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Slane Trip, 2001: The Main Event

My Battle Scar

The hours at the castle went a lot faster once the opening acts began.

There was Kelis, whose “Milkshake” brought all the boys in the yard; Relish, who was just okay; and JJ72, who just made noise.

As Coldplay was taking the stage, my prayers were answered and I was granted a coveted wristband. The gentleman who gave it to me told me to protect my wrist with my other hand so no one could rip it off as I made my way to the Heart. This was no easy feat.

With sweat dripping, I ran to a spot on The Edge’s side, threw my jacket down and sat on the ground, facing the crowd.

Why not face Coldplay?

1) I needed to see what I was up against once darkness fell.
2) Chris Martin isn’t exactly attractive, anyway.

It was then that it really hit me—I was up against the railing in a crowd of 80,000 people. One rush of the stage and I would likely lose my life.

At age 25, when this show occurred, I was still very petite. And though I took random dance classes (Hip-Hop and Riverdance, for example), and walked two miles to my bus stop every day, I still wasn’t very strong.

I tried to put that out of my mind as the Red Hot Chili Peppers took the stage. I’d liked them for years, but never seen them live, so this was a great initiation.

By then the sun was absolutely blazing down on us and my black tank top was absorbing heat at a record rate. The crowd was also closing in, knowing that the Peppers were the last act before U2 would take the stage. I felt like I could faint from the heat, the lack of food and water, and the excitement.

Those of us keeping an eye on the sides of the stage were treated to Iggy Pop and Woody Harrelson peeking out to wave hello, and various familiar U2 crew faces could also be seen.

My legs were numb by the time U2 actually did come on, but the opener of “Elevation” (where all of us in the audience ‘pogo’ in time with Bono) had me jumping along with everyone.

I had one hand on my disposable camera and another on the pouch around my neck that contained my ID. I would only change up this position when I needed to grab the railing and brace myself to stop from getting crushed.

The rest of the night was surreal. It was almost like the heavens turned off the lights on cue after Bono sang the last notes of “Beautiful Day.” Once it got dark, the music got more magical and the crowd got more dangerous.

The security team would periodically hose us down. I was grateful for those moments because they kept the rowdies back, and I got a drink. Standing for 13 hours after having a light breakfast, being rained on, then blistering in the sun doesn’t make for the best physical condition. But hey, I was young—and this was my first European rock concert.

I had many spine-tingling sparks of happiness throughout the set, but little can compare to hearing “Sunday Bloody Sunday” performed on hallowed Irish ground.

The crowd understandably went nuts and the good couldn’t be separated from the bad. When the drunks began shoving, things got out of control and I got smashed up against the railing. The people next to me said they heard the crack of my rib; I remember having the wind knocked out of me, blacking out and being revived by the security guards who were trying to lift me out. I quickly responded that I had more film left on my camera and I didn’t want to be carried out.

“Bloody Americans,” they said.

I had trouble breathing from there on out, but somehow I managed to last the rest of the show. The crowd got better too, and I was given more space after folks realized I was injured.

Once the show ended (with a beautiful fireworks display set to “The Unforgettable Fire”, in honor of the album they recorded inside that same castle), I got taped up by the first aid folks and missed my shuttle back to Dublin.

I had to walk the Irish countryside for at least an hour until I found another group that would take pity on me and give me a ride back to the city. After all, I’d spent my money on a T-shirt and had no other way back.

When I finally arrived at my hotel, I was so exhausted I’m not sure I even took all my clothes off to shower. I just knew that I felt too gross to sleep without getting some soap involved.

I collapsed into bed with a completely wet head and slept the most sound sleep I think I’ve ever slept. My body had shut down.

Sweet euphoria.

Slane Castle Trip, 2001: The Concert

Part One

The morning of the show was hectic.

I’d been up most of the night watching U2 documentaries on local television stations, so I was low on energy and had a light breakfast of only toast and coffee. I was simply too excited to eat. Plus, I knew I’d be standing in a field for hours with only Honey Buckets for bathrooms and didn’t really want to use them unless I had to.

We boarded the shuttle at what seemed like the crack of dawn and arrived in County Meath to rain showers. The castle didn’t look quite so majestic with a muddy field and dark skies, but I was still in awe of its history.

