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Fortean Times

Fortean Times is a British monthly magazine devoted to the anomalous phenomena popularised by Charles Fort. Previously published by John Brown Publishing (from 1991 to 2001), I Feel Good Publishing (2001 to 2005), Dennis Publishing (2005 to 2021), and Exponent (2021), as of December 2021 it is published by Diamond Publishing, part of Metropolis International.

In December 2018, its print circulation was just over 14,800 copies per month. This now appears to include digital sales. The magazine's tagline is "The World of Strange Phenomena".

Origin
The roots of the magazine that was to become Fortean Times can be traced back to Bob Rickard's discovering the works of Charles Fort through the secondhand method of reading science-fiction stories: "John Campbell, the editor of Astounding Science Fiction (as Analog was then titled), for example," writes Rickard, "encouraged many authors to expand Fort's data and comments into imaginative stories."

In the mid-1960s, while Rickard was studying product design at Birmingham Art College, he met several like-minded science-fiction fans, particularly crediting fellow student Peter Weston's fan-produced Speculation magazine as helping him to "[learn] the art of putting together a fanzine", some years before he created his own. Attending a science-fiction convention in 1968, Rickard obtained Ace paperback copies of all four of Fort's books from a stall run by Derek Stokes (later to run Dark They Were, and Golden-Eyed, and take a role in the day-to-day running of The Fortean Times).

After reading an advertisement in the underground magazine Oz (in 1969) for the International Fortean Organization (INFO), an American group "founded in 1966... by Paul and Ronald Willis," who had acquired material from the original Fortean Society (started in 1931, but in limbo since the 1959 death of its founder Tiffany Thayer), Rickard began to correspond with the brothers, particularly Paul. Rickard was instrumental in encouraging the Willises to publish their own Fortean journal – the INFO Journal: Science and the Unknown began intermittent publication in spring, 1967 – and sent them many British newspaper clippings, although few came to print.

Rickard later discovered that the production was fraught behind-the-scenes, as Ronald Willis had been seriously ill, Paul thus finding it difficult to "keep up with things" on his own. Ultimately, the Willises were instrumental in inspiring Rickard to create his own periodical. Ron Willis succumbed to a brain tumour in March 1975. Bearing a date of November 1973, the first issue of Rickard's self-produced and self-published The News was available directly from him.

The News (1973–1976)
The magazine which was to continue Fort's work documenting the unexplained was founded by Robert J. M. "Bob" Rickard in 1973 as his self-published, bimonthly, mail-order "hobbyish newsletter" miscellany The News — "A Miscellany of Fortean Curiosities". The title is said to be "a contraction taken from Samuel Butler's The News from Nowhere", (although Rickard may be conflating/confusing Butler's Erewhon and William Morris ' News from Nowhere). The News had fairly regular bimonthly publication for 15 issues between November 1973 and April 1976. Debuting at 35p (£1.80/$4.50 for a year of six issues ) for 20 pages, The News was produced on Rickard's typewriter, with headings created with Letraset, during (as Rickard says in #2) the late-1970s blackouts. The first issue featured a cover (which would become briefly the unofficial logo of The News) drawn by Rickard from a Selfridges advertisement originally created by Bernard Partridge. From the second issue, pictures and photographs from various newspapers were interpolated within the text. The price was raised slightly for #6 — which also had its page count upped to 24 pages — due in large part to rising postal and paper costs.

Helping behind the scenes was Steve Moore, a kindred spirit whom Rickard met at a comics convention when the latter was a subeditor at IPC. The two found they had much in common, including a love of Chinese mysticism, and Moore helped inspire Rickard to publish The News. The early issues featured some articles by different individuals, but were "largely the work of Bob Rickard, who typed them himself with some help from Steve Moore."

Key News-people
Moore and Paul Screeton (then editor of The Ley Hunter), both urged on the first few uncertain issues" and Moore frequently joined Rickard to "stuff envelopes and hand-write a few hundred addresses" to disseminate the early issues. Rickard also highlights amongst the key early Fortean Times advocates and supporters: Ion Alexis Will, who discovered The News in 1974 and became a "constant [source] of valuable clippings, books, postcards, and entertaining letters"; Janet and Colin Bord, later authors of Mysterious Britain (Janet also wrote for Flying Saucer Review and Lionel Beer's Spacelink, while Colin's Fortean article in Gandalf's Garden was particularly cited by Rickard as bringing him/them to his attention); Phil Ledger, a "peripatetic marine biologist", and The News ' "first enthusiastic fan"; Ken Campbell, Fortean theatre director and playwright; John Michell; graphic designer Richard Adams and Dick Gwynn, who both helped with the evolving layout and typesetting of later issues; Chris Squire, who helped organise the first subscription database; Canadian "Mr. X"; Mike Dash; and cartoonist Hunt Emerson. Emerson was introduced to Rickard in late 1974, when after seven issues, he "wanted to improve the graphics", which Emerson certainly did, providing around 30 headings for use in issues #8 onwards. (Emerson's still-on-going monthly "Phenomenomix" strip in FT had its prototype in #11's three-page "Fortean Funnies").

Notable News content
Other early contributors included writer and researcher Nigel Watson (chairman of the Scunthorpe UFO Research Society), who wrote "Mysterious Moon" for The News #2. Watson later wrote a regular column of UFO commentary entitled Enigma Variations (from #29), and articles on the subject of UFO-related murders and stories of sexual assault by aliens. Phil Grant wrote about Ley lines for #3, and Mary Caine, who revised an earlier article (from Gandalf's Garden) on The Glastonbury Zodiac for issue #4, which also had the debut of the "Reviews" section, beginning with comments on a book by John Michell, the Sphere reprint of Charles Fort's New Lands and John Sladek's The New Apocrypha. Issues #2 and #3 noted, The News was published "with an arrangement with INFO", this was revised from #4 to it being "affiliated to the International Fortean Organization". From #5, Mark A. Hall produced a section entitled "Fortean USA", continuing on from his earlier, discontinued, newsletter From My Files; issue #5 also had William Porter's article on Llandrillo printed, after being delayed from #4 for space constraints. Janet Bord contributed "Some Fortean Ramblings" alongside William R. Corliss's "The Evolution of the Fortean Sourcebooks" for #7, and issue #8 was the first issue of volume 2, after Rickard decided to end volume 1 with #7 (not #6 as fully bimonthly titles do), since that issue was dated November '74, thereby attempting to keep each volume aligned with a year.

Issue #8 (or, volume 2, issue #1) got the special "Christmas present" of headings by Hunt Emerson, after Rickard was introduced to Emerson by Carol and Nick Moore, as Hunt was working on Large Cow Comix. Described by Rickard as "as much a disciple of George [Herriman]... and my [Rickard's] favourite artists from Mad (Bill Elder and Wally Wood)" as Rickard was of Charles Fort, the two got on well, with Emerson producing not only a series of headings, but also later strips and covers for issues to the present. The death of INFO co-founder Ron Willis was announced in #9, which described itself as providing "bimonthly notes on Fortean phenomena", and an index to the first year's issues (#1–7) became available. Colin Bord penned "Amazing Menagerie" for issue #10, while Paul Devereux and Andrew York compiled an exhaustive study of Leicestershire in "Portrait of a Fault Area", serialised in #11–12. Issue #11 featured Rickard and Emerson's first "Fortean Funnies" cartoon, while #12 had a price rise to 50p/$1.25, a logo change (from Selfridges' herald-on-horseback to the more descriptive Fort's face-encircled) and a tweaking of its tagline to "bimonthly news & notes on Fortean phenomena." Issue #14 first mentioned Rickard and Michell's then-in-production book Phenomena!, which would be more actively trailed from #18. Issue #15 — now with 28 pages — announced that Rickard had decided to bow to popular opinion and retitle his miscellany with a more descriptive title. Thus, with a subtitle of "Portents & Prodigies", Fortean Times was born.

Fortean Times (since 1976)
After 15 issues of The News, issue #16 (1976) had the magazine renamed Fortean Times, which "new title emerged from correspondence between Bob Rickard and Paul Willis" — the two having talked of creating a Fortean version of The Times newspaper, "full of weird and wonderful news and read by millions worldwide". Its cover bore the descriptive text "Strange phenomena — curiosities — prodigies — portents — mysteries," while the inside cover kept the "Fort face" logo from later issues of The News, but bore the revised legend "A Contemporary Record of Strange Phenomena". Included within was an offer for a "4-colour silk-screened poster" created by Hunt Emerson for this landmark issue. From the start, this new format compounded earlier financial difficulties for Rickard, following on from #14's plea: "we need more subscribers or we die!". (Fortean Times issues #16–18 — as The News #1–15 before them — were solely edited, published, and in large part written and typed by Rickard himself. Even by passing on rising postal and paper costs to the readership, which Rickard constantly reiterates that he is loath to do, the early Fortean Times was constantly facing an uphill financial battle.) Early editorials of the new FT, therefore (in fact beginning with The News #15) featured a notification of donations received, naming and thanking the hardcore readership (which included many current and future contributors) for monies received, which aided the move towards higher production values. With donations helping to offset costs, the price was held at 50p until issue #20, whereupon the magazine dropped to a quarterly schedule from Spring 1977 (issue #21) — but raised the page count (and price) to continue producing the same amount of material for the same yearly fee (40 pg, 75p ea. or £3/year).

