The emergence of new forms of political action in changing societies

Rock musicians and their audiences in the Soviet Union and Argentina

Rocking Change: Political Agency in Rock Movements in the Soviet Union during Perestroika (1986–1991) and in Argentina during the Crisis of the Dictatorship

How did young rock fans actively participate in the political transitions of the late 20th century in the USSR and Argentina? Originally from Russia, Irina Veselova explores these issues through various sources, both published and private.

This project investigates the role of youth rock audiences in the political and social transformations that unfolded in two authoritarian regimes during their final years: the Soviet Union in the perestroika period (1986–1991) and Argentina under the last military dictatorship (1980–1983). In both countries, national rock scenes emerged under the influence of Western music, blending local experiences with global sounds and aesthetics. Rock quickly became more than just entertainment: it created shared cultural spaces that offered alternatives to official discourse. At a time when public expression was closely monitored, listening to rock became a way to shape one’s identity, explore independent thinking, and imagine different futures. As censorship weakened and the regimes began to lose control, the boundaries between cultural and political engagement blurred. Lyrics became more provocative, concerts more emotionally charged, and audiences more willing to articulate political concerns.

While rock musicians have often been the focus of public attention and academic research, the audiences who gathered around their music remain surprisingly understudied. My aim is to understand how young people who were drawn to rock music - often seen by the authorities as ideologically dangerous - became agents of change in moments of political transition. How did audiences engage with rock music as a form of political and social expression in the USSR and Argentina during the periods under consideration?

How did the political meaning in rock music shape their views on war, social issues, and the future?

To what extent did rock music foster an experience of political agency among listeners and how seriously did they take the more explicit political discourse of rock musicians?

«F_ck off. I'm crazy. I hate Stalin.» - text on a jacket — © Yarik Maev, Moscow, Arbat Street, 1988

To address these questions, I analyze both unpublished and published materials. Among the most valuable sources are diaries, memoirs, letters from youth to various magazine editors, and recorded interviews with audiences. These materials help identify manifestations of political agency among rock listeners. Additionally, interviews with participants of the events, although retrospective in nature, provide valuable insights for this research.

This research also speaks to current concerns. In a time when authoritarian tendencies are once again gaining strength, and when young people continue to use culture as a way to navigate political realities, understanding the past experiences of youth audiences becomes more relevant than ever. Rock music in the late Soviet Union and Argentina did not produce formal political programs – but it did generate communities, emotions, and ideas that contributed to broader social change. By looking at how political agency can grow from listening, sharing, and interpreting culture, this project offers new insights into the complex relationship between art and politics.