Philip II, born 1165, was the son of King Louis VII and became King of France in 1180 when his father died.

In 1190, Philip along with Richard I of England and the Holy Roman Emperor, Frederick I Barbarossa, embarked on the Third crusade as comrades in arms but at some point during the journey they quarreled. Philip returned to France a year later whilst the French army remained in Outremer under the command of Hugues III, duke of Burgundy.

Allying himself with the Holy Roman Emperor Henry VI and Richard’s brother, John, he set about claiming Richard’s territories in France as his own. In 1194, after returning from the crusades, Richard set off on a new campaign retaking all the territories that had been seized by Philip during his absence. By the time of Richard’s death in 1199, most of his territory had been regained.

When John became king of England after his brother’s death, Philip began a campaign to retake all the land that Richard had won back. Between 1201 and 1205, Normandy, Maine, Brittany, Anjou, Touraine, and Poitou fell to Philip.

An alliance of European powers, including that of England, became concerned at the growing power of France and her armies and in 1214 went to war with King Philip II. At the Battle of Bouvines, Philip II’s forces inflicted a heavy defeat upon the coalition forces which included those of Otto IV of Germany. The consequence of the defeat was that Philip became one of the most powerful men in Europe.

Philip immediately set about reorganizing his government, bringing with it financial stability. This allowed the country to grow and prosper. His court officials had the majority of their powers removed and he replaced them with a council made up of middle class citizens, bestowing upon them, some of the powers removed form his nobles. During this time of upheaval and reorganization, towns grew, trade flourished and Paris was established as the capital of France.

With Paris firmly established as France’s new capital, Philip II undertook a major rebuilding program, the likes of which had never been seen. He had all the main thoroughfares paved, built Les Halles (a central market) and continued with the construction of Notre-Dame Cathedral which was begun in 1163 by his father Louis VII.

Philip II also gave the world the Louver, which at the time was built as a fortress, as well as giving a charter to the University of Paris in 1200.

With the act of relieving his nobles of their powers and the new prosperity he brought to the country, Philip was seen as a peoples King who became very popular amongst his subjects.

Philip II died July 14, 1223 at Mantes.

Our journey has come to an end. I hope you have enjoyed these brief insights into the life and times of some of Europe’s most loved and hated monarchs.

So until my next article

Best wishes and have a great day

Stuart Bazga

www.guide-to-castles-of-europe.com

A Guide to Castles of Europe was born from childhood dreams and aspirations. It is my hope to educate and stimulate you into exploring these castles for yourselves.

The union was formed two hundred and twenty six years ago by the forefathers of this nation out of spite for a foreign oppressive government that not only dictated the structure and function of our domestic society but also its morality. The constitution became the hallmark of the American struggle for independence the basis of a new government and a new set of values filled with a series of statements forever protecting the rights of the people from governments “foreign and domestic”.

One such amendment held dearly by the American people is the first, commonly known as freedom of speech. It has been a freedom both consistently enjoyed and challenged during the course of American history; challenged on grounds that were one of the original reasons that the rebellion originally took place. That reason is the dictation of what social morality should be to the general public by a third party.

One of the greatest musicians and philosophers of the last century was quoted saying “There is no freedom. Even the birds are chained to the sky” (Johnson 422). Bob Dylan made this statement when CBS refused to play his song the Ballad of Emmit Till. What Mr. Dylan insinuated when making this statement was that:

“regardless of what our conceptions of freedom are, we are all slaves to other peoples beliefs. What one person sees as artistic expression is censored by another. True freedom does not exist. True freedom was lost so many years ago” (423).

The first amendment, the one that directly addresses the concept of freedom of speech, states that:

“Congress shall make no law representing an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or of the right of the people peaceably to assemble, and petition the Government for a redress of grievances”.

A quick analysis of the first amendment and we easily discover that, even though this freedom is guaranteed to us by the constitution, it is only directed to avoid oppression by the government. The first amendment establishes what we will refer to as legal censorship. Legal censorship for the remainder of this essay can be defined as “the prevention of disturbing or painful information from reaching the consciousness except in disguised form”.

By carefully observing this definition two questions are clearly raised. What should be considered disturbing or painful, and who should make such a decision? By analyzing the evolution of censorship primarily in music in the last 40 years via observing 3 very important situations one can see how society has chosen to answer these questions. The censoring of Elvis Presley on the Ed Sullivan Show, the fight against Rock and Roll made by the Parent Music Resource Center and the black listing of Eminem are three of the most influential battles censors and their counterparts have fought. The result of these three battles illustrates America’s consistently changing attitudes toward the first amendment and the censorship of music.

