Celluloid lunch 2019–2022
Date
2019
2020
2021
2022
7 edizioni
Salta 5 edizioni
Vai all'anno
2019 #1

2019 #2

2020 #3

2020 #4

2021 #5

2021 #6

2022 #7

2019 Edizione 1
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36 pagine
2019 Edizione 2
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48 pagine
2020 Edizione 3
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112 pagine
2020 Edizione 4
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116 pagine
2021 Edizione 5
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140 pagine
2021 Edizione 6
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140 pagine
2022 Edizione 7
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54 pagine
Informazioni su questa pubblicazione
Edizioni:
7Pubblicato:
2019–2022Editore:
Joe ChamandyPosizione:
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.
Informazioni su questa pubblicazione
Edizioni:
7Pubblicato:
2019–2022Editore:
Joe ChamandyPosizione:
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.