Issue #18 received a new semiregular feature entitled "Forteana Corrigenda", aimed at correcting "errors in the literature" that had crept into various Fortean works through misquotation or other difficulties. After 18 more-or-less solo-produced issues, long-term supporter and helper Steve Moore was credited as assistant editor for issues #19–21, becoming co-contributing editor (with Phil Ledger, Stan Nichols, and Paul J. Willis) on issues #22–26 and associate editor from issue #27. He was joined by contributing editor David Fideler, and subsequently (also as co-associate editor) by Paul Sieveking (#28— ) and Valerie Thomas (#31–32). Issue #20 announced that Kay Thompson (a staff member of Ley Hunter magazine, then under the editorship of Paul Devereux, with whom FT shared an address for several issues) would be helping to type parts of subsequent issues to further delegate the burden from Rickard. Moore, Sieveking, and he were also later joined editorially by author Mike Dash (who is mentioned as particularly overseeing the publication of scholarly occasional papers), before Moore moved from full editorial to largely correspondent duties for a dozen issues after #42, returning as a contributing editor in Autumn 1990 (#55). The four — Rickard, Sieveking, Dash, and Moore — are often collectively referred to as "the Gang of Fort", after the Gang of Four.

Issue #21 had the debut of FT semiregular column "Strange Deaths" (later descriptively subtitled "Unusual ways of shuffling off this mortal coil"), while issue #22 updated FT ' s to include (Ivan T. Sanderson's) The Society for the Investigation of the Unexplained, alongside INFO. Issue #23 featured an article by Robert Anton Wilson on, aptly, "The 23 Phenomenon," made available a second index (1975, to The News #8–13) and included a 12-page "Review Supplement", issued as a separately bound supplement since the then-printers had difficulty binding more than 40 pages. With #24, the printers were changed to Windhorse Press to overcome this difficulty, and FT became officially 52 pages in length, the changes cemented in issue #25 with a new font for the title and a change of address — c/o London-based "SF and cosmic" bookshop Dark They Were and Golden-Eyed, run by Derek Stokes (who had sold Rickard the four Fort books 10 years previously). The same issue ran an obituary for Eric Frank Russell, of whom Rickard was a considerable fan. He writes that Russell turned down an invitation to contribute material to The News back in 1973, having "earned his rest" after 40 years as an active Fortean. Rickard further states that Russell was one of the key Fortean-fiction writers he read in Campbell's Astounding Science Fiction and Analog, and the author of "the first Fortean book I [Rickard] ever read": Russell's Great World Mysteries. Issue #26 trailed "a special series of 'Occasional Papers' in Fortean subjects" to be edited by Steve Moore, and #27 — the 5th Anniversary issue — welcomed Michigan-native David Fideler (whose Anomaly Research Bulletin was then due to cease publication, although its subscribers, FT promised, would be absorbed by them) as FT ' s "man in the New World".

Paul Sieveking and FT ' s format change
In 1978, mutual friend Ion Will introduced Rickard to Paul Sieveking, who recalls, "the Forteans used to meet every Tuesday afternoon above the science-fiction bookshop Dark They Were And Golden-Eyed in Soho to open post and interact. (Indeed, this was the semiofficial address of FT until that shop closed. With #35, Summer '81, the address was changed.) Sieveking joined the FT team with #28 as co-associate editor, and writes, highlighting the intrinsic early difficulties in printing FT that that issue "was printed by an Israeli entrepreneur in northern Greece and shipped to London." That issue (#28), bearing a cover blurb of "Strange Phenomena", featured an early advertisement for the bookshop Dark They Were And Golden-Eyed, drawn by Bryan Talbot, while the editorial promised that the next issue would not only see the availability of Index 1976, but also be in a "larger and more professional format, typeset throughout, [with] better graphics, layout, and legibility."

Indeed, #29, under a cover by Hunt Emerson, was printed fully typeset in A4 (thanks to art director Richard Adams of AdCo, and,according to Rickard's preface to Yesterday's News Tomorrow, Dick Gwynn) and even distributed on a limited basis through WH Smiths. The move away from production on Rickard's typewriter gave "The Journal of Strange Phenomena," (as it was now subtitled) greater ability to produce longer, better laid-out articles. These opened with a seven-page guide to "Charles Fort and Fortean Times" by Bob Rickard, explaining the background and philosophy of FT, as well as outlining the influence of Fort, "who is still largely unknown", writes Rickard, and also included the first of Nigel Watson's "Enigma Variations" columns and Loren Coleman's "Devil Names and Fortean Places" article sat alongside comments by Colin Bord, Tim Dinsdale, V. G. W. Harrison, and Rickard on Anthony 'Doc' Shiels ' 1977 "Nessie" photographs. The magazine itself dropped the description 'non-profitmaking' from its publication information, and ceased to name its stated affiliations to INFO, SITU, and "other Fortean journals" in favour of the more general aim to be a "friend to all groups and magazines continuing the work of Charles Fort". It also contained a considerably higher number of advertisements, including both inside covers — making the page count slightly higher than previous issues, which had previously counted the cover as page 1 — and an early advertisement by Brian Bolland for Forbidden Planet (which would ironically begin to take off only after the closure of Stokes' bookshop).

Issue #30 announced that while "over the last couple of issues [the] subscriber list... nearly doubled," so too had the "printing, production, and postage bill," necessitating a price rise to 95p/$2.50 — albeit softened by another length increase, to 68 pages. Now published not merely by Rickard, but by Fortean Times Ltd, it was typeset by Warpsmith Graphics and printed by Bija Press. The cover was painted by Una Woodruff (whose Inventorum Natura was reviewed within) to illustrate John Michell's article on "Spontaneous Images and Acheropites," drawing on his 1979 Thames & Hudson book dealing with — and titled — Simulacra. Bob Rickard produced an article on one "Clemente Dominguez: Pope, Heretic, Stigmatic"; Michael Hoffman speculated on the occult aspects of a serial killer in "The Sun of Sam"; Robert J. Schadewald wrote about "The Great Fish Fall of 1859", while Hunt Emerson produced the first cartoon strip under the title "Phenomenomix".

Sieveking took over full editorial duties from Rickard with #43, helming the subsequent four quarterly issues (to #46) to give Rickard a chance to "revitalize", which he did, returning with #46 to the position of co-editor. Moore, Dash, and Ian Simmons (and others) variously edited the magazine for the next 18+ years, and although main editorship passed from Rickard and Sieveking to David Sutton in 2002, they both continued to contribute. Sieveking semiretired at the end of 2019, handing most of the "Strange Days" news editor role to Christopher Josiffe. Sieveking continues to write the archaeology column, compile the "Extra, Extra" section, and edit the letters pages, also acting as the main quality-control proof-reader (as well as producing an occasional feature). Sieveking's wife Val Stevenson was book-review editor for several years, eventually passing this role on to David V. Barrett in 2019.

During the 40+ years of its publication, Fortean Times has changed both format and publishers on a few occasions. Early issues (particularly of The News) were produced in black and white (for ease of photocopying), and the whole was largely produced by typewriter until #29. Colour, professional printing, and wider distribution followed, and a 6.5- x 4.5-in size held sway for several years before the magazine settled into its "normal" A4 (magazine) size in the 1980s, after which glossy covers followed. Several changes of logo and font have occurred throughout its life.

General content
The identification of correct original sources by contributors is a defining feature of the magazine, as it was for Charles Fort himself. However, the "objective reality" of these reports is not as important. The magazine "maintains a position of benevolent scepticism towards both the orthodox and the unorthodox" and "toes no party line". The range of subject matter is extremely broad, including:

 * General Forteana
 * Anomalous phenomena
 * Apparitions
 * Bizarre deaths
 * Conspiracy theories
 * Crop circles
 * Cryptozoology
 * Cults and would-be Messiahs and prophets
 * Fringe science
 * Hoaxes
 * Millennialism, eschatology, and cases of mass hysteria
 * Mutants (human and animal)
 * Parapsychology
 * Religious phenomena (stigmata, appearances and simulacra and miracles, etc.)
 * Natural simulacra
 * Unidentified flying objects
 * Urban legends

Fortean Times also frequently covers the Ig Nobel Prizes, as well as unusual aspects of mainstream science and research.

Current content
The magazine's current regular contents include:
 * Three or four feature articles
 * Strange Days, a wide-ranging overview of odd and interesting stories mostly culled from the world's newspapers. Some feature in particular sections, including:
 * Science
 * Archaeology (usually by Paul Sieveking and Paul Devereux)
 * Ghosts, in a column titled Ghostwatch (by Alan Murdie)
 * Alien Zoo, Dr. Karl Shuker's regular discussion of cryptozoological matters
 * Necrolog, obituaries of Fortean-relevant individuals
 * Strange deaths, a long-running round-up of the odd manners in which some people meet their ends
 * UFO Files/Saucers of the Damned is by Nigel Watson who provides a "regular survey of the latest fads and flaps from the world of ufology"; "UFO Files/UFO Casebook" is Jenny Randles' "round-up of sightings and hot-spots from around the world"
 * Clippings for most of Strange Days' stories are requested from, and supplied by, the readers of FT

 * Mythconceptions, which debunks modern myths, old wives' tales, etc. (in a similar manner to, for example, Snopes.com)
 * Classical Corner, in which Barry Baldwin reviews Fortean events from ancient times
 * Fortean Bureau of Investigation, which typically revisits and reassesses older Fortean cases
 * Forum, featuring three or four shorter articles on diverse topics
 * Reviews of Fortean, science fiction/fantasy and related books, films and computer games
 * A letters page, incorporating:
 * Simulacra Corner, photographs submitted by readers of (typically) naturally occurring objects which appear to be in the shape of something else
 * "it happened to me...", readers’ stories of strange personal occurrences
 * Fortean Traveller, “a guide to various sites of interest to the traveling Fortean”
 * Phenomenomix, a comic strip by Hunt Emerson

Praise and criticism
Most of the articles in Fortean Times are written in the style of objective journalism, but this is not a mandatory requirement, and some articles focus on a specific theory or point of view. Although such articles are presented as the opinion of the author and not the editors (who claim to have no opinions), this has occasionally led to controversy. In January 1997, the magazine ran an article by David Percy under the headline "FAKE! Did NASA hoax the moon landing photos?". The article outraged many readers and led to the magazine's most vigorous postbag up to that time. In August 2000, the magazine's cover headline was "UFO? The shocking truth about the first flying saucers". The article in question, by James Easton, proposed a mundane explanation for Kenneth Arnold's sighting — American white pelicans. This suggestion so outraged ufologists that many of them still use the term "pelican" or "pelicanist" as a pejorative term for a debunker.

