|
||||||||||||
| ||||||||||||
|
||||||||||||
| ||||||||||||
| The Gig Harbor Peninsula Historical Society and Museum in Gig Harbor, Washington State, is currently presenting an exhibit titled "Harbor Heritage - Croatia." The exhibit runs from Nov. 16, 2001 to March 16, 2002. Here is what the museum's Web site says about it: http://www.gigharbormuseum.org/at_museum.html The exhibit runs through March 16 2002, and documents the importance of the Croatian Community to the history of Gig Harbor. The Croatians created one of the first towns, they established the local fishing industry (which sustained the local economy for more than 100 years), and the related industry of shipbuilding. Gig Harbor Peninsula Historical Society & Museum P.O. Box 744, Gig Harbor, WA 98335 Location: 4218 Harborview Drive, Gig Harbor, Washington Tel: 253/858-6722 Fax: 253/853-4211 info@gigharbormuseum.org Frank Mustac frankmustac@att.net distributed by CROWN (Croatian World Net) - CroworldNet@aol.com |
   |
| A Hollywood movie premiering this Friday (11/30): "Behind Enemy Lines" starring Owen Wilson and Geme Hackman, and based on the events of the spring of 1995, when a US Navy pilot enforcing the "No-fly Zone" over Bosnia is shot down, then chased by the Bosnian Serbs. Premise: Here's how Fox gives the premise: "A Navy pilot (Wilson) is shot down over enemy territory, and struggles to survive the relentless pursuit of a ruthless secret police enforcer, a deadly tracker, and countless hostile troops. With time running out, the injured pilot's commanding officer (Hackman) goes against orders to carry out a desperate rescue mission." (Wilson's character crashes in an Eastern European country like Bosnia while documenting genocide; Macht plays Wilson's copilot.) Regards. Tony Margan. distributed by CROWN (Croatian World Net) - CroworldNet@aol.com |
| |
| The following appeared on Nov. 24 in the St. Petersburg (Florida) Times concerning the now retired director of the Museum of Fine Arts in the city. John Kraljic ST. PETERSBURG -- Michael Milkovich was born in Croatia under a full moon on Friday the 13th, 1929, circumstances, he says, "that explain a few things about me." Milkovich, who recently retired after almost 20 years as director of the Museum of Fine Arts, would be the first to say his life has been one interesting ride. His father, a businessman, lost everything when the Communists took control of Croatia. During high school, Milkovich was sent to a labor camp because he attended church. As a young man, he fled to Germany as a political refugee after participating in a protest at the University of Zagreb. He studied at the universities of Madrid and Heidelberg but wanted to leave Germany in 1956. He came to the United States almost by accident: "There was an opening to go to Australia, but we knew that they were taking only workers, so all night I rubbed a broom to develop callouses, to show that I am a worker," he relates. "They saw me and they kicked me out, by the way, and thanks to God, because I got the word soon from the American Embassy that my visa had been approved." He landed in Cleveland, but the fluent speaker of German, Russian, Spanish and Italian did not understand English. He and his wife were expecting their first child. He had little money and no job offers. His first employment was with Cleveland Drill Co., manning and cleaning the machines on the night shift. He says of that time, "I walked home, and they could smell me three blocks away." Through hard work and ambition, he learned English, earned a master's degree in art history and began his climb through the art world, which culminated in his appointment as director of the Museum of Fine Arts in St. Petersburg. Along the way, he became a U.S. citizen, had four sons, divorced, remarried and divorced again. Before coming to Florida, he became founding director of the University Art Gallery at the State University of New York and the Dixson Gallery and Gardens in Memphis. He survived a bout with cancer. Milkovich's tenure in St. Petersburg, though remarkably long for the art world, has not always been smooth. In 1994, after clashing with a handful of board members, he was fired, then rehired by the full board. His last seven years have been marked by significant acquisitions for the collection and a string of successful exhibitions. One of his most successful was also closest to his heart, a show of naive Croatian art he brought from his homeland. Milkovich, 72, who plans to spend his retirement here and in Croatia, recently talked with the Times about his career and his thoughts about the museum and the city upon his retirement: Lennie Bennett: How did you feel about St. Petersburg when you first saw it in 1982? Michael Milkovich: Lee (Malone, the retiring director of the museum) called and said, "Why don't you come for an interview? You will enjoy visiting St. Petersburg." I was not really interested in the job, because when I left Memphis, I wanted to finish my doctoral degree. I came here, and they put me in the motel across the street. It was a weekend and I had a headache, so I went to the manager. I