how Nadezhda Babkina restores health after pneumonia

Nadezhda Babkina on May 9 will certainly perform Victory songs. This time thousands of spectators will not applaud her – we celebrate the main holiday in self-isolation mode. And Nadezhda Georgievna herself is recovering after a serious illness, therefore she saves herself – there will be concerts, but later. But “Victory Day” will certainly sound in the house of the national artist. We tell how Babkina regains her health after being discharged from the hospital.

Recall that Nadezhda Georgievna was hospitalized with pneumonia, for almost a month we were worried about her health. The treatment required the introduction of an artist into a coma, Babkina coped, doctors saved the life of Nadezhda Georgievna – and now she is already at home. The situation was very serious. Nadezhda Babkina told about the course of the disease in Let They Talk, immediately after hospitalization and computed tomography of her lungs, she was transferred to intensive care:

“About 80% of the lungs were affected … Everything covered with film and dragged on: it’s such an infection, it manifests itself very quickly and starts working …” Later, the artist found out that at some point the situation became very serious: “The question was acute at the time the kidneys stopped working. Why? Details did not tell me. Probably it was scary, there were a lot of problems with me … “

Before discharge, CT showed that lung damage, according to the singer, decreased to 40%. Now Nadezhda Georgievna is not in a Moscow apartment, but in her country house in the suburbs. Therefore, she goes to special Lapino hospital for special physiotherapeutic procedures to restore lung function and rehabilitation. At discharge, the artist was prescribed home recovery (for 20 days): pills, injections – the artist tells her colleagues what she can do herself. Doctors ordered Babkin to do breathing exercises.

Nadezhda Georgievna says that the exercises are not easy, they are dizzy after them, but the artist is not lazy: she does it every day, because it’s important for the profession to restore the lungs as soon as possible. “Since we are singing, I have light accordions (squeezed – unclenched),” Babkina communicates with her colleagues and friends over the telephone — her voice is normal.

Nadezhda Babkina walks a lot – she lives in a country house (the singer was taken to the hospital from her Moscow apartment), and she came to rehab for fresh air outside Moscow. The actress is accompanied by a nurse Allochka – now the first assistant to Nadezhda Georgievna. “A beautiful little girl, Allochka, looked after me in the hospital, as though she was young, and hands like sledgehammers — I think all four will fall down. And she dragged me. From the bed to the toilet (I couldn’t walk). And – night is not night, she just lived with me, ”Babkina got used to her nurse. And Allochka went to her house – to help recover.

She goes to physiotherapy with her son, and Assistant Allochka is always nearby at home. Civilian husband Yevgeny Gor also raises spirits – he and his Hope have been 17 years old.

“He protects me, worships!” – the artist praises her Zhenya. There is something to praise – Gore kept the defense of journalists for a month: not a single interview or comment on Babkina’s health until she wrote out. Immediately after Nadezhda’s discharge, Eugene breathed a sigh of relief, and even cut himself off for joy! The precautions for self-isolation in this family are followed very strictly. Now Babkina even before washing her hands washes: he touches his face only with clean hands.

Nadezhda Babkina with common-law husband Eugene GorePhoto: Personal page of the hero of publication in social networks

The house has a special lamp that disinfects the air. The device for air disinfection in the rooms of Babkina was presented for an anniversary – even before the illness. Now come in handy! In March, Nadezhda Georgievna celebrated her 70th birthday; she is going to celebrate lavishly in the fall, when they are allowed to hold events. For the anniversary, the singer lost 23 kg in three and a half months: food was delivered to her ready diet. And in the hospital she dropped it again: I didn’t want to eat. Now she eats fully: as she began to recover she suddenly wanted sauerkraut.

Nadezhda Georgievna is not bored at home: the collective of her theater “Russian Song”, like all artists on self-isolation, but Babkina is engaged in current affairs, in touch with her employees. In the hospital, I didn’t communicate with anyone from friends: only with relatives, and when I got better, I watched TV. But now it receives calls and congratulations, we can say that with a second birth. Babkina says that she gave herself the command not to be afraid, to completely trust the doctors as soon as I entered the hospital: “When I looked in my eyes Shapovalenko Tatyana Vladimirov (the chief physician of the Medsi Design Bureau in Otradnoye – approx. Aut.) said that I believe you – my life is in your hands. ”

Recovery will not be quick – this artist understands, does not deny: no one knows yet – what consequences can be after an illness. But now there is more good news: according to the results of the analyzes, the doctors said that the immune system is restored.

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Herbert Kremp ✝︎: He recognized the statesman in Helmut Kohl

AWhen I read Herbert Kremp’s article for the first time in the 1970s, I did so with a certain shivering fascination. As a leftist who was shaped by the student movement, I found the authoritarian relentlessness that we ascribed to bourgeois society as a whole to the extreme.

There was someone who knew exactly how to differentiate between friend and foe, who didn’t want mediation and who thought “68” was just one misfortune. And yet there was something else. Kremp, who was editor-in-chief of WELT three times between 1969 and 1985, did not lack clarity, his profile was sharply conservative. In a way, he was at the forefront.

His style was elegant, his language melodious. You could feel the inner participation, the strictly restrained emotion. He listened to the world of his opponents, he was interested in them, he was never indifferent.

