DOCSLIB.ORG

Youth Cultural Participation in the Balkans

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Youth Cultural Participation in the Balkans Balkan Regional platform for youth participation and dialogue YOUTH CULTURAL PARTICIPATION IN THE BALKANS Research study prepared by the research team led by Jasna Milošević Đorđević, Pavle Pavlović December, 2017 This publication has been produced with the assistance of the European Union. The contents of this publication are the sole responsibility of the European Association for Local Democracy – ALDA and can in no way be taken to reflect the views of the European Union. CONTENTS Tables ............................................................................................................................................................ 3 Figures ........................................................................................................................................................... 3 1. Introduction .......................................................................................................................................... 6 1.1. Cultural participation: conceptual and hypothetical framework ................................................. 6 1.2. Methodology ................................................................................................................................. 7 2. Desk analysis ....................................................................................................................................... 10 2.1. European (supranational) level ................................................................................................... 10 EU Culture Programs ........................................................................................................................... 13 2.2. Regional level .............................................................................................................................. 15 2.3. National level .............................................................................................................................. 17 3. Secondary Analysis .............................................................................................................................. 32 3.1. The Indicator Framework on Culture and Democracy (IFCD) ..................................................... 32 3.2. Bosnia and Herzegovina .............................................................................................................. 34 3.3. Kosovo* ....................................................................................................................................... 36 3.4. Montenegro ................................................................................................................................ 36 3.5. FYR Macedonia ............................................................................................................................ 38 3.6. Serbia .......................................................................................................................................... 39 4. Survey analysis .................................................................................................................................... 41 4.1. Socio-demographic characteristics of respondents .................................................................... 41 4.2. Perception of the surroundings and the environment in relation to culture ............................. 43 4.3. Cultural needs ............................................................................................................................. 46 4.4. Cultural participation .................................................................................................................. 50 4.5. Media and Youth ......................................................................................................................... 55 4.6. Conclusion ................................................................................................................................... 57 5. Focus Group Discusion ........................................................................................................................ 59 5.1. Habits in spending free time ....................................................................................................... 60 5.2. Cultural reception ....................................................................................................................... 61 5.3. Cultural production ..................................................................................................................... 64 5.4. Causes for cultural participation of youth .................................................................................. 65 5.5. Information sources .................................................................................................................... 66 2 5.6. Conclusion ................................................................................................................................... 66 6. Interview with stakeholders ............................................................................................................... 68 6.1. Profiles of interviewers and covered sector ............................................................................... 68 6.2. Personal perception .................................................................................................................... 69 6.3. Legislative background and institutional efficiency .................................................................... 70 6.4. The role of Youth in the field of culture ...................................................................................... 72 6.5. Cultural offer and cultural participation ..................................................................................... 73 6.6. Comparison with EU .................................................................................................................... 74 6.7. Current situation in culture ......................................................................................................... 75 6.8. Conclusion ................................................................................................................................... 77 Recommendation ........................................................................................................................................ 78 Bibliography ................................................................................................................................................ 82 Tables Table 1: Characteristics of the Focus Group Discussion ............................................................................. 60 Table 2: Characteristics of the Interview with stakeholders ...................................................................... 68 Figures Figure 1: Relation between Democracy and Cuture ................................................................................... 33 Figure 2: Relation between Economy and Culture ..................................................................................... 