In this paper, we will consider turbofolk as a postmodern phenomenon. We will describe the basic characteristics of postmodernism and offer its definition with special emphasis on the importance of popular culture and mass media in the context of postmodern artistic production. We will look specifically at the role of the mass media in the popularization of turbofolk. Then we will deal with the origin and development of turbofolk. We will study its roots in "newly composed folk music", as well as the stage identities of female singers on several examples. We will describe the social and cultural climate in Serbia in the 1990s, during the emergence of turbofolk, as well as the connection of the turbofolk scene with the Belgrade criminal milieu and the ruling regime at the time. We will also touch on the ideological baggage of that musical genre, which primarily connected to its closeness to nationalist discourse. In the chapter "Feminist reading of turbofolk and its subversive potential", we will offer insights from the texts of several prominent theoreticians on the subject of the sexualization of the (female) turbo-folk star's body, as well as its cyborg-variant, which has become more and more present since the beginning of the new millennium. It will also be discussed how female singers, i.e. turbofolk stars, in their lyrics, on stage and in interviews, perpetuate the problematic patterns of the essentially strictly patriarchal Serbian society. Finally, we will consider where possible subversive potential appears within turbofolk as a postmodern phenomenon. Finally, we will offer an answer to the question why turbofolk does not realize its subversive potential?