There have been many influential decisions made when dealing with censorship in music, but none as important as the first true act on January 7, 1956. On that cold winter night, millions of frenzied teenage girls tuned in to the Ed Sullivan Show to watch their idol, the first King of Rock and Roll, Elvis Presley, shake rattle and roll his way into their hearts. What they got was 4 minutes of Elvis shot from the waist up. The decision made by CBS to broadcast Elvis, an artist known for his hip shaking gyrations, from the waist up because they felt his dancing was overtly sexual and inadvertently hedonistic was the first act of censorship in the world of Rock and Roll. The act may have been seen as insignificant at the time, but what CBS did was create a new chapter in the analysis of the first amendment. Because the censorship of Elvis Presley was not an action made on part by the government, but one made by a private third party, it was deemed as acceptable. Though Elvis didn’t understand at the time, it was the beginning of the war between artists and third party censors.

With the CBS’s decision, artists quickly discovered that musicians have no legal right to play music, make album covers or perform live. Music censorship is only considered a violation of our constitutional rights guaranteed to us by the first amendment when government, its laws, or its agencies conduct the suppression. Although it may be hard to believe, only in rare instances is what we call "music censorship" actually a civil rights violation and therefore legal censorship. Any other attempt to suppress music, its artwork, and live performances is entirely legal.

Though the judicial branch has chosen to interpret censorship suits on a case-by- case basis, the general consensus has been, “even though the artist has a right to create art as they see fit, they do not have the right to force any organization to distribute it in any form” (Young 218). So the form of music censorship that artists have fought against in most incidences is not legal censorship, but rather implicit censorship. It is the censoring of their art by refusing distribution through popular mediums. Distribution can either be in the form of refusing to broadcast on radio or television or the outright refusal of a store to carry an album they feel is immoral.

It is becoming very evident that even though art is considered constitutionally protected speech, Rock and Roll as a form of music has never been censored on the basis of art, but rather the basis of obscenity. If it is deemed obscene, it is subject to legal censorship, only by the government. Legal censorship itself is an evolving definition. At present it is defined as “information deemed to be extremely offensive and hold no artistic or informative value” (Parent Music Resource Center Online). In most cases regarding the censoring of music it is implicit censorship rather then legal censorship that is at play.

Nearly 30 years after CBS chose to censor Elvis’s pelvis, the Parents Music Resource Center (Parents Music Resource Center) made another moral cry citing the dangers of Rock and Roll’s lyrics and its influences too the United States Senate Committee on Commerce, Science and Transportation. Led by a group founded by Tipper Gore and acquaintances, the Parents Music Resource Center made the first highly publicized attempt to introduce legislature forcing the record industry to include warning labels on records deemed explicit. The definition given by the Parents Music Resource Center for the term “explicit lyrics” include lyrics that “promote sexuality, contain profanity and deal with violence”. (Parents Music Resource Center Online) Though the Parents Music Resource Center agreed to the labeling system volunteered by the record industry, their original requests included:

“…printing song lyrics on album covers, keeping records with sexually explicit covers under the counter, reassessing the contracts of performers who engage in violent or explicit sexual behavior in concerns and pressuring broadcasters not to air controversial songs and music videos” (Congress To Debate Rock Music; Record Industry to Label Albums 76).

The debate caused a government body to reassess the meaning of the first amendment when it contradicts the right of parents to protect their children from what they consider harmful materials. Though a compromise was reached between both parties, many artists voiced their opinion, feeling they were the real losers in the deal. Proponents for free speech on the artist’s side included vocal members such as Frank Zappa,

“The problem with Judge Gonzalez’s decision is that it included language that the album is obscene because it induces people to have filthy thoughts. If you write a decision like that, you’ve laid the paperwork foundation for a series of laws that will lead to thought control. Because if an album can induce you to a dirty thought, what about a greeting card? If you allow them to set up any kind of machinery to oversee the thoughts, the hearts and the minds of the, people in the United States, they will never, never leave you alone” (76).

His intelligent and articulate insights when appearing before the senate committee made Mr. Zappa the spokesperson for the artists who advocated free speech and expression. Though Mr. Zappa shifted the spotlight away from the record companies and Parents Music Resource Center to the artists and their feelings, he was not able to put an end to the debate.

Less then a decade after the death of Frank Zappa, the censorship debate was re- ignited when Marshal Mathers, popularly referred to as Eminem released his first album. Filled with violent imagery and explicit sexual and racial references, the Marshal Mathers LP was bound to be a target for many pro-censorship groups. Though Eminem has not faced any legal censorship, private well-organized organizations including NOW (National Organization for Women) the Parents Music Resource Center and Gay Lesbian Bisexual and Transgender Group have rallied for stores to ban his music.

