Magazine

A distinct Korean sound emerged from the revival of traditional genres and the Colateks—1990s clubs for underage audiences that later became dance halls for the elderly.

San Siro isn’t just the Scala of Football—it’s a Cathedral of Sport, where only the greats play. In the golden age of Italian boxing, when names like Carnera, Loi, and Mazzinghi drew tens of thousands, this was the arena where legends were made while the legs trembled beneath the roar.

This is the story of Rome’s first self-managed trattoria, founded in the 1970s in the Testaccio neighborhood. A group of eighteen young men and women came together with the idea of creating an alternative kind of business—one free from bosses and the alienation of conventional jobs.

It’s hard to imagine a more Roman reaction than this. Just like it’s hard to imagine a neighbourhood more Roman than Testaccio. And finding one that’s more Romanista is absolutely impossible. Roma Club Testaccio embodies all this: being a Roman and a Romanista for generations is an essential identity trait.

Born in Lisbon’s suburbs in the early 2000s, Batida blends electronic music with the cultural and sociopolitical roots of the Lusophone diaspora. Reversing the usual flow of influence, it reclaims kuduro’s legacy, asserting identity through the diaspora’s cultural and sonic heritage.

The stadium is a temple of the sacrament: there is the game, with all its officiants and devotees, and God, always present, somewhere just out of sight. San Siro is sacred to Milan in the most literal sense: since 1983, it has been the gathering place for Milanese confirmation candidates.

From the aesthetic, rules and songs of the Milanese Ultra Movement to the aesthetic of the revolution in Cairo: how the highest form of fan support in the world took on a revolutionary zeal. 

San Siro is the symbol of the city of Milan: the way of living it, of dressing, of the derby’s “almost friendly” rivalry, of the city’s urbanistic outburst.

From the introduction of the Greek Afro-descendant community to the construction of an artistic and militant community project: The AfroGreeks attempts an archive of self-determination, affirmation, and resistance across Patission Avenue.

Immigrants take action against marginalization and misinformation. The Borsa spaces of the Ex Mattatoio in Testaccio has been occupied. The multiracial centre Villaggio Globale is born.

When we talk about live arts, that is, “arts performed live,” what are we referring to? A story that began in the 1970s in Bologna (Italy), and completely changed the practices and conceptualization of contemporary art.

For almost a century, San Siro has been the custodian of the dreams of millions of people, whose hopes blend and mix, each time fueling its spirit: it is the temple where contemporary heroes perform—playing the most-watched games in recent history and singing the most iconic songs before tens of thousands of people.

The Testaccio neighborhood in Rome has a millennia-old history, beginning with the port and warehouses of the Roman era and evolving with the construction of the public slaughterhouse in the late 19th century. From its discarded cuts of meat, the ‘quinto quarto’ cuisine was born—today considered the quintessential expression of the city’s culinary tradition.