Most Fortean researchers contribute articles, criticism, or letters to the magazine. It has also attracted more widespread coverage and praise. Fortean Times #69 claims, "extracts from FT have featured in at least three publications used for teaching English as a foreign language." Lynn Barber of The Independent on Sunday newspaper described writing in FT as "a model of elegant English."

UnConvention
The magazine has organised an "UnConvention" (or UnCon), most years since 1994 (the "missing" years being 2001, 2005, and 2009), at various venues in London (the University of London Union, the Institute of Education, the Commonwealth Institute, and in recent years, Friends House). Many "hot topics" of the day have been discussed, such as the Ray Santilli "alien autopsy" film at the 1996 UnCon, and the death of Diana, Princess of Wales at the 1998 event, which also saw Lynn Picknett and Clive Prince discussing Templar conspiracies and hidden symbolism in the paintings of Leonardo da Vinci, years before these were turned into mass-media subjects by The Da Vinci Code. Besides the formal lecture programme, UnCon normally features exhibits by organizations such as the Association for the Scientific Study of Anomalous Phenomena and the Centre for Fortean Zoology. The event often ends with a panel discussion, as was the case in 2002, when the subject was "Is Ufology Dead?". This was widely reported in the British media as an "official" statement by Fortean Times that "Ufology is Dead".

Related projects
Fortean Studies, the magazine's more academic sister publication published yearly volumes in the late 1990s. The seventh and last issue was published in 2001.

Its website tracks Fortean news stories and holds a small archive of articles and photographs. For many years, it also supported a busy internet forum for the discussion of Fortean topics. With the advent of GDPR legislation in 2018, this forum was moved to the website of the Charles Fort Institute.

The magazine has also occasionally published both academic and lighthearted books on various aspects of Forteana.

Collections and spin-off books
Many of the earliest issues of FT were collected in book format in the early 1990s. In recent years, the print volumes have been overtaken by digital files, available on CD. In addition, several smaller collections have been compiled on various themes and sold, or given away as 'free gifts' with the magazine. A more academic journal, Fortean Studies, has also been printed and is an ongoing venture. In the late 1990s Polygram Spoken Word released an audio version of several Fortean stories, written and produced by Steve Deakin-Davies and featured Brian Cant and Joanna Bowen amongst its actors, this project was licensed from John Brown Publishing.( (c) 1997 Polygram Record operations ltd, Speaking Volumes no: 5361444)

Fortean Tomes
Starting in the very early 1990s, Fortean Times produced a number of facsimile editions collecting the earliest issues of the magazine, in their entirety, including advertisements. These collections, prepared and edited for print by Paul Sieveking (including hand corrections to early typographic errors) are now out-of-print. Although demand was such to warrant reprints of several volumes, after collecting up to #77 FT decided that the previous volumes had not sold well enough to continue completely up to date. (Concern over the likely cost of reprinting issues in the new full colour format led to a publishing decision to stockpile 500 unbound run-on copies of each number to provide the basis of future reprint editions, and this project resulted in one further collection — Snakes Alive!, collecting #93–97 — but the in-between issues #78–92 have not yet been collected in trade format.)

(The early collections, like the earliest magazines, were published in smaller, 6.5 x 4.5in format) (The later collections were of a larger — A4 — size)
 * Yesterday's News Tomorrow: Fortean Times Issues 1–15 (John Brown Publishing, 1992 2nd ed. 1995 ) ISBN 1-870870-26-3
 * Diary of a Mad Planet: Fortean Times Issues 16–25 (John Brown Publishing Ltd, 2nd ed. 1995 ) ISBN 1-870021-25-8
 * Seeing Out the Seventies: Fortean Times Issues 26–30 (John Brown Publishing Ltd, 1990 ) ISBN 1-870021-20-7
 * Gateways to Mystery: Fortean Times Issues 31–36 (John Brown Publishing Ltd, 1993) ISBN 1-870870-37-9
 * Heaven's Reprimands: Fortean Times Issues 37–41 (John Brown Publishing Ltd, 1994) ISBN 1-870870-52-2
 * If Pigs Could Fly: Fortean Times Issues 42–46 (John Brown Publishing Ltd, 1994) ISBN 1-870870-47-6
 * Fishy Yarns: Fortean Times Issues 47–51 (John Brown Publishing Ltd, 1994) ISBN 1-870870-48-4
 * Bonfire of the Oddities: Fortean Times Issues 52–56 (John Brown Publishing Ltd, 1995) ISBN 1-870870-61-1
 * Strange Attractors: Fortean Times Issues 57–62 (John Brown Publishing Ltd, 1996) ISBN 1-870870-73-5
 * Plumber from Lhasa: Fortean Times Issues 63–67 (John Brown Publishing Ltd, 1996) ISBN 1-870870-79-4
 * Memories of Hell: Fortean Times Issues 68–72 (John Brown Publishing Ltd, 1997) ISBN 1-870870-90-5
 * Mouthful of Mysteries: Fortean Times Issues 73–77 (John Brown Publishing Ltd, 1998) ISBN 1-870870-66-2
 * Snakes Alive!: Fortean Times Issues 93–97 (John Brown Publishing Ltd, 1998) ISBN 1-902212-04-5
 * "Fortean Times" Index by Steve Moore (John Brown Publishing Ltd, October 1997) ISBN 1-870870-68-9

CDs
Around 2005, FT began to release a series of digital archives. Beginning with more recent issues (presumably for reasons of ease — more recent issues would be more readily available as digital files), they have also begun to re-release the earliest issues — apparently the digital archive CD format has taken over from print collections.
 * Issues 1–15 CD (The complete The News)
 * Issues 16–25 CD
 * Issues 26–30 CD
 * Issues 1–30 3-CD boxset
 * 2001 CD Archive (Issues 142–153)
 * 2002 CD Archive (Issues 154–165)
 * 2003 CD Archive (Issues 166–178)
 * 2004 CD Archive (Issues 179–191)
 * 2005 CD Archive (Issues 192–204)
 * 2006 CD Archive (Issues 205–217)
 * 2002–2005 Four-CD Archive

Fortean Studies
A sister publication, Fortean Studies, began in the mid-1990s and was edited by Steve Moore. In the words of frequent contributor Neil Nixon, it "compiled serious research and opinion on a range of paranormal and conspiracy-related issues", and was a more academic counterpart to FT.
 * Rickard, Bob (producer) & Moore, Steve (ed.) Fortean Studies: Volume 1 (John Brown Publishing Ltd, 1994) ISBN 1-870870-55-7
 * Rickard, Bob (producer) & Moore, Steve (ed.) Fortean Studies: Volume 2 (John Brown Publishing Ltd, 1995) ISBN 1-870870-70-0
 * Rickard, Bob (producer) & Moore, Steve (ed.) Fortean Studies: Volume 3 (John Brown Publishing Ltd, 1996) ISBN 1-870870-82-4
 * Rickard, Bob (producer) & Moore, Steve (ed.) Fortean Studies: Volume 4 (John Brown Publishing Ltd, 1998) ISBN 1-870870-96-4
 * Rickard, Bob (producer) & Moore, Steve (ed.) Fortean Studies: Volume 5 (John Brown Publishing Ltd, 1998) ISBN 1-902212-14-2
 * Rickard, Bob (producer) & Moore, Steve (ed.) Fortean Studies: Volume 6 (John Brown Publishing Ltd, 1999) ISBN 1-902212-20-7
 * Simmons, Ian & Quin, Melanie (eds.) Fortean Studies: Volume 7 (John Brown Publishing Ltd, 2001) ISBN 1-902212-36-3

