Walter "mostly lands on the right side of that line despite the band's crudeness and various deficiencies that they managed to turn into an advantage" before lauding it further, just like Glavan did six months earlier, for "successfully evoking and re-creating the atmosphere of Kusturica's Sjećaš li se Doli Bel?", which Gall sees as a "film that in addition to stirring up nostalgia also awakened the consciousness of young Sarajevans about their own (new primitive) identity". The journalist concludes that Zabranjeno Pušenje thus set the stage for a career such as Buldožer's, but that its enormous success "facilitated by the euphoria around the new primitive Top lista nadrealista" over the past year "often pushed the band to the wrong side of the vulgarity line during their live shows at which point it's only a small step to the distasteful remark and the unsuccessful joke about an American amplifier". Against the backdrop of the "Marshall affair" shifting into a higher gear that saw Zabranjeno Pušenje and New Primitivism essentially proscribed from public activity in various parts of Yugoslavia—with a plethora of canceled Zabranjeno Pušenje gigs, radio playlist bans for their songs, removal of Top lista nadrealista from the Sarajevo radio and television, a legal case being opened against Karajlić, etc.—film critic and columnist Bogdan Tirnanić wrote a long-form piece in March 1985 criticizing Yugoslavia's top-down cultural policies using the phenomenon of New Primitivism as an example. Observing the movement being snuffed out on political grounds and removed from sight immediately after it had been afforded enormous media attention, Tirnanić offers personal support to the beleaguered new primitives by stating he "believes young Karajlić's version of events that what they actually meant was really just the damn amplifier". The writer then posits that "even though it will at some future point in time be completely irrelevant whether these kids had blurted out what's being ascribed to them, none of it affects the essence of the matter because even if this public investigation centered around what Karajlić meant by his Rijeka on-stage quip hadn't been launched the way it had been, as a third-hand one-guy-told-me-so account, the whole new primitive thing was always going to be bitterly dealt with in one way or another". Before expounding on this claim, Tirnanić steps back to offer his views on the creative merits of New Primitivism, proclaiming it "without a doubt one of the biggest media