33 Figure 3: Relation between Cultural Infrastructure and Cultural Participation.......................................... 34 Figure 4: Gender ......................................................................................................................................... 41 Figure 5: Education ..................................................................................................................................... 42 Figure 6: Place of residence ........................................................................................................................ 42 Figure 7: Connections with surroundings (mean differences) .................................................................... 43 Figure 8: Level of interest for cultural content (mean differences) ............................................................ 44 Figure 9: Connections with surroundings in urban and non-urban societies (mean differences) ............. 45 Figure 10: Level of interest for cultural content in urban and non-urban societies (mean differences) ... 45 Figure 11: Free time of respondents (multiple answers) ............................................................................ 47 Figure 12: Importance of culture (mean differences) ................................................................................. 48 3 Figure 13: Adequacy of cultural offer (mean differences) .......................................................................... 49 Figure 14: How satisfied are you with the cultural life in the city where you study (mean differences) ... 49 Figure 15: Needs that you usually renounce (mean differences) ............................................................... 50 Figure 16: Level of cultural participation (mean differences)..................................................................... 51 Figure 17: Cultural participation ................................................................................................................. 52 Figure 18: Main reasons for poor cultural participation ............................................................................. 53 Figure 19: What are you reading most? ..................................................................................................... 54 Figure 20: Cultural production in last year ................................................................................................. 55 Figure 21: Ways of informing about
Load more

Recommended publications
  • 2020-Indiana-Festival-Guide.Pdf
    2020 ® A proud sponsor of the Indiana Festival Guide since 1972 You think about your to-do list. AUTO • HOME • LIFE BUSINESS • ANNUITIES • FARM We’ll help you think about your what-if list. INFarmBureau.com 2020 June 13-14 September 10-13 West Boggs Civil War Reenactment White River Valley Antique Show 16117 US-231, Loogootee Daviess Fairgrounds August 6-8 September 11-12 Odon Old Settlers Festival Chandelier Barn Market Odon Park, Odon 5060 E 350 N, Montgomery September 5 September 19-20 Amish Quilt Auction 20th Century Chevy Car Festival Simon J Graber Building, Cannelburg East Side Park, Washington September 10-13 September 26 Daviess County Turkey Trot Wine & Brew Fest Ruritan Park, Montgomery Main Street, Washington AUTHENTIC AMISH QUILTS FABULOUS FOOD ANTIQUES GUIDED TOURS 812.254.5262 • [email protected] Find more festival and event information at IndianaFestivals.org and see page 103 for County & Regional Map. 1 Welcome! Dear Indiana Travelers and Festival Fans, Here in Indiana, festival season never stops. From car shows to music festivals to Suzanne Crouch county fairs, there is something for everyone in the Hoosier state. Lt. Governor The 2020 Indiana Festival Guide® is the best source for choosing from one of the state’s hundreds of festivals. So pick your favorites, mark your calendars and enjoy all that Indiana has to offer. On behalf of Indiana Tourism and the Indiana State Festivals Association, we would like to thank you for choosing Indiana as your festival destination all year long. Safe travels! Brenda Alexander President, ISFA Frankton Heritage Days Brenda Alexander Mission Statement: The Indiana State Festivals Association® (ISFA) is a non-profit organization created to “Empower Indiana Festivals, Events and Organizations through education, networking and leadership.” ISFA is devoted to promoting and enhancing festivals and events throughout the state.
    [Show full text]
  • French Quarter Festivals, Incorporated: a Report on Volunteer Coordination and Educational Programming
    University of New Orleans ScholarWorks@UNO Arts Administration Master's Reports Arts Administration Program 12-2012 French Quarter Festivals, Incorporated: A Report on Volunteer Coordination and Educational Programming Kylee Kidder University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/aa_rpts Part of the Arts Management Commons Recommended Citation Kidder, Kylee, "French Quarter Festivals, Incorporated: A Report on Volunteer Coordination and Educational Programming" (2012). Arts Administration Master's Reports. 141. https://scholarworks.uno.edu/aa_rpts/141 This Master's Report is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Master's Report in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Master's Report has been accepted for inclusion in Arts Administration Master's Reports by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. French Quarter Festivals, Incorporated; A Report on Volunteer Coordination and Educational Programming Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirement for the degree of Masters of Arts in Arts Administration Fall, 2012 By Kylee Kidder B.A. Theatre Arts, University of Arizona, 2005 ABSTRACT This internship report reviews the non-profit entity French Quarter Festivals, Inc.
    [Show full text]
  • 201107 July IMDA
    July 1 Irish Music & 2011 Dance Association Iúil 29th Year, Issue No. 7 The mission of the Irish Music and Dance Association is to support, coordinate, encourage and promote high quality activities and programs in Irish music, dance, and other cultural traditions within the community and to insure the continuation of those traditions. Sounds of the Old Sod Inside this issue: From his heart to CD, O’Brien records the traditional Irish songs of his youth Tune of the Month 2 By Bill Stieger (Reprinted with permission from The Villager) Gaelic Corner 3 Name the Tea Room 4 Paddy O’Brien is one busy man. The Irish-born accordionist from Highland Park performed in May all across California and Oregon with his trio Chulrua. In March he toured greater Minnesota July Calendar 6-7 with Chulrua and his singer-wife Erin Hart. However, his main focus over the past few years has Cu Ceoil 8 been “The Sailor’s Cravat,” a new CD that he will release with a concert and party at 7:30 p.m. Saturday, June 25, at Celtic Junction, 836 N. Prior Ave. An Leabhragán 9 “The Sailor’s Cravat” comes on the heels of volume II of “The Paddy O’Brien Tune Collection,” a Herculean labor at which O’Brien has been working since 1995. Volumes I and II of “The Paddy The Ceili Calendar 10 O’Brien Tune Collection” include 1,000 songs that O’Brien has recorded from memory—or about IMDA Picnic 12 one quarter of the traditional Irish songs that he says he knows by heart.
