Zoran "Cane" Kostić, the Partibrejkers frontman, wasn't a fan of New Primitivism; he mentioned it in passing during a 1997 interview while looking back on his band's early years and specifically recalling Plavi Orkestar's and Crvena Jabuka's mid-1980s Yugoslavia-wide commercial success that had its springboard in Belgrade: "During the mid-1980s, the music scene in the city started popping again a bit and new bands began taking off. But, it was a bad trip. Bosnians (Plavi Orkestar and Crvena Jabuka) entered Belgrade sometime around 1986 right after these raucous new primitive guys set the stage for them. They were their Trojan Horses. I never got into that new primitive thing precisely because I saw something else in it. I mean, in the end, their dumb schtick made it possible for a band like to conquer Belgrade". Speaking in Druga strana rock'n'rolla, a HRT-financed 2011 documentary by Silvio Mirošničenko about censorship on the Yugoslav music scene in the 1970s and 1980s, rock critic Darko Glavan summarized his view of the political and ideological aspects of New Primitivism: "It's a fact that they were intentionally [politically] provocative, but they were also very careful to always signal their harmlessness to the [communist] system. Yes, they were 'naughty' here and there with humorously provocative statements, but ultimately they believed in the system. I never detected a radical rejection of the system with them like I did with Štulić or young Houra". To many, New Primitivism gained added relevance in the context of the breakup of Yugoslavia. Books like 2013's Shake, Rattle and Roll: Yugoslav Rock Music and the Poetics of Social Critique written by Dalibor Mišina, assistant professor of sociology at Lakehead University, devote a significant portion to the study of New Primitivism's overall significance in the last decade of SFR Yugoslavia's existence, arguing that the country could've survived had it adopted values propagated by New Primitivism and similar genres as its new cultural model. While mentioning New Primitivism in passing in a 2018 column about the folk rock band Nervozni Poštar, novelist Muharem Bazdulj likened the movement to a "mischievous kid who loves to test the patience of his parents, his teachers, and his school principal, but is not quite willing to go as far as doing something that would actually risk getting expelled from the school" before concluding that "just like the Baroque ended up in Rococo so did New Primitivism end up