said, "Sir, do you have aspirin?" He said no. I said, "Where can I buy it?" He said, "I think the closest place to buy aspirin is Tampa." I said to myself, "Michael, what are you doing?" But when I saw St. Petersburg, when I saw the beaches, I said, "To hell with the Ph.D." L.B.: You couldn't find aspirin, but still you took the job because you liked the beaches? M.M.: That's right. Now, 20 years later, I am still here. L.B.: Let's talk about the expansion. M.M.: In 1989, we decided that we needed expansion. It cost us $2-million. We doubled the gallery from 10 to 20 galleries, office area doubled, storage area doubled. You could not even see that there was any addition or any change; it was very beautifully done. L.B.: How have things changed in regard to fundraising, capital campaigns in the more than 10 years since the last one happened here? M.M.: The museum got more support. Our challenge fund -- that's the end of the year when members of the board get together to supplement the operating budget -- it was $100,000 last year. We have $200,000-$300,000 this year, so really it's improving. We became more ambitious as far as the exhibitions are concerned. There was plenty of support there. L.B: What would you say to someone who believes that with all the need in the world, art is extraneous, a luxury? M.M.: Well, for some people that might be their feeling, but lots of people don't want to come into a community where they don't have more than just bread and water. They want culture, they want programs, they want museums. And this is part of life. It's not luxury; this is a spiritual need which helps us to maintain a certain level of civilized life . . . absolutely I feel that way. L.B.: Is there one single work of art here that you love more than any other? M.M.: I use always an example. If you have four children and you ask what is your favorite child, you cannot say. . . . No, I don't have any favorite. L.B.: Have you heard the charge that the museum is perceived by some people as elitist? M.M.: Yes, and this was the subject of every meeting of the (national) Association of Art Museum Directors -- how we should make ourselves available. And we should do every effort, and we are, bringing minorities, bringing special programs, but we should not forget one thing: that there are people who are just not interested. They are more religiously inclined, more sports, more music, more something. I did everything in my power to have groups, different groups, different communities to come, but if they don't want to come, I don't accept that responsibility and that blame. L.B.: And do you feel the membership has become more diversified? M.M.: Oh, definitely, definitely. It still could be much better, of course, but it did absolutely change. Our membership -- around 4,000 -- is a good proof we have variety of programs. L.B.: Now you are director emeritus of the museum. M.M.: Yeah, it is a recognition by the institution where I worked, in this case almost 20 years, that I have done something right, and it is a personal satisfaction. L.B.: That's a long time to be at one place in the art world, isn't it? M.M.: It is. You could count 20-year directors probably on one hand, maybe two. L.B.: Were you ever tempted to go to another museum? M.M: No, I was never tempted, even when they (Fine Arts Museum board members) kicked me out; then I had more desire to come back to prove that they were wrong. I knew this was my last job, last museum. L.B.: And what are your plans now? M.M.: I joke with my friends, I tell them while I was working, I was working 9 to 5. Now I work 8 to 6, except that I take a nap every day. That's the best discovery after discovering America: a nap. I love it. I will be spending more time with my sons, who live in Florida and New York, and grandchildren, and in Croatia, where I have a brother and his family. And I offered . . . to assist different museums (in Croatia) every year, maybe spending one month with the development, with the membership, which they don't have in Europe. L.B.: How would you assess your tenure at the Museum of Fine Arts? M.M.: If you would ask me what I feel best about, No. 1, I reached the community. No. 2, I made our museum more visible nationally and internationally. L.B.: Is it getting harder to get paintings from other museums because of security concerns, especially after Sept. 11? M.M.: Yes and no. For a good project, you will always get a loan. But it has to be good. L.B.: Do you think people are more reluctant to donate art to museums, preferring to sell works to the highest bidders? M.M.: Well, that depends. If somebody's in need, (he) probably wants to sell it, but if somebody has a collection, it's better for them to give to the museum, taxwise, and that's the one phenomenon of America. I think Americans, by nature, are very, very generous. L.B.: Any parting remarks you want to make? M.M.: I came here, no money, did not speak English, did not have anybody to recommend me, to give me anything. I worked hard. I was lucky. I did what I wanted and was paid for it. That only could happen in America. It was a most wonderful experience. op-ed We are very proud of you Michael Milkovich (btw: early CROWN subscirber) and your dedicated work, which ONLY promoted GOOD for all of us Croatians in the world. Don't stop. 70s are middle age now. Nenad Bach distributed by CROWN (Croatian World Net) - CroworldNet@aol.com |
