A well-known Russian media personality, Ilya “Maddyson” Davydov, weighed in on a newly released clip from The Story of Alisher, which centers on the figures Miron Oxxxymiron Fedorov and Alisher Morgenstern, both labeled by the Russian authorities as foreign agents. Davydov’s remarks surfaced in a Telegram channel associated with a prominent blogger, where he criticized the regional music scene and its performers in pointed terms.
In his post, he wrote that rap often carries a strong sense of disdain, describing it as something akin to excrement and suggesting that even chanson music can be more dignified. He added that, in his view, many rappers are merely a mockery, worse than a stereotype he referenced with a crude analogy about FIFA players. The language reflected a personal stance on the genre and the current crop of artists within it.
During a separate live stream, Davydov offered further critique of Fedorov’s work. He stated that he could not fully grasp the text because it relied on vocabulary and concepts that felt intentionally opaque, mentioning terms like “base” in a manner that underscored his confusion. He also asserted that nothing resembles a more senseless act than an adult reciting rhymed couplets in a kindergartenish manner, painting a vivid picture of his frustration with the performance style.
Davydov also addressed the provocative line from The Story of Alisher that claims there is no one more vulnerable than a post-ironist. He insisted that the phrase was not about him, arguing that it pointed to someone else who embraces postirony as a persona. He observed that a new type of rapper had emerged—one who uses verses to vent every possible grievance. According to his view, those offended by the clip responded by rushing to produce rap content in reply, attempting to reclaim influence through shock or satire.
Beyond public commentary, the personalities involved have known each other personally for some time. They have appeared together in public at moments of support for fellow creator Yuri Khovansky, including a moment in October of a past year when they gathered outside a courthouse to lend what they described as solidarity. The incident was framed by observers as a display of mutual support among members of the online and creative communities during a contentious time.
Additional accounts from close observers describe Davydov’s behavior at that event as notably unruly. Reported anonymously by a source identified as “Restaurateur” Timartsev, the narrative claimed Davydov appeared intoxicated and that his conduct nearly derailed the proceedings. The report suggested Davydov spilled wine and left the scene without tidying up, while it was claimed that Oxxxymiron took an active role in assisting organizers by removing broken glass fragments from the area. These recollections contribute to a broader picture of how public disagreements among the dancers and voices in this circle have spilled into real-world scenes.
Responses to these exchanges have varied widely. Supporters of the artists argued that the clip and the ensuing commentary expose a broader cultural debate about authenticity, craft, and the responsibilities that public figures bear when critiquing one another. Critics, meanwhile, suggested that the discourse has grown heated, with some participants leaning into sensationalism rather than engaging in thoughtful analysis. Across the spectrum, observers note the complex dynamics at play when artists who are publicly identified with political or legal designations speak out on the artistic stage, and when a media attention cycle amplifies their opinions [citation 1].
From a media-literacy perspective, this sequence highlights how celebrity commentary intertwines with branding, audience expectations, and the broader conversation about creative boundaries in contemporary music. It also illustrates the delicate balance between provocation and responsibility for individuals who command large audiences. As the discussion unfolds, analysts suggest watching for how the narrative adapts in future appearances and whether a shift in tone emerges as the participants respond to ongoing reactions from fans and critics alike [citation 2].