The interview on the Telegram channel Star, featuring Jasmine and her colleague Philip Kirkorov as they discussed a moment from the set of a television program, revealed more about the dynamics between the two artists. Jasmine described how often she found herself aligned with Kirkorov on many topics, yet there were times when their opinions diverged sharply. During a discussion about whether to include one of the participants in their project, tensions rose and heated exchanges followed, shedding light on the behind‑the‑scenes debates that shape live TV performances.
Jasmine recounted a particular incident in which a competitor shouted at her to stay seated. He tried to persuade her to remain still, but Jasmine chose to stand up regardless. In that moment, Kirkorov directed a blunt curse toward her, a reminder of how emotionally charged and spontaneous moments can become on high‑pressure shows. The conversation captured on Star painted a candid picture of the friction that can accompany artistic decisions in the heat of production.
Meanwhile, Anastasia Volochkova recalled a tense episode from August when she extended a hand to Kirkorov after a public falling out involving director Marina Yablokova. The tension from that period lingered in the industry, illustrating how professional relationships can be tested by conflicts that play out in the media and on stage. The recollections point to a broader pattern where creative collaboration intersects with confrontation, personal boundaries, and the politics of festival and television projects.
The year 2010 brought a notorious moment involving Kirkorov and Marina Yablokova at a Golden Gramophone event. The incident led to legal action, with Yablokova alleging minor bodily harm and defamation. A civil settlement followed later that year, signaling a closure to that particular dispute but leaving behind a lasting impression on the public narrative surrounding both parties. The episode is frequently cited in discussions about the challenges of managing high‑profile collaborations in the entertainment industry, where fame, ambition, and the pressure of big moments collide.
Volochkova has spoken about earlier proposals involving Kirkorov, including calls for him to participate in her concerts. There were instances in which his name appeared on promotional materials in exchange for compensation, a reminder of the complex strings that can be attached to star power, endorsements, and the balancing act between artistic autonomy and commercial arrangements. These memories underscore how visibility and branding intersect with personal relationships in the career trajectories of performers who continually navigate new opportunities, collaborations, and audience expectations.
There was also a notable moment in which Kirkorov’s daughter reacted to a gift from a New York trip intended for Yolki-10, reflecting the ongoing web of relationships and family dynamics that often thread through the entertainment world. The episode hints at how gestures, whether practical or symbolic, can become talking points years later, shaping public perception and the reputations of the artists involved. Taken together, these recollections sketch a landscape where talent meets pressure, where backstage conversations can become headlines, and where the memory of past tensions continues to inform current collaborations and fan discourse. The stories illuminate the human side of show business, where partnership and discord coexist, and where every decision on a live stage is part of a larger narrative about art, fame, and the durable bond between performers and their audiences.