| |
| In light of discussions on "Storming over Krajina", Croatian films, culture etc, this excellent piece by Drucilla Badurina may be of interest. Published in Oluja No.31 Conversation with a Croatian American film student by Drucilla Badurina, President of Badurina & Associates Motion pictures. This mighty medium entertains us and sometimes enlightens us. In the United States, since the early part of the 20th century, films have become a regular part of the lives of millions of people. Today, while they continue to patronize movie theaters, the American public also pops films into VCR's, disks into DVD players, watches films on cable and satellite TV and on computer display terminals. Filmmaking is an interesting hybrid of art, craft and business. Since it generates billions of dollars, it's called the film industry or movie business for a good reason. Immigrants and children of immigrants have been an integral part of the film business since the very beginning. From the early 1900's when "Westerns" were made in Ft. Lee, New Jersey and shown on the silent screen, to the blockbusters of today; from small producers with hand cranked cameras to those who created a powerful motion picture studio system, these immigrants and children of immigrants laid the foundation for current film entertainment. Though filmmaking and films have been constantly evolving in the hands of succeeding generations of filmmakers, many the offspring of immigrants, it still remains basically the same---a blend of art, craft and business. One of the new generation of aspiring filmmakers is Jason Gabriel Varga, a young Croatian American in his early twenties. Jason is a graduate student in film pursuing a Master of Fine Arts degree at the Graduate Film Conservatory at Florida State University's School of Motion Picture, Television and Recording Arts. He is the great-grandson of Croatians who immigrated to the United States in the early part of the last century. They and their descendants successfully maintained their Croatian identity, language and culture in what was then known (prior to the nation's current stance of pride in its ethnic and racial diversity) as the U.S. melting pot. On a bright, winter afternoon at the beginning of this new year, Drucilla Badurina, president of Badurina & Associates, sat down and talked with Jason Varga. B&A: When did you discover that you wanted to be a filmmaker? VARGA: When I saw E.T. at the age of five. No, it wasn't quite that early (laughing) but I was fascinated by movies even then. I can't say exactly when because it was more of a process. As a youngster, I was constantly writing little stories or scenarios and drafting my brothers, sister, cousins or neighborhood kids--they weren't exactly thrilled--to play the various parts. My first real stage performance happened when I was 8 or 9 years old and played one of the children's roles in a local high school production of The Music Man. I continued to act and work in stage productions all through my high school years. It was a class project when I was around 13 years old that really started it all. The assignment was to select a character from ancient history and do a presentation. I didn't want to do something boring like reading a paper, so I decided to make a video about Hannibal, the general who crossed the Alps. I rented a camera and made a video. Everyone who saw it was blown away. They loved it. It might have been cheesy and goofy but I had so much fun doing it and it opened up my eyes about what you could do with a movie camera as opposed to working on the stage. It was then that I looked at movies and television in a different light. I always knew I wanted to do something visual and this made me even more focused on that. B&A: What influence did your Croatian heritage have on your love of filmmaking? VARGA: I remember the Croatian picnics, weddings and even funerals where I would sit with the adults rather than play games with the other kids and listen to the stories they would tell about their lives and experiences. It was fascinating. That was also true of family gatherings or one-on-one times with my baka, mother or teta or other relatives and Croatian friends who would share stories about their Croatian heritage and its many facets. I'm sure all of this had both a conscious and subliminal influence on my love of the narrative translated into the visual. B&A: You have an undergraduate degree in film. Has your undergraduate experience helped in graduate film school? VARGA: Only in the sense that my undergraduate experience solidified my determination to do narrative films. The university film school I attended at the University of Maryland, Baltimore County was part of the fine arts department and the prevailing philosophy was that film was only art, not art, craft and business. It was geared to the