Essays, stories and a play set in Yugoslavia. The title piece, written by Dubravka Ugresic, is a satire on murderous folklore, while Bogdan Bogdanovic's The City of Death is on Belgrade.

An exploration of how a state transitions from the collectivized production and distribution of socialism to the consumer-focused culture of capitalism. In Balkan Blues, Yuson Jung considers the state as an economic agent in upholding rights and responsibilities in the shift to a global market. Taking Bulgaria as her focus, Jung shows how impoverished Bulgarians developed a consumer-oriented society and how the concept of “need’ adapted in surprising ways to accommodate this new culture. Different legal frameworks arose to ensure the rights of vulnerable or deceived consumers. Consumer advocacy NGOs and government officers scrambled to navigate unfamiliar EU-imposed models for consumer affairs departments. All of these changes involved issues of responsibility, accountability, and civic engagement, which brought Bulgarians new ways of viewing both their identities and their sense of agency. Yet these opportunities also raised questions of inequality, injustice, and social stratification. Jung’s study provides a compelling argument for reconsidering of the role of the state in the construction of twenty-first-century consumer cultures. “A good contribution to post-socialist and Balkan studies, showing well that the concept of post-socialism can still be useful not only in the context of Central and Eastern Europe, but also in the Balkans. The book is based on long-term, deep ethnography and is well written . . . I recommend it to anyone who wants to try to understand social, political, and economic differences in Europe and everyday practices related to the (imaginaries of the) state.” —Karolina Bielenin-Lenczowska, Ethnologia Polona

Since the early twentieth century, 'balkanization' has signified the often militant fracturing of territories, states, or groups along ethnic, religious, and linguistic divides. Yet the remarkable similarities found among contemporary Balkan popular music reveal the region as the site of a thriving creative dialogue and interchange. The eclectic interweaving of stylistic features evidenced by Albanian commercial folk music, Anatolian pop, Bosnian sevdah-rock, Bulgarian pop-folk, Greek ethniki mousike, Romanian muzica orientala, Serbian turbo folk, and Turkish arabesk, to name a few, points to an emergent regional popular culture circuit extending from southeastern Europe through Greece and Turkey. While this circuit is predicated upon older cultural confluences from a shared Ottoman heritage, it also has taken shape in active counterpoint with a variety of regional political discourses. Containing eleven ethnographic case studies, Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse examines the interplay between the musicians and popular music styles of the Balkan states during the late 1990s. These case studies, each written by an established regional expert, encompass a geographical scope that includes Albania, Bosnia and Herzegovina, Bulgaria, the Republic of Macedonia, Croatia, Slovenia, Romania, Greece, Turkey, Serbia, and Montenegro. The book is accompanied by a VCD that contains a photo gallery, sound files, and music video excerpts.

A funny and cynical collection of essays, observations, and sketches denouncing the perversions of political and cultural life in Croatia.

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