Other titles

 * Wild Man: China's Yeti by Yuan Zhenxin and Huang Wanpo with Fan Jingquan and Zhou Xinyan, edited and introduced by Steve Moore. Fortean Times Occasional Paper no.1, 1981. No ISBN or ISSN assigned
 * Toad in the Hole: Source Material on the Entombed Toad Phenomenon selected and annotated by Bob Skinner. Fortean Times Occasional Paper no.2, 1986. ISSN 0260-5856
 * The Halifax Slasher: An Urban Terror in the North of England by Michael Goss. Fortean Times Occasional Paper no.3, 1987. ISSN 0260-5856
 * The World's Most Incredible Stories: The Best of Fortean Times by Adam Sisman and Hunt Emerson (May 1992)
 * Fortean Times 1993 Diary by Paul Sieveking (December 1992)
 * "Fortean Times" Book of Strange Deaths compiled by Steve Moore, illustrated by Etienne (John Brown Publishing Ltd 1994) ISBN 1-870870-50-6
 * US edition: The Comedian Who Choked to Death on a Pie—and the Man Who Quit Smoking at 116: A Collection of Incredible Lives and Unbelievable Deaths (November 1996)
 * "Fortean Times" Book of Weird Sex (September 1995)
 * "Fortean Times" Book of Life's Losers by Ian Simmons, illustrated by Geoff Coupland (October 1996)
 * "Fortean Times" Book of Inept Crime compiled by Steve Moore, illustrated by Geoff Coupland (October 1996)
 * US edition: The World's Stupidest Criminals (June 1998)
 * "Fortean Times" Book of Exploding Pigs and Other Strange Animal Stories by Ian Simmons (October 1997)
 * "Fortean Times" Book of Bizarre Behaviour by Ian Simmons (October 1998)
 * "Fortean Times" Book of More Strange Deaths by Paul Sieveking (October 1998)
 * "Fortean Times" Book of Unconventional Wisdom (1999)
 * "Fortean Times" Book of Close Shaves by Steve Moore (John Brown Publishing Ltd October 1999) ISBN 1-902212-18-5
 * "Fortean Times" Book of Medical Mayhem by Paul Sieveking and Ian Simmons (October 1999)
 * "Fortean Times" Book of the Millennium by Kevin McClure (September 1996)
 * "Fortean Times" Presents UFO: 1947–1997 – 50 Years of Flying Saucers by Dennis Stacy and Hilary Evans (May 1997)
 * Aliens Ate My Trousers: Crazy Comics from the Pages of "Fortean Times" by Hunt Emerson (March 1998)
 * Weird Year 1996: The Best of Strange Days by James Wallis and Joe McNally (November 1995)
 * Weird World 1999 by Mark Pilkington and Joe McNally (November 1998)
 * (Barmy Sutra by David Sutton — planned for 2001; unpublished)

title: Fortean Times


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Adelaide Fringe

Adelaide Fringe, formerly Adelaide Fringe Festival, is Australia’s biggest arts festival and is the world's second-largest annual arts festival (after the Edinburgh Festival Fringe), held in the South Australian capital of Adelaide. Between mid-February and mid-March each year, it features more than 7,000 artists from around Australia and the world. Over 1,300 events are staged in hundreds of venues, which include work in a huge variety of performing and visual art forms. The Fringe features many free events occur alongside ticketed events for the duration of the festival.

In 2023 Adelaide Fringe became the first festival in Australia to sell 1 million tickets. This has doubled from 500,000 tickets in 2015.

The main temporary venue hubs are The Garden of Unearthly Delights, Gluttony and the Wonderland and 500 other temporary and permanent venues hosting Fringe events are scattered across the city, suburbs and region. In a period in Adelaide's calendar referred to by locals as "Mad March", other events running concurrently are the Adelaide Festival of Arts, another major arts festival starting a week after the Fringe, which includes Adelaide Writers' Week and the four-day world music festival WOMADelaide, and also the Adelaide 500 street circuit motor racing event, with accompanying evening music concerts.

The Fringe attracts many international visitors as well as from all over Australia, and in 2019 generated an estimated A$95.1 million in gross economic expenditure for South Australia, which included A$36.6 million in spending by the 2.7 million attendees. Each year has brought a new record in all aspects of the festival for many years up to 2020.

Founded in 1960 as a loose collection of official (coordinated by the Festival of Arts) and unofficial events run by local artists, and initially seen as adjunct to the main Festival of Arts, the Fringe became an incorporated body in 1975, with the 1976 festival named Focus and later Adelaide Festival Fringe, before the 1992 change to Adelaide Fringe Festival. It has grown from a two-week long, biennial festival to a major annual international festival.

The Edinburgh Award, worth A$10,000, was introduced by Arts South Australia in 2017, open to local Adelaide Fringe artists who wish to tour their work to the Edinburgh Fringe.

Governance
The Adelaide Fringe and Adelaide Festival of Arts are separate organisations, with different philosophies and intent.

The Adelaide Fringe is governed by the Adelaide Fringe Board, which employs a director and CEO, a deputy director and a large team of adjunct staff to manage various aspects of the festival. A number of major contributors to the history of the Fringe have been named as life members, including the founder, the late founder, Frank Ford.

Heather Croall is the CEO and Director from 2015 to 2020. Greg Clarke was CEO and director 2011–2014. Sandy Verschoor was CEO 2006–2010, while Christie Anthoney filled the post of director from when the Fringe went annual in 2007 to 2010; and Karen Hadfield for the 2004 and 2006 festivals.

Description
Adelaide Fringe is the second-largest annual arts festival in the world, after the Edinburgh Fringe, and the largest in the Southern Hemisphere, places it won in 2017, and it continues to grow each year. Artists from across the globe participate in the Fringe alongside home-grown talent, in all art forms. Adelaide Fringe also organises its own public events. The Adelaide Fringe is an open-access event, meaning that there is no curator seeking out the events which form part of the programme.

"Mad March" is a term used by locals to describe the period of five big events running concurrently in the local calendar: the Adelaide Festival of Arts (a three-week festival starting a week after the Fringe), which includes Adelaide Writers' Week and the four-day world music festival WOMADelaide, as well as the Adelaide 500 street circuit motor racing event, with accompanying its evening music concerts.

Adelaide Fringe begins with free opening night celebrations (for many years a street parade and/or opening night party; an opening ceremony followed by party),  and free as well as ticketed events continue for the duration of the month-long festival. The festival includes contemporary work in a wide range of art forms including cabaret, comedy, circus and physical theatre, dance, film, theatre, puppetry, music, visual art, magic, digital and interactive and design.

Venues
In 2019 there were 517 venues, which included "pop-up" venues in parks, warehouses, laneways and disused buildings, as well as established venues such as theatres, hotels, bars, pubs, art galleries and cafes. Buskers regularly perform in Rundle Mall and elsewhere in and around the city as well as in the suburbs.

Accessibility has been greatly improved in recent years, with a number of initiatives included to try to ensure that as many venues and events are able to be attended by people of all abilities.

Because of Adelaide city centre's compact size, many of the venues are fairly close to each other. The city's surrounding parks provide several clusters of venues (known as venue hubs), outside of the established and converted venues within the city and suburbs. There are three main venue hubs:
 * The Garden of Unearthly Delights, the group of venues set up within a temporarily fenced area of Rundle Park / Kadlitpina, was first used in 2000, with only one Spiegeltent, known as "The Famous Spiegeltent".
 * Gluttony, a similarly fenced venue hub over the road in Rymill Park/Mullawirraburka.
 * The Royal Croquet Club has had a few changes of location since its launch in Victoria Square/Tarndanyangga in 2014, first to Pinky Flat/Tarntanya Wamain the northern parklands, then within the University of Adelaide from 2019.

Some of the permanent establishments regularly hosting Fringe events have included the Holden Street Theatres (a converted church precinct turned venue in Hindmarsh), Tandanya National Aboriginal Cultural Institute, Bakehouse Theatre (a performing arts space in the CBD), The German Club in Flinders Street, The Rhino Room (a local comedy club), the Odeon Theatre, Norwood and the National Wine Centre (a convention centre with wine bar and restaurant). Small venues make up about 50% of ticket total sales. The popular live music venue "The Gov" is used for Fringe events of all kinds.

Adelaide Fringe Ambassadors
In 2012, the Government of South Australia partnered with the South Australian Tourism Commission to create the Adelaide Fringe Ambassador role to promote the Adelaide Fringe across Australia and overseas. The Adelaide Fringe Ambassador also participates in the Adelaide Fringe Opening Night Parade and performs during the Fringe.

1960–1974: Biennial, 2–3 weeks, status unclear
The first "fringe" event came about in 1960, when a few artists decided to stage their own events in response to the exclusion of many local and smaller-scale artists from the curated Adelaide Festival of Arts. Fringe activities consisted of local visual arts, crafts, performing arts and amateur theatre groups organising productions, exhibitions and events alongside the Festival and running for two weeks. According to Fringe Vault, "These events that have been called 'unofficial fringe activities' formed the beginnings of the 'Fringe'. These were seen as separate to any 'unofficial activity supported by the festival' which were listed in the 1960 Festival of Arts Festival Souvenir Programme under Festival Attractions, other Events and other Exhibitions".

In 1962, the number of unofficial local events and exhibitions grew to the point where, according to a thesis by Martin Christmas, "1962 appears to have been the Festival where it was recognised that 'ancillary' (fringe activities), were as important as the core cultural activities", and Max Harris wrote an article entitled Adelaide’s Two Festivals.

In 1964, Fringe was host to 52 art exhibitions, collections and performances. Like the Festival of Arts, it was held biennially, for three weeks. Both approved and unapproved events had grown in number. Significant productions of two Patrick White plays, The Ham Funeral and Night on Bald Mountain, staged by local performers in 1961 and 1964 respectively after being refused by the main Festival, served to cement the status of what started being referred to in the press as "Fringe" events.

In 1970, the event grew to three weeks in duration, running from 6–28 March that year and experiencing significant growth in both official and unofficial events and including three major musical performances, four dance performances, an opera, film events and exhibitions.

The first printed souvenir programme was published for the 1974 event, with the title as "Adelaide Festival of Arts, March 9 to 30: Fringe programme". However there were still a large number of unofficial events: the programme listed 41 exhibitions listed and 20 performances; unofficial events included 50 exhibitions, 10 performances and many other events.

1976: Focus
In 1975 the fringe became an incorporated association, and thus "legal", with writer and director Frank Ford as its founding chairman. Its name was Focus Inc., with the focus on the development of South Australian culture. The change of name caused some controversy at the time, but the reason was reinforce the notion that Focus was not a cultural cringe. The first independently organised Fringe, known as Focus Festival, came into being and was seen as a huge success. This was the true beginning of today's Adelaide Fringe, as a separate entity and with focused goals, and the first dedicated poster, proclaiming "Focus '76". The 1978 poster said: "Focus: Adelaide's Festival of the Australian Arts".

