Less than two decades after the Yugoslav Wars ended, the edifice of parliamentary government in the Western Balkans is crumbling. This collapse sets into sharp relief the unreformed authoritarian tendencies of the region's entrenched elites, many of whom have held power since the early 1990s, and the hollowness of the West's 'democratisation' agenda. There is a widely held assumption that institutional collapse will precipitate a new bout of ethnic conflict, but Mujanovic argues instead that the Balkans are on the cusp of a historic socio-political transformation. Drawing on a wide variety of sources, with a unique focus on local activist accounts, he argues that a period of genuine democratic transition is finally dawning, led by grassroots social movements, from Zagreb to Skopje. Rather than pursuing ethnic strife, these new Balkan revolutionaries are confronting the 'ethnic entrepreneurs' cemented in power by the West in its efforts to stabilise the region since the mid-1990s. This compellingly argued book harnesses the explanatory power of the striking graffiti scrawled on the walls of the ransacked Bosnian presidency during violent anti-government protests in 2014: 'if you sow hunger, you will reap fury'.

Responding to the development of a lively hip hop culture in Central and Eastern European countries, this interdisciplinary study demonstrates how a universal model of hip hop serves as a contextually situated platform of cultural exchange and becomes locally inflected. After the Soviet Union fell, hip hop became popular in urban environments in the region, but it has often been stigmatized as inauthentic, due to an apparent lack of connection to African American historical roots and black identity. Originally strongly influenced by aesthetics from the US, hip hop in Central and Eastern Europe has gradually developed unique, local trajectories, a number of which are showcased in this volume. On the one hand, hip hop functions as a marker of Western cosmopolitanism and democratic ideology, but as the contributors show, it is also a malleable genre that has been infused with so much local identity that it has lost most of its previous associations with "the West" in the experiences of local musicians, audiences, and producers. Contextualizing hip hop through the prism of local experiences and regional musical expressions, these valuable case studies reveal the broad spectrum of its impact on popular culture and youth identity in the post-Soviet world.

Responding to the development of a lively hip hop culture in Central and Eastern European countries, this interdisciplinary study demonstrates how a universal model of hip hop serves as a contextually situated platform of cultural exchange and becomes locally inflected. After the Soviet Union fell, hip hop became popular in urban environments in the region, but it has often been stigmatized as inauthentic, due to an apparent lack of connection to African American historical roots and black identity. Originally strongly influenced by aesthetics from the US, hip hop in Central and Eastern Europe has gradually developed unique, local trajectories, a number of which are showcased in this volume. On the one hand, hip hop functions as a marker of Western cosmopolitanism and democratic ideology, but as the contributors show, it is also a malleable genre that has been infused with so much local identity that it has lost most of its previous associations with "the West" in the experiences of local musicians, audiences, and producers. Contextualizing hip hop through the prism of local experiences and regional musical expressions, these valuable case studies reveal the broad spectrum of its impact on popular culture and youth identity in the post-Soviet world.