    [Show full text]
  • Worksheet- the Boat That Rocked (Film Trailer) Watch the Video 3 Times
    Worksheet- The Boat that Rocked (film trailer) Watch the video 3 times VIEWING 1: Write down all the words you understand : VIEWING 2: Fill in the blanks Richard Curtis, creator of Notting Hill, Four Weddings and a Funeral and Love Actually was __________ by the true story of how the _________ _____________ tried to _____ rock ‘n’ roll music from the _________ to bring us his latest comedy : __________ ________ In 1964, all anybody could ______ on _______ radio of ____ music was about _____ hours a week and this was the ________ time for British pop music. That’s the whole point of being the government, if you don’t like something, you simply make it ________ until one __________ DJ and a band of __________ took to the sea to begin __________ _______-_______ hours a day. You had the right to _______ to this music _________ you wanted… They became known as _________, loved by _________ and despised by the ____________. 22 million _____ used to ____ in every day, and then of course they got ________ status, which was even ________ VIEWING 3: Interview Richard Curtis ! What type of film is it according to Richard Curtis ? A comedy A romance A romantic comedy What’s the serious message out of this film ? ………………………………………………………………………. EE : Would you like to watch this film ? Why ? (30 words) …………………………………………..…………………………………………………..…………………………………… ….…………………………………………..…………………………………………………..………………………………… ……. Toolbox : exciting/ hilarious/ based on true events… Activity 3 : Let’s recap ! Using the trailer and your asnwers, write the synopsis (=plot) of the film The Boat that Rocked is a film by……………………………………………………………………………………….
    [Show full text]
  • Neotrance and the Psychedelic Festival DC
    Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival.
    [Show full text]
  • From Glyndebourne to Glastonbury: the Impact of British Music Festivals
    An Arts and Humanities Research Council- funded literature review FROM GLYNDEBOURNE TO GLASTONBURY: THE IMPACT OF BRITISH MUSIC FESTIVALS Emma Webster and George McKay 1 CONTENTS EXECUTIVE 4 INTRODUCTION 6 THE IMPACT OF FESTIVALS: A SURVEY OF THE FIELD(S) 7 ECONOMY AND CHARITY SUMMARY 8 POLITICS AND POWER 10 TEMPORALITY AND TRANSFORMATION Festivals are at the heart of British music and at the heart 12 CREATIVITY: MUSIC of the British music industry. They form an essential part of AND MUSICIANS the worlds of rock, classical, folk and jazz, forming regularly 14 PLACE-MAKING AND TOURISM occurring pivot points around which musicians, audiences, 16 MEDIATION AND DISCOURSE and festival organisers plan their lives. 18 HEALTH AND WELL-BEING 19 ENVIRONMENT: Funded by the Arts and Humanities Research Council, the LOCAL AND GLOBAL purpose of this report is to chart and critically examine 20 THE IMPACT OF ACADEMIC available writing about the impact of British music festivals, RESEARCH ON MUSIC drawing on both academic and ‘grey’/cultural policy FESTIVALS literature in the field. The review presents research findings 21 RECOMMENDATIONS FOR under the headings of: FUTURE RESEARCH 22 APPENDIX 1. NOTE ON • economy and charity; METHODOLOGY • politics and power; 23 APPENDIX 2. ECONOMIC • temporality and transformation; IMPACT ASSESSMENTS • creativity: music and musicians; 26 APPENDIX 3. TABLE OF ECONOMIC IMPACT OF • place-making and tourism; MUSIC FESTIVALS BY UK • mediation and discourse; REGION IN 2014 • health and well-being; and 27 BIBLIOGRAPHY • environment: local and global. 31 ACKNOWLEDGEMENTS It concludes with observations on the impact of academic research on festivals as well as a set of recommendations for future research.
