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 &amp; 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.