The argument made by these lobby groups is not one of censorship, but rather one of education. Jennifer Pizer of the Western Regional Office of the Lambda Legal Defense and Education Fund states that these interest groups are:

“… trying to teach that despite his catchy rhythms, the bad-boy shock value of his lyrics has real societal costs that more responsible folks should care about. There is no issue of Eminem’s critics forcibly silencing him. They are simply calling on him voluntarily to stop, think and get it that he is hurting people. And they are calling even more passionately on everyone else to stop applauding him– and stop rewarding him–for nasty, puerile scapegoating, even if it’s got a beat” (Duralde 58).

Groups like the Parents Music Resource Center and Gay Lesbian Bisexual Tran gendered Group state they are willing to compromise as long as artists such as Eminem are as well. The lobby groups claim that as long as lyrics that they feel are obscene are edited, they will not rally for an outright ban against the artist. One example of lyrics that are consistently quoted by interest groups from the Marshall Mathers LP:

My words are like a dagger with a jagged edge That’ll stab you in the head Whether you’re a nigger or a kike Or the chink, wop or wetback Pants or dress–hate niggers, the answer is yes. You niggers keep egging me on till I have you at knifepoint, then you beg me to stop (Tyler 14).

There is no doubt that many would find such lyrics but that is not the burning issue. The question now becomes whether or not an artist is obligated to edit their art on the account it offends a sector of society. Though this is a very difficult question to answer as it deals with an artist’s responsibility to society, the judicial system through precedents set has clearly made up its mind on the issue. With the conclusion of cases such as Ozzy Osbourne vs. State of California and Marilyn Manson vs. State of Colorado we can observe even within the past 10 years that though challenged on the grounds of hate speech and obscenity artists have no legal obligation to edit their product on accounts that other groups are offended by it. The American people have clearly taken a “if your offended by it, don’t look at it” approach to the issue.

With boycotts running against Eminem and his music, most Top 40 radio stations take a similar approach when regarding his music. Even though the DJ’s may have a personal bias against the artist, they claim the “radio station is not their personal juke box” and it is in the station’s best interest to play a hit, rather then censor it.

The argument made by Eminem and similar artists is that music mimics society. It is a reflection on both the social and cultural mind set of America today, and censoring lyrics wont hide what youth encounter everyday. Supporters of Eminem and his music have stated that:

“…simplifying his music into sex, drugs and violence is a mistake and so is hanging him out to dry as solely responsible for the downfall of moral values. Calling on Eminem to tone down his lyrics and thus fix what ills this country is like cleaning up the blood spurting from an arterial bleed. It is fixing the outward result, but ignoring the cause of the mess. To permanently stop the bleeding pressure must be applied at the source of the flow. There are broader, more complex, and interesting questions to be answered about Eminem’s songs: What is it about them that made seven million people go buy a copy of his latest album?” (Shoben 3).

Even with all the controversy surrounding this young artist Eminem’s unedited Marshal Mathers LP not only won four Grammy awards, it is still the foundation for modern debate of the first amendment regarding music. Music censorship follows the same ideology that art does it mimics society. By examining censors we are in fact examining ourselves, whether it is our friends or family, neighbors or strangers, censorship is a reflection of our fight for an ideal or utopian state. In essence, censorship is truly a gift because it helps us figure out what it means to be American and what those ideals mean when they clash with the beliefs of fellow Americans.

http://www.lonelycanuck.com

Joseph Calleia was born in Malta on the 4th of August, 1897. His official biography simply says Malta, but some of the people I have interviewed say he was born in the village of Rabat, others Sliema. Joseph had a very good singing voice and actually began his career as a concert singer in England and Paris. He came to Hollywood in 1931 and played the villain, Juan, in My Sin. His slightly menacing persona fit the role perfectly, and he was called upon to play similar characters often until his film career ended in 1963 with Johnny Cool. Perhaps his most famous role was the villain, Jeff Badger, in My Little Chickadee with W.C. Fields and Mae West. Though IMDb, which calls itself the world’s largest Film Data Base, credits him with 57 films, he played bit parts in many others, including one of my favorites, After the Thin Man.

Although Calleia naturally spent much of his time in Hollywood making movies, he remained true to his native country and returned there as often as possible. The people of Malta appreciated him and started a fan club in the early ‘forties. Unlike many Hollywood actors of the time, he always faithfully answered his fan mail and happily sent autographed pictures to anyone requesting them. Unfortunately for him, his name was probably as little known in his time as it is now. Asked about it, he is reputed to have replied, "Everyone recognizes my face, but no one knows my name."

One of his favorite roles was Buldeo in the 1942 version of The Jungle Book, starring Sabu. Buldeo as an old man tells a tourist about the jungle and the time when a young boy was orphaned and raised by wolves. Calleia liked playing the much older man and found getting made up to be enjoyable, though most actors and actresses of the time hated the process. He also liked his role in A Touch of Evil, playing a friend of the corrupt Sheriff, Orson Welles. He felt it showed a vulnerability that was lacking in so many of his roles.