We lined up outside the fence and got sufficiently rained on until they opened the gates and we all began sprinting down the field. It was horribly dangerous, especially because it was so wet, so the security team quickly slowed us down. Trouble was, my group wasn’t anywhere near the heart (that was the shape of the U2 stage on that tour, and the most coveted spot to watch the show from) and the wristbands were going fast.

Becky (the girl I’d met on the first day) and I tried to hold hands so we wouldn’t be separated, but the crowd got the best of us and we were pulled apart. That was the last I saw of her, and anyone else from my group, for the duration of our time in Slane.

Because the food I’d packed (a granola bar, a banana, bottled water) had been confiscated at the gate, I didn’t have a whole lot to carry (a blessing in disguise), but I also didn’t have a whole lot to do. I took one “break” from standing in the clump awaiting wristbands and went and bought a commemorative Slane T-shirt. After that purchase, I had about 2 pounds (they hadn’t yet switched to the Euro back then) on me. But what would I need money for, right?

The good news was that the sun was beginning to shine, so I was able to put my windbreaker around my waist and dry off in my sparkly black tank top that simply read “Sagittarius” in big, blue Bedazzled letters.

If nothing else, I’d get a good tan waiting for the music to start.

Slane Castle Trip, 2001: Windmill Lane

My First Graffiti

Windmill Lane Studios began in 1978 as a place for traditional Irish musicians to work, but a few years later that all changed when producer Steve Lillywhite brought U2 in to record their first album, Boy.

The band liked the space and recorded their next two albums, October and War, there too. Throughout the years more big names, such as INXS and Elvis Costello, also created masterpieces at Windmill Lane, but U2 fans sort of claimed the outside of the building as their own and created a graffiti tribute to the band.

There’s nothing like walking up to a landmark and being handed a can of spray paint by a cheerful Irishman, then being told to “go nuts,” which is exactly what happened to me on that blustery August day in 2001.

In the photo above, I’m shown with my contribution, “I (heart) LM” in honor of drummer Larry Mullen, Jr.—I’m not remotely artistic, so I thought it better to write my sentiment, but some of my friends on the U2 tour drew pictures that were quite impressive.

Sadly, the studio has since moved, and the buildings here are simply boarded up. There was talk of turning the space into office complexes a few years ago, but that was met with much resistance from the locals.

Hopefully it will remain a musical relic so more fans can spray their appreciation on the wall as well.

Slane Castle Trip, 2001: Irish Music Hall of Fame

Museum Tour

My first full day in Dublin on this trip began at the Hot Press Irish Music Hall of Fame.

Laced with more U2 goodies than I’d ever seen in my life, the building housed everything from handwritten lyrics to a wax version of Bono. I was in gawker heaven.

Furthermore, unlike many other museums, we could take pictures of whatever we wanted, so I happily snapped away on my disposable Fuji camera until I realized we had two more stops that day.

It was a great place to visit during a concert week because the U2 energy was incredibly high across the board. Each one of us on the tour purchased a Hot Press magazine on the way out and none of us could wait to read it, so the bus was very quiet en route to our next destination.

Slane Castle Trip, 2001: Pub Crawl

First Night

What I should have done was sleep off my travel exhaustion, but instead I laid down on my hotel bed for about 20 minutes, got up, brushed my hair and met up with my group for a literary pub crawl.

We apparently crawled to some places that U2 had visited, but after my third or fourth Jameson and Coke, I couldn’t have told you where I’d been if my life depended on it.

I do remember David, a fun guy in my group, having an incredible amount of energy that night that I truly envied, but other than that, the details of the crawl are fuzzy.

We all retreated back to our hotel in Ballsbridge for a late dinner and I remember getting funny looks for ordering a huge bowl of french fries—and nothing else. I was craving Irish potatoes and that was honestly all I wanted.

After the uncomfortable glances wore off, we all bonded talking about how awful we all felt Bono’s film Million Dollar Hotel turned out.

Then it was off to bed for more pre-concert adventures the next day.

Slane Castle Trip, 2001: Just Landed

Out and About in Dublin

I’d been enjoying a visit with my sister in Massachusetts in the days prior—she was a new mom and I was loving my first months as an auntie.

It was a joyous time in our family, but it soon turned dark when our beloved Grandmother Juanita passed away. Since I was en route to see U2 in Ireland, I wasn’t able to make it to Oregon for her service, and that was hard for me. But I was very close to her all of my life and had said a proper goodbye a few weeks prior. She knew I was going on the trip and I felt like she wouldn’t have wanted me to miss it.

