference, IMO, between platonic-ness defined as the presence of a particular kind of love and platonic-ness defined merely as not-romance. The former is vastly better and much harder to capture.
The long stories are both fantastic, I'll review them further down. The short stories are good, though not spectacular. I don't think the vignette fanfic format had been really perfected at this point, since fanfic-vignette is a very unique genre of fic that AFAIK cannot be found anywhere except fanfic. One of them ("Second Chances") has a unique premise though -- that Starsky and Hutch were friends in the academy, but then drifted apart afterwards for a couple of years, which both of them regretted deeply, before they rediscovered their friendship later (as shown in this story). I'd never seen that "what if?" toyed with before. The other one ("The Apology") is mostly notable for articulating a glorious snippet of Hutch's series-long completely ineffective and non-serious (and therefore adorable) ongoing campaign to gaslight Starsky into dropping down to Hutch's level on the self-esteem ladder, which neither of them are really serious about, a la Spock and McCoy's neverending culture war over in Star Trek. The story is a bit too on-the-nose about it, though.
The poems are slightly clunky but also enjoyable. One of them is glorious utter crack too – it’s secretly narrated by the Torino, though that's not clear until the last couple stanzas. She (of course she’s a ‘she’! How could she not be a ‘she’?) is madly in love with Starsky (no shit, Sherlock), and the poem gets a bit steamy -- yes, that kind of steamy -- before you realize who's narrating, so props to the author for making me lol like crazy after the lightbulb clicked on in my head. I mean hey, whose engine wouldn’t purr with that man inside of – okay, okay I’ll stop now.
#cough# ANYway, the parody is a Star Wars parody, I guess since Star Wars came out that summer and was bigger than Elvis. It's dumb but hilarious, and was probably more unique when it was written than it is now...
The zine ends with a great essay about the appeal of Starsky & Hutch. In all different long-running fandoms, it's awesome to see how similarly fans at the beginning saw the canon compared to fans nowadays. The essay is mostly ideas I've also seen recently -- about how friendship is something lots of people value deeply but culturally don't know how to express very well, and how hurt/comfort unearths the depth and extent of a friendship by making the characters prove it. What made this essay different from today's opinions was that it was contemporary – the authors talked specifically about how the 1970s and the social upheaval and rising divorce rates, delayed marriages, frequency of single independent living, increased geographical mobility, etc, was a good thing overall, but it also caused loneliness and alienation, with people often not having close ties to their family or hometown anymore, combined with cynicism over Watergate, a major recession, etc, so shows portraying close, trustworthy, satisfying friendships were kind of wish fulfillment for then-current viewers. That was really cool and something I hadn't thought about before.Another part that fascinated me were the little in-joke-y cartoons. Not just about the show itself, but also about the fandom and the process of zine production. It's like the 1970s equivalent of a gif-filled picspam party post. The medium changes, but fans never change. ;) 
Publisher's note to those buying a xerox of this issue: My apologies for the poor quality repro on this issue. The original version of this story was printed on fibertone paper, hence the stray marks on the text and some illustrations. I have tried to repair the worst to the light print.
An excerpt: "Hanson didn't seem bothered by the rain or road conditions as he sped along the canyon road at nearly eighty miles an hour, the LTD not far behind. But suddenly the Mustang slid out of control as it hit a patch of gravel on a sharp turn. Hanson managed to steer out of the spin only after nearly driving over the edge of the embankment. Seeing this happen, Starsky tried to compensate at the turn, but was unable to control the heavier LTD as it started to slide out of control. "Here we go!" he yelled to Hutch, who was hanging onto the dashboard for dear life. Pumping the brakes and turning the steering wheel left, Starsky sent the car over into the oncoming lane, barreling toward a telephone pole."
Reactions and Reviews: Issue 2
See reactions and reviews for Wilderness.
This issue is somewhat of a departure from the previous issue. 'One Small Corner' has a decidedly more realistic tone to it. No doubt some readers will be offended by the strong language and sexual references... To avoid any confusion, 'Last of the Big Time Gamblers' by Jane Aumerle, was inspired by another story (so far unpublished) where it was stated that Starsky entered Hutch's room after Hutch was injected with the serum, and stayed there until he knew his partner would survive. I would love to print the original story too (hint, hint) if the authors would care to rewrite it.