Joseph Calleia returned to Malta to retire and died on Halloween in 1975. His fan club is still in existence and has several hundreds of members around the world. In July of 1997, the government of Malta issued issued a set of two stamps in his honor.

John Anderson is a Maltaphile who is interested in every aspect of the ancient island’s culture and history. His novel, The Cellini Masterpiece, which was written under the penname of Raymond John, borrows deeply from three of its most important periods–the 16th Century, World War II and the present. If you would like to read a sample chapter of the book, or would like to ask John a question, you may contact him at http://www.cmasterpiece.com

In the aftermath of Hurricane Katrina we see some problematic race issue. There are Black Americans very concerned that the slower than anticipated relief efforts. In fact some have taken to the media and even written scathing reports and condemnations of everyone from the former Head of FEMA to the President of the United States claiming they are anti-black and helped white people first.

I am saddened to find our citizens feel like this, it upsets me. I read one article that a Malcolm X or a modern day MLK could have well written it. It was an attack on the leadership telling of anti-African American sentiments. A well written article by a talented writer in fact certain paragraphs could easily have referred to Chinese Immigrants crawling thru tunnels to set dynamite charges to build the railroad, which were often set off before they could get out or Irish Americans during the Industrial Revolution; or the exploited of other countries. I understand that some Internet News outlets refuse to allow such articles. I understand them not wanting to post such articles as they appears to insight anger, rebellion and borderlines on revolution. Especially after Great Britain and her move to make International Terrorism talk illegal in Mosques.

Yet we know that such articles are all the part of the human endeavor in its sound and fury of many a past and present period. Perhaps these issues and articles do need to be heard. Many feel it is better to not silence such feelings as if we allow them to stew, rather than allow the emotion to flow that we may not understand their plight or growing inner rage. The argument is if we do not listen the problem of race will continue to fester until riots erupt in the future?

As we see International Terrorists attempt to recruit Americans in our country to join their hatred, we now know how one could fall to their offer. Perhaps if we understood these feelings and issues we might as well prevent the recruiting of Americans to assist in joining those Radical Islamic Jihad’ist Murderers. Of course one article written by an author named “Lisa” is anything of the sort, this person appears to be a writer and allows expression thru that form instead of violence, but what if we fail to listen? Would this individual or individuals like her who find no way out, nothing to lose, economically enslaved, no voice and then they could join up with those who hate and want to kill, plan and attack our fellow citizens?

Now one might say that such words of attack on the character of our leadership incite others to sign up against us all. But if we fail to listen, and one day someone it could all, explode. Then TV announcers would then say; “Oh how could this happen?” The answer would be we swept the truth under the carpet and did not listen, we should have known.

I personally do not approve of such articles, but am grateful to see its perspective and it shows; “Houston we have a problem” and they were moved here from New Orleans and boy are they pissed! Not all of them, but enough to make us at least listen. Whether or not they have a legitimate point is questionable, yet their points need to be fully addressed now that the media has blown the entire event out of proportion.

There were no threats in these articles, just promises to not forget the treatment, nor should we next time. America self-segregates and it is a shame. I wish we did not do that. But we all do, all of us. We should be thinking on this, if we are all one, we ought to start acting like it and listen to all sides. Partitioning away the truth will only cause it to rise again and bite you in the rear. Although I disagree with these articles, which further separate us from our neighbors and citizens; I do respect their opinions, passions and want them to know we feel your pain and value your perspective. America is with you; please know that. Everyone should think on these things during our present period.

"Lance Winslow" - Online Think Tank forum board. If you have innovative thoughts and unique perspectives, come think with Lance; www.WorldThinkTank.net/wttbbs/

If you loved the Abba fancy dress costumes you saw or if you just love the look of this era, go ahead and take it one step farther by dressing the part completely. Let’s face it, the 70’s were all about looking great and feeling great! Bring back some of that flare, that love for life and those cute looks by dressing in an Abba fancy dress! Regardless of how you want to look, it is important that you take the time to purchase an outfit that looks and feels just like you want it to. You should have yourself dressed from head to toe so that you can really play the role well. Make sure that you look like you have stepped out of a time warp with your Abba fancy dress!

So, what makes this a great choice? If you love the look, then that is just what you should be wearing. By taking the time to look the part completely, you will be able to make everyone believe that you are a true Abba fancy dress lover! Okay, so maybe you just want to look like this for one day, a party maybe. Where can you find the costume that you want? Check out the various options that are available right here on the web. You will find a wide range of options to choose from including those you will fall in love with instantly. You will find things that just bring out the fun in you, like the Abba fancy dress look. And, you will find those things that you can not believe you forgot about!

