Manojlović and Milica Pavlović, whose careers were managed by Grand. The stars that emerged in later seasons were Aleksandra Prijović, Katarina Grujić and Andreana Čekić. Pop-folk is a music genre dominated by Ana Bekuta and Neda Ukraden. Both of them are hugely popular with their careers lasting for decades. Ana Bekuta is a big star in Serbia, while Neda Ukraden is more successful on the Balkan music scene. In the 2010s, pop-folk embraced even more pop influence and would often infuse electronic or hip-hop, leaning toward club music. Previously an underground hip-hop duo, Elitni Odredi gained enormous popularity after they had commercialized their sound by adding folk music. They were the pioneers of digital age in Serbian music, avoiding mainstream media, while using YouTube as their main platform. Bosnian singer Maya Berović, who saw moderate success in the 2000s, reached the zenith of her career when she collaborated with rappers Jala Brat and Buba Corelli on her 2017 album Viktorijina tajna, which was a mixture of contemporary R&B and pop-folk. Criticism Although very popular, turbo-folk is described as pseudo-folklore, while often linking it to Serbian involvement in Bosnian and Croatian conflicts during the nineties. This left-wing section of Serbian and Croatian society explicitly viewed this music as vulgar, almost pornographic kitsch, glorifying crime, moral corruption and 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". Along the same lines, British culture theorist Alexei Monroe calls the phenomenon "porno-nationalism". However, turbo-folk was equally popular amongst the South Slavic nations during the brutal wars of the 1990s, reflecting perhaps the common cultural sentiments of the warring sides. The resilience of a turbo-folk culture and musical genre, often referred to as the "soundtrack to Serbia’s wars", was and to a certain extent still is, actively promoted and exploited by pro-government commercial TV stations, most notably on Pink and Palma TV-channels, which devote significant amount of their broadcasting schedule to turbo-folk shows and music videos. 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 nationalist"