avant garde--fifteen minutes of filming a wall, things like that--rather than telling a story visually. But I did have access to a lot of nice equipment. As a creative, artistic person, I can appreciate the avant garde. In cinematography, I love exploring elegance and composition, but that must serve and enhance and support the main focus--visual narrative. B&A: What kind of films have you made? VARGA: I've made a number of films as an undergraduate student. Most were short films. I haven't done any feature length. I discovered that I was more successful making a film from stories written by others or adaptations of stories by other writers rather than something I had written. And other people made films from my stories or screenplays. As an undergraduate filmmaker, I also came to appreciate that you learn a lot from your mistakes. Sometimes you learn even more from your mistakes than your successes. It's better to learn that early on so you're prepared to try and eliminate or minimize mistakes when you're in the film industry working with other people's money. A film is made three times: 1) when it's written; 2) when it's filmed; 3) when it's edited. The story is written a certain way and when it's being filmed things usually change. Editing also brings changes. A good film allows that process to unfold. B&A: Why did you decide to enroll in the Florida State University graduate film program? VARGA: Even though I had an undergraduate degree in film, I felt that I didn't have enough experience working on a movie set and I wasn't sure I wanted to spend all my time trying to find a job that might or might not give me that experience. I knew a lot about theory and technique but little about the practical aspect of working on a movie set. I knew that FSU was one of the very few schools that worked as a graduate conservatory, essentially a mini movie studio making films. Its graduate film program offers each student the opportunity to work in all the positions associated with making a film. You get a chance to do everything. FSU gives you two years of intensive movie industry experience. It's literally OJT---on the job training. B&A: Tell us more about the program. VARGA: Entry is competitive since only 24 students are accepted each year. That's why the professors know every student and the students know each other in a both a classroom and working environment. Faculty members are professionals and veterans of the movie industry and filmmaking. They aren't just teachers but also advisors, coaches and facilitators. The school acts as studio production heads and decides the parameters. Unlike many other film schools, films at FSU must be made within a defined, limited budget--a student can't add personal funds to enhance the film he or she is making--and you sign a "contract" agreeing to adhere to that rule. It creates a level playing field among the students and is actually great experience in staying within budget, a reality of the film production business. In the two year program, graduate students will have rotated working in all positions on the set during filming and in pre-production and post production. Even though during the two years you eventually decide what jobs you like the best or do the best this system gives every student the chance to learn, understand and appreciate what everyone is doing or should be doing--the cinematographer knows what sound design is doing, and so on--which is great preparation for working in the industry A process that might take many years in the industry is compressed into two in this program. Since there are about 20 films made each semester this system provides opportunities for everyone to get practical experience in various jobs. B&A: What's it like as a first year graduate film student? VARGA: Well there is no typical day. I had regularly scheduled classes this past semester--directing, producing, editing, screenwriting, cinematography, sound design, etc.--which will repeat in the summer and next fall. In addition to the regular classes, there are required extra seminar classes that somehow end up being held during what you expected to be a "free" day on the weekend! (Laughing.) You might have a night shooting schedule as well as day shoots depending on what films you're working on and your job on each film so your schedule is packed and days or nights are long. We work year 'round with breaks between semesters. For instance, I was home for Christmas but won't get back home again until sometime in August. The fall semester classes immediately translate into practical application on the set. During last semester, the eight classes I took in the first four weeks----directing, editing, writing and the rest--were focused around pre-production--story development, budgets and the like. When classes are over, production begins on the sets for the various films, followed by post-production. Film shoots last one or two days so you're involved in many jobs on many films. Every film is different although all are narrative; there are no documentaries. We're graded not just on classroom work but the work we do on the sets. Last