Rapper Vasily Vakulenko, known by his stage name Basta, opened up about a difficult chapter with fellow artist Decl, who filed a court case in 2017. The confession came during an interview with a YouTube project called Entrance, where Basta reflected on the bitter strain that developed between them.
“I felt the sting of every harsh comment directed at Scryptonite and others. I made a grave misstep by engaging with him. I should have said, ‘Kiryuh, this ends now. You have crossed a line.’ I now see clearly that my words hurt, and I am truly sorry it happened. But the damage is done, and cannot be undone”, the musician stated with measured gravity.
Vakulenko emphasized that his disposition towards Decl had always been warm. He suggested that Decl’s sharp reactions to criticism were likely more painful because of that longstanding, cordial bond, which made the fallout feel personal and distressing for Basta as well.
The roots of the public clash trace back to a noise complaint about the Vakulenko Gazgolder nightclub, which him and his team operated. The rapper lived near the venue, a proximity that soon became a point of contention. Over time, tensions spilled into the public sphere as media and fans weighed in. In 2017, a Rostov-on-Don court ordered Basta to pay 350 thousand rubles in relation to a series of Twitter posts, one of which included a derogatory term directed at Decl. The case highlighted how online remarks can escalate into legal disputes, with reputational stakes for both sides.
The broader narrative around the case also touched on how musicians manage fan expectations, neighborhood relations, and media scrutiny under a bright, relentless spotlight. The dynamic between Basta and Decl illustrated how creative collaboration can be strained by personal frictions, especially when public voices amplify the conflict. Observers noted that a once-close professional alliance can fracture under pressure, with consequences that ripple through careers, friendships, and public perception. The episode continues to serve as a case study in how caution with online commentary matters for artists navigating public life, media ecosystems, and legal responsibilities.
In related discussion, former model Maria Pogrebnyak commented on Russophobia in Italy, adding another layer to the conversation about how public personas are interpreted across borders. This remark contributes to the broader context in which artists operate, where international perception and cultural sensitivities intersect with local reputations.