    [Show full text]
  • Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world.
    [Show full text]
  • 2000 Vw Beetle Radio Code the Name Eos Was Derived from Eos , the Greek Goddess of the Dawn
    2000 vw beetle radio code The name Eos was derived from Eos , the Greek goddess of the dawn. However, a limited number of base trim models were sold as models of in the United States. Unlike the Cabrio, which was a convertible version of the Golf hatchback, the Eos was a standalone model with all new body panels, although it shared the platform and components from the Volkswagen Golf Mk5. The wheelbase matches the Golf Mk5 and Jetta. The Eos incorporates into its five piece folding roof an integrated and independently sliding glass sunroof — making the Eos the only retractable hardtop of this kind. The roof folds automatically into the trunk in twenty five seconds, thereby reducing trunk space from The design of the roof system is complex with its own hydraulic control system and numerous rubber seals. Periodic maintenance must be done to keep the seals conditioned so that they function properly. Proper body alignment is critical for proper top function. A facelifted Volkswagen Eos appeared in October , and went on sale as a model of outside Europe. This facelift includes a revised front and rear fascias, headlights and tail lights, side mirrors, as well as new wheel designs. The White Night edition was a special edition with custom wheels, custom black interior and a black and white colour scheme package. Other features include black mirror covers, radiator grille and trim strips, black Nappa leather seats, door and side trim and black steering wheel with light coloured seams, trim strips and radio trim in candy white, sill panel strips with white night letters.
    [Show full text]
  • 1969 Free Concert
    1969 free concert click here to download The Altamont Speedway Free Festival was a counterculture-era rock concert in in the United States, held at the Altamont Speedway in northern California ​Jefferson Airplane · ​Rolling Stones/Grateful · ​Security · ​Reactions. Meredith Curly Hunter, Jr. (October 24, – December 6, ) was an year-old African-American man who was killed at the Altamont Free Concert. The Stones in the Park generally refers to a free outdoor festival held in Hyde Park on 5 July , headlined by The It was the Stones' first public concert in over two years, and was planned as an introduction of new guitarist, Mick Taylor. Death of Meredith Hunter during the Rolling Stones concert Rolling Stones - Altamont Speedway Free. Music fans dance and sing to the Rolling Stones at a free concert at the Altamont Raceway Park near Livermore, Calif. on Dec. 6, It's festival time! Find and share Altamont Free Concert setlists. Find a The Rolling Stones & Guests* - Altamont Free Concert first pressing or reissue. Complete your The Rolling Stones & Guests* collection. Shop Vinyl. It was rock 'n' roll's darkest day, Saturday December 6, , when the Rolling Stones decided to play a 'free' concert at an abandoned. The Rolling Stones' US Tour was a remarkable tour at a remarkable time. Some say Altamont – the free concert tacked on to the end. Do you intend to go to any more of these mass concerts? 1) Promise a free concert by a popular rock group which rarely appears in this. During the Stones' American tour in , they faced repeated In response, the band decided to end the tour with a free concert in San.
    [Show full text]
  • Hudobn Festival Rock Gitarijada, Zajecar
    Media Center Zajecar Rock Music Festival Gitarijada, Zajecar Telenet City Network | Serbia Phone: +38164 5558581; +38161 6154768; www.booking-hotels.biz [email protected] Rock Music Festival Gitarijada, Zajecar The oldest Youth festival in East Europe which goal is encouragement and affirmation of music creativity of young people - rock based audience. 41. Gitarijada Zajecar 31.07.07 04.08.07 31.07. Trg oslobodjenja 20,00 HAPPY HOUR - Zajecar Beer promotion 20,30 3rd international Rock Photography Exibition Opening Concert - Milan Milojkovic - guitar 21,00 HIT 202 live broadcast 01.08. Popova plaza 12,00 Rock camp opening 21,00 ALL THAT JAZZ - public recording 02.08. Popova plaza 20,30 Short animated movies by New York authors 22,00 KEN HENSLEY & live Fire 23,30 First Semi-finals - 6 bands 01,00 DIVLJE JAGODE 02,30 EKIPA PLUS 03.08. Popova plaza 20,30 Short animated movies by New York authors 22,00 DADO TOPIC & GRUPA TIME 23,30 Second Semi-finals - 6 bands 01,00 NEVERNE BEBE 04.08. Popova plaza 20,30 Movie projection - Masters of scream 22,00 WISHBONE ASH 23,30 Finals - Top 6 bands 01,00 FULL FLAVOR Winners of the 40th Gitarijada 01,30 Announcing the Winner of the 41st Gitarijada Zajecar Beer 02,00 RIBLJA CORBA Semi finalists 70 bands have met conditions for participating on 41st Gitarijada Zajecar Beer. The jury, consisting of : Vladimir Jankovic Dzet (Radio Belgrade 202, president of the jury), Branimir Lokner (rock critic), Petar Milosakovic (representative of TV Belgrade), Jovan Rasic (representative of the organizer), Jovana Stankovic (representative TV Metropolis), Mirko Radic (representative RTV Zajecar) and Vesna Pantelic (representative of Vecernje novosti) Has selected 12 semi finalists: AETERNIA (Belgrade), NIGHTFALL (Belgrade), AETAR (Belgrade), HATRED (Belgrade), REVOLUTION (Nis), AL JAZEERA (Zajecar), PINE CONES (Zrenjanin), ANTI-DOTE (Pirot), ANGUISH SUBLIME (Novi Sad / Temerin), ART DILER (Petrovac na Mlavi), T.C.O.B.
