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Rock Nacional and Revolutionary Politics: The Making of a Youth Culture of Contestation in Argentina, 1966-1976

Published online by Cambridge University Press:  17 February 2015

Valeria Manzano*
Affiliation:
Universidad de San MartinBuenos Aires, Argentina

Extract

On March 30, 1973, three weeks after Hctor Cmpora won the first presidential elections in which candidates on a Peronist ticket could run since 1955, rock producer Jorge lvarez, himself a sympathizer of left-wing Peronism, carried out a peculiar celebration. Convinced that Cmpora's triumph had been propelled by young people's zeal—as expressed in their increasing affiliation with the Juventud Peronista (Peronist Youth, or JP), an organization linked to the Montoneros—he convened a rock festival, at which the most prominent bands and singers of what journalists had begun to dub rock nacional went onstage. Among them were La Pesada del Rock- 'n'Roll, the duo Sui Gneris, and Luis Alberto Spinetta with Pescado Rabioso. In spite of the rain, 20,000 people attended the Festival of Liberation, mostly muchachos from every working- and middle-class corner of Buenos Aires, as one journalist depicted them, also noting that while the JP tried to raise chants from the audience, the boys acted as if they were untouched by the political overtones of the festival.

Type
Research Article
Copyright
Copyright © Academy of American Franciscan History 2014 

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References

I would like to thank Eric Zolov for his valuable comments on various earlier drafts of this article, as well as the anonymous reviewers of The Americas. The research and writing of this article were assisted by an ACLS New Faculty Fellows award, with the support of The Andrew Mellon Foundation.

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46. Melenudos del mundo, unios, Panorama 101, April 1, 1969, pp. 10–11.

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56. La supremaca masculina es notoria en el mbito de la msica moderna, La Opinin, January 26, 1972, p. 18.

57. Authors interview with Hilda L. (b. 1950 in the city of Buenos Aires), August 22, 2007.

58. Adis al secundario, La Bella Gente 3, February 1970, p. 78.

59. Bitar, Fernndez, El rock en la Argentina, p. 52.Google Scholar

60. See Coates, Norma, (R)evolution Now? Rock and the Political Potential of Gender, in Sexiiig the Groove: Popular Music and Gender, Whiteley, Sheila, ed. (New York: Routledge, 1997), pp. 5457.Google Scholar

61. As examples of how those poetics and music styles functioned, listen to Spinetta, Luis Alberto Hoy todo el hielo en la ciudad, on Almendra, 1970,Google Scholar RCA (now Sony-BMG); Martinez, Javier and Gabis, Claudio Avellanedas Blues, in Manal, Manal, 1970,Google Scholar Mandioca (now Sony-BMG).

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64. El contestador, La Bella Gente 8, September 1970, p. 85.

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66. Editorial: Bueno/Malo, Pelo 3, April 1970, p. 4. According to Pelos former director, the magazine sold 150,000 copies monthly in Argentina and was exported to other Latin American countries as well. Authors interview with Daniel Ripoll (b. 1944 in city of Buenos Aires), June 27, 2007.

67. Msica pop argentina, Pelo 1, February 1970, p. 3; Los conjuntos de la msica pop argentinos, Pelo, April 1970, pp. xvii–xxiv.

68. See Huyssen, Andreas, Afier the Great Divide: Modernism, Mass Culture, Postmodernism (Blooming-ton: Indiana University Press, 1986), pp. 5053.CrossRefGoogle Scholar For the way in which the dichotomy between pop and rock was crafted in the Anglo-Saxon context, see McRobbie, Angela and Frith, Simon Rock and Sexuality [1978], in On Record: Rock, Pop, and the Written Word, Frith, Simon and Goodwin, Andrew eds. (New York: Rout-ledge, 1990), pp. 371389;Google Scholar and for more recent discussions, Biddle, Ian and Jarman-lvens, Freya Oh, Boy! Making Masculinity in Popular Music, in Oh, Boy! Masculinities and Popular Music, Ivens, Freya Jarman ed. (New York: Routledge, 2007), pp. 117;Google Scholar and Frank, Gillian Discophobia: Antigay Prejudice and the 1979 Backlash against Disco, Journal of the History of Sexuality 16: 2, May 2007, pp. 276306.CrossRefGoogle ScholarPubMed

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70. BAROCK II: al fin y al cabo, naci para ser salvaje, Panorama 238, November 16, 1971, pp. 46–47.

