I've been surprising myself lately. Interview with Marina Koroleva

the beauty 03.08.2019

the beauty

, radio host, TV presenter, philologist (candidate of philological sciences), writer, playwright.

Member of the Russian Language Council under the Government of the Russian Federation. permanent member jury of the Pushkin competition for teachers of the Russian language in the CIS countries and far abroad. Author of the weekly column "We speak Russian" in the "Rossiyskaya Gazeta", dedicated to the Russian language.

Biography

AT " Russian newspaper"Since 2000, Marina Koroleva has been leading the weekly column" We speak Russian ".

Married to the doctor and poet Yuri Kheifets (pseudonym Boris Berg).

Works

Books

The materials of the broadcasts and columns of Marina Koroleva formed the basis three books about Russian: “We speak Russian with Marina Koroleva”(M., "Word", 2003), "We speak Russian correctly"(M., Rossiyskaya Gazeta, 2007) and "Pure Russian"(M., Studio Pagedown, 2014).

Plays

Interview

As part of the Echo of Moscow radio programs, Marina Koroleva's guests were prominent figures in politics and culture. In particular, Vladimir Lukin, Alexander Lebedev, Grigory Yavlinsky, Alexander Prokhanov, Chairman of the Moscow City Duma Vladimir Platonov, sociologist Oleg Yanitsky, sociologist Vladislav Inozemtsev and others.

Books

Prizes

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Notes

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[osoboe-mnenie.classic.rpod.ru/ Special opinion: Alexander Prokhanov]. RussianPodcasting (March 3, 2010). Retrieved March 4, 2010. .
Marina Koroleva. (unavailable link - story) . Official website of Vladimir Platonov (September 5, 2008). Retrieved March 4, 2010.
Alexander Shurshev.. Journal "Ecology and Law" (June 29, 2009). Retrieved March 4, 2010. .
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An excerpt characterizing Koroleva, Marina Aleksandrovna

“Sonya, you go wake him up,” said Natasha. - Say that I call him to sing. - She sat, thought about what it means, that it all happened, and, without resolving this issue and not at all regretting it, she was again transported in her imagination to the time when she was with him, and he, with loving eyes looked at her.
“Oh, I wish he would come soon. I'm so afraid it won't! And most importantly: I'm getting old, that's what! There will be no more what is now in me. Or maybe he will come today, he will come now. Maybe he came and sits there in the living room. Maybe he arrived yesterday and I forgot. She got up, put down her guitar and went into the living room. All the household, teachers, governesses and guests were already sitting at the tea table. People stood around the table - but Prince Andrei was not there, and there was still the old life.
“Ah, here she is,” said Ilya Andreevich, seeing Natasha come in. - Well, sit down with me. But Natasha stopped beside her mother, looking around, as if she was looking for something.
- Mother! she said. “Give it to me, give it to me, mother, hurry, hurry,” and again she could hardly restrain her sobs.
She sat down at the table and listened to the conversations of the elders and Nikolai, who also came to the table. “My God, my God, the same faces, the same conversations, the same dad holds a cup and blows the same way!” thought Natasha, feeling with horror the disgust that rose in her against all the household because they were still the same.
After tea, Nikolai, Sonya and Natasha went to the sofa room, to their favorite corner, in which their most intimate conversations always began.