semester I had classes plus production work; this semester I have no classes and all production work. The first semester you're in the trenches helping others make their films. If you're good at particular jobs, you might be in demand as others request you for their films. The highest position a first year grad student can reach is unit production manager. I'll do my producing project this semester and my second directing project this coming summer. I'll begin work on my thesis film the following spring. It's an intensive program about film as art, craft and business; as independent and collaborative effort; theory put into practice. It's the ultimate in "on the job training" and it's great! B&A: During your undergraduate years and now in graduate school, did you study or encounter any Croatian filmmakers? VARGA: Not really. From my own knowledge about Croatians in the industry right now, the person who comes to mind is Branko Lustig. He's high profile and essentially doing the job on a much grander scale that I'll be doing next semester. I suppose he might be considered a role model because he's doing now what I want to be doing in the near future. Lustig has worked on a number of films that I've liked, for instance, Gladiator. I bought it on DVD, by the way. (Laughter.) B&A: What about Croatian films? VARGA: No, Croatian films never appeared in any part of my four year undergraduate film studies curriculum or program. You know, if a Croatian film is made for an independent art house release, then whoever is promoting them should consider putting them on the university circuit, showing them at colleges and universities, especially those with film schools, throughout the U.S. B&A: What advice would you give high school or undergraduate college students interested in a filmmaking career----go to graduate school or directly into the industry? VARGA: I'd have to give the same answer that used to annoy me because it seemed trite, but it's true: there's no defined or best way to get into the movie business. It's whatever works for you. B&A: What film job is your ultimate goal and what do you want to do after graduate school? VARGA: As far as what I want to do in films, it's producing, directing or cinematography, probably producing/directing. After I complete this program, I hope I'll be doing this and getting paid for it and working on feature length films. B&A: Would you ever consider making a film in Croatia about Croatians? VARGA: You bet I would, given a good story. I suppose then my Croatian heritage will have come full circle. ===== Brian Gallagher distributed by CROWN (Croatian World Net) - CroworldNet@aol.com |
| |
| Postovani Nenad, Tako je lijepo cuti nesto dobro iz nase Domaje, kao sto je uspjeh dviju skola iz Hrvatske, koje su osvojile prvo i drugo mjjesto na natjecanju 273 skola iz cijelog svijeta, te uspjeh naseg skijasa, brata nase proslavljene Janice, Ivice Kostelica sa upravo zavrsenog natjecanja u skijanju iz Aspena. Ja imam nesto dodati: ovog ljeta proveo sam dosta vremena u nasoj Hrvatskoj. Posjetio sam vrhunske slikare Naivne umjetnosti, sto je bio poseban dozivljaj, te rezervirao sobu u hotelima u Dubrovniku, Korculi, Hvaru, Bracu (Bol) i Splitu preko Turisticke agencije "ATLAS" iz Zagreba (Zrinjevac 17). Bio sam sretan vidjeti ljepote nase obale, otoka nakon toliko godina. Zbog nekih problema morao sam prekinuti put, te nisam mogao koristiti unaprijed uplacen hotel na Bracu i Splitu, vec sam sa Hvara otisao u Zagreb, a da nisam uopce obavijestio hotele o promjeni planiranog ljetovanja. Tako sam dosao kuci (ovdje na Floridi) i eto ti iznenadenja! Nakon dva i pol mjeseca po mojem povratku dobio sam e-mail iz agencije "ATLAS" iz Zagreba, od "Branch office manager", simpaticne Eve Brukec, gdje mi pise slijedece:"...radi se o neiskoristenim rezervacijama u Splitu i Bolu, a za koje ste Vi uplatili nemali iznos. Htjela sam se s Vama dogovoriti te napraviti povrat u iznosu cca ____Kn na Vasu VISA karticu ili se dogovoriti ako cete drugo ljeto dolaziti u Hrvatsku da to prebacimo na eventualne rezervacije, koje biste napravili u organizaciji nase agencije." Ovo je bilo nesto neocekivano, jer sam ja otpisao mogucnost bilo kakove naknade u novcu. To pokazuje, da je nas turizam ipak uspjesan, da ljudi rade zaista profesionalan posao, a ovo pisem u zelji da bismo imali mnogo takovih, koji ne gledaju "uhvatiti na brzinu". Jasno, odmah sam se zahvalio, te im dao uputstva o prijenosu novca. Ovo pisem u nadi da cete objaviti ovu lijepu gestu nase agencije "ATLAS" i njenog predstavnika Eve Brukec, a i sa zeljom da se spomene nesto dobro o tom nasem novom drustvu, koje prolazi kroz dosta tezak period promjena. Vama, dragi Nenad, posebno cestitam na vrijednom radu za Hrvatsku i za nas koji ju volimo. Vas Zeljko (Frank) Beluhan distributed by CROWN (Croatian World Net) - CroworldNet@aol.com |
| |
