Moscow Izmailovsky District Court ordered a ban on eight tracks by rappers OG Buda, Scally Milano, Platinum and Lil Krystall in Russia. The decision appears in the Moscow courts card index and marks another instance where authorities restrict musical works within the federation. The measure blocks distribution and streaming of the specified songs on Russian platforms, illustrating how legal action translates into real limits for artists and for listeners who rely on online services to access music. The case sits at the intersection of artistic expression and legal control, underscoring the ongoing debates around content regulation in the country.
The allegations were submitted by the Izmailovo interregional prosecutor’s office, and the court upheld every point of the indictment. Prosecutors argued the works contained prohibited content, and the court’s ruling confirmed the charges. As a result, the bans were applied to the named tracks and related performances, signaling a firm stance by the judiciary on content that authorities say breaches laws on extremism and related offenses. The decision emphasizes that legal processes can directly affect how music is shared and consumed within Russia.
In particular, the court found that the compositions “Gives” by Scally Milano and “On Pay” by OG Buda violated Article 354.1 of the Criminal Code of the Russian Federation, which targets the rehabilitation of Nazism. The ruling indicates that the lyrics or messaging in these songs were assessed as crossing the threshold into propagating or praising Nazi ideology, a line drawn clearly by the legal framework and enforced through the ban.
Rapper Platina’s collaborations on the songs “You’ve got a big ass, I’m in love,” “Bass,” “Santa Claus,” and “Opiates Krug,” and Lil Krystall’s collaboration with OG Buda on “Scam” were found to violate the Administrative Code on the promotion of narcotic drugs. The court determined that these collaborations contained material that promoted narcotics, triggering the corresponding legal restrictions. The decision reflects how content depicting or encouraging drug use can be treated as a public safety and regulatory matter within Russian law.
Additionally, the Moscow court banned Scally Milano’s song “They Believe and They Don’t Believe,” created in partnership with Platina, on grounds that it promoted non-traditional sexual relations. The ruling demonstrates how content deemed to challenge or diverge from prevailing social norms in Russia may be subject to prohibition under the country’s regulatory framework for public morality and family values.
Reports indicate that traces of the “cancelled” Scally Milano disappeared from the Russian social network. A user searching for the artist in the Music section of VKontakte finds no results for the artist’s name, while inquiries for specific Scally Milano songs still return results. This reflects how online platforms implement takedowns and how removal of the artist’s profile can accompany targeted censorship, even as individual songs may remain accessible in some contexts. The online environment often mirrors court actions in real time, showing the practical impact of the ban on digital discovery and access.
Historical censorship in Russia has touched other popular programs, including reports that the TV series The Sopranos faced censorship due to LGBT-themed content. The broader regulatory landscape treats LGBT associations as politically sensitive in certain contexts, and movements labeled as extremist are banned within the federation. These dynamics provide context for how courts, platforms, and audiences navigate contemporary media, culture, and law in the region.