Celluloid lunch 2019–2022

Dates

2019 2020 2021 2022

7 numéros

Sauter 5 numéros

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2019 #1

2019 #2

2020 #3

2020 #4

2021 #5

2021 #6

2022 #7

2019 Numéro 1

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36 pages

2019 Numéro 2

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48 pages

2020 Numéro 3

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112 pages

2020 Numéro 4

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116 pages

2021 Numéro 5

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140 pages

2021 Numéro 6

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140 pages

2022 Numéro 7

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54 pages

À propos de cette publication

Numéros:

7

Publié:

2019–2022

Éditeur:

Joe Chamandy

Emplacement:

Montreal, Canada
During the COVID-19 pandemic, Montreal-based editor Joe Chamandy launched his fanzine Celluloid lunch, dedicated to the “sub underground racket”. While issues one and two featured long-form interviews with underground rock artists and bands created using a typewriter and photocopy regimen, starting with issue three Celluloid lunch transformed into a publication that included interviews, reviews, comics, travel writing, and other “fuckery” contributed by talented writers. Each issue of Celluloid lunch reflects a labor of love. In the editorial of issue five, Chamandy shared that as part of the pandemic-driven creative boom, he started a record label and distro under the same name, Celluloid Lunch Records.

À propos de cette publication

Numéros:

7

Publié:

2019–2022

Éditeur:

Joe Chamandy

Emplacement:

Montreal, Canada
During the COVID-19 pandemic, Montreal-based editor Joe Chamandy launched his fanzine Celluloid lunch, dedicated to the “sub underground racket”. While issues one and two featured long-form interviews with underground rock artists and bands created using a typewriter and photocopy regimen, starting with issue three Celluloid lunch transformed into a publication that included interviews, reviews, comics, travel writing, and other “fuckery” contributed by talented writers. Each issue of Celluloid lunch reflects a labor of love. In the editorial of issue five, Chamandy shared that as part of the pandemic-driven creative boom, he started a record label and distro under the same name, Celluloid Lunch Records.