1982: Adelaide Festival Fringe
In 1982, the name on the poster, with a design by Pro Hart, changed to Adelaide Festival Fringe. In that year there were 50 venues, 86 groups or individual artists, as well as 56 visual arts exhibitions in the city venues. There were also 16 groups doing performances in schools and public spaces. In 1988 the festival opened its doors to international artists, and the early 1990s brought further big changes, creating the most successful festival yet. It was beginning to put itself on the map internationally. The brochures stated that it was "the biggest community arts festival in Australia" and "ranked second only, behind the internationally renowned Edinburgh Festival Fringe". The inaugural Opening Night Hindley Street Party was thrown, and patron Don Dunstan called on the state government to provide more funding.

1992-4: Adelaide Fringe Festival
In 1994, the name on the posters changed from Adelaide Festival Fringe to Adelaide Fringe Festival, as a result of changes brought about in 1992-3. It decided to adopt the name Adelaide Fringe and to broaden the role of the organisation. Dubbed "the affordable festival", the 1992 festival was the most successful in its 32 year history, with many of the events taking place in the newly-completed Lion Arts Centre on the western end of North Terrace. The 1994 poster showed "Adelaide Fringe Festival", in contrast to the recent past "Adelaide Festival Fringe".

In 1998, the used its own especially developed ticketing system, FringeTix, for the first time.

2000: Adelaide Fringe
The 2000 Fringe dropped the "Festival" and started calling itself the Adelaide Fringe. That year was dedicated to dedicated to former state premier and fringe patron Don Dunstan, embracing his vision of social justice and cultural diversity that continues to be an inspiration today.

In 2006 South Australian Premier Mike Rann announced that the Adelaide Fringe would receive extra government funding (totalling $2 million) to enable it to become an annual event from 2007 onwards.

2007–2012: Annual, 3 weeks
In 2007, the Adelaide Fringe became an annual event, after receiving funding from the state government of A$500,000, which was deemed a success. In 2007, 130,000 tickets were sold through the FringeTIX box office system – with an additional 10,000 ticket sales by national ticketing partners.

In 2008, about 187,000 tickets were sold through the FringeTIX box office and their ticketing partners. 281 Fringe venues sold tens of thousands of tickets on the door. Family Day became Family Weekend and doubled in size and attendances. The final box office income was estimated to reach over A$5.3 million, the majority of which was passed back to Fringe artists.

In 2009, pre-event ticket sales equalled that of the previous year. 2,800 artists featured in 250 venues across the city, in 508 comedy, theatre, music, dance and visual art shows.

The Adelaide Fringe celebrated its 50th anniversary in 2010. Compared to the previous year ticket sales were 27% higher. For the first time, Fringe sold 100,000 tickets prior to the opening parade. The event received extra State Government funding of A$350,000 to support the anniversary event. The grant covered the cost of producing eight inflatable astronauts and erecting them around the city. 300,000 tickets were sold at box offices, more than twice as many as were sold in 2007.

In 2011, the Fringe Parade was cancelled due to rain, but 334,000 tickets were sold, equating to over A$8 million. 1.45 million attendances were recorded and ticket sales had increased 11% over the previous year.

The 2012 festival ran from 24 February to 18 March. Approximately 40,000 spectators attended the Fringe Parade, and 367,000 tickets were sold, a 10% increase on 2011 sales. Ticket sales equated to an approximate value of A$9 million. The event featured over 4,000 artists and 923 events, in 300 venues. There were 20% more events than in 2011. CEO Greg Clarke launched the event not only in Adelaide, but also at the Sydney Opera House and in Federation Square in Melbourne. There were also two big changes on opening night: the parade ran down the centre of the city along King William Street, and the celebrations before, during and afterwards were not just in the East End of the city centre, but in Fringe venues everywhere. There were also a number of large free outdoor events during the festival.

2013–2020: Annual, 4 weeks
In 2013, after a boost in government funding, Fringe was extended to run for a 4-week period, commencing Friday 15 February. There were over 4,000 artists registered, appearing in 930 events and 6139 performances, and 407,153 tickets were sold. The dollar value of ticket sales equated to A$11.6 million. The event generated A$64.6 million, which was an increase of 34% on the previous year.

In 2014, the festival ran for 30 days and nights from 14 February until 16 March, and brought together over 4,000 artists from around Australia and the world. Over 900 events were staged in pop-up venues in parks, warehouses, lane-ways and disused buildings as well as established venues such as theatres, hotels, art galleries and cafes.

Heather Croall, 2015–2020
In February 2015, Heather Croall came on board as CEO and Festival Director. More than A$13 million worth of tickets were sold, made up of more than 536,000 tickets sold across 376 venues, resulting in an increase of 20% compared to the previous year.

Ticket sales for the 2016 Adelaide Fringe Festival rose 12% on the previous year, with more than 600,000 tickets sold. More than 1,100 performances were staged across 430 venues. British comedian Alexis Dubus vowed not to perform in future Adelaide Fringe Festivals, citing his reason as the festival being driven by larger venues, which attract crowds who buy drinks instead of show tickets, leading to poor ticket sales and cancellations for shows. (However, he returned to the Adelaide Fringe Festival in 2018.)

In April 2016, the "Made in Adelaide" initiative was announced by the state government, which provided funds totalling A$55,000 to support nine acts taking their work to the Edinburgh Fringe, to help build connections between the two festivals. In August 2016, the Fringe began an official partnership with the Edinburgh Fringe Festival. Among the acts was a live audio drama of Matthew Reilly's 1998 book Ice Station.

In November 2016, CEO Croall spoke of the need for better marketing to attract more tourists, and ways to help ensure that artists received a decent share of income.

The start date of the 2017 festival was postponed by a week to 17 February, with the March long weekend falling on weekend four of the festival, instead of the last weekend. It was in 2017 that it became the largest arts festival in the Southern Hemisphere, and the second largest Fringe in the world.

Adelaide Fringe 2018 once again broke all records, attracting 2.7 million people in attendance across free and ticketed events, including 100,000 for the Opening Night Street Party (which replaced the opening night Parade) and 505,000 for the Parade of Light digital projections onto the buildings along North Terrace on every night of the 31-day festival. More than 6,900 artists performed in 1,231 events across 442 venues. Box office revenue reached A$16.6 million from 705,761 tickets sold (up 7 per cent). The event also saw a greater share going into artists' pockets, after A$1 million of funding from the state government enabled the Fringe to abolish inside charges for artists with tickets under $35, and to halve those for all others. The move was praised by artists, including Dubus, who returned with a new show that year.

Records were again broken in 2019, with attendance by tourists increased by 72% on the previous year (possibly a consequence of increased interstate marketing ), a total of nearly 3.3 million attendances, and A$95 million in estimated expenditure. 7000 artists participated in 1326 events. The reach of Fringe has been pushing further out of the boundaries of Adelaide, into regional centres.

2020: 60th anniversary
The Fringe celebrated its 60th anniversary in 2020. While the 2020 Fringe was the first in years to see a decrease in the number of registered events ("over 1200", compared with 1320 in 2019), the events were more widely spread, with half of the venues outside Adelaide city centre, including both suburban and regional locations such as Stirling, Gawler and Murray Bridge.

The World Fringe Congress, first held in 2012, was held in Adelaide for the first time in 2020.

The last weekend of the festival was somewhat impacted by the COVID-19 pandemic in Australia, although government rules on social distancing and travel did not start until the following week. Nonetheless it brought in a record $96.7 million in estimated gross economic expenditure, with box office revenue also hitting a record $21 million, selling 853,419 tickets.

2021
Dates have been announced for the 2021 Fringe (19 February – 21 March), but future planning is hampered by uncertainty caused by the global pandemic and consequent greater financial risk to performers and venues.

Notable mascots
In 2010, eight giant 10–12 m-high inflatable astronauts, created by Mr Inflatables, were placed around Adelaide.

The 2014 event's mascot was Stobie the Disco Cuttlefish, a 13 m-long street performance puppet inspired by the giant cuttlefish of South Australia. Stobie the Disco Cuttlefish flashed multi-coloured lights, waved its tentacles and played pre-recorded disco music while a group of professional dancers performed original choreography each Saturday night during the event.

The 2018 mascot was inspired by the winning poster of that year, featuring a multi-coloured dog made of balloons, with a crown, created by Sydney graphic designer Jacqueline Daniel. It was intended to celebrate the Chinese Year of the Dog.

Made in Adelaide Award
The Made in Adelaide Award was introduced in 2017 by Arts South Australia, as part of the "Made In Adelaide" campaign started in 2016, to export and promote South Australian artists at the Edinburgh Fringe. Entries are open to artists in the Adelaide Fringe who are planning to register with the 2017 Edinburgh Fringe. The Award is worth A$10,000 as of 2019.