    [Show full text]
  • Download Date 27/09/2021 09:14:37
    Out of sight: the mediation of the music festival Item Type Book chapter Authors Goodall, Mark D. Citation Goodall MD (2015) Out of sight: the mediation of the music festival. In: McKay G (Ed.) The Pop Festival: History, Music, Media, Culture. London: Bloomsbury. Rights (c) 2015 Bloomsbury. Full-text reproduced with publisher permission. Download date 27/09/2021 09:14:37 Link to Item http://hdl.handle.net/10454/10323 The University of Bradford Institutional Repository http://bradscholars.brad.ac.uk This work is made available online in accordance with publisher policies. Please refer to the repository record for this item and our Policy Document available from the repository home page for further information. To see the final version of this work please visit the publisher’s website. Access to the published online version may require a subscription. Citation: Goodall MD (2015) Out of sight: the mediation of the music festival. In: McKay G (Ed.) The Pop Festival: History, Music, Media, Culture. London: Bloomsbury. Copyright statement: © 2015 Bloomsbury. Full-text reproduced with publisher permission. Chapter 4. Out of sight: the mediation of the music festival The children danced night and day. Eric Burdon, Monterey1 The pop festival grows from nothing; it rises up from an empty space into an audio- visual spectacle, captivating the thousands of individuals who have made the pilgrimage to witness it. Over the years these musical staged events, with a strong visual dimension, have attracted media producers, especially film-makers. This chapter explores how the pop festival has been mediated over time, from the early pioneering films of music festivals through to the modern festival.
    [Show full text]
  • THE FESTIVALS and Organizers Were Left with Bad Feelings
    concert on the roof of Apple Records.691 With the story of the city council, and sporadic violence erupted, organizers The Beatles coming to an end, the story of the music of the announced the cancellation of Led Zeppelin. After thousands 1960s was also coming to an end. of rock fans left town angry and disappointed, Led Zeppelin was put back on the schedule.699 Both audience members THE FESTIVALS and organizers were left with bad feelings. A California festival with a similar name, sometimes The first real rock festival was the 1967 Monterey Pop called the “Newport 1969 Pop Festival,” brought in a Festival where Jimi Hendrix and Otis Redding had their crowd of over 150,000. The acts included Jimi Hendrix, breakthroughs. Increasing the influence of the festival Steppenwolf, and Jethro Tull. Crowd control was less was the D. A. Pennebaker film Monterey Pop, released successful—there were three hundred injuries, more in 1968.692 Portraying an atmosphere of “peace, love, than seventy-five arrests, and over $50,000 in property flowers, great music,” the film inspired many organizers to damage.700 A crowd of 50,000 in Denver shortly thereafter pursue similar events in 1969 and made audience members heard a similar lineup, but altercations brought in police excited to attend these festivals.693 using billy clubs and tear gas.701 Not all the rock festivals of 1969 were well planned or even safe. An Easter weekend festival in Palm Springs WOODSTOCK did not have capacity to handle the crowd. As unruly One of the most famous musical events of the 1960s is the youngsters outside the venue clashed with police, the rock festival held near Woodstock, NY, in August 1969.
    [Show full text]