I had traveled extensively throughout my college years, but I’d never been out of the country entirely alone, so this was new.

I left on a Boston flight coated with U2 fans and once we were in the air, our Aer Lingus staff told us that Bono’s father had just passed away.

A panic spread throughout the plane—the news was awful (and we selfishly worried that the band may cancel the historic concert at Slane Castle, which is what we were all flying there to see).

The Guinness flowed freely, we passed around The Irish Times and shared fan stories until we landed. Once we were inside the airport, the rumor was that “the show would go on.”

I met another girl, Becky, who was in my same organized U2 tour group (normally, I detest organized tours, but since I was 25, female and alone, I figured that I should join one), and we looked for our shuttle together.

Riding to Bewley’s in Ballsbridge I began to remember a city I’d visited only three years prior. I was anxious to get out and explore things that I hadn’t had the chance to do in ‘98, but when we arrived at the hotel, they said our rooms weren’t ready. They would release keys one by one as other guests checked out and the maids had a chance to clean.

I collapsed into a chair in the lobby and snacked on delicious honeycomb ice cream, which was for sale in the dining area.

A few hours later, we were checked in, but instead of listening to my body and sleeping as I should have, I set out with Becky to see the National Gallery and wander around St. Stephen’s Green.

The first photo I had her take of me was the one you see above—U2 posters gracing the front of a store.

Little did I know on every street in every part of the city I’d see the same.

But the trip had only just begun.

Like a Song: Do They Know It’s Christmas?

By Tassoula E. Kokkoris

This work was commissioned for the site atu2, which was online from 1995 – 2020 and it still protected under a shared copyright.

The day was Nov. 25, 1984. A young girl in Portland, Ore. had just opened a lavender bathrobe and a solar-powered calculator for her 9th birthday. All she wanted that year was a Cabbage Patch Kid, but she didn’t figure she’d get one because her family wasn’t rich.

Determined not to make her parents feel bad, she reacted with fake enthusiasm over the other gifts, putting the bathrobe on and beginning to test the calculator under the kitchen lights, not noticing that her mother and sister had left the room.

When they returned, they were carrying a huge box, and she could tell by the distinctive shape that it was holding a Cabbage Patch Kid. Trembling with joy, she opened it, learned it was a “preemie” girl (just what she wanted) and promptly renamed it Marlena, after one of her favorite characters on Days of Our Lives.

That little girl was me, and it was the best birthday ever.

Meanwhile, across the pond in Notting Hill, the majority of my favorite musicians, including Bono and Adam Clayton from U2, were gathered together inside Sarm West Studios to record a song for African famine relief. Organized by Bob Geldof and Midge Ure, the group called themselves Band Aid and spent the day laughing, bickering, singing and waiting on Boy George, who had to fly on the Concorde to get there in time from New York City when they discovered he was missing.

The producers had the artists take turns singing the solos and then made notes about which would end up on the track. They reassembled them to sing those respective solos, and clips from those sessions would become part of the song’s video. By 8:00 a.m. the next day “Do They Know It’s Christmas?” was finished and sent off to pressing plants to be manufactured (yes kids, we were still rocking the vinyl back then).

By Nov. 29, just four days later, the single hit the stores. Within a week the song was No. 1 on the U.K. charts, and soon after the video was in constant rotation on America’s MTV.

I can’t tell you how exciting it was to hear that song for the first time, and see the video featuring all of those stars. Back then, in addition to U2, I loved Duran Duran, Wham!, and Culture Club. Waiting for each respective lead singer’s part of the song to come up was like opening five more epic birthday presents. I remember debating with my friends over which part was the best. The “pray for the other ones” bit sung by George Michael; Sting’s portion where he sings his own name?

These were great, sure, but for me there was only one line that gave me goosebumps: “Well, tonight thank God it’s them, instead of you,” belted out by Bono. His delivery was so raw, the pain of the guilt in the lyric bleeding from his soul like a deep cut. Even at that young age, I felt it.

In the documentary Do They Know It’s Christmas? The Story of the Official Band Aid Video, you can see him building up to it, shoulders moving as if they’re trying to contain a volcanic eruption. Simon Le Bon, standing to Bono’s left, physically reacts to the moment, turning to watch him, then smiling wide at the conclusion of the line. The musical earthquake of his peer cleary shook him.