“It happens to you,” Natasha said to her brother when they sat down in the sofa room, “it happens to you that it seems to you that nothing will happen - nothing; that all that was good was? And not just boring, but sad?
- And how! - he said. - It happened to me that everything was fine, everyone was cheerful, but it would occur to me that all this was already tired and that everyone needed to die. Once I didn’t go to the regiment for a walk, and there was music playing ... and I suddenly became bored ...
“Ah, I know that. I know, I know, - Natasha picked up. “I was still little, so it happened to me. Do you remember, since they punished me for plums and you all danced, and I sat in the classroom and sobbed, I will never forget: I was sad and felt sorry for everyone, and myself, and I felt sorry for everyone. And, most importantly, I was not to blame, - said Natasha, - do you remember?
“I remember,” Nikolai said. - I remember that I came to you later and I wanted to console you and, you know, I was ashamed. We were awfully funny. I had a bobblehead toy then and I wanted to give it to you. Do you remember?
“Do you remember,” Natasha said with a thoughtful smile, how long, long ago, we were still very young, our uncle called us into the office, back in the old house, and it was dark - we came and suddenly it was standing there ...
“Arap,” Nikolai finished with a joyful smile, “how can you not remember? Even now I don’t know that it was a black man, or we saw it in a dream, or we were told.
- He was gray, remember, and white teeth - he stands and looks at us ...
Do you remember Sonya? Nicholas asked...
“Yes, yes, I also remember something,” Sonya answered timidly ...
“I asked my father and mother about this arap,” said Natasha. “They say there was no arap. But you do remember!
- How, as now I remember his teeth.
How strange, it was like a dream. I like it.
- Do you remember how we rolled eggs in the hall and suddenly two old women began to spin on the carpet. Was it or not? Do you remember how good it was?
- Yes. Do you remember how daddy in a blue coat on the porch fired a gun. - They sorted through the memories, smiling with pleasure, not sad old, but poetic youthful memories, those impressions from the most distant past, where the dream merges with reality, and laughed quietly, rejoicing at something.
Sonya, as always, lagged behind them, although their memories were common.
Sonya did not remember much of what they remembered, and what she remembered did not arouse in her that poetic feeling that they experienced. She only enjoyed their joy, trying to imitate it.
She took part only when they recalled Sonya's first visit. Sonya told how she was afraid of Nikolai, because he had cords on his jacket, and her nanny told her that they would sew her into cords too.
“But I remember: they told me that you were born under cabbage,” said Natasha, “and I remember that then I did not dare not to believe, but I knew that this was not true, and I was so embarrassed.
During this conversation, the maid's head poked out of the back door of the divan. - Young lady, they brought a rooster, - the girl said in a whisper.
“Don’t, Polya, tell them to take it,” said Natasha.
In the middle of conversations going on in the sofa room, Dimmler entered the room and approached the harp in the corner. He took off the cloth, and the harp made a false sound.
“Eduard Karlych, please play my favorite Monsieur Filda’s Nocturiene,” said the voice of the old countess from the drawing room.
Dimmler took a chord and, turning to Natasha, Nikolai and Sonya, said: - Young people, how quietly they sit!
“Yes, we are philosophizing,” said Natasha, looking around for a minute, and continued the conversation. The conversation was now about dreams.
Dimmler began to play. Natasha inaudibly, on tiptoe, went up to the table, took the candle, carried it out, and, returning, quietly sat down in her place. It was dark in the room, especially on the sofa on which they sat, but the silver light of a full moon fell on the floor through the large windows.
“You know, I think,” Natasha said in a whisper, moving closer to Nikolai and Sonya, when Dimmler had already finished and was still sitting, weakly plucking the strings, apparently in indecision to leave or start something new, “that when you remember like that, you remember, you remember everything , until you remember that you remember what was even before I was in the world ...
“This is metampsikova,” said Sonya, who always studied well and remembered everything. “The Egyptians believed that our souls were in animals and would go back to animals.
“No, you know, I don’t believe that we were animals,” Natasha said in the same whisper, although the music ended, “but I know for sure that we were angels there somewhere and here, and from this we remember everything.” …
- May I join you? - Dimmler said quietly approached and sat down to them.
