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, nearer the expressions of brotherhood with African footballers, Black Power activists and West African miners in the ‘left populism’ of the Belgrade hip-hop collective Bombe Devedesetih (Bombs of the Nineties) (Papović and Pejović 2016 : 118), who similarly communicate through social media not the mainstream media/recording industry: on the margins of commercial popular music but well within popular music as a mode of expression. The routes through which an African-American visits Novi Sad, a Serb from Novi Sad moves to Chicago and hip-hop's sound and style offers
the Czech Republic were Roma (see Donert, 2018 ). These are citizens who are understood as socially problematic because they do not want to work and are uneducated. (There was no basis for Zeman's claims, and his statement was not historically contextualised within the Romani holocaust or the negative policies that targeted Roma in the Czech Republic after World War II (Donert, 2017 ; see also Chapters 3 and 4 .) However, what was interesting was the response of ‘ordinary’ Romani citizens of the Czech Republic, who started posting photos on social media of
grow up in the Islamic State. Awaiting them instead was a system of sexualised coercion where they were reportedly forced into sex with arriving male jihadis – treatment to which VRS guards in eastern Bosnia had subjected captured Bosniak women in 1992–5 – while ISIS manipulated their images on social media to inspire other Muslim teenagers to follow them (Perešin and Cervone 2015 : 502). Selimović was missing by the end of 2014, and Kesinović is thought to have been beaten to death in 2015 while escaping from a house in Raqqa