Do you have a party to go to? Do you want to look the best? Make sure that you purchase the right accessories to go with your Abba fancy dress. For example, you may want to look for a long, flowing blonde wig to wear. Don’t forget to make sure it is straight and cut in the right fashion as well. Then, look for your tunic outfit that is simple yet cute as can be. Don’t forget your wrap around high heels in shining black! Add some red lipstick, a microphone and some glitter and gold waste band and you are on your way to having the perfect Abba fancy dress. By taking the time to have all the right accessories, down to the gold painted fingertips, you will truly shine as someone from this fabulous era in time. The good news is that you can purchase many of the Abba fancy dress options you are considering right here on the web for much less then you will find in retail stores. And, since you are online where all the selection is, there is no doubt that you will find the most perfect Abba fancy dress out there!

Abba Fancy Dress

The idea of 80s fancy dress brings back memories. If you are considering the purchase of something that is related to this era in time, you should consider the wide range of choices you have. It’s all about the music. Its all about the Hollywood stars. And, it’s all about the party! Let’s take a look at just what options for 80s fancy dress should bring up to you. Some options that may spark an interest are the way that life was. It was a time when just about anyone could find a reason to throw a party. It was a time when funky clothes and outrageous hairdos were, well, they were cool! Remembering these times will really bring back some thoughts and some smiles. Jog your memory. Think about all things 80 for just a few more minutes. Can you come up with any wonderful 80s fancy dress options that would fit your style and taste from back then?

First, there is the music genre. Do you remember such artists as Cyndi Lauper and Prince? Of course, who can forget the Madonna fads that ranged from denim to pointed under garments! Think about the song Purple Rain from Prince. Do you remember the video with the purple tuxedo he wore? Consider dressing up in this to catch some attention! Of course, there was also the legendary rock star look as well. Yes, the long hair that was thick and framed the face. The headbands that Bruce Springsteen wore and the torn jeans that revealed just enough skin to drive the girls wild are just a few options. Or, let’s not forget the spandex pants that often had leopard prints and were worn with huge black cowboy boots of genuine leather. Do these things sound fitting for an 80s fancy dress?

The jewelry, the hair do’s, the fabulous larger than life looks of the 80s are easy to manipulate when it comes to the options offered by 80s fancy dress. You will find a wide range of highly authentic merchandise that really will turn your head. When you see those jelly bracelets and remember those awesome songs of that day, it will all come back to you. Yes, you can remember those good old days, when parties were about living life to its fullest. Yes, you can see the smiles on all the girls’ faces and the hottest rock bands came into town for yet another concert. If reliving these events is what you would be interested in doing, then consider using the options offered in 80s fancy dress.

80s Fancy Dress

Think 60s fancy dress. What do you see? What do you imagine yourself wearing? No matter if you were with it during that time or not, you are sure to know what the 60s look is all about. So, take it to the next level and dress yourself to look just as if you stepped out of a time machine from the bold and beautiful 60s! Throughout the web you will find all sorts of great 60s fancy dress options. You are sure to find a wide range of products like those that really will turn your head! For many, it is all about the music and the style. For others, it is about who was in power and how that came to be. What you need to do, and do this now, is to look at all of the options that are available to you and choose something that will fit your every need. Let’s take a look at what a typical 60s fancy dress would look like!

Okay, the first thing that comes to mind when you think of a 60s fancy dress is probably color and lots of it! If you have the chance, go and dig around in your mother’s closet. If she is like most people who were young and hip during this time frame then she is likely to have a wide selection of clothing pieces for this era. Do you see flowers and groovy bell bottoms? Do you see the colors of pink, red, orange and green in their brightest shades? These are the images of the 60s fancy dress. You too can find things to wear to a party or just to dress up by looking for these outrageous looks right here on the web. You may find some flared bottom pants and some ruffled shirts to go with your look. Don’t forget to get the accessories of hats with wide brims and sunglasses. Remember to put on the red lipstick as this too was a great flower power look. Does this sound like the perfect 60s fancy dress or what?

There are many looks that you can imitate from using the products that you find around your home. If you are very lucky, you may have some of these fashion statements still available in your closet or in your parent’s. Go ahead, slip on those clogs with three inch heels. Go ahead and see if your bell bottoms fit. Don’t forget your peace sign chain hanging from your neck. All of these things will surely bring you back to that era we so loved. The 60’s fancy dress can be found among some of the best fancy dress choices out there. You will find a wide selection to choose from in them on the web. You may find something that you just have to have too! Go ahead and slip it on and enjoy your 60s fancy dress.

60s Fancy Dress

A Squatter’s Tale

It was cold. We kept marching, my partner and I, through the December streets. The winter sky daunting us, seemingly motionless, as we continued our journey through this nightmare of sensory affliction.