- If we were angels, why did we get lower? Nikolay said. - No, it can't be!
“Not lower, who told you that it was lower? ... Why do I know what I was before,” Natasha objected with conviction. - After all, the soul is immortal ... therefore, if I live forever, so I lived before, lived for eternity.
“Yes, but it’s hard for us to imagine eternity,” said Dimmler, who approached the young people with a meek, contemptuous smile, but now spoke as quietly and seriously as they did.
Why is it so hard to imagine eternity? Natasha said. “It will be today, it will be tomorrow, it will always be, and yesterday was and the third day was ...
- Natasha! now it's your turn. Sing me something, - the voice of the countess was heard. - Why are you sitting down, like conspirators.
- Mother! I don’t feel like it,” Natasha said, but at the same time she got up.
All of them, even the middle-aged Dimmler, did not want to interrupt the conversation and leave the corner of the sofa, but Natasha got up, and Nikolai sat down at the clavichord. As always, standing in the middle of the hall and choosing the most advantageous place for resonance, Natasha began to sing her mother's favorite play.
She said that she did not feel like singing, but she had not sung for a long time before, and for a long time after, as she sang that evening. Count Ilya Andreevich, from the study where he was talking to Mitinka, heard her singing, and like a pupil in a hurry to go to play, finishing the lesson, he got confused in words, giving orders to the manager and finally fell silent, and Mitinka, also listening, silently with a smile, stood in front of count. Nikolai did not take his eyes off his sister, and took a breath with her. Sonya, listening, thought about what an enormous difference there was between her and her friend, and how impossible it was for her to be in any way as charming as her cousin. The old countess sat with a happily sad smile and tears in her eyes, occasionally shaking her head. She thought about Natasha, and about her youth, and about how something unnatural and terrible is in this upcoming marriage of Natasha to Prince Andrei.
Dimmler, sitting down next to the countess and closing his eyes, listened.
“No, countess,” he said at last, “this is a European talent, she has nothing to learn, this gentleness, tenderness, strength ...
– Ah! how I fear for her, how I fear,” said the countess, not remembering to whom she was speaking. Her maternal instinct told her that there was too much in Natasha, and that she would not be happy from this. Natasha had not yet finished singing, when an enthusiastic fourteen-year-old Petya ran into the room with the news that mummers had come.
Natasha suddenly stopped.
- Fool! she shouted at her brother, ran up to a chair, fell on it and sobbed so that she could not stop for a long time afterwards.
“Nothing, mother, really nothing, so: Petya scared me,” she said, trying to smile, but tears kept flowing and sobs squeezed her throat.
Dressed-up servants, bears, Turks, innkeepers, ladies, terrible and funny, bringing with them cold and fun, at first timidly huddled in the hallway; then, hiding one behind the other, they were forced into the hall; and at first shyly, but then more and more cheerfully and amicably, songs, dances, choral and Christmas games began. The countess, recognizing the faces and laughing at the dressed up, went into the living room. Count Ilya Andreich sat in the hall with a beaming smile, approving the players. The youth has disappeared.
Half an hour later, in the hall, among the other mummers, another old lady in tanks appeared - it was Nikolai. The Turkish woman was Petya. Payas - it was Dimmler, the hussar - Natasha and the Circassian - Sonya, with a painted cork mustache and eyebrows.
After condescending surprise, misrecognition and praise from those who were not dressed up, the young people found that the costumes were so good that they had to be shown to someone else.
Nikolay, who wanted to give everyone a ride on his troika along an excellent road, suggested that, taking ten dressed-up people from the yard with him, go to his uncle.
- No, why are you upsetting him, the old man! - said the countess, - and there is nowhere to turn around with him. To go, so to the Melyukovs.
Melyukova was a widow with children of various ages, also with governesses and tutors, who lived four miles from the Rostovs.
“Here, ma chere, clever,” said the old count, who had begun to stir. “Now let me dress up and go with you.” I'll stir up Pasheta.
But the countess did not agree to let the count go: his leg hurt all these days. It was decided that Ilya Andreevich was not allowed to go, and that if Luiza Ivanovna (m me Schoss) went, the young ladies could go to Melyukova's. Sonya, always timid and shy, began to beg Louisa Ivanovna more insistently than anyone else not to refuse them.

