Glastonbury Festival is a five-day festival of contemporary performing arts that takes place in Pilton, Somerset, in England. In addition to contemporary music, the festival hosts dance, theatre, circus and other arts. Leading pop and rock artists have headlined, alongside thousands of others appearing on smaller stages and performance areas. Films and albums recorded at Glastonbury have been released, the festival receives extensive television and newspaper coverage. Glastonbury is now attended by around 200,000 people, requiring extensive infrastructure in terms of security, transport and electricity supply; the majority of staff are volunteers, helping the festival to raise millions of pounds for charity organisations. Regarded as a major event in British culture, the festival is inspired by the ethos of the hippie and free festival movements, it retains vestiges of these traditions, such as the Green Fields area, which includes sections known as the Green Futures and Healing Fields. After the 1970s, the festival took place every year and grew in size, with the number of attendees sometimes being swollen by gatecrashers.

Michael Eavis hosted the first festival called Pilton Festival, after seeing an open-air Led Zeppelin concert at the 1970 Bath Festival of Blues and Progressive Music. The festival's record crowd is 300,000 people. Glastonbury Festival was held intermittently from 1970 until 1981. Since it has been held every year, except for "fallow years" taken at five-year intervals, intended to give the land, local population, organisers a break. 2018 was a "fallow year" and the following festival took place from 26 – 30 June 2019. A series of concerts and recitals called the Glastonbury Festivals was established with a summer school in the town of Glastonbury between 1914 and 1926 by classical composer Rutland Boughton, with their location attracted a bohemian audience by the standards of the time, they featured works by then-contemporary composers, sponsored by the Clark family, a wide range of traditional works, from Everyman to James Shirley's Cupid and Death. Glastonbury was influenced by hippie ethics and the free festival movement in the late 1960s and early 1970s, beginning with the Isle of Wight Festival, which featured performances by The Who, amongst many other artists.

Organiser Michael Eavis decided to host the first festival called Pilton Festival, after seeing an open-air concert headlined by Led Zeppelin at the 1970 Bath Festival of Blues and Progressive Music at the nearby Bath and West Showground in 1970. The festival retains vestiges of this tradition such as the Green Fields area, encompassing the Green Futures and Healing Field; the first festival at Worthy Farm was the Pilton Pop, Blues & Folk Festival, mounted by Michael Eavis on Saturday 19 September 1970, attended by 1,500 people. The original headline acts were The Kinks and Wayne Fontana and the Mindbenders but these acts were replaced at short notice by Tyrannosaurus Rex known as T. Rex. Tickets were £1. Other billed acts of note were, Quintessence, Stackridge, Al Stewart and Keith Christmas; the "Glastonbury Fair" of 1971 was instigated by Andrew Kerr after being found and introduced to Michael Eavis by David Trippas and organised with help from Jean Bradbery, Kikan Eriksdotter, John Massara, Jeff Dexter, Arabella Churchill, Thomas Crimble, Bill Harkin, Gilberto Gil, Mark Irons, John Coleman, Jytte Klamer.

The 1971 festival featured the first incarnation of the "Pyramid Stage". Conceived by Bill Harkin the stage was a one-tenth replica of the Great Pyramid of Giza built from scaffolding and metal sheeting and positioned over a blind spring, found by dowsing. Performers included David Bowie, Mighty Baby, Fairport Convention, Hawkwind, Skin Alley, The Worthy Farm Windfuckers and Melanie, it was paid for by its supporters and advocates of its ideal, embraced a mediaeval tradition of music, poetry, theatre and spontaneous entertainment. The 1971 festival was filmed by Nicolas Roeg and David Puttnam and was released as a film called Glastonbury Fayre. There was a small unplanned event in 1978, when the convoy of vehicles from the Stonehenge festival was directed by police to Worthy Farm; the 1980s saw. In 1981, Michael Eavis took control of the festival, it was organised in conjunction with the Campaign for Nuclear Disarmament; that year a new Pyramid Stage was constructed from telegraph poles and metal sheeting, a permanent structure which doubled as a hay-barn and cow-shed during the winter.

In the 1980s, the children's area of the festival became the starting point for a new children's charity called Children's World. 1981 was the first year that the festival made profits, Eavis donated £20,000 of them to CND. In the following years, donations were made to a number of organisations, since the end of the Cold War the main beneficiaries have been Oxfam and WaterAid, who all contribute towards the festival by providing features and volunteers, who work at the festival in exchange for free entry. Since 1983, large festivals have required licences from local authorities; this led to certain restrictions being placed on the festival, including a crowd limit and specified times

Chester William David Brown is a Canadian cartoonist. Brown has gone through several thematic periods, he gained notice in alternative comics circles in the 1980s for the surreal, scatological Ed the Happy Clown serial. After bringing Ed to an abrupt end, he delved into confessional autobiographical comics in the early 1990s and was associated with fellow Toronto-based cartoonists Seth and Joe Matt, the contemporary autobiographical comics trend. Two graphic novels came from this period: The Playboy and I Never Liked You. Surprise mainstream success in the 2000s came with Louis Riel, a historical-biographical graphic novel about rebel Métis leader Louis Riel. Paying for It drew controversy as a polemic in support of decriminalizing prostitution, a theme he explored further with Mary Wept Over the Feet of Jesus, a book of adaptations of stories from the Bible that Brown believes promote pro-prostitution attitudes among early Christians. Brown draws from a range of influences, including monster and superhero comic books, underground comix, comic strips such as Harold Gray's Little Orphan Annie.