- Editorial (3)
- Last Will and Testament by Joy Maricevic (4) (Hutch ends up in the morgue on a slab. Will Starsky get there in time to stop the autopsy on his still living partner?)
- They Also Serve by Jane Aumerle, poem (46)
- The Last of the Big Time Gamblers by Jane Aumerle (48), winner of an Encore Award
- It’s No Fun Dating a Cop by Carolanne Dubois (55)
- Sometime Never by Jane Aumerle, poem (56)
- Off-Stage Action by Randy Kaempen (RPF) (60)
- Squadroom Bulletins (64)
- One Small Corner by Connie R. Faddis (66) (from S and H #1: "I was trying to look at how S&H night act once their love for each other has been acknowledged and cultivated and lived with day to day. I wanted to show them as whole persons in the context of the larger world in which they live, in the context of other commitments and obligations and beloved people. No man is an island, and two men do not an archipelago make, either.")
- The Plaque by M. Rauch (192)
Reactions and Reviews: Issue 3
See reactions and reviews for One Small Corner.
[zine]: ZEBRA THREE has proven to be remarkable in a number of ways, not the least of which is its consistently high quality. This third volume is everything one has come to expect, and maybe a little bit more. It opens with Judi Maricevic's "Last Will and Testament", which involves a pair of standard-issue ex-cons with a grudge, an attempt on Hutch's life, and Starsky's subsequent frantic search for his missing partner. The story is severely hampered by a coincidence-ridden plot and unnecessary shifts in viewpoint, as well as one or two jarring technical errors, A revolver cannot, repeat cannot, be silenced—gases escaping from the rear of the chamber will still produce a good loud bang, Maricevic's characterization, though, is solid, and in combination with a rapid, well-sustained pace, suffices to keep the reader turning pages to a satisfactory denouement, "Off-Stage Action", by Randy Kaempen, is one of those items that always crop up sooner or later—Paul Glaser chokes on a burrito while filming, passes out and is translated, Uncle Tom Cobleigh, co-star and all, into S&H's "real" LA. If you like this sort of thing, it's not half bad. It is, however, thoroughly outclassed by M. Raunch's "The Plaque", which damn near put my ribs in traction. It' s primarily a take-off on The Plague, but also scores off the Franklin adaptations, earlier issues of Z3. Teri White's "Hour of Lead", Kirk/Spock mind-melds ("He and Starsky could understand each other perfectly... Starsky had once understood Hutch and been able to catch a criminal who had put Hutch into the coma he was in at the time Starsky was able to understand him.") and just about everyone and everything else within range. Raunch's Remington is the only typer in Southern California with mounts for a sniperscope. Last, and in no way least, is Connie Faddis' "One Small Corner". Briefly, it concerns a. S&H's efforts to break up a ring of illicit filmakers specializing in kiddy porn and snuff flicks, helped and hindered by turns by the Vice officers assigned to the case; and b. Hutch's attempts to remove his fourteen year-old half-sister from an intolerable and dangerous home situation. Which is a drastic oversimplification—sort of like telling you that Moby Dick is about a fishing trip—but due to limitations of space, etc.. Get a copy of Z3 and read it for yourself. Even if you don't particularly like Starsky and Hutch, this story is unconditionally guaranteed to make you laugh, cry, sing, dance, kiss the bill collector and cover your Head with your Feete and lie for a Time Astonied, In its emotional complexity, and in the compassion and insight the author has brought to her character, "One Small Corner" is very nearly unique. It is probably the best fan-written story, of any type, yet produced. You'll be cheating yourself if you miss it. Art this issue is excellent as usual. Signe Landon has an especially fine front cover, and the illos which accompany the two Aumerle poems- one Landon, one Siegrist—are touching and beautifully turned. Highest recommendation. 
You'll notice that volume IV is primarily a Hutch issue. It seems that most authors have the greatest ease in writing Hutch, and most of the submissions continue to be Hutch stories. (Favoritism?) You'll also notice that approximately 75% of the issue is devoted to various series episodes in the form of story addendums and missing scenes.
