Teofil milenkovich biography template

My dear, our dear good Theophilus,

You confused me, I admit, with yours despite all the sudden departure, you confused me so much that this time I can't, like at the promotions of your books, speak "off the top of my head". What I wanted to say, or rather a small part of what I would like to say, I will have to read.

You confused me because when we saw each other a few weeks ago and talked (as always, as he would tell you, "with laughter and jokes"), I had no idea that the next time we would meet in this place. Because no matter how terrible the disease was with which you were at war, none of us who saw you during that exhausting struggle did not allow us to glimpse any hint of sadness, despair, or the end even for a moment. You fought that battle with the strength of your mighty spirit, fueled by the violent, inexhaustible energy of Olja's perseverance, devotion and love. The body eventually lost the battle, but the spirit remained undefeated.

Undefeated remained the spirit of a man whose surname, like some ancient sage, became unnecessary a long time ago: suffice it to say Theophilus - and that's not because there aren't many people with that name, but because there isn't and won't be anyone like this Teofil of ours. For the first time today, we are not looking forward to meeting him, for the first time he will not bewitch us, enlighten us and illuminate us with his story. This time he left the talking to us, to manage as we know and know how.

Friend, comrade, man

Much has been said about Theophilus these days, many who knew him better and were able to touch the essence of his importance and greatness much better than I spoke and still speak about him, so I'm afraid I wouldn't be able to tell anything new: I can only mention some of the reasons why Teofil Pančić was and remains important to me.

Now, as he slowly slips down unknown roads, with a stack of newly printed newspapers and magazines in one hand and a suitcase full of books in the other, I think

Theophilus died.

Facts

Born in Skopje in 1965, he spent his formative years in Zagreb, then lived in Belgrade and Novi Sad (with a view of the Žeželj Bridge). For Time he started writing in the first half of the 1990s, became a literary critic and columnist of this weekly, spent about six months as editor-in-chief, and edited the culture section for the last few years. In all that time, he only missed a few columns. He wrote always and everywhere, in the newsroom, apartment, cafe, hotel lobbies, Internet cafes (until the Internet became an everyday thing), then on buses, intercity and city, on benches, chairs, in bed... And so until the end. Literally. He published twenty-one books, thousands of newspaper articles, more than a thousand literary, theater and film reviews, several dozen texts of an unspecified genre (Time of enjoyment), twenty wonderful short stories and several even more wonderful songs. He wrote as if the devils were chasing him.

In fact, there are no important newspapers in Serbia or in the region (including Slovenia) for which Teofil did not write: Today, Our fight,Republika, Diary (while it was a newspaper, not a propaganda magazine), Globe, Jutarnji list, Victory, Monitor, he wrote for Sandstone and for Third program of Radio Belgrade, as well as for dozens of small newspapers and portals. People marveled at that linguistic flurry, and he would dissuade that, in fact, he read a lot. Sometimes he would say that writing actually distracts him from his main activity: reading. He read, in fact, everything, even the tabloids as long as it made any sense.

Books were another stream. When he went on (always) short vacations, he would carry between 15 and 30 books, just because fifty was a little too heavy. He read fast, he read hungrily, he read a lot. He was able to read a thousand and a half pages in a few days and a few sleepless nights, and then write a text whose lucidity, penetration and beauty would leave us stunned

An incredible artist and famous violinist Stefan Milenkovic reveals for 011info how he got interested in string instruments and how torn he had been between two different lifestyles. He recalls playing the violin in front of a full auditorium in pitch darkness and jumping with a parachute from incredible heights and he announces a spectacle in Tasmajdan called “Rock El Clasico”. 

What does Belgrade represent for you and what are your earliest memories of it?

To me, Belgrade is a living organism, woven out of memories, scents and flavors, families and friends. My earliest memories are of Zemun, where I grew up and went to school until I was 13 years old. My entire childhood was like a medal - two faced. On the one hand there was a lot of work and effort - practicing and performances. On the other hand there were carefree days full of friendship and adventures by the Danube, soccer in the streets and skateboarding. 

When we moved to the center of the city, skateboarding was my centerpoint again, so I’d ride the skateboard with my brother Teofil and we would explore the streets of Belgrade. The main hangouts back then were Plato and at the “Konj”. 

What was your childhood like and when did you start learning the violin? 

I was a completely ordinary kid with some unusual interests. So my entire life was full of contrasts and my growing up was both mundane and unusual. On the one hand, I went to school, had friends, loved to play. On the other hand, I had a three week tour in Australia. So even though everything seemed chaotic, it was still balanced in some way. 

When it comes to the violin, I picked it up when I was only 3 years old. My father gave me my first lessons and kept teaching me until I turned 18. In addition to my father, my growth and development as a violinist was also impacted by my family and surroundings. 

What were your days like back then?

I’d say that most of my days were ordinary. I’d go to s