El sótano: Memorias punk Medallo 2019–2023
Fechas
2019
2020
2021
2022
2023
10 ediciones
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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 Edición 4
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13 páginas
2019 Edición 28855
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8 páginas
2020 Edición 28856
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2 páginas
2020 Volumen 2 Edición 1
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22 páginas
2021 Edición 29868
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8 páginas
2021 Volumen 2 Edición 2
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48 páginas
2022 Edición 28885
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42 páginas
2022 Volumen 3 Edición 1
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30 páginas
2023 Edición 27666
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78 páginas
2023 Edición 28890
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22 páginas
Acerca de esta publicación
Ediciones:
10Publicado:
2019–2023Ubicación:
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.
Acerca de esta publicación
Ediciones:
10Publicado:
2019–2023Ubicación:
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.