Winners:
 * 2017: Joanne Hartstone – The Girl Who Jumped Off the Hollywood Sign
 * 2018: Anya Anastasia – The Executioners
 * 2019: Michelle Pearson – Just Desserts – Adults Only Tasting
 * 2020: Erin Fowler - Femme

Poster competition
Since 2007, the Adelaide Fringe holds an annual competition to select the cover art for the festival's guide, website, posters and general branding. Previous winners include:
 * 2007 – Ryan Stephens
 * 2008 – Hat Morgan
 * 2009 – David Blaiklock
 * 2010 – David Capriotti
 * 2011 – Kamen Goranov
 * 2012 – Sue Ninham
 * 2013 – Andy Petrusevics
 * 2014 – Sharon Moreno
 * 2015 – Jonathon Oxlade and Chris Moore
 * 2016 – Stephanie Mitchell
 * 2017 – Jennifer Rimbault
 * 2018 – Jacqueline Daniel
 * 2019 – Matthew Clarke
 * 2020 – Dave Court

Funding
The principal partner for many years has been BankSA. Government funding has increased in recent years. The Government of South Australia is a major sponsor, through Arts South Australia from 1997 to 2018, and since then directly via the Department of the Premier and Cabinet. The City of Adelaide, The Advertiser, 9News are also among the partners of the Fringe, and corporate and private donors help to support specific initiatives for artists.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Adelaide Fringe


text:
SBHS

SBHS may refer to:
 * Slavonia-Baranja Croatian Party (Croatian: Slavonsko-baranjska hrvatska stranka), a defunct political party of Croatia

Schools

 * St. Barnabas High School, The Bronx, New York, New York, United States
 * Sam Barlow High School, Gresham, Oregon, United States
 * San Benito High School (California), Hollister, California, United States
 * San Benito High School (Texas), San Benito, Texas, United States
 * San Bernardino High School, San Bernardino, California, United States
 * Santa Barbara High School, Santa Barbara, California, United States
 * Secondary Board High School, Cuttack, Odisha, India
 * Sheepshead Bay High School, Brooklyn, New York, New York, United States
 * Shirley Boys' High School, Christchurch, New Zealand
 * South Bromsgrove High School, Bromsgrove, Worcestershire, England
 * South Broward High School, Hollywood, Florida, United States
 * South Brunswick High School (New Jersey), Monmouth Junction, New Jersey, United States
 * South Burlington High School, South Burlington, Vermont, United States
 * Southeast Bulloch High School, Brooklet, Georgia, United States
 * Southland Boys' High School, Invercargill, New Zealand
 * Stone Bridge High School, Ashburn, Virginia, United States
 * Sturgis Brown High School, Sturgis, South Dakota, United States
 * Sydney Boys High School, Sydney, New South Wales, Australia

 * Springs Boys High School, Springs, Gauteng, South Africa

title: SBHS


text:
TCPA

TCPA may refer to:

 * Telephone Consumer Protection Act of 1991, United States law
 * Town and Country Planning Act 1990, act of the United Kingdom Parliament
 * Town and Country Planning Association, United Kingdom independent charity
 * Trusted Computing Platform Alliance, former computer industry group succeeded by the Trusted Computing Group

title: TCPA


text:
Adelaide Festival

The Adelaide Festival of Arts, also known as the Adelaide Festival, an arts festival, takes place in the South Australian capital of Adelaide in March each year. Started in 1960, it is a major celebration of the arts and a significant cultural event in Australia.

The festival is based chiefly in the city centre and its parklands, with some venues in the inner suburbs (such as the Odeon Theatre, Norwood) or occasionally further afield. The Adelaide Festival Centre and River Torrens usually form the nucleus of the event, and in the 21st century Elder Park has played host to opening ceremonies.

It comprises many events, usually including opera, theatre, dance, classical and contemporary music, cabaret, literature, visual art and new media. The four-day world-music event, WOMADelaide, and the literary festival, Adelaide Writers' Week, form part of the Festival. The festival originally operated biennially, along with the (initially unofficial) Adelaide Fringe; the Fringe has taken place annually since 2007, with the Festival of Arts going annual a few years later, in 2012. With all of these events, plus the extra visitors, activities and music concerts brought by the street-circuit motor-racing event known as the Adelaide 500, locals often refer to the time of year as "Mad March".

The festival attracts interstate and overseas visitors, and generated an estimated gross expenditure of A$76.1 million for South Australia.

History
The Adelaide Festival began with efforts by Sir Lloyd Dumas in the late 1950s to establish a major arts festival that would bring to South Australia world-class cultural exhibitions. In 1958, Sir Lloyd organised a gathering of prominent members of the Adelaide business, arts and government community. The proposal for an event similar to the Edinburgh International Festival was supported and the first Festival Board of Governors was formed. The event began to take form when Sir Lloyd partnered with John Bishop, Professor of Music at the University of Adelaide. The two gained the support of the Lord-Mayor and Adelaide City Council and a financial backing of 15,000 pounds. A number of leading businesses sponsored the first festival, including The Advertiser, the Bank of Adelaide, John Martin & Co., the Adelaide Steamship Company, and Kelvinator.

The inaugural Adelaide Festival of Arts ran from 12 to 26 March 1960 and was directed by Bishop with some assistance from Ian Hunter, the artistic director of the Edinburgh Festival. There were 105 shows covering almost all aspects of the arts. In its first year, it also spawned the Adelaide Fringe, which has grown into the largest event of its kind in the world after the Edinburgh Fringe.

The Adelaide Festival continued to grow in successive years with the support of the South Australian Government. It developed a number of incorporated events including Adelaide Writers' Week, Australia's original literary festival; WOMADelaide, the world music festival; and, the Adelaide Festival of Ideas. The Adelaide International was a curated international contemporary visual arts program held in partnership with the Samstag Museum from 2010 to 2014.

After some difficulties under the directorship of Peter Sellars in 2001–2, it was once again regarded as very strong, with its reputation intact as the pre-eminent event in the country, by 2006.

The Adelaide Festival moved from a biennial to annual event from 2012.

David Sefton was appointed as artistic director for a three-year tenure in 2013, then extended for another year. The 2013 program included for the first time, a three-night "festival within a festival": Unsound Adelaide presented international artists playing multi-dimensional electronic music.

Neil Armfield and Rachel Healy were appointed in 2015 and took over from Sefton as co-artistic directors from the 2017 festival, which included the landmark opera production of Barrie Kosky's Saul. Their contracts were extended twice, and due to finish with the 2023 festival. However, the 2021 and 2022 festivals were affected by frequently changing restrictions imposed by the government due to various waves of the COVID-19 pandemic in South Australia, which was challenging for the organisers, and also Armfield had some health issues.

In March 2022 it was announced that Ruth Mackenzie would be taking over from 2023, although Armfield and Healy had already confirmed or organised most of the major events for the festival. McKenzie has extensive international experience, including as director of the Holland Festival and Manchester International Festival, and overseeing the cultural program for the 2012 London Olympics, the London 2012 Festival.

Governance
In 1998 the Adelaide Festival Corporation was established as a statutory corporation by the Adelaide Festival Corporation Act 1998 (AFC Act), reporting to the Minister for the Arts. From about 1996 Arts SA (later Arts South Australia) had responsibility for this and several other statutory bodies such as the South Australian Museum and the Art Gallery of South Australia, until late 2018, when the functions were transferred to direct oversight by the Department of the Premier and Cabinet, Arts and Culture section. There is a governing board which reports to the minister. the chair was Judy Potter.

Artistic directors are appointed on fixed contracts for one or more years. Former chief executive Elaine Chia departed in November 2021, with Kath M. Mainland being appointed from April 2022. There is a separate director of Writers' Week.

Funding
In June 2019, it was announced that the Festival would receive A$1.25 million in annual funding over the following three years, to help "continue to attract major performances and events".

Funding is mainly from government sources, but, as a charitable body, the festival also attracts private donors within Australia and internationally. During the tenureship of Neil Armfield and Rachel Healy as co-artistic directors, donations to the festival increased from around A$55,000 a year in 2017 to A$2 million in 2022.

In August 2023 the South Australian Government announced $2.3 million for the Adelaide Festival over three years for additional performances and events.

Past festivals
Neil Armfield and Rachel Healy hold the record for the most stints as director, with six festivals under their belt.

There were no directors for the festivals of 1966 and 1968, with an advisory board taking on the responsibility. Peter Sellars' brief directorship of the 2002 Adelaide Festival remains the most controversial and he was eventually replaced by Sue Nattrass.

title: Adelaide Festival


text:
Talk:Lake Pleshcheyevo

Old talk
The Lake Pleshcheyevo is by no means "one of the largest lakes in Russia" ! — Monedula 12:14, 24 Feb 2004 (UTC)

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title: Talk:Lake Pleshcheyevo


text:
Ero s onoga svijeta

Ero s onoga svijeta (usually translated as Ero the Joker, literally Ero from the other world) is Croatian comic opera in three acts by Jakov Gotovac, with a libretto by Milan Begović based on a folk tale. The genesis of the opera was at Vrlička Česma in the town of Vrlika, a hometown of Milan Begović.

According to Croatian musicologist Josip Andreis, Ero s onoga svijeta is "not only the most successful Croatian comic opera to this day, but also the only Croatian opera with a presence in the theaters abroad". American musicologist and music critic Ralph P. Locke described it as one of two major Croatian operas, alongside Nikola Šubić Zrinski.

Characters

 * Marko, rich peasant, bass
 * Doma, his second wife, mezzo-soprano
 * Đula (Djula), Marko's daughter from the first marriage, soprano
 * Mića (Ero), young man from the nearby village, tenor
 * Sima, millman, baritone
 * Shepherd boy, child soprano
 * A young man, tenor
 * girls (6 solos), women (8 solos), men, shepherds, fruit-merchants (4 solos), merchants (4 solos), children and other village people.

The opera takes place in a small town, somewhere in the plain at the foothill of Dinara mountain in Herzegovina, in early autumn.

Orchestra

 * 3 Flauti (III muta in Piccolo), 2 Oboi, Corno Inglese, 3 Clarinetti, 2 Fagotti (II muta in Contrafagotto)
 * 4 Corni in F, 3 Trombe in C, 3 Tromboni, Tuba
 * Timpani, Percussioni, Arpa, Pianino
 * I Violini, II Violini, Viole, Violoncelli, Contrabassi
 * Sul palco: Organo

History
Composition of the opera began on October 10, 1932 and progressed in three stages, being finished on May 8, 1935. The first performance was on November 2, 1935 at the Croatian National Theatre in Zagreb, and the opera has since become the most performed work of South Slavic music literature.