What’s even more remarkable is that when this song was recorded, U2 were the underdogs. The Police were well established; Duran Duran owned the video landscape and Wham! was enjoying chart-topping success with their sophomore album, Make It Big. U2 were on the map because of War and The Unforgettable Fire but their world domination wouldn’t happen for another three years. Looking back, it’s almost surprising Bono got to sing the most powerful line.

I probably listened to that record more than a hundred times that Christmas season. Unlike other holiday songs, I never tired of it, and this many years later, I still haven’t. Each year when I pull it off the shelf, it instantly takes me back to that time when a bunch of my heroes got together — without being paid — to feed the hungry. The project that sparked “We Are the World” the following spring and Live Aid a few months after that. And Bono’s line? Yeah, it still gives me goosebumps.

What’s even more remarkable is that it’s a great song. There have been benefit songs since the early days of rock ‘n’ roll, but even if the intent is pure, the creative output can sometimes be disappointing. Artists aren’t given much time to work on such collaborations. Plus, the more cooks that enter the kitchen … well, you get my drift.

“Do They Know It’s Christmas?” for me represents one of those rare moments in time when hope was tangible and the world seemed to be headed in a brighter direction. It reminds me each year that the holidays are about more than material things. I’m so thankful that nearly three decades later it still has the power to illuminate the holiday season.

© @U2/Kokkoris, 2013.

Rattle and Reminisce: Critics Revisit Their Reviews 25 Years Later

By Tassoula E. Kokkoris

This work was commissioned for the site atu2, which was online from 1995 – 2020 and it still protected under a shared copyright.

When bands reach a certain benchmark of fame, for better or worse it becomes customary to try to bring them down a notch. With the advent of social media, fans have the upper hand on spreading buzz — good or bad — and that trend doesn’t show signs of slowing.

But before we were all drivers on the information superhighway, the voices that were primarily heard were those of journalists. The professional power of the pen is still evident today, but the strength of reporters’ words (the ones who are left, at least) sometimes gets diluted by the noise of the masses.

In 1988, that wasn’t the case.

U2 had been on the cover of Time magazine as “Rock’s Hottest Ticket” and were enjoying the phenomenal success of their album, The Joshua Tree. As they toured that album, they enlisted young director Phil Joanou to accompany them on the road and create a documentary of their experience. Fans were understandably excited, preparing themselves for something along the lines of 1965’s Don’t Look Back, which followed Bob Dylan on a tour of England, or 1970’s riveting Gimme Shelter, which chronicled the last weeks of a Rolling Stones U.S. tour.

What they got was something completely different, and their audience was split on the difference: The film was either a stunning work of art or a pretentious, self-serving snapshot of stardom.

Looking back on this landmark anniversary, our staff wondered if any of the critics who disliked the movie so much back then had a change of heart all these years later, so I set out to find them.

In many cases, the trail went cold after journalists left their long-time publications, or the publications went away altogether. In other cases, some chose not to respond or didn’t want to participate.

Thankfully, I was able to catch up with a few of them, who provided gracious answers to the big question: Do you stand by your original review? 

Mike Boehm, a Los Angeles Times arts reporter who formerly covered pop music for the same publication, had this to say:

In 1988

“Great rock music lives in that grit and bustle, and it thrives on the specific. Rock greatness is Van Morrison singing about a day at a swimming hole (“And It Stoned Me”) and from the details of his story weaving a vision of the broader qualities of fellowship and generosity of spirit. 

It’s the Rolling Stones introducing you to a gin-soaked barroom queen in Memphis (“Honky Tonk Women”) or Neil Young walking you through a violent rite of passage in “Powderfinger,” molding setting, plot and character into a whole that takes on tragic, mythic proportions. 

Along with the passion and power that U2 certainly possesses, great rock ‘n’ roll must encompass laughter and fun and whimsy and imagination — qualities that U2 simply has not shown. These are crippling deficiencies.”

Today

“My views about the album and film have not changed since the 1988 article ran.

I think U2 subsequently took a step in the right direction when it included humor in its [Zoo TV] stage shows for Achtung Baby.

However, as far as I could tell, the elements of humor, storytelling and down-to-earth detail that I criticized in 1988 as crucial missing elements in U2’s songwriting never did materialize.

