A Historical OverView of Philanthropy
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public, of performers and fans, of youths and adults, of fun and rebellion” (175).
This means that free from commercial profits eamed from the films and albums,
these products also work as historical artifacts, capturing enthusiastic, clamorous
audiences engrossed in their music. Also, as Schowalter contended, these documents
help explain how Contemporary attacks on populär music might continue to resonate
with the larger public (87).
The music festivals of the 1960s were meaningful social and cultural
experiences, they were also marketplaces that offered immeasurable promotional
opportunities not only for the involved artists to raise their name values but also for
the purveyors of a variety of products and Services for the audience, including the
media. From the Philanthropie point of view, while none of the events was largely
heralded as a charity concert, the idea of non-profit conce