The first performance was conducted by Gotovac himself, and he felt that the opera was nicely received by the audience. In Novosti (hr), described the opera in superlatives, and in Belgrade Pravda Stražičić shared this positive sentiment. An often-quoted dismissive opinion ("And again a Croatian composer wrote an opera in vain") allegedly found in Lujo Šafranek-Kavić's review in Jutarnji list, a Zagreb-based newspaper, has been found by recent research to be a fabrication. The actual review was generally very positive, with Šafranek-Kavić giving particular praise to Gotovac's score, while having reservations about the quality of the libretto.

Ero the Joker saw its first performance outside Yugoslavia in Brno, Czechoslovakia, translated into Czech in 1936, and after that it came back to the National Theater (Narodno pozorište) in Belgrade, Yugoslavia on April 17, 1937. It was next put on stage more than ten years later, on February 27, 1948, in the Serbian National Theatre (Srpsko narodno pozorište) in Novi Sad where it has been put on five times since. All totaled, Ero the Joker has found its way to the stages of more than 80 world theaters, and has been translated into 9 languages. Between 1935 and 2010 it has seen 660 performances in the Croatian National Theatre in Zagreb alone.

Act I
On the threshing floor of a rich peasant, Marko, young women are singing while threshing grain. Only master Marko's daughter Djula is sad: her mother had died and her stepmother, Doma, does not care for her at all. Djula's voice awakes Mića, a young man whom nobody knows.

While the women are comforting Djula and starting to sing again, Mića slides down from a big haystack on which he has been lying unnoticed – as if he had fallen from the sky. The superstitious women believe him when he says: "I am Ero from another world!"

He starts weaving a story about life "up there", delivering messages from their deceased loved ones. Djula's stepmother comes out and complains about their laziness. However, Mića sends her back into the kitchen by deceit, and thus, being left alone with Djula, tells her that her late mother has chosen him to be Djula's husband.

While they are discussing how to make her father, Marko, give his consent to their marriage, her father himself appears and drives Mića off, refusing to give shelter to a scoundrel.

However, Doma has also heard about this young man from another world and so, after Marko leaves, she makes inquiries after her late husband, Matija. Having heard that he is angry about her new marriage and her lack of respect for him, he adds that his pockets are empty. She, in a pang of conscience, gives Mića a sock full of gold coins to give to Matija when he sees him. Ero joyfully leaves. However, when Marko finds out about the money, he gathers men to go after Mića/Ero.

Act II
In the mill. Sima, the miller, mills and sings joyfully until women crowd: each one is in a rush and he does not know how to please them. When Doma arrives with Djula insisting to be served at once, a quarrel bursts out. Djula tries to calm her stepmother down, but she turns against her and leaves furiously. Djula laments after her ill fate; Sima is comforting her and she leaves with women.

But, here is Mića, running away. He disguises himself into a miller's apprentice and meets the pursuit crying: yes, he has seen the swindler running towards the mountains! They leave their horses and continue the chase on foot. Djula comes back and he assures her that he took the coins just to make a joke out of it, and he persuades her to run away with him. When Marko and men return, a young shepherd comes informing them that he saw Mića and Djula running away riding Marko's horse.

Act III
At the fair. Throng, howls and cheerfulness. Marko and Doma arrive quarrelling since he does not want to give her money for shopping. She leaves furiously. Sima, the miller, approaches Marko, telling him that Djula, in fact, married a rich boy from the neighbouring village and that they live a happy life.

She is longing after her father, but Mića does not want to come unless Marko invites him. Marko agrees to send for him, and when Mića and Djula arrive dressed up, people give them a warm reception.

And everything becomes clearer: following mother's advice, Mića, pretending to be a poor boy, went to find a girl who will love him for what he is. Now, he is ready to give back the horse and money and he only asks for Marko's blessing. Marko is happy for them and a big celebration begins, with a great round-dance in its finale.

Famous musical numbers

 * Vidjele ste, sidjoh odozgora – You've seen it, I've come from above (Mića's aria – I Act)
 * Ja sam ti o Gjurgjevu dne – It was I who on St George's Day (Duetto of Mića i Djula – I Act)
 * Brblje voda, žrvnji rokću – Water's bubbling, millstones are grunting (Sima's arioso – II Act)
 * Majko, majčice – Mother, o' sweet mother (Djula's aria – II Act)
 * Žene, đerdan, marame, šudari – Women, here's necklace, scarves, earrings (Sellers at Fair [chorus] – III Act)
 * Oj! Što su mome, Ero, za kradenje – Hey! Are girls meant to be stolen, Ero (Entrance of Mića and Djula – III Act)
 * Ti znaš, Mića, kad sam djete bila – You know, Mića, when I was a child (Djula's aria – III Act)
 * Mene moja majka svjetovala – My mother advised me (Mića's arioso – III Act)
 * Što na nebu sja visoko – What's that shining high in the skies (Finale – Dance [chorus] – III Act)

title: Ero s onoga svijeta


text:
Talk:Chungking Mansions

Untitled
I think the information provided is not sufficient.

Chungking Mansions is singular or plural??

I do think Chungking Mansions is singular, although it contains more than one building.

Sorry. I checked that in Centraline homepage. Chungking Mansions contain only one building and it is named as Chungking Mansion in the homepage. Therefore, I think it will be singular. "[]"

I add a link between singular and plural parlance of 重慶大廈 in 1st paragraph. Do you agree on?

That's fine. I think.

It's a fact, Jack, that most people in the Mansions are decent, and it's not a POV
NPOV is NOT writing from the perspective of the Westerner, dammit, and the Chungking mansions is safe. There's probably more prostitution in the Peninsula because that's where the money is. I have restored a qualification which is NPOV.

I think we do have to make more discussion on the implication of the Mansions or the effect of the Mansions to the society, rather than just writing down the fact.
I do think Chungking Mansion give people of feeling of loniness and also disconnection with the city? Do you agree?

The page is a bit boring. We have to raise some interesting points on the building. For example, what can the government do to make the situation of the Mansion better, why the building is so popular, why Wong Ka Wei choose this building to make his movie, or what make the building to be chosen by the criminal even through it is so famous of that? Maybe we can discuss more here, so as to make the article better.

Is the wikipedia supposed to be a encyclopedia instead of an online dairy? i have checked out many random pages and what i did find are all facts and not something that in our opinion <-just my point of view if u guys have more idea, pls post them up and have a discussion :)

furthermore i think we did have many interesting idea la hehe, and dont be afriad that those are not enough esp. comparing with others...

I do think the page should show give other a feeling that we are thinking rather than just writing down facts. Discussing the implication or something else therefore is better.

Are those pictures in this page are taken by someone or took it from other homepages?

yes those photos were taken by me~

Guys should we add a map inside our page?

what map are you going to post?

maybe we can link this page to a map

well it is a good idea then!

but the map is too difficult to find on internet

well. it will still be ok if there is no a map in the article.

Guys!Try your best tonight~It is the last night.Let have a wonderful article.
Shall we put the "Companies inside" and "Surrounding environment" parts before "Implication of Chungking Mansions" so that the structure seems more clear?

Well. It is a good idea. You may do so. I think.

Yo! The one who post the poster. Do you obtain the copyright to post the posters of the two movies?
Ya! 94vicentyung needs to put his copyright notice in each of the picture file he provided. He also need to add a statement saying permission is granted to wikipedia to use those picture. Without the permission, copyrighted pictures should be removed from wikipedia.

copyrighted information??
The copyright statement in the photo section has a problem. It is okay to say the photos are courtesy of John Doe. But it is not okay to say the information are copyrighted because anything written in wikipedia is released under GFDL, if it is copyrighted writing, then they should be removed.

The VCDs and DVDs in Hong Kong are cheap but not pirated in most cases
My edit removes "often pirated" in the article simply because Hong Kong enforces the law, and the permananent stallholders in HK sell DVDs and VCDs inexpensively but NOT illegally for the most part. This trade is mostly found in Shenzen at open air stalls.

It may give the tourist set a *frisson* to think that they are getting an illegal deal by buying Lilo and Stitch or some other movie adequate to their attention span for ten HK dollars but prices are comparable to budget outlets in the USA.

There is something vulgar about running about Asia expecting shopowners to risk their livelihoods by selling hot goods.

You backpacker punks will buy hot DVDs while condemning the people who live in the Mansions as ali babas and thieves. This is just wrong.Spinoza1111 05:00, 13 August 2006 (UTC)

Note on the POV of the last paragraph about Incurable Romantics
Edward G. NilgesSpinoza1111 05:31, 12 January 2006 (UTC)Hong Kong resident, bon vivant, and occasionally stayer at some of the crummier guest houses, YMCAs, souks, flea bags, Motel Sixes and estaminets world wide:

Take a look at the last paragraph about Romantics both cured and incurable.

The article originally took the POV of the moneyed, slumming Western backpacker and as such it Other-ed the denizens of the CK as if being an "illegal" immigrant was THE SAME THING as being a Thugee or Badmashee.

I would like the article to adopt a neutral POV: that applicable both to the backpacker on a trust fund, and someone who sets up housekeeping on a permanent basis in the dear old Chung King.

Comments are welcome.

A minor edit
Spinoza1111 13:28, 15 January 2006 (UTC)Edward G. Nilges

I reworded the intro in a rather minor edit to make the diverse peoples more equivalent. The original read as if the tourists and backpackers make the place culturally diverse, otherwise it would be a mess.