- Another Fine Mess by Lorraine Bartlett (tidies up the episode "Playboy Island")
- El Monte Blues by Katherine Robertson (fun and games at a swap meet)
- The Fax Ma’am by Roy Smith
- Join Me in L.A. by Melanie R. (the theme is "Cowards die many times before their death..." contains some flashback scenes to Starsky's father's murder)
- A Last Goodbye by Elizabeth Lowry
- Mating Season by Laurie Haldeman (where does Starsky get all those Torinos?), winner of an Encore Award
- Play Dead for Me by Connie R. Faddis (a "Fatal Charm" story)
- Reflections by Frances Todd Garrett
- Solitaire by Connie R. Faddis (Hutch ponders death and dying, based on the events in 'The Plague')
- Terry by Melanie R.
- Tombstone Blues by Melanie R. (a glimpse into the inner thoughts of Captain Dobey)
- When All Else Fails by Dotty Barry (a post-Fix story)
issue #4, Laurie Huff
issue #4, Monte Swann
issue #4, Karen Stewart
issue #4, Paulie Gilmore
issue #4, Signe Landon
Reactions and Reviews: Issue 4
See reactions and reviews for Solitarie.
[zine]: The quality of the stories and poems is superior. The type face is clear, but there are the usual problems with mimeo -- light print, some crinkles. The artwork is quite excellent, but the the better drawn pieces tend to be portraits instead of illos. My favorite story was a toss-up between "Solitaire" and "Join Me in LA" until the last six pages of Faddis's story. The last six pages should be an entirely separate story. As an ending to to "Solitaire." it is anticlimactic and maudlin. Taken separately, it is an interesting after-an-episode vignette. "Solitaire" takes place during and after "The Plague." The focus is on Hutch and his thoughts and experiences as he lays dying. Other than the ending, it is Connie at her best in description, insight, and dialog. "Join Me in LA" is one of the two Starsky stories in Z3IV, the other being "Another Fine Mess." Melanie handles a favorite theme ("Cowards die many times before their deaths; The valiant never taste death but once") with restraint. The development of the mystery, the almost cryptic, final mountain scene maintain the tension of the flashback scenes of the murder of Starsky's father. "Play Dead for Me" is another Faddis gem, moves quickly and with all the tension of its reference episode, "Fatal Charm." Among the humorous pieces, "El Monte Blues" utilizes the conflict over the Torino to build the byplay between Starsky and Hutch. Marian's knowledge of the area in which the story takes place added credulity to the story. A 'Hutch's nightmare' can be found in "Mating Season." So that's where all those Pintos come from. All three of the poems in Z3IV are excellent. "Reflections" after "A Coffin for Starsky." is a fine inner monologue. Frances follows Hutch's mood without losing the movement of the plot. "Terry" is the finest poem I've ever seen by Melanie. It's not even pornographic! There is little to fault with Z3IV. However, "Tombstone Blues" is not up to Melanie's usual quality; it is a bit rambling and aimless, even for a vignette. Dotty Berry's "When All Else Fails" somehow seems to lack that spark that is always there between Starsky and Hutch. Her Starsky is kibbutzing too much. Last but not least, "The Fax, Ma'am": Scrodsky and Wretchedone, the surcrose junkie... ties with "Mating Season" as the funniest. 
[zine]: In an age when most zines are printed offset and/or composed on IBM word-processors, this mimeo zine is a refreshing change. The contents are enjoyable, too. Though this issue doesn't have anything as spectacular as "Bomb Scare" in vol.1 or "Last of the Big Time Gamblers" in vol.3, there's still lots of good reading. Several stories are follow-ups to particular episodes. "When All Else Fails" shows what might have happened after "The Fix." "Another Fine Mess" tidies up "Playboy Island" and "Play Dead for Me" goes with "Fatal Charm." Connie also has a much longer story, "Solitaire," that has to do with "The Plague." The charm of that episode as always escaped me, but this story is a first-rate, three-Kleenex, heartstring puller. On the lighter side, there's "El Monte Blues," fun and games at a swap meet and "Mating Season." It's a charming whimsy about where Starsky really gets all those Torinos. My favorite story is "Join Me in LA" that ties in a tragedy in Starsky's past with the murders of ex-syndicate members of the present. Beautifully done. Along with all this there's good to excellent art and poetry. At twice the price it would be a bargain. 