His works employ a sparse drawing style and flat dialogue. Rather than the traditional method of drawing complete pages, Brown draws individual panels without regard for page composition and assembles them into pages after completion. Since the late 1990s Brown has had a penchant for providing detailed annotations for his work and extensively altering and reformatting older works. Brown at first self-published his work as a minicomic called Yummy Fur beginning in 1983; the content tended towards controversial themes: a distributor and a printer dropped it in the late 1980s, it has been held up at the Canada–United States border. Since 1991, Brown has associated himself with Quarterly. Following Louis Riel Brown ceased serializing his work to publish graphic novels directly, he has Paying for It. Chester William David Brown was born on 16 May 1960 at the Royal Victoria Hospital in Montreal, Canada, he grew up in a Montreal suburb with a large English-speaking minority. His grandfather was history professor Chester New, after whom Chester New Hall is named at McMaster University in Hamilton, Ontario.

He has a brother, two years his junior. His mother suffered from schizophrenia, died in 1976 after falling down the stairs while in the Montreal General Hospital. Though he grew up in a predominantly French-speaking province and had his first mainstream success with his biography of French-speaking Métis rebel leader Louis Riel, Brown says he doesn't speak French, he said he had little contact with francophone culture when he was growing up, the French speakers he had contact with spoke with him in English. Brown described himself as a "nerdy teeneager" attracted to comic books from a young age ones about superheroes and monsters, he aimed at a career in superhero comics, after graduating from high school in 1977 headed to New York City, where he had unsuccessful but encouraging interviews with Marvel and DC Comics. He moved to Montreal; the program did not aim at a comics career, he dropped out after a little more than a year. He was rejected again, he discovered the alternative comics scene, developing in the early 1980s, grasped its feeling freedom to produce what he wanted.

At 19 he moved to Toronto, where he got a job in a photography lab and lived frugally in rooming houses. At around twenty, Brown's interests moved away from superhero and monster comic books towards the work of Robert Crumb and other underground cartoonists, Heavy Metal magazine, Will Eisner's graphic novel A Contract with God, he started drawing in an underground-inspired style, submitted his work to publishers Fantagraphics Books and Last Gasp. He became friends with film archivist Reg Hartt, the two unsuccessfully planned to put out a comics anthology called Beans and Wieners as a showcase for local Toronto talent. In 1983 Brown's girlfriend Kris Nakamura introduced him to the small-press publisher John W. Curry, whose example inspired the local small-press community. Nakamura convinced Brown that summer to print his unpublished work as minicomics, which he did under his Tortured Canoe imprint; the sporadically self-published Yummy Fur lasted seven issues as a minicomic. Brown soon found himself at the centre of Toronto's small-press scene.

While he found it difficult at first, Brown managed to get the title into independent bookstores, the emerging comic shops, other countercultural retailers, sold it through the growing North American zine network. Yummy Fur had respectable sales through several repackaging. Brown and a number of other cartoonists featured in a show called Kromalaffing at the Grunwald Art Gallery in early 1984, he had become a part of Toronto's avant-garde community, along with other artists and writers, centred around Queen Street West. In 1986, at the urging of Brown's future friend Seth, Vortex Comics publisher Bill Marks picked up Yummy Fur as a regular bimonthly comic book. Brown quit his day job to work full-time on Yummy Fur. Starting publication in December 1986, the first three issues of Yummy Fur reprinted the contents of the seven issues of the earlier minicomic, Brown quit his job at the copy shop. Brown began to weave together some of the earlier unrelated strips into an ongo

Bornholm's Self-Government Party is a local political party in Denmark, which seeks to establish the independence or autonomy of Bornholm, a small island in the Baltic Sea with a population of below 40,000 people. Founded in the 1990s, the party has seen only minor successes, securing at most a few hundred votes at a time. Bornholm forms part of the ancient Lands of Denmark, many of which were petty kingdoms or chiefdoms. It's the official stance of the Bornholm's Self-Government Party that the island was governed by its own petty king during the Viking Age. Regardless, Bornholm ended up hotly contested ground between different Danish factions, the site of frequent battles. During the 16th century, starting 1525, the island was pawned to Lübeck for 50 years. From 1624 and on it had Bornholms Milits. Ceded to Sweden – together with Scania, to which it belonged, along with other provinces such as Bohuslän – in the 1658 Treaty of Roskilde, the island's population threw out the Swedes the same year.

As a reward for returning to King Frederick III, Bornholm received a promise never to be ceded again. First occupied by Nazi Germany during the Second World War, Bornholm saw heavy damage during the war, was occupied by the Soviet Union until 1946. Since the Second World War, Bornholm has seen a demographic decline, with a large drop in population numbers and birth rates, as well as employment issues. Due to these issues, in response to the taxes paid by Bornholm to the central government, the master builder Tonny Borrinjaland founded Bornholm's Self-Government Party in the early 1990s, it has since participated in six municipal elections, gaining 299 votes in the 2009 elections and 190 votes in 2013. During the run-up to the September 2014 2014 Scottish independence referendum, the party expressed its sympathies for the cause of Scottish independence, stated that it had a lot to learn from the Scots. Party leader Borrinjaland pointed to Malta and Singapore as two other models that Bornholm should learn from.

In favour of preserving the endangered Bornholmsk dialect, Borrinjaland has gone as far as to translate the New Testament to the local language. Commenting on his views regarding Bornholmsk, he stated: "Today, it is forbidden to talk Bornholmsk in kindergartens and schools on the island; that has Denmark with pure dictatorship taken care since many years. It's scandalous, I mean. Therefore, we must ensure that children learn the language, so they at least can choose whether to speak Bornholmsk or not." Borrinjaland was purportedly behind the launch of the flag of Bornholm, a red and green Nordic Cross flag designed by a local painter and published in a local newspaper in 1975. Danish Realm Faroese independence movement Greenlandic independence Icelandic independence movement Scania Party