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In the article I cover Hungarian documentaries from the 1960s, 70s and 80s that focus on beat music and its reception to explore the contradictory relationship between the state socialist system and youth culture. Films featured in the analysis are Ezek a fiatalok (These Youth, Banovich Tamás, 1967), Meghallgatás (Audition, Jeles András 1968), Extázis 7-tõl 10-ig (Ecstasy from 7 to 10, Kovács András 1969), Válogatás (The Selection, Gazdag Gyula 1970), Az volt a hej… igazi szép idõ (Yeah, Those Were the Days, Szomjas György, 1978), Mikor megszülettem (When I Was Born, Gazdag Gyula, 1979), Az õszinte szó kevés (Honest Words Are Not Enough, B. Révész László, 1980), Kölyköd voltam (I Was Your Kid, Almási Tamás, 1983), Úgy érezte, szabadon él (Felt to Be Free, Vitézy László, 1988) etc. [ABSTRACT FROM AUTHOR]

La falta de obras de referencia que recopilen los primeros años del movimiento rock-pop en Argentina ha provocado la invisibilidad de gran parte de los músicos y grupos pioneros. La historiografía oficial ha dado escasa importancia a las producciones musicales anteriores a la grabación del tema “La Balsa” por Los Gatos en 1967, lo que motivó que gran parte de esa historia permaneciera oculta. En los últimos años numerosos estudios académicos han abordado esta problemática, dando una nueva mirada a la emergencia de los orígenes y afianzamiento del llamado Rock Nacional. Postulamos que la Bibliotecología mediante sus técnicas de búsqueda y acceso a la información, cumple un papel fundamental en la búsqueda y organización documental para poner luz sobre los inicios difusos del rock en la Argentina. Este proyecto individual (en curso) tiene como objetivo investigar dicho período, y generar un repertorio biográfico sobre el movimiento del rock/pop en la Argentina, recopilando a los solistas y bandas que surgieron entre 1955 y 1973 y que prefiguraron al futuro Rock Nacional.= The lack of reference works that compile the early years of the rock-pop movement in Argentina has caused the invisibility of most of the pioneer musicians and groups. The official historiography has given little importance to the musical productions prior to the recording of the song “La Balsa” by Los Gatos in 1967, which led to a large part of this history remaining hidden. In recent years numerous academic studies have addressed this issue, giving a new look at the emergence of the origins and consolidation of the so-called “National Rock”. We postulate that librarianship, through its search techniques and access to information, plays a fundamental role in the search and organization of documents to shed light on the diffuse origins of rock in our country. This individual project (in progress) aims to investigate this period, and generate a biographical repertoire on the origins of the rock/pop movement in Argentina, compiling soloists and bands that emerged between 1955 and 1973 that foreshadowed the future “National Rock”.

The author, a former beat (pop, rock, then jazz and folk) critic, tries to summarize the narrative of the Hungarian youth music movement four decades after his study “A magyar beatkorszakszak” (The Hungarian Beat Era). In his view, from this perspective, it can be inserted as the narrative of a historical period not only into the history of a genre or culture, but also into the “universal” history of the Kádár era. Without this, the essence and atmosphere of the peculiar Hungarian “goulash communism” cannot be understood. For this apparently “freetime” activity of young people – on the borders of legality and illegality – can be seen as the most significant oppositional or countercultural movement pervading the whole of society. This is because it has permeated all strata of society through its “sensual-erotic” medium. This politically elusive movement popularized the West’s sense of life and its ideals of living, with great success, in the context of a regime that was built on the very denial of these ideals – in the East’s zone of great power oppression. [ABSTRACT FROM AUTHOR]

In this article, we try to demonstrate that a series of songs published in 1969 are the basis of what we call the code, or the muse, beat, a mythology that journalists would call from the following year «rock national». This mythology has survived until today. It consists, in our opinion, on two classic genres, the exhortation and exemplum, away from two neighbouring musical expressions: political protest song and romantic love song.

This article explores the Beat music scene in Hamburg, West Germany, in the early 1960s. This scene became famous for its role in incubating the Beatles, who played over 250 nights there in 1960–62, but this article focuses on the prominent role of fans in this scene. Here fans were welcomed by bands and club owners as cocreators of a scene that offered respite from the prevailing conformism of West Germany during the Economic Miracle. This scene, born at the confluence of commercial and subcultural impulses, was also instrumental in transforming rock and roll from a working-class niche product to a cross-class lingua franca for youth. It was also a key element in West Germany's broader processes of democratization during the 1960s, opening up social space in which the meanings of authority, respectability, and democracy itself could be questioned and reworked.