[zine]: The overall quality of the stories and poetry is superior. The artwork is excellent, but the better drawn pieces tend to be portraits instead of illos. 'Solitaire' focuses on Hutch as he is dying from the plague. Except for the final six pages, which should have been a separate story, it is Connie at her best in description, insight, and dialog. 'Join Me in L.A.' is done with restraint, and the tension is maintained through the final scene. 'Play Dead for Me' moves quickly and reflects the mood of its referenced episode. There are several humorous pieces, too. 'El Monte Blues' and 'Mating Season' are light and cleverly executed. The poetry is excellent and well-placed in relation to the prose. Of the three remaining stories, 'Tombstone Blues' and 'When All Else Fails' are good but not up to par, and the other 'The Fax, Ma'am' is an episode parody. This issue carries the quality of the previous three issues. Most of all, it shows well-known Trek writers in a different universe and genre. Their abilities and talent stand the translation very well. 
[zine]: Well, the Zebra gang have done it again, produced a lot of fine zine for relatively little bread. Z3IV leads from strength with Dotty Barry's "When All Else Fails", a postscript to The Fix. This is a smoothly written, sensitive story that picks up on some of the subtler as pects of the characters and their relationship, defines and clarifies them. There's a sense of proportion here—the author never lapses into over-idealization, nor the tale into melodrama. It' s followed by "Tombstone Blues", less a story than a short meditation on The Blue Knight, Death and the Devil. [Melanie R] knows her people, though, and respects the languagei the thing works. So does Lori Bartlett's "Another Fine Mess...", which is nothing of the kind. What it is, is a nicely-turned sequel to the Playboy Island episode in which Starsky tries, none too success fully, to come to terms with his voodoo-induced attempt to kill Hutch. The slightly false note at the end is, I suspect, deliberate. For comic relief, there's Marian Kelly's "El Monte Blues", the amusing if rather pointless misadventure of Starsky, Hutch and the NASA DEGUNKER. Scratch one more Torino. "Play Dead for Me" is an Act V for the third-season adaptation of "...Misty..."; it makes, but fails to examine, a couple of extremely acute observations about Hutch's psychology. This is a pity. One expects more from Faddis. And, fortunately, gets it in "Solitaire", which is The Real Thing and more than fulfills the promise made by Connie's by-line. It's a series of short, "unseen" portions of The Plague, with emphasis on S&H's profound need of each other. It's also something of a structural tour de force, as it manages quite well to hang together as a story in its own right. The zine's only completely free-standing piece is Melanie R's "Join Me in LA". A corpse with a bullet in its head and scars from a facelift leads Starsky and Hutch to a virtual coven of ex-Mafiosi, all living in Los Angeles under the Federal Protected Witness Program. One of them turns out to be the hit-man who murdered Starsky's father, an amoral and thoroughgoing professional who must nevertheless be protected against the "Jane Smith" who is systematically icing his colleagues. Starsky's resulting conflicts are extremely well-handled, as are Hutch's response and concern. There are no easy outs here, no pat answers or neatly tied loose ends. On the purely technical side, the story moves easily and rapidly, the dialogue is English as it's lived. To the best of my know ledge, this is [Melanie R's] first major story to see print; if she's this good now, the next couple of years should bring us portents and wonders. Thish also includes some fine poetry, several "cartoons of questionable taste", and two more short humorous pieces. Of these, Laurie Haldeman's "Mating Season" purports to tell us where Torinos come from (and I thought VW's were the only live-bearers!); and "The Fax (Ma'am)" is a parody of The Fix. I found the latter about as funny as your average dead-baby joke—personal quirk, you may think it's a scream. Art this time around is sparse but first-quality; Signe Landpn and Paulie Gilmore have done themselves especially proud. On the whole, Z3IV is a quieter issue than lastj nothing spectacular, just a hundred and thirty pages of solid excellence. Buy it. Highest recommendation. 
