The sixties witnessed many youth unrests across the globe. Compared to previous decades, a distinctive decisional category emerged: youth. They gained a central role by defining themselves in opposition to other generations and perceiving themselves as a unique one with a purpose to change history through 'revolution'. At the same time, the youngsters considered themselves to belong to a movement that transcended their local city, the national borders, and ideological barriers. Yet, there were different ways to express the discontent against the values of the 'gerontocracy'. This dissertation creates a local, regional, and comparative analysis of the history of sixty-eighters from Hungary and Romania. It will focus on their childhood experiences and on the impact of political decisions. A significant determinant was the cultural and psychological background of each of the protagonists. The group cohesion and the cultural and psychological background of each protagonist determined their protest tactics. Some youngsters were not interested in politics, but the state considered their activities, such as listening to Radio Free Europe or playing in a rock band to be a threat. A variety of cultural genres were involved in this process: music was an essential component of the late 1960s, which had a notable role in challenging the Establishment. Thus, another line of inquiry will explain how musicians and artists used different protest expressions, such as Maoism, rock music, or 'passive resistance' as protest tactics. The relationship between artists and the state was not always an oppositional one. Instead, this project will use James Scott's concepts of infrapolitics and hidden transcripts to show there was always a negotiation and a compromise between various networks.