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

2019 Edizione 2

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

Informazioni su questa pubblicazione

Edizioni:

7

Pubblicato:

2019–2022

Editore:

Joe Chamandy

Posizione:

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:

7

Pubblicato:

2019–2022

Editore:

Joe Chamandy

Posizione:

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.