Zebra Three 5 was published in 1980 and has 160 pages. It has art by Beth Brown, Connie Faddis (front cover), Gloria-Ann R. (back cover), Paulie Gilmore, Signe Landon, DeAnn Llyod, Terri Korthals, Cheryl Newsome, Karen Stewart, Lizabeth Tucker, Linda Walter and Kyrol Waters.From the intro:
Regarding a sequel to "Nightrun": The author says there will be a sequel called “Riders on the Storm” that will appear in Me and Thee:Welcome to the fifth volume of 'Zebra Three'! This issue is a departure from previous volumes since it includes mainly short stories and vignettes based upon the aired episodes. I like to think of it as an S&H slice of life issue, since the wide variety of fiction and poetry traces the development of the characters from pre-first season to post-Sweet Revenge, from the fannish viewpoint... These pieces included trace the course of events that we did not see in that episode.
It more or less takes off where ‘Nightrun’ left off. Although the events of ‘Nightrun’ most certainly figure into the ‘Riders on the Storm,’ they didn’t fit into the telling properly. So, rather than cheat all of you by having us present a series of fuzzy flashbacks, I thought I’d bring you the who thing in vignette form, and Zebra Three was kind enough to print it. That’s why ‘Nightrun’ reads the way it does – it’s an isolated incident that has not yet been resolved, but will be later. There is no ending. If you wanna find out what happens in the desert, ya gotta read the next part.
- A Day in the Life by unknown (script)
- Apparition by D.C. Black
- Birthday Boy by Sandy Byrd (S and H as infants)
- Black and Blue: A Condition of the Heart by Lorraine Bartlett
- Downer by Mary Carson, poem
- Drive My Car by Lorraine Bartlett (Hutch wrecks Starsky's car, a white Duster.)
- First Impressions by Cheryl Newsome (S and H meet Huggy)
- How Many Times? by Elizabeth Lowry
- Intermezzo by Elizabeth Lowry
- Lifeline by Shirley Passman
- A Matter of Policy by Cheryl Newsome (Hutch tries to extend his insurance policy.)
- Mother’s Son by Barbara Greenwood
- Nighthorse by Karen J. Stewart (a deathfic)
- Nightrun by Joy Maricevic (Hutch is personally involved in a murder case that is lost in court. He angrily leaves the sentencing, and Starsky goes after him.)
- Once Upon a Time by Theresa Karle, poem, winner of an Encore Award
- Perchance to Sleep by Lisa Peterson
- The Phone Call by Laurie Haldeman
- Polyphony by Elizabeth Lowry, poem
- Recriminations by Jan Lindner
- Refuge by Lizabeth S. Tucker (Starsky gives Hutch money for a house.)
- Sleep’s Dark and Silent Gate by Linda Brown
- Sweet Afterthought by Barbara Greenwood
- Tomb by Kathleen Gaitely (a get'em set in their patrol days)
Reactions and Reviews: Issue 5
See reactions and reviews for Nightrun.
[Nighthorse]: ...we have "slave-trader" type "death-stories". A good example of this type would be Karen J. Stewart's Highthorse where Forrest has Starsky and Hutch as his prisoners, he tortures and kills Starsky with electric shock, then has Hutch committing suicide! This kind of emotional cruelty on the part of the Writer always has me very concerned for the outcome of the Reader! 