The departure of Marina Koroleva from Ekho Moskvy was not connected with the ex-assistant editor-in-chief Lesya Ryabtseva. The reason is Alexei Venediktov himself, his former deputy said in an interview with Colta.ru.

“I have no questions for Lesya now, I told the editor-in-chief,” Marina Koroleva emphasized. “There are no questions for her, all questions for him.” According to Koroleva, they were little acquainted with Lesya.

“I remember Lesya, a trainee, completely ordinary, not very talkative, shy,” said the former deputy editor-in-chief. - I remember her in the production group (where they invite guests), several times a week. Same story, nothing special. What happened to her next, in general, had nothing to do with the editorial office. It may sound strange - with such a loud "external" promotion - but it was so.

With Venediktov, according to Koroleva, they parted ways gradually. She was not in the informal "inner circle" of her boss, the journalist added.

“We worked together, yes,” said the Queen. - I trusted his professional touch for many years. But in recent years, she could not explain to herself many of the decisions of the editor-in-chief. By personnel, by the editorial management system, by air. For myself, finally, for my programs, broadcasting and salary.

According to Koroleva, the situation with the photo exhibition for the 25th anniversary of Echo of Moscow became a difficult test for her. The journalist called it "an ethical quest." “If you pass it, you will go to the next level,” the Queen explained. - And I refused to pass this quest. And no arguments that I could give myself - long-term author's programs, broadcast, position - did not work anymore.

The journalist also remembered how she first came to Ekho Moskvy. The Queen admitted that she had not listened to this radio station before. According to her, "Echo" occupied the basement, and the studio had to run along iron stairs. “There is only one editorial room, everyone smoked there, but I don’t smoke, horror,” said the Queen. - One computer for all. Typewriter. A metal kettle on a table in the hallway, rickety chairs. Constantly someone enters and leaves, such a cheerful madhouse. All tousled. And a lot of smart conversations.

Recall that at the end of December 2015, Marina Koroleva about her departure from Ekho Moskvy, where she had worked since 1994. She was the host of the programs “We speak Russian” and “How is it right?”.

In December, Lesya Ryabtseva also left Ekho Moskvy. After leaving, she appeared on NTV in the program “New Russian Sensations”, in which the editorial office of the radio was “a swamp that is not going to move anywhere”, and her former colleagues were “nonentities who are nothing of themselves.”

The opposition radio station "Echo of Moscow" continues to part with the key shots of its editorial.

The other day it became known that "Echo" is leaving another "veteran" of the editorial team - the deputy editor-in-chief of "Echo of Moscow" Marina Koroleva who has worked at the radio station since 1994.

The Queen spoke about the reasons for her sudden decision in an interview with COLTA.RU.

The main factor that prompted the Queen to leave Echo was her relationship with the editor-in-chief:

“The fact that we broke up with the chief editor did not happen in one day, of course. We had professional differences, both personal and financial, we went through several difficult points. Alexey Alekseevich is a flexible person, everyone knows that, much more flexible than I. And I'm not scandalous, everyone knows that too. At the same time, one must understand that I was not in the informal "inner circle" of my boss. Neither initially, nor later. We worked together - yes. I trusted his professional instinct for many years "But in recent years, I couldn't explain to myself many of the decisions of the editor-in-chief. In terms of personnel, in terms of the editorial management system, in terms of broadcast. For myself, finally, for my programs, broadcasting and salary."- said Marina Koroleva.

Wherein, the former deputy Venediktov has no complaints about the brawler, which, as Defector wrote earlier, caused the dismissal of several old personnel of Ekho Moskvy, for example, Sergei Korzun.

“About Lesya Ryabtseva, let’s answer the way I answered everyone in jest: who is it? But the truth is, we didn’t know her very well. I remember Lesya the trainee, completely ordinary, not very talkative, shy. , where they invite guests), several times a week. The same story, unremarkable. What happened to her next, in general, had nothing to do with the editorial office ", said the Queen.

In her opinion, the hype around Ryabtseva is associated solely with her "promotion" by Venediktov:

"It may sound strange - with such a loud "external" promotion - but it was so. Lesya was the personal assistant to the editor-in-chief, Venediktov and she herself talked a lot about this in various interviews, appeared on the air, on television, all this was on it was loud, with scandals, but internal editorial work is different. I have no questions for Lesya and now, I told the editor-in-chief. There are no questions for her, all questions are for him ", said the Queen.