It was cold. But it wasn’t just cold. It was fucking cold. Feeling had departed from my fingers, my hands, my arms, my legs, my feet, my face. The only part of my that was warm was the only part that seemed never to catch coldness: my stomach. And when I had an itch to scratch there, I reached to do what I had to do, and immediately ripped my arm out of my shirt — my fingers were so cold, so numb with frost, that to bring them to my stomach was to stir the worst of pains.

"There’s no way I’m ever fucking travelling to New England again," she said.

We were a crew, a partnership. Squatters come like that. Where there’s one, there’s more. If you find one squatter, their partner won’t be far. More often than not, their partner is also their lover. In our age of Materialism and Capitalism, some of us manage to search through the debris of human intellect, and find one person who drives us mad with passion. Time passes, and you no longer consider them a person, but you consider yourselves as one person. And with someone whose character is so powerful, why spend time working eight hours a day, just because slum lords demand such a high rent? Why live in a house when you can simply live in each other’s company, for ever? Consequently, the lack of desire for a house coincided with our inability to work, and so we were homeless, squatting, living in abandoned buildings when we found them. These pairs, partnerships of the homeless, may be found wherever there are squatters. And when a single squatter has no partner, no travel comrade to make it through the dark nights with them, they often form a clique around a partnership of squatters.

My travel partner was Firefeet, but her real name was Lidia. She earned her "street name" from the fact that she can’t stay in one place for more than a week. She would meet someone, disappear from town for a month, and then be back. One squatter called her Firefeet, and it stuck. That’s how names were given: on an impulse, and they stuck forever.

I was known little more than Jesus. I once met another man who had the same name, but he was given it for a different reason than me: because he actually looked like the mythical god. The reason I received this name was because, at the sight of street Evangelists, I would demonstrate a form of sarcasm yet unseen in the history of mankind. "Oh, praise the lord, Jesus, you saved me!" kneeling down, and then perhaps making lewd comments, "God, my poka-doted penis needs your healing touch!" Since squatters lived on the streets, we know everything that can possibly go on on these streets: from picketers to annoying business salesmen, and we have to deal with it, all the time. We have no place to go. We are homeless. Though it would seem reasonable, we cannot go back to our squats during day time. There is an off limits rule for returning to your squat when there is still light out. Almost like an unspoken rule in the mind of every smart squatter, it exists becasue police officers will bust squats only during the day time. So, we are stuck in these cities, these bustling and booming places of industry, commerce, and politics, and in this huff-and-puff society, we still find ourselves the same place we were last night: in the arms of our loved one, with nothing but an unrelenting admiration of what things may come.

What is there to do that the poor may do? Those who are moneyless have but one venture: travel. So we hitch hiked, we walked, we trekked. Some days we would wake up, and wonder why we woke up in the state (or country) we did. Our blood warms, and slowly the memories of the previous night flow into our head. But none of that matters, because we fell asleep in the same exact place we slept last night: beside the one who drives us crazy. If we were the gods of this Universe, we would change nothing.

But this week, we were getting out of New England. I wish there were a way in literature for me to explain how cold it was, by saying how cold my thumb felt as I tried to catch a ride for me and my lover, but I couldn’t — that is, I couldn’t feel my thumb. There was no blood going through it, no life left in it, no muscle with enough energy to move. There comes a point in human communication where some things cannot be told. The nature of such pain denies them from being learned, disallows them from being taught. This plague of dissension infects one victim, and he may speak of it for the rest of his days, but nobody will ever understand. He is alone, he will aways be alone, he will die alone. Nobody but his own conscience will be able to offer a fair empathy. And so, in like fashion, Firefeet and I march through these snowy dunes of New England, heading south. In a way, no different than the birds who migrate. Just a bit slower and willing to take a ride.

"Hey, Jesus," Firefeet said, "How much longer do you estimate till we catch a ride?"

"Well, it’s about an eternity between cars coming by," I said, "So, it should be any moment now."

"It’s fucking cold as shit," she said, her arms clasped and folded, shivering, like my own.

"No, it’s tropical," I said, trying to be cheery, "This snow is nothing but hot, spring rain."

"That would seem to almost make sense," she said, struggling with her impeded breath, "It’s the cold that burns on my face."

"At least with every step we take, we’re one step towards the south and one step towards warmth," I said.

"There’s only one part of me that’s warm right now," she said, "And it’s the part where only you are allowed."

I smiled into the faceless breach of the oncoming snow, and spoke, "Then let’s get some friction going so we can both warm up!"

We marched, still, until Firefeet fell onto the snow. I turned to her and wrapped my arm over her shoulder. "What’s wrong?" I said. She didn’t respond. I tried to pull her up. "Come on, get up, girl," I said.