I’ve been off the pop music beat since fall, 1999, so I’m not in a position to give any kind of educated opinion about U2’s artistic growth since then.

My overall impression of U2 continues to be that while it has impressive strengths and its success is completely understandable and deserved, there are some missing dimensions that are important enough to disqualify it from the top rank of rock’s greatest bands.”

Carrie Rickey, Philadelphia Inquirer film critic of 25 years, said this:

In 1988

“Apart from permitting U2 fans to gaze upon their rough-hewn idols, there is no obvious point of this movie.

Director Phil Joanou reveres the members of the Irish band to the point of unintentional hilarity. (Rob Reiner and company couldn’t do a Spinal Tap on this; Rattle and Hum is already a parody.) Dogging the band’s heels like a faithful puppy, Joanou does not dare to ask about U2’s politically engaged songs, such as “Pride” (about the Rev. Dr. Martin Luther King Jr.) and ”Sunday Bloody Sunday” (about the Troubles in Northern Ireland). The movie is afraid to challenge the authority of these politically anti- authoritarian musicians.

Rattle and Hum, which means to be a portrait of the band often called rock’s social conscience, is the film equivalent of a centerfold pinup.”

Read her full review here

Today

“Movie reviewing is of a moment, Posterity is that moment plus time. I would both stand by the review and append this postscript:

I was one of many in the “love the music, hate the vanity of the project” camp. In 1987, in the context of concert movies such as Stop Making SenseRattle and Hum felt disjointed. Seeing the band visit the shrines and landmarks of American pop and blues felt like an overreach for a young band. I watched about 30 minutes of the film on a friend’s bootleg copy sometime in the early 2000s. Bono and The Edge looked so young and fresh, the music was, as always, thrilling. At that moment, the movie struck me like the image of a young Bill Clinton shaking JFK’s hand at the White House. That is to say, prophetic.”


Thanks to Mr. Boehm and Ms. Rickey for their honest, thoughtful responses.

Though I see where each of them were coming from, I’ll have to admit, I was in the camp that liked the film in the 80s, and I still do. In fact, Steve Morse of The Boston Globe pretty much summed it up for me in his review back then:

“Quite honestly, anyone who lives and breathes music should see this film. So should those nay-sayers who think that rock is little more than decadent mindlessness. There is a dignity to this tour documentary that makes it a human drama as much as a musical one.”

I suppose the fact we’re all still talking about it 25 years on has to say something.

© @U2, 2013.

Like a Song: Miss Sarajevo

By Tassoula E. Kokkoris

This work was commissioned for the site atu2, which was online from 1995 – 2020 and it still protected under a shared copyright.

My world in the autumn of 2006 was very dark — I’d recently lost the love of my life, was burnt out on my fashion-writing job of seven years and felt a terrible sense of loneliness. Of course I’d suffered breakups before, but this was different. The person who had at first made me feel as if I could take on the world instead validated every horrible word my internal dialogue had ever spoken. And he did this without warning or provocation. 

My inherently optimistic nature eroded to the point that I had no faith in anything — love, God, humanity. Though I sought help from a therapist at the time, her advice wasn’t doing much (and it was costing me a fortune). 

Furthermore, everyone was telling me what I already knew to be true — when you’re in a sea of negativity, you’ll only attract more darkness. It was a very self-destructive pattern to follow, and one I was becoming more and more skilled at perfecting each day.

One of the only lights in my life at the time was, as usual, U2. 

I was the lead on the Edun campaign at my day job, so I had the privilege of writing newspaper ads, catalog copy, event invites and window displays about clothing that spoke directly to the U2 audience. I even got to attend an event with Ali Hewson down in San Francisco to launch the first wave of ONE Campaign T-shirts. She was wonderful and I was honored to be involved.

But coming down from that event, I arrived at my lowest point. I foolishly invited my former love to hurt me again and he delivered. I wasn’t sure if I could recover. In fact, most of me didn’t want to recover. I had a cab driver who was taking me to the Golden Gate Bridge to sightsee pull over and let me out in an unfamiliar neighborhood because I didn’t trust myself at those heights. I’d never been depressed in my life, and I had no clue how to manage the pain.

Holed up in my hotel room, and then later with a cup of coffee in the café downstairs, I devoured the book I had delayed in reading. It was Fools Rush In by Bill Carter.

