Turbo-folk (sometimes referred as pop-folk or popular folk) is subgenre of contemporary pop music with its origins in Serbia, that initially developed during the 1980s and 1990s, with similar music styles in Bulgaria (chalga), Romania (manele) and Albania (tallava). It is a fusion genre of popular music, blending Serbian folk music with other genres: such as pop, rock, electronic and some hip-hop. Background and characteristics Turbo-folk music emerged as a subculture in the countryside during the 1970s before migrating to the city in the '80s and eventually reaching further expansion in the '90s during the rule of Slobodan Milošević, Yugoslav Wars, inflation and political isolation. The term was originally coined by Montenegrin musician Rambo Amadeus whilst jokingly referring to his own musical style. However, critics soon adopted this term which referred to a musical style blending folk music with elements of electronic music, Eurodance and hip-hop or other genres not related to true Serbian traditional music. Turkish and Greek folk music have also had great influence, often with cases of plagiarism without consequences due to the political situation in Yugoslavia. Songs were primarily composed by acclaimed rock and pop musicians such as Milić Vukašinović, Goran Bregović and Kornelije Kovač with lyrics mainly written by Marina Tucaković. Most of the tracks involve themes of love, mainly adultery and sex, then materialism, alcohol and vice. The visual image also went through changes and was heading towards MTV aesthetics. Music videos and editorials were mostly directed by former art photographer Dejan Milićević, who himself stated Baroque as his main inspiration. Turbo-folk was predominantly broadcast on RTV Palma and RTV Pink. Performers and popularity The record in sales is held by Lepa Brena, who has sold over 40 million records and held some of the biggest concerts on the Balkans, making her the most successful Bosnian singer to date. Brena was also considered to be the symbol of former Yugoslavia, the country's unity and power, and after the breakup of the federation, of so-called yugo-nostalgia. At the time, the only "rival" Lepa Brena had was Vesna Zmijanac. Zmijanac and Brena were considered the biggest stars in Yugoslavia. Recognized as one of the most popular Yugoslavian singers, Zmijanac was dubbed the sex symbol, fashionista and gay icon of the eighties. Among various turbo-folk singers in the nineties, arguably the biggest star of the decade was Dragana Mirković, who has sold more than 10 million records.