71. Beat, un estilo de vida, Clarn, Revista de los Jueves, December 2, 1971, n.p.

72. The literature on this process of political radicalization is abundant. For general overviews, see Pucciareli, Alfredo ed. La primaca de la poltica: Lanusse, Pern y la Nueva Izquierda en tiempos del GAN (Buenos Aires: EUdeBA, 1999);Google Scholar and Riz, Liliana de La poltica en suspenso, 1966–1976 (Buenos Aires: Paids, 2000).Google Scholar For the development of the most important guerrilla groups, see Gillespie, Richard Soldiers of Pern: Argentinas Montoneros (New York: Clarendon Press, 1982);Google Scholar and Pozzi, Pablo Por las sendas argentinas: el PRT-ERP, la guerrilla marxista (Buenos Aires: EUdeBA, 2001).Google Scholar

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74. Ortolani, Luis [signing as Julio Parra], Moral y proletarizacin, Polticas de la Memoria 5 (2004– 2005), pp. 99100.Google Scholar It first appeared in a clandestine publication of the PRT-ERP militants who, like Ortolani, were imprisoned in Rawson (Chubut), in 1972. It was reprinted in 1974, and its reading was mandatory for incoming PRT-ERP militants.

75. Carta de un compaero a Manuel Belloni y Diego Frondizi, Nuevo Hombre 21, December 8, 1971, pp. 8–9.

76. Weinhauer, Klaus The End of Certainties: Drug Consumption and Youth Delinquency in West Germany, in Between Marx and Coca Cola: Youth Cultures in Changing European Societies, 1960–1980, Schildt, Alex and Siegfried, Detlef, eds. (New York: Bergham Books, 2006), pp. 376397;Google Scholar Giachetti, , Anni sessanta, pp. 320321.Google Scholar

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83. Interview with Luis Salinas (b. 1954 in Buenos Aires), Memoria Abierta Archive, File 0260.

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88. Parfrasis beat sobre el Padre Nuestro con visibles acentuaciones polticas, La Opinin, December 18, 1971, p. 23; Una obra con msica de rock critica la deformacin del lenguaje de Jess, September 8, 1972, p. 18.

89. Desrdenes en el Luna Park frustraron un recital de rock, La Opinion, October 22, 1972, p. 11. For a sensationalist chronicle, see Perdn, muchachos, esto es rock?, Gente 379, October 26, 1972, p. 4.

90. La marcha de Pedro hacia la bronca, Pelo 12, January 1971, pp. 14–17.

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95. Buen recital de rock, Noticias, December 28, 1973, p. 17; Nuevo disco de Arco Iris, January 28, 1974, p. 22.

96. Discos para la liberacin, Noticias, January 26, 1974, p. 15. The record was distributed by the Ministry of Education at schools in the metropolitan areas of Buenos Aires.

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100. On the relations between the emergent feminist groups and the revolutionary left, see Nari, Marcela Abrir los ojos, abrir la cabeza: el feminismo en la Argentina de los aos 70, Feminaria 9: 18/19, 1996, pp. 1521;Google Scholar Vasallo, Alejandra Movilizacin, poltica y orgenes del feminismo argentino en los 70, in Historia, gnero y poltica en los aos 70, Andujar, Andrea ed. (Buenos Aires: Feminaria, 2005), pp. 6188.Google Scholar On the emergence of a gay-rights movement, and especially on the tense relationships between the Frente de Liberacin Homosexual and the Montoneros, see Rapisardi, Favio and Modarelli, Alejandro Fiestas, baos y exilios: los gays porteos durante la ltima dictadura (Buenos Aires: Sudamericana, 2001), pp. 159163.Google Scholar For other Latin American experiences, see Rodrguez, Ileana Women, Guerrillas, and Love: Understanding War in Central America (Minneapolis: University of Minnesota Press, 1996), esp. pp. 93113;Google Scholar and Green, James N. A luta pela igualdade: desejos, homossexualidade e a esquerda na Amrica Latina, Cadernos Edgard Leuenroth, Homosscxualidade: Sociedade, Movimentos e Lutas, 18/19, 2003, pp. 1339.Google Scholar

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102. Solicitada: 20 de Junio-Ezeiza-20 de Julio, Clarn, July 20, 1973, p. 5.

