A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

John Miljan

John Miljan (Serbian: Јован Миљановић; November 9, 1892 – January 24, 1960) was an American actor of Serbian origin. He appeared in 201 films between 1924 and 1958. He was the tall, smooth-talking villain in Hollywood films for almost four decades, beginning in 1923. He made his first talking debut in 1927 in the promotional trailer for The Jazz Musician inviting audiences to see the upcoming landmark film. In later years he played imposing, authoritative parts such as high-ranking executives and military officers. He is best remembered as General Custer in Cecil B. De Mille's epic The Plainsman.

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He died from cancer in Hollywood, Los Angeles. He was married to Victoire Lowe and adopted her two sons from her first marriage to Creighton Hale, the actor.

Selected filmography:

  • The Lone Chance (1924)
  • Silent Sanderson (1925)
  • The Devil's Circus (1926)
  • The Little Snob (1928)
  • The Unholy Night (1929)
  • Hardboiled Rose (1929)
  • The Woman Racket (1930)
  • The Unholy Three (1930)
  • The Sea Bat (1930)
  • Iron Man (1931)
  • Arsène Lupin (1932)
  • The Rich Are Always with Us (1932)
  • Whistling in the Dark (1933)
  • What! No Beer? (1933)
  • Young and Beautiful (1934)
  • The Ghost Walks (1934)
  • Charlie Chan in Paris (1935)
  • Mississippi (1935)
  • Tomorrow's Youth (1935)
  • Private Number (1936)
  • The Oklahoma Kid (1939)
  • Emergency Squad (1940)
  • Women Without Names (1940)
  • Obliging Young Lady (1942)
  • The Fallen Sparrow (1943)
  • I Accuse My Parents (1944)
  • The Merry Monahans (1944)
  • Back to Bataan (1945, uncredited)
  • Stampede (1949)
  • Samson and Delilah (1949) - Lesh Lakish
  • The Ten Commandments (1956) - The Blind One
  • The Lone Ranger and the Lost City of Gold (1958) - Chief Tomache
  • Dead Men Don't Wear Plaid (1982 - archive footage)

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Џон Фротингам и Јелена Лозанић

Џон Фротингам

Џон Фротингам (John Frothingham, Бруклин, 1879 — 1935) био је амерички правник, индустријалац, савременик и учесник Великог рата и велики љубитељ музике преко које дознао за судбини словенских народа у рату, коме је помогао прикупљањем деце – ратне сирочади и оснивањам четири Американска васпитна дома за ратну сирочад и напуштену децу. Носилац је Карађорђеве звезде са мачевима и Краљевског ордена Белог орла.

Рођен је у Бруклину, у богатој и угледној породици из које потиче и један од највећих америчких сликара Џејмс Фротингам. Завршио је француски језик, свирао клавир и бавио се компоновањем. После дипломирања, музика га је одвоела у Беч, Минхен и Праг са циљем да усаврши технику свирања.

Са Србима, чији ће велики добротвор постати у Великом рату, дошао је у контакт преко исељеничких друштава која су свирала балканску етно музику у САД. Као заљубљеника балканске музике, несрећа Србије у Великом рату, у лето 1914. године погодила га је толико да је у више наврата донирао медицински материјал и новац за ратом захваћену земљу.

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Publishing

Treasures New and Old

Writings by and about St. Nikolai Velemirovich

Before us is a book about a theologian, a minister, a missionary, a writer, a poet, an apostle, a saint, a man of dialogue: this book is about St. Nikolai Velimirovic, Bishop of Ohrid and Zhicha (1880 - 1956), who along with his many other attributes is regarded, with good reason, as an Enlightener of the Americas, The renewed interest in this man and his works has resulted in the materialization of this book for English-speaking readers who wish to become acquainted with this extraordinary person. The collected texts provide an extensive over view of his life, present important testimonies about his personality, and offer essential insights into his theology. The authors penetrate the depths of his thought with remarkable precision and also elucidate his actions. The authros agree that the appearance of Nikolai Velimirovich marks an era of change in the ecclesiastical and theological paradigm as a result of his spirituality, ecclsiastical work, and theological position.