| Dear friends in north America and elsewhere, It is probably appropriate that a friend, who lives in Europe, and who does understand the culture and the ambiance you live in, wishes you from the depth of his human heart: Happy Thanksgiving Holiday! How many happy Thanksgivings have I spent in north America with people of different creed, race or background ... So, it is with such a Spirit of Love and Sharing that I offer these few words -- how little, yet how precious in this day and age ... Today, we should pardon ... first of all -- to our own little selves! Yes, to ourselves, as we are most of the time our own worst enemies ... And then, we shall send our love and thanks to all our friends and pardon to all our enemies. Yes, we shall pardon our enemies. It is difficult, sometimes almost impossible, but please let's do it. We should live in Love only, yet, we all live in our own 'web' surrounded by various shades of fear, and it creates troubles, tragedies or terror ... So, spend few minutes tonight and first pardon yourself and all your loved ones and then remember EVERYBODY you ever met or whose trace you crossed in your life ... ... and send them all your unselfish Love from your heart: ... and tell everybody that it's a miracle that we can ALL share THIS - together - whatever THIS, i.e. Miracle of Life, means to you: - the proof -- read again these written words on the screen ... It is the Thanksgivings evening already here in Switzerland: my children, Marko and Ana, are lighting candles and the dinner is soon going to be served ... ... yet, before I join my own sweet little family, let me greet you all, my 'invisible', Internet-family: With Thanks -enjoy- Giving Your Love to All, Davor Montreux, Switzerland I will join Davor and Wish you all Happy ThanksforGiving. Dan Zahvalnosti. Nenad New York, USA distributed by CROWN (Croatian World Net) - CroworldNet@aol.com |
| |
| http://www.geocities.com/Yosemite/Trails/4801/ http://www.geocities.com/Yosemite/Trails/4801/">John's World of West Virginia, Croatia and Natu… "I now have a hobby of researching my fathers ancestrial home, Croatia. I enjoy communicating with my friends there. I am struggling to learn the language, which my friends have been very patient with me. " I am planning a trip to Croatia in the near future. My grandfather came over from Gornji Bogichevci Croatia to Ellis Island . He has since passed away and I am trying to learn the language and go see my heritage. John Yelcich distributed by CROWN (Croatian World Net) - CroworldNet@aol.com |
| |
| hello all. wondering if anyone may know of, or be interested in, a position as a nanny in southern california? any ideas/suggestions/recommendations would be greatly appreciated. thank you. mariana mariana_domic@yahoo.com distributed by CROWN (Croatian World Net) - CroworldNet@aol.com |
| |
| November 19, 2001 15,000 Recall Siege of Vukovar in 1991 By THE ASSOCIATED PRESS UKOVAR, Croatia, Nov. 18 (AP) — About 15,000 people gathered today to commemorate the 10th anniversary of the bombardment and three-month siege of Vukovar — a symbol of Croatian suffering from Serbian wartime brutality. About 1,700 Croats were killed when the Yugoslav Army and rebel Serbs overwhelmed the city after Croatia proclaimed independence. A column of 22,000 people — half of the prewar population — walked out of Vukovar on Nov. 18, 1991, expelled by its new rulers. Most of the town, which sits on the bank of the Danube, was reduced to rubble. Today, both Croats and Serbs make up the city's population, which is still 22,000, but they live largely separate lives. Memory and emotions remain strong. "Our priest tells us to forgive, if we cannot forget," said Vera Janjic, standing at the grave of her son, killed in 1991. "I'm trying hard, but I cannot do it." In 1995, the United Nations war crimes tribunal indicted three former Yugoslav Army officers on charges of crimes against humanity, blaming them for the indiscriminate shelling of Vukovar and deaths during the siege. But the men — Maj. Veselin Sljivancanin, Col. Mile Mrksic and Capt. Miroslav Radic — remain at large in Yugoslavia. Majda Glavasevic, who only buried her husband four years ago when his remains were exhumed from a farm near Vukovar, said in Zagreb that she hoped they would be tried. Such a trial "cannot reverse history," she said. "But I want them to hear about the pain they caused, to realize that the whole world is condemning it and to suffer, just a bit, locked up in jail, before they die of natural causes." Branko Borkovic, a commander of Vukovar's defense, said in an interview with Reuters that his last image of Vukovar, before he retreated through minefields, would remain with him forever. "I looked up as we were leaving and saw the skeleton of a town, dark and misty, with ruins still smoldering," he said. "The last thing I saw was a dog tied in front of an empty house, barking happily at us. For a moment I had a weird thought that I should go back but I knew I couldn't. We never really had a chance." The town reverted to Croatian control in 1998 after the Serbian rebellion was crushed elsewhere in the region. distributed by CROWN (Croatian World Net) - CroworldNet@aol.com |
| |
| Croatian Constellation |
|
|
| Popular Articles |
|
Except where otherwise noted, content on this site is licensed under a Creative Commons Attribution License. |
full story
printer version
