In recent developments, representatives from a nationwide Russian movement known as Veterans of Russia requested a criminal investigation into the bard and comedian Semyon Slepakov, who is currently identified by the Russian authorities as a foreign agent, over the track titled Non-Russian. This stance was reported by a Telegram channel affiliated with the movement, a source that has been cited in discussions surrounding the case.
The Telegram channel asserts that Slepakov has intentionally spoofed the popular song I am Russian, originally performed by the singer Shaman. It is claimed that the satirical piece Non-Russian was presented during a show hosted by another individual labeled a foreign agent by the state, Mikhail Shats, who is similarly described as a foreign agent media figure within Russia. The report emphasizes the context of a live performance rather than a studio recording, highlighting the performative nature of the act as part of a broader show.
Members of Veterans of Russia argue that the lyrics of the spoofing work tarnish the image of ordinary Russians and, as a result, warrant scrutiny by state authorities. They have formally appealed to both the Investigative Committee and the prosecutor’s office, urging formal action in response to what they view as an offense against national dignity and public sentiment. The call to investigate centers on the determination that the work may incite discord and dehumanize a segment of the population based on national identity, according to the channel’s presentation of the complaint, which is attributed to the movement and circulated through their channels.
As stated by the reporting channel, the movement is pressing for the initiation of a criminal case against Slepakov on the charges of inciting hatred and hostility and insulting human dignity. The channel notes that the maximum penalty for such offenses could extend to five years of imprisonment, framing the potential consequences as severe and symbolic of the broader push to police artistic expression perceived as critical of national self-image.
Separately, recent reporting mentions that Slepakov previously sold an apartment in Moscow, a detail referenced by the same network in a broader briefing on the artist’s public and financial life. The report places such actions in the context of public scrutiny that often accompanies high-profile cultural figures in the region, especially when their work intersects with politically sensitive topics. The coverage also references a broader legislative conversation in Russia about the role of foreign influence in media and culture, noting the existence of proposals to restrict or regulate foreign involvement in various sectors as part of ongoing state policy, a topic frequently discussed in public forums and media discussions. The material is presented as part of a wider narrative about cultural controversy and regulatory responses to perceived criticism of national symbols and identity, with the implication that such cases may influence future artistic expression and public discourse. The coverage also notes that similar proposals have surfaced in Russia’s lower house of parliament, though it does not claim immediate enactment. The report frames these developments within the evolving discourse on how entertainment and politics intersect in contemporary public life and governance, and it remains a developing story as authorities assess potential legal avenues. [Citation: Telegram channel reporting by the movement and associated outlets]