A public disagreement unfolded involving journalist Ksenia Sobchak and performer Nikolai Baskov, following an exchange over an offensive poem. Sobchak shared Baskov’s response with a backstage audience via the Bloody Lady Telegram channel, highlighting how the interaction played out between the two figures in the cultural sphere.
In the lead-up, a recent discussion featured Vladimir Pastukhov on a video platform where Sobchak hosts, during which thoughts were offered about a new track by Gazmanov and Marshal titled “Motherland.” The commentator described the piece as tuneful yet imperfect, noting that the emotional force of the song did not depend on complete textual analysis. The speaker suggested that the work reflects a sense of homeland that feels unsettled, with lines and rhythm that may not align with traditional expectations of rhyme and structure.
In response, Baskov defended his colleagues and criticized Sobchak, using harsh language to characterize performers who explore classical folk themes. He described Sobchak with a dismissive nickname and accused the group of suffocating folk songs and producing material he deemed unworthy or crude.
Sobchak issued a counterstatement, addressing Baskov’s critique and offering a pointed reflection on the origin of the encounter. She questioned the poetic play on words and the tone of the dispute, noting that the dynamics of public feedback often spark more attention than the artistic aspects themselves. Her remarks suggested that talent development should be the main focus, rather than personal exchanges that draw media attention away from the craft.
The episode has drawn coverage from various online outlets, many of which reported on the clash between Sobchak and Baskov and on how media personalities engage with high-profile public disputes. The broader conversation has touched on the boundaries between criticism and insult, and the role of celebrities in shaping opinions about contemporary music and national sentiment.