El sótano: Memorias punk Medallo 2019–2023

Date

2019 2020 2021 2022 2023

10 edizioni

Salta 5 edizioni

Vai all'anno

2019 #4

2019 #28855

2020 #28856

2020 v2 #1

2021 #29868

2021 v2 #2

2022 #28885

2022 v3 #1

2023 #27666

2023 #28890

2019 Edizione 4

2019 Edizione 28855

2020 Edizione 28856

2020 Volume 2 Edizione 1

2021 Edizione 29868

2021 Volume 2 Edizione 2

2022 Edizione 28885

2022 Volume 3 Edizione 1

2023 Edizione 27666

2023 Edizione 28890

Informazioni su questa pubblicazione

Edizioni:

10

Pubblicato:

2019–2023

Posizione:

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.

Informazioni su questa pubblicazione

Edizioni:

10

Pubblicato:

2019–2023

Posizione:

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.