As Marina Koroleva noted, "Echo" is experiencing today a historical turning point in editorial policy:

"This time is changing. The music of the time, the intonation is changing. Already the crunch is standing, it is changing like that. I am telling you as a person with absolute pitch. The entire orchestra is being retuned. This is a painful process, in fact. Echo will catch this change in intonation - will remain, no - there will be something else".

Marina Koroleva, a well-known radio journalist who worked as deputy editor-in-chief at Ekho Moskvy radio, unexpectedly left the popular radio station for listeners. Six months have passed since then. Marina kindly agreed to give an interview to CHAIKA magazine.

Irina Chaikovskaya. Marina, six months have passed since you left the radio station ECHO MOSCOW. We still hear your voice on it, your program “How is it right” is on repeat, but you are not on ECHO. Not tormented by "phantom" pains? Don't you regret? Was it a conscious decision or spontaneous?

Marina Queen. I can only repeat what I said immediately after leaving: the decision was swift, there was a specific reason. But I didn’t throw out a letter of resignation in the hope that they would persuade me, stop me. I specifically then gave myself a day to “think” - and during this time I thought through all the consequences, asked myself all the questions. I realized: I can no longer work as Venediktov's deputy, under any circumstances. Such work is a matter of trust (or distrust). If I came to "Echo" from time to time, as a guest or as an author, I could not ask this question, I came, worked, left. But I was a deputy, so for me trust in my boss was a key issue. In this sense, the departure was conscious. Not a hysteria, not a vzryk. Yes, I can't do that.

About “regret / do not regret”: no, I don’t regret for a second, neither then nor now. Yes, there was a specific situation, a specific reason, but there were also the last few years at Echo, when I toiled from the lack of prospects and development. I am not at all ready to engage in endless self-replication, to release the same programs year after year, no matter how wonderful they are. I know that they are good - if only because they are copied and even stolen, which means there is something to steal. Or now there are repetitions of my programs on Echo - well, let them go for now. And as long as I'm alive and working, I'm not going to stop. It was no longer possible to develop inside Echo, neither creatively, nor administratively, nor financially. So you need to say thank you to what happened, and move on.

IC. Tell me about your business today. I saw your video tutorials on the Rossiyskaya Gazeta website - I liked it: professionally, clearly, beautifully. Will you continue?

MK. In Rossiyskaya Gazeta, a column about the Russian language has been published for fifteen years already, and in a weekly issue, and it has some kind of exorbitant circulation, about 3 million. And the column there is “for everyone”, popular. I know that many people cut it out and kept it when there was no column archive on the site. My favorite academician Vitaly Kostomarov, for example, still carves. At a meeting, he always winks: you supposedly know where to look for your archive, if anything! I will support this column as long as I can, it is useful. Answers specific questions that are still being asked through every possible channel. And some time ago, I suggested to RG that they try to shoot video columns based on newspaper ones: they tried it, it seemed to work out. There are people who are more comfortable reading, and there are those who like to watch and listen more, they perceive information better this way. Now there is a choice: either a printed column (it is also available on the site: https://rg.ru/), or a video in the same place, on the site. I think we will continue this.

But the column is not new. The new one is Marina Koroleva's Bureau, which I opened in March, these are projects that are related to consulting on issues of speech correctness, corporate training, “Russian for adults”, you can call it that. On the one hand, it also seems to be nothing new for me: there were radio programs, now there are seminars, classes, webinars. The difference, perhaps, is that we meet with the audience live, face to face, and with an audience that is not random, interested, of high quality, very interesting. In many ways, completely new to me. You know, radio and TV are chasing ratings, websites are chasing hits, social media is chasing likes. These six months taught me, in particular, that two hundred, one hundred, fifty, and sometimes even ten high-quality interlocutors are no less interesting than a million listeners. And one can be more important than a million. The emotional return from a conversation with such an audience is definitely greater. And now it really doesn't matter to me how many of them I have, listeners.

IC. You are not only a journalist. Excerpts from your novel "Vereshchagin" were published in our magazine. Are there any plans to continue writing prose?

