Patterns of Social Exclusion in Soviet Music Underground: Leningrad Rock Club Case Study

Investigating patterns of social exclusion in the Soviet musical underground is of our interest for two reasons. First, this study contributes to the investigation of Russian creative labour, which numerous mechanisms have been adapted from the Soviet period. Secondly, this work is aimed at developing new technologies and opportunities for the music production market. The aim of this study was to identify patterns of social exclusion in the underground music production of the Soviet Union. I realized that in order to determine what is needed, an understanding of the context in which there is both cultural work and an understanding that social exclusion is different is required. Analysis of works that proved the existence of the phenomena of the Leningrad rock club showed the existence of two results of musical cultures - official and underground. However, we see that their parallelism can be definitely called into question. The second challenge is that rock musicians are in favor of cardinal strategies. Based on the interviews and memoirs, I identified three main categories: underground concerts, “do-it-yourself” culture and parallel employment. In the end, in this area, general exceptions from the polar production of the Leningrad rock club were revealed. During the analysis, I found out that the exception was possible on the basis of class and gender. Thus, the foundations of the class differentiation of rock musicians lie in their belonging or not belonging to the so-called "technical intelligentsia". The exception based on gender is intersectional. First, women are already in the minority at the stage of exclusion by class. Secondly, the identification of the existence of strong stereotypes with respect to women, as well as the different meanings of the concept “musician” for women and for men.