[zine]: Zebra Three’ has fallen on hard times. The proliferation of S&H zines has meant that not all the best stories are offered to the first press of fandom. Indeed, I think #5 is Z-3’s worst issue so far. It is almost entirely short stories or vignettes, the pieces averaging seven pages in length, including illos. A zine need not have a novella for a centerpiece to be good, but none of the bits in this issue are more tan moderately good, and some are really poor. Of the good stuff, ‘Nightrun’ was almost brilliant, but it crumbled off abruptly near the end: Hutch is personally involved in a murder case that is frustratingly lost in court; he slams out of the sentencing ready to spit tacks at the abuse he’s had on the case, Starsky runs after to keep his friend’s fury in line – and they plan to go on vacation sometime, the end. An excellent first half of a story, but we were set up for more on an ending than was supplied. Two stories that were competent were ‘The Tomb’ and ‘First Impressions.’ Gaitely is a southern star anyway; her work in the other zines has been consistently fine. Here it seems outstanding, despite a touch of talky narrative that keeps the piece from being as taut as it could be. Set back in the patrol days, it’s a notch above a get 'em because of its insight into Starsky’s sense of obligation… Newsome took the time to work out a full-bodied plot and decent characterization. Not as rich as ‘Any Major Dud’ in The Pits #2, ‘First Impressions’ deals with the same subject, how S&H met Huggy. Newsome’s other piece ‘A Matter of Policy’ is also good. It’s a light and right-on top dance of Hutch trying to extend his insurance coverage, while explaining to the adjuster about all of his accidents, trackmarks, and break-ins… The better vignettes were those by Jan Linder, Barb Greenwood, Linda Brown and Jeanne Sullivan. Not so good were Liz Tucker’s ‘Refuge’ (Starsky loves Hutch so much he gives him a $40,000 house), Bartlett’s ‘Drive My Car’ (Hutch wrecks Starsky’s beloved … white Duster?), Sandy Byrd’s ‘The Birthday Boy’ (Starsky and Hutch as infants in a Sugar & Spike plot; depending on your taste, sappy or cute)… ‘To Sleep Perchance to …’ (the inevitable dream bit) ‘a then he woke up’ has been a cliché for the last hundred years. The absolute worst piece in the zine, ‘Night Horse.’ had at least this in its favor: it many have been an unremitting an pointless hurt- Hutch but it was true enough to its premise that it ended with him dead and not clutching his pillow. I don’t recommend the zine. 
Zebra Three 6 was published in 1981 and has 134 pages. It has art by Beth Brown, Betty DeGabriel, Connie Faddis, Greg Franklin, Signe Landon, Cheryl Newsome, back cover by Gloria-Ann Rovelstad and Karen Stewart.From the editor:
Introducing the latest issue of 'Zebra Three' wouldn't seem complete without some mention of the previous issue. S&H fandom seemed split about 50/50 in their views of 'Zebra Three' Volume 5 -- some hated the short story format, some loved it. And, I got a lot more response for that one issue than for any other printed to date; much too much to print here. (You guessed it, what I printed in previous issues amounted to nearly the total amount of LoC's) Therefore, to save space in this issue, I am not printing the LoC's from issue 5. If you're really that interested, though, and want a copy of these comments, please send $2 and I'll send you a copy. Approximately, 20 pages reduced %64 -- tiny, but readable.
- It Ain't Me, Babe by Joy Mancinelli (4) (Hutch's disintegrating marriage affects his performance as a cop when he goes undercover in a gay bar to track down the city's largest heroin supplier.)
- You and Me by Lucy Cribb, poem (50)
- Coming to Terms by Laurie Haldeman (52)
- All That Glitters by Lorraine Bartlett (56) (S&H are assigned to an apparent murder/suicide at a movie studio, but soon find there was no suicide and fame and a lot of money are at stake for the murderer.)
- Retrospection by Jackie Wagner, poem (112)
- Now and Forever by D. Doxstarter (114) (Based on "Sweet Revenge", Hutch tries to come to terms with his anger and the possibility of losing his partner.)
- Job Search by Laurie Haldeman (117)
- Equilateral by C.D. Rice (118) (S&H meet up, once again, with their ex-lover Kira in a post-Sweet Revenge story.)
- Closing Comments and Coming Attractions (133)
Reactions and Reviews: Issue 6
See reactions and reviews for It Ain't Me, Babe.
See reactions and reviews for Equilateral.
See reactions and reviews for All That Glitters.