MK. Here I am superstitious, sorry. Until you are driven to the computer by the impossibility of NOT WRITING and you put off all your business for this, there is nothing to talk about at all. It's like a gun to the temple, I went through it three times, and with two plays, and with "Vereshchagin". Plans are plans, but this impossibility usually breaks all plans, including working ones. Let's see. I don't want to plan anything. It seems to me that Vereshchagin, despite having sold two print runs and many eminent readers, has not yet been properly read in Russia.

IC. Have you added any other activities to the ones you already have? Nevertheless, time was freed up, there was a relative freedom to dispose of it ...

MK. I mean, have I started cross stitching? Not yet. And it doesn't look like I'll start. Now, after a hurricane half a year of a completely different life, I have a short summer break, but already for September, the Marina Koroleva Bureau (that is, I have) has several applications for corporate classes, and not only. This means that planning and preparation begins in August. And the freedom and mobility of the Bureau is just the opportunity not to be closed for weekends, holidays and vacations. There was a question - please, here is the answer. In social networks, where I have a total of about 30 thousand subscribers, I almost daily “post” the answer to some interesting question.

There was also a completely unexpected, also new experience for me - participation in an expert council theater festival“Around the Classics” when I spent almost a week in Novouralsk, one of the closed cities of Rosatom. Provincial theaters gathered there, with performances based on classical literary works. The finale was a talk show that I held on the stage of the Novouralsk Theater - under TV cameras, with spectators and participants of the festival. Both radio and television skills came in handy here.

IC. It seems to us from abroad that in Russia the state's pressure on citizens, the free press, and freedom of expression is constantly growing. More and more repressive laws are being passed. Do you feel it yourself? How do you solve this situation for yourself?

MK. I am free. I don’t have my own media, I don’t work in the media, except for the language column in Rossiyskaya Gazeta. In my Facebook and Twitter accounts, I can write whatever I think. This is how I decided for myself.

IC. How do you feel about the ECU of Moscow and its editor-in-chief today?

MK. Without heart. This is the past for me. Sometimes I turn on "Echo", but very precisely, I remember when it is best to listen to the news there, if I suddenly did not have time to open them on the Internet. As I said, sometimes I get on repeats of my programs “How to do it right” and, by God, it seems to me that my voice has changed in these programs. Already after the fact has changed. Still, a voice left unattended by a person is a mystical entity, your will.

IC. Don't you think that ECHO has a fear of saying the wrong word, of speaking too directly?

MK. Here I definitely cannot be an expert, I do not follow the "Echo" jealously and intently, as regular listeners do. I worked there, now I don’t work, but I listen occasionally and only to the news. Programs are not. It’s just that for me the degree of predictability of programs, guests, the very intonation there is such that it’s not very interesting for me. I know exactly what I will hear on the air at such and such an hour, at such and such. There are people who like it, predictability. I don't, I don't like it at all.

IC. Is there a threat, in your opinion, that ECHO will be closed?

MK. Look, there was such a threat recent years fifteen, for various reasons. At first we were still scared, then we got used to it. When I was working, it didn’t matter at all what was outside, it didn’t frighten me. Well, if they closed it, I would find another job, even if not a journalistic one. What happens inside the editorial office was much more important for me. And I left because of what was inside, not outside.

Another thing is that I worry about my former colleagues from the Echo website, of course, when I read that they are being dragged to interrogations and face-to-face confrontations for reprinting blogs. I'm worried and I really want them to be fine.

IC. Radio is a powerful drug. Are you thinking of continuing your work on some radio channel, already existing or newly created?

MK. Good question, about ether as a drug. I'm not even going to deny it. But what is important here is to be aware of this. I gave. I knew that it would take some time for the ethereal addiction to disappear. Maybe it also helped that for me, any addiction is like death, and this one was no exception. In general, I told myself that "for the dose" (in this case- a dose of ether) I will never work, and calmly passed this difficult period, since it was very short. Almost immediately, I began to work in a slightly different capacity, and they give a microphone at performances, which is already.

Other radio - there will be worthy proposals, why not work. No - it's okay, quoting Bulgakov, "our equipment is always with us." Who wants to find me, he will find.

