Young British writers, after the May 1968 events in France, wrote agitprop plays, including David Hare, Howard Brenton, David Edgar. Meanwhile, in the United States, experimental theatre was growing due to the political protest of the Vietnam War. The Living Theatre, founded by Julian Beck, is considered the leader of the "flower power" and "hippie" movement. By the early 1970s, many fringe theatres began to receive small subsidies. After the 1973–74 stock market crash, many fringe companies were forced to close. New playwrights were established at the Bush Theatre and King's Head Theatre, both of whom survived the crash. and Red Ladder Theatre Company were some of the surviving touring fringe groups. Fringe theatres were attractive to people in the 1960s due to their adventurousness but became less wild in the 1970s while the standards of production rose. In 1982, the first fringe festival in North America was started in Edmonton, Alberta. It was then a theatre component of the larger Summerfest but evolved to become a stand-alone event, the Edmonton International Fringe Festival, one of the largest annual arts events in Canada and still the largest fringe in North America by attendance. The oldest fringe festival in the United States is Orlando, FL, founded in 1992. There are more fringe festivals in North America than any other continent. One distinction between fringe festivals and conventional arts festivals is the method used to choose participants. Typically, conventional festivals use a jury selection process, whereas many fringe festivals do not use a jury process in their selection criteria. There are exceptions to this; some fringe festivals (e.g., New York International Fringe Festival) do employ a jury-based selection process. All performers are welcome to apply, regardless of their professional or amateur status. No restrictions are made as to the nature, style or theme of the performance, though some festivals have children's areas with appropriate content limitations. Festivals may have too many applicants for the number of available spaces; in this case, applicants are chosen based on an unrelated criterion, such as order of application or a random draw. The number of performances varies among different fringe festivals. Larger festivals may have thousands of performances (e.g., Edinburgh's 2013 festival had 45,464 performances). Fringe festivals typically have a common organising group that handles ticketing, scheduling, and some overall promotion (such as a program including all performers). Each production pays a set fee to this group, which usually includes their stage time as well as the organizational elements.