[zine]: Zebra Three was one of those rare zines that begin brilliantly and continue well. For four issues, Z3 maintained its high standard with a consistency seldom seen in fandom. "Bomb Scare", "Mojave Crossing", "Join Me in L.A." were strictly state-of-the-art when they were first printed, and justly remain classics even though their authors have grown beyond them. Then, last year, came the unmitigated disaster that was Volume 5; a Sears' catalogue of writers who couldn't write presided over by an editor who couldn't edit. Issue 6 is only fortuitously better, and the announcement that it will be the last is something of a relief. As Enobarbus so rudely remarked, the tears to weep this loss live in an onion. In order, from the sublime to the grotesquely ridiculous; The improvement thish is almost entirely due to Joy Mancinelli's ‘It Ain't Me, Babe’. It's marked by literate prose, good dialogue and a well-constructed plot. (Interesting Side Note; this story was edited by Dotty Barry, who nowhere receives credit for her work. Not to mention thanks.) What could — and in lesser hands would — have been merely another trashing of Vanessa-the-lousy-bitch here becomes a sensitive and well-balanced study of the end of the Hutchinson marriage. This Hutch is no innocent victim; he resents his wealthy in-laws and takes that resentment out on his wife he can be cruelly inconsiderate he substitutes sex for real communication. Van herself is a spoilt child in a woman's body, vain and self-indulgent. And, oddly, sympathetic. She returns her husband's love, but can find no way of coping with the life he's making for them — the danger, the worry, the fascination with violence, Starsky. Step by step, Mancinelli shows us the deliberate choices that lead to their separation, and how each has prepared for that end. Starsky here is more catalyst than actor, but his generosity and his caring comes through clearly. As does the milieu of street and bar, and the hint that Vanessa's family may not be quite so impeccable after all. If I'm reading Mr. P correctly, there's also a nice bit of foreshadowing toward "Murder One". This piece would be a bright spot in any zine; here it looks like the Koh-i-Noor diamond in a rhinestone factory. Cheryl Rice's ‘Equilateral’ deals with a reunion of S,H, and Kira, post "Sweet Revenge". Its English is competent, the dialogue crisp tending to the occasional terrific line. What's missing is a single point of view. As it stands, it's difficult to tell whether this is intended as Starsky's ..story (How I Overcame Post-Operative Depression), Hutch's (How I Learned to Stop Worrying and Love the Blonde Bomb shell), or Kira's (My Brush With Death And What It Taught Me About Human Relationships). A focus through one character would, I think, pull the whole thing into shape; this writer was failed by her editor, and it's a damn shame. Also variations on the SR theme is Darla Doxstater's "Now and Forever", in which Hutch sits by Starsky's bedside and thinks. Mostly variations on the word ‘gonna’. Last and least is Bartlett's own "All That Glitters". I hesitate to call this a novella or to use any other term which might suggest that it was actually written: what it is, mainly, is the most abysmally sloppy collect of words that I have ever seen spattered onto unoffending paper. Character's names change from one page to the next, a murderee is blackmailing the victim of a literary theft rather than its perpetrator (Don't ask, Gentle Reader. Just don't ask.), the POV leaps about like a hyperkinetic flea, the Byzantine ‘plot’ becomes inextricably entangled in its own confusions, the prose in general and the spelling and grammar in particular are occasions of dismay… A writer has an obligation to her readers, if not for herself or to her work to at least try for a quality product; to realize that there are such things as standards and to do her very best to meet them. No such effort has been made here. In fact, it looks very much as if ‘All That Glitters’ was drafted directly onto the stencils and cranked through the mimeo without so much as a simple proofreading. The result is an insult to S&H and to fandom… I can’t recommend this zine. Borrow a friend’s copy and enjoy ‘It Ain’t Me, Babe. 
- from Frienz #13
- from Frienz #13
- from Frienz #13
- comment by kslangley at What was your first fandom?, August 28, 2016
- from Mahko Root #2, 1978
- from Stardate: Unknown #4
- from Moonbeam #3
- Reading a 1977 zine in 2014: Zebra Three #1, Archived version
- from Stardate: Unknown #5
- by Jane Aumerle in Star Canticle #2
- from S and H #1
- from S and H #2
- from Scuttlebutt #14
- from Jane Aumerle in Star Canticle #2
- from Tell Me Something I Don't Know! #11
- from S and H #12
- from S and H #28 (December 1981)