I added Nigerians, Europeans and Americans to the list, and the catchall phrase "other peoples of the world" to move the spotlight away from a series of peoples identified in the original with the connotation that they are dangerous riff raff. In particular, the catchall phrase makes the enumerated set more accepting of what used to be called the brotherhood of man as opposed to its cantonization into rich tourists who make the place kewl, and dangerous junglee men who are probably illegal in some way.

In general, given that Lonely Planet is contemplating a Chinese edition, travel writing needs to get rid of the "binary opposition" between Lord Jim and the local folks.

"incurable romantics" is nonsense
Hello,

I took out the paragraph about "incurable romantics". It was nicely written, but absolutely inappropriate for an encyclopedia; lyrical, philosophical, novelist. Certainly there are other places for publishing these thoughts; this article isn't.

Spinoza1111 06:37, 24 January 2006 (UTC)

Nonsense. The paragraph summed it up without violating NPOV. The encyclopaedia author has a RIGHT at the finish to do so, to be "lyrical".

It's not about being lyrical. It's about having a NEUTRAL POINT OF VIEW. This is COMPATIBLE with being lyrical.

Don't use NPOV as an excuse to destroy beauty like some sort of Visigoth.

I am putting it back in. I will tone it down a little.

OK, dammit, I just added the sentence "It [the Chung King] attracts incurable Romantics, curing some, confirming others" to the paragraph ending the introduction in lieu of what I had written before, dammit.

Now, a slightly ironic tone as above does not violate NPOV because the intelligent reader (who I assure you is all I care about) knows that the world-weary, and neutral-in-the-sense-of-urbane (not neutral-in-the-sense-of-being-a-moron) is kind of putting it in an ironic nut shell: that there are Romantics as well as guest workers infesting this estaminet.

Now, you may well ask whether urbanity itself is non-NPOV. Perhaps the sentence only speaks to Westerners with a past.

But I have met quite enough suave and debonair people from all over the world to realize that to assume that only a Westerner can be as cool as James Bond, can be shaken not stirred, is itself a POV: colonialism.

I am most uninterested in American "neutrality", which is the gape of the TV watcher, you may rest assured.

Above it is said the article was boring. Well, it ain't anymore thanks to me. Moreover it had the non-NPOV of the frightened American tourist with too many working credit cards for the good of his immortal soul, who hasn't stayed as I have stayed at the Lily Garden.

Laundry lists, external links and categorisation
I have today deleted the laundry list of companies and guest houses from the article. None of them are notable in any way, it invites would-be visitors and owners to list their "guest house" and contact details, so the list completely unencyclopaedic.

Also, it was categorised as a Hotel, but the building itself is not a hotel. Thirdly, none of the external links would pass muster as a reliable source, so have been removed. Ohconfucius 05:32, 6 August 2007 (UTC)

OK, now it has been completely rewritten. Have I missed anything? Ohconfucius 08:37, 6 August 2007 (UTC)

New book: Mathews, Ghetto At The Center Of The World
Gordon Mathews, Ghetto At The Center Of The World: Chungking Mansions, Hong Kong. University of Chicago Press (Jun 2011), paperback, 256 pages. I don't have a copy yet (as it is not published). m.e. (talk) 05:22, 23 May 2011 (UTC)

SCMP story
Good source - SCMP interview with the chair of the building management for 24 years, and charmingly committed to the place .220.246.177.209 (talk) 05:09, 23 May 2017 (UTC)

title: Talk:Chungking Mansions


text:
User:Yosri

This user use 32 bit password (alphanumeric, capital & sign) for strong protections.

I'm from http://ms.wikipedia.org

More about me at :

 * http://ms.wikipedia.org/wiki/Pengguna:Yosri
 * http://en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_Attribution-ShareAlike_3.0_Unported_License

 * "8. Miscellaneous Each time You Distribute or Publicly Perform the Work or a Collection, the Licensor offers to the recipient a license to the Work on the same terms and conditions as the license granted to You under this License. Each time You Distribute or Publicly Perform an Adaptation, Licensor offers to the recipient a license to the original Work on the same terms and conditions as the license granted to You under this License...."

I condem those that print and reprinted the prophet caricatures. Free Speech do not mean the right to offend others belief. No more Danish Cookies or Danish or Nederland anything for me, TQ..
 * In case it interests you, there is a counter-boycott underway - see this cartoon. I'm sure I'm not the only one eating Danish cookies and Havarti cheese to reward their country for defending freedom of speech.
 * For you, your food; for you, your value. I not buying either one of it anymore.Yosri 12:54, 2 May 2006 (UTC)

Please remove the cartoon from the page. Provide a link out for those who wish to see it. You are counting voting written in English, which is not relevent to a lot of Muslim. Putting it in is showing insensitivity, self centered. Free speech does not mean the right to insult others. It is not the picture which is offensive. If you put the cartoon title as Bush in Iraq, not many muslim care about it. It is the meanest of spirit behind it, publishing picture which is known will be insulting, and then ask why are you angry? Of course I am angry, and insulted. How can two civilization live together when one keep pushing and hurting physically and mentally the other. Muslim is being killed in Palestine, and Iraq. The western newspaper ignore it, or just show 1 or 2 officer under trial and claimed "Look we have punish them." Well there are thousand of other cases. This is no free speech. It's just selected coverage. Please remove the cartoon from the page. Yosri 13:23, 8 February 2006 (UTC) Yosri 01:35, 24 April 2007 (UTC)

KIV

 * AutoWikiBrowser
 * AutoWikiBrowser/User manual
 * User:Ganeshk/CSVLoader/Walkthrough
 * User:Ganeshk/CSVLoader/Find_and_replace
 * http://makanaka.wordpress.com/2011/04/01/indias-2011-census-a-population-turning-point/
 * http://unstats.un.org/unsd/demographic/sources/census/censusdates.htm
 * http://www.loc.gov/rr/business/census/intlcensus.html
 * http://www.mygermancity.com/german-cities-w
 * https://www.familysearch.org/learn/wiki/en/Germany_Census

Western Double Standard Value

 * http://www.camera.org/index.asp?x_print=1&x_context=2&x_outlet=62&x_article=1076
 * http://www.haaretz.com/jewish-world/news/dutch-to-charge-arab-group-over-holocaust-cartoon-1.283136
 * http://strasbourgobservers.com/2010/08/27/ael-on-appeal-convicted-in-infamous-dutch-holocaust-cartoon-case/
 * http://www.dutchnews.nl/news/archives/2009/09/arab_league_faces_legal_action.php

 * Professor Edwin Thumboo’s Adnan & Comrades At Bukit Chandu:

 * Deep rumbling guns; sharp whistle in the air,
 * Their shells rip in to churn our earth.
 * Then attacks propelled by fury. Yet no despair,
 * No crack in our resolve. Freedom’s worth

 * Is the blood we shed. Our cause is just;
 * Our sacrifice will never, ever, be in vain.
 * Ta’at Setia: we hold our hill, we must.
 * Come comrades, duty stirs our souls again.

 * The enemy are many; we are few
 * At one strategic point they boldly came,
 * Across a stream, up ravines wet with dew.
 * We bayonet-drove, we slew; left many lame.
 * From that clash their hatred grew.

 * Days and nights are sad with mourning:
 * Broken houses, those children we can’t find;
 * And for the dead, the dying and the groaning.
 * War has no glory, only what’s bitterly unkind.

 * We may yield the moment, not our inner self:
 * A soldier’s oath, solemn made is deep
 * with duty, honour, the fellowship of life itself.
 * These we cherish and keep,
 * As companions of our memory;
 * as guardians of our sleep.

 * Pantun

 * A Rose is a thing of ideal beauty.
 * It's color and smell touch the emotions
 * Pantun ia a type of poetry
 * That's a products of imagination
 * It's color and smell touch the emotions
 * Sharpen thorn guarded it's bodies
 * That's a products of imagination
 * the word loosely to mean whatever embodies
 * Rose leaves, when the rose is dead,
 * The sweet smells linger still not gone
 * Are heap'd for the beloved's bed;
 * Love itself shall slumber on.
 * Are heap'd for the beloved's bed;
 * Love itself shall slumber on.

 * Where are the kid, we used to know
 * Running around causing a riot
 * Lying asleep, we cress their brow
 * Peacefully asleep, exhausted and tired.  (Remnisiant)
 * The house is silence that much I know
 * Prime and prim, with empty bed
 * No one around to make a row
 * Why is then my heart, feel so sad        (Present)
 * Each has flown to its own nest
 * Far and secure, happy and free               (successful)
 * Why then I cannot take a rest
 * Why the thought did it bother me             (longing)
 * Perhaps someday we'll capture their attention
 * When our tired body has come to rest         (died)
 * May be then, our name they mention           (remember about us?)
 * Will it be too late when thing come to pass  (Future)
 * When our tired body has come to rest         (died)
 * May be then, our name they mention           (remember about us?)
 * Will it be too late when thing come to pass  (Future)

Senarai Universiti Indonesia yang menghina dan membakar lambang Islam dan bendera Malaysia

 * Universitas Palangkaraya
 * Universitas Pakuan Bogor
 * Universitas Sultan Agung Tritayasa
 * Institut Agama Islam Negeri (IAIN)
 * Sultan Maulana Hasanudin (SMH) Banten
 * Universitas Tirtayasa (Untirta)
 * Universitas Muhammadiyah Ponorogo
 * Universitas Pakuan Bogor
 * Universitas Indonesia
 * Sekolah Tinggi Akuntansi Manajemen
 * Untag Banyuwangi
 * Universitas Islam Sunan Giri
 * Institut Agama Islam Riyadatul Mujahidin Ponpes Walisongo

 * http://en.wikipedia.org/wiki/Robbins_v._Lower_Merion_School_District

title: User:Yosri