El sótano: Memorias punk Medallo 2019–2023
Dates
2019
2020
2021
2022
2023
10 issues
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2019 #4
2019 #28855
2020 #28856
2020 v2 #1
2021 #29868
2021 v2 #2
2022 #28885
2022 v3 #1
2023 #27666
2023 #28890
2019 Issue 4
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13 pages
2019 Issue 28855
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8 pages
2020 Issue 28856
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2 pages
2020 Volume 2 Issue 1
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22 pages
2021 Issue 29868
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8 pages
2021 Volume 2 Issue 2
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48 pages
2022 Issue 28885
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42 pages
2022 Volume 3 Issue 1
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30 pages
2023 Issue 27666
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78 pages
2023 Issue 28890
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22 pages
About this Publication
Issues:
10Published:
2019–2023Location:
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.
About this Publication
Issues:
10Published:
2019–2023Location:
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.