She started to cry, holding her arms buried in her chest. "I can’t," she said, "I can’t… I can’t move."

"No," I disagreed, "We can make it through this. It’s only just a few more steps before we’re in that tropical weather again. It’ll be so hot, you can see steam rising up and out of the pavement. You’ll be praying for a snow storm."

"I’m going to die," she said with a dying effort, her voice struggling.

I leaned in closer to her. "You remember that night in Seattle, where the temperature dipped down below ten degrees, and we had no where to sleep and no blankets? Remember how we held each other in that alley way as we struggled to sleep, and you told me that we would be dead by morning, but we survived? Do you remember?"

"But now is not like then," she said.

"Please, Firefeet," I said, "Get up."

"I can’t," she said again, still crying.

"Please," I said, "I will do anything for you. Just get up."

She sat there, unmoving, her body only shaking now and then because of the tears. I leaned in closer to her, kissed her on the ear, and said, "Don’t die… We have but the rest of our lives to be with each other."

And so, that night went on… Several hours past, and we were gone. I never left her side. And there was nothing but several three-worded phrases exchanged between us. The snow piled on, and we were only found next morning by the Connecticut Sheriff’s Department.

In a very real way, we were already dead. We had been living the lives of ghosts, drifting aimlessly. But what we had, what we found in each other, though it was not enough to last an eternity, it was enough.

www.punkerslut.com

For Life,
Punkerslut

Punkerslut (or Andy Carloff) has been writing essays and poetry on social issues which have caught his attention for several years. His website http://www.punkerslut.com provides a complete list of all of these writings. His life experience includes homelessness, squating in New Orleans and LA, dropping out of high school, getting expelled from college for "subversive activities," and a myriad of other revolutionary actions.

The Democracy Monument in Ratchadamnoen Avenue was erected in 1939 to commemorate the 24 June 1932 coup. That was the year when the People’s Party led by Pridi Banomyong and the military faction under Phibun Songkhram staged a coup that changed the face of Thai politics for years to come.

The 150-year-old absolute monarchy came to an end and Thailand changed to a constitutional government.

It was an Italian artist and sculptor, Corrado Feroci who designed the Democracy Monument with a symbolism to capture the spirit of the occasion.

The monument has four curved columns arching inwards. Each column is 24 m in height to signify 24 June, the date of the revolution.

There is a protective ring of 75 cannons at the base of the Democracy Monument to symbolize the Buddhist year of the revolution 2475. The original 1932 constitution is kept in a pedestal at the center of the four columns.

Owing to its emotional appeal, the Democracy Monument has been a natural rallying point for democracy movements and demonstrations throughout Thai political history.

In October 1973, one such demonstration took place before the Democracy Monument. It was a massive groundswell of public protest against the military dictatorship of Field Marshall Thanom Kittikachorn and to demand the release of 13 students arrested by the military.

Organized by students of Thammasat University with tremendous public support, the demonstrators numbered almost 200,000, the biggest in Thai history.

In the days that followed, tensions soared. On 14 October 1973, the military moved in to disperse the demonstrators forcibly with tragic consequences. As a result, the government collapsed and Field Marshall Thanom had to leave the country.

The traumatic impact of 14 October 1973 on Thai society is vividly described in Salisa Pinkayan’s historical novel, Chalida. It’s also no coincidence that there are hardly any books giving an account of what actually happened.

Further along Ratchadamnoen Avenue is the 14 October 1973 Memorial, a monument dedicated to those who made the supreme sacrifice, brave young men and women who stood up and died for a cause.

Unfortunately, Field Marshall Thanom returned to Thailand three years later and in that ill-fated month of October, history was to repeat itself.

On 6 October 1976, the military stormed Thammasat University where students were gathered to protest the return of the Field Marshall. In the brutal crackdown that ensued, more lives were lost.

Later in May 1992, the Democracy Monument and Ratchadamnoen Avenue were to witness further carnage. General Suchinda Kraprayoon, who seized power through a coup a year earlier, reneged on a promise not to be Prime Minister.

Widespread protests mounted, the demonstrators rallied again and another disaster was impending. In what became known as Black May 1992, another tragedy was added to Thai political history. General Suchinda left office after a royal rebuke televised live nation wide.

At the height of the military crackdown, several demonstrators fled for their lives and sought refuge in a nearby hotel in Ratchadamnoen Avenue near Sanam Luang, the Royal Field. The hotel hid them, fed them and gave them staff uniforms and passes to get past the military checkpoints the next day.

That magnanimous act was to save their lives and the hotel where they sought refuge, the Royal Hotel, won the hearts of the democracy movement and took its place in history.

In the two decades from 1973 – 1992, the area around the Democracy Monument has witnessed three major upheavals resulting in bloodshed. It is hoped that there would be no more.