I’d purchased the book when it first came out, but was infatuated with my boyfriend at the time and made little time for reading. Months after he broke my heart, I finally turned to Carter’s Miss Sarajevo DVD, hoping for a sadness that would match my mood and easily found it.

Having no context for the song until I paid attention to the Missing Sarajevo documentary on U2’s Best Of 1990-2000 DVD, it absolutely wrecked me once I learned of its significance.

The words began speaking directly to me, as many of U2’s songs tend to do:

Is there a time for kohl and lipstick?
Is there a time for cutting hair?
Is there a time for high street shopping?
To find the right dress to wear?

My job in the midst of all the pain in the world seemed very superficial. I told myself for years that fashion could boost self-esteem in people, and clothing was obviously a basic human necessity, but I could no longer justify the luxury of what I was selling through my writing. I longed to find work that made more of a real difference in people’s lives. 

As the river, you say that love will find a way
But love, I’m not a praying man
And in love I can’t believe anymore
And for love I can’t wait anymore 

I don’t speak Italian, but the portion of the song that was sung by Pavarotti always moved me. When I learned what the words meant, I was a goner.

Bono’s soothing voice contrasted with mental images of war made for a brutally emotional combination. Songs such as this, which contain notes that correspond to something inside your soul and open it up, raw to the world, have the ability to heal. And that, along with Carter’s book, started to heal me. I finally turned off my breakup song (“Ultraviolet”) and turned on “Miss Sarajevo.”

As I listened to it over and over again, and made my way through the pages of Fools Rush In, I realized I could find peace in my situation, and got the perspective I desperately needed. People survive things far more horrible than unsatisfying jobs and failed relationships every day. In the face of what those in Sarajevo endured, I was ashamed by how deeply I had wallowed, and how long I had subjected my friends to my sadness. After all, I was mourning the death of a partnership — not the death of a human being.

After finishing the book that same day, I felt compelled to let the author know just how much it touched me, so I sent him a message, which I’m sure in retrospect was embarrassingly long. I don’t remember how much I shared about my life at the time or if I was completely honest with him about how much pain I was experiencing. Knowing me, I probably shared too much, but I wanted him to see that his words, and his film that inspired this beautiful song, really did change my life. He would tell me later that I came to the book and film “when I was supposed to,” and he was right. The universe places things in our path when we need them the most: both the good and the bad. We can never grow if we don’t learn from our pain, and we can never heal if we don’t find a way to get past it. Thankfully, this story got to me at the right time, and when I returned to Seattle, I slowly began transforming back into my authentic self. The happy, confident girl I once was.

Two years later I met Carter in person for the first time, at an event for his second book, Red Summer. Over cups of tea in the basement of Seattle’s famous Elliott Bay Books, I learned that he was in a good place — he was married, enjoying fatherhood, and again working on various projects that promised to make the world better. I was proud to tell him I too had moved on from the dark place I inhabited when I first wrote to him. I quit my fashion job to work for a nonprofit, began dating a new man and devoted my free time to things that brought me joy. Though he’d just met me, he seemed to genuinely care.

As I got to know Bill a little better over the years, it came clear to me that U2 has some sort of divine assistance in finding the most extraordinary creatures on the planet with whom to associate. There are millions of good people on this earth blessed with charisma; and then there are people who have such a magnetic presence and inherent kindness that they draw everyone in their path in with an infectious spark of something intangible. I’ve only met a few people in my lifetime who possess that, and Bill is one of them.

I distanced myself from the pain of “Miss Sarajevo” in the years that followed, but it was never forgotten. Each time I heard the song, I was reminded of that horrible time in my life, and Carter’s powerful book and documentary. 

Fast-forward to April of this year … I was thrilled that he had accepted the invitation to speak at the U2 Conference and would be delivering a keynote about his time during the siege. However, like many of my fellow U2 fans, I thought that his presentation would be “old news.”

I couldn’t have been more wrong — his storytelling hooked me from the moment he opened his mouth, and instantly I was back in the zone, reuniting with an experience I can’t genuinely fathom, stunned again by what those amazing people endured. 

I’m in love with the romantic way that Sarajevo has recovered, and have been planning a trip to visit for years. I think the timing of this story being again front-of-mind is telling me that I need to book that ticket sooner rather than later.

© @U2/Kokkoris, 2013.

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