{'fraction_non_alphanumeric': 0.0281214848143982, 'fraction_numerical': 0.0, 'mean_word_length': 5.540441176470588, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Sounds of Actually-Existing Cosmopolitans: Music from Southeastern Europe at the Intersections of Oneselves, Western European, and Ottoman Turkish Legacies

Two recent CDs produced by Piranha represent important issues in Southeastern Europe: the legacy of the Ottoman Empire, and the discursive construction of a geographical region called "Balkan." As a counterpoint to verbal commentary, the music on these CDs sonically celebrates vibrantly mixed identities from seemingly very different areas: Vojvodina in Yugoslavia (Boris KovaC and LaDaABa Orchest's "The Last Balkan Tango—An Apocalyptic Dance Party") and Northeastern Romania (Fanfare Ciocarlia's "lag Bari: The Gypsy Horns from the Mountains Beyond"). While there is much that can be said about these two CDs—and indeed, each CD represents musical genres that merit substantial research in their own right—an important common thread is the assimilation of new styles and genres onto an ongoing renewal of local cosmopolitanisms by drawing upon ensemble traditions of—and influences from—the former Ottoman Empire and Western Europe. In "The Last Balkan Tango," Boris Kovad from Novi Sad joins forces with the musicians in LaDaABa Orchest; the latter an acronym for "La Danza Apocalypsa Balcanica," whose project was supported by the Fund for Open Society (Soros). The CD opens with a provocative announcement in Serbian: "Balkan Apocalypse! This is the last Balkan Tango!" As a musical statement on life after a series of civil wars in the ex-Yugoslavia, this album constitutes a musical identity forged from the composite character of Balkan identities and—as expressed in the liner notes—rejects a false dichotomy between the extremes of former Serbian president Slobodan Milosevic and NATO bombing. The music on