Editing Turbo-folk (section)

==Criticism==
[[File:Grafit protiv turbofolka,Imotski01848.JPG|thumb|Graffiti against [[Ceca (singer)|Ceca]]'s music in [[Imotski]], [[Croatia]]: "Turn off all the "Cecas"/Light up the candles/[[Vukovar massacre|Vukovar]] will never/Be forgotten" (written with [[Ustaše#Symbols|stylized U's]] of a style belonging to the [[Croatian nationalist]] and fascist organisation [[Ustaše]])]] 

Critics of turbo-folk alleged that it was a promotional instrument of Serbia's political ideology during [[ Milošević]] rule.<ref name=Hockenos2001>{{cite web|url=http://www.inthesetimes.com/issue/25/07/hockenos2507.html|title=In These Times 25/07 -- Serbia's New New Wave|website=Inthesetimes.com|access-date=23 April 2017}}</ref> This liberal section of Serbian and Croatian society explicitly viewed this music as vulgar, almost pornographic [[kitsch]], glorifying crime, moral corruption and [[nationalism|nationalist]] [[xenophobia]]. In addition to making a connection between turbofolk and "[[war profiteering]], crime & weapons cult, rule of force and violence", in her book ''Smrtonosni sjaj'' (Deadly Splendor) Belgrade media theorist Ivana Kronja refers to its look as "aggressive, sadistic and pornographically eroticised [[iconography]]".<ref>{{cite web|url=http://filmcriticism.allegheny.edu/archives30_3.htm|title=Film Criticism|website=Filmcriticism.allegheny.edu|access-date=3 June 2018}}</ref><ref name="cirjak">{{cite web|url=http://www.nspm.rs/Intervjui/2005_cirjak_turbofolk.htm|title=Komentari|website=Nspm.rs|access-date=23 April 2017}}{{Dead link|date=July 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Along the same lines, British culture theorist Alexei Monroe calls the phenomenon "porno-nationalism".<ref>{{cite web|url=http://www.ce-review.org/00/24/monroe24.html|archive-url=https://web.archive.org/web/20000816040649/http://www.ce-review.org/00/24/monroe24.html|url-status=usurped|archive-date=16 August 2000|title=Central Europe Review - Balkan Hardcore|website=Ce-review.org|access-date=23 April 2017}}</ref> However, turbo-folk was equally popular amongst the [[South Slavs|South Slavic]] peoples during the [[Yugoslav Wars]].<ref name="cirjak" />

{{Blockquote|As long as I am the mayor, there will be no nightclub-singers of [{{lang|hr|cajke}}] or turbo-folk parades in a single municipal hall.|[[Anto Đapić]], former mayor of [[Osijek]] and leader of the [[Croatian Party of Rights]]<ref>{{cite web|url=http://eprints.soton.ac.uk/66293/01/Baker_-_turbofolk_2007.pdf|title=Catherine Baker, "The concept of turbofolk in Croatia: inclusion/exclusion in the construction of national musical identity"|website=Eprints.soton.ac.uk|access-date=3 June 2018}}</ref>}}

The resilience of a turbo-folk culture and musical genre, often referred to as the ''"soundtrack to Serbia’s wars"'',<ref>{{cite web|title=Turbo-folk Keeps Pace with New Rivals|url=http://www.balkaninsight.com/en/article/turbo-folk-keeps-pace-with-new-rivals|website=Balkaninsight.com|access-date=21 July 2013|author=Gordana Andric|date=15 June 2011}}</ref> was and to a certain extent still is, actively promoted and exploited by pro-government commercial TV stations, most notably on [[Pink TV (Serbia)|Pink]] and [[RTV Palma|Palma]] TV-channels, which devote significant amount of their broadcasting schedule to turbo-folk shows and [[music video]]s.

Others, however, feel that this neglects the specific social and political context that brought about turbo-folk, which was, they say, entirely different from the context of contemporary western popular culture. In their opinion, turbo-folk served as a dominant paradigm of the "militant [[nationalism|nationalist]]" regime of [[Slobodan Milošević]], "fully controlled by regime media managers".<ref>{{cite web|url=http://www.maney.co.uk/contents/slv/16-1#a1|title=Explore Taylor & Francis Online|website=Maney.co.uk|access-date=3 June 2018}}</ref> John Fiske feels that during that period, turbo-folk and its close counterpart, Serbian [[Eurodance]], had the monopoly over the officially permitted popular culture, while, according to him, in contrast, Western mass [[media culture]] of the time provided a variety of music genre, youth styles, and consequently [[ideology|ideological]] positions.<ref>John Fiske, ''Television Culture'', February 1988, {{ISBN|0-415-03934-7}}</ref>