El sótano: Memorias punk Medallo 2019–2023
Daten
2019
2020
2021
2022
2023
10 ausgaben
Springe 5 Ausgaben
Zum Jahr gehen
2019 #4
2019 #28855
2020 #28856
2020 v2 #1
2021 #29868
2021 v2 #2
2022 #28885
2022 v3 #1
2023 #27666
2023 #28890
2019 Ausgabe 4
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13 Seiten
2019 Ausgabe 28855
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8 Seiten
2020 Ausgabe 28856
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2 Seiten
2020 Band 2 Ausgabe 1
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22 Seiten
2021 Ausgabe 29868
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8 Seiten
2021 Band 2 Ausgabe 2
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48 Seiten
2022 Ausgabe 28885
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42 Seiten
2022 Band 3 Ausgabe 1
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30 Seiten
2023 Ausgabe 27666
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78 Seiten
2023 Ausgabe 28890
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22 Seiten
Über diese Publikation
Ausgaben:
10Veröffentlicht:
2019–2023Standort:
Colombia
El sótano: Memorias punk Medallo was a 20-issue fanzine in Spanish that documented the memories of the punk scene in Medallo, the nickname for the city of Medellín, Colombia. Between 1980 and 1995, the punk community faced significant challenges, particularly from structural violence, including violence perpetrated by narcotrafficking groups and public armed forces. Eberhar Cano, known as El “Flako” Porras and the editor of El sótano, collaborated with various individuals involved in the Medellín scene to capture these memories. He envisioned El sótano as a countercultural repository, deliberately avoiding the editorial and stylistic constraints of academic writing to preserve the underground experiences of punk youths who resisted structural violence, and defended public spaces for punk gatherings and for listening to punk music. Inspired by earlier local publications like Visión rockera and English-language zines, Cano launched El sótano with the urgency to memorialize the names and ideas of important figures within the movement.
Über diese Publikation
Ausgaben:
10Veröffentlicht:
2019–2023Standort:
Colombia
El sótano: Memorias punk Medallo was a 20-issue fanzine in Spanish that documented the memories of the punk scene in Medallo, the nickname for the city of Medellín, Colombia. Between 1980 and 1995, the punk community faced significant challenges, particularly from structural violence, including violence perpetrated by narcotrafficking groups and public armed forces. Eberhar Cano, known as El “Flako” Porras and the editor of El sótano, collaborated with various individuals involved in the Medellín scene to capture these memories. He envisioned El sótano as a countercultural repository, deliberately avoiding the editorial and stylistic constraints of academic writing to preserve the underground experiences of punk youths who resisted structural violence, and defended public spaces for punk gatherings and for listening to punk music. Inspired by earlier local publications like Visión rockera and English-language zines, Cano launched El sótano with the urgency to memorialize the names and ideas of important figures within the movement.