This event was the final stepping stone of Argentine rock in becoming the dominant form of music in the country. At the same time, English-language rock was wiped out from radio play. The programmers had to fill the voids with something, and that was with Argentine rock. This created the opportunity of exposure to countless underground bands. It would set the foundations for the explosion of rock in the mid-1980s. In the latter days of symphonic rock, a great number of new groups started popping seemingly out of nowhere. In reality, these were bands influenced by post-punk, new wave from the US and Britain, and by the more symphonic and less progressive side of Argentine rock. Patricio Rey y sus Redonditos de Ricota, who had started in 1977, were growing a larger following on a monthly basis. In 1979 in La Plata, Federico Moura would form a pioneering new wave band called Virus. In Buenos Aires, three young men influenced by the advent of post-punk in Britain started exchanging ideas, and decided to form a band with the name Soda Stereo. In 1980 friends who were enthralled by the wave of US and UK punk formed the band Los Violadores. Miguel Abuelo, a founding figure of Argentine rock in the 1960s, would return after a decade in Europe and form Los Abuelos de la Nada, which happened to feature a young man by the name of Andres Calamaro. Someone named Miguel Mateos, after talking to Freddie Mercury, won the opportunity to open for Queen in Buenos Aires with his new band ZAS. At the local pubs in Mendoza a pop-rock act called Los Enanitos Verdes appeared. An Italian of Scottish background named Luca Prodan arrived in Argentina to fight his heroin addiction, worsened by the death of his friend Ian Curtis of Joy Division. Prodan would form Sumo. This band, one of the least conventional in Argentina at the time, and since, has been voted Best Argentine Band by a poll composed by rock journalists in 2009. Despite its 'underground' status, it has fervent followers in Chile, Uruguay, Mexico and a plethora of countries worldwide. From the Festival of Latin American Solidarity emerged solo artists that would go on to delve into a more adult oriented form of rock and pop music, with the Argentine youngsters of the 1960s now mature adults. Some of these names were Juan Carlos Baglietto