Today, the Democracy Monument stands in a peaceful Ratchadamnoen Avenue, a silent sentinel of freedom, in the Land of the Free.

For more on the coups in Bangkok.

The Democracy Monument, first appeared in Tour Bangkok Legacies, a historical travel site on people, places and events that shaped the landscape of Bangkok. The author Eric Lim, a free-lance writer, lives in Bangkok Thailand.

This is my 20th year working in the film industry on over 40 film productions. Throughout that time I have never met a new film school graduate who has a clue about handling the most important aspect of ALL filmmaking - the MONEY! I had always assumed (wrongly, it turns out) that film students just weren’t interested in knowing about film budgets. However after a recent survey of film students at a reputable film college we learned that film students DO intuitively understand that knowing the language of film budgeting is crucial to their careers in film. Surprisingly, over 80% were enthusiastic about learning more about film budgeting!

Here’s what we discovered from that survey (completed in late September, 2005):

1. Over 80% of film students are not only interested in learning more about budgeting for film productions, they are emphatic about it!

2. In all cases, film students expect to find information about film budgeting from the internet, or as recommended reading from their professors.

3. We also learned that there are no references or books available to film schools or film students on this very needed subject.

Those working in the film business recognize how important it is to be familiar with film budgeting, if not technically proficient. The confidentiality of film budgets makes it extremely difficult, even for working filmmakers, to get familiar with film budgeting. (I have a true story in my book about a meeting that I had with Ron Howard in 1993 where he wanted to learn specifics about the budget for his film - in spite of having been in the film business for over 30 years as an actor and budding director).

Learning about film budgets while on-the-job comes at the expense of hard-knocks, expensive film budgeting software and late night self-training with a technical textbook (if you can find one). In the 20 years that I’ve been working in the film business, I have NEVER shown a film budget to anyone but a select few insiders - Producers, Production Managers, Studios, Bonding Companies, etc. So, exposure to actual film budgets really is an insider’s privilege - which I am about to open the door to for my readers. (Keep in mind the figures shown are samples only. The figures are real enough, but are not drawn from my actual past/present/future film productions.)

How can film students get familiar with film budgets while they have the time and opportunity? The only colleges with film budgeting in their syllabus (that I could find after hours of internet searching) was in a specialty course for Production Managers at the New York Film Academy, and through mentors at the American Film Institute (where, I’m proud to say, parts of my book are being used by a mentor there, who has a long record of producing films including a term as Vice President of Production at MGM).

The only solution that I see for film students, and for working film crew, to get familiar with film budgeting is to provide them with the information myself. But, what kind of information, and at what level of detail?

The answer to that rhetorical question is - in as simple a format as possible, yet still be effective. By effective, I mean that any training in the area of film budgeting will actually help you impress producers for those few film jobs, get your script into production, find financing, be rehired for more film contracts, be more cost effective cinematographers, etc. Also, the basic concept of translating creative ideas into a budgeting process is new to most people, especially those educated in film schools, so that concept should be presented first.

Film students don’t need to become keen budget technicians. However, they DO need to get enough exposure to film budgets to understand the fundamentals, and to be able to communicate to film producers, film studios, bonding companies, banks, financiers, etc. in the same language as would be expected from professional filmmakers.

All of the above is covered in my book, Walk The Talk. I have written a series of 7 free articles based on my book. They’re written for the complete novice, so be patient if you’ve already been exposed to film budgeting. You can sign-up, FREE, for 7 weeks of articles at www.talkfilm.biz .

There is a seventh article that could have been added for those who haven’t been exposed to the simple administrative procedures like petty cash, purchase orders, check requisitions, etc. Knowing how to use these forms will put you WAY out in front of the pack of job-hungry film students looking for those few film jobs. You’ll need to buy my book at this link Walk The Talk to get that inside advantage. (I have kept the price affordable, specifically with students in mind.)

Here are the article titles:

1.MAKING IT! In Film Production

2. Introduction to Film Budgeting

3. Translating Creative Ideas Into the Film Budgeting Process

4. Your Participation In Above-the-Line Budgeting

5. Your Participation In Below-the-Line Budgeting

6. Your Report Card - Comparing The Budget to Actual Costs

7. Presentation of the Weekly Cost Report - It’s As Important As the Dailies

When you read my articles, print them out. Make your own examples. Reread them. Send me your questions if you get stuck. You’ll find that you’ll be way out in front of the pack!

(Copyright 2005 - John Gaskin)

John Gaskin opens the door to a confidential topic in the film industry -Film Budgets! Learn the inside tips from a 20 year pro of over 40 film projects all over the world. To receive a series of 7 free artilces visit: http://www.talkfilm.biz