103. See Cowan, Ben A. Sex and the Security State: Gender, Sexuality, and Subversion at Brazils Escola Superior de Guerra, 1964–1985, Journal of the History of Sexuality 16: 3 (July 2007), pp. 459481;CrossRefGoogle Scholar and Langland, Victoria Birth Control Pills and Molotov Cocktails: Reading Sex and Revolution in 1968 Brazil, in In from the Cold: Latn Americas New Encounters with the Cold War, Joseph, Gilbert M. and Spenser, Daniela eds. (Durham, N.C.: Duke University Press, 2009), pp. 308349.Google Scholar

104. El contrabajista y cantante Alejandro Medina ratific su originalidad, La Opinin, March 26, 1974, p. 18.

105. Among those withdrawn was Daniel Ripolls program at Radio Antrtida. Ripoll recalls that he had first received some pressure from left-leaning Peronists, who wanted more commitment, and then from right-wing Peronists, who finally censored the program, Authors interview with Daniel Ripoll, June 27, 2007.

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107. At the same time that some Argentine rockers began to leave, some Chilean rock bands, for example Los Jaivas, fled to Argentina to get away from General Augusto Pinochets dictatorship, established in September of 1973. Los Jaivas remained in Buenos Aires until the imposition of the military coup in March of 1976.

108. Cantilo, , Chau Loco, p. 109.Google Scholar

109. Diario de Sesiones de la Cmara de Diputados, Vol. 2, September 19, 1974, pp. 2856–2868. The law was passed as part of a set of agreements between the Argentine and U.S. governments. Under the agreements, the U.S. government committed itself to provide training, equipment, and other resources to back the federal police in a war on drugs. Argentina served as a showcase for this type of agreement, which was favored by the Nixon and Ford administrations as a way to build influence in Latin American and Asian nations. See Gootenberg, Paul Andean Cocaine: The Making of a Global Drug (Chapel Hill: The University of North Carolina Press, 2008), pp. 308310;Google Scholar and Kim, Pil Ho and Shin, Hyunjoon The Birth ofRok: Cultural Imperialism, Nationalism, and the Glocalization of Rock Music in South Korea, 1964–1975, positions: east asian cultures critique 18: 1 (Spring 2010), esp. pp. 220222.CrossRefGoogle Scholar

110. See for instance Mom, Jorge Moras Toxicomana y delito (Buenos Aires: Abeledo-Perrot, 1975), pp. 149158.Google Scholar

111. Drogas, qu pasa en la Argentina?, Gente 503, March 12, 1975, pp. 64–67; Editorial: Drogas y subversion, Clarn, May 12, 1975, p. 12.

112. Cmara de Empresarios de Locales de Expansin Nocturna to the Jefe de la Cmara de Diputados and the Jefe de la Cmara de Senadores, File 16386, Box 27; letter from the Cmara de Empresarios to the Ministro del Interior, and letter from the Ministro del Interior to the Cmara de Empresarios, Files 16610 and 16204, Box 15, Expediented Generales, Archivo General de la Nacin (AGN).

113. See for example Redadas en Plaza Irlanda, Clarn, March 15, 1975, p. 22. For an overview of the year 1975, see Drogas, los tentculos de la corrupcin, Siete Das 445, December 12, 1975, pp. 90–95,

114. Adolescencia y drogas, Actualidad Psicolgica 4 (July 1975), pp. 1–3.

115. Adriana Sesto and others to the Ministro del Interior, File No. 160785, Box 26; Marina Santos and others, Villa Crespo, to the Ministro del Interior, File No. 172222, Box 13, Expedientes Generales, AGN.

116. Gillespie, , Soldiers of Pern, pp. 215216.Google Scholar

117. Garao, and Pertot, , La otra juvenilia, pp. 99105.Google Scholar

118. Sui Gneris y 36.000 personas demostraron que el rock es lo ms grande en la Argentina, Pelo 69, October 1975, p. 3.

119. Argentinas National Commission on Disappeared People, Nunca Ms (Never Again) (London: Faber and Faber, 1986 [1984]), p. 285.Google Scholar

120. Vila, Pablo Rock Nacional and Dictatorship in Argentina, Popular Music 6: 2, May 1987, pp. 129148;CrossRefGoogle Scholar Pujol, Sergio Rock y dictadura (Buenos Aires: Emec, 2004).Google Scholar

121. Interview with Eduardo Blaustein, Memoria Abierta Archive, File 0251. There is a similar story in Los chicos del exilio: Argentina (1975–1984), Diana Guelar, Vera Jarach, and Beatriz Ruiz, eds. (Buenos Aires: Ediciones El Pas de Nomeolvides, 2002), p. 116.

122. Grossberg, Lawrence We Gotta Get out of This Place: Popular Conservatism and Postmodern Culture (New York: Routledge, 1994), pp. 147148.Google Scholar

123. Authors interview with Emilio C. (b. 1955 in Valentn Alsina-Lans), August 12, 2007.

124. Reportaje a Luis Alberto Spinetta, Grito Joven 3, September 1974, n.p.