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Decades later I got to know him personally, just became an editor at WELT. The warhorse he was once was still noticed. But he did not match the image of a Springerian at all, as it was – not wrongly – in circulation.

He was a fighter, but not a lansquenet. It could be sharp, but it didn’t roar. His eyes, which constantly scanned the world, showed melancholy and sadness. He almost always met his counterpart with curiosity and respect and a formal but genuine kindness.

History was not a progress event for him. There were too many tragedies, too many crimes, too much misfortune for that. He probably didn’t think all of this could end. Hence its grieving undertone.

The First World War had never passed for him

Once he wanted to be a pianist, he took lessons from Friedrich Gulda. Then he studied constitutional law, philosophy and history. Max Weber, Arnold Toynbee, Oswald Spengler: the wide arches. The great First World War had never passed for him.

When he was born in Munich on August 12, 1928, the fluctuating Weimar Republic was ten years old, and five years later Adolf Hitler was paved the way to power. For Kremp that was the primary experience. History as a chain of struggles, breaks, eruptions.

The successful Federal Republic can also be interpreted as a major attempt by the Germans to escape this doom, step out of history and live in an everlasting Biedermeier peace away from world politics.

Herbert Kremp could not fit into this West German complacency out of inclination and temperament. But perhaps precisely because of this view from the outside, he became a very close observer of political events in the federal capital of Bonn.

Helmut Kohl, the then editor-in-chief of WELT Herbert Kremp (center) and Peter Boehnisch (right) in August 1971 in the Springer Journalists' Club

Helmut Kohl, the then editor-in-chief of WELT Herbert Kremp (center) and Peter Boehnisch (right) in August 1971 in the Springer Journalists’ Club

Source: company archive

For example: In 1973 Helmut Kohl was Prime Minister of Rhineland-Palatinate and, from Springer’s perspective, seemed to be a western Rhenish provincial, hardly able to look over the vineyards of his home country. But back then it was already noticeable that the energetic and robust cabbage wanted more. This interested and alarmed Kremps publisher Axel Springer, to whom Kohl was phenotypically alien and who saw him as a westerner rather than a German interested in reunification in his sense.

So he asked Herbert Kremp, with whom he was in constant, often conflicting contact, for an assessment of the Palatinate. Kremp then sent him a six-page characteristic of Kohl, which is a cabinet piece of political portraiture. In it he referred to Kohl as the “Palatinate Count”, threading him into the tradition of small German states.

Kohl appears here as a man who fits into tight spaces: home, manageability, the delights of ordinaryness. But then Kremp writes rather apodictically that this Helmut Kohl also has the talent for wide, very wide spaces. The more can manage as home.

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Herbert Kremp editor-in-chief Die WELT in Beijing 1979-1981

Kremp sensed – that was where his piercing look at history benefited – that Helmut Kohl had what it takes to be a statesman. That was quite ingenious at a time when Helmut Kohl was caricatured as a pear and when “Spiegel” and “Zeit” it was agreed that Kohl would go down in German history as a witty footnote.

Kremp looked further because he was interested in the person Helmut Kohl. Because he would never have thought of reducing a politician to his function. With his big blue eyes, he was a close observer.

In Herbert Kremp’s time, editors-in-chief were still rulers and drivers. There was money, journalism was also a party. Kremp enjoyed the convenience that resulted. But the distance to the Republic of Satisfaction Maximization remained. He was aching to say goodbye to history, which the Germans celebrated so devotedly.

Herbert Kremp was not a Eurocentrist

He was passionately interested in distant, foreign China and dedicated his perhaps most beautiful book, “The Bamboo Bridge”: observations, not judgments. He was not a Eurocentrist at all. For this reason, too, he hurt the self-isolation of the Germans, who exaggerated them as a lesson from their own history.

He wrote: “If there is something that has burdened Germans often and fatally, it was the dim view of the facts of the outside world and the sad view of themselves.”

Herbert Kremp saw a state of its own, new law in the Federal Republic, and he had respect for it. But he was bothered by the fact that it is a too staggered state. But he repeatedly showed that even in this so modest state, power had not evaporated.

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Lettering of the WELT on the roof of the publishing house in the immediate vicinity of the wall

It fascinated and frightened him. Herbert Kremp saw that it is sometimes inexplicably large, but often quite banal. He favored the sober middle ground, which for a long time did not enjoy a great reputation in Germany. He wrote: “The true conservative will be mindful of the Freiherr von Stein reformer.”

Kremp’s 2003 novel “Memoirs of the Future” ends with a legacy to the grandchildren that shows the Catholic Herbert Kremp from his world-facing side and that contains a rule of distance that should not only apply to Corona times: “Be free spirit. Don’t let anyone think for you. Turn to your whole story. Struggle for God and love your country. Otherwise keep your distance. The music will not end. “

Will the liberal order keep?

He spent the last decades of his life on Schenkenschanz, an island in the Lower Rhine near the border with Holland, on which one of the most resistant fortresses in Europe had been built more than 400 years ago. Herbert Kremp felt a skeptical connection to the Federal Republic, he was just not convinced that the liberal order would be able to withstand the storms of time in the long run.

But when Schenkenschanz honored him on his 90th birthday two years ago, he said that this small, previously often flooded place was “a community that works, a happy place where it is good to live and work”. Herbert Kremp died on Schenkenschanz on March 21.

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