El sótano: Memorias punk Medallo 2019–2023

Dates

2019 2020 2021 2022 2023

10 numéros

Sauter 5 numéros

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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 Numéro 4

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13 pages

2019 Numéro 28855

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8 pages

2020 Numéro 28856

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2 pages

2020 Volume 2 Numéro 1

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22 pages

2021 Numéro 29868

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8 pages

2021 Volume 2 Numéro 2

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48 pages

2022 Numéro 28885

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42 pages

2022 Volume 3 Numéro 1

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30 pages

2023 Numéro 27666

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78 pages

2023 Numéro 28890

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22 pages

À propos de cette publication

Numéros:

10

Publié:

2019–2023

Emplacement:

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.

À propos de cette publication

Numéros:

10

Publié:

2019–2023

Emplacement:

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.