IC. I was deeply impressed by the arrest of Nikita Belykh, the way it was framed and presented in the media. I endlessly sympathize with Nikita Yuryevich and I can imagine any honest person in his place. In the game that the state is playing with people, it is difficult not only to justify itself, but also to utter some words in your defense so that they are heard, not distorted and not misinterpreted. Hence his hunger strike. What do you think?

MK. It was terrible. We crossed paths with Nikita Yuryevich many times on Echo, we were on the air together, including in that Minority Opinion on February 27, 2015, before last broadcast Boris Nemtsov, a few hours before his assassination. I have already told you: N.Yu. and I went out to the Ekhovskaya guest room, Nemtsov was there with the hosts Larina and Dymarsky. Belykh and Nemtsov hugged, and before that they had not seen each other for a year ... This is what comes to mind first of all when you look at some crazy shots with illuminated banknotes, you see the eyes of Nikita Belykh ... And you don’t understand anything. Whatever it is, he's having a hard time right now. And I don't understand, just like in the case of Khodorkovsky at one time, why people are kept behind bars on economic grounds, as if there were no other ways to control those under investigation.

IC. What do you pin your hopes on for a change in the situation in Russia?

MK. You know, I really love the “Yasin formula”, as we called it in the program “The Choice is Clear”. Free enterprise, free competition, rule of law. Good formula. But it seems to me that none of this will happen until this damned pyramid turns over in the minds of people - when the interests of an individual are at the very bottom, and the state (or those who appear to be the state) puts pressure on him with all his weight. Until each individual person learns to say to himself and to everyone: there is nothing more important than me and people like me. And the state is for me, not me for him. I would fight with all my might for this coup, and not for Putin to leave, because - well, he will leave, but the pyramid will remain. And another will come, with a different surname, and this pyramid will be built under him. Evil infinity.

IC. You have many friends among American readers. What can they expect from you in the future? How will you please or surprise them?

MK. Just say hello to them. And I'll work for now, I'm myself in recent times I surprise, how can I surprise others.

Washington - Moscow

Koroleva Marina Alexandrovna

Marina Aleksandrovna Koroleva- (pseudonym "Masha Berg", b. April 1, 1960) journalist of the Ekho Moskvy radio station, deputy. editor-in-chief, news and program presenter We speak Russian. Transfer game, How to do it right?, We speak Russian. Radio almanac, Radio stations came in large numbers here ... ... Wikipedia

Marina Alexandrovna Koroleva- Marina Alexandrovna Koroleva (pseudonym "Masha Berg", b. April 1, 1960) journalist of the Ekho Moskvy radio station, deputy. editor-in-chief, news and program presenter We speak Russian. Transfer game, How to do it right?, We speak Russian. Radio ... ... Wikipedia

Koroleva, Marina- Marina Alexandrovna Koroleva (pseudonym "Masha Berg", b. April 1, 1960) journalist of the Ekho Moskvy radio station, deputy. editor-in-chief, news and program presenter We speak Russian. Transfer game, How to do it right?, We speak Russian. Radio ... ... Wikipedia

Koroleva Marina Alexandrovna- Marina Alexandrovna Koroleva (pseudonym "Masha Berg", b. April 1, 1960) journalist of the Ekho Moskvy radio station, deputy. editor-in-chief, news and program presenter We speak Russian. Transfer game, How to do it right?, We speak Russian. Radio ... ... Wikipedia

Queen- Koroleva female form of the surname Korolev Koroleva, Varvara Mikhailovna, soloist of the first composition of the Russian female pop group "Brilliant". Koroleva, Inna Valerievna (born 1976) Russian actress theater and cinema. Koroleva, Claudia ... ... Wikipedia

Marina Koroleva- Marina Alexandrovna Koroleva (pseudonym "Masha Berg", b. April 1, 1960) journalist of the Ekho Moskvy radio station, deputy. editor-in-chief, news and program presenter We speak Russian. Transfer